August 6, 2025 • 64 mins
Greetings to all our listeners! Tim and I had a blast recording this episode. Kid A is so out there. You can hear a huge leap from a guitar-dominant sound to less commonly used synthesizers like the Ondes Martenot and the Mellotron. The more we drink it in, the fuller and richer it becomes… like that new Mococoa drink! Kidding aside, the episode is informative at the beginning and becomes more comical and lighthearted as we get into playing the songs. The music is phenomenal, and we have a blast from there on out.
Enjoy and thanks for listening!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
The Earth.
This vast interconnected systemof life is not divided into
fragments, but is a continuousflow, a dance that never stops.
Now take a moment and considerthis you are not a separate
observer of life.
You are life observing itself.
(00:25):
The very idea that you aredifferent from the world around
you is a mental construct, anidea built over time by our
thoughts, language andconditioning.
In reality, you and I, thetrees and the rivers, the stars
and the clouds, are all part ofthe same web of existence.
Speaker 2 (00:48):
All right, thank you for listening to the Greatest
Non-Hits.
I'm Chris and playing a rifffrom Everything in Its Right
Place from the Kid A album fromRadiohead is my co-host Tim from
(01:09):
Radiohead is my co-host Tim.
Kid A is a masterpiece, ranked20th out of the Rolling Stones
top 500 albums of all time,recorded, I think, on October of
2000.
So it was right at thebeginning of the decade and you
can hear a lot of influence inEDM that derived from this album
(01:30):
and the more you listen to it,the more it sticks with you and
it's so thought.
I mean it's so.
I mean there's something aboutit.
I don't know what it is, justthe way it's.
So I mean there's somethingabout it.
I don't know what it is, justthe way it's so intentionally
ambiguous and fragmented,fragmented lyrics.
(01:51):
It all comes together in just away in which you can tell that
(02:12):
this is about technology,technological overload, our what
would I say?
Just the way things haveevolved over the last 25 years.
You can, you can tell that'rein a crisis of keeping ourselves
having our society socialconnection or lack thereof, and
(02:38):
it just getting worse and worseand worse.
And so that's what this albumis about and it's about fear.
It's about anxiety about thefuture.
Where are things going?
Back in 2000, they had thosesame fears and unknowns that we
have today, and so that's whatwe're going to.
That's where you're going tohear today.
(03:00):
You're going to hear somereally great songs that don't
sound the way you take in, rockand roll, I mean.
In fact, I think at this timeTom York was thinking that rock
and roll was dead and there's norock on this album.
No matter what anybody says, Ihear a complete diversion from
(03:24):
that in the whole album.
So, like we always do, we'regoing to listen to all the songs
in order, and this is theserious part of the show, but
it's going to get lighter as wego along.
Tim's going to come in, we'regoing to talk, we're going to
riff, we're going to yuck it up.
We've got a ton of sound clips.
We're going to have a good time.
(03:46):
We're going to listen to allthe songs.
At the end we're going to rankthe top three non-hits.
I don't know if we even aregoing to define a hit on this
album.
When you look at the number ofdownloads.
Everything in Its Right Plays.
The first song which Tim isplaying has the most listens, at
least on Spotify.
How to Disappear Completely issecond, and then after that it's
(04:10):
a lot of just weird songs, butthey're great.
We love them.
I don't think there's a bad songon this.
I don't know Tree Fingers.
It's a little out there butpeople like it.
I've got some opinions, butmaybe listening to it in full,
I'm a little partial to nationalanthem.
The third song it seems to bekind of on the cusp of my list,
(04:32):
a little spoiler alert.
But um, like all these, after Ilisten to them at the end of it
you know the ones that Ithought I was gonna, they were
gonna, we're going to be my topthree.
You know that that completelygets turned on its head
sometimes and, who knows, maybethat'll happen.
But in any case, uh, what elsecan we say about this album
(04:53):
other than uh, um, yeah, it'sthe same same guys, same, uh,
same lineup.
Tom York got Phil Selway drums,all the same cats Nigel Godrich
(05:16):
produced, won a Grammy BestAlternative Album, nominated for
Grammy Award for for album ofthe year.
They were nominated.
They didn't get it.
They should have.
But, uh, what can I say?
Um, tom York had some writer'sblock, couldn't finish the songs
(05:36):
on the guitar becamedisillusioned and, uh, I think
that speaks to.
You know not a whole lot ofrock r to.
You know not a whole lot ofrock riffs, you know not nothing
like that.
But I think Tim did a prettygood job of the.
The acoustic version of it, Imean, you got the basic melody
and it was.
It was good, it was good stuff.
And he's got some definiteopinions and we're going to
(05:57):
we're going to hear from him howyou doing bud.
What do you want to get?
Some?
Speaker 4 (06:07):
shout outs or oh, what do you want?
Hello, yes, you got it.
You've got an agenda.
This is, this is a great album.
Got some shout outs here.
Shout out to those standing inthe shadows at the end of my bed
or any bed.
Shout out, uh, to the truepatriots out there who know what
the definition of the word isin these crazy times.
(06:28):
So the pitchforks have beentraded up for decisions that we
make with our enlightened minds.
Okay, Okay.
Shout out to those who keepcitrus crisper drawers by their
bed as well, and wake up suckingon limons okay and we have uh
shout out to everybody, uh, withthe ocd cleaners and tidiers
(06:53):
out there, yeah, everything inits right place indeed, uh,
shout out.
Uh, tom york, you know, ofcourse.
Shout out, uh, course, shoutout to everyone, shout out to
everything, shout out to everynotion in the universe.
Shout out to nine-year-olduniverse kid.
Speaker 2 (07:12):
Oh, yeah, yeah, we have some clips from him.
Shout out to.
Speaker 4 (07:16):
Alan Watts.
Maybe Shout out to Alan Watts.
Speaker 1 (07:18):
Yeah, we got it.
Speaker 4 (07:20):
Shout out to the plant caretakers Get your spider
plants before the 6G fries usall.
Speaker 2 (07:26):
What else Glad you got that one in.
Speaker 4 (07:27):
We have a shout out to Shout out to Johnny Greenwood
, mr Osmond.
Okay, mr Osmond, do we have the?
Well, it's your band teacher,right?
If he's still alive?
Yeah, he would not like thewhole national anthem.
Speaker 2 (07:44):
Anthem ending yeah at all.
But let's shout out to him,even if he were dead, yeah, yeah
, he's.
He was a great guy.
I'll have to look into that.
Speaker 4 (07:51):
He would if you made a mistake, you'd steal your
instrument from you and, uh, hewould play it right in front of
you like really loud with yourreed in the saxophone and you're
like, oh, that's so gross, yeah.
But you know, or would hechange it out?
(08:11):
Sometimes you'd change it out,he would change it out, but he
would make a big deal about it.
The reed on the on thesaxophone, I got you you know so
this, this album, we weretalking about it.
Uh, we're dealing withtechnology isolation modern
alienation modern alienation,yeah, um, well, I don't know the
(08:38):
answers to any of that, butlistening to this, I think, can
help you see it for what it isand identify it and maybe find
ways to um, you know, um, andjust pick it up and find
(08:59):
creation, because we all need tocreate, we all need to do
something to feel powerful,because the autonomy isn't
always there.
Speaker 2 (09:06):
Yeah, well, we don't want to be too alienated from
our work.
Yeah, and you know what, like Iwas just thinking about this
the other day, like sometimes,like I mean, I've got a
specialized um occupation andthe more that we're intertwined
with, you know, with uh,technology, the more I find
myself just clicking and pastingand clicking, clicking,
(09:30):
clicking, clicking all the time,and it's a lot of times you can
feel alienated from what youreally do and it's it kind of.
I think that's the what they'regetting at in very, in a very
vague and veiled way with thisalbum.
(09:51):
So let's just start off.
Are you ready to get into this?
Speaker 4 (09:54):
man, they're just too smart, radiohead, they're just
too smart.
I know Too intellectual fortheir own good, I know.
Um, yes, yeah, radiohead.
They're just too smart, toointellectual for their own good,
I know, yes.
Speaker 2 (10:03):
Here it is, you can hear.
Speaker 1 (10:19):
In a fantasy world.
Speaker 5 (10:27):
Right now we're inside a computer program.
Is it really so hard to believe?
Speaker 4 (10:31):
How are you kids doing?
Huh Good.
Speaker 3 (10:35):
A lot of action around here today.
Huh, what's up, what's up,what's up, what's up.
A lot of action around heretoday.
Huh, we'll stop it again.
You're gonna have me, mia.
Speaker 4 (10:46):
We'll stop Adam Adam's in on this album.
I can barely see you, george.
(11:12):
When's the next junk drawer?
The other day, oh, yeah, yeah.
What'd you find?
Oh a right place for everything.
Speaker 2 (11:26):
Shout out to Scarface .
Shout out to Tony Montana.
It's good for digestion.
Yeah, and his first meetingwith Sosa.
Speaker 4 (11:39):
He's sucking on that lemon.
Lemon helps with everything.
Yeah, like what Digestion?
Okay, which is everything?
Yeah, it is.
Everything has to be in itsright place the colon you know
the fistula.
Speaker 2 (11:53):
Oh no, the fistula ruins everything.
The crotchal region.
The crotchal region.
Shout out to James, my roommate.
He had a perineum surgery.
It's sort of like that partbetween the anus and the ball
sack, Not to be crude about it,but I guess there was some
(12:17):
fistula thing that was createdand they have to have surgery on
it.
So shout out to you man.
God bless you.
He had it today and he'srecovering from it right now as
we speak.
Thoughts around the world james.
Speaker 3 (12:35):
A heaven-heavenly urethra, living in the shadows,
living in the darkness.
What do you say?
Speaker 2 (12:59):
What you say, man.
I was born to love you.
Speaker 5 (13:05):
I was born to lick your face, man with a narrow and
you're reedy with.
Speaker 2 (13:10):
I was born to rub you , but you were born to rub me
first.
This, this isn't real.
Speaker 1 (13:22):
What do you me?
First this this isn't real.
What is real?
How?
Speaker 5 (13:26):
do you define real?
Speaker 4 (13:30):
This, because it's this.
Speaker 3 (13:38):
Yeah, I love that.
Speaker 4 (13:40):
Yeah, the little Me too.
They create like wind withtheir music, with their
instruments.
The electronicness of it yeah,there's all kinds of just
different instruments in this.
It screams Roger Waters, likePink Floyd too.
Speaker 1 (14:00):
In a fantasy world.
Speaker 4 (14:02):
How are you kids doing?
Huh Good.
Speaker 2 (14:05):
It's ambient kind.
Speaker 4 (14:06):
A lot of action around here today.
Huh, going on vacation.
You're leaving the house so Ican steal some stuff.
That's Home, home alone.
Joe Pesci, shout out, shout outto Joe.
Speaker 2 (14:22):
Pesci Shout to Johnny .
