February 13, 2025 • 66 mins
This episode uncovers the fascinating world of library music, a genre that has unknowingly influenced many aspects of our auditory experiences. We discuss its definition, historical context, and the remarkable ways in which it has shaped not just film scores, but has also permeated modern music, finding its way into the works of artists across multiple genres.
• Introduction to the concept of library music
• Jack’s personal anecdotes and concert experiences
• The trend of artists performing entire albums live
• Explanation of library music and its purpose
• Historical relevance and impact on media projects
• Key examples of library music in popular culture
• The crossover of library music into hip-hop and contemporary music
• Listener engagement and viewer comments
• Closing remarks on the significance of library music
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
Well, here we are, episode 173, and climbing, and
on this episode, jack's back asof this intro recording he's
50-50, you never know, but Ithink he's going to be here and
(00:28):
Jack and I are going to talkabout a number of things.
We have some album coversclassic album covers, quirky
album covers.
I have some music news.
I have a genre of music that Iwant to talk about that I don't
know if really many people knowabout.
It's called library music,library music, and it's not what
(00:48):
you think.
It's actually extremelyinteresting.
So I want to see what Jackthinks about it, what he knows
about it, and we'll take it fromthere.
So sit back, relax and enjoythe podcast 5, 4, 3, 2, 1, 0.
Speaker 2 (01:05):
All engines running Liftoff.
We have a liftoff.
The KOFB Studio presents MilkCrates and Turntables, a music
discussion podcast hosted byScott McClain.
Now let's talk music.
Enjoy the show.
Speaker 1 (01:35):
What's up everybody.
Welcome to the podcast, welcometo the show, welcome back, my
friends, to the show that neverends.
We're so glad you could attend.
Come inside, come inside.
You know the name, I'm notgoing to say it.
We're streaming live right now,over everything, as usual.
And as usual, jack.
Well, yeah, yeah, this is athing Like no show.
(01:59):
No show, let's see.
I'm going to text him right nowand see what he says.
Uh, you coming on, let's seewhat he says.
Are you gonna see?
You know, we'll see what hesays.
We'll see what he said.
(02:19):
You heard the little whoop, sothe text has been sent.
Let's see what he'll probablysay.
Oh, I thought it was 7, 30.
Well, it's not.
That was last week, so havingtrouble logging in.
Well, this is what happens whenyou try to log in right before
(02:42):
the show, like right as the showbegins.
So let's go here, let's go here, let's see.
Speaker 2 (03:00):
Hey, can you send me the invite again?
Oh my God, I keep getting thisnote.
Let me see, hold on, I'm goingto send it to you right now.
Speaker 1 (03:16):
Hold on one second.
Speaker 2 (03:19):
It says event not found.
Contact your host.
Speaker 1 (03:23):
Well, that's me, that's me, yeah, yeah, well,
that's me, that's me, yeah.
Speaker 2 (03:27):
Yeah, you are.
Speaker 1 (03:28):
I am.
I'm the hostess with the most.
Speaker 2 (03:31):
And thus far you've been very helpful Well before I
chastised you.
Speaker 1 (03:37):
I didn't want to.
I had to at least check inbefore I started shredding you.
Let's see oh, there you go,john.
Right, and I don't need to puta subject there.
I'm sending it right now.
Wait a minute, there we go.
(03:57):
No, let's get.
I just did it twice, see.
Send you two links.
Get rid of that whole thing andpaste and send, so you should
be getting it in a few seconds.
Technology is amazing, isn't it?
Speaker 2 (04:19):
Well, we'll see if it works.
Speaker 1 (04:20):
Yeah, yeah, I'm sure it will.
I'm sure it will, probablybecause I picked.
So sometimes restream does this.
If I use the same, it's likecalled studio.
If I go into the same studio aslast week, sometimes the the
link doesn't work to that, likeit has to be a new link to a new
, some kind of there you golet's see, I'm gonna hang up
(04:44):
goodbye, so fucking jack again.
Doesn't show.
Oh, there he is now.
Let's see if his microphoneworks.
Now.
You see, you blew it by doingthis.
Speaker 2 (05:04):
I know, I know, I was like ah, damn, fucking rookie
mistake.
Speaker 1 (05:10):
You got to get back in your action.
Speaker 2 (05:11):
You got to get back on track buddy.
Speaker 1 (05:14):
Hey, is that the?
Speaker 2 (05:15):
first time.
Is that new?
The scrolling thing?
Yeah, I added that.
Speaker 1 (05:20):
Yeah, you like it, I like it All right.
All right, how you doing buddyGood, you like it, I like it All
right.
All right, how you doing buddyGood?
You like my groovy cool coffeemug.
Hey, it's a rib.
It's ribs with a spine.
Speaker 2 (05:33):
It's ribs with spine.
Speaker 1 (05:35):
With blood all over the cup.
Yeah, yeah.
Speaker 2 (05:38):
Got it in Salem.
Speaker 1 (05:43):
That's as close to a spine as you'll ever get.
Come on, you had to see thatcoming.
Speaker 2 (05:52):
Do you remember when somebody used to be able to
actually see?
Speaker 1 (05:59):
your spine.
Speaker 2 (06:00):
It's in there somewhere.
It's in there somewhere, rhinoboy.
Speaker 1 (06:03):
Yeah, exactly, exactly so.
What's the latest and thegreatest?
What do you got going on?
Speaker 2 (06:10):
Just a little bit of everything man Doing the work
thing, mapping stuff out, goingto hit the road, still going to
a bunch of shows.
It just never stops.
Actually bought tickets toPatty Smith.
Isith is doing um a show at theorpheum theater, the geriatric,
(06:30):
the geriatric section of theorpheum theater.
Speaker 1 (06:33):
Come on, man, come on .
No, she's still.
She's still got a good voiceshe still has a good matter for
her.
Speaker 2 (06:39):
Yeah, some people.
Some people would actually saythat she's never had a good
voice.
I don't understand that she had.
Speaker 1 (06:44):
she doesn't have a great voice, like she has say
that she's never had a goodvoice.
I don't understand that shedoesn't have a great voice.
Speaker 2 (06:48):
She has a unique voice.
Speaker 1 (06:50):
Yeah.
Speaker 2 (06:51):
She doesn't have a spectacular voice.
She's rich, kind of, andsoulful, but here's my gripe
about it.
So Patti Smith is probablydoing what may be her last tour,
and it may be because I, pattysmith, is 77 wow, 77, wow so so
the the shtick, you know the,the angle of this tour and I
(07:15):
think it's all sold outeverywhere.
She's playing at the beacon inin uh in new york.
She's playing in chicago.
She's playing at the orpheum inin boston.
Is she's doing the album horses, her debut breakthrough, yeah,
landmark punk album album yeah,yeah, but.
(07:36):
But here's my thing a lot ofbands do this these days.
Speaker 1 (07:40):
Yeah, you don't have to play the whole fucking album,
just play the good stuff off ofit okay, so I've been saying
this for over a decade over adecade now and I I've talked to
you about this.
Me and phil phil came down hereuh, phil kelly flying, phil
kelly, um, he came down here andI had come across this.
(08:03):
This group called Albums Liveand I think I've told you about
them.
They're a Canadian like groupright, group of musicians.
That the whole premise of whatthey do, and if you ever get a
chance to see them, look them upand see if they come to your
area, because they are amazing.
The premise is they play live analbum and they've done pink
(08:28):
floyd, dark side of the moon.
They've done prince purple rain, like they do almost every
great album from start to finish, note for note.
Right on stage now they kind ofall dress in black and they
don't interact with the crowdduring the album.
Right, sounds like a lot of fun.
It is.
(08:48):
I mean, it's amazing watchingthem.
Do you know?
Like time on dark side of themoon, or uh, uh, or great gig in
the sky.
They have this.
They always have this fuckingamazing singing.
Now we've all heard that song amillion times and you know,
subconsciously, note for note,like if they don't hit that that
right pitch in that song, whichis mine and a lot of other
(09:11):
people's actual favorite song onthat album, um, and they hit it
, they fucking nail it everytime and she always gets a
fucking standing ovation duringthe song.
It's, they're that good,they're very talented, so and
then afterwards they leave andthen they come out and they do a
greatest hits, like thenthey're more relaxed with the
crowd.
Um, then all they caught, theycaught fire they.
(09:36):
They were in it for like, uh,best new, they're a business
like best new business of theyear company, like, and they
caught a little fire.
Then all of a sudden I startednoticing after that the bands
started doing their albums,start to finish.
It's like someone promotercaught on.
Speaker 2 (09:55):
That's a fucking great idea.
You think that they wereinspired.
Speaker 1 (09:58):
I I never saw I never saw a band do that before.
I've never seen them play thealbum from beginning to end,
like, not like bits and pieces.
You'll play like you two willplay the whole new album or
Pearl jam, but they'll pepper itin throughout the show.
If there's 12 tracks on there.
They'll play like seven of them.
You know what I mean.
Speaker 2 (10:19):
There may be.
There may be somedifferentiation here, but you
know, back back when I used togo see, you know, joe Jackson,
every year he would play.
He would come on and he wouldplay three or four songs that
everybody knew.
He would get everybody updancing and everything like that
, and then whatever album he waspushing, he would play it in
its entirety.
(10:39):
Right, but the the differenceis it wasn't a shtick, it wasn't
a marketing thing, it was justwhat he did.
Neil Young did the same thing,but strangely enough.
So I bought tickets this weekagain to Patti Smith, and then
Deb and I are going to go out toChicago in August and we're
(10:59):
going to see Death Cab for Cutieand they're celebrating the
20thth anniversary of the albumplans 20 years.
Jesus, which is which is.
You know it's.
It's a good album, but, buthere's, here's my thing.
I was never a fan, by the way,but you're not a good big fan.
Speaker 1 (11:18):
No, no, but that's.
I just never caught on to them.
Why do I have two different?
Let me see something there.
Speaker 2 (11:27):
I don't know why do you not like them?
I mean, I get it.
Speaker 1 (11:31):
This weren't my type of music, probably.
Speaker 2 (11:34):
Not synthy enough, not edgy enough for you,
probably a little bit more of anintellectual slant that you
just don't get.
I get it, you know.
Actual slant that you justdon't get, I get it, you know.
But, but, again, but, but again.
My, my point is is that thereare so few perfect albums out
(11:54):
there.
Like deb and I went to thesphere last year to see you two
and they did the entire octonebaby, and octone baby is a.
It's a great record but it'snot flawless like this, by no
means.
There's a.
There's a little stretch onside too where it's just like
you know, like trying to throwyour arms around the world, yeah
(12:15):
, like it's not a perfect album.
No no, no, no, they're, they're,they're not made this band,
classic, classic album live.
Speaker 1 (12:23):
They do these great albums, these perfect albums
purple rain, uh, the wall.
They do the beatles at like,they do a bunch of beatles and
they, but the thing is they doit literally.
Note for note.
There's no deviation, it's not.
Yeah, take on it right.
And it's it's just amazing tosee and hear, right, because
(12:44):
bands play their shit the waythey want to sometimes and it
never really comes out 100% thatit does on the album.
So that's what makes themunique.
But then I started seeing bandsdoing that start to finish the
whole album.
And it's a great, hey.
If they were the ones that hadcreated that jump-off point,
(13:05):
then good for them.
Speaker 2 (13:08):
Do you know?
What I appreciate about thebands that are doing, hey, we're
going to play this album in itsentirety, is you do get a sense
of what you're walking into?
Yeah, and I'll give you a goodexample.
So I don't know, if you were a,were you a ministry fan at all?
Speaker 1 (13:26):
Yes, probably.
The album I like the best bythem is the land of rape and
honey so so what?
Speaker 2 (13:33):
what ministry is doing right now is they're going
on tour and they're saying thatthey're pretty much going to do
only songs from the first threerecords.
Okay, now, ministry is a goodexample of this, because,
ministry, their first threerecords, and then any record
after that, are night and day.
Yeah, you know, their firstalbums were kind of record
(13:55):
companies.
Speaker 1 (13:56):
Record companies made that like kind of push them in
that direction.
Al jorgensen didn't want to,really he hated, he really did
not like it well, he likes itenough now that he's that he's
torn on them.
Well, he's making money offthem.
That's why he does it.
Yeah and oh, and, by the way,al jorgensen, welcome back from
retirement the third time.
Yeah, but hey listen, make thatmoney, buddy, like he's got to
(14:22):
be up there in his late 60s.
Speaker 2 (14:27):
You know what I don't know, or?
Speaker 1 (14:28):
maybe mid-60s.
When those songs came out inthe 80s, was he our age.
Do you think he was a littleolder than us?
Speaker 2 (14:35):
I think he was a little bit older than us, yeah.
Speaker 1 (14:38):
So if I'm what 61, he's got to be 65, maybe.
Speaker 2 (14:44):
Let's see he is 66.
Speaker 1 (14:50):
All right, all right, close enough, yeah, yeah you're
in the ballpark jack.
I'm sorry todd a big head.
Todd the witch rocket just sentme a text.
Are you getting?
Are you getting the messageslike he?
Because we didn't acknowledgehim.
Well, we didn't acknowledge himon the screen for coming on so,
todd, because the night great,great song, yeah, okay yeah, see
(15:13):
he's started.
Speaker 2 (15:15):
Started, started by one, bruce springsteen, and
handed over to patty smith tofinish.
Speaker 1 (15:21):
Yeah uh, that, that collect.
Speaker 2 (15:23):
That collaboration, happy, happened because of Jimmy
Iovine, who is the engineer on,born to run and then was
heavily involved.
He may have been the primaryproducer on horses.
Speaker 1 (15:36):
I believe he was.
Yeah, uh, dave Phillips sayshe's 69.
That's great, fucking veryproud of you.
Speaker 2 (15:42):
Happy birthday, Davey Phillips he he says I think
steely dan did it a few yearsago at the orpheum, finishing up
with the greatest concert witha greatest concert, maybe great
yeah so steely dan has done thatover the past number of years
where they played three nightsor four nights in boston, where
they'll do the entire pretzellogic album, the entire asia
(16:04):
album, you know the entire.
Uh the great, you know thegreat scam, and then uh, and
then they'll do a damn.
The royal scam.
Thank you, thank you, and thenthey'll do, uh, the greatest
hits night, deb, deb and I wentlast.
