March 21, 2024 • 60 mins
Ahoy hoy boppers! We're back after a long hiatus and we're super stoked!
Episode eight brings us the 1994 smash-hit "Send Me On My Way" from world music group Rusted Root off of their When I Woke album. Put on your hemp necklace and finest pair of birkenstocks because we'll be exploring the history of jam bands and how Rusted Root came to be along with the heavy usage "Send Me On My Way" received in movies (hey Maltida and Ice Age fans!)
We'll then review the rest of the tracks off When I Woke through a very scientific method of "bops" and see if there are songs that should be sprouted onto your playlist or songs that are withered at the vine (plant puns are hard!)
Buckle up boppers and let's get at it!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Well, I would like to hold my little hand, and we will run, we will. We will crawl, we will.
I would like to hold my little hand, and we will run, we will. We will crawl.
Send me on my way. And folks, the only place I want to be sent to right now
is listening to the podcast you're
listening to right now, the number one podcast of One Hit Wonder's...
(00:23):
Nay, the number one podcast of all podcasts, One Hit Wonder Why,
where we review one-hit wonder albums. Buckle up, poppers.
Music.
(00:58):
Hello, everybody, and welcome to the One Hit Wonder Why podcast,
the podcast where we review one hit wonder albums and we wonder why.
I am your host, Eric Hassenjager, a fellow music nerd, a fellow fellow.
If this is your first time, welcome. If this is not your first time, welcome again.
(01:19):
I am so glad you clicked the play button, you pressed the play button.
And however you did it thank you thank you boy howdy it's
been a bit since the last episode dropped i apologize but
we're back we're back again shady's back
back again so i am ready and raring
to go for this episode episode eight here for
those of you know i'll give a brief overview of how this show is is basically
(01:42):
i love music i'm gonna get right down into it i love music and growing up i
love music reviews i would go to bookstores or music stores 30 magazines and
And back when they had magazines there and,
you know, the physical things that you actually turn the pages for.
And I'd always go to the back of a, you know, Spin or Rolling Stone and see
(02:04):
the album reviews where they usually have it.
And I would just look, read them and know like which, you know,
music to get, which to avoid.
And I'd take their, you know, opinions into account and everything.
And yeah, because being, you know, being a kid, I only had a certain amount and I'd always would.
Buy certain CDs based on recommendations and reviews. So I always love that aspect.
(02:26):
And part of a splintering off of me loving music, I love one-hit wonders here.
And for those of you who know, one-hit wonders are bands or artists that just
have one mainstream hit that you know here, and the rest, they kind of fade
away for whatever reason.
But me, I'm taking a more positive approach of one-hit wonders.
(02:48):
I want to know the other songs of a one-hit wonder on the album that the one-hit won here.
So, for example, I did the first episode, I did Name Brulia's Torn.
I want to know what the other songs were. So I went and reviewed the rest of the songs on that album.
So, yeah, this is my journey into seeing if there's any underrated music gold
(03:10):
or there's some music mold here.
And so I'll give a brief overview history of the artist.
I'll give a review, kind of an in-depth review of the actual hit.
And then I'll review the rest of the songs on the album here.
And I have a very scientific, here at One Hit Wonder HQ, I have a very scientific scale called bops.
(03:32):
And the higher the bops of each track gets, the better. So five is five bops.
That's ultimate, unskippable, awesome, awesome track.
Three bops is just average. you know okay uh
one one bop oh boy howdy
pwe yucky you want to avoid at
(03:52):
all costs and so each track i'll rate based
on bops and then based on the album itself
i'll tally up all the bops and i'll
divide it by the amount of tracks on the album and then
the final album will get a final rating uh based on it so uh the higher the
bops the better here again a very scientific scale all right it's very you know
(04:15):
in-depth I you know I definitely you know did a lot of research a lot of Excel
spreadsheets going on here and.
I came to the conclusion of bops here, my musical rating of bops here at One Hit Wonder HQ.
So that's kind of just a brief overview here of how the show goes.
So, so glad you joined here.
(04:36):
So without further ado, this is episode eight. We're looking at the 1994 hit
Send Me On My Way by Rusted Root.
But before we do, let us look at the music scene at the time here.
Year so this album the song came
out in 1994 and rusted roots
(04:58):
for those who are not aware uh they are kind of
what's considered a jam band and to kind
of understand what a jam band is we got to go back a little
bit a ways here and it was kind of
jam bands didn't really get to be really
really big until the 60s where you know
society underwent a global cultural schism
(05:19):
between traditional values and new ideas
brewing among young people especially on college
campuses you know the 60s it was a
era of non-ironic revolution and counterculture
where the existing social constructs of
race genre and politics and music were
challenged i think a good example of
(05:40):
this was you know the beatles biggest band ever in the.
World uh you know when they decided not to ever tour again
in 1966 they responded later
with the huge album of sergeant pepper's lonely
hearts club band a work that you know saw
them you know dive headfirst into experimentation that's
only possible in the studio and that level of
(06:02):
experimentation i felt like was a kind of
a tipping off point for you know bands becoming
more you know different thinking outside the
box before you know the Beatles went off a
tour you had the traditional like three minute two
and a half minute pop songs that were very you know sugar sugar pop rock that
you know the Beatles did a lot of but I think they wanted to branch off and
(06:26):
do something different so you saw a lot of experimentation so you know the term
jam band kind of started to come about in the 60s and the Grateful Dead.
Music.
(06:47):
I think when you think jam bands, you think the Grateful Dead.
I feel like they were the ones that they were the torchbearers of this movement
that relied heavily on improvisation and total disregard of predictable outcomes.
Jam band becomes a umbrella word to describe acts that went beyond the traditional
songs and incorporated influences from other genres.
(07:09):
You know, the term jam band typically conjures up images of barefoot,
blissed-out hippies grooving out to an extended guitar solo in a grassy field.
But, you know, there's bands that, you know, it's labeled under this term that's,
you know, they play extremely long shows with varying set lists,
which, you know, they evolved and they reworked their songs,
(07:32):
introducing, you know, kind of highly creative segues and never-ending instrumental performances.
So no two shows were even remotely alike, which is why, you know,
the music of the Grateful Dead wasn't commercially popular and it didn't get radio play.
Instead, the Grateful Dead, the band, they grew their name through their expansive
and largely improvisational live shows.
(07:55):
Their three minute songs were often extended to 20 minutes or more,
taking listeners of journeys of sonic and spiritual, you know, journeys here.
So as the 60s ended, the 70s, the 70s saw a lot more kind of jam bands come about here.
It was out of Georgia, the blues rock band, the Allman Brothers,
(08:18):
played in a bunch of shows. They built up their following.
One of their biggest hits, Rambly Man, which you'll hear everywhere on classic rock stations.
Music.
You had the 1970s really
was a a decade that blossomed with the the jam band tendencies even though that
(08:40):
willie jam band the term wasn't really coined until much later it had bands
had the spirit of it so you had the mainstream artists like leonard skinner
led zeppelin pink floyd all all had long,
epic songs and everything that were sometimes for the radio,
(09:01):
but other times not that.
They had their three, three-and-a-half-minute song, Get In, Get Out,
so appease the record company.
But more often than not, you had a lot of different fusions of genres genres
like psychedelic, country, hard rock, and Latin rock was also a big thing.
(09:24):
Santana, first on the scene in the 1970s as well.
So the 70s, there's no shortage of these mega arena rock outfits that had these jam band tendencies.
(09:46):
As the decade ended and the 80s hit, MTV was in full force here.
Electronic, New Wave hit, and everyone was obsessed.
And not to say that these artists, these bands weren't around.
At least some of them were. Led Zeppelin disbanded in 1980 after their drummer,
(10:07):
John Bonham, passed away.
But they weren't as prevalent as they were in the 70s.
It's a different culture shock for the 80s of just moving on to technology in
the music and that becoming more of a hit as it goes here.
But jam bands were still a thing, but it became more underground.
(10:32):
Ground so you know as the 80s hit more artists
started to kind of develop more different types of genres and as the decade
kind of neared we saw a few more uh bands that kind of spread out of the jam
band tendency here another georgia bread band like the almond brothers widespread panic came to.
(10:53):
Music.
And another 80s band that kind of
uh transcended more as the uh we hit
the uh end of the 80s was fish through the
window of the church a storm began to
(11:15):
rage and esther knew the time had come
where all my
fish heads at here i don't know
i don't know if that's what they they call fish fans but i
think it's a cute term anywho yeah so
the the mid-late 80s was definitely a time of these spread
panic and fish big giant mega bands to kind of develop
(11:36):
their their craft and get huge in the 90s
and speaking of the 90s um the jam bands became huge and uh more kind of a resurgence
with bands like blues traveler and probably the biggest uh ones of them all
was dave bathy's band in 1994 with their uh grammy award-winning hit under the table and dreaming.
(12:00):
Music.
So Dave Matthews Band was definitely considered kind of a gateway into,
you know, other jam bands.
They were like the big mainstream act. Maybe a lot of artists viewed Dave Matthews
Band as kind of like sellouts, but whatever.
(12:22):
I mean, that's really silly to think.
They were just, they were good. And, you know, for me personally,
I enjoy Dave Matthews Band.
Growing up, I definitely had a strong hatred, a misplaced hatred towards the Dave Matthews Band.
And only reason being is my graduating class in high school where I felt they
(12:44):
were, you know, like these snooty, preppy, you know, preppy kids that,
you know, not not the most nicest.
I'm sure a lot of people, you know, I've kind of gone through that clicks of
people and they've always listened to Dave Matthews band, at least,
you know, growing up for me here.
And I always saw, you know, in the school parking lot, I'd always see that stupid
(13:08):
little logo pad that would just send rage shivers through my spine.
Really silly. Really silly.
But, like, that always brought a lot of weird, misplaced dislike for the Dave Matthews Band.