Speaker 4 (14:25):
Greenwood man.
He's coming into his own here,I know.
Speaker 2 (14:30):
On the on days, Martin?
No, she's playing the crap outof that.
Speaker 4 (14:34):
And then he goes into movie soundtracks, and you can
understand why for a lot ofreasons here the lateral rib
vibrato if you will.
Speaker 2 (14:49):
This is it's very renamed and lady, yeah, from
talking heads.
Speaker 4 (14:56):
oh interesting, good yeah, good reference.
Oh interesting, good reference.
That's good.
Bjorky, bjork, it's Bjorky,what do you say?
Speaker 2 (15:13):
Bjorky.
Speaker 4 (15:18):
It's like Morse code One slips away.
Speaker 3 (15:20):
Yeah, what I slipped on a little water.
Speaker 2 (15:30):
During the recording sessions, york read Ian
McDonald's Revolution in theHead, which chronicles the
Beatles' recordings of GeorgeMartin in the 1960s.
Yeah, this is Kid, a AlrightSong.
(16:16):
Kid, a Title Title track.
Song kid, eh, title track.
Do you know what this is about?
His vision of the first clonebaby, or at least according to
(16:38):
song facts, if it's true?
Speaker 4 (16:39):
yeah, okay, yeah, that makes sense, yeah.
Speaker 2 (16:46):
This song is about technology, both the
possibilities and dangers,questions of what it means to be
a human being Well, yeah, acloned human wouldn't have a
soul, so it'd be like a, a meatpuppet yeah, the ventriloquist
is that what that puppet uhreferences?
Speaker 4 (17:08):
okay, check out the big brain on uh tim all right,
well, you know, yeah, clonesit's uh, it's a thing yeah, it's
something I put out of my mind,you know there are theories out
there about people being cloned, and we're just not told about
(17:32):
it.
Speaker 2 (17:32):
Maybe yeah, there's test tube babies and what not.
Is that like a on PC termWestworld or whatever was like
sort of that there's test tubebabies and whatnot.
Speaker 4 (17:41):
Is that like an un-PC term?
Westworld or whatever was likesort of that, where they made
artificial clones?
They're like robotic peoplethat looked like people yeah.
Speaker 3 (18:00):
I don't know.
Oh, the rats and children willfollow me out of town.
Speaker 4 (18:08):
The rats and children will follow me out of town.
You're freaking me out.
The rats and children willfollow me out of town.
Are the rats coming under thebed?
I mean, where are the ratscoming from?
Yeah, I don't know my kids.
He says my kids, he's thesmelly kid in class.
Yeah, he's the smelly clone kid.
Speaker 2 (18:31):
You're freaking me out.
Yeah, I mean, what'd you say,man?
Yeah, maybe clones have.
Yeah, what is a clone?
I don't know.
Let's get all Alan Watts-yabout it.
Speaker 4 (18:45):
Let's get all nine-year-old discoverer.
Oh yeah, that kid.
Speaker 6 (18:49):
Oh, for sure.
If there really is anything inthe search, it's just.
It's an endless quest withoutknowing what your quest is.
Speaker 2 (18:59):
Yeah, this kid's like smarter than me at age three
and a half.
Speaker 4 (19:06):
Yeah, he's smart, he's tapped in.
Kids are tapped in, they aretapped in, we are too.
Speaker 2 (19:14):
We're just blocking it out.
Speaker 4 (19:19):
We just don't want to know how bad we're getting
fucked.
I think the daily exercisesthat I give you and you follow
the regimented vigor, you can bea child too.
Speaker 2 (19:35):
But does that kid say we don't have to do anything,
or something?
Speaker 6 (19:38):
Nobody can decide what you will do, except for you
.
Speaker 2 (19:44):
So we can decide.
Speaker 4 (19:47):
Everyone then Decide now let's go, Hurry up.
Speaker 2 (19:55):
Shout out to Phil Selway on the cymbals and snare
I like it.
Shout out to Phil Selway on thecymbals and snare I like it.
Speaker 4 (20:00):
Shout out to David Icke.
Shout out to DissolvingNational Borders.
Not right now, but you know.
Speaker 2 (20:18):
This bass line was written by Tom Yorick when he
was 16.
Speaker 3 (20:21):
What.
Speaker 2 (20:22):
Yeah.
Speaker 4 (20:24):
It's like Mingus-y.
Speaker 2 (20:32):
You're freaking me out.
Shout out to Charles Vegas.
Speaker 3 (20:54):
Are you, uh, you know holding, so you, you can never,
indefinitely know that youcannot do this.
Speaker 4 (21:12):
Even if the odds are stacked against you.
Alright, everyone.
Speaker 3 (21:18):
Everyone is so near.
Speaker 2 (21:22):
I thought you were going to go something down.
Everyone is so near Fear andlove.
Speaker 5 (21:30):
Fear is in the negative energy spectrum, and
love is in the negative energyspectrum.
Speaker 3 (21:49):
Yeah, this is the Charles Mingus part.
Speaker 4 (21:52):
I was wondering if you could hold something for me.
Hold this piece of knowledge.
Speaker 2 (22:02):
Chris coming at you.
Yeah, Charles Mingus, jazzmusician York, described Town
Hall concert as just fuckingchaos.
This is incredible tension andit was the most formative record
of the whole time.
Speaker 4 (22:20):
Like a traffic jam, that's right.
Right, mr Osmond, the trafficjam of your saliva down my, my
reed, do it again.
This time right, you'refreaking me out, you're freaking
me out.
Speaker 2 (22:39):
You're freaking me out.
Speaker 4 (22:42):
Often I sit and yearn .
Speaker 6 (22:55):
After they've discovered what's up there, they
know they're only a little partof this huge galaxy.
Speaker 3 (23:02):
So do you think?
Speaker 4 (23:18):
Mangus played piano and upright bass.
Speaker 2 (23:23):
Oh, charles Mingus, oh yeah, he did it all man.
Yeah, he did improvImprovisation.
Huh, he collaborated with DukeEllington, charlie Parker, Max
Roach, but he was an avant-gardeBass Jazz, mostly bass jazz.
Speaker 4 (23:46):
So every note Could be Predestined.
Speaker 6 (23:52):
It may be predestined , but you can change that
destiny.
Speaker 3 (23:56):
Thank you, Genius Kid .
Speaker 2 (23:58):
Change that destiny.
Thank you, genius kid.
Speaker 4 (24:03):
You can go into another jam, is what he's saying
.
Speaker 1 (24:20):
That's true.
Speaker 2 (24:23):
Fear and love.
Yeah, so didn't Tom York do the?
This is in front of a wholeorchestra and he was doing the
directing, but he can't directand so it was just chaos
intentionally.
Speaker 4 (24:30):
Yes, they would jump if they wanted to go faster and
make calming sounds.
Shout out to the Frenchnational team.
Yeah, that little thing at theend, marcel Zad was the french
national team.
Yeah, little thing at the end.
Yeah, marcelo's dad was thefrench national team.
Yeah, benzema zidane, you know.
Alonso font de la patria, uh,dembele shout out the french
(24:52):
national team oh, okaydissolving racism through coming
together in a game.
Speaker 2 (25:04):
It's getting pretty bad, that whole that scene.
I hope it's turning the corner.
Yeah, don't Be cool, just becool.
Speaker 4 (25:14):
Just because you're born somewhere doesn't mean you
can have fake pride about shit.
Speaker 2 (25:19):
Yeah, born somewhere doesn't mean you can have fake
pride about shit.
Speaker 3 (25:26):
Think win-win, yeah, don't.
Oh, that's not me, that's notme I need to hold it longer.
I go.
Speaker 4 (25:52):
It's catcher in the rye shit here.
Yeah when I flee.
Speaker 2 (26:01):
It's very soulful.
It's just simple linesintertwining.
I walk through all.
Speaker 4 (26:11):
Hopefully he's got a raft for the Liffey.
Yeah, I float down the Liffey.
Shout out to the drunk kids atTemple Bar in Dublin.
Don't go in the Liffey tonight,all right, don't do it.
Speaker 3 (26:34):
This isn't happening.
Speaker 2 (26:41):
We have to tell our listeners what a Liffey is.
Now it's a river.
Oh yeah, of course I knew that.
Speaker 3 (27:08):
It's the river in Dublin.
Mine would look better in there.
Speaker 4 (27:21):
Stay in there, stay in there, tom and everybody
listening.
Speaker 3 (27:31):
Stay with us.
Speaker 4 (27:32):
It's gone, oh shit, it's gone.
Speaker 2 (27:35):
Forget it, this isn't happening.
Speaker 3 (27:51):
It's here.
Speaker 6 (27:55):
What happened to soda ?
Speaker 3 (28:01):
I thought we all agreed on soda.
I'm not here.
I'm not here.
I'm not here.
(28:22):
Strong last Lord speaketh.
Speaker 6 (28:31):
Be silly, darling Light of my life.
Speaker 3 (28:47):
I'm not gonna, I'm not gonna.
Speaker 4 (28:55):
This is kind of like Scatterbrain on their other
future album, scatterbrain,which I really like.
Yeah, violin, it's.
This is an anti rock song yeah,it's very beautiful.
Speaker 2 (29:19):
You know it should be called.
Oh, this place is called theLip-on-Luff-Pum-Pling.
Speaker 4 (29:25):
How do you get your love-pum-pling, the Lip-on-Pling
, if you're not even there?
Though, if you're not there, ifyou're not here, I get it.
Speaker 2 (29:36):
There's a fine line between clever and stupid, right
, let's just go back and forthwith Spinal Tap, but you're
right.
Speaker 4 (29:49):
Blown speakers, strobe lights, fireworks,
hurricanes, charles Mingus, basslines, oh yeah, yeah, it's got
it all.
Speaker 2 (30:08):
This is very shiny-ish.
Speaker 5 (30:18):
Oh.
Hey, violinist Just saying letit out, give it some air.
Man Play with it.
Speaker 2 (30:35):
Yes, so beautiful, very, very lovely.
How to Disappear Completely wasthat one.
It's a good breakup song.
This is Tree Fingers.
I'm a tree fingers scotchdrinker.
Not one finger, not two fingers, not four fingers, but tree
fingers.
Speaker 4 (31:08):
I feel like I'm in like a bog.
I know, yeah, we're like here,but like you're, you're coming
out of the bog Like there's likea sliver of sunlight through
some trees, and you're likewading through a bog.
Speaker 2 (31:26):
Oh, okay, that's the image that you have in your head
.
Speaker 4 (31:28):
It almost took you out.
It almost just like totallysucked you down In a good way,
right, but then you got out ofit.
Like you know, you're just likeout of the bog.
Speaker 2 (31:40):
I thought you meant literally.
Speaker 4 (31:42):
You're in a forest, you're very warm.
Speaker 2 (31:47):
You're with Heather, all right, I knew you'd kill a
rat.