Speaker 1 (16:16):
Wait, wait, wait, no, no, no, if that was me no, no,
no, no, no, no, no, no, no, no.
Speaker 2 (16:21):
Whoa, whoa, whoa, whoa, whoa whoa.
What did you just say?
Speaker 1 (16:24):
what was you just say , did?
What was the name of that album?
See, you would be rubbing myface it was the royal scam, the
greatest royal scam.
See how nice I am to you.
You're fucking see speaking ofthe great you're a scam.
You're a scam you're, you're afucking scam, scam, remember.
Speaker 2 (16:43):
Remember when that was a big word in winthrop oh,
scam, scammer, scammer.
That scammer turned to bleedhey, he could be in the jay
giles band.
He's scammer jammer, yeah.
So, anyway, steely dan used todo those albums in its entirety
(17:06):
and then they would do a nightwhere they would do their
greatest hits.
Yeah, deb and I went.
Guess guess which night we went?
The royal scam, no, no, we wentto the greatest hits night oh
okay, royal scams a fucking goodalbum it's a great, it's one of
their underrated albums.
They were massive.
Speaker 1 (17:25):
It's not as good as the Greatest Scamp, but Jesus
Christ, hey, I got somethinghere that's pretty interesting.
I think you'll enjoy this.
So, speaking of Oasis, right, Icame across this today.
I'm going to put it up on thescreen.
Wait a minute, here we go.
(17:46):
Dave Phillips, king of the 45s,bald on bald battle going on
right here.
Hey, listen, fucking69-year-old guy that used to
have red hair now has white hair.
Don't fucking start with us, wewill crush you.
King of the 45s.
Speaker 2 (18:00):
Yes, Dave Phillips, you big hairy bastard.
Speaker 1 (18:04):
Dave Phillips, with the fucking Irish name, but
claims he's a hundred percentItalian.
I don't know how he gets awaywith that.
This is a guy, phillipsPhillips.
I think that's even English.
I don't even think it's fuckingIrish right.
Speaker 2 (18:16):
It sounds Scottish to me.
Speaker 1 (18:18):
Yeah, I mean, he claims like his Italian, like he
knows pizza and he knows yourpasta and how to make meatballs,
like my fucking.
Speaker 2 (18:27):
he has no credibility with the last name, phil,
please okay, I'm finally gettingthis off my chest.
Speaker 1 (18:32):
I love dave phillips, but no, I'm not fucking buying
it anymore hey, come to phPhillips find Italian dining.
Speaker 2 (18:50):
Hello, I'm Dave Phillips.
Come on and get some chickenparmesan.
We've got the eggplant, we'vegot the chicken.
We've got the meatballs.
We've got the chicken, we'vegot the meatballs.
Ah, that's fucking.
Speaker 1 (19:13):
That's exactly right.
Speaker 2 (19:18):
Come on, john, we'd be happy to boil you up some
pasta.
Oh my god, yeah, because we'regood at boiling things, we boil
everything.
Speaker 1 (19:26):
We boil our meatballs .
We boil everything.
We boil our meatballs, we boileverything.
He should have a restaurantcalled the Boiler Room.
Speaker 2 (19:39):
There's nothing like washing down a plate of
spaghetti with a Guinness.
Speaker 1 (19:42):
Yeah, that's a good combination, let's have a nice
big plate of linguine extrasauce.
Speaker 2 (19:50):
wash it down with the fucking guinness stone hey, I,
you know, look, I I watchedevery episode of the sopranos.
Not once did I say, hey, howyou doing?
My name is, uh, dave phillips,exactly yeah, I think he's a
fraud Again.
Speaker 1 (20:05):
He has no credibility .
Big head, todd the wet frogBack off the redhead.
Fuck, redheads are fuckingweird.
Anyways, philippone was changedto Phillips, oh yeah, okay.
Okay, okay, here we go.
Dave Hill is kicking the 40miles.
He wrote this comment and hespells it F-I-L-i-p-o-n-e right.
(20:32):
Philip pony was changed tophillips back in the day.
Yeah, and my name used to bemacalini.
Speaker 2 (20:35):
I'm from fucking nap, I'm not from fucking naples, my
family but they made me amclean, so you know what, if you
hung out and went for a boywith us, your, your nickname
would have been Flip Phone.
Speaker 1 (20:50):
Patty Yossi likes red hair.
All right, okay, oh hey.
Speaker 2 (20:55):
Well, okay, she's got a Ronald.
Speaker 1 (20:57):
McDonald complex.
Little off subject.
Yeah, Little off subject.
All right, I pulled up thisarticle today.
I think you'll find thisinteresting.
Let me put it up on the screen.
We're going to read through itand as we go.
So Liam Gallagher responds tothousands Did you know about
this?
Thousands of tickets beingcanceled.
(21:18):
Speaks out on chances ofspecial guests joining the band
on stage.
So let's uh, let's kind ofscroll through this, Let me see.
There we go.
So Liam Galley has issued aresponse, Following thousands of
tickets, Thousands of ticketsTo the Oasis reunion shows being
(21:38):
cancelled by Ticketmaster andaddressed whether the band Will
invite any special guests onstage with them.
It comes after this pastweekend Saw Ticketmaster cancel
thousands of tickets to be tothe much anticipated reunion
shows taking place this summer.
And a new crackdown on bots andtouts touts in in England as
(22:00):
scalpers.
The tickets for UK show showswent on sale back in August that
I tried to get.
I tried, and this might be agood thing that I didn't.
Speaker 2 (22:13):
I was going to say our tickets didn't get canceled
because you didn't get any,Despite efforts to prevent touts
you know scalpers fromreselling them at inflated
prices.
Speaker 1 (22:22):
Roughly 50,000 tickets ended up on resale sites
.
In response, promoters LiveNation and SJM confirmed that
all tickets sold via secondaryticket sites other than Twickets
would be canceled and madeavailable again through
Ticketmaster at face value hasgone far from smoothly, with
(22:48):
numerous fans taking to socialmedia over the weekend to claim
that they have had their ticketswrongfully canceled after they
bought them legitimately.
And here we go, liam being liam.
Now.
Liam gallagher has addressedthe tumultuous circumstances
around the crackdown on ticketsand said that there's little he
can do to help.
He took to x this morning torespond to a fan who reached out
(23:09):
to him and asked Liam, what doyou think of the ticket
situation?
Thinking fans are bots andgetting their money returned?
Responding, the Britpop iconwrote I don't make the rules,
we're trying to do the rightthing.
It is what it is.
I'm the singer.
Speaker 2 (23:23):
Get off my case, I love that what the fuck you am I
gonna do about this?
Do you blame?
Speaker 1 (23:31):
him.
Do you blame him?
No, no, that's why I'm likelike he's like what the fuck do
you want me to do about?
Like I don't know I don't havecontrol over that.
Uh, around the time of the sale, oasis addressed the scramble
for tickets, with some going onsecondary sites as much as
10,000 pounds, which is aboutwhat Jack?
$14,000?
.
I don't know what the currentexchange rate is yeah, I think
(23:51):
it's about 10,000 pounds.
Speaker 2 (23:54):
I think you're in a safe spot.
Speaker 1 (23:56):
Yeah, and reminded fans that those wanting to
resell tickets can only do so atface value via Ticketmaster and
Twickets.
It also came amid a growingdiscussion about the issue of
scalpers, who buy many ticketsand sell them for massively
inflated prices.
This has always been the deal,jack right, this has always been
(24:16):
going on.
Speaker 2 (24:18):
So, by the way I just looked it up, $10,000 is
actually only $7,958.
Oh, wow, wow, that pounddropped.
Speaker 1 (24:27):
well the dollar oh yeah, when are they oh?
yeah, no, no, the no, thedollar's up yeah, well, there
you go uh, it's still a lot ofmoney, uh, with mps going on to
announce the introduction of aprice cap on resold concert
tickets, okay, uh.
This was further outlined in apublic consultation that was
(24:48):
held last month, which exploredthe measures needed to better
protect fans, improve access tolive events and support the
growth of the uk's world leadinglive events sector, which now
this gets into a whole thing.
This is an age-old battle.
This is cat and mouse.
This is the cat and mouse game.
Uh, I, I, I lived it when Iworked, uh, canine security at
(25:10):
the boston garden.
Scalpers are scalpers, you'renot, you're never going to stop
that.
They just will always be around.
They'll find their ways to dothis, they'll get around it and
it's never going away, no matterwhat you try to do.
In response to the request fromNME, ticket master advised those
affected by ticketcancellations to consult the
(25:30):
Oasis refunds frequently askedquestions page, and they give a
link for ticket purchases whobelieve they have had tickets
refunded in error.
Okay, where's the flaw here?
Where's the flaw?
Well, I mean, what's the flawin that?
Let me re-say that Ticketmasteradvised those affected I see it
(25:54):
immediately by the ticketcancellations to consult the
Oasis Refunds Frequently AskedQuestions page Quote for ticket
purchases who believe they havehad tickets refunded in error
refer to the email sent by therelevant agent.
When informed, a spokespersonsaid where's the flaw in that?
Speaker 2 (26:13):
well, you're never going to get the same person
right.
And what are they doing?
Refer them, referring them backto the oasis page.
Why can't they handle it?
Isn't that what they get paidfor?
I?
Speaker 1 (26:21):
see the flaw, as I, you, I'm a fucking scalper.
I'm going to call you and saythose were my tickets.
Speaker 2 (26:30):
Of course.
Speaker 1 (26:31):
I would guarantee you .
Speaker 2 (26:34):
I would guarantee you that, that you know a good
percentage of the people thatare complaining are the ones
that are getting screwed.
You have to remember and I'mnot, I'm not supporting it but
there are those people thatscalping that's their livelihood
.
It doesn't, it doesn't matterwhat market, because of the
internet and computers and allall that, scalpers are not
(26:57):
scalping tickets in boston,they're scalping tickets in
boston and chicago, in new yorkand san francisco and Texas, in
everywhere else.
This is a full-time gig forthem.
So this was indicative of myexperience today where I got my
death cab for Cutie Tickets.
When I jumped online and got inthe queue on Ticketmaster,
(27:17):
there were 30,000 people infront of me for a venue that
holds maybe 5,000.
That's insane yeah, that's fora vet for a venue that holds
maybe 5 000 that's insane.
Speaker 1 (27:29):
Yeah, that's insane.
Speaker 2 (27:30):
Um look even even people that have full-time gigs.
This is a part that look, youspend a couple of minutes online
, you buy tickets for you know100 bucks apiece.
You put them right on a stubhub for 300.
It's.
Speaker 1 (27:47):
It's easy money and and back in the day, these
scalpers the boston ones that Iknew who, by the way I, I I
needed a favor and I needed anextra u2 ticket, and one of the
scalpers gave it to me.
He's like yeah, have it, I'llyou know.
And this was back in the 80s,right?
so is this back when you wereworking security, yeah, when I
(28:10):
was working canine there, yeah,um, so they, they knew who you
were, they knew who I was andhow I got their attention was I
literally.
These kids are from dorchester,south boston, charlestown, most
of them, right.
They didn't have to travelbecause there was so many events
at the Garden.
The Celtics were winningchampionships, the Bruins are
the Bruins, right, and you hadconcerts every fucking weekend
(28:30):
in the summer.
How many concerts came toBoston in the summer?
It was at least one a week,right, or one every 10 days or
so it seemed like.
But these guys, they werestreet people, they were street
guys.
And how I got their attentionwas I literally bounced a couple
of heads off the side of thewall of the Boston Garden Like
(28:51):
you'll fucking listen to me, youknow we're all cool, but don't
fucking test me.
Speaker 2 (28:57):
And back then you could do it without getting sued
.
Do you remember my favoritefamous scalper story?
No, remember my my favoritefamous scalper story.
No, so back in the day before,um you know, ticket master
actually even before ticketmaster in computers, you
(29:18):
literally either had to dial inuh or you had to go to the box
office and, like you probablydid as well I can't remember, I
think it may have been Van HalenMe and a couple of buddies of
mine went to the Orpheum.
Speaker 1 (29:31):
Well, I never had to go to the box office because you
or Gino Catazon, somebody thatwould always have tickets.
Speaker 2 (29:37):
Yeah.
So it must have been a show atthe Orpheum, because we went to
the Orpheum Theater and forthose of you that don't know,
the Orpheum Theater is onHamilton Place in Boston and
it's an alleyway, it's a deadend.
At the end of the alley is theOrpheum Theater.
So we went the night before andwe slept out and we were
(30:00):
probably fifth or sixth in lineand by the time we woke up and
tickets were going on sale at 10o'clock the next morning there
were probably 150 people in line.
And by the time like we woke upand tickets were going on sale
at 10 o'clock the next morning,there were probably 150 people
in line.
Most of the people were behindus.
So it's getting close to 10o'clock, it's like 10 of five of
.
All of a sudden a van pulls upat the opening of Hamilton Place
(30:24):
big white van and a guy getsout of the driver's side with a
baseball bat and slides open theside door and, I kid you not,
15 punks from South Bostonpoured out of that van and
pushed everybody out of the line.
There you go, they pushed.
(30:44):
So they were the first 15people and this guy just stood
there with a baseball bat Likego ahead, just challenge me.
Speaker 1 (30:51):
Yeah.
Speaker 2 (30:52):
No cell phones back then.
So I found out.
So back for a little while Iactually worked at a ticket
agency.
I worked for Boston Ticket.
It was a guy by the name ofKevin.
I won't say his last name, butkevin was a bookie in and around
south boston and he also dealtwith tickets on the side and I
told him that story.
He was like, oh yeah, that wasme.
(31:13):
I was like, no fucking shit, itwas you.
I I know it was you, but he was.
He was the nicest, calmest,mellowest guy, like complete
sociopath.
Yeah, like he would kill youand not even think twice about
him.
I remember he used to come inwith a briefcase that was loaded
with the tickets that that hewould get in just mounds and
(31:36):
mounds of cash, yeah, yeah Imean, but you know as as, as as
consumers, we, we knew where wewere, we knew what was going on.
We got the fuck out of the way.
Go ahead, get your tickets.
Speaker 1 (31:50):
There was no cell phones back then.
There was no like somebody callthe police.
By the time that call happened,you know what I mean and you
know the people at the ticketoffice for the offering they're
like.
Here we go again.