Because I'm like, oh, I'm never going to listen to them. Oh,
I hate them. But, you know, as I've gotten older and wiser, maybe wiser,
(13:28):
I don't know, at least older, I've gotten to appreciate Dave Matthews Band.
And I can safely say he and the rest of the band are very good.
And that's my 180 turnaround of my Dave Matthews Band story here.
So, anywho, what was I talking about? Right, other people into jam bands.
And they got other artists kind of getting more mainstream hit,
(13:50):
which leads us to our topic for today's episode,
and that is the band Rusted Root of their 1994 hit Send Me On My Way. but let's like.
Look at rusted root itself rusted root
consists of founder michael globicki born
january 21st 1971 out of
(14:13):
pittsburgh pennsylvania globicki always had
a love of music and live entertainment when he
was a kid his father a construction worker played
in a bunch of pokas and on an accordion while
globicki would play the drums and additionally globicki
looked up to his musical cousins and grandfather
who was a steel mill worker who played guitar and
(14:35):
banjo so music was a big part of michael's
life here and uh in a few
interviews i've read uh he said seeing the pokas performed live
kind of invigorated him uh for being a little kid and going to these polka dances
seeing people like really party heavily and dancing and going crazy and stuff
looking all the the suits and the glittery dresses walking around hearing the
(14:57):
music that was a huge rock show to to him as a kid.
And so as Goldbecky kind of grew older, he saw a bunch of concerts at the University
of Pittsburgh and the Carnegie Mellon University, which inspired him to jam
as a drum and guitar duo with a high school friend.
In another interview I saw, it says, In our high school, we weren't allowed
(15:19):
to do anything political.
You would actually get into trouble if you passed out flyers or anything.
There was some rule or law against it, and you would get expelled.
So it was all fun and rebellious to start a political group, end quote.
And, you know, being in high school, you want to rebel. It was a perfect time to do it.
So Glopicki began networking with other high schools, and he solicited college
(15:44):
professors to conduct events and educational seminars in which they would teach
about the environment and nuclear disarmament and in Nicaragua,
easy for me to say, world events of the day here.
Glopicki would say in an interview, I even started going to Catholic schools
and then I had to buy the outfit, put on a tie and go in there and act like
(16:05):
I went to this school to encourage participation in the events, end quote.
So he was so believing of all these causes here that he dressed up as a student
of a school, which I believe is probably illegal,
probably not kosher, but hey, you know, it was a different time.
(16:26):
But yeah, that I found was a little interesting here.
The summer before dropping out of college in 1987, Michael went to Nicaragua
for some volunteer work as part of a sister city program that Pittsburgh had
with struggling nations overseas.
And when Glubicki returned, he became disillusioned with school and depressed.
(16:49):
Quote, When I came back, I was really charged up to kind of change everything
that was wrong with the world.
Being 17 or 18 years old, that's what you think you can do, Glubicki said laughing.
Writing songs kind of improved his outlook, and he rented out a studio to lay
the foundation of Rusted Root.
In another interview, my first exposure, well, I didn't actually go out and
(17:11):
start buying African drumming records, he said.
I remember coming across a mixtape of various African drumming bands.
I don't remember who played on it, but it got me started playing rhythms.
So Kulbicki had a very strong drumming background that kind of surged his musical influence.
So after dropping out of college in 1987, he and other band member Liz Berlin,
(17:35):
the vocalist, He began writing songs in 1988 that would eventually be the Rusted Root album.
And yeah, so the rest of the members of the band, Liz Berlin on vocals and Jim
Donovan on drums and Patrick Norman on bass, guitar and percussion.
So the world of music genre definitely got into Glubicki's brain,
(18:00):
just kind of him experimenting, jamming, if you will.
And in a few interviews I've seen this, Peter Gabriel's 1986 So was a big,
big influence and it kind of confirmed Glowbicki's was on the right track.
The big giant hit, In Your Eyes.
(18:23):
Music.
An excellent album, by the way. So Glowbecki just kind of confirmed his interest
in wanting to pursue this type of music that he was interested in,
knowing that there was a demand for world music that Peter Gabriel bought.
(18:47):
So Rusty Root, they toured a bunch in late 80s, early 90s. In 1992,
Rusty Root released their own album called Cruel Son.
The album was soon heard on more than local college radio stations.
It went on to sell 100,000 copies, which for the time, for a small band, was a big deal.
(19:07):
This caught the attention of major label record executives at Mercury,
and it signed to a big, giant record contract.
Restabrook, they released their major label debut, When I Woke,
the album that has sent me on my way on, on August 23, 1994.
At its peak, this album hit on the Billboard 200 at number 51,
(19:31):
going platinum, selling a million copies.
When I Woke was recorded live in six weeks in Pasadena, California.
With all the members playing together and doing very few takes.
There's also, off the band's debut album, Cruel Son, there are a few versions
that they take from that album and kind of repurpose, recondition.
(19:53):
And you'll see on the review here which ones are and what they do.
So I'm betting that's why the album didn't take as long, because they already
had a few of the songs in the hopper here.
So When I Woke, it was the producer.
Very interesting lineage here is Bill Bottrell. He is a known music industry
(20:13):
vet, songwriter, and producer in California.
He was in the late 70s, early 80s that really blossomed. He got connections
with the Jacksons, ELO, Michael Jackson, Madonna.
He engineered and mixed Like a Prayer for her. The Traveling Wilburys, Tom Petty, Sheryl Crow.
(20:34):
Just the list goes on and on. Just absolute stellar list.
So Rusted Root, they were definitely lucky to have someone of this caliber to kind of steer them.
I will say, this is a tangent here. here.
So Bill Bottrell, he was on Michael Jackson's 1991 Dangerous.
I did not know this going into here, but doing research, he was,
(20:57):
there's a song on Dangerous called Black or White. Very, very popular song.
Very, very awesome song. But, but, but the rapping part, which I,
you know, a few years ago, I listened to it for the first time in a long time
and I forgot the rapping part was there.
(21:18):
Protection for gangs clubs and nations causing grief in human relations it's
a turf war on a global scale i'd rather hear,
I do not care for the rapping part at all. Not to say the lyrics were bad, it's just the delivery.
And I just always wondered, like, who does that?
Well, it turns out none other than Bill Bottrell himself actually was the rapping.
(21:43):
First of all, I was like maybe an unknown rapper that just didn't make it big,
but it was actually the producer of that song, Bill Bottrell.
So I'm glad I connected the audio dots, at least for me. If,
you know, if I, there's other listeners that didn't know who did that rapping
part, hey, here you go. There's some free information.
(22:04):
You're welcome. So yeah, I'm just glad I satisfied my curiosity and hopefully some of yours here.
So that's been your segment of complaining about songs from 1991 brought to
you by me, Eric Hassenjager.
Let's get back on track here with the podcast and let's talk about the number
one hit of Rusted Root and that is Send Me On My Way. Now, I wasn't super familiar with this song.
(22:28):
I'd heard the bits and pieces on
satellite radio, but I've never actually listened to the full part before.
And I always thought this song was that Paul Simon song, You Can Call Me Al.
Music.
(22:55):
Right, I'm not crazy. It sounds a little like the song we're talking about right now.
But if you call me Al and send me away, you can't deny there's some similarities.
One being the tempo, but also the flutes.
The flutes are having a grand old fun time, and both have very similar flute solos.
(23:19):
Music.
I mean, I'd say that more than similar, it's kind of the same.
But nothing wrong with that. No shade. You draw inspiration where you can draw it.
(23:39):
Fun fact, You Can Call Me Al, that came out in 1986, also came out in 1986,
the same year, Peter Gabriel's influential record, So, that had In Your Eyes,
that also influenced Michael Govicki of Rusted Root.
It so it all kind of you know triangulates here
around the influence somehow so i
(24:00):
always like to make those connections so very very
interesting fact i i find so that is the you can call me al reference here so
but the song send me away let's get back to it here so this song came out on
the the band's debut album the lesser you know 1992 cruel son and it's definitely
a little different a little different here. I'll play a little sample and I'll discuss.
(24:25):
Music.
The way Glubbicky goes, whoa, like a little bit in that part.
He's having a little more fun with it in this version, I guess.
But the overall recording here on the debut album version, it's a little rougher around the edges.
(24:48):
You can tell they didn't have a big shot producer at the helm.
The bones of the song are there. I mean, as you can tell in that clip,
it's pretty similar to it.
It's a little faster at some parts, and some of the parts are a little chaotic.
And the bass it's definitely mixed heavily
in it maybe too much but again this
is and this is the longest version this is about clocks in at least
(25:11):
just under five minutes of it and then
the album version is like 4 419 and then
the single version is just under four minutes so the
ideal version of this song is definitely the the single version
i think that was a smart move on botrell's part
hard to kind of just trim it a little bit for a radio consumption
because hey three and a half minutes uh you're
(25:33):
you're pushing for watch out i know it's it's i
hate that formula way of thinking but for you
know there's there's a reason why it gets played at least over the time
here for the radio you need to have a certain time length
for your listening audience here so i yeah
definitely interesting to hear the original version here of
send me on my way the just right
(25:54):
right from the bat here globicki's vocals is uh
interesting he i think i here i read i got some youtube comments that i i got
from the music video here and i just want to see i just want to read a few here
some positive ones here first this one is this song just sounds like a good
road trip with your best mates before the end of summer and i love it so much.
(26:16):
Another one is, they're like a bunch of archers on their summer vacation on
a trip around the world, which this comment is referring to the music video here.
And then lastly, this definitely comes in handy here, is this guy sings like
he's in Doctor's handwriting, which, again, there's a lot of scatting a little
bit on Glaubecki's part.
(26:37):
In an interview, he admits in an interview here, there's no words at all,
just syllables, sound just right with the music.