I'm digging tree fingers.
Speaker 4 (32:01):
It's one of the best ambience.
Yeah, if you want another songto compare it to or from another
era, it could be.
What was it that David Bowiesong Moss Garden on his Heroes
(32:25):
album?
Oh, which was Brian Eno?
Yeah, I was going to say itsounds like Brian Eno.
This is very Moss Garden.
Yeah, tree Fingers same deal.
Yeah, I mean, this is stuffthey play at the spa, right, not
my spa, but yeah, no, I've beentrying to get them to play this
.
Speaker 2 (32:44):
I'm talking about spas that Stop, yeah, spas that
don't have happy endings.
Speaker 4 (32:49):
I'm just like hey, spa.
Speaker 5 (32:50):
Just saying let it out, Give it some air.
Speaker 2 (32:55):
Okay.
Speaker 4 (32:59):
You're referencing the towel and the air after the
towel drops.
Wait just a minute so.
But yeah, this is experiencingtechnical difficulties here.
Do you want to do like a?
Speaker 2 (33:14):
one minute meditation .
We could do that, I'll try, andthen we'll finish it off with a
.
Like a one minute meditation.
We can do that, I'll try, andthen we'll finish it off with a.
A wait, just a minute and wecan get back into it.
But let's clear our heads,let's go.
If the mind wanders, just bringit back to the breathing.
(33:52):
©.
Speaker 5 (34:24):
BF-WATCH TV 2021.
Speaker 2 (34:25):
I'll wait just a minute.
All right, yeah, we got that inthere, okay so this is.
Speaker 3 (34:29):
That was so great, that was good.
Yeah, we needed it.
Speaker 2 (34:32):
Wow, all right, it's optimistic.
Speaker 4 (34:34):
Here we go, shout out to the divine frequencies on
that one.
That was great, yeah, not onlyin this song, but floating
around us and whatnot.
Speaker 2 (34:49):
The drums are what I'm digging about this record.
Speaker 4 (34:53):
Selway, yeah, selway, yep, I'm a Selway fan.
Yeah, ed O'Brien gets the riffon this one.
Speaker 2 (35:05):
Yes, he does Just right.
He doesn't get much with therest of the album, but he does a
good job of singing.
Speaker 3 (35:12):
I thought you were circling the deck Picking up
every last crumb.
Big fish eat the little ones.
They're picking up every lastcrumb.
Big fish eat the little ones.
Speaker 4 (35:30):
Big fish eat the little ones, Not my problem kid
Little capitalism poke.
Speaker 2 (35:35):
You can try the best you can, you can try the best
you can.
It's just like so downtroddenthe best you can, you can try to
best you can.
This is like so downtrodden.
Speaker 4 (35:42):
It's like this is shout to thunder.
This is best you can.
Yeah, best you can is goodenough.
You know I'm not going to winevery game this season, but
thanks, tom, thank you, thanksTom, thank you, thanks Rick.
Speaker 2 (36:08):
I'm hearing a lot more on this one.
Speaker 3 (36:14):
This song from previous listens.
Speaker 4 (36:18):
Time to get creepy.
Oh the swamp, there it is.
He's referencing the swamp thatI was talking about.
Oh the swamp, there it is.
He's referencing the swamp thatI was talking about.
Yeah, there you go.
Whoa, maybe that wassubconscious Animal Farm.
Yeah, Shout out to Orwell.
Orwell knew he was going to geta podcast.
Shout out yeah From thegreatest non-hits.
(36:39):
That's right, we're trying ourbest, george Okay.
Speaker 2 (36:51):
We're trying our best .
Speaker 1 (37:02):
He's probably saying the best you can is definitely
not good enough.
This is Living in the shadows,living in the darkness.
What is real?
Speaker 5 (37:17):
No, wow man.
Right now we're inside acomputer program.
Speaker 4 (37:28):
I'm a man.
Speaker 3 (37:43):
I'm a man, man, I'm a man.
Speaker 2 (37:47):
I'm a man.
Speaker 3 (37:54):
That's second guy.
Speaker 4 (37:56):
Oh, it's good enough, gosh.
Speaker 1 (38:03):
How do you?
Speaker 3 (38:04):
define real.
I'm a man, the earth, the earth, the earth.
Speaker 1 (38:19):
Thank you.
Speaker 2 (38:20):
Alan the Earth.
Speaker 1 (38:25):
Thank you, alan the Earth Earthlings.
This is the Trigger, a Martianexploration vehicle Inside three
(38:53):
men from Earth.
Speaker 4 (38:59):
Oh yeah, Phil, that little.
Thing.
This kind of slows it down alittle bit.
This is rock.
This has a little rock on it.
Yeah, this is a rock song, andnow I wanted to keep this little
segue in mind here, one of thecoolest of all time this one,
(39:22):
right, yeah.
Speaker 2 (39:23):
Yeah, it's cool.
It sets the mood here.
This is your kind of thing forlimbo, yeah, but here's a
transition.
Optimistic change is over.
It's optimistic Right Right now.
Now we're in limbo, okay.
Speaker 4 (39:44):
All right, we're in limbo.
Hello Houston, we're in limbo.
Speaker 2 (39:50):
The limbo.
Speaker 4 (39:57):
Lundy FastNet IRC.
I got a message I can't readHunter Reed.
Speaker 2 (40:09):
Shout out to Oxfordshire.
Speaker 4 (40:18):
Yes, good riff, wow so surreal.
Yes, good riff, wow so surreal.
Uh-huh, it's tempting to wantto sing like Tom all the time.
Speaker 1 (40:47):
In a fantasy world.
In a fantasy world.
Speaker 4 (40:59):
I didn't realize for the longest time there was
another word after fantasy.
I thought it was just sayingyou're living in a fantasy.
But you can hear it, it goeswell.
Duh, it kind of changes that alittle bit.
Speaker 2 (41:11):
Yeah, it's kind of cool, it goes down.
Speaker 4 (41:16):
I'm lost at sea.
I bet your blood sugar'sspiking low.
Speaker 3 (41:24):
Will somebody get you to the Happy Meal?
I've lost my way.
Speaker 2 (41:32):
I've lost my way.
Ladies and gentlemen, Tim onthe sound banks.
Speaker 4 (41:44):
Talking to myself here.
Yeah, talking to myself.
Speaker 2 (41:49):
It'd be cool if we could make an instrument that
was just a bunch of sound banks.
It's like thousands of littlethings.
You can just play the soundbank.
Yeah, I play sound banks, youcan, yeah.
You can just play the soundbank.
Yeah, I play sound bank, youcan.
Yeah, you probably could.
Speaker 4 (42:05):
There's the drumitar.
Yeah, shout out to Future man,he's created it.
Nice, shout out to Future man,it's drum beats that he programs
into each little button aroundit.
Oh yeah, it's got like a drumguitar, right, it just taps.
Yeah, yeah, yeah, we can dothat.
Speaker 2 (42:25):
Yeah, a drum guitar could be applicable with the
sound.
Yeah, that'd be wild.
Speaker 4 (42:31):
See, now we're creating our own fantasy.
Speaker 2 (42:34):
Yeah, exactly, we're in limbo right now, as you can
tell.
Speaker 3 (42:42):
I can barely see you exactly.
We're in limbo right now, asyou can tell.
I can barely see you, george.
What'd you?
Speaker 2 (42:54):
say man Come back.
Speaker 5 (42:59):
That's what that was I need all of you to stop what
you're doing and listen.
Speaker 2 (43:14):
Oh, wow, okay, Alright, wow, this is a good
segue.
Like limbo into, this isidiotic, this is.
It's getting so techy.
It's getting techy it is.
He's in a bunker.
Speaker 4 (43:34):
I think this is electronic dramas On this one
one for sure.
Speaker 2 (43:54):
This was made 25 years ago.
They did a really good job.
I can see why it's ranked sohigh in the top 20.
Speaker 4 (44:04):
Tom York describes this as the happiest song he's
ever written the happiest.
This song takes place in abunker during what appears to be
an apocalypse.
Yeah, I don't know.
You fill in the gaps.
Speaker 5 (44:33):
Okay, yeah, look who's got Smatpak.
Speaker 2 (44:45):
Smatpak.
Look who's got SmartPak,smartpak.
But we have.
Speaker 3 (44:49):
SmartPak.
Speaker 2 (44:50):
I know it's an apocalypse.
Speaker 4 (44:54):
Fuck you car.
Get out, get in this bunker,all right.
Yeah, it's an apocalypse.
It's an apocalypse, all right.
Yeah, it's an apocalypse.
It's an apocalypse, all right.
The ice age is coming, babe,come on.
Speaker 2 (45:09):
I gotta hit both sides.
Speaker 4 (45:12):
This other scientist says some other bullshit.
This is really happening,happening.
Speaker 2 (45:40):
Mobiles working, Mobiles shopping.
Take the money run.
Take the money run.
Take the money.
Here I am, and it's an hour Tothe time.
It's crazy.
Yeah Well, we don't have to gothere.
Did you ever say I could bealive?
(46:01):
It's crazy.
No Well, we don't have to gothere.
Speaker 4 (46:07):
That was it's happening in this song
Everything all the time, so younever definitely know that you
cannot do this.
Speaker 3 (46:25):
Wow.
Speaker 2 (46:38):
What are these synths , man?
They're just.
Yeah, johnny Green would createa drum machine using
synthesizer modules similar tothose available in the 1970s,
using components such as filtersto create and shape sounds.
It's quite amazing.
Yes, it's quite amazing.
Speaker 4 (47:03):
Yes, recorded 50 minutes of improvisation and
gave it to York, who took theshort sequence and used it to
write the song.
What?
Oh cool, yeah, these are justlike.
It's a section of about 40seconds.
That he was like.
That was absolutely genius andI cut that up so funny, oh my
God.
Yeah, and then they add thislittle weird organ.
(47:25):
Yeah, yeah, so this is like 40seconds in the middle of this
sample, which wouldn't have beencreated if Johnny hadn't just
been a madman seconds in themiddle of this sample, which
wouldn't have been created ifJohnny hadn't just been a madman
on Like a, he's literallycreating new machines and new
(47:51):
ways to use machines.
Yeah, in this album.
Speaker 2 (47:56):
It's also in a 5-4 time signature so it creates a
grouping dissonance against theoriginal 4-4, like a four on the
floor yeah so there's a littletension there.
Speaker 4 (48:06):
It's not quite another great segue here, okay,
is it?
Speaker 2 (48:14):
morning bell, right.
Okay, yeah, is it Morning Bell,right?
Speaker 4 (48:24):
We're going into Morning Bell now it's still
ending.
Yeah, I see a faint out there.
Speaker 2 (48:41):
Subtle lines intertwining.
Speaker 4 (49:02):
Great drums on this.
Great drum on this.
It's a flash of green light onthis.
It's just like a globule.