Speaker 2 (32:02):
Yeah, every show.
Speaker 1 (32:08):
Yeah, and it's probably a don't fucking call
the police.
You know, when you get to thefirst kid in line, don't call
the fucking police.
Speaker 2 (32:11):
I'll just, I'll never forget the guy just getting out
of the van, had the baseballbat by his side, slid the door
open.
The guy started walking out andhe, just, he just yeah tapped
it on his hand yeah, yeah, thereyou go.
Speaker 1 (32:27):
I was working the Garden Celtics championship game
.
It's the finals and so it wasthe same scalpers.
Every event, same scalpers, andthere were rules Don't go in
the box office, stay out of thebox office.
Stay off the sidewalk Right,and it was cat and mouse and it
was harmless most of the boxoffice.
Stay off the sidewalk right,and it was cat and mouse and it
(32:47):
was harmless.
Most of the time, theseoutsiders show up and they have
10 obstructed view tickets thatthey're trying to sell and the
scalpers this is like a drugdealer calling the police, a
drug addict calling the policeon a drug dealer, saying they
took my money, right, cause oneof the scalpers, two of them
(33:10):
come up to me and they're likehey, these dudes are selling
tickets, right, and we and andand it's not the regular crew.
So, all right, all right, I'm alittle bit corrupt, I'm going
to go kind of tell them you gotto leave.
And they're like well, whatabout everyone else?
Don't worry about everyone else, you got to leave.
And it's two younger kids andthey're like yeah, yeah, yeah,
(33:31):
yeah, and they kind of disappear.
But then they show up again inthe scalp.
It comes up, says, scotty,they're back again.
He's fucking.
They were like from.
(33:52):
I don't really think I had theauthority to do that, but I did.
And uh, I take the tickets andI get the death threats you're a
dead man.
Yeah, I've heard that a lotworking there.
You're dead man, my brother'sgonna kill you.
I know you work all that shit.
All right, they leave.
Now I got 10 tickets.
It's a celtics championshipgame, like it's the finals.
(34:13):
So I, I uh see one, one of myboys, one of the scalpers name
is schnitzer.
That was his nickname,schnitzer.
I go, schnitzer, I have thetickets.
I go get rid of these.
For me, literally, dude wasgone for three minutes, came
back so this is 1986 came back,gave me a hundred bucks cash,
(34:35):
boom, right in the boot.
Let's go.
Good job, little bonus that day.
You were a bad cop.
I was, I was.
I learned.
I learned what not to do when Ibecame a real cop and that way,
like I said, criminals make thebest cops.
By the way, because you're notgetting anything over on me.
(34:57):
There's nothing you can getover on me.
Um, all right, moving on.
So let me see.
Expert abuse and fraud teamshave reviewed all sales and
identified any made by bots.
I don't know how you do that,but we cannot go into the more
detail as we do not want botusing totes to have any further
information on the process.
(35:17):
Like they can't find out how todo that, I can go on chat GPT
and it will tell me how to dothat.
Chat GPT and it will tell mehow to do that.
Elsewhere on Twitter thismorning, on X this morning, liam
Gallagher also addressedanother fan question and shared
that the band have no intentionon bringing out any other
artists while they perform.
And here's a screenshot.
It says morning, liam, will yoube having any guests join you
(35:40):
on stage for each gig?
And he just boldly says none ofthat nonsense, no he's that
nonsense?
Speaker 2 (35:47):
No, he's, he's, he's absolutely right.
I have to tell you, I have totell you if, if they, if, look
no disrespect to the otherartists, but if I went to
Wembley or if I went to MetLifestadium or wherever it is that
they're playing, and they werelike, oh, we're going to bring
out Taylor Swift to singChampagne Supernova, I'd be
fucking pissed.
(36:08):
Ah, yeah, and not anything todo with Taylor Swift.
But okay, let me even it up.
If they were like we're goingto bring Eddie Vedder to sing
Champagne Supernova, I was likeyou know what?
Tell him to go sit behind stageand have a fucking cocktail.
I didn't pay to see EddieVedder sing your song.
I came here to see.
Speaker 1 (36:28):
I was thinking the same thing, eddie Vedder, I was
fucking thinking the same exactthing.
Speaker 2 (36:33):
I came here to see Oasis, so you know, do your
thing.
Speaker 1 (36:38):
Yeah, yeah.
The tour kicks off in CardiffPrincipality Stadium on July 4th
, before heading to Manchester'sHeaton Park, london Wembley,
edinburgh's Murrayfield Stadium,dublin's Croke Park.
Support for the gigs will comefrom Cast and the Verve.
All right, support for the gigswill come from Cast and the
Verve's Richard Ashcroft.
(36:58):
I was just thinking about himthe other day.
I wish he would go on tour Overhere at least.
Speaker 2 (37:04):
Very, very underrated .
Speaker 1 (37:08):
Ah, fuck, you wish he would go on tour over here at
least.
Very, very underrated.
Ah fuck, he's brilliant,brilliant.
Talk about an underrated album.
Their album fourth I've saidthis to you a number of times in
the past what a fucking amazingalbum that is.
Yeah, it's f-o-u-r-t-h fourth,and it's the covers, the clouds.
It's a fucking great album, man, yeah, uh, after the uk shows,
the bands will head abroad forthe dates in canada, the us,
(37:30):
mexico, south korea, japan,australia, argentina, chile and
brazil.
Wow, that, that's a, that's aworld tour right there, oh yeah
it is and it just goes on.
Uh, so let's see.
It says.
The long anticipated comebackfrom the brit pop icons didn't
just stir controversy due totouts and bots selling tickets
on secondary sites.
As the sale went live, bothTicketmaster and the band
(37:52):
sparked backlash due to the useof dynamic pricing right, which
we had talked about already,where the cost of tickets would
increase often by hundreds ofdollars without warning, as well
as triggering criticism fromthousands of fans.
It was also debated whether ornot the practice could be a
breach of the consumer law.
I don't know that or no.
Speaker 2 (38:11):
They they were looking into that, but you know
you never get answers for thatshit like I, I haven't done
anything since we we've we'veheard stories about different
ways of trying to thwartscalpers and legislation, and
all that for years and years andyears and years.
Yeah, so so, todd, todd Sockmanis asking when are you two
going to go see them?
I think I'm going to go seethem in New Jersey.
(38:33):
I don't think Scott's going tosee them at all.
We made a bet and he greatjelly, he welched.
Speaker 1 (38:44):
Not a stadium.
Well, it's a guy welched on theback.
Unless we're guaranteed to getup toward the front, I'm not
going to sit in fucking.
You know row 157 at GiantStadium, Do I?
Speaker 2 (38:58):
ever, ever, sit that far back.
Never.
It's going to be a good one.
Speaker 1 (39:02):
It is going to be a good one.
It's going to be a tough one.
Let me see.
Nope, it'll happen, uh.
So yeah, that that's what wegot on that.
That's what we got on that.
That that I thought was uh, waspretty, pretty interesting.
Speaker 2 (39:15):
Let me take this down so, hey, we talk about it a lot
.
Have you looked at?
They announced this week thelist of Rock and Roll Hall of
Fame.
Speaker 1 (39:28):
Wait a minute.
Speaker 2 (39:28):
Kevin.
Speaker 1 (39:29):
Talent Dookie Kevin Talent Valente's tickets on
Canal Street.
Yeah, dookie Valente's, oh yeah, valente's.
That was Gino Catazon's guyValente's.
Gino Valente, wasn't he asinger too?
In the 80s there was Vali's,didn't Gino Valenti?
Wasn't he a singer too?
Speaker 2 (39:47):
In the 80s.
There was Valenti's, there wasRingside, there was Tyson Right.
Speaker 1 (39:54):
I only knew about Valenti's.
That was like the.
Speaker 2 (39:57):
Valenti's was the big place and they had the end.
They always had the best seats.
Yeah, yeah, I remember beinglike 14 going in there and
saying, um, you know I may havebeen getting tickets to like the
cars.
And he was like, yeah, I getyou know loges on the far corner
and I was like, well, whatabout those tickets behind you?
(40:19):
He's like never mind thosetickets back there.
Speaker 1 (40:21):
You little punk all right, so I sent you a text
today.
I sent you a text today and allI said was library music oh,
yeah, and you were like that is.
You were like what?
And I was like it's amazing,right, I just stumbled into this
.
It's been around us our entirelives, right?
(40:42):
And we and we never fuckingknew it.
And I'm gonna give you proofpositive that this shit has been
around.
But first of all, to let peopleknow, library music isn't music
that you buy or you listen to ina library.
Library music is also known asand I'm going to give you the
proper answer also known asproduction music or stock music,
refers to pre-recorded musicthat is made available for
(41:05):
licensing and use in variousmedia projects.
This music is typicallytypically created for specific
purposes, such as backgroundscores for films, television
shows, advertisements, videogames and other multimedia
productions.
Library music is produced bycomposers and musicians who
create a wide range of musicalstyles and genres, allowing
(41:28):
filmmakers and content creatorsto find suitable tracks without
the need for custom compositions.
These tracks are oftencataloged in libraries, where
users can search for and licensethe music they need, usually
for a fee and it was a small fee, right, stick?
I know you're fucking, but Igotta get this across to you
(41:48):
because it's amazing.
Speaker 2 (41:49):
One of the I know you're trying, I know I know
you're trying to show peoplethat you can actually read but
I'm a good reader.
Speaker 1 (41:55):
Uh, one of the key benefits of library music is its
affordability and accessibility, making it a popular choice for
independent filmmakers, right,and content creators.
Now, library music kind of gotdiscovered by hip-hop artists
like mf doom used it, naz usedit.
Then you get into like tame andpala, like you started hearing
(42:18):
these tracks.
So what, what they would do isyou can search through these
catalogs, these albums, and say,and there might be one good
song off the whole thing, right,it's not soundtrack music.
Soundtrack music is created fora specific scene in a movie and
it's a mood thing.
This was like pornos had thischicka, wah, wah.
(42:41):
That was all library musicright Now.
With that said, this is aperfect example of library music
and you're going to be I thinkyou're going to be a little bit
shocked at this one.
This is let me pull it up, Igot it over here.
(43:02):
There we go.
The first one tell me whereyou've heard this library music.
Now the the thing is thesepeople that made this music,
these musicians.
Now, in england, back in theday it was the golden age of it
was the 60s, 70s and 80s but inengland the music, the music.
(43:22):
Like fucking union.
They forbade musicians fromdoing this music because it was
a one shot and anybody can buyit.
Anybody can use it, whereasthey wanted musicians to get
paid for each and everythingthey did and each and everything
that got used.
So they would kind of go overto Germany or France and record
(43:42):
this music and Tell me whereyou've heard this before.
Where have you heard that?
(44:10):
It does sound familiar to me,but it Now these songs.
Speaker 2 (44:15):
Almost every horror movie that we've ever seen.
Speaker 1 (44:18):
You're going to be surprised, and then it's going
to click.
Now, all of these songs areusually between one minute and
three minutes long.
That was a show, one.
That one is called Scorpio'sview from dirty harry oh yeah
from dirty harry, let's play itagain.
All right, then it's gonnaconnect you see scorpio's
(44:46):
strange looking face and he'sgot his sniper rifle and he sees
the girl in the pool.
Right, right, that's fuckinglibrary music.
That was not like they boughtthis shit.
Right, like I'm paying a fee toput this in.
Fucking Dirty Harry Right.
(45:06):
Fucking Dirty Harry, right.
The second one it's amazingthat we, we grew up.
This is an absolute part ofeverybody that's listening.
That's a boomer.
It's an absolute part ofeverybody's fucking childhood
and as soon as I play it, I'mnot a boomer, you're a fucking
Gen Xer.
(45:27):
It doesn't matter, you'reborderline.
You've been around enough.
Check this out.
This is library music Comingattractions, coming attractions.
Right, and the kaleidoscopecomes up on the screen.
(45:49):
Get your popcorn.
Speaker 2 (45:54):
So can I ask you a question?
Yeah, when you stumbled uponthis, were you able to
organically make the connectionto Dirty Harry in the Coming
Attractions, or did you read it?
Speaker 1 (46:08):
No, I heard it, heard it.
I went wait a minute, that'sfucking dirt.
And then I, I, I went on, uh, Iwent on, uh, spotify it's
because then now, like I toldyou last week, I do these
fucking deep dives.
I hear something on a youtubevideo even if it's a clip of
something, now I gotta go findit and it usually brings me down
rabbit holes.
I heard that and I was like, oh, that's fucking library music,
(46:32):
like what?
Oh my god.
Then there's this one, maybethe biggest one of them all I
cannot wait to be retired, maybeI can spend my day the most
popular this could in america.
In america, this might be theabsolute most popular, hey.
Speaker 2 (46:50):
Susan Haskell joined us.
Speaker 1 (46:51):
Yeah, hey, susan, all right, you ready for this one
Library music?
Speaker 2 (46:57):
Library music oh Yep.
Speaker 1 (47:14):
All right, all right, that's that's like.
I think the guy's name is likefucking leo, leo or fucking
epstein or something.
In his band it's called scorethe score that's the name of the
song.
Right, and then you go, youlisten into the shit.
It ranges from disco to like.
Some of these, uh, these, these, these people that did this
were some of the earliest uhusers of synthesizers see, I
(47:37):
knew, I knew, that's why youlike this.
Yeah, cynthia lawpress strikesagain yeah, so this one is
called relaxed scene.
Now, a thing is, if you're, ifyou're an editor, if you're like
a, a production guy with amovie and you hear a song, you
look at a song, you're likerelaxed scene and I'm gonna
listen to it and all of a suddenit changes.
They said these people wouldlose their minds.
(47:58):
It has to be consistent all theway through.
Let's see, right, and thatthat's not not anything in
particular.
I'm just giving you a randomsong.
This one is called Drug Song,drug Song.
(48:20):
So if you're making a movie,right, right, 60s shit and 70s
shit right here, yep, yep.
60's shit and 70's shit righthere, yep, yep.
Girl in a sports car, girl in asports car.
(48:40):
Now picture a girl driving In aconvertible sports car.
Yeah right, this is like acommercial song definitely 70s
right.
They interviewed one of theseold guy, old guy, and they asked
him so what do you think of,like, all these hip-hop artists
(49:02):
using your songs?
