Noise Junkies - Love/Hate

Love/Hate is more than just a hard rock band fronted by singer, songwriter and nonfiction scribe Jizzy Pearl. We delve into select delights and repugnant frights for your hoepful delight!

To hear all the music mentioned in this episode, click here:
https://open.spotify.com/playlist/6Q9PDgareNrP8cgPyyPbnD?si=8b99216f7adb49d7

JUNKIES
Father Malone: FatherMalone.com
HP: hpmusicplace.bandcamp.com
Heather Drain: https://www.mondoheather.com/

Episode Transcript

(00:04):
Duality is something that rules our livesand their nature. We cannot have the
light without the shadow, or theend without a junk, or love without
hate. But love hate is morethan just a hard rock band fronted by
singer, songwriter and nonfiction scribe JessyPearl. Yes, I said Jessy Pearl.
It is the topic of tonight's NoiseJunkies episode. We will delve into

(00:26):
some of our select delights and repugnantfrights for your hopeful delights. And to
quote the great mister Pearl himself,so you're gonna paint the town red.
It's party time, gonna turn backto maybe anyways. Welcome to Noise Junkies.

(00:49):
I am Father Drain and I havethe two most bitchen dudes with me,
my Noise Junkies brothers. We haveFather Malone. Hey, everybody,
we don't rest in peace. Wejust disappear ukukuju and we got HP HP
Welcome, Hello, folks, goodevening, Glad to be here. It's

(01:11):
been a while. We appreciate everybody'spatience. To the Noise Junkies. We
were back in the saddle again,just like Aerosmith, but with less heroin
and commercial sell ass and I loveAerosmith. I should have made the show.
I'm sorry early well seventies Aerosmith.Yeah, they are commercial Sabbats.
I mean, you're not wrong.No, no, that's hey, my

(01:33):
fellas. What have you guys beenlistening to lately? Ah? So the
new music has been a little bitthin on the ground for me lately,
So I'm kind of going back.So one of my one of my favorite
albums. I don't know what promptedme to get back into this, but
I'm listening to the debut by theone and Only Black Sabbath, the album
Black Sabbath, self titled by youGuessed Black Sabbath. It's one of my

(02:15):
favorite albums. It's really it's anoutlier in their catalog. I think it
was kind of the bridge between themwhen they were Earth. That's right.
They were Earth kind of a bluesband before they became the band we all
know and love. But that's whatI love about it. It's really kind
of it's bluesy, it's sort ofproggy in a way that they really didn't
allow themselves to be in Future LP. He's not that there's anything wrong with

(02:38):
what they became. It's fantastic,but this is such a unique album in
their catalog. The jams just kindof seemed to go on forever, and
there's the production is incredible. Theguitar playing is just He's just blows my
mind. I hear new things everytime I listen to it. And bill
Ward is just a beast. He'sso much more jazzy and kind of in

(03:02):
the pocket in this than I thinkhe was ever really allowed to be in
later Sabbath albums. So that's whatI'm listening to. Heather, what are
you listening to these days? Ohmy god? Well, first up,
give it up to Bill Ward,one of my favorite drummers of all time.
I love Yeah, Yes, andyou can never go wrong with Black
Sabbath, but I have been listeningto both are new discovery for me.

(03:24):
One of them is actually a NewWish entity. It's a It's actually a
band called Doctor Gasp in the Eeksand I yeah a name. Well.
Every year I always like to tryand discover new songs for what I consider
my ultimate Halloween playlist. Yeah,I love Halloween music. And this is

(03:46):
actually a side project by a NewEngland folk singer Dan Blakesley, and they
have a song called She Vampire Tamerand it is she she will be Mine,

(04:10):
I'll drink like why Like there.He had such a rich voice and
the song is very cheeky and funand spooky, and it's kind of sexy,
which you don't really typically think ofwith most Halloween music of having a
sensual sign. Of course, thenagain, I would be the kind of
light you know, clown hog thatwould see that and listen to that,

(04:34):
But I love it. And theother one is a nineteen sixty seven garage
rock band called Calico Wall with theirsong I'm a Living Sickness When I'm great,