He says he just never got quite around to
replacing the syllables he injected in the music so he
just felt the rhythm of his mouth and just
went with it so yeah that's definitely different vocal
style here and i couldn't speaking of
(26:59):
similarities of you know we're we're getting down the rabbit
hole of similarities here but i i couldn't help but think
maybe again it's just me but i couldn't the
the similarities of one enrique iglesias
now bear with me enrique iglesias famous latin singer
of the 90s and early aughts around
there and maybe now i don't know maybe enrique has a big following still but
(27:22):
i couldn't help but notice that enrique inglesias and michael globicki is are
pretty similar as sounding i don't know i i have a little little sample here
i'll play you and i'll let you know what i think.
Music.
(27:56):
Again am i crazy i i don't know
how many times i can say am i crazy uh but maybe i'm crazy again good
still uh but that's the
first thing that came to mind when i i
listened to the full version of the song is hey this guy
sounds like enrique iglesias and i don't know what it says
about me where my mind went but uh maybe also too i just wanted an excuse to
(28:18):
play balimos because that song slaps so but again it just it was a similarity
that i i heard i had to get it out of my brain and into this recording.
So again, you're welcome.
But as for the song itself, let me play, I don't think I played the actual album
version or the single version here.
So let me just play a short clip and I'll give you my rating here.
(28:41):
I would like to hold my little hand.
Music.
(29:03):
Again,
man, what a song, what a song Alright, so there's a lot I like about this song
Just the upbeat nature of it The tempo,
the funky bass bass uh the
the vocal scatting
the uh again the flute whistle
(29:25):
all right uh albeit a copped from
paul simon it still it works here um everything's great and the lyrics very
very fun kind of introspective at least for me what i got from it is the song
about wishing that you talk to your past self and help you through some some
of the tough times you know particularly when you're you you know, as a kid,
(29:46):
you know, some of the lyrics says,
I would like to reach out my hand and I would like to hold my little hand.
The hand being the normal size and the hand being little is when you were younger.
So, hence, I'm thinking the meaning of the song.
There's a million meanings, I guess, but for me anyway, is you making mistakes
as a child or going through tough times and just, you know, your older self
(30:09):
kind of reassuring your younger self that, you know.
You know it's go back and tell us what how we feel or if we feel sad it'd be
much easier to just get on your way and uh go forward and send me on the way send me on to which way.
That's up for you to decide uh you the listener so uh yeah just a you know good
(30:31):
coming of age type song i can see why it was played in a million commercials
a million movies it works it works so So I,
there's not too much, I guess it, the, after a while, after a few times you
hear it, you're like, okay, I'm kind of, kind of done with it.
But I, I definitely still enjoy listening to this song after listening to it
(30:52):
so many times for the podcast.
I, I, it's a good upbeat, up-tempo song.
Sometimes you need that in your life. And as sometimes cheesy as it can seem,
I, uh, I enjoyed it, uh, greatly.
Um, yeah, I guess the album version, I wouldn't say it's It's the most ideal.
The single version is definitely one of the highlights here.
But definitely go back and listen to the one that's on the debut album.
(31:16):
Very interesting little mix here. But as far as my rating, here's the debut
of the ratings here on this episode here.
And send me on my way. You get five bops. Five bops here.
So perfect five bops here. So let's go to the rest of the album here.
So how I'm going to work is I'm going to just go down the track list and I'm
(31:39):
going to rate each song so let's get down to the first opening track and that is Drum Trip.
Music.
(32:02):
Okay there's not a whole lot to go into this quote-unquote song the opening
track it's there's It's just like a freak-out session.
It sounds like something that would be played at a live show before the rest
of the set list. It's not something...
Again, meanders, there's a lot of chanting and whatnot.
(32:23):
It's supposed to set the tone for the album, but I can't recommend this song at all.
Quote-unquote song at all for consumption for the ears.
It's very short, but it feels like it goes on long.
So again it's it's supposed to be kind of like a preamble
i get it i know a lot of albums have that but i don't like it not a fan so that's
(32:46):
something i would recommend putting on your playlist for the song so it's a
song drum trip the opening track i will give you one bop one bop here all right
so on to the next one track two is ecstasy.
Music.
(33:17):
So this song was really good. I really liked it. It's an up-tempo Latin-type
jam here, as you can tell.
High energy, very nicely mixed acoustic guitar solo you heard.
Each verse is very nice.
Vocally, Glowbicky, you get his flavor right off the bat. And a very strong
gusto in his voice. The bass is mixed really nice.
(33:40):
The again the lyrics it's you know kind of
the topic is against the greedy mainstream society war machine you
know some of the lyrics get me off this backwards ride take away
your greedy way and go wasted arms wasted legs
wrapped around this machine military machine so pretty
pretty much you know you know it's par for
the course for this type of you know the message
(34:02):
here that's going but nothing wrong with that tells the message
tells it well but again the song about about
five minutes it starts to wear out it's welcome
a little bit i felt like maybe a little over a minute left it seemed
like it was a good ending point but for a lot of songs on
the on this record it just feels like it kind of a little more
goes a little longer than it needs to a little more like
(34:23):
again nothing wrong with a little jam but five minutes
is is a lot to ask of you're gonna
have some extra variety at the end great but it i
felt like it kind of peters out a little little bit but right from
the get-go ecstasy is really it's a really fun song a
really good guitar work uh so i really i really enjoyed it for uh everything
that it's included here so poor rating for ecstasy you get four bops four bops
(34:48):
here so that was track two track three we already talked about was send me on
my way so we'll talk about track four cruel son.
Power plays while the people die. Let it rage.
And growth chapters from this cruel sun.
(35:19):
So Cruel Sun here, it's a first slower track of the album, and it's getting
there as far as the tempo.
I don't mind it. But when it gets to the chorus, I'm not feeling it with the backing vocals.
It doesn't have a strong melody to kind of hook yourself onto.
There's a three-minute interlude that kind of picks up, but the acoustic guitar
(35:42):
plucking solo transitioning to a regular solo that doesn't go anywhere.
It kind of feels like it meanders around.
There's a second plucking solo I like and probably could have been the only solo left in.
Again, less is more in some of these cases, but I know in these jam bands,
sometimes they want to throw everything in the kitchen sink included,
(36:06):
and I felt like there's so many different ideas, not all of them are going to gel well here.
And again lyrically it's another anti-war song
why does war kill only the small man power plays
while die and it's kind of dour with
bloody faces lifted to the sky do you want to run
to a future left behind again it's something
(36:27):
we already kind of heard on just a couple tracks ago in ecstasy and
now we're hearing it again but kind of again kind of a slower plotting pace
that doesn't go a whole elsewhere so yeah not not super feeling this song here
so cruel son you get two bops two bops here so track five here the next track is cat turn blue.
(36:50):
Music.
So my positives here for this song, that bass is thumping and bumping.
(37:12):
Love how it's mixed. Love the playing here on it.
So this song, Cat Turn Blue, is a re-recording from the band's first self-produced album.
And it's a little different here. I'll play a little clip. There must be some kind of way out of here.
Music.
Send the joker to the deep.
(37:33):
Well, there's too much confusion.
I can't get So that version, or the first version, had Bob Dylan's All Along
the Watchtower, which you just heard.
Rusty Britt just randomly played that in the middle of the song here. I thought it was nice.
I was expecting maybe we're going to hear on this version, but no.
(37:55):
That was taken out maybe due to copyright reasons, understandably.
But I thought that was a nice little touch but as far as on the When I Woke
version of Cat Turned Blue the flute again coming back maybe a little too much
the chanting background vocals don't add a lot of don't add a lot it's just
like ah it's a little repetitive it's like,
(38:18):
it's a little it kind of goes there's no
dynamics there's no change in the the song
it kind of just stayed a little flat and as far as
lyrics i have no earthly idea i'm not even gonna pretend i
looked up the lyrics i don't know i have no idea um so
this it felt like just a bunch of nonsense um so
(38:38):
for cat turned blue i will rate it two bops you get it would have been one but
you know that bass is a thumping and a bumping and i love it so two bops for
cat turned blue to track six and that is beautiful people I feel ashamed inside your addiction,
hating to see what.
(38:59):
Music.
So this kind of has a Led Zeppelin soul ballad acoustic, you know,
feel to it with a, again, flute flourishes surprise.
(39:20):
But, you know, I liked it very, it took its time. Some background chanting.
I liked the very quiet track.
But for the subject matter, which lyrically, it seems like it's about a father's
addiction to drugs or a dark period of life where suicide may have taken place.
Uh because some of the lyrics is i saw the
(39:41):
same inside your addiction i hate to see what was passed on by being passed
on to him and i saw the shame and wondered why i should live and die uh so yeah
it's it's a heavy subject matter and it stays kind of true to its uh core and uh but i,
overall as a uh overall song it
(40:02):
it definitely doesn't have a lot of variety to keep
you at uh keep you listening it's the
same kind of three four chords of plucking notes
here and it doesn't go anywhere to really grab your attention so for beautiful
people again great great lyrics just not enough to really hook you in music
(40:23):
wise you get two bops two bops for beautiful people all right so for track seven it's martyr.
Music.
(40:46):
Martyr so with martyr again this is another example where this was on their
1992 debut debut Cruel Son.
It's pretty similar and it's a little longer and maybe a little more scatting
and the mix is a little quieter.
Here, I'll play a sample here of the first version.
(41:07):
Music.
Again, those were just some of the differences. Again, I'm always fascinated
(41:29):
when bands take a previous version of a song and try to repurpose it,
maybe tailor it up a little more, clean it up, changes they make.
So I always find that interesting.
As far as this album version of Martyr here, the backing vocals definitely give
it an extra depth. I feel there's more energy.
And it's a big change of tempo from the previous track.