They only pay like a small feefor it, but they make all this
money.
And the guy says, well, that'swhat it was made for, because I
don't really care if they sayfuck you in the song.
That's what it was made for.
It was made for them to buy it,pay your fee and move on.
So that's such a that must besuch a freeing thing for an
(49:26):
artist to say.
This is why I made this.
I'm not gonna get all fuckingbent out of shape because naz
used, who's one of the biggestrappers in the world, used
library music for one of hisbiggest hits you know what I
mean.
Speaker 2 (49:41):
It's all good man yeah, I'm like.
Speaker 1 (49:43):
I'm like like so naz did this song which is now it's
a whole different ball game.
It's this this is Nas.
Right, tell me where this songcame.
Now, this is the differencebetween library music and
sampling.
Get, get get down, right, jamesBrown, love it, love it.
(50:11):
Right, james brown, love it,love it.
Speaker 2 (50:14):
Yep, I mean, that's someone, that's one of the new
york streets will kill us a walklike pistol p and pappy mason
yeah, I could listen to thewhole song.
Speaker 1 (50:20):
I know people like the rap shit oh, come on, it's
great.
Speaker 2 (50:24):
That's a good, it's a great song.
Naz's a good, it's a great.
Speaker 1 (50:26):
Nas does a good job with that right.
Um, great, great song, oh,absolutely.
And then you got, uh, let's see, let's see, uh, there you go.
Now, this is, this is, this isice tea.
(50:53):
That was naz, but this was icetea in the 80s.
Speaker 2 (50:58):
Right, he pulled the same thing this is it dope from
the fly kid.
The ice mic is back with thehigh bits.
Speaker 1 (51:11):
I fucking love that shit.
Love that shit, yeah.
So like that's, that's sampling.
But the other stuff, like jack,you could go in and fucking pay
a small fee for a library tune.
And so that's where they said,like tame and paula, uh, there's
this guy, mac demarco and allthese bands, sure, yeah.
So you start listening to themusic and you're like that's,
(51:33):
now that you're aware of librarymusic, I really want you to go
check it out.
It's.
It's so fucking interesting,man, and some of the shit is
fucking good.
Like these songs are good,they're not crap, like they're
very well produced.
Speaker 2 (51:47):
The the songs that are in there, the library tunes,
right, they're not just thelittle clips that you get,
they're full well produced thethe songs that are in there, the
library tunes, right, they'renot just the little clips that
you get, they're full songs.
Speaker 1 (51:53):
They can go from one minute to three minutes, that's
the thing with them.
They can go from one, three,one minute to three minutes.
Um, and there was three majorlike companies that did it and
you know, like soul impressions,this one's called soul
impressions, it's just streetgirl, that's a jam.
(52:28):
Peter Reno did this Right.
Speaker 2 (52:37):
I would imagine, I would imagine that the musicians
that did these they must havehad a ball with these Like no
pressure to like Really finish asong.
Speaker 1 (52:47):
Not.
Well, that was the thing theyhad to because, again, these,
these people that would come infrom the movies, that are the
commercial people or the pornopeople, they would go skimming
through all this shit andsometimes you might find one
diamond in the rough on a wholealbum, sure, and they that's why
they call them a library ofalbums.
You had to really do somefucking crate digging to find
(53:08):
something really good.
This is like a lot of listening.
A lot of work goes into findthat right fucking song.
Right, because if you're doingit, you hear this song.
You're like that's great, butthere's got to be another one,
and there can be thousands offucking tracks that you have to
seek through.
You know, but I becamefascinated with it.
I created a whole playlist ofjust library songs.
(53:33):
This is the shit that you findLike.
This is why I do these deepdives and I'll go on YouTube and
YouTube is a.
It's a plethora of fuckinggreat music information.
If you really look like there'ssome popular ones that we watch
, that storytellers, and youknow, like the guy that plays
the guitar with the gray hair,he's got a fucking million
followers or whatever, and Iforget his name.
(53:56):
You've probably seen his videos.
But this dude that I found isthis kind of offbeat dude with
his channel, isn't really thatbig, and then I go and I go to
the channel and I look at allthe fucking videos that he's
done and it's some kind ofoffbeat shit, right?
So then what I do is I go into,uh, uh, I go into the, the, the
(54:21):
, the Spotify recommendations,right.
So from so, from that, I foundthis band.
It's a girl, actually, it's asingle girl, and she puts all
this shit together and her nameis she goes by Men.
I Trust pretty little blondegirl.
(54:43):
And this song show me how.
I heard a fucking little clipand she is one of these people
that is in that genre of librarymusic.
So check out this song.
This song is called show me howI like this, right, it's
(55:09):
fucking.
And then I listen to all hershit.
I like it, and I startlistening to all her shit and I
start picking it out.
Show me how it's fucking smoothright.
Speaker 2 (55:22):
This is great.
Speaker 1 (55:24):
And the name is Men I Trust that's what she goes by.
Tell me how it Fucking niceright.
Speaker 2 (55:35):
Very nice, I like this and then.
Speaker 1 (55:37):
I get this Caramel C-A-R-A-M-L.
Speaker 2 (55:45):
But are you telling me that, like, we both like this
, right yeah, is there an albumof this stuff, or is it just in
the library?
Speaker 1 (55:57):
So these are artists that were influenced by library
music.
So if you hear these songs, alot of songs have that influence
in it, like Tame Impala has allthat kind of library music.
Speaker 2 (56:08):
I like Tame Impala.
Speaker 1 (56:09):
Yeah, absolutely, like.
Tame impala has all that kindof library music.
Yeah, absolutely they.
They were like he was big inthe 2010s, you know, into the 20
teens um, still around, stillmaking music, uh.
But this is shit that wasinfluenced by library music.
That's why you hear those thesame like if you take the vocals
out and you take a 30 secondclip or a one minute clip out of
(56:31):
some of these songs.
Speaker 2 (56:32):
It's fucking library music have you ever heard of the
band crowing bin?
What are they called crewingbin?
How do you spell it?
K-h-r-u-a-n-g-b-i-n?
A N G B I N.
Speaker 1 (56:50):
Whoa, whoa, uh, here we go, artist, I'm gonna go with
their most Downloaded song.
This one is 300.
Oh yeah, texas Sun.
Speaker 2 (57:01):
Well, don't play that one, cause that one's got
vocals.
Speaker 1 (57:05):
Yeah, that's why I'm like Krongman.
Speaker 2 (57:08):
Go to the next song Mariella, try that one.
Yeah, that's why I'm likeKrongman.
Go to the next song, mariella,try that one.
Speaker 1 (57:16):
And play that for our three fans that are watching
our show.
I love Texas Sun.
I love that fucking song.
Speaker 2 (57:18):
Yeah, Texas Sun is great.
Speaker 1 (57:20):
I love that song.
There we go.
Love this shit, yeah, no, Ilove this shit.
Yeah.
No, I love this shit yeah.
Speaker 2 (57:36):
Deb and I are going to see them up in Portland, are
you really?
Speaker 1 (57:39):
Yeah, See, no one ever comes down to fucking South
Florida.
I would love to see them.
But this is the song right here.
This is a great song.
It's just so fuckingatmospheric and moody and it
(58:05):
really kind of puts you in a andyou know I love the reverb.
You know I love reverb.
It's called Texas.
Speaker 2 (58:10):
Sun right, so I don't know if it's anywhere near you,
but they're playing StAugustine, April 16th.
Speaker 1 (58:18):
That's where we all me and Dr Vera love St Augustine
.
It's an amphitheater.
It's like an amphitheater.
Speaker 2 (58:25):
Krungbin is playing the St Augustine Amphitheater on
April 16th, all right.
They're also playing April 18that the Baycare Sound and then
they're also playing inClearwater.
So they're there a couple ofnights, all right, let me see
Krungbin.
(58:45):
Hey, by the way, for those ofyou that are in Winthrop, they
are playing Suffolk Downs june27th.
Speaker 1 (59:01):
That's interesting, they're playing where in suffolk
downs.
So there's a place called thestage at suffolk downs, oh, oh,
you know what I remember like Ithink it was last summer.
I heard heard people fuckingcomplaining because there was
evidently a rave thing going onover there, and people in
Winthrop that were our age werelike I can hear the music all
the way here.
It's shit music.
And I commented in Of course itwas a Facebook thing, I'm like.
(59:23):
So you're telling me you neverwent to a fucking house party in
Winthrop where they werecranking Led Zeppelin on fucking
clip speakers with a Marantzreceiver in somebody's backyard
and the fucking neighbors musthave lost their mind.
But you liked it then, didn'tyou asshole?
Speaker 2 (59:40):
Yeah, so over there at 90 Circuit Road, yeah, 130.
Speaker 1 (59:44):
Locust Way.
Right 130 Locust Way.
Let me see, I just hadsomething I'm looking at.
I found this dude too.
Let me see.
Cancel over here.
Listen to this.
This is a fucking jam righthere.
This is called Kid Loco.
(01:00:09):
Kid Loco, a grand love theme.
This is like fucking 49 fuckingyears old.
This is fucking library music.
How fucking smooth is this?
(01:00:30):
It's awesome.
Kid Loco, a grand love theme.
This is the shit I stumble on.
It's like fucking like findinggold and it's just a slow build
through the song and every oncein a while it drops in random
(01:00:50):
lyrics in the background, typething.
Let me see Patty likes it.
Yeah, patty remembers thatwhole thing in Winthrop.
I'm all complaining.
Speaker 2 (01:01:03):
This is like good make love music, or at least the
very beginning is.
Speaker 1 (01:01:08):
It builds, it, builds , it builds to a whole thing.
Speaker 2 (01:01:12):
No, no, no, that's not what I'm alluding to.
Oh, some of us don't get to thelatter part of the song.
Speaker 1 (01:01:20):
Of course, of course, you don't, of course you don't.
Some people get to the middleof the song then all of a sudden
the song dies on them and theygot to start the song over again
, if you know what I mean.
Speaker 2 (01:01:31):
They spend the rest of the song apologizing Ha ha,
ha Ha ha ha Ah.
Speaker 1 (01:01:41):
Can we just listen to the rest of the song?
Ha ha ha Ah, ha, ha, ha, ha Haha.
The song's only two minuteslong.
What the fuck dude?
but this is nice right very niceyeah it's not about getting
(01:02:05):
drunk, only it's the only groovewith a very keen sense of how
very, very short life is.
Just a smooth beat man, smoothsong, good driving music, that's
good driving music.
You want to sit in traffic?
Then that'll bring you down Allthe shit we just played it all
(01:02:26):
kind of calmed, you bring youdown Very nice.
Big Head, todd the Wet Sprocket, says good show.
Gentlemen, good to see you,jack, of course.
Speaker 2 (01:02:36):
See that he's bailing .
Speaker 1 (01:02:38):
He's driving home.
That's why he probably just gothome from work.
Speaker 2 (01:02:44):
I get news for you I get a bail soon as well.
Speaker 1 (01:02:48):
We hit an hour.
I just looked at that.
This was a good show, buddy.
I think we covered some shitthat we didn't expect.
Speaker 2 (01:02:55):
Hey, you keep going if you have to do this day in
music or whatever otherhorseshit.
No, no, no I don't do thatanymore.
Speaker 1 (01:03:00):
I've been through you know what.
I started fucking after fouryears.
I started repeating days, ohreally days.
Oh really I noticed that Istarted reading the fucking like
.
I've read this before.
It's kind of weird.
Speaker 2 (01:03:14):
So I was like all right, you know because well.
So so what is this?
What is this?
Three shows, or four shows thatwe've been talking about famous
album covers and we stillhaven't gotten to it yet no, but
that's the beauty of it we are.
Speaker 1 (01:03:24):
That means we have a lot to talk about I'll see you
next week, we'll get to it,we'll get to it, we'll get to it
, and I'll have another article,and you know, and we can kind
of kick that shit around, youknow, because the article always
sparks good talk.
Speaker 2 (01:03:39):
I'm going to go downstairs and snuggle my wife
and listen to two minutes oflive.
Speaker 1 (01:03:43):
Go listen to two minutes of Kid Loco or Men.
I Hate.
Check her out, though I hate.
All right, jack.
Well, the show, get off theshow.
Tell them I said hello, you gotall right, buddy, I'll talk to
you.
Well, there you go.
There you have it.
That's the show.
It was a good show.
Let me.
Let me bring on kid loco again.
I like that shit.
(01:04:04):
Like that.
This will be my outro music.
Bye, everybody.
Thanks for watching.
Thanks for listening.
If you liked it, shared it.
If you didn't like it, well,thanks for watching for one hour
, listening for one hour andfive minutes.
Uh, patty, yossi got great show.
We learn something new everyday.
Love it.
Thanks, scott jack.
Thank you, patty, we love you.
(01:04:24):
Our longest lasting fan, bighead taught the wet sprocket
thinks he is, but Patty, you arethe queen of milk crates and
turntables.
Dave Phillips is not the king,he's the prince of milk crates
because he misses it sometimes.
And while Big Head Todd the WetSprocket, he's the jester, he's
the court jester for thiswonderful podcast going on four
(01:04:48):
years, I think.
Yeah, four years we've beendoing this.
That's a lot.
It's not going anywhere soon.
Joanne Doyle, joanne Kozborski,she dropped something in a
picture, a beautiful picturewith hearts on it, and I didn't
get to it because we were doingsomething else.
If I didn't get to your comments, I apologize and with that, you
(01:05:10):
know, sometimes I leave thisshow and I'm really in a like.
I'm always in a good moodBecause this is my church.
Like I said, this is what I.
I love this.
I love doing this once a week.
It really is therapeutic for meand it's.
You know, I'm not going to getall like sensitive and shit, but
I really do love doing this,which is why I will not stop.
(01:05:32):
I'll be doing this when I'm 71.
Unless something happens, godforbid.
I just love doing this.
So, yeah, thanks for sitting inon my therapy.
And sometimes, like I wassaying, I leave one of these
shows like I'm always happy, butsometimes I I'm like that was a
really good fucking show.
(01:05:53):
And I think this was a reallygood fucking show.
It was informative.
We learned a lot about, youknow, library music.
Go look it up.
Library music's pretty fuckinginteresting.
There's a lot of shit in there,but you find some of these
really cool tunes and usually noone's singing.