(05:12):
kind of sinister psych rock, totallike nuggets pebbles action. The sound
that just that low fi organ soundjust sounds like you're on a bad trip.
It's stunning, as are my currentlistens. And what about you bother
them alone? I kind of quotedthem at the top of the show.
I've been listening to the Distillers singSync Death House on repeat. I know

(05:34):
it's like late in their catalog andit's a little too melodic for most people.
And Brodie Dollard's actually like singing andnot just growling like a fucking damon
from hell. But I consider it'slike one of their better albums. Look
around in a red sid I justsay what's down. The City of Angels

(06:08):
is fucking killer on every level.It transcends whatever genre that song is emerging
from. And Brodie Dollars just adoreher. I once I once drove to
fucking Anaheim to see a Brodie dollsolo show and it was worth it,
even though it was in Anaheim.That's all I'll say. So the Distillers.

(06:30):
If you don't know folks, ofcourse you do. But if you
don't, distiller sing sing Death,Death House a delicious, that young Craze
peeling that a song about her growingup and fucking Australia and her mom and
everything. I love a man Californie. Anyway, go listen the Distillers everybody.

(07:00):
Today we're talking about a few selectquestions and things dealing with love and
hate. You cannot have one withthat the other. I think when you're
passionate about anything in life, it'sgoing to be natural to have some things
that you just that are like partof your DNA, you love them so
much, and then other things thatyou're just like I want to set that

(07:20):
on fire with my mind and soI thought it'd be kind of cool.
And I like us having the balancebecause I think there's so much negativity out
there. We don't ever want tocontribute to anything that's just negative. Like
even when we're negative, it's likewith piss and vinegar and fun. But
it's like a blatop cocktail of awesome, you know, it's like being it's

(07:43):
like being mugged by a bunch ofclowns, because like that's terribly got mugged,
but it's literally clowns, Like ifyou're white on you it would be
the funniest thing ever. Yeah,would you slow to answer the clown me?
He has? I'll bet have you? Yeah? Probably, I deal
with a lot of it. Now, you would remember that if you're not

(08:05):
sure you didn't do it. No, listen, I've been around a lot
of clowns, a lot of carneyfolk. I'm not saying it didn't happen.
I'm trying to see. In mymind, I'm thinking, have I
danced with a full sized bozo lookingclown? And no, definitely not.
But have I danced with a threefoot clown? Yeah? Now that I
think of it a half, sothat's yes, I have a low dance

(08:28):
with a clown. Did you saya three foot tall clown? Correct?
I have friends in low places.We're gonna start with question number one,
and this one is, of coursemusical trends, which I don't know about
you guys. Usually when I hearmusical trends, I get a little rashy,
little itchy, because I'm just instinctivelyjust like, just make art that

(08:50):
you love, don't worry about transfut trends. But I think it's good
for me to get outside my owncomfort zone. And so I was like,
this could be interesting. And Ioriginally written, which one of the
past twenty years have you enjoyed themost? Now, when I say twenty
years, my sense of time isbad, that could be forty years.
Whatever strikes you, guys. Ohno, no, no, you don't

(09:11):
say that now. I said itearlier, message sir. No listen,
madam there, madam, Yes,I did the twenty year constraint, and
that's what you're getting mine. It'sa little more loosey goosey. Hell yeah.
The H is in solidarity. Wedon't need no fucking rules. That's

(09:33):
super I appreciate your adherents. Andso we'll start with you since you did
your due diligence. Okay, fatheralone, this is trends, right,
which one did you love? Okay, we're doing love. Mine actually has
roots a little bit earlier than thetwenty year thing and actually began kind of
in the early nineties. There wasa proliferation of what people were calling trip

(09:56):
hop bands like Port Say Yeah,Everybody, Corti's Head and Tricky and Massive
Attack I think falls into the triphop thing. But here's the thing,
though, I'm looking at HP's list. Apparently Okay, I get it,
he picked the same thing, butyou didn't actually, because here's the thing.
The thing I loved about trip hopwas like all the weirdo influences that

(10:20):
sort of came through in the music, like seventies B movies and like sixties
soundtrack music and sample dialogues and loops. But all of those influences, in
my mind kind of came to afruition in the early two thousands was something
called hantology. Hantology you know thisone, HP, right, See,