(41:53):
It's it's really it's a constant uptempo song uh
but then we got we get to the bridge and it takes to you know
a darker tone with the thundering drums and the ominous key
change that's nice uh the the snare drum
roll back into the structure of the song it's a nice transition and
also dat bass i'm all about dat
bass i love it love it how it's mixed and
(42:15):
the bongo solo all right can't go wrong with
that definitely a fun song uh some
of it lyrically it's pretty self-explanatory of playing
the martyr hey mister come down and see see your
misery some of its hokey like the lyrics like
i was let swirling in your pool of aggression uh
little hokey there but overall
(42:36):
you know it was a fun decent track again the tempo makes you want to move a
little bit groove a little bit and yeah i like the variety not super great but
like also just not too bad so for a rating for martyr i will give it three bops
three bops here so on to track eight and that is rain.
Music.
(43:12):
So, yeah, you know, this seems more like a song that's meant to play live,
like a lot of Rusted Root songs here.
Right from the get-go, my first knee-jerk reaction is this sounds a lot like
a Blues Traveler song here.
And, yeah, you know, Blues Traveler came around this time, so they were huge.
So I see, and also I believe Rusted Root toured with Blues Traveler.
(43:35):
So, again, some influence spilling over.
I get it. This was just like a fun old blues jam session, up-tempo, a little ditty.
Also, lyrically, not a whole lot. If you're counting at home,
rain is said 24 times to be exact.
And also, Joe has got to raise that barn.
That's pretty much the only lines. Rain and Joe has got to raise that barn.
(43:59):
So not a lot of meat to it lyrically, but
this is just meant to be kind of a fun jam live
song trying to recreate that in
the album form always hard to do but i i enjoyed this this is for what it was
i i liked it it was different too off the rest of the songs in the album so
i enjoyed it for what it was so uh rain you get three bops three bops so on
(44:24):
to track nine and that is food and creative love.
Music.
(44:46):
Again you heard that right it's another blues jam
here back to back so this song
starts off really slow and in the first
half it feels like a royalty-free track in how generic
it kind of sounds but then it starts to hit the gas pedal becomes
a driving shuffle blues beat like
you heard in the sample here and there's again it's
(45:09):
a lot of scatting i think at this point of the album i'm like okay
it's getting a little far from and this
this song seems like it was made made for live performance
and also the the scatting there's not
a lot of lyrics i can't really you know analyze too
much from it it's you know leap from the wounds blood started to flow big hand
here he comes again i i don't know it's it's again the song is it's meant to
(45:34):
be played live and kind of a it feels like a transition song and also just being
very similar to the previous track It's just not, I don't know,
not ideal to have back-to-back similar songs here.
So for food and creative love for a rating for bops, you get two bops. Two bops here.
So on to track 10, the next track, and that is Lost in the Crowd.
(46:01):
Music.
So this one's a laid-back little ditty here. I like the breakdown.
The breakdown has a nice acoustic bluesy solo, very solid.
(46:25):
I like the layered vocal chants like you heard in the clip there.
And I like the last 30 seconds or so invokes some early Red Hot Chili Peppers freakout.
I'd like to hear more throughout the song with that funky, funky bass mixed in.
So yeah, again, product of its time. red hot
chili pepper is super huge again kind of gleaning some influences
(46:46):
here and there but i the last part of the
song i i really enjoyed again i guess some
of the stuff i didn't like was the uh again more scatting very
little lyrics the crux of the song is you know
about homelessness but it's done in a way where it's
like there's not a lot of substance uh to it
um to really make you think about it and um
(47:07):
yeah it not not a whole lot lyrically but uh musically you know it's at least
a little change of pace from the previous two tracks here so for lost in a crowd
i will give you three bops three bops so on to the next track at track 11 laugh as the sun.
(47:30):
Music.
Positives for this song again up
top on groove the bridge is very good has a nice driving
(47:52):
tempo the mood of this song it feels like a riding
in the desert you know like the the vibe of
it and ending portion of the song has the sitar and
also there's a breakdown of the breakdown out definitely there's
some variety to it uh lyrically it seems
like it's just being afraid of the night like the
lyrics is i get so nervous when you leave my world it seems
(48:14):
like someone's afraid of the dark which you know nothing wrong with that maybe
it's in the uh you know perspective of
the sun i don't know i don't know i i tried analyzing
this song i i don't think i succeeded but
yeah lyrics take a backseat in some cases here for
some songs but uh again the song goes goes on for almost six
minutes maybe a touch too much again there's
(48:36):
some good ideas but it just feels a little overstuffed but i overall i still
you know it's okay so again good good groove good bridge good driving tempo
laugh as the sun for a rating you get three bops three bops so on to track 12
and that is infinite tambora.
(48:59):
Music.
Okay, all right. Well, you know, what I had to say about the opening track,
Drum Trip, pretty much is what I have to say about this one here.
Again, it's about a two-minute interlude of said tambora, which is like a sitar.
(49:24):
It leads into the last track. But again, this seems like it's an interlude.
But again, it's listed as a track, so I have to rate it.
And, oh, boy, it's almost two minutes. It feels like about an hour.
Again, you know, there's just nothing to it.
I always, I don't know. I don't know how I feel. I think after this album,
(49:46):
I don't know how I feel about, you know, separate tracks that lead into other songs.
Just have the intro of, you know, instead of having a small nothing intro for
a track by itself, include it on the other song. Just combine it.
I don't know. I'm starting to learn more about music every day here.
So yeah infinite tambora it's just there's nothing
to it not a lot to say but it just it
(50:08):
leads into the last track but there's just not
and then the chanting like i'm like
okay we get it we're you know you're by you're you're
in a woodsy campfire you've experimented
with the some things here and there i get
it but uh this song uh not not
good not good here i'm just gonna say a quote-unquote song also i should say
(50:32):
so infinite tambora you get one bop one bop here so on to the last final track
track 13 of when i woke and that is back to earth back to the i feel it back to the.
(50:58):
I enjoyed this this was a a nice i don't know on this the history of this podcast
if we had a satisfying conclusion for a song on an album but i i really like
this uh song the drums are mixed louder and louder towards the end and it gives
it a nice satisfying conclusion it's a great acoustic Acoustic sound,
good laid-back groove at the
(51:19):
beginning, the layered vocal chants definitely fit the mood of the song.
And in around three-ish minutes or so after, it kicks up a notch and the tempo
gets progressively faster and faster.
And then, yeah, it gets in a nice freak-out session the last couple minutes. And I didn't mind.
The song went by fast, having a little extra dynamics to it, a little variety.
(51:43):
Variety, lyrically, there's, I, I'm not, again, I'm not going to pretend what
the lyrics mean, I mean, I'm looking at it here, many divisions of you,
many divisions of me, many divisions of you,
many divisions of me when we are so young, hey, oh, mom, mama,
free my soul, I, I don't know what that means, I'm not going to pretend,
but, you know, at this point, at the end of the album,
(52:05):
who cares, it's like, just go, go on the trip, man, go on the trip,
the drum trip, so, So, I like this song. This was a nice, good conclusion.
I'd be at the previous track being the prelude.
I didn't care for it. But this one was just a fun conclusion to an album here.
(52:26):
So, back to the earth for a rating for bops. You get four bops. Four bops.
And with that, that is the complete review of Rusted Roots, When I Woke,
with the one hit, Send Me On My Way.
So i have rated every song on
this album i have accumulated all the bops here so all the bops on this record
(52:48):
is 35 bops all together here so 35 bops and you divide that by 13 tracks on
the album and you get a drum roll do do do do do do do do do do do.
2.7 for a average rating
of bops here so it's 2.7 here
uh it's it's a little below average and i'd
(53:11):
say that's a a fair fair rating the science does not lie here at one hit wonder
why headquarters so yeah i i'd say there's there's some you know there's some
standout songs i would recommend obviously the the one hit send me on my way
obviously that'd be the the top one but also Also, Ecstasy,
very fun groove as well. Nice up-tempo Latin-type jam.
(53:34):
And then, you know, maybe take one of the blues songs like Rain. Rain was okay.
And then finally, the last track, Back to the Earth. I enjoyed that as well.
Those would probably be the songs I'd recommend.
Again, there's some kind of
middling, middle-of-the-road-type songs that definitely feel like filler,
especially, too, when there are songs that were on the
(53:56):
band's previous album that they kind of just repurposed and
some songs kind of just go a little long
again that's the nature of the jam band
genre is songs they're going to go longer and
that's fine i guess for me i was never a huge jam band fan and also that's fun
to say jam band fans try saying that five times fast i'll wait okay jam band
(54:20):
fan yeah uh yeah so but i i'm definitely interested in genres I'm not really know a whole lot about.
So this was kind of pretty cool to kind of learn more about and kind of the
foundation of jam bands.
So it got me to know and it got to me to learn about some extra music that I
wouldn't be familiar with, which is why I enjoy doing this podcast.
(54:42):
So, yeah, this album, definitely I'm glad.
I'm glad I listened to it. I'm glad I listened to the song. And it's not Paul
Simon, not Paul Simon here.
This is Rusted Root here. I enjoyed it overall, just going through all the different
types of jam bands and the history, and going through this album.
(55:02):
Some of the songs were middle-of-the-road, that's fine. At least they had some
up-tempo, and then they had some decent slow songs.
But for being a one-hit wonder, I mean, it's definitely a niche,
unlike Dave Matthews' band, which definitely flourished, having such a huge,
strong following, I guess, to this day.
And Rusted Root, I don't believe, really has that. Or if they do, it's a little smaller.
(55:28):
But again, I can see why people are into jam bands. You know,
great musicianship, no doubt about it.
And it's just, it's not everyone's cup of tea.
So this is not, so I was very interested in just trying it out.
So I, that's why I love about doing the podcast. It exposes different genres
that I'd be familiar with or, you know, really know a whole lot about.
(55:49):
For me, Eric Kassenjager, I am so glad you got to this point of the podcast.
Very much happy to get back on the podcast train, toot toot,
and get on the music bandwagon because I love it.