So and next week maybe we'llget to album covers I don't know
a lot of shit in there, but youfind some of these really cool
tunes and usually no one'ssinging.
And next week maybe we'll getto album covers.
(01:06:13):
I don't know, we'll see.
But until then, as I always say, doing this show for you, to
quote my favorite artist,morrissey, well, the pleasure,
the privilege is mine and I willsee you guys next week.
Well, here we are, episode 173, and climbing, and
on this episode, jack's back asof this intro recording he's
50-50, you never know, but Ithink he's going to be here and
(00:28):
Jack and I are going to talkabout a number of things.
We have some album coversclassic album covers, quirky
album covers.
I have some music news.
I have a genre of music that Iwant to talk about that I don't
know if really many people knowabout.
It's called library music,library music, and it's not what
(00:48):
you think.
It's actually extremelyinteresting.
So I want to see what Jackthinks about it, what he knows
about it, and we'll take it fromthere.
So sit back, relax and enjoythe podcast 5, 4, 3, 2, 1, 0.
Speaker 2 (01:05):
All engines running Liftoff.
We have a liftoff.
The KOFB Studio presents MilkCrates and Turntables, a music
discussion podcast hosted byScott McClain.
Now let's talk music.
Enjoy the show.
Speaker 1 (01:35):
What's up everybody.
Welcome to the podcast, welcometo the show, welcome back, my
friends, to the show that neverends.
We're so glad you could attend.
Come inside, come inside.
You know the name, I'm notgoing to say it.
We're streaming live right now,over everything, as usual.
And as usual, jack.
Well, yeah, yeah, this is athing Like no show.
(01:59):
No show, let's see.
I'm going to text him right nowand see what he says.
Uh, you coming on, let's seewhat he says.
Are you gonna see?
You know, we'll see what hesays.
We'll see what he said.
(02:19):
You heard the little whoop, sothe text has been sent.
Let's see what he'll probablysay.
Oh, I thought it was 7, 30.
Well, it's not.
That was last week, so havingtrouble logging in.
Well, this is what happens whenyou try to log in right before
(02:42):
the show, like right as the showbegins.
So let's go here, let's go here, let's see.
Speaker 2 (03:00):
Hey, can you send me the invite again?
Oh my God, I keep getting thisnote.
Let me see, hold on, I'm goingto send it to you right now.
Speaker 1 (03:16):
Hold on one second.
Speaker 2 (03:19):
It says event not found.
Contact your host.
Speaker 1 (03:23):
Well, that's me, that's me, yeah, yeah, well,
that's me, that's me, yeah.
Speaker 2 (03:27):
Yeah, you are.
Speaker 1 (03:28):
I am.
I'm the hostess with the most.
Speaker 2 (03:31):
And thus far you've been very helpful Well before I
chastised you.
Speaker 1 (03:37):
I didn't want to.
I had to at least check inbefore I started shredding you.
Let's see oh, there you go,john.
Right, and I don't need to puta subject there.
I'm sending it right now.
Wait a minute, there we go.
(03:57):
No, let's get.
I just did it twice, see.
Send you two links.
Get rid of that whole thing andpaste and send, so you should
be getting it in a few seconds.
Technology is amazing, isn't it?
Speaker 2 (04:19):
Well, we'll see if it works.
Speaker 1 (04:20):
Yeah, yeah, I'm sure it will.
I'm sure it will, probablybecause I picked.
So sometimes restream does this.
If I use the same, it's likecalled studio.
If I go into the same studio aslast week, sometimes the the
link doesn't work to that, likeit has to be a new link to a new
, some kind of there you golet's see, I'm gonna hang up
(04:44):
goodbye, so fucking jack again.
Doesn't show.
Oh, there he is now.
Let's see if his microphoneworks.
Now.
You see, you blew it by doingthis.
Speaker 2 (05:04):
I know, I know, I was like ah, damn, fucking rookie
mistake.
Speaker 1 (05:10):
You got to get back in your action.
Speaker 2 (05:11):
You got to get back on track buddy.
Speaker 1 (05:14):
Hey, is that the?
Speaker 2 (05:15):
first time.
Is that new?
The scrolling thing?
Yeah, I added that.
Speaker 1 (05:20):
Yeah, you like it, I like it All right.
All right, how you doing buddyGood, you like it, I like it All
right.
All right, how you doing buddyGood?
You like my groovy cool coffeemug.
Hey, it's a rib.
It's ribs with a spine.
Speaker 2 (05:33):
It's ribs with spine.
Speaker 1 (05:35):
With blood all over the cup.
Yeah, yeah.
Speaker 2 (05:38):
Got it in Salem.
Speaker 1 (05:43):
That's as close to a spine as you'll ever get.
Come on, you had to see thatcoming.
Speaker 2 (05:52):
Do you remember when somebody used to be able to
actually see?
Speaker 1 (05:59):
your spine.
Speaker 2 (06:00):
It's in there somewhere.
It's in there somewhere, rhinoboy.
Speaker 1 (06:03):
Yeah, exactly, exactly so.
What's the latest and thegreatest?
What do you got going on?
Speaker 2 (06:10):
Just a little bit of everything man Doing the work
thing, mapping stuff out, goingto hit the road, still going to
a bunch of shows.
It just never stops.
Actually bought tickets toPatty Smith.
Isith is doing um a show at theorpheum theater, the geriatric,
(06:30):
the geriatric section of theorpheum theater.
Speaker 1 (06:33):
Come on, man, come on .
No, she's still.
She's still got a good voiceshe still has a good matter for
her.
Speaker 2 (06:39):
Yeah, some people.
Some people would actually saythat she's never had a good
voice.
I don't understand that she had.
Speaker 1 (06:44):
she doesn't have a great voice, like she has say
that she's never had a goodvoice.
I don't understand that shedoesn't have a great voice.
Speaker 2 (06:48):
She has a unique voice.
Speaker 1 (06:50):
Yeah.
Speaker 2 (06:51):
She doesn't have a spectacular voice.
She's rich, kind of, andsoulful, but here's my gripe
about it.
So Patti Smith is probablydoing what may be her last tour,
and it may be because I, pattysmith, is 77 wow, 77, wow so so
the the shtick, you know the,the angle of this tour and I
(07:15):
think it's all sold outeverywhere.
She's playing at the beacon inin uh in new york.
She's playing in chicago.
She's playing at the orpheum inin boston.
Is she's doing the album horses, her debut breakthrough, yeah,
landmark punk album album yeah,yeah, but.
(07:36):
But here's my thing a lot ofbands do this these days.
Speaker 1 (07:40):
Yeah, you don't have to play the whole fucking album,
just play the good stuff off ofit okay, so I've been saying
this for over a decade over adecade now and I I've talked to
you about this.
Me and phil phil came down hereuh, phil kelly flying, phil
kelly, um, he came down here andI had come across this.
(08:03):
This group called Albums Liveand I think I've told you about
them.
They're a Canadian like groupright, group of musicians.
That the whole premise of whatthey do, and if you ever get a
chance to see them, look them upand see if they come to your
area, because they are amazing.
The premise is they play live analbum and they've done pink
(08:28):
floyd, dark side of the moon.
They've done prince purple rain, like they do almost every
great album from start to finish, note for note.
Right on stage now they kind ofall dress in black and they
don't interact with the crowdduring the album.
Right, sounds like a lot of fun.
It is.
(08:48):
I mean, it's amazing watchingthem.
Do you know?
Like time on dark side of themoon, or uh, uh, or great gig in
the sky.
They have this.
They always have this fuckingamazing singing.
Now we've all heard that song amillion times and you know,
subconsciously, note for note,like if they don't hit that that
right pitch in that song, whichis mine and a lot of other
(09:11):
people's actual favorite song onthat album, um, and they hit it
, they fucking nail it everytime and she always gets a
fucking standing ovation duringthe song.
It's, they're that good,they're very talented, so and
then afterwards they leave andthen they come out and they do a
greatest hits, like thenthey're more relaxed with the
crowd.
Um, then all they caught, theycaught fire they.
(09:36):
They were in it for like, uh,best new, they're a business
like best new business of theyear company, like, and they
caught a little fire.
Then all of a sudden I startednoticing after that the bands
started doing their albums,start to finish.
It's like someone promotercaught on.
Speaker 2 (09:55):
That's a fucking great idea.
You think that they wereinspired.
Speaker 1 (09:58):
I I never saw I never saw a band do that before.
I've never seen them play thealbum from beginning to end,
like, not like bits and pieces.
You'll play like you two willplay the whole new album or
Pearl jam, but they'll pepper itin throughout the show.
If there's 12 tracks on there.
They'll play like seven of them.
You know what I mean.
Speaker 2 (10:19):
There may be.
There may be somedifferentiation here, but you
know, back back when I used togo see, you know, joe Jackson,
every year he would play.
He would come on and he wouldplay three or four songs that
everybody knew.
He would get everybody updancing and everything like that
, and then whatever album he waspushing, he would play it in
its entirety.
(10:39):
Right, but the the differenceis it wasn't a shtick, it wasn't
a marketing thing, it was justwhat he did.
Neil Young did the same thing,but strangely enough.
So I bought tickets this weekagain to Patti Smith, and then
Deb and I are going to go out toChicago in August and we're
(10:59):
going to see Death Cab for Cutieand they're celebrating the
20thth anniversary of the albumplans 20 years.
Jesus, which is which is.
You know it's.
It's a good album, but, buthere's, here's my thing.
I was never a fan, by the way,but you're not a good big fan.
Speaker 1 (11:18):
No, no, but that's.
I just never caught on to them.
Why do I have two different?
Let me see something there.
Speaker 2 (11:27):
I don't know why do you not like them?
I mean, I get it.
Speaker 1 (11:31):
This weren't my type of music, probably.
Speaker 2 (11:34):
Not synthy enough, not edgy enough for you,
probably a little bit more of anintellectual slant that you
just don't get.
I get it, you know.
Actual slant that you justdon't get, I get it, you know.
But, but, again, but, but again.
My, my point is is that thereare so few perfect albums out
(11:54):
there.
Like deb and I went to thesphere last year to see you two
and they did the entire octonebaby, and octone baby is a.
It's a great record but it'snot flawless like this, by no
means.
There's a.
There's a little stretch onside too where it's just like
you know, like trying to throwyour arms around the world, yeah
(12:15):
, like it's not a perfect album.
No no, no, no, they're, they're,they're not made this band,
classic, classic album live.
Speaker 1 (12:23):
They do these great albums, these perfect albums
purple rain, uh, the wall.
They do the beatles at like,they do a bunch of beatles and
they, but the thing is they doit literally.
Note for note.
There's no deviation, it's not.
Yeah, take on it right.
And it's it's just amazing tosee and hear, right, because
(12:44):
bands play their shit the waythey want to sometimes and it
never really comes out 100% thatit does on the album.
So that's what makes themunique.
But then I started seeing bandsdoing that start to finish the
whole album.
And it's a great, hey.
If they were the ones that hadcreated that jump-off point,
(13:05):
then good for them.
Speaker 2 (13:08):
Do you know?
What I appreciate about thebands that are doing, hey, we're
going to play this album in itsentirety, is you do get a sense
of what you're walking into?
Yeah, and I'll give you a goodexample.
So I don't know, if you were a,were you a ministry fan at all?
Speaker 1 (13:26):
Yes, probably.
The album I like the best bythem is the land of rape and
honey so so what?
Speaker 2 (13:33):
what ministry is doing right now is they're going
on tour and they're saying thatthey're pretty much going to do
only songs from the first threerecords.
Okay, now, ministry is a goodexample of this, because,
ministry, their first threerecords, and then any record
after that, are night and day.
Yeah, you know, their firstalbums were kind of record
(13:55):
companies.
Speaker 1 (13:56):
Record companies made that like kind of push them in
that direction.
Al jorgensen didn't want to,really he hated, he really did
not like it well, he likes itenough now that he's that he's
torn on them.
Well, he's making money offthem.
That's why he does it.
Yeah and oh, and, by the way,al jorgensen, welcome back from
retirement the third time.
Yeah, but hey listen, make thatmoney, buddy, like he's got to
(14:22):
be up there in his late 60s.
Speaker 2 (14:27):
You know what I don't know, or?
Speaker 1 (14:28):
maybe mid-60s.
When those songs came out inthe 80s, was he our age.
Do you think he was a littleolder than us?
Speaker 2 (14:35):
I think he was a little bit older than us, yeah.
Speaker 1 (14:38):
So if I'm what 61, he's got to be 65, maybe.
Speaker 2 (14:44):
Let's see he is 66.
Speaker 1 (14:50):
All right, all right, close enough, yeah, yeah you're
in the ballpark jack.
I'm sorry todd a big head.
Todd the witch rocket just sentme a text.
Are you getting?
Are you getting the messageslike he?
Because we didn't acknowledgehim.
Well, we didn't acknowledge himon the screen for coming on so,
todd, because the night great,great song, yeah, okay yeah, see
(15:13):
he's started.
Speaker 2 (15:15):
Started, started by one, bruce springsteen, and
handed over to patty smith tofinish.
Speaker 1 (15:21):
Yeah uh, that, that collect.
Speaker 2 (15:23):
That collaboration, happy, happened because of Jimmy
Iovine, who is the engineer on,born to run and then was
heavily involved.
He may have been the primaryproducer on horses.
Speaker 1 (15:36):
I believe he was.
Yeah, uh, dave Phillips sayshe's 69.
That's great, fucking veryproud of you.
Speaker 2 (15:42):
Happy birthday, Davey Phillips he he says I think
steely dan did it a few yearsago at the orpheum, finishing up
with the greatest concert witha greatest concert, maybe great
yeah so steely dan has done thatover the past number of years
where they played three nightsor four nights in boston, where
they'll do the entire pretzellogic album, the entire asia
(16:04):
album, you know the entire.
Uh the great, you know thegreat scam, and then uh, and
then they'll do a damn.
The royal scam.
Thank you, thank you, and thenthey'll do, uh, the greatest
hits night, deb, deb and I wentlast.
Speaker 1 (16:16):
Wait, wait, wait, no, no, no, if that was me no, no,
no, no, no, no, no, no, no, no.
Speaker 2 (16:21):
Whoa, whoa, whoa, whoa, whoa whoa.
What did you just say?
Speaker 1 (16:24):
what was you just say , did?
What was the name of that album?