Speaker 5 (49:11):
Just saying let it out, give it some air, man Play
with it, keep the furniture.
Speaker 4 (49:19):
Thanks for the furniture, yeah.
Speaker 5 (49:22):
Just saying, let it out, Give it some air.
Oh wait, just a minute.
Speaker 4 (49:54):
This is a very well-mannered release me request
.
Shout out to Morning.
Speaker 5 (49:57):
Bell on Amnesiac.
Look who's got Smat Pack, smatPack Look who's the Garden?
Speaker 6 (50:03):
Packed it Zagos.
Packed it Swampscott.
Speaker 2 (50:05):
Revere the Haber.
Are you kidding me?
I packed it and then unpackedit.
Speaker 4 (50:12):
Your clothes are in the car.
Your clothes are on thefurniture.
Speaker 5 (50:28):
Saucy Jack.
Speaker 4 (50:42):
Round and round and round.
Cut the kids in half.
Cut the kids in half.
See you around.
Spotify says got the kids inhalf, Got the kids in here.
It's.
Cut the kids in half Round andround and round.
Speaker 3 (51:07):
They go around again.
They just go round and round.
Speaker 4 (51:12):
Round and round.
Shout out to Bells and theirhealing qualities.
Absolutely, that's a good one.
Tetrahedron.
Speaker 2 (51:30):
Shout out to the bows too.
Shout out to the Walkers.
Speaker 4 (51:42):
Shout out to Walker Texas Ranger, he's a radio fan.
Shout out to Mountain Dew thelights are on, but nobody's at
home, at home.
Speaker 2 (52:06):
And the guitar gets a little, gets a little creepy,
okay, walking no-transcript.
Speaker 4 (52:23):
Walking, walking, walking, walking, walking,
walking, walking, walking,walking, walking, walking,
walking, walking, walking,walking, walking, walking,
walking.
Oh man, this one might beedging into my oh, this is doing
(52:43):
it for you.
Oh, I don't know that lastminute of that with the walking
walking, oh yeah, okay, like thecrazy, like wildness, was quite
an an experience this one.
Speaker 2 (53:03):
I had an experience with this motion picture
soundtrack a couple days ago.
I thought like it was like forsure, this is gonna be my top
three I mean I love you know, Ilove this song.
Speaker 4 (53:13):
That's great.
I know there's it's.
It's their wolf of the door,sort of how to disappear
completely.
Speaker 2 (53:27):
Hit me tonight you know kind of like the way that
that last one did for you yeahand morning bell, but it's so
hard to choose honestly,honestly.
I know, but I need to give thissong my full attention.
I think in fairness.
Speaker 3 (53:51):
Yeah, cheap sex and cell phones Help me get rid of
the curse.
Speaker 6 (54:09):
I think you're crazy.
Speaker 3 (54:22):
Maybe I think you could, I think you could.
Speaker 1 (54:34):
You're crazy.
Speaker 3 (54:35):
I like you, but you're crazy.
Baby, baby, oh wow, it'sperfect.
Crazy sound effects going onhere.
Speaker 4 (55:00):
Yeah, crazy sound effects going on here.
Chimes, what is that Harp?
It's a harp.
Speaker 3 (55:04):
I think yeah.
Speaker 2 (55:09):
I'm going to say harp without looking at the internet
.
Speaker 3 (55:23):
Here internet.
That sounds sad.
(55:48):
I will see you in the next life.
Oh, I'm getting a littleverklem.
Oh, I'm getting a littleverklem.
Speaker 6 (55:51):
I don't know for sure if there really is anything in
the search.
It's just, it's an endlessquest without knowing what your
quest is.
Speaker 2 (56:06):
Ah Okay, I'm going to get you right here In the
Ginecogazoink.
Speaker 4 (56:16):
Right here, mmm, is that it no?
Speaker 2 (56:19):
Okay, well, we get this.
Speaker 4 (56:21):
We have.
This is like a 52 second.
Speaker 2 (56:23):
Thing.
Speaker 4 (56:24):
So palate cleanser.
Speaker 2 (56:25):
Yeah, A little palate cleanser.
There we go.
I don't know if you can doguided meditation or not.
Not to this.
Maybe we'll just.
Speaker 4 (56:32):
You can sit and yearn .
Yeah, often I, I, yeah, often Isit and yearn, sort of like a.
What would you describe this as?
Like a?
Speaker 2 (56:45):
Yeah, like a transcendence from consciousness
to the afterlife.
Speaker 4 (56:52):
It's sort of yeah, almost, if you're on the good
side of it, it's an inspiring.
I was going to say somethingless deep, but yes, okay, sorry
man, no, I mean it's there, youknow.
Speaker 2 (57:11):
All right, Okay cool.
So that's it, man.
Speaker 4 (57:16):
They wrapped a bow on it with this sort of like
beautiful yeah, crescendo, orsomething a calling crescendo.
Speaker 2 (57:26):
Okay, yeah, I mean, that's what you want to put it.
Speaker 4 (57:28):
Yeah, spiritual action.
Speaker 2 (57:29):
Yeah, no, that was good, that was good, that was
deep.
Speaker 4 (57:35):
I got there.
Speaker 2 (57:35):
Yeah, yeah, you got yeah, you got there barely, so
we got to look at our top three.
What's your number three?
Yeah, you can take your time.
Speaker 4 (57:45):
The other.
Yeah, think about it.
What did I say the other day?
Speaker 2 (57:48):
I mean, I mean, I think I'm know what I'm pushing
out.
Oh well, there's oh man, thisis gonna be hard.
This is gonna be harder than Ithought.
Speaker 4 (58:07):
I don't know, I really don't know.
I mean, on this one, thislisten might've been slightly
different.
But no, I'm going to go, I'mgoing to kick Anthem off.
Anthem was three, okay, sothat's how honorable mention?
Speaker 2 (58:30):
Okay, yeah, and so many good, so so much goodness
in that song Right, but I'mgoing morning bell number three
oh, song Right, and you gotta,you gotta, but I'm going morning
bell number three.
Speaker 4 (58:41):
Oh wow, okay, you know, living downtown, where'd
you park the car?
Speaker 3 (58:47):
Where'd you park the car?
I know, I think, that.
Speaker 2 (58:51):
Boston accent.
That was good.
Yeah, that was.
I liked that.
Yeah, you, you're making a casefor it as well, but I'm going
to go in a different direction.
Speaker 4 (58:58):
I've got the groceries.
Walk in, walk in to my house,walk in.
Speaker 3 (59:02):
Okay, all right.
All right, what do you?
Speaker 2 (59:03):
got.
Got that motion picturesoundtrack for me it was just
yeah, it's, it's just sotouching, it's, it makes you
sentimental it makes you feel sojoyous.
We don't know how to expressourselves Of the fond memories
(59:24):
of the deceased, a picture inyour head that they're in a
blissful state.
It makes me hopeful that thosethat have left us are in a good
place.
Speaker 4 (59:41):
I absolutely love that.
All right done thanks, man damn, uh, number two for you you're
getting me all in the feels here.
I don't know, uh, shit, um, I'mgonna go.
Uh, you know, you mentionedafterlife.
What about the in limbo stage?
Lin linda, in limbo too?
Speaker 2 (59:59):
here for me.
Speaker 4 (01:00:00):
Yeah, oh wow this sort of you know, in limbo okay,
that in between stage, thatthat people don't know about.
Uh, what do they call that inreligion?
Uh, yeah, in purgatory,purgatory okay, yeah, yeah,
shout out to all those inpurgatory, I'm going.
Limbo number two, okay.
Speaker 2 (01:00:21):
Hey, no, it's good to be on the purgator's side.
You're not.
It's trippy yeah.
Speaker 4 (01:00:26):
It's psychedelic and it was tapped into the source.
Yeah.
Speaker 2 (01:00:40):
Yeah, I sometimes feel like you and I man we're
probably on the purgatory track,I don't know, man it's like
it's like for yourself, no, no,no.
Yeah, you're right, yeah, no,no no, you're going, yeah you're
, you're in, you're going upinto the heavens.
You god bless you.
You know you're, I know it'sgonna be me.
I'm the guy that's gonna bestuck there.
I just stop.
It's just gonna be stuck there.
I'll stop.
It's just going to be lightsout.
Speaker 1 (01:00:57):
I don't know who knows.
Speaker 2 (01:01:00):
No, no, no, I'm hopeful.
Speaker 3 (01:01:01):
It's a big man's list , hilarious Okay.
Speaker 2 (01:01:04):
All right, so I'm going number two, the National
Anthem.
Oh, nice.
Yeah, the chaos of the horns.
It had that cool bass line.
It's so musical and the hornslike Charles Mingus, it's very
artful.
So number two for me Love that?
Speaker 4 (01:01:23):
Yep, all right.
You know I do love tree fingerssometimes and it could be, you
know, but no Kid A Really.
Oh my gosh, the chimes, thedelicateness of the song.
I know there's also a bluegrassversion I'm drawing a blank on
(01:01:48):
the artist, but if you YouTubebluegrass Kid A you could find
it.
So hopefully they get someredirect there.
Yeah, shout out to those guys,yeah, it's shadowy, so hopefully
they get some redirect there.
But yeah, shout out to thoseguys.
Yeah, it's shadowy, it makesyou think about science and
technology and singularity youthink of you as a kid in the
(01:02:15):
endless possibilities.
Even maybe I don't know Right.
Speaker 2 (01:02:19):
Oh, wow, that that was.
That was deep, that was deepman.
All right, good, yeah, youended on a high note, yeah, okay
, yeah, I'm gonna.
I mean in my this is not gonnabe a high, I'm not gonna outdo
what he just did.
Um, I just liked idiotech wasmy number one, nice um here I'm
alive yeah.
Yeah, everything.
Speaker 5 (01:02:39):
Wow, that's interesting yeah.
Speaker 2 (01:02:42):
Like that whole beat.
You can hear the whole historythereafter from that song.
I bet you a lot of trance, alot of EDM, a lot of that stuff
is present or or this.
You can tell the influence thatthis had on the whole EDM genre
(01:03:03):
.
If this album hadn't been made,a lot of other music you know
thereafter that's out therewouldn't, wouldn't have been
possible.
Speaker 4 (01:03:12):
Yeah, and.
Speaker 2 (01:03:13):
I think that's gets to the crux of why this album is
ranked number 20 out of 500 onthe rolling stone list.
I mean not that you know not topromote them or give them
credit or any, but it is.
Speaker 4 (01:03:25):
I mean, that's how yeah transformative you know
this album was, and just at apoint that they, the band
members, were themselves, youknow, making this music to thus
get even better and hone theircraft, to make future albums
which continued to bend, uh, thereality of what can be expected
(01:03:48):
and what's possible.
So yeah, man.
Speaker 2 (01:03:51):
And who's to say there is a reality?
There is no reality, there'sonly the perception of reality.