I love talking about music. I love talking about one-hit wonders.
So that's my outro, ladies and gentlemen. I'm going to sign off,
(56:10):
but I have been your host, Eric Hassenjager, and this has been One-Hit Wonder Why.
Ladies and gentlemen, have a pleasant day and a pleasant tomorrow. Thank you.
Music.
Well, I would like to hold my little hand, and we will run, we will. We will crawl, we will.
I would like to hold my little hand, and we will run, we will. We will crawl.
Send me on my way. And folks, the only place I want to be sent to right now
is listening to the podcast you're
listening to right now, the number one podcast of One Hit Wonder's...
(00:23):
Nay, the number one podcast of all podcasts, One Hit Wonder Why,
where we review one-hit wonder albums. Buckle up, poppers.
Music.
(00:58):
Hello, everybody, and welcome to the One Hit Wonder Why podcast,
the podcast where we review one hit wonder albums and we wonder why.
I am your host, Eric Hassenjager, a fellow music nerd, a fellow fellow.
If this is your first time, welcome. If this is not your first time, welcome again.
(01:19):
I am so glad you clicked the play button, you pressed the play button.
And however you did it thank you thank you boy howdy it's
been a bit since the last episode dropped i apologize but
we're back we're back again shady's back
back again so i am ready and raring
to go for this episode episode eight here for
those of you know i'll give a brief overview of how this show is is basically
(01:42):
i love music i'm gonna get right down into it i love music and growing up i
love music reviews i would go to bookstores or music stores 30 magazines and
And back when they had magazines there and,
you know, the physical things that you actually turn the pages for.
And I'd always go to the back of a, you know, Spin or Rolling Stone and see
(02:04):
the album reviews where they usually have it.
And I would just look, read them and know like which, you know,
music to get, which to avoid.
And I'd take their, you know, opinions into account and everything.
And yeah, because being, you know, being a kid, I only had a certain amount and I'd always would.
Buy certain CDs based on recommendations and reviews. So I always love that aspect.
(02:26):
And part of a splintering off of me loving music, I love one-hit wonders here.
And for those of you who know, one-hit wonders are bands or artists that just
have one mainstream hit that you know here, and the rest, they kind of fade
away for whatever reason.
But me, I'm taking a more positive approach of one-hit wonders.
(02:48):
I want to know the other songs of a one-hit wonder on the album that the one-hit won here.
So, for example, I did the first episode, I did Name Brulia's Torn.
I want to know what the other songs were. So I went and reviewed the rest of the songs on that album.
So, yeah, this is my journey into seeing if there's any underrated music gold
(03:10):
or there's some music mold here.
And so I'll give a brief overview history of the artist.
I'll give a review, kind of an in-depth review of the actual hit.
And then I'll review the rest of the songs on the album here.
And I have a very scientific, here at One Hit Wonder HQ, I have a very scientific scale called bops.
(03:32):
And the higher the bops of each track gets, the better. So five is five bops.
That's ultimate, unskippable, awesome, awesome track.
Three bops is just average. you know okay uh
one one bop oh boy howdy
pwe yucky you want to avoid at
(03:52):
all costs and so each track i'll rate based
on bops and then based on the album itself
i'll tally up all the bops and i'll
divide it by the amount of tracks on the album and then
the final album will get a final rating uh based on it so uh the higher the
bops the better here again a very scientific scale all right it's very you know
(04:15):
in-depth I you know I definitely you know did a lot of research a lot of Excel
spreadsheets going on here and.
I came to the conclusion of bops here, my musical rating of bops here at One Hit Wonder HQ.
So that's kind of just a brief overview here of how the show goes.
So, so glad you joined here.
(04:36):
So without further ado, this is episode eight. We're looking at the 1994 hit
Send Me On My Way by Rusted Root.
But before we do, let us look at the music scene at the time here.
Year so this album the song came
out in 1994 and rusted roots
(04:58):
for those who are not aware uh they are kind of
what's considered a jam band and to kind
of understand what a jam band is we got to go back a little
bit a ways here and it was kind of
jam bands didn't really get to be really
really big until the 60s where you know
society underwent a global cultural schism
(05:19):
between traditional values and new ideas
brewing among young people especially on college
campuses you know the 60s it was a
era of non-ironic revolution and counterculture
where the existing social constructs of
race genre and politics and music were
challenged i think a good example of
(05:40):
this was you know the beatles biggest band ever in the.
World uh you know when they decided not to ever tour again
in 1966 they responded later
with the huge album of sergeant pepper's lonely
hearts club band a work that you know saw
them you know dive headfirst into experimentation that's
only possible in the studio and that level of
(06:02):
experimentation i felt like was a kind of
a tipping off point for you know bands becoming
more you know different thinking outside the
box before you know the Beatles went off a
tour you had the traditional like three minute two
and a half minute pop songs that were very you know sugar sugar pop rock that
you know the Beatles did a lot of but I think they wanted to branch off and
(06:26):
do something different so you saw a lot of experimentation so you know the term
jam band kind of started to come about in the 60s and the Grateful Dead.
Music.
(06:47):
I think when you think jam bands, you think the Grateful Dead.
I feel like they were the ones that they were the torchbearers of this movement
that relied heavily on improvisation and total disregard of predictable outcomes.
Jam band becomes a umbrella word to describe acts that went beyond the traditional
songs and incorporated influences from other genres.
(07:09):
You know, the term jam band typically conjures up images of barefoot,
blissed-out hippies grooving out to an extended guitar solo in a grassy field.
But, you know, there's bands that, you know, it's labeled under this term that's,
you know, they play extremely long shows with varying set lists,
which, you know, they evolved and they reworked their songs,
(07:32):
introducing, you know, kind of highly creative segues and never-ending instrumental performances.
So no two shows were even remotely alike, which is why, you know,
the music of the Grateful Dead wasn't commercially popular and it didn't get radio play.
Instead, the Grateful Dead, the band, they grew their name through their expansive
and largely improvisational live shows.
(07:55):
Their three minute songs were often extended to 20 minutes or more,
taking listeners of journeys of sonic and spiritual, you know, journeys here.
So as the 60s ended, the 70s, the 70s saw a lot more kind of jam bands come about here.
It was out of Georgia, the blues rock band, the Allman Brothers,
(08:18):
played in a bunch of shows. They built up their following.
One of their biggest hits, Rambly Man, which you'll hear everywhere on classic rock stations.
Music.
You had the 1970s really
was a a decade that blossomed with the the jam band tendencies even though that
(08:40):
willie jam band the term wasn't really coined until much later it had bands
had the spirit of it so you had the mainstream artists like leonard skinner
led zeppelin pink floyd all all had long,
epic songs and everything that were sometimes for the radio,
(09:01):
but other times not that.
They had their three, three-and-a-half-minute song, Get In, Get Out,
so appease the record company.
But more often than not, you had a lot of different fusions of genres genres
like psychedelic, country, hard rock, and Latin rock was also a big thing.
(09:24):
Santana, first on the scene in the 1970s as well.
So the 70s, there's no shortage of these mega arena rock outfits that had these jam band tendencies.
(09:46):
As the decade ended and the 80s hit, MTV was in full force here.
Electronic, New Wave hit, and everyone was obsessed.
And not to say that these artists, these bands weren't around.
At least some of them were. Led Zeppelin disbanded in 1980 after their drummer,
(10:07):
John Bonham, passed away.
But they weren't as prevalent as they were in the 70s.
It's a different culture shock for the 80s of just moving on to technology in
the music and that becoming more of a hit as it goes here.
But jam bands were still a thing, but it became more underground.
(10:32):
Ground so you know as the 80s hit more artists
started to kind of develop more different types of genres and as the decade
kind of neared we saw a few more uh bands that kind of spread out of the jam
band tendency here another georgia bread band like the almond brothers widespread panic came to.
(10:53):
Music.
And another 80s band that kind of
uh transcended more as the uh we hit
the uh end of the 80s was fish through the
window of the church a storm began to
(11:15):
rage and esther knew the time had come
where all my
fish heads at here i don't know
i don't know if that's what they they call fish fans but i
think it's a cute term anywho yeah so
the the mid-late 80s was definitely a time of these spread
panic and fish big giant mega bands to kind of develop
(11:36):
their their craft and get huge in the 90s
and speaking of the 90s um the jam bands became huge and uh more kind of a resurgence
with bands like blues traveler and probably the biggest uh ones of them all
was dave bathy's band in 1994 with their uh grammy award-winning hit under the table and dreaming.
(12:00):
Music.
So Dave Matthews Band was definitely considered kind of a gateway into,
you know, other jam bands.
They were like the big mainstream act. Maybe a lot of artists viewed Dave Matthews
Band as kind of like sellouts, but whatever.
(12:22):
I mean, that's really silly to think.
They were just, they were good. And, you know, for me personally,
I enjoy Dave Matthews Band.
Growing up, I definitely had a strong hatred, a misplaced hatred towards the Dave Matthews Band.
And only reason being is my graduating class in high school where I felt they
(12:44):
were, you know, like these snooty, preppy, you know, preppy kids that,
you know, not not the most nicest.
I'm sure a lot of people, you know, I've kind of gone through that clicks of
people and they've always listened to Dave Matthews band, at least,
you know, growing up for me here.
And I always saw, you know, in the school parking lot, I'd always see that stupid
(13:08):
little logo pad that would just send rage shivers through my spine.
Really silly. Really silly.
But, like, that always brought a lot of weird, misplaced dislike for the Dave Matthews Band.
Because I'm like, oh, I'm never going to listen to them. Oh,
I hate them. But, you know, as I've gotten older and wiser, maybe wiser,
(13:28):
I don't know, at least older, I've gotten to appreciate Dave Matthews Band.
And I can safely say he and the rest of the band are very good.
And that's my 180 turnaround of my Dave Matthews Band story here.