See, you would be rubbing myface it was the royal scam, the
greatest royal scam.
See how nice I am to you.
You're fucking see speaking ofthe great you're a scam.
You're a scam you're, you're afucking scam, scam, remember.
Speaker 2 (16:43):
Remember when that was a big word in winthrop oh,
scam, scammer, scammer.
That scammer turned to bleedhey, he could be in the jay
giles band.
He's scammer jammer, yeah.
So, anyway, steely dan used todo those albums in its entirety
(17:06):
and then they would do a nightwhere they would do their
greatest hits.
Yeah, deb and I went.
Guess guess which night we went?
The royal scam, no, no, we wentto the greatest hits night oh
okay, royal scams a fucking goodalbum it's a great, it's one of
their underrated albums.
They were massive.
Speaker 1 (17:25):
It's not as good as the Greatest Scamp, but Jesus
Christ, hey, I got somethinghere that's pretty interesting.
I think you'll enjoy this.
So, speaking of Oasis, right, Icame across this today.
I'm going to put it up on thescreen.
Wait a minute, here we go.
(17:46):
Dave Phillips, king of the 45s,bald on bald battle going on
right here.
Hey, listen, fucking69-year-old guy that used to
have red hair now has white hair.
Don't fucking start with us, wewill crush you.
King of the 45s.
Speaker 2 (18:00):
Yes, Dave Phillips, you big hairy bastard.
Speaker 1 (18:04):
Dave Phillips, with the fucking Irish name, but
claims he's a hundred percentItalian.
I don't know how he gets awaywith that.
This is a guy, phillipsPhillips.
I think that's even English.
I don't even think it's fuckingIrish right.
Speaker 2 (18:16):
It sounds Scottish to me.
Speaker 1 (18:18):
Yeah, I mean, he claims like his Italian, like he
knows pizza and he knows yourpasta and how to make meatballs,
like my fucking.
Speaker 2 (18:27):
he has no credibility with the last name, phil,
please okay, I'm finally gettingthis off my chest.
Speaker 1 (18:32):
I love dave phillips, but no, I'm not fucking buying
it anymore hey, come to phPhillips find Italian dining.
Speaker 2 (18:50):
Hello, I'm Dave Phillips.
Come on and get some chickenparmesan.
We've got the eggplant, we'vegot the chicken.
We've got the meatballs.
We've got the chicken, we'vegot the meatballs.
Ah, that's fucking.
Speaker 1 (19:13):
That's exactly right.
Speaker 2 (19:18):
Come on, john, we'd be happy to boil you up some
pasta.
Oh my god, yeah, because we'regood at boiling things, we boil
everything.
Speaker 1 (19:26):
We boil our meatballs .
We boil everything.
We boil our meatballs, we boileverything.
He should have a restaurantcalled the Boiler Room.
Speaker 2 (19:39):
There's nothing like washing down a plate of
spaghetti with a Guinness.
Speaker 1 (19:42):
Yeah, that's a good combination, let's have a nice
big plate of linguine extrasauce.
Speaker 2 (19:50):
wash it down with the fucking guinness stone hey, I,
you know, look, I I watchedevery episode of the sopranos.
Not once did I say, hey, howyou doing?
My name is, uh, dave phillips,exactly yeah, I think he's a
fraud Again.
Speaker 1 (20:05):
He has no credibility .
Big head, todd the wet frogBack off the redhead.
Fuck, redheads are fuckingweird.
Anyways, philippone was changedto Phillips, oh yeah, okay.
Okay, okay, here we go.
Dave Hill is kicking the 40miles.
He wrote this comment and hespells it F-I-L-i-p-o-n-e right.
(20:32):
Philip pony was changed tophillips back in the day.
Yeah, and my name used to bemacalini.
Speaker 2 (20:35):
I'm from fucking nap, I'm not from fucking naples, my
family but they made me amclean, so you know what, if you
hung out and went for a boywith us, your, your nickname
would have been Flip Phone.
Speaker 1 (20:50):
Patty Yossi likes red hair.
All right, okay, oh hey.
Speaker 2 (20:55):
Well, okay, she's got a Ronald.
Speaker 1 (20:57):
McDonald complex.
Little off subject.
Yeah, Little off subject.
All right, I pulled up thisarticle today.
I think you'll find thisinteresting.
Let me put it up on the screen.
We're going to read through itand as we go.
So Liam Gallagher responds tothousands Did you know about
this?
Thousands of tickets beingcanceled.
(21:18):
Speaks out on chances ofspecial guests joining the band
on stage.
So let's uh, let's kind ofscroll through this, Let me see.
There we go.
So Liam Galley has issued aresponse, Following thousands of
tickets, Thousands of ticketsTo the Oasis reunion shows being
(21:38):
cancelled by Ticketmaster andaddressed whether the band Will
invite any special guests onstage with them.
It comes after this pastweekend Saw Ticketmaster cancel
thousands of tickets to be tothe much anticipated reunion
shows taking place this summer.
And a new crackdown on bots andtouts touts in in England as
(22:00):
scalpers.
The tickets for UK show showswent on sale back in August that
I tried to get.
I tried, and this might be agood thing that I didn't.
Speaker 2 (22:13):
I was going to say our tickets didn't get canceled
because you didn't get any,Despite efforts to prevent touts
you know scalpers fromreselling them at inflated
prices.
Speaker 1 (22:22):
Roughly 50,000 tickets ended up on resale sites
.
In response, promoters LiveNation and SJM confirmed that
all tickets sold via secondaryticket sites other than Twickets
would be canceled and madeavailable again through
Ticketmaster at face value hasgone far from smoothly, with
(22:48):
numerous fans taking to socialmedia over the weekend to claim
that they have had their ticketswrongfully canceled after they
bought them legitimately.
And here we go, liam being liam.
Now.
Liam gallagher has addressedthe tumultuous circumstances
around the crackdown on ticketsand said that there's little he
can do to help.
He took to x this morning torespond to a fan who reached out
(23:09):
to him and asked Liam, what doyou think of the ticket
situation?
Thinking fans are bots andgetting their money returned?
Responding, the Britpop iconwrote I don't make the rules,
we're trying to do the rightthing.
It is what it is.
I'm the singer.
Speaker 2 (23:23):
Get off my case, I love that what the fuck you am I
gonna do about this?
Do you blame?
Speaker 1 (23:31):
him.
Do you blame him?
No, no, that's why I'm likelike he's like what the fuck do
you want me to do about?
Like I don't know I don't havecontrol over that.
Uh, around the time of the sale, oasis addressed the scramble
for tickets, with some going onsecondary sites as much as
10,000 pounds, which is aboutwhat Jack?
$14,000?
.
I don't know what the currentexchange rate is yeah, I think
(23:51):
it's about 10,000 pounds.
Speaker 2 (23:54):
I think you're in a safe spot.
Speaker 1 (23:56):
Yeah, and reminded fans that those wanting to
resell tickets can only do so atface value via Ticketmaster and
Twickets.
It also came amid a growingdiscussion about the issue of
scalpers, who buy many ticketsand sell them for massively
inflated prices.
This has always been the deal,jack right, this has always been
(24:16):
going on.
Speaker 2 (24:18):
So, by the way I just looked it up, $10,000 is
actually only $7,958.
Oh, wow, wow, that pounddropped.
Speaker 1 (24:27):
well the dollar oh yeah, when are they oh?
yeah, no, no, the no, thedollar's up yeah, well, there
you go uh, it's still a lot ofmoney, uh, with mps going on to
announce the introduction of aprice cap on resold concert
tickets, okay, uh.
This was further outlined in apublic consultation that was
(24:48):
held last month, which exploredthe measures needed to better
protect fans, improve access tolive events and support the
growth of the uk's world leadinglive events sector, which now
this gets into a whole thing.
This is an age-old battle.
This is cat and mouse.
This is the cat and mouse game.
Uh, I, I, I lived it when Iworked, uh, canine security at
(25:10):
the boston garden.
Scalpers are scalpers, you'renot, you're never going to stop
that.
They just will always be around.
They'll find their ways to dothis, they'll get around it and
it's never going away, no matterwhat you try to do.
In response to the request fromNME, ticket master advised those
affected by ticketcancellations to consult the
(25:30):
Oasis refunds frequently askedquestions page, and they give a
link for ticket purchases whobelieve they have had tickets
refunded in error.
Okay, where's the flaw here?
Where's the flaw?
Well, I mean, what's the flawin that?
Let me re-say that Ticketmasteradvised those affected I see it
(25:54):
immediately by the ticketcancellations to consult the
Oasis Refunds Frequently AskedQuestions page Quote for ticket
purchases who believe they havehad tickets refunded in error
refer to the email sent by therelevant agent.
When informed, a spokespersonsaid where's the flaw in that?
Speaker 2 (26:13):
well, you're never going to get the same person
right.
And what are they doing?
Refer them, referring them backto the oasis page.
Why can't they handle it?
Isn't that what they get paidfor?
I?
Speaker 1 (26:21):
see the flaw, as I, you, I'm a fucking scalper.
I'm going to call you and saythose were my tickets.
Speaker 2 (26:30):
Of course.
Speaker 1 (26:31):
I would guarantee you .
Speaker 2 (26:34):
I would guarantee you that, that you know a good
percentage of the people thatare complaining are the ones
that are getting screwed.
You have to remember and I'mnot, I'm not supporting it but
there are those people thatscalping that's their livelihood
.
It doesn't, it doesn't matterwhat market, because of the
internet and computers and allall that, scalpers are not
(26:57):
scalping tickets in boston,they're scalping tickets in
boston and chicago, in new yorkand san francisco and Texas, in
everywhere else.
This is a full-time gig forthem.
So this was indicative of myexperience today where I got my
death cab for Cutie Tickets.
When I jumped online and got inthe queue on Ticketmaster,
(27:17):
there were 30,000 people infront of me for a venue that
holds maybe 5,000.
That's insane yeah, that's fora vet for a venue that holds
maybe 5 000 that's insane.
Speaker 1 (27:29):
Yeah, that's insane.
Speaker 2 (27:30):
Um look even even people that have full-time gigs.
This is a part that look, youspend a couple of minutes online
, you buy tickets for you know100 bucks apiece.
You put them right on a stubhub for 300.
It's.
Speaker 1 (27:47):
It's easy money and and back in the day, these
scalpers the boston ones that Iknew who, by the way I, I I
needed a favor and I needed anextra u2 ticket, and one of the
scalpers gave it to me.
He's like yeah, have it, I'llyou know.
And this was back in the 80s,right?
so is this back when you wereworking security, yeah, when I
(28:10):
was working canine there, yeah,um, so they, they knew who you
were, they knew who I was andhow I got their attention was I
literally.
These kids are from dorchester,south boston, charlestown, most
of them, right.
They didn't have to travelbecause there was so many events
at the Garden.
The Celtics were winningchampionships, the Bruins are
the Bruins, right, and you hadconcerts every fucking weekend
(28:30):
in the summer.
How many concerts came toBoston in the summer?
It was at least one a week,right, or one every 10 days or
so it seemed like.
But these guys, they werestreet people, they were street
guys.
And how I got their attentionwas I literally bounced a couple
of heads off the side of thewall of the Boston Garden Like
(28:51):
you'll fucking listen to me, youknow we're all cool, but don't
fucking test me.
Speaker 2 (28:57):
And back then you could do it without getting sued
.
Do you remember my favoritefamous scalper story?
No, remember my my favoritefamous scalper story.
No, so back in the day before,um you know, ticket master
actually even before ticketmaster in computers, you
(29:18):
literally either had to dial inuh or you had to go to the box
office and, like you probablydid as well I can't remember, I
think it may have been Van HalenMe and a couple of buddies of
mine went to the Orpheum.
Speaker 1 (29:31):
Well, I never had to go to the box office because you
or Gino Catazon, somebody thatwould always have tickets.
Speaker 2 (29:37):
Yeah.
So it must have been a show atthe Orpheum, because we went to
the Orpheum Theater and forthose of you that don't know,
the Orpheum Theater is onHamilton Place in Boston and
it's an alleyway, it's a deadend.
At the end of the alley is theOrpheum Theater.
So we went the night before andwe slept out and we were
(30:00):
probably fifth or sixth in lineand by the time we woke up and
tickets were going on sale at 10o'clock the next morning there
were probably 150 people in line.
And by the time like we woke upand tickets were going on sale
at 10 o'clock the next morning,there were probably 150 people
in line.
Most of the people were behindus.
So it's getting close to 10o'clock, it's like 10 of five of
.
All of a sudden a van pulls upat the opening of Hamilton Place
(30:24):
big white van and a guy getsout of the driver's side with a
baseball bat and slides open theside door and, I kid you not,
15 punks from South Bostonpoured out of that van and
pushed everybody out of the line.
There you go, they pushed.
(30:44):
So they were the first 15people and this guy just stood
there with a baseball bat Likego ahead, just challenge me.
Speaker 1 (30:51):
Yeah.
Speaker 2 (30:52):
No cell phones back then.
So I found out.
So back for a little while Iactually worked at a ticket
agency.
I worked for Boston Ticket.
It was a guy by the name ofKevin.
I won't say his last name, butkevin was a bookie in and around
south boston and he also dealtwith tickets on the side and I
told him that story.
He was like, oh yeah, that wasme.
(31:13):
I was like, no fucking shit, itwas you.
I I know it was you, but he was.
He was the nicest, calmest,mellowest guy, like complete
sociopath.
Yeah, like he would kill youand not even think twice about
him.
I remember he used to come inwith a briefcase that was loaded
with the tickets that that hewould get in just mounds and
(31:36):
mounds of cash, yeah, yeah Imean, but you know as as, as as
consumers, we, we knew where wewere, we knew what was going on.
We got the fuck out of the way.
Go ahead, get your tickets.
Speaker 1 (31:50):
There was no cell phones back then.
There was no like somebody callthe police.
By the time that call happened,you know what I mean and you
know the people at the ticketoffice for the offering they're
like.
Here we go again.
Speaker 2 (32:02):
Yeah, every show.
Speaker 1 (32:08):
Yeah, and it's probably a don't fucking call
the police.
You know, when you get to thefirst kid in line, don't call
the fucking police.
Speaker 2 (32:11):
I'll just, I'll never forget the guy just getting out
of the van, had the baseballbat by his side, slid the door
open.