But it's yeah, there we go, allright, and we ended on that.
Speaker 4 (01:04:00):
Yeah, yeah, that was good.
Yeah, we should.
No, that was too good.
All right, that was good,that's all.
Speaker 2 (01:04:04):
Right, man all right, thanks for listening.
The Earth.
This vast interconnected systemof life is not divided into
fragments, but is a continuousflow, a dance that never stops.
Now take a moment and considerthis you are not a separate
observer of life.
You are life observing itself.
(00:25):
The very idea that you aredifferent from the world around
you is a mental construct, anidea built over time by our
thoughts, language andconditioning.
In reality, you and I, thetrees and the rivers, the stars
and the clouds, are all part ofthe same web of existence.
Speaker 2 (00:48):
All right, thank you for listening to the Greatest
Non-Hits.
I'm Chris and playing a rifffrom Everything in Its Right
Place from the Kid A album fromRadiohead is my co-host Tim from
(01:09):
Radiohead is my co-host Tim.
Kid A is a masterpiece, ranked20th out of the Rolling Stones
top 500 albums of all time,recorded, I think, on October of
2000.
So it was right at thebeginning of the decade and you
can hear a lot of influence inEDM that derived from this album
(01:30):
and the more you listen to it,the more it sticks with you and
it's so thought.
I mean it's so.
I mean there's something aboutit.
I don't know what it is, justthe way it's.
So I mean there's somethingabout it.
I don't know what it is, justthe way it's so intentionally
ambiguous and fragmented,fragmented lyrics.
(01:51):
It all comes together in just away in which you can tell that
(02:12):
this is about technology,technological overload, our what
would I say?
Just the way things haveevolved over the last 25 years.
You can, you can tell that'rein a crisis of keeping ourselves
having our society socialconnection or lack thereof, and
(02:38):
it just getting worse and worseand worse.
And so that's what this albumis about and it's about fear.
It's about anxiety about thefuture.
Where are things going?
Back in 2000, they had thosesame fears and unknowns that we
have today, and so that's whatwe're going to.
That's where you're going tohear today.
(03:00):
You're going to hear somereally great songs that don't
sound the way you take in, rockand roll, I mean.
In fact, I think at this timeTom York was thinking that rock
and roll was dead and there's norock on this album.
No matter what anybody says, Ihear a complete diversion from
(03:24):
that in the whole album.
So, like we always do, we'regoing to listen to all the songs
in order, and this is theserious part of the show, but
it's going to get lighter as wego along.
Tim's going to come in, we'regoing to talk, we're going to
riff, we're going to yuck it up.
We've got a ton of sound clips.
We're going to have a good time.
(03:46):
We're going to listen to allthe songs.
At the end we're going to rankthe top three non-hits.
I don't know if we even aregoing to define a hit on this
album.
When you look at the number ofdownloads.
Everything in Its Right Plays.
The first song which Tim isplaying has the most listens, at
least on Spotify.
How to Disappear Completely issecond, and then after that it's
(04:10):
a lot of just weird songs, butthey're great.
We love them.
I don't think there's a bad songon this.
I don't know Tree Fingers.
It's a little out there butpeople like it.
I've got some opinions, butmaybe listening to it in full,
I'm a little partial to nationalanthem.
The third song it seems to bekind of on the cusp of my list,
(04:32):
a little spoiler alert.
But um, like all these, after Ilisten to them at the end of it
you know the ones that Ithought I was gonna, they were
gonna, we're going to be my topthree.
You know that that completelygets turned on its head
sometimes and, who knows, maybethat'll happen.
But in any case, uh, what elsecan we say about this album
(04:53):
other than uh, um, yeah, it'sthe same same guys, same, uh,
same lineup.
Tom York got Phil Selway drums,all the same cats Nigel Godrich
(05:16):
produced, won a Grammy BestAlternative Album, nominated for
Grammy Award for for album ofthe year.
They were nominated.
They didn't get it.
They should have.
But, uh, what can I say?
Um, tom York had some writer'sblock, couldn't finish the songs
(05:36):
on the guitar becamedisillusioned and, uh, I think
that speaks to.
You know not a whole lot ofrock r to.
You know not a whole lot ofrock riffs, you know not nothing
like that.
But I think Tim did a prettygood job of the.
The acoustic version of it, Imean, you got the basic melody
and it was.
It was good, it was good stuff.
And he's got some definiteopinions and we're going to
(05:57):
we're going to hear from him howyou doing bud.
What do you want to get?
Some?
Speaker 4 (06:07):
shout outs or oh, what do you want?
Hello, yes, you got it.
You've got an agenda.
This is, this is a great album.
Got some shout outs here.
Shout out to those standing inthe shadows at the end of my bed
or any bed.
Shout out, uh, to the truepatriots out there who know what
the definition of the word isin these crazy times.
(06:28):
So the pitchforks have beentraded up for decisions that we
make with our enlightened minds.
Okay, Okay.
Shout out to those who keepcitrus crisper drawers by their
bed as well, and wake up suckingon limons okay and we have uh
shout out to everybody, uh, withthe ocd cleaners and tidiers
(06:53):
out there, yeah, everything inits right place indeed, uh,
shout out.
Uh, tom york, you know, ofcourse.
Shout out, uh, course, shoutout to everyone, shout out to
everything, shout out to everynotion in the universe.
Shout out to nine-year-olduniverse kid.
Speaker 2 (07:12):
Oh, yeah, yeah, we have some clips from him.
Shout out to.
Speaker 4 (07:16):
Alan Watts.
Maybe Shout out to Alan Watts.
Speaker 1 (07:18):
Yeah, we got it.
Speaker 4 (07:20):
Shout out to the plant caretakers Get your spider
plants before the 6G fries usall.
Speaker 2 (07:26):
What else Glad you got that one in.
Speaker 4 (07:27):
We have a shout out to Shout out to Johnny Greenwood
, mr Osmond.
Okay, mr Osmond, do we have the?
Well, it's your band teacher,right?
If he's still alive?
Yeah, he would not like thewhole national anthem.
Speaker 2 (07:44):
Anthem ending yeah at all.
But let's shout out to him,even if he were dead, yeah, yeah
, he's.
He was a great guy.
I'll have to look into that.
Speaker 4 (07:51):
He would if you made a mistake, you'd steal your
instrument from you and, uh, hewould play it right in front of
you like really loud with yourreed in the saxophone and you're
like, oh, that's so gross, yeah.
But you know, or would hechange it out?
(08:11):
Sometimes you'd change it out,he would change it out, but he
would make a big deal about it.
The reed on the on thesaxophone, I got you you know so
this, this album, we weretalking about it.
Uh, we're dealing withtechnology isolation modern
alienation modern alienation,yeah, um, well, I don't know the
(08:38):
answers to any of that, butlistening to this, I think, can
help you see it for what it isand identify it and maybe find
ways to um, you know, um, andjust pick it up and find
(08:59):
creation, because we all need tocreate, we all need to do
something to feel powerful,because the autonomy isn't
always there.
Speaker 2 (09:06):
Yeah, well, we don't want to be too alienated from
our work.
Yeah, and you know what, like Iwas just thinking about this
the other day, like sometimes,like I mean, I've got a
specialized um occupation andthe more that we're intertwined
with, you know, with uh,technology, the more I find
myself just clicking and pastingand clicking, clicking,
(09:30):
clicking, clicking all the time,and it's a lot of times you can
feel alienated from what youreally do and it's it kind of.
I think that's the what they'regetting at in very, in a very
vague and veiled way with thisalbum.
(09:51):
So let's just start off.
Are you ready to get into this?
Speaker 4 (09:54):
man, they're just too smart, radiohead, they're just
too smart.
I know Too intellectual fortheir own good, I know.
Um, yes, yeah, radiohead.
They're just too smart, toointellectual for their own good,
I know, yes.
Speaker 2 (10:03):
Here it is, you can hear.
Speaker 1 (10:19):
In a fantasy world.
Speaker 5 (10:27):
Right now we're inside a computer program.
Is it really so hard to believe?
Speaker 4 (10:31):
How are you kids doing?
Huh Good.
Speaker 3 (10:35):
A lot of action around here today.
Huh, what's up, what's up,what's up, what's up.
A lot of action around heretoday.
Huh, we'll stop it again.
You're gonna have me, mia.
Speaker 4 (10:46):
We'll stop Adam Adam's in on this album.
I can barely see you, george.
(11:12):
When's the next junk drawer?
The other day, oh, yeah, yeah.
What'd you find?
Oh a right place for everything.
Speaker 2 (11:26):
Shout out to Scarface .
Shout out to Tony Montana.
It's good for digestion.
Yeah, and his first meetingwith Sosa.
Speaker 4 (11:39):
He's sucking on that lemon.
Lemon helps with everything.
Yeah, like what Digestion?
Okay, which is everything?
Yeah, it is.
Everything has to be in itsright place the colon you know
the fistula.
Speaker 2 (11:53):
Oh no, the fistula ruins everything.
The crotchal region.
The crotchal region.
Shout out to James, my roommate.
He had a perineum surgery.
It's sort of like that partbetween the anus and the ball
sack, Not to be crude about it,but I guess there was some
(12:17):
fistula thing that was createdand they have to have surgery on
it.
So shout out to you man.
God bless you.
He had it today and he'srecovering from it right now as
we speak.
Thoughts around the world james.
Speaker 3 (12:35):
A heaven-heavenly urethra, living in the shadows,
living in the darkness.
What do you say?
Speaker 2 (12:59):
What you say, man.
I was born to love you.
Speaker 5 (13:05):
I was born to lick your face, man with a narrow and
you're reedy with.
Speaker 2 (13:10):
I was born to rub you , but you were born to rub me
first.
This, this isn't real.
Speaker 1 (13:22):
What do you me?
First this this isn't real.
What is real?
How?
Speaker 5 (13:26):
do you define real?
Speaker 4 (13:30):
This, because it's this.
Speaker 3 (13:38):
Yeah, I love that.
Speaker 4 (13:40):
Yeah, the little Me too.
They create like wind withtheir music, with their
instruments.
The electronicness of it yeah,there's all kinds of just
different instruments in this.
It screams Roger Waters, likePink Floyd too.
Speaker 1 (14:00):
In a fantasy world.
Speaker 4 (14:02):
How are you kids doing?
Huh Good.
Speaker 2 (14:05):
It's ambient kind.
Speaker 4 (14:06):
A lot of action around here today.
Huh, going on vacation.
You're leaving the house so Ican steal some stuff.
That's Home, home alone.
Joe Pesci, shout out, shout outto Joe.
Speaker 2 (14:22):
Pesci Shout to Johnny .
Speaker 4 (14:25):
Greenwood man.
He's coming into his own here,I know.
Speaker 2 (14:30):
On the on days, Martin?
No, she's playing the crap outof that.