So, anywho, what was I talking about? Right, other people into jam bands.
And they got other artists kind of getting more mainstream hit,
(13:50):
which leads us to our topic for today's episode,
and that is the band Rusted Root of their 1994 hit Send Me On My Way. but let's like.
Look at rusted root itself rusted root
consists of founder michael globicki born
january 21st 1971 out of
(14:13):
pittsburgh pennsylvania globicki always had
a love of music and live entertainment when he
was a kid his father a construction worker played
in a bunch of pokas and on an accordion while
globicki would play the drums and additionally globicki
looked up to his musical cousins and grandfather
who was a steel mill worker who played guitar and
(14:35):
banjo so music was a big part of michael's
life here and uh in a few
interviews i've read uh he said seeing the pokas performed live
kind of invigorated him uh for being a little kid and going to these polka dances
seeing people like really party heavily and dancing and going crazy and stuff
looking all the the suits and the glittery dresses walking around hearing the
(14:57):
music that was a huge rock show to to him as a kid.
And so as Goldbecky kind of grew older, he saw a bunch of concerts at the University
of Pittsburgh and the Carnegie Mellon University, which inspired him to jam
as a drum and guitar duo with a high school friend.
In another interview I saw, it says, In our high school, we weren't allowed
(15:19):
to do anything political.
You would actually get into trouble if you passed out flyers or anything.
There was some rule or law against it, and you would get expelled.
So it was all fun and rebellious to start a political group, end quote.
And, you know, being in high school, you want to rebel. It was a perfect time to do it.
So Glopicki began networking with other high schools, and he solicited college
(15:44):
professors to conduct events and educational seminars in which they would teach
about the environment and nuclear disarmament and in Nicaragua,
easy for me to say, world events of the day here.
Glopicki would say in an interview, I even started going to Catholic schools
and then I had to buy the outfit, put on a tie and go in there and act like
(16:05):
I went to this school to encourage participation in the events, end quote.
So he was so believing of all these causes here that he dressed up as a student
of a school, which I believe is probably illegal,
probably not kosher, but hey, you know, it was a different time.
(16:26):
But yeah, that I found was a little interesting here.
The summer before dropping out of college in 1987, Michael went to Nicaragua
for some volunteer work as part of a sister city program that Pittsburgh had
with struggling nations overseas.
And when Glubicki returned, he became disillusioned with school and depressed.
(16:49):
Quote, When I came back, I was really charged up to kind of change everything
that was wrong with the world.
Being 17 or 18 years old, that's what you think you can do, Glubicki said laughing.
Writing songs kind of improved his outlook, and he rented out a studio to lay
the foundation of Rusted Root.
In another interview, my first exposure, well, I didn't actually go out and
(17:11):
start buying African drumming records, he said.
I remember coming across a mixtape of various African drumming bands.
I don't remember who played on it, but it got me started playing rhythms.
So Kulbicki had a very strong drumming background that kind of surged his musical influence.
So after dropping out of college in 1987, he and other band member Liz Berlin,
(17:35):
the vocalist, He began writing songs in 1988 that would eventually be the Rusted Root album.
And yeah, so the rest of the members of the band, Liz Berlin on vocals and Jim
Donovan on drums and Patrick Norman on bass, guitar and percussion.
So the world of music genre definitely got into Glubicki's brain,
(18:00):
just kind of him experimenting, jamming, if you will.
And in a few interviews I've seen this, Peter Gabriel's 1986 So was a big,
big influence and it kind of confirmed Glowbicki's was on the right track.
The big giant hit, In Your Eyes.
(18:23):
Music.
An excellent album, by the way. So Glowbecki just kind of confirmed his interest
in wanting to pursue this type of music that he was interested in,
knowing that there was a demand for world music that Peter Gabriel bought.
(18:47):
So Rusty Root, they toured a bunch in late 80s, early 90s. In 1992,
Rusty Root released their own album called Cruel Son.
The album was soon heard on more than local college radio stations.
It went on to sell 100,000 copies, which for the time, for a small band, was a big deal.
(19:07):
This caught the attention of major label record executives at Mercury,
and it signed to a big, giant record contract.
Restabrook, they released their major label debut, When I Woke,
the album that has sent me on my way on, on August 23, 1994.
At its peak, this album hit on the Billboard 200 at number 51,
(19:31):
going platinum, selling a million copies.
When I Woke was recorded live in six weeks in Pasadena, California.
With all the members playing together and doing very few takes.
There's also, off the band's debut album, Cruel Son, there are a few versions
that they take from that album and kind of repurpose, recondition.
(19:53):
And you'll see on the review here which ones are and what they do.
So I'm betting that's why the album didn't take as long, because they already
had a few of the songs in the hopper here.
So When I Woke, it was the producer.
Very interesting lineage here is Bill Bottrell. He is a known music industry
(20:13):
vet, songwriter, and producer in California.
He was in the late 70s, early 80s that really blossomed. He got connections
with the Jacksons, ELO, Michael Jackson, Madonna.
He engineered and mixed Like a Prayer for her. The Traveling Wilburys, Tom Petty, Sheryl Crow.
(20:34):
Just the list goes on and on. Just absolute stellar list.
So Rusted Root, they were definitely lucky to have someone of this caliber to kind of steer them.
I will say, this is a tangent here. here.
So Bill Bottrell, he was on Michael Jackson's 1991 Dangerous.
I did not know this going into here, but doing research, he was,
(20:57):
there's a song on Dangerous called Black or White. Very, very popular song.
Very, very awesome song. But, but, but the rapping part, which I,
you know, a few years ago, I listened to it for the first time in a long time
and I forgot the rapping part was there.
(21:18):
Protection for gangs clubs and nations causing grief in human relations it's
a turf war on a global scale i'd rather hear,
I do not care for the rapping part at all. Not to say the lyrics were bad, it's just the delivery.
And I just always wondered, like, who does that?
Well, it turns out none other than Bill Bottrell himself actually was the rapping.
(21:43):
First of all, I was like maybe an unknown rapper that just didn't make it big,
but it was actually the producer of that song, Bill Bottrell.
So I'm glad I connected the audio dots, at least for me. If,
you know, if I, there's other listeners that didn't know who did that rapping
part, hey, here you go. There's some free information.
(22:04):
You're welcome. So yeah, I'm just glad I satisfied my curiosity and hopefully some of yours here.
So that's been your segment of complaining about songs from 1991 brought to
you by me, Eric Hassenjager.
Let's get back on track here with the podcast and let's talk about the number
one hit of Rusted Root and that is Send Me On My Way. Now, I wasn't super familiar with this song.
(22:28):
I'd heard the bits and pieces on
satellite radio, but I've never actually listened to the full part before.
And I always thought this song was that Paul Simon song, You Can Call Me Al.
Music.
(22:55):
Right, I'm not crazy. It sounds a little like the song we're talking about right now.
But if you call me Al and send me away, you can't deny there's some similarities.
One being the tempo, but also the flutes.
The flutes are having a grand old fun time, and both have very similar flute solos.
(23:19):
Music.
I mean, I'd say that more than similar, it's kind of the same.
But nothing wrong with that. No shade. You draw inspiration where you can draw it.
(23:39):
Fun fact, You Can Call Me Al, that came out in 1986, also came out in 1986,
the same year, Peter Gabriel's influential record, So, that had In Your Eyes,
that also influenced Michael Govicki of Rusted Root.
It so it all kind of you know triangulates here
around the influence somehow so i
(24:00):
always like to make those connections so very very
interesting fact i i find so that is the you can call me al reference here so
but the song send me away let's get back to it here so this song came out on
the the band's debut album the lesser you know 1992 cruel son and it's definitely
a little different a little different here. I'll play a little sample and I'll discuss.
(24:25):
Music.
The way Glubbicky goes, whoa, like a little bit in that part.
He's having a little more fun with it in this version, I guess.
But the overall recording here on the debut album version, it's a little rougher around the edges.
(24:48):
You can tell they didn't have a big shot producer at the helm.
The bones of the song are there. I mean, as you can tell in that clip,
it's pretty similar to it.
It's a little faster at some parts, and some of the parts are a little chaotic.
And the bass it's definitely mixed heavily
in it maybe too much but again this
is and this is the longest version this is about clocks in at least
(25:11):
just under five minutes of it and then
the album version is like 4 419 and then
the single version is just under four minutes so the
ideal version of this song is definitely the the single version
i think that was a smart move on botrell's part
hard to kind of just trim it a little bit for a radio consumption
because hey three and a half minutes uh you're
(25:33):
you're pushing for watch out i know it's it's i
hate that formula way of thinking but for you
know there's there's a reason why it gets played at least over the time
here for the radio you need to have a certain time length
for your listening audience here so i yeah
definitely interesting to hear the original version here of
send me on my way the just right
(25:54):
right from the bat here globicki's vocals is uh
interesting he i think i here i read i got some youtube comments that i i got
from the music video here and i just want to see i just want to read a few here
some positive ones here first this one is this song just sounds like a good
road trip with your best mates before the end of summer and i love it so much.
(26:16):
Another one is, they're like a bunch of archers on their summer vacation on
a trip around the world, which this comment is referring to the music video here.
And then lastly, this definitely comes in handy here, is this guy sings like
he's in Doctor's handwriting, which, again, there's a lot of scatting a little
bit on Glaubecki's part.
(26:37):
In an interview, he admits in an interview here, there's no words at all,
just syllables, sound just right with the music.
He says he just never got quite around to
replacing the syllables he injected in the music so he
just felt the rhythm of his mouth and just
went with it so yeah that's definitely different vocal
style here and i couldn't speaking of
(26:59):
similarities of you know we're we're getting down the rabbit
hole of similarities here but i i couldn't help but think
maybe again it's just me but i couldn't the
the similarities of one enrique iglesias
now bear with me enrique iglesias famous latin singer
of the 90s and early aughts around
there and maybe now i don't know maybe enrique has a big following still but
(27:22):
i couldn't help but notice that enrique inglesias and michael globicki is are
pretty similar as sounding i don't know i i have a little little sample here
i'll play you and i'll let you know what i think.