(10:41):
I'm not even I'm not even dealingwith trip hop. I'm dealing with trip
hop's kid. Basically, this isbecause hantology is very specific to around two
thousand and five. Sinks. It'swhen it's very British in its origin.
It's a lot of retrofuturism. It'sbeats using instruments that were once meant to

(11:03):
evoke the future, but they're soold now that they're ancient, so it
recontextualizes sound. So it's like musicfrom the future but rooted in the past.
It's very, very interesting. Themajor kind of people that were operating
at the time were Larry Paul andthe Advisory Circle. But better than all

(11:52):
of them is a band called theFocus Group. It's a collage of all
of the stuff I've mentioned and getsreally really dizzying. Movement also kind of

(12:16):
trafficked in what wouldn't become wouldn't becomepopular or become popular again until stranger things
became so popular, and that isthe use of synth, like eighties type
synth, like it's all over hantology, and I think it even influenced like
vapor wave and everything else. Soas far as my favorite transfer the past

(12:37):
twenty years specifically, I think thisone kind of qualifies. So while we're
on the subject of where we that'sthat's why we were. We kind of
went beyond it, but we're goingto take it back to the old school
of trip hop, and we're goingto go back to I consider for me
it was ground zero for trip hop. It was sort of the Rosetta Stone,

(13:01):
if you will, trip popping fromme. It all began with a
DJ Shadows debut album introducing This wasan album that it absolutely floored me when

(13:35):
I first heard it. I hadread a review of it. It had
a lot of buzz behind it,and the word was that this guy was
creating whole new worlds using nothing morethan an MPC, and that's he did
that and more. It expanded whatI thought the vocabulary of music at that
time could be. To your point, Father Malone, taking old B David,

(14:01):
everything from David axel Rod to Metallicato advertisements and L cool J shout
outs hip hop and just blending themup into this incredible concoction that I guess
we now call trip hop and iteventually The timelines are a little fuzzy for

(14:22):
me with some of the sort ofbands and groups that were tangential to that,
But I would also put in thesame category as you already said,
the portas head their debut album Dummy, Did You Really? Did You Really?

(14:48):
Fantastic un Klee, which is cheatinga little bit because it's a DJ
Shadow project with James Lavelle with alot of guest artists including Mike d I'm
Beastie Boys, Don't in Town.It's right now. It is incredible,

(15:15):
and then later bands like a ChemicalBrothers. I think Dig Your Own Hull
was another album. It's not necessarilytrip hop in its execution, but it's
certainly in my mind indebted to Tripp. But if I'm looking for my favorite

(15:41):
sort of trend or of the lasttwenty thirty thirty five years, let's say
because I think introducing was nineties fromaround ninety six. This is, like
I said, I go back tointroducing all the time. It's an accomplishment,
that is, it will never beequal. It's often copied but never

(16:03):
mastered in quite the way that includinghis own catalog. DJ Shadow is fabulous
and he's had an incredible sort ofdiscography, but they will never come close
to introducing. So trip hop ismy go to for the favorite trend of
the last years. How I weighin one Portishead's album Dummy. It's a

(16:26):
perfect fucking album and unquestionably, andwhat I liked about them particularly is they
weren't satisfied with the sound of theirown music to the point where they took
that they made a vinyl then theyre recorded the album with the scratches and
the pops. That's how dedicated theywere to that old time sound. I

(16:48):
love that album. I love allthe bands you mentioned HP, but that
is an album I can listen toand no matter what the mood, it
will put me into a port saidmood. Yeah, it's something you said

(17:14):
when you were talking about ontology,which I think holds true for a lot
of what I've described about trip hop. Is what strikes me about it when
I think about it is the timelessnessof these albums. These albums are now
thirty plus years old, let's say, but they sound just as fresh and
innovative now as they did when theywere released. And I think that's clearly

(17:36):
the mark of genius, in themark of a classic recording. I'm curious
what an eighteen year old would thinkabout hearing Glory Box, but I agree
with you. To me, itsounds like the album just came out,
but we're old. Maybe probably yeah, because for me, like instead of
going into genres or anything like that, I thought I was thinking in terms

(17:59):
of like what's affected music as awhole and music accessibility, and especially for
where artists are concerned, because youknow, oh I've heard you know,
we've all heard a lot of peopleand there other's I mean legitimacy too.
I've had complaints about like with theInternet. You know, obviously with artists
it's like, you know, it'sgetting access to money. But that's the

(18:22):
thing musicians have always been, unfortunatelylike fucked over by the industry. And
I feel like, especially in thelast twenty years, we're seeing more and
more artists be able to make ago of it independently, truly on their
own because of the Internet. Andwe also have so much more accessibility,
and I'm thinking like excites like bandcamp, even like social media. I've
actually discovered bands. There's an artistin particular I'm a huge fan of name.