Speaker 4 (14:34):
And then he goes into movie soundtracks, and you can
understand why for a lot ofreasons here the lateral rib
vibrato if you will.
Speaker 2 (14:49):
This is it's very renamed and lady, yeah, from
talking heads.
Speaker 4 (14:56):
oh interesting, good yeah, good reference.
Oh interesting, good reference.
That's good.
Bjorky, bjork, it's Bjorky,what do you say?
Speaker 2 (15:13):
Bjorky.
Speaker 4 (15:18):
It's like Morse code One slips away.
Speaker 3 (15:20):
Yeah, what I slipped on a little water.
Speaker 2 (15:30):
During the recording sessions, york read Ian
McDonald's Revolution in theHead, which chronicles the
Beatles' recordings of GeorgeMartin in the 1960s.
Yeah, this is Kid, a AlrightSong.
(16:16):
Kid, a Title Title track.
Song kid, eh, title track.
Do you know what this is about?
His vision of the first clonebaby, or at least according to
(16:38):
song facts, if it's true?
Speaker 4 (16:39):
yeah, okay, yeah, that makes sense, yeah.
Speaker 2 (16:46):
This song is about technology, both the
possibilities and dangers,questions of what it means to be
a human being Well, yeah, acloned human wouldn't have a
soul, so it'd be like a, a meatpuppet yeah, the ventriloquist
is that what that puppet uhreferences?
Speaker 4 (17:08):
okay, check out the big brain on uh tim all right,
well, you know, yeah, clonesit's uh, it's a thing yeah, it's
something I put out of my mind,you know there are theories out
there about people being cloned, and we're just not told about
(17:32):
it.
Speaker 2 (17:32):
Maybe yeah, there's test tube babies and what not.
Is that like a on PC termWestworld or whatever was like
sort of that there's test tubebabies and whatnot.
Speaker 4 (17:41):
Is that like an un-PC term?
Westworld or whatever was likesort of that, where they made
artificial clones?
They're like robotic peoplethat looked like people yeah.
Speaker 3 (18:00):
I don't know.
Oh, the rats and children willfollow me out of town.
Speaker 4 (18:08):
The rats and children will follow me out of town.
You're freaking me out.
The rats and children willfollow me out of town.
Are the rats coming under thebed?
I mean, where are the ratscoming from?
Yeah, I don't know my kids.
He says my kids, he's thesmelly kid in class.
Yeah, he's the smelly clone kid.
Speaker 2 (18:31):
You're freaking me out.
Yeah, I mean, what'd you say,man?
Yeah, maybe clones have.
Yeah, what is a clone?
I don't know.
Let's get all Alan Watts-yabout it.
Speaker 4 (18:45):
Let's get all nine-year-old discoverer.
Oh yeah, that kid.
Speaker 6 (18:49):
Oh, for sure.
If there really is anything inthe search, it's just.
It's an endless quest withoutknowing what your quest is.
Speaker 2 (18:59):
Yeah, this kid's like smarter than me at age three
and a half.
Speaker 4 (19:06):
Yeah, he's smart, he's tapped in.
Kids are tapped in, they aretapped in, we are too.
Speaker 2 (19:14):
We're just blocking it out.
Speaker 4 (19:19):
We just don't want to know how bad we're getting
fucked.
I think the daily exercisesthat I give you and you follow
the regimented vigor, you can bea child too.
Speaker 2 (19:35):
But does that kid say we don't have to do anything,
or something?
Speaker 6 (19:38):
Nobody can decide what you will do, except for you
.
Speaker 2 (19:44):
So we can decide.
Speaker 4 (19:47):
Everyone then Decide now let's go, Hurry up.
Speaker 2 (19:55):
Shout out to Phil Selway on the cymbals and snare
I like it.
Shout out to Phil Selway on thecymbals and snare I like it.
Speaker 4 (20:00):
Shout out to David Icke.
Shout out to DissolvingNational Borders.
Not right now, but you know.
Speaker 2 (20:18):
This bass line was written by Tom Yorick when he
was 16.
Speaker 3 (20:21):
What.
Speaker 2 (20:22):
Yeah.
Speaker 4 (20:24):
It's like Mingus-y.
Speaker 2 (20:32):
You're freaking me out.
Shout out to Charles Vegas.
Speaker 3 (20:54):
Are you, uh, you know holding, so you, you can never,
indefinitely know that youcannot do this.
Speaker 4 (21:12):
Even if the odds are stacked against you.
Alright, everyone.
Speaker 3 (21:18):
Everyone is so near.
Speaker 2 (21:22):
I thought you were going to go something down.
Everyone is so near Fear andlove.
Speaker 5 (21:30):
Fear is in the negative energy spectrum, and
love is in the negative energyspectrum.
Speaker 3 (21:49):
Yeah, this is the Charles Mingus part.
Speaker 4 (21:52):
I was wondering if you could hold something for me.
Hold this piece of knowledge.
Speaker 2 (22:02):
Chris coming at you.
Yeah, Charles Mingus, jazzmusician York, described Town
Hall concert as just fuckingchaos.
This is incredible tension andit was the most formative record
of the whole time.
Speaker 4 (22:20):
Like a traffic jam, that's right.
Right, mr Osmond, the trafficjam of your saliva down my, my
reed, do it again.
This time right, you'refreaking me out, you're freaking
me out.
Speaker 2 (22:39):
You're freaking me out.
Speaker 4 (22:42):
Often I sit and yearn .
Speaker 6 (22:55):
After they've discovered what's up there, they
know they're only a little partof this huge galaxy.
Speaker 3 (23:02):
So do you think?
Speaker 4 (23:18):
Mangus played piano and upright bass.
Speaker 2 (23:23):
Oh, charles Mingus, oh yeah, he did it all man.
Yeah, he did improvImprovisation.
Huh, he collaborated with DukeEllington, charlie Parker, Max
Roach, but he was an avant-gardeBass Jazz, mostly bass jazz.
Speaker 4 (23:46):
So every note Could be Predestined.
Speaker 6 (23:52):
It may be predestined , but you can change that
destiny.
Speaker 3 (23:56):
Thank you, Genius Kid .
Speaker 2 (23:58):
Change that destiny.
Thank you, genius kid.
Speaker 4 (24:03):
You can go into another jam, is what he's saying
.
Speaker 1 (24:20):
That's true.
Speaker 2 (24:23):
Fear and love.
Yeah, so didn't Tom York do the?
This is in front of a wholeorchestra and he was doing the
directing, but he can't directand so it was just chaos
intentionally.
Speaker 4 (24:30):
Yes, they would jump if they wanted to go faster and
make calming sounds.
Shout out to the Frenchnational team.
Yeah, that little thing at theend, marcel Zad was the french
national team.
Yeah, little thing at the end.
Yeah, marcelo's dad was thefrench national team.
Yeah, benzema zidane, you know.
Alonso font de la patria, uh,dembele shout out the french
(24:52):
national team oh, okaydissolving racism through coming
together in a game.
Speaker 2 (25:04):
It's getting pretty bad, that whole that scene.
I hope it's turning the corner.
Yeah, don't Be cool, just becool.
Speaker 4 (25:14):
Just because you're born somewhere doesn't mean you
can have fake pride about shit.
Speaker 2 (25:19):
Yeah, born somewhere doesn't mean you can have fake
pride about shit.
Speaker 3 (25:26):
Think win-win, yeah, don't.
Oh, that's not me, that's notme I need to hold it longer.
I go.
Speaker 4 (25:52):
It's catcher in the rye shit here.
Yeah when I flee.
Speaker 2 (26:01):
It's very soulful.
It's just simple linesintertwining.
I walk through all.
Speaker 4 (26:11):
Hopefully he's got a raft for the Liffey.
Yeah, I float down the Liffey.
Shout out to the drunk kids atTemple Bar in Dublin.
Don't go in the Liffey tonight,all right, don't do it.
Speaker 3 (26:34):
This isn't happening.
Speaker 2 (26:41):
We have to tell our listeners what a Liffey is.
Now it's a river.
Oh yeah, of course I knew that.
Speaker 3 (27:08):
It's the river in Dublin.
Mine would look better in there.
Speaker 4 (27:21):
Stay in there, stay in there, tom and everybody
listening.
Speaker 3 (27:31):
Stay with us.
Speaker 4 (27:32):
It's gone, oh shit, it's gone.
Speaker 2 (27:35):
Forget it, this isn't happening.
Speaker 3 (27:51):
It's here.
Speaker 6 (27:55):
What happened to soda ?
Speaker 3 (28:01):
I thought we all agreed on soda.
I'm not here.
I'm not here.
I'm not here.
(28:22):
Strong last Lord speaketh.
Speaker 6 (28:31):
Be silly, darling Light of my life.
Speaker 3 (28:47):
I'm not gonna, I'm not gonna.
Speaker 4 (28:55):
This is kind of like Scatterbrain on their other
future album, scatterbrain,which I really like.
Yeah, violin, it's.
This is an anti rock song yeah,it's very beautiful.
Speaker 2 (29:19):
You know it should be called.
Oh, this place is called theLip-on-Luff-Pum-Pling.
Speaker 4 (29:25):
How do you get your love-pum-pling, the Lip-on-Pling
, if you're not even there?
Though, if you're not there, ifyou're not here, I get it.
Speaker 2 (29:36):
There's a fine line between clever and stupid, right
, let's just go back and forthwith Spinal Tap, but you're
right.
Speaker 4 (29:49):
Blown speakers, strobe lights, fireworks,
hurricanes, charles Mingus, basslines, oh yeah, yeah, it's got
it all.
Speaker 2 (30:08):
This is very shiny-ish.
Speaker 5 (30:18):
Oh.
Hey, violinist Just saying letit out, give it some air.
Man Play with it.
Speaker 2 (30:35):
Yes, so beautiful, very, very lovely.
How to Disappear Completely wasthat one.
It's a good breakup song.
This is Tree Fingers.
I'm a tree fingers scotchdrinker.
Not one finger, not two fingers, not four fingers, but tree
fingers.
Speaker 4 (31:08):
I feel like I'm in like a bog.
I know, yeah, we're like here,but like you're, you're coming
out of the bog Like there's likea sliver of sunlight through
some trees, and you're likewading through a bog.
Speaker 2 (31:26):
Oh, okay, that's the image that you have in your head
.
Speaker 4 (31:28):
It almost took you out.
It almost just like totallysucked you down In a good way,
right, but then you got out ofit.
Like you know, you're just likeout of the bog.
Speaker 2 (31:40):
I thought you meant literally.
Speaker 4 (31:42):
You're in a forest, you're very warm.
Speaker 2 (31:47):
You're with Heather, all right, I knew you'd kill a
rat.
I'm digging tree fingers.
Speaker 4 (32:01):
It's one of the best ambience.
Yeah, if you want another songto compare it to or from another
era, it could be.
What was it that David Bowiesong Moss Garden on his Heroes
(32:25):
album?