Music.
(27:56):
Again am i crazy i i don't know
how many times i can say am i crazy uh but maybe i'm crazy again good
still uh but that's the
first thing that came to mind when i i
listened to the full version of the song is hey this guy
sounds like enrique iglesias and i don't know what it says
about me where my mind went but uh maybe also too i just wanted an excuse to
(28:18):
play balimos because that song slaps so but again it just it was a similarity
that i i heard i had to get it out of my brain and into this recording.
So again, you're welcome.
But as for the song itself, let me play, I don't think I played the actual album
version or the single version here.
So let me just play a short clip and I'll give you my rating here.
(28:41):
I would like to hold my little hand.
Music.
(29:03):
Again,
man, what a song, what a song Alright, so there's a lot I like about this song
Just the upbeat nature of it The tempo,
the funky bass bass uh the
the vocal scatting
the uh again the flute whistle
(29:25):
all right uh albeit a copped from
paul simon it still it works here um everything's great and the lyrics very
very fun kind of introspective at least for me what i got from it is the song
about wishing that you talk to your past self and help you through some some
of the tough times you know particularly when you're you you know, as a kid,
(29:46):
you know, some of the lyrics says,
I would like to reach out my hand and I would like to hold my little hand.
The hand being the normal size and the hand being little is when you were younger.
So, hence, I'm thinking the meaning of the song.
There's a million meanings, I guess, but for me anyway, is you making mistakes
as a child or going through tough times and just, you know, your older self
(30:09):
kind of reassuring your younger self that, you know.
You know it's go back and tell us what how we feel or if we feel sad it'd be
much easier to just get on your way and uh go forward and send me on the way send me on to which way.
That's up for you to decide uh you the listener so uh yeah just a you know good
(30:31):
coming of age type song i can see why it was played in a million commercials
a million movies it works it works so So I,
there's not too much, I guess it, the, after a while, after a few times you
hear it, you're like, okay, I'm kind of, kind of done with it.
But I, I definitely still enjoy listening to this song after listening to it
(30:52):
so many times for the podcast.
I, I, it's a good upbeat, up-tempo song.
Sometimes you need that in your life. And as sometimes cheesy as it can seem,
I, uh, I enjoyed it, uh, greatly.
Um, yeah, I guess the album version, I wouldn't say it's It's the most ideal.
The single version is definitely one of the highlights here.
But definitely go back and listen to the one that's on the debut album.
(31:16):
Very interesting little mix here. But as far as my rating, here's the debut
of the ratings here on this episode here.
And send me on my way. You get five bops. Five bops here.
So perfect five bops here. So let's go to the rest of the album here.
So how I'm going to work is I'm going to just go down the track list and I'm
(31:39):
going to rate each song so let's get down to the first opening track and that is Drum Trip.
Music.
(32:02):
Okay there's not a whole lot to go into this quote-unquote song the opening
track it's there's It's just like a freak-out session.
It sounds like something that would be played at a live show before the rest
of the set list. It's not something...
Again, meanders, there's a lot of chanting and whatnot.
(32:23):
It's supposed to set the tone for the album, but I can't recommend this song at all.
Quote-unquote song at all for consumption for the ears.
It's very short, but it feels like it goes on long.
So again it's it's supposed to be kind of like a preamble
i get it i know a lot of albums have that but i don't like it not a fan so that's
(32:46):
something i would recommend putting on your playlist for the song so it's a
song drum trip the opening track i will give you one bop one bop here all right
so on to the next one track two is ecstasy.
Music.
(33:17):
So this song was really good. I really liked it. It's an up-tempo Latin-type
jam here, as you can tell.
High energy, very nicely mixed acoustic guitar solo you heard.
Each verse is very nice.
Vocally, Glowbicky, you get his flavor right off the bat. And a very strong
gusto in his voice. The bass is mixed really nice.
(33:40):
The again the lyrics it's you know kind of
the topic is against the greedy mainstream society war machine you
know some of the lyrics get me off this backwards ride take away
your greedy way and go wasted arms wasted legs
wrapped around this machine military machine so pretty
pretty much you know you know it's par for
the course for this type of you know the message
(34:02):
here that's going but nothing wrong with that tells the message
tells it well but again the song about about
five minutes it starts to wear out it's welcome
a little bit i felt like maybe a little over a minute left it seemed
like it was a good ending point but for a lot of songs on
the on this record it just feels like it kind of a little more
goes a little longer than it needs to a little more like
(34:23):
again nothing wrong with a little jam but five minutes
is is a lot to ask of you're gonna
have some extra variety at the end great but it i
felt like it kind of peters out a little little bit but right from
the get-go ecstasy is really it's a really fun song a
really good guitar work uh so i really i really enjoyed it for uh everything
that it's included here so poor rating for ecstasy you get four bops four bops
(34:48):
here so that was track two track three we already talked about was send me on
my way so we'll talk about track four cruel son.
Power plays while the people die. Let it rage.
And growth chapters from this cruel sun.
(35:19):
So Cruel Sun here, it's a first slower track of the album, and it's getting
there as far as the tempo.
I don't mind it. But when it gets to the chorus, I'm not feeling it with the backing vocals.
It doesn't have a strong melody to kind of hook yourself onto.
There's a three-minute interlude that kind of picks up, but the acoustic guitar
(35:42):
plucking solo transitioning to a regular solo that doesn't go anywhere.
It kind of feels like it meanders around.
There's a second plucking solo I like and probably could have been the only solo left in.
Again, less is more in some of these cases, but I know in these jam bands,
sometimes they want to throw everything in the kitchen sink included,
(36:06):
and I felt like there's so many different ideas, not all of them are going to gel well here.
And again lyrically it's another anti-war song
why does war kill only the small man power plays
while die and it's kind of dour with
bloody faces lifted to the sky do you want to run
to a future left behind again it's something
(36:27):
we already kind of heard on just a couple tracks ago in ecstasy and
now we're hearing it again but kind of again kind of a slower plotting pace
that doesn't go a whole elsewhere so yeah not not super feeling this song here
so cruel son you get two bops two bops here so track five here the next track is cat turn blue.
(36:50):
Music.
So my positives here for this song, that bass is thumping and bumping.
(37:12):
Love how it's mixed. Love the playing here on it.
So this song, Cat Turn Blue, is a re-recording from the band's first self-produced album.
And it's a little different here. I'll play a little clip. There must be some kind of way out of here.
Music.
Send the joker to the deep.
(37:33):
Well, there's too much confusion.
I can't get So that version, or the first version, had Bob Dylan's All Along
the Watchtower, which you just heard.
Rusty Britt just randomly played that in the middle of the song here. I thought it was nice.
I was expecting maybe we're going to hear on this version, but no.
(37:55):
That was taken out maybe due to copyright reasons, understandably.
But I thought that was a nice little touch but as far as on the When I Woke
version of Cat Turned Blue the flute again coming back maybe a little too much
the chanting background vocals don't add a lot of don't add a lot it's just
like ah it's a little repetitive it's like,
(38:18):
it's a little it kind of goes there's no
dynamics there's no change in the the song
it kind of just stayed a little flat and as far as
lyrics i have no earthly idea i'm not even gonna pretend i
looked up the lyrics i don't know i have no idea um so
this it felt like just a bunch of nonsense um so
(38:38):
for cat turned blue i will rate it two bops you get it would have been one but
you know that bass is a thumping and a bumping and i love it so two bops for
cat turned blue to track six and that is beautiful people I feel ashamed inside your addiction,
hating to see what.
(38:59):
Music.
So this kind of has a Led Zeppelin soul ballad acoustic, you know,
feel to it with a, again, flute flourishes surprise.
(39:20):
But, you know, I liked it very, it took its time. Some background chanting.
I liked the very quiet track.
But for the subject matter, which lyrically, it seems like it's about a father's
addiction to drugs or a dark period of life where suicide may have taken place.
Uh because some of the lyrics is i saw the
(39:41):
same inside your addiction i hate to see what was passed on by being passed
on to him and i saw the shame and wondered why i should live and die uh so yeah
it's it's a heavy subject matter and it stays kind of true to its uh core and uh but i,
overall as a uh overall song it
(40:02):
it definitely doesn't have a lot of variety to keep
you at uh keep you listening it's the
same kind of three four chords of plucking notes
here and it doesn't go anywhere to really grab your attention so for beautiful
people again great great lyrics just not enough to really hook you in music
(40:23):
wise you get two bops two bops for beautiful people all right so for track seven it's martyr.
Music.
(40:46):
Martyr so with martyr again this is another example where this was on their
1992 debut debut Cruel Son.
It's pretty similar and it's a little longer and maybe a little more scatting
and the mix is a little quieter.
Here, I'll play a sample here of the first version.
(41:07):
Music.
Again, those were just some of the differences. Again, I'm always fascinated
(41:29):
when bands take a previous version of a song and try to repurpose it,
maybe tailor it up a little more, clean it up, changes they make.
So I always find that interesting.
As far as this album version of Martyr here, the backing vocals definitely give
it an extra depth. I feel there's more energy.
And it's a big change of tempo from the previous track.
(41:53):
It's it's really it's a constant uptempo song uh
but then we got we get to the bridge and it takes to you know
a darker tone with the thundering drums and the ominous key
change that's nice uh the the snare drum
roll back into the structure of the song it's a nice transition and
also dat bass i'm all about dat
bass i love it love it how it's mixed and
(42:15):
the bongo solo all right can't go wrong with
that definitely a fun song uh some
of it lyrically it's pretty self-explanatory of playing
the martyr hey mister come down and see see your
misery some of its hokey like the lyrics like
i was let swirling in your pool of aggression uh
little hokey there but overall
(42:36):
you know it was a fun decent track again the tempo makes you want to move a
little bit groove a little bit and yeah i like the variety not super great but
like also just not too bad so for a rating for martyr i will give it three bops
three bops here so on to track eight and that is rain.