(18:45):
Actually, her name is actually Housingaand her band right now is Patriarchy.
At the time I discovered her,she was just under the name actually,
but I discovered her through Tumbler ofall things, and I know well,

(19:11):
and I mean that was like she'slike ten years ago and I'm still
a huge fan. And the thingis, like, I feel like anything
that can kind of like further drivethe steak into the dinosaur that is the
music industry is a good thing,you know. And I definitely would like
to see artists get more money ingeneral. In AI's bullshit, that's not

(19:33):
even a debate that we'll get into, because I think we're all on the
same page. But you know,and that's why I definitely encouraged. But
I think most people that are musicfans, like everybody's like, oh the
Internet, you know. I thinkif you're a music fan, if you're
like us, if you hear somethingyou like, you want to support that
artist. Like I have heard somany things online that I use that to
inform my opinion and as well asto learn about a lot of different fans.

(19:57):
I mean, so for me,like the trend twenty years is basically
how artists like their social media presence, their ability to make more money just
being their own entity. They aretheir own record label a lot of times.
And I just got an album andI'm not gonna try and pronounce the
band stand because I will sparely butcherit because they're Polish, but like I

(20:19):
got into a dark wave band fromPoland. Like, it's very unpresed if
you didn't say what you just said. But I don't even think about it.
I hate nostalgia for people. I'llhear people be like, oh,
we moves some TV when they playedmusic videos, most of the stuff in

(20:40):
TV wouldn't have touched and nobody lovesthe music video format, I would say
more than me. I mean,I'm literally working on a book about its
history right now. But let's yeah, let's be let's face it, and
you know we in some ways it'syou have to work harder, but you
can work smarter, not harder.And with access to sites and the things,

(21:03):
you can use something like Spotify,which isn't the best at paying artists,
but you can use that to informan opinion to grow out and support
that artist and find them. Andwe actually we are flirting with and we
may be pulling a trigger very soonon noise chunkie Spotify playlists. That's a
great idea. Iacky, yes,you guys, don't mind, I'm going
to segue into my own bullshit herebecause that's right. Fuck around and find

(21:26):
out with me. Had their trainingwith music industry trends, and for me,
one of them, and speaking ofthe Beast, is the absolute clear
channel like Harcnan like entity that ismajor radio. I mean, no motre.

(21:48):
People are flocking to the Internet andthings like Spotify because the few times
in the last few years, likeespecially like you know, in my day
job, I'll hear regular radio andit's funking atrocious. And I mean it
wasn't great when I was a kidbecause already, like I grew up in
the nineties and the eighties, andeven then, like unless you were somewhere

(22:08):
that had a really cool college station, radio was already getting pretty pretty prickly,
and classic rock radio, especially whereit's you know, we'll play good
bands. But yeah, according toclassic rock radio, the Kings only did
Lola and You Really Got Me Goingand maybe two other songs. The Kings
have thirty albums, like at leastlike what I Know, I know,

(22:33):
you know, three singles. Ithink, right, a couple of these
signs. What's sad is like nowthey're starting to play like the grunge stuff,
but it's I mean, some ofthose bands owners prolific because a lot
of them to stay around that long, but they still had more than one
song long. Like I mean,it's just it's the most trough. It's
a fucking trough for listeners. AndI mean, if you're going to treat

(22:56):
me like a piggy, at leastput a ribbon on. I don't know
that analogy, but I'm just saying, clear channel and all of that is
evil, I really, And I'msure there's downsides, but I've heard legends
and tales fagance lines way older itis, but like they're way I mean,
it wasn't even that longer where youcould have DJ's play a whole side
of an album. I mean,it was like the seventies. I mean,

(23:18):
there are songs that became major hitsbecause of DJ's just