The guy started walking out andhe, just, he just yeah tapped
it on his hand yeah, yeah, thereyou go.
Speaker 1 (32:27):
I was working the Garden Celtics championship game
.
It's the finals and so it wasthe same scalpers.
Every event, same scalpers, andthere were rules Don't go in
the box office, stay out of thebox office.
Stay off the sidewalk Right,and it was cat and mouse and it
was harmless most of the boxoffice.
Stay off the sidewalk right,and it was cat and mouse and it
(32:47):
was harmless.
Most of the time, theseoutsiders show up and they have
10 obstructed view tickets thatthey're trying to sell and the
scalpers this is like a drugdealer calling the police, a
drug addict calling the policeon a drug dealer, saying they
took my money, right, cause oneof the scalpers, two of them
(33:10):
come up to me and they're likehey, these dudes are selling
tickets, right, and we and andand it's not the regular crew.
So, all right, all right, I'm alittle bit corrupt, I'm going
to go kind of tell them you gotto leave.
And they're like well, whatabout everyone else?
Don't worry about everyone else, you got to leave.
And it's two younger kids andthey're like yeah, yeah, yeah,
(33:31):
yeah, and they kind of disappear.
But then they show up again inthe scalp.
It comes up, says, scotty,they're back again.
He's fucking.
They were like from.
(33:52):
I don't really think I had theauthority to do that, but I did.
And uh, I take the tickets andI get the death threats you're a
dead man.
Yeah, I've heard that a lotworking there.
You're dead man, my brother'sgonna kill you.
I know you work all that shit.
All right, they leave.
Now I got 10 tickets.
It's a celtics championshipgame, like it's the finals.
(34:13):
So I, I uh see one, one of myboys, one of the scalpers name
is schnitzer.
That was his nickname,schnitzer.
I go, schnitzer, I have thetickets.
I go get rid of these.
For me, literally, dude wasgone for three minutes, came
back so this is 1986 came back,gave me a hundred bucks cash,
(34:35):
boom, right in the boot.
Let's go.
Good job, little bonus that day.
You were a bad cop.
I was, I was.
I learned.
I learned what not to do when Ibecame a real cop and that way,
like I said, criminals make thebest cops.
By the way, because you're notgetting anything over on me.
(34:57):
There's nothing you can getover on me.
Um, all right, moving on.
So let me see.
Expert abuse and fraud teamshave reviewed all sales and
identified any made by bots.
I don't know how you do that,but we cannot go into the more
detail as we do not want botusing totes to have any further
information on the process.
(35:17):
Like they can't find out how todo that, I can go on chat GPT
and it will tell me how to dothat.
Chat GPT and it will tell mehow to do that.
Elsewhere on Twitter thismorning, on X this morning, liam
Gallagher also addressedanother fan question and shared
that the band have no intentionon bringing out any other
artists while they perform.
And here's a screenshot.
It says morning, liam, will yoube having any guests join you
(35:40):
on stage for each gig?
And he just boldly says none ofthat nonsense, no he's that
nonsense?
Speaker 2 (35:47):
No, he's, he's, he's absolutely right.
I have to tell you, I have totell you if, if they, if, look
no disrespect to the otherartists, but if I went to
Wembley or if I went to MetLifestadium or wherever it is that
they're playing, and they werelike, oh, we're going to bring
out Taylor Swift to singChampagne Supernova, I'd be
fucking pissed.
(36:08):
Ah, yeah, and not anything todo with Taylor Swift.
But okay, let me even it up.
If they were like we're goingto bring Eddie Vedder to sing
Champagne Supernova, I was likeyou know what?
Tell him to go sit behind stageand have a fucking cocktail.
I didn't pay to see EddieVedder sing your song.
I came here to see.
Speaker 1 (36:28):
I was thinking the same thing, eddie Vedder, I was
fucking thinking the same exactthing.
Speaker 2 (36:33):
I came here to see Oasis, so you know, do your
thing.
Speaker 1 (36:38):
Yeah, yeah.
The tour kicks off in CardiffPrincipality Stadium on July 4th
, before heading to Manchester'sHeaton Park, london Wembley,
edinburgh's Murrayfield Stadium,dublin's Croke Park.
Support for the gigs will comefrom Cast and the Verve.
All right, support for the gigswill come from Cast and the
Verve's Richard Ashcroft.
(36:58):
I was just thinking about himthe other day.
I wish he would go on tour Overhere at least.
Speaker 2 (37:04):
Very, very underrated .
Speaker 1 (37:08):
Ah, fuck, you wish he would go on tour over here at
least.
Very, very underrated.
Ah fuck, he's brilliant,brilliant.
Talk about an underrated album.
Their album fourth I've saidthis to you a number of times in
the past what a fucking amazingalbum that is.
Yeah, it's f-o-u-r-t-h fourth,and it's the covers, the clouds.
It's a fucking great album, man, yeah, uh, after the uk shows,
the bands will head abroad forthe dates in canada, the us,
(37:30):
mexico, south korea, japan,australia, argentina, chile and
brazil.
Wow, that, that's a, that's aworld tour right there, oh yeah
it is and it just goes on.
Uh, so let's see.
It says.
The long anticipated comebackfrom the brit pop icons didn't
just stir controversy due totouts and bots selling tickets
on secondary sites.
As the sale went live, bothTicketmaster and the band
(37:52):
sparked backlash due to the useof dynamic pricing right, which
we had talked about already,where the cost of tickets would
increase often by hundreds ofdollars without warning, as well
as triggering criticism fromthousands of fans.
It was also debated whether ornot the practice could be a
breach of the consumer law.
I don't know that or no.
Speaker 2 (38:11):
They they were looking into that, but you know
you never get answers for thatshit like I, I haven't done
anything since we we've we'veheard stories about different
ways of trying to thwartscalpers and legislation, and
all that for years and years andyears and years.
Yeah, so so, todd, todd Sockmanis asking when are you two
going to go see them?
I think I'm going to go seethem in New Jersey.
(38:33):
I don't think Scott's going tosee them at all.
We made a bet and he greatjelly, he welched.
Speaker 1 (38:44):
Not a stadium.
Well, it's a guy welched on theback.
Unless we're guaranteed to getup toward the front, I'm not
going to sit in fucking.
You know row 157 at GiantStadium, Do I?
Speaker 2 (38:58):
ever, ever, sit that far back.
Never.
It's going to be a good one.
Speaker 1 (39:02):
It is going to be a good one.
It's going to be a tough one.
Let me see.
Nope, it'll happen, uh.
So yeah, that that's what wegot on that.
That's what we got on that.
That that I thought was uh, waspretty, pretty interesting.
Speaker 2 (39:15):
Let me take this down so, hey, we talk about it a lot
.
Have you looked at?
They announced this week thelist of Rock and Roll Hall of
Fame.
Speaker 1 (39:28):
Wait a minute.
Speaker 2 (39:28):
Kevin.
Speaker 1 (39:29):
Talent Dookie Kevin Talent Valente's tickets on
Canal Street.
Yeah, dookie Valente's, oh yeah, valente's.
That was Gino Catazon's guyValente's.
Gino Valente, wasn't he asinger too?
In the 80s there was Vali's,didn't Gino Valenti?
Wasn't he a singer too?
Speaker 2 (39:47):
In the 80s.
There was Valenti's, there wasRingside, there was Tyson Right.
Speaker 1 (39:54):
I only knew about Valenti's.
That was like the.
Speaker 2 (39:57):
Valenti's was the big place and they had the end.
They always had the best seats.
Yeah, yeah, I remember beinglike 14 going in there and
saying, um, you know I may havebeen getting tickets to like the
cars.
And he was like, yeah, I getyou know loges on the far corner
and I was like, well, whatabout those tickets behind you?
(40:19):
He's like never mind thosetickets back there.
Speaker 1 (40:21):
You little punk all right, so I sent you a text
today.
I sent you a text today and allI said was library music oh,
yeah, and you were like that is.
You were like what?
And I was like it's amazing,right, I just stumbled into this
.
It's been around us our entirelives, right?
(40:42):
And we and we never fuckingknew it.
And I'm gonna give you proofpositive that this shit has been
around.
But first of all, to let peopleknow, library music isn't music
that you buy or you listen to ina library.
Library music is also known asand I'm going to give you the
proper answer also known asproduction music or stock music,
refers to pre-recorded musicthat is made available for
(41:05):
licensing and use in variousmedia projects.
This music is typicallytypically created for specific
purposes, such as backgroundscores for films, television
shows, advertisements, videogames and other multimedia
productions.
Library music is produced bycomposers and musicians who
create a wide range of musicalstyles and genres, allowing
(41:28):
filmmakers and content creatorsto find suitable tracks without
the need for custom compositions.
These tracks are oftencataloged in libraries, where
users can search for and licensethe music they need, usually
for a fee and it was a small fee, right, stick?
I know you're fucking, but Igotta get this across to you
(41:48):
because it's amazing.
Speaker 2 (41:49):
One of the I know you're trying, I know I know
you're trying to show peoplethat you can actually read but
I'm a good reader.
Speaker 1 (41:55):
Uh, one of the key benefits of library music is its
affordability and accessibility, making it a popular choice for
independent filmmakers, right,and content creators.
Now, library music kind of gotdiscovered by hip-hop artists
like mf doom used it, naz usedit.
Then you get into like tame andpala, like you started hearing
(42:18):
these tracks.
So what, what they would do isyou can search through these
catalogs, these albums, and say,and there might be one good
song off the whole thing, right,it's not soundtrack music.
Soundtrack music is created fora specific scene in a movie and
it's a mood thing.
This was like pornos had thischicka, wah, wah.
(42:41):
That was all library musicright Now.
With that said, this is aperfect example of library music
and you're going to be I thinkyou're going to be a little bit
shocked at this one.
This is let me pull it up, Igot it over here.
(43:02):
There we go.
The first one tell me whereyou've heard this library music.
Now the the thing is thesepeople that made this music,
these musicians.
Now, in england, back in theday it was the golden age of it
was the 60s, 70s and 80s but inengland the music, the music.
(43:22):
Like fucking union.
They forbade musicians fromdoing this music because it was
a one shot and anybody can buyit.
Anybody can use it, whereasthey wanted musicians to get
paid for each and everythingthey did and each and everything
that got used.
So they would kind of go overto Germany or France and record
(43:42):
this music and Tell me whereyou've heard this before.
Where have you heard that?
(44:10):
It does sound familiar to me,but it Now these songs.
Speaker 2 (44:15):
Almost every horror movie that we've ever seen.
Speaker 1 (44:18):
You're going to be surprised, and then it's going
to click.
Now, all of these songs areusually between one minute and
three minutes long.
That was a show, one.
That one is called Scorpio'sview from dirty harry oh yeah
from dirty harry, let's play itagain.
All right, then it's gonnaconnect you see scorpio's
(44:46):
strange looking face and he'sgot his sniper rifle and he sees
the girl in the pool.
Right, right, that's fuckinglibrary music.
That was not like they boughtthis shit.
Right, like I'm paying a fee toput this in.
Fucking Dirty Harry Right.
(45:06):
Fucking Dirty Harry, right.
The second one it's amazingthat we, we grew up.
This is an absolute part ofeverybody that's listening.
That's a boomer.
It's an absolute part ofeverybody's fucking childhood
and as soon as I play it, I'mnot a boomer, you're a fucking
Gen Xer.
(45:27):
It doesn't matter, you'reborderline.
You've been around enough.
Check this out.
This is library music Comingattractions, coming attractions.
Right, and the kaleidoscopecomes up on the screen.
(45:49):
Get your popcorn.
Speaker 2 (45:54):
So can I ask you a question?
Yeah, when you stumbled uponthis, were you able to
organically make the connectionto Dirty Harry in the Coming
Attractions, or did you read it?
Speaker 1 (46:08):
No, I heard it, heard it.
I went wait a minute, that'sfucking dirt.
And then I, I, I went on, uh, Iwent on, uh, spotify it's
because then now, like I toldyou last week, I do these
fucking deep dives.
I hear something on a youtubevideo even if it's a clip of
something, now I gotta go findit and it usually brings me down
rabbit holes.
I heard that and I was like, oh, that's fucking library music,
(46:32):
like what?
Oh my god.
Then there's this one, maybethe biggest one of them all I
cannot wait to be retired, maybeI can spend my day the most
popular this could in america.
In america, this might be theabsolute most popular, hey.
Speaker 2 (46:50):
Susan Haskell joined us.
Speaker 1 (46:51):
Yeah, hey, susan, all right, you ready for this one
Library music?
Speaker 2 (46:57):
Library music oh Yep.
Speaker 1 (47:14):
All right, all right, that's that's like.
I think the guy's name is likefucking leo, leo or fucking
epstein or something.
In his band it's called scorethe score that's the name of the
song.
Right, and then you go, youlisten into the shit.
It ranges from disco to like.
Some of these, uh, these, these, these people that did this
were some of the earliest uhusers of synthesizers see, I
(47:37):
knew, I knew, that's why youlike this.
Yeah, cynthia lawpress strikesagain yeah, so this one is
called relaxed scene.
Now, a thing is, if you're, ifyou're an editor, if you're like
a, a production guy with amovie and you hear a song, you
look at a song, you're likerelaxed scene and I'm gonna
listen to it and all of a suddenit changes.
They said these people wouldlose their minds.
(47:58):
It has to be consistent all theway through.
Let's see, right, and thatthat's not not anything in
particular.
I'm just giving you a randomsong.
This one is called Drug Song,drug Song.
(48:20):
So if you're making a movie,right, right, 60s shit and 70s
shit right here, yep, yep.
60's shit and 70's shit righthere, yep, yep.
Girl in a sports car, girl in asports car.
(48:40):
Now picture a girl driving In aconvertible sports car.
Yeah right, this is like acommercial song definitely 70s
right.
They interviewed one of theseold guy, old guy, and they asked
him so what do you think of,like, all these hip-hop artists
(49:02):
using your songs?
They only pay like a small feefor it, but they make all this
money.
And the guy says, well, that'swhat it was made for, because I
don't really care if they sayfuck you in the song.
That's what it was made for.
It was made for them to buy it,pay your fee and move on.
So that's such a that must besuch a freeing thing for an
(49:26):
artist to say.
This is why I made this.