Oh, which was Brian Eno?
Yeah, I was going to say itsounds like Brian Eno.
This is very Moss Garden.
Yeah, tree Fingers same deal.
Yeah, I mean, this is stuffthey play at the spa, right, not
my spa, but yeah, no, I've beentrying to get them to play this
.
Speaker 2 (32:44):
I'm talking about spas that Stop, yeah, spas that
don't have happy endings.
Speaker 4 (32:49):
I'm just like hey, spa.
Speaker 5 (32:50):
Just saying let it out, Give it some air.
Speaker 2 (32:55):
Okay.
Speaker 4 (32:59):
You're referencing the towel and the air after the
towel drops.
Wait just a minute so.
But yeah, this is experiencingtechnical difficulties here.
Do you want to do like a?
Speaker 2 (33:14):
one minute meditation .
We could do that, I'll try, andthen we'll finish it off with a
.
Like a one minute meditation.
We can do that, I'll try, andthen we'll finish it off with a.
A wait, just a minute and wecan get back into it.
But let's clear our heads,let's go.
If the mind wanders, just bringit back to the breathing.
(33:52):
©.
Speaker 5 (34:24):
BF-WATCH TV 2021.
Speaker 2 (34:25):
I'll wait just a minute.
All right, yeah, we got that inthere, okay so this is.
Speaker 3 (34:29):
That was so great, that was good.
Yeah, we needed it.
Speaker 2 (34:32):
Wow, all right, it's optimistic.
Speaker 4 (34:34):
Here we go, shout out to the divine frequencies on
that one.
That was great, yeah, not onlyin this song, but floating
around us and whatnot.
Speaker 2 (34:49):
The drums are what I'm digging about this record.
Speaker 4 (34:53):
Selway, yeah, selway, yep, I'm a Selway fan.
Yeah, ed O'Brien gets the riffon this one.
Speaker 2 (35:05):
Yes, he does Just right.
He doesn't get much with therest of the album, but he does a
good job of singing.
Speaker 3 (35:12):
I thought you were circling the deck Picking up
every last crumb.
Big fish eat the little ones.
They're picking up every lastcrumb.
Big fish eat the little ones.
Speaker 4 (35:30):
Big fish eat the little ones, Not my problem kid
Little capitalism poke.
Speaker 2 (35:35):
You can try the best you can, you can try the best
you can.
It's just like so downtroddenthe best you can, you can try to
best you can.
This is like so downtrodden.
Speaker 4 (35:42):
It's like this is shout to thunder.
This is best you can.
Yeah, best you can is goodenough.
You know I'm not going to winevery game this season, but
thanks, tom, thank you, thanksTom, thank you, thanks Rick.
Speaker 2 (36:08):
I'm hearing a lot more on this one.
Speaker 3 (36:14):
This song from previous listens.
Speaker 4 (36:18):
Time to get creepy.
Oh the swamp, there it is.
He's referencing the swamp thatI was talking about.
Oh the swamp, there it is.
He's referencing the swamp thatI was talking about.
Yeah, there you go.
Whoa, maybe that wassubconscious Animal Farm.
Yeah, Shout out to Orwell.
Orwell knew he was going to geta podcast.
Shout out yeah From thegreatest non-hits.
(36:39):
That's right, we're trying ourbest, george Okay.
Speaker 2 (36:51):
We're trying our best .
Speaker 1 (37:02):
He's probably saying the best you can is definitely
not good enough.
This is Living in the shadows,living in the darkness.
What is real?
Speaker 5 (37:17):
No, wow man.
Right now we're inside acomputer program.
Speaker 4 (37:28):
I'm a man.
Speaker 3 (37:43):
I'm a man, man, I'm a man.
Speaker 2 (37:47):
I'm a man.
Speaker 3 (37:54):
That's second guy.
Speaker 4 (37:56):
Oh, it's good enough, gosh.
Speaker 1 (38:03):
How do you?
Speaker 3 (38:04):
define real.
I'm a man, the earth, the earth, the earth.
Speaker 1 (38:19):
Thank you.
Speaker 2 (38:20):
Alan the Earth.
Speaker 1 (38:25):
Thank you, alan the Earth Earthlings.
This is the Trigger, a Martianexploration vehicle Inside three
(38:53):
men from Earth.
Speaker 4 (38:59):
Oh yeah, Phil, that little.
Thing.
This kind of slows it down alittle bit.
This is rock.
This has a little rock on it.
Yeah, this is a rock song, andnow I wanted to keep this little
segue in mind here, one of thecoolest of all time this one,
(39:22):
right, yeah.
Speaker 2 (39:23):
Yeah, it's cool.
It sets the mood here.
This is your kind of thing forlimbo, yeah, but here's a
transition.
Optimistic change is over.
It's optimistic Right Right now.
Now we're in limbo, okay.
Speaker 4 (39:44):
All right, we're in limbo.
Hello Houston, we're in limbo.
Speaker 2 (39:50):
The limbo.
Speaker 4 (39:57):
Lundy FastNet IRC.
I got a message I can't readHunter Reed.
Speaker 2 (40:09):
Shout out to Oxfordshire.
Speaker 4 (40:18):
Yes, good riff, wow so surreal.
Yes, good riff, wow so surreal.
Uh-huh, it's tempting to wantto sing like Tom all the time.
Speaker 1 (40:47):
In a fantasy world.
In a fantasy world.
Speaker 4 (40:59):
I didn't realize for the longest time there was
another word after fantasy.
I thought it was just sayingyou're living in a fantasy.
But you can hear it, it goeswell.
Duh, it kind of changes that alittle bit.
Speaker 2 (41:11):
Yeah, it's kind of cool, it goes down.
Speaker 4 (41:16):
I'm lost at sea.
I bet your blood sugar'sspiking low.
Speaker 3 (41:24):
Will somebody get you to the Happy Meal?
I've lost my way.
Speaker 2 (41:32):
I've lost my way.
Ladies and gentlemen, Tim onthe sound banks.
Speaker 4 (41:44):
Talking to myself here.
Yeah, talking to myself.
Speaker 2 (41:49):
It'd be cool if we could make an instrument that
was just a bunch of sound banks.
It's like thousands of littlethings.
You can just play the soundbank.
Yeah, I play sound banks, youcan, yeah.
You can just play the soundbank.
Yeah, I play sound bank, youcan.
Yeah, you probably could.
Speaker 4 (42:05):
There's the drumitar.
Yeah, shout out to Future man,he's created it.
Nice, shout out to Future man,it's drum beats that he programs
into each little button aroundit.
Oh yeah, it's got like a drumguitar, right, it just taps.
Yeah, yeah, yeah, we can dothat.
Speaker 2 (42:25):
Yeah, a drum guitar could be applicable with the
sound.
Yeah, that'd be wild.
Speaker 4 (42:31):
See, now we're creating our own fantasy.
Speaker 2 (42:34):
Yeah, exactly, we're in limbo right now, as you can
tell.
Speaker 3 (42:42):
I can barely see you exactly.
We're in limbo right now, asyou can tell.
I can barely see you, george.
What'd you?
Speaker 2 (42:54):
say man Come back.
Speaker 5 (42:59):
That's what that was I need all of you to stop what
you're doing and listen.
Speaker 2 (43:14):
Oh, wow, okay, Alright, wow, this is a good
segue.
Like limbo into, this isidiotic, this is.
It's getting so techy.
It's getting techy it is.
He's in a bunker.
Speaker 4 (43:34):
I think this is electronic dramas On this one
one for sure.
Speaker 2 (43:54):
This was made 25 years ago.
They did a really good job.
I can see why it's ranked sohigh in the top 20.
Speaker 4 (44:04):
Tom York describes this as the happiest song he's
ever written the happiest.
This song takes place in abunker during what appears to be
an apocalypse.
Yeah, I don't know.
You fill in the gaps.
Speaker 5 (44:33):
Okay, yeah, look who's got Smatpak.
Speaker 2 (44:45):
Smatpak.
Look who's got SmartPak,smartpak.
But we have.
Speaker 3 (44:49):
SmartPak.
Speaker 2 (44:50):
I know it's an apocalypse.
Speaker 4 (44:54):
Fuck you car.
Get out, get in this bunker,all right.
Yeah, it's an apocalypse.
It's an apocalypse, all right.
Yeah, it's an apocalypse.
It's an apocalypse, all right.
The ice age is coming, babe,come on.
Speaker 2 (45:09):
I gotta hit both sides.
Speaker 4 (45:12):
This other scientist says some other bullshit.
This is really happening,happening.
Speaker 2 (45:40):
Mobiles working, Mobiles shopping.
Take the money run.
Take the money run.
Take the money.
Here I am, and it's an hour Tothe time.
It's crazy.
Yeah Well, we don't have to gothere.
Did you ever say I could bealive?
(46:01):
It's crazy.
No Well, we don't have to gothere.
Speaker 4 (46:07):
That was it's happening in this song
Everything all the time, so younever definitely know that you
cannot do this.
Speaker 3 (46:25):
Wow.
Speaker 2 (46:38):
What are these synths , man?
They're just.
Yeah, johnny Green would createa drum machine using
synthesizer modules similar tothose available in the 1970s,
using components such as filtersto create and shape sounds.
It's quite amazing.
Yes, it's quite amazing.
Speaker 4 (47:03):
Yes, recorded 50 minutes of improvisation and
gave it to York, who took theshort sequence and used it to
write the song.
What?
Oh cool, yeah, these are justlike.
It's a section of about 40seconds.
That he was like.
That was absolutely genius andI cut that up so funny, oh my
God.
Yeah, and then they add thislittle weird organ.
(47:25):
Yeah, yeah, so this is like 40seconds in the middle of this
sample, which wouldn't have beencreated if Johnny hadn't just
been a madman seconds in themiddle of this sample, which
wouldn't have been created ifJohnny hadn't just been a madman
on Like a, he's literallycreating new machines and new
(47:51):
ways to use machines.
Yeah, in this album.
Speaker 2 (47:56):
It's also in a 5-4 time signature so it creates a
grouping dissonance against theoriginal 4-4, like a four on the
floor yeah so there's a littletension there.
Speaker 4 (48:06):
It's not quite another great segue here, okay,
is it?
Speaker 2 (48:14):
morning bell, right.
Okay, yeah, is it Morning Bell,right?
Speaker 4 (48:24):
We're going into Morning Bell now it's still
ending.
Yeah, I see a faint out there.
Speaker 2 (48:41):
Subtle lines intertwining.
Speaker 4 (49:02):
Great drums on this.
Great drum on this.
It's a flash of green light onthis.
It's just like a globule.
Speaker 5 (49:11):
Just saying let it out, give it some air, man Play
with it, keep the furniture.
Speaker 4 (49:19):
Thanks for the furniture, yeah.
Speaker 5 (49:22):
Just saying, let it out, Give it some air.
Oh wait, just a minute.