Music.
(43:12):
So, yeah, you know, this seems more like a song that's meant to play live,
like a lot of Rusted Root songs here.
Right from the get-go, my first knee-jerk reaction is this sounds a lot like
a Blues Traveler song here.
And, yeah, you know, Blues Traveler came around this time, so they were huge.
So I see, and also I believe Rusted Root toured with Blues Traveler.
(43:35):
So, again, some influence spilling over.
I get it. This was just like a fun old blues jam session, up-tempo, a little ditty.
Also, lyrically, not a whole lot. If you're counting at home,
rain is said 24 times to be exact.
And also, Joe has got to raise that barn.
That's pretty much the only lines. Rain and Joe has got to raise that barn.
(43:59):
So not a lot of meat to it lyrically, but
this is just meant to be kind of a fun jam live
song trying to recreate that in
the album form always hard to do but i i enjoyed this this is for what it was
i i liked it it was different too off the rest of the songs in the album so
i enjoyed it for what it was so uh rain you get three bops three bops so on
(44:24):
to track nine and that is food and creative love.
Music.
(44:46):
Again you heard that right it's another blues jam
here back to back so this song
starts off really slow and in the first
half it feels like a royalty-free track in how generic
it kind of sounds but then it starts to hit the gas pedal becomes
a driving shuffle blues beat like
you heard in the sample here and there's again it's
(45:09):
a lot of scatting i think at this point of the album i'm like okay
it's getting a little far from and this
this song seems like it was made made for live performance
and also the the scatting there's not
a lot of lyrics i can't really you know analyze too
much from it it's you know leap from the wounds blood started to flow big hand
here he comes again i i don't know it's it's again the song is it's meant to
(45:34):
be played live and kind of a it feels like a transition song and also just being
very similar to the previous track It's just not, I don't know,
not ideal to have back-to-back similar songs here.
So for food and creative love for a rating for bops, you get two bops. Two bops here.
So on to track 10, the next track, and that is Lost in the Crowd.
(46:01):
Music.
So this one's a laid-back little ditty here. I like the breakdown.
The breakdown has a nice acoustic bluesy solo, very solid.
(46:25):
I like the layered vocal chants like you heard in the clip there.
And I like the last 30 seconds or so invokes some early Red Hot Chili Peppers freakout.
I'd like to hear more throughout the song with that funky, funky bass mixed in.
So yeah, again, product of its time. red hot
chili pepper is super huge again kind of gleaning some influences
(46:46):
here and there but i the last part of the
song i i really enjoyed again i guess some
of the stuff i didn't like was the uh again more scatting very
little lyrics the crux of the song is you know
about homelessness but it's done in a way where it's
like there's not a lot of substance uh to it
um to really make you think about it and um
(47:07):
yeah it not not a whole lot lyrically but uh musically you know it's at least
a little change of pace from the previous two tracks here so for lost in a crowd
i will give you three bops three bops so on to the next track at track 11 laugh as the sun.
(47:30):
Music.
Positives for this song again up
top on groove the bridge is very good has a nice driving
(47:52):
tempo the mood of this song it feels like a riding
in the desert you know like the the vibe of
it and ending portion of the song has the sitar and
also there's a breakdown of the breakdown out definitely there's
some variety to it uh lyrically it seems
like it's just being afraid of the night like the
lyrics is i get so nervous when you leave my world it seems
(48:14):
like someone's afraid of the dark which you know nothing wrong with that maybe
it's in the uh you know perspective of
the sun i don't know i don't know i i tried analyzing
this song i i don't think i succeeded but
yeah lyrics take a backseat in some cases here for
some songs but uh again the song goes goes on for almost six
minutes maybe a touch too much again there's
(48:36):
some good ideas but it just feels a little overstuffed but i overall i still
you know it's okay so again good good groove good bridge good driving tempo
laugh as the sun for a rating you get three bops three bops so on to track 12
and that is infinite tambora.
(48:59):
Music.
Okay, all right. Well, you know, what I had to say about the opening track,
Drum Trip, pretty much is what I have to say about this one here.
Again, it's about a two-minute interlude of said tambora, which is like a sitar.
(49:24):
It leads into the last track. But again, this seems like it's an interlude.
But again, it's listed as a track, so I have to rate it.
And, oh, boy, it's almost two minutes. It feels like about an hour.
Again, you know, there's just nothing to it.
I always, I don't know. I don't know how I feel. I think after this album,
(49:46):
I don't know how I feel about, you know, separate tracks that lead into other songs.
Just have the intro of, you know, instead of having a small nothing intro for
a track by itself, include it on the other song. Just combine it.
I don't know. I'm starting to learn more about music every day here.
So yeah infinite tambora it's just there's nothing
to it not a lot to say but it just it
(50:08):
leads into the last track but there's just not
and then the chanting like i'm like
okay we get it we're you know you're by you're you're
in a woodsy campfire you've experimented
with the some things here and there i get
it but uh this song uh not not
good not good here i'm just gonna say a quote-unquote song also i should say
(50:32):
so infinite tambora you get one bop one bop here so on to the last final track
track 13 of when i woke and that is back to earth back to the i feel it back to the.
(50:58):
I enjoyed this this was a a nice i don't know on this the history of this podcast
if we had a satisfying conclusion for a song on an album but i i really like
this uh song the drums are mixed louder and louder towards the end and it gives
it a nice satisfying conclusion it's a great acoustic Acoustic sound,
good laid-back groove at the
(51:19):
beginning, the layered vocal chants definitely fit the mood of the song.
And in around three-ish minutes or so after, it kicks up a notch and the tempo
gets progressively faster and faster.
And then, yeah, it gets in a nice freak-out session the last couple minutes. And I didn't mind.
The song went by fast, having a little extra dynamics to it, a little variety.
(51:43):
Variety, lyrically, there's, I, I'm not, again, I'm not going to pretend what
the lyrics mean, I mean, I'm looking at it here, many divisions of you,
many divisions of me, many divisions of you,
many divisions of me when we are so young, hey, oh, mom, mama,
free my soul, I, I don't know what that means, I'm not going to pretend,
but, you know, at this point, at the end of the album,
(52:05):
who cares, it's like, just go, go on the trip, man, go on the trip,
the drum trip, so, So, I like this song. This was a nice, good conclusion.
I'd be at the previous track being the prelude.
I didn't care for it. But this one was just a fun conclusion to an album here.
(52:26):
So, back to the earth for a rating for bops. You get four bops. Four bops.
And with that, that is the complete review of Rusted Roots, When I Woke,
with the one hit, Send Me On My Way.
So i have rated every song on
this album i have accumulated all the bops here so all the bops on this record
(52:48):
is 35 bops all together here so 35 bops and you divide that by 13 tracks on
the album and you get a drum roll do do do do do do do do do do do.
2.7 for a average rating
of bops here so it's 2.7 here
uh it's it's a little below average and i'd
(53:11):
say that's a a fair fair rating the science does not lie here at one hit wonder
why headquarters so yeah i i'd say there's there's some you know there's some
standout songs i would recommend obviously the the one hit send me on my way
obviously that'd be the the top one but also Also, Ecstasy,
very fun groove as well. Nice up-tempo Latin-type jam.
(53:34):
And then, you know, maybe take one of the blues songs like Rain. Rain was okay.
And then finally, the last track, Back to the Earth. I enjoyed that as well.
Those would probably be the songs I'd recommend.
Again, there's some kind of
middling, middle-of-the-road-type songs that definitely feel like filler,
especially, too, when there are songs that were on the
(53:56):
band's previous album that they kind of just repurposed and
some songs kind of just go a little long
again that's the nature of the jam band
genre is songs they're going to go longer and
that's fine i guess for me i was never a huge jam band fan and also that's fun
to say jam band fans try saying that five times fast i'll wait okay jam band
(54:20):
fan yeah uh yeah so but i i'm definitely interested in genres I'm not really know a whole lot about.
So this was kind of pretty cool to kind of learn more about and kind of the
foundation of jam bands.
So it got me to know and it got to me to learn about some extra music that I
wouldn't be familiar with, which is why I enjoy doing this podcast.
(54:42):
So, yeah, this album, definitely I'm glad.
I'm glad I listened to it. I'm glad I listened to the song. And it's not Paul
Simon, not Paul Simon here.
This is Rusted Root here. I enjoyed it overall, just going through all the different
types of jam bands and the history, and going through this album.
(55:02):
Some of the songs were middle-of-the-road, that's fine. At least they had some
up-tempo, and then they had some decent slow songs.
But for being a one-hit wonder, I mean, it's definitely a niche,
unlike Dave Matthews' band, which definitely flourished, having such a huge,
strong following, I guess, to this day.
And Rusted Root, I don't believe, really has that. Or if they do, it's a little smaller.
(55:28):
But again, I can see why people are into jam bands. You know,
great musicianship, no doubt about it.
And it's just, it's not everyone's cup of tea.
So this is not, so I was very interested in just trying it out.
So I, that's why I love about doing the podcast. It exposes different genres
that I'd be familiar with or, you know, really know a whole lot about.
(55:49):
For me, Eric Kassenjager, I am so glad you got to this point of the podcast.
Very much happy to get back on the podcast train, toot toot,
and get on the music bandwagon because I love it.
I love talking about music. I love talking about one-hit wonders.
So that's my outro, ladies and gentlemen. I'm going to sign off,
(56:10):
but I have been your host, Eric Hassenjager, and this has been One-Hit Wonder Why.
Ladies and gentlemen, have a pleasant day and a pleasant tomorrow. Thank you.
Music.
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