I'm not gonna get all fuckingbent out of shape because naz
used, who's one of the biggestrappers in the world, used
library music for one of hisbiggest hits you know what I
mean.
Speaker 2 (49:41):
It's all good man yeah, I'm like.
Speaker 1 (49:43):
I'm like like so naz did this song which is now it's
a whole different ball game.
It's this this is Nas.
Right, tell me where this songcame.
Now, this is the differencebetween library music and
sampling.
Get, get get down, right, jamesBrown, love it, love it.
(50:11):
Right, james brown, love it,love it.
Speaker 2 (50:14):
Yep, I mean, that's someone, that's one of the new
york streets will kill us a walklike pistol p and pappy mason
yeah, I could listen to thewhole song.
Speaker 1 (50:20):
I know people like the rap shit oh, come on, it's
great.
Speaker 2 (50:24):
That's a good, it's a great song.
Naz's a good, it's a great.
Speaker 1 (50:26):
Nas does a good job with that right.
Um, great, great song, oh,absolutely.
And then you got, uh, let's see, let's see, uh, there you go.
Now, this is, this is, this isice tea.
(50:53):
That was naz, but this was icetea in the 80s.
Speaker 2 (50:58):
Right, he pulled the same thing this is it dope from
the fly kid.
The ice mic is back with thehigh bits.
Speaker 1 (51:11):
I fucking love that shit.
Love that shit, yeah.
So like that's, that's sampling.
But the other stuff, like jack,you could go in and fucking pay
a small fee for a library tune.
And so that's where they said,like tame and paula, uh, there's
this guy, mac demarco and allthese bands, sure, yeah.
So you start listening to themusic and you're like that's,
(51:33):
now that you're aware of librarymusic, I really want you to go
check it out.
It's.
It's so fucking interesting,man, and some of the shit is
fucking good.
Like these songs are good,they're not crap, like they're
very well produced.
Speaker 2 (51:47):
The the songs that are in there, the library tunes,
right, they're not just thelittle clips that you get,
they're full well produced thethe songs that are in there, the
library tunes, right, they'renot just the little clips that
you get, they're full songs.
Speaker 1 (51:53):
They can go from one minute to three minutes, that's
the thing with them.
They can go from one, three,one minute to three minutes.
Um, and there was three majorlike companies that did it and
you know, like soul impressions,this one's called soul
impressions, it's just streetgirl, that's a jam.
(52:28):
Peter Reno did this Right.
Speaker 2 (52:37):
I would imagine, I would imagine that the musicians
that did these they must havehad a ball with these Like no
pressure to like Really finish asong.
Speaker 1 (52:47):
Not.
Well, that was the thing theyhad to because, again, these,
these people that would come infrom the movies, that are the
commercial people or the pornopeople, they would go skimming
through all this shit andsometimes you might find one
diamond in the rough on a wholealbum, sure, and they that's why
they call them a library ofalbums.
You had to really do somefucking crate digging to find
(53:08):
something really good.
This is like a lot of listening.
A lot of work goes into findthat right fucking song.
Right, because if you're doingit, you hear this song.
You're like that's great, butthere's got to be another one,
and there can be thousands offucking tracks that you have to
seek through.
You know, but I becamefascinated with it.
I created a whole playlist ofjust library songs.
(53:33):
This is the shit that you findLike.
This is why I do these deepdives and I'll go on YouTube and
YouTube is a.
It's a plethora of fuckinggreat music information.
If you really look like there'ssome popular ones that we watch
, that storytellers, and youknow, like the guy that plays
the guitar with the gray hair,he's got a fucking million
followers or whatever, and Iforget his name.
(53:56):
You've probably seen his videos.
But this dude that I found isthis kind of offbeat dude with
his channel, isn't really thatbig, and then I go and I go to
the channel and I look at allthe fucking videos that he's
done and it's some kind ofoffbeat shit, right?
So then what I do is I go into,uh, uh, I go into the, the, the
(54:21):
, the Spotify recommendations,right.
So from so, from that, I foundthis band.
It's a girl, actually, it's asingle girl, and she puts all
this shit together and her nameis she goes by Men.
I Trust pretty little blondegirl.
(54:43):
And this song show me how.
I heard a fucking little clipand she is one of these people
that is in that genre of librarymusic.
So check out this song.
This song is called show me howI like this, right, it's
(55:09):
fucking.
And then I listen to all hershit.
I like it, and I startlistening to all her shit and I
start picking it out.
Show me how it's fucking smoothright.
Speaker 2 (55:22):
This is great.
Speaker 1 (55:24):
And the name is Men I Trust that's what she goes by.
Tell me how it Fucking niceright.
Speaker 2 (55:35):
Very nice, I like this and then.
Speaker 1 (55:37):
I get this Caramel C-A-R-A-M-L.
Speaker 2 (55:45):
But are you telling me that, like, we both like this
, right yeah, is there an albumof this stuff, or is it just in
the library?
Speaker 1 (55:57):
So these are artists that were influenced by library
music.
So if you hear these songs, alot of songs have that influence
in it, like Tame Impala has allthat kind of library music.
Speaker 2 (56:08):
I like Tame Impala.
Speaker 1 (56:09):
Yeah, absolutely, like.
Tame impala has all that kindof library music.
Yeah, absolutely they.
They were like he was big inthe 2010s, you know, into the 20
teens um, still around, stillmaking music, uh.
But this is shit that wasinfluenced by library music.
That's why you hear those thesame like if you take the vocals
out and you take a 30 secondclip or a one minute clip out of
(56:31):
some of these songs.
Speaker 2 (56:32):
It's fucking library music have you ever heard of the
band crowing bin?
What are they called crewingbin?
How do you spell it?
K-h-r-u-a-n-g-b-i-n?
A N G B I N.
Speaker 1 (56:50):
Whoa, whoa, uh, here we go, artist, I'm gonna go with
their most Downloaded song.
This one is 300.
Oh yeah, texas Sun.
Speaker 2 (57:01):
Well, don't play that one, cause that one's got
vocals.
Speaker 1 (57:05):
Yeah, that's why I'm like Krongman.
Speaker 2 (57:08):
Go to the next song Mariella, try that one.
Yeah, that's why I'm likeKrongman.
Go to the next song, mariella,try that one.
Speaker 1 (57:16):
And play that for our three fans that are watching
our show.
I love Texas Sun.
I love that fucking song.
Speaker 2 (57:18):
Yeah, Texas Sun is great.
Speaker 1 (57:20):
I love that song.
There we go.
Love this shit, yeah, no, Ilove this shit.
Yeah.
No, I love this shit yeah.
Speaker 2 (57:36):
Deb and I are going to see them up in Portland, are
you really?
Speaker 1 (57:39):
Yeah, See, no one ever comes down to fucking South
Florida.
I would love to see them.
But this is the song right here.
This is a great song.
It's just so fuckingatmospheric and moody and it
(58:05):
really kind of puts you in a andyou know I love the reverb.
You know I love reverb.
It's called Texas.
Speaker 2 (58:10):
Sun right, so I don't know if it's anywhere near you,
but they're playing StAugustine, April 16th.
Speaker 1 (58:18):
That's where we all me and Dr Vera love St Augustine
.
It's an amphitheater.
It's like an amphitheater.
Speaker 2 (58:25):
Krungbin is playing the St Augustine Amphitheater on
April 16th, all right.
They're also playing April 18that the Baycare Sound and then
they're also playing inClearwater.
So they're there a couple ofnights, all right, let me see
Krungbin.
(58:45):
Hey, by the way, for those ofyou that are in Winthrop, they
are playing Suffolk Downs june27th.
Speaker 1 (59:01):
That's interesting, they're playing where in suffolk
downs.
So there's a place called thestage at suffolk downs, oh, oh,
you know what I remember like Ithink it was last summer.
I heard heard people fuckingcomplaining because there was
evidently a rave thing going onover there, and people in
Winthrop that were our age werelike I can hear the music all
the way here.
It's shit music.
And I commented in Of course itwas a Facebook thing, I'm like.
(59:23):
So you're telling me you neverwent to a fucking house party in
Winthrop where they werecranking Led Zeppelin on fucking
clip speakers with a Marantzreceiver in somebody's backyard
and the fucking neighbors musthave lost their mind.
But you liked it then, didn'tyou asshole?
Speaker 2 (59:40):
Yeah, so over there at 90 Circuit Road, yeah, 130.
Speaker 1 (59:44):
Locust Way.
Right 130 Locust Way.
Let me see, I just hadsomething I'm looking at.
I found this dude too.
Let me see.
Cancel over here.
Listen to this.
This is a fucking jam righthere.
This is called Kid Loco.
(01:00:09):
Kid Loco, a grand love theme.
This is like fucking 49 fuckingyears old.
This is fucking library music.
How fucking smooth is this?
(01:00:30):
It's awesome.
Kid Loco, a grand love theme.
This is the shit I stumble on.
It's like fucking like findinggold and it's just a slow build
through the song and every oncein a while it drops in random
(01:00:50):
lyrics in the background, typething.
Let me see Patty likes it.
Yeah, patty remembers thatwhole thing in Winthrop.
I'm all complaining.
Speaker 2 (01:01:03):
This is like good make love music, or at least the
very beginning is.
Speaker 1 (01:01:08):
It builds, it, builds , it builds to a whole thing.
Speaker 2 (01:01:12):
No, no, no, that's not what I'm alluding to.
Oh, some of us don't get to thelatter part of the song.
Speaker 1 (01:01:20):
Of course, of course, you don't, of course you don't.
Some people get to the middleof the song then all of a sudden
the song dies on them and theygot to start the song over again
, if you know what I mean.
Speaker 2 (01:01:31):
They spend the rest of the song apologizing Ha ha,
ha Ha ha ha Ah.
Speaker 1 (01:01:41):
Can we just listen to the rest of the song?
Ha ha ha Ah, ha, ha, ha, ha Haha.
The song's only two minuteslong.
What the fuck dude?
but this is nice right very niceyeah it's not about getting
(01:02:05):
drunk, only it's the only groovewith a very keen sense of how
very, very short life is.
Just a smooth beat man, smoothsong, good driving music, that's
good driving music.
You want to sit in traffic?
Then that'll bring you down Allthe shit we just played it all
(01:02:26):
kind of calmed, you bring youdown Very nice.
Big Head, todd the Wet Sprocket, says good show.
Gentlemen, good to see you,jack, of course.
Speaker 2 (01:02:36):
See that he's bailing .
Speaker 1 (01:02:38):
He's driving home.
That's why he probably just gothome from work.
Speaker 2 (01:02:44):
I get news for you I get a bail soon as well.
Speaker 1 (01:02:48):
We hit an hour.
I just looked at that.
This was a good show, buddy.
I think we covered some shitthat we didn't expect.
Speaker 2 (01:02:55):
Hey, you keep going if you have to do this day in
music or whatever otherhorseshit.
No, no, no I don't do thatanymore.
Speaker 1 (01:03:00):
I've been through you know what.
I started fucking after fouryears.
I started repeating days, ohreally days.
Oh really I noticed that Istarted reading the fucking like
.
I've read this before.
It's kind of weird.
Speaker 2 (01:03:14):
So I was like all right, you know because well.
So so what is this?
What is this?
Three shows, or four shows thatwe've been talking about famous
album covers and we stillhaven't gotten to it yet no, but
that's the beauty of it we are.
Speaker 1 (01:03:24):
That means we have a lot to talk about I'll see you
next week, we'll get to it,we'll get to it, we'll get to it
, and I'll have another article,and you know, and we can kind
of kick that shit around, youknow, because the article always
sparks good talk.
Speaker 2 (01:03:39):
I'm going to go downstairs and snuggle my wife
and listen to two minutes oflive.
Speaker 1 (01:03:43):
Go listen to two minutes of Kid Loco or Men.
I Hate.
Check her out, though I hate.
All right, jack.
Well, the show, get off theshow.
Tell them I said hello, you gotall right, buddy, I'll talk to
you.
Well, there you go.
There you have it.
That's the show.
It was a good show.
Let me.
Let me bring on kid loco again.
I like that shit.
(01:04:04):
Like that.
This will be my outro music.
Bye, everybody.
Thanks for watching.
Thanks for listening.
If you liked it, shared it.
If you didn't like it, well,thanks for watching for one hour
, listening for one hour andfive minutes.
Uh, patty, yossi got great show.
We learn something new everyday.
Love it.
Thanks, scott jack.
Thank you, patty, we love you.
(01:04:24):
Our longest lasting fan, bighead taught the wet sprocket
thinks he is, but Patty, you arethe queen of milk crates and
turntables.
Dave Phillips is not the king,he's the prince of milk crates
because he misses it sometimes.
And while Big Head Todd the WetSprocket, he's the jester, he's
the court jester for thiswonderful podcast going on four
(01:04:48):
years, I think.
Yeah, four years we've beendoing this.
That's a lot.
It's not going anywhere soon.
Joanne Doyle, joanne Kozborski,she dropped something in a
picture, a beautiful picturewith hearts on it, and I didn't
get to it because we were doingsomething else.
If I didn't get to your comments, I apologize and with that, you
(01:05:10):
know, sometimes I leave thisshow and I'm really in a like.
I'm always in a good moodBecause this is my church.
Like I said, this is what I.
I love this.
I love doing this once a week.
It really is therapeutic for meand it's.
You know, I'm not going to getall like sensitive and shit, but
I really do love doing this,which is why I will not stop.
(01:05:32):
I'll be doing this when I'm 71.
Unless something happens, godforbid.
I just love doing this.
So, yeah, thanks for sitting inon my therapy.
And sometimes, like I wassaying, I leave one of these
shows like I'm always happy, butsometimes I I'm like that was a
really good fucking show.
(01:05:53):
And I think this was a reallygood fucking show.
It was informative.
We learned a lot about, youknow, library music.
Go look it up.
Library music's pretty fuckinginteresting.
There's a lot of shit in there,but you find some of these
really cool tunes and usually noone's singing.
So and next week maybe we'llget to album covers I don't know
a lot of shit in there, but youfind some of these really cool
tunes and usually no one'ssinging.
And next week maybe we'll getto album covers.
(01:06:13):
I don't know, we'll see.
But until then, as I always say, doing this show for you, to
quote my favorite artist,morrissey, well, the pleasure,
the privilege is mine and I willsee you guys next week.
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