Speaker 4 (49:54):
This is a very well-mannered release me request
.
Shout out to Morning.
Speaker 5 (49:57):
Bell on Amnesiac.
Look who's got Smat Pack, smatPack Look who's the Garden?
Speaker 6 (50:03):
Packed it Zagos.
Packed it Swampscott.
Speaker 2 (50:05):
Revere the Haber.
Are you kidding me?
I packed it and then unpackedit.
Speaker 4 (50:12):
Your clothes are in the car.
Your clothes are on thefurniture.
Speaker 5 (50:28):
Saucy Jack.
Speaker 4 (50:42):
Round and round and round.
Cut the kids in half.
Cut the kids in half.
See you around.
Spotify says got the kids inhalf, Got the kids in here.
It's.
Cut the kids in half Round andround and round.
Speaker 3 (51:07):
They go around again.
They just go round and round.
Speaker 4 (51:12):
Round and round.
Shout out to Bells and theirhealing qualities.
Absolutely, that's a good one.
Tetrahedron.
Speaker 2 (51:30):
Shout out to the bows too.
Shout out to the Walkers.
Speaker 4 (51:42):
Shout out to Walker Texas Ranger, he's a radio fan.
Shout out to Mountain Dew thelights are on, but nobody's at
home, at home.
Speaker 2 (52:06):
And the guitar gets a little, gets a little creepy,
okay, walking no-transcript.
Speaker 4 (52:23):
Walking, walking, walking, walking, walking,
walking, walking, walking,walking, walking, walking,
walking, walking, walking,walking, walking, walking,
walking.
Oh man, this one might beedging into my oh, this is doing
(52:43):
it for you.
Oh, I don't know that lastminute of that with the walking
walking, oh yeah, okay, like thecrazy, like wildness, was quite
an an experience this one.
Speaker 2 (53:03):
I had an experience with this motion picture
soundtrack a couple days ago.
I thought like it was like forsure, this is gonna be my top
three I mean I love you know, Ilove this song.
Speaker 4 (53:13):
That's great.
I know there's it's.
It's their wolf of the door,sort of how to disappear
completely.
Speaker 2 (53:27):
Hit me tonight you know kind of like the way that
that last one did for you yeahand morning bell, but it's so
hard to choose honestly,honestly.
I know, but I need to give thissong my full attention.
I think in fairness.
Speaker 3 (53:51):
Yeah, cheap sex and cell phones Help me get rid of
the curse.
Speaker 6 (54:09):
I think you're crazy.
Speaker 3 (54:22):
Maybe I think you could, I think you could.
Speaker 1 (54:34):
You're crazy.
Speaker 3 (54:35):
I like you, but you're crazy.
Baby, baby, oh wow, it'sperfect.
Crazy sound effects going onhere.
Speaker 4 (55:00):
Yeah, crazy sound effects going on here.
Chimes, what is that Harp?
It's a harp.
Speaker 3 (55:04):
I think yeah.
Speaker 2 (55:09):
I'm going to say harp without looking at the internet
.
Speaker 3 (55:23):
Here internet.
That sounds sad.
(55:48):
I will see you in the next life.
Oh, I'm getting a littleverklem.
Oh, I'm getting a littleverklem.
Speaker 6 (55:51):
I don't know for sure if there really is anything in
the search.
It's just, it's an endlessquest without knowing what your
quest is.
Speaker 2 (56:06):
Ah Okay, I'm going to get you right here In the
Ginecogazoink.
Speaker 4 (56:16):
Right here, mmm, is that it no?
Speaker 2 (56:19):
Okay, well, we get this.
Speaker 4 (56:21):
We have.
This is like a 52 second.
Speaker 2 (56:23):
Thing.
Speaker 4 (56:24):
So palate cleanser.
Speaker 2 (56:25):
Yeah, A little palate cleanser.
There we go.
I don't know if you can doguided meditation or not.
Not to this.
Maybe we'll just.
Speaker 4 (56:32):
You can sit and yearn .
Yeah, often I, I, yeah, often Isit and yearn, sort of like a.
What would you describe this as?
Like a?
Speaker 2 (56:45):
Yeah, like a transcendence from consciousness
to the afterlife.
Speaker 4 (56:52):
It's sort of yeah, almost, if you're on the good
side of it, it's an inspiring.
I was going to say somethingless deep, but yes, okay, sorry
man, no, I mean it's there, youknow.
Speaker 2 (57:11):
All right, Okay cool.
So that's it, man.
Speaker 4 (57:16):
They wrapped a bow on it with this sort of like
beautiful yeah, crescendo, orsomething a calling crescendo.
Speaker 2 (57:26):
Okay, yeah, I mean, that's what you want to put it.
Speaker 4 (57:28):
Yeah, spiritual action.
Speaker 2 (57:29):
Yeah, no, that was good, that was good, that was
deep.
Speaker 4 (57:35):
I got there.
Speaker 2 (57:35):
Yeah, yeah, you got yeah, you got there barely, so
we got to look at our top three.
What's your number three?
Yeah, you can take your time.
Speaker 4 (57:45):
The other.
Yeah, think about it.
What did I say the other day?
Speaker 2 (57:48):
I mean, I mean, I think I'm know what I'm pushing
out.
Oh well, there's oh man, thisis gonna be hard.
This is gonna be harder than Ithought.
Speaker 4 (58:07):
I don't know, I really don't know.
I mean, on this one, thislisten might've been slightly
different.
But no, I'm going to go, I'mgoing to kick Anthem off.
Anthem was three, okay, sothat's how honorable mention?
Speaker 2 (58:30):
Okay, yeah, and so many good, so so much goodness
in that song Right, but I'mgoing morning bell number three
oh, song Right, and you gotta,you gotta, but I'm going morning
bell number three.
Speaker 4 (58:41):
Oh wow, okay, you know, living downtown, where'd
you park the car?
Speaker 3 (58:47):
Where'd you park the car?
I know, I think, that.
Speaker 2 (58:51):
Boston accent.
That was good.
Yeah, that was.
I liked that.
Yeah, you, you're making a casefor it as well, but I'm going
to go in a different direction.
Speaker 4 (58:58):
I've got the groceries.
Walk in, walk in to my house,walk in.
Speaker 3 (59:02):
Okay, all right.
All right, what do you?
Speaker 2 (59:03):
got.
Got that motion picturesoundtrack for me it was just
yeah, it's, it's just sotouching, it's, it makes you
sentimental it makes you feel sojoyous.
We don't know how to expressourselves Of the fond memories
(59:24):
of the deceased, a picture inyour head that they're in a
blissful state.
It makes me hopeful that thosethat have left us are in a good
place.
Speaker 4 (59:41):
I absolutely love that.
All right done thanks, man damn, uh, number two for you you're
getting me all in the feels here.
I don't know, uh, shit, um, I'mgonna go.
Uh, you know, you mentionedafterlife.
What about the in limbo stage?
Lin linda, in limbo too?
Speaker 2 (59:59):
here for me.
Speaker 4 (01:00:00):
Yeah, oh wow this sort of you know, in limbo okay,
that in between stage, thatthat people don't know about.
Uh, what do they call that inreligion?
Uh, yeah, in purgatory,purgatory okay, yeah, yeah,
shout out to all those inpurgatory, I'm going.
Limbo number two, okay.
Speaker 2 (01:00:21):
Hey, no, it's good to be on the purgator's side.
You're not.
It's trippy yeah.
Speaker 4 (01:00:26):
It's psychedelic and it was tapped into the source.
Yeah.
Speaker 2 (01:00:40):
Yeah, I sometimes feel like you and I man we're
probably on the purgatory track,I don't know, man it's like
it's like for yourself, no, no,no.
Yeah, you're right, yeah, no,no no, you're going, yeah you're
, you're in, you're going upinto the heavens.
You god bless you.
You know you're, I know it'sgonna be me.
I'm the guy that's gonna bestuck there.
I just stop.
It's just gonna be stuck there.
I'll stop.
It's just going to be lightsout.
Speaker 1 (01:00:57):
I don't know who knows.
Speaker 2 (01:01:00):
No, no, no, I'm hopeful.
Speaker 3 (01:01:01):
It's a big man's list , hilarious Okay.
Speaker 2 (01:01:04):
All right, so I'm going number two, the National
Anthem.
Oh, nice.
Yeah, the chaos of the horns.
It had that cool bass line.
It's so musical and the hornslike Charles Mingus, it's very
artful.
So number two for me Love that?
Speaker 4 (01:01:23):
Yep, all right.
You know I do love tree fingerssometimes and it could be, you
know, but no Kid A Really.
Oh my gosh, the chimes, thedelicateness of the song.
I know there's also a bluegrassversion I'm drawing a blank on
(01:01:48):
the artist, but if you YouTubebluegrass Kid A you could find
it.
So hopefully they get someredirect there.
Yeah, shout out to those guys,yeah, it's shadowy, so hopefully
they get some redirect there.
But yeah, shout out to thoseguys.
Yeah, it's shadowy, it makesyou think about science and
technology and singularity youthink of you as a kid in the
(01:02:15):
endless possibilities.
Even maybe I don't know Right.
Speaker 2 (01:02:19):
Oh, wow, that that was.
That was deep, that was deepman.
All right, good, yeah, youended on a high note, yeah, okay
, yeah, I'm gonna.
I mean in my this is not gonnabe a high, I'm not gonna outdo
what he just did.
Um, I just liked idiotech wasmy number one, nice um here I'm
alive yeah.
Yeah, everything.
Speaker 5 (01:02:39):
Wow, that's interesting yeah.
Speaker 2 (01:02:42):
Like that whole beat.
You can hear the whole historythereafter from that song.
I bet you a lot of trance, alot of EDM, a lot of that stuff
is present or or this.
You can tell the influence thatthis had on the whole EDM genre
(01:03:03):
.
If this album hadn't been made,a lot of other music you know
thereafter that's out therewouldn't, wouldn't have been
possible.
Speaker 4 (01:03:12):
Yeah, and.
Speaker 2 (01:03:13):
I think that's gets to the crux of why this album is
ranked number 20 out of 500 onthe rolling stone list.
I mean not that you know not topromote them or give them
credit or any, but it is.
Speaker 4 (01:03:25):
I mean, that's how yeah transformative you know
this album was, and just at apoint that they, the band
members, were themselves, youknow, making this music to thus
get even better and hone theircraft, to make future albums
which continued to bend, uh, thereality of what can be expected
(01:03:48):
and what's possible.
So yeah, man.
Speaker 2 (01:03:51):
And who's to say there is a reality?
There is no reality, there'sonly the perception of reality.
But it's yeah, there we go, allright, and we ended on that.
Speaker 4 (01:04:00):
Yeah, yeah, that was good.
Yeah, we should.
No, that was too good.
All right, that was good,that's all.
Speaker 2 (01:04:04):
Right, man all right, thanks for listening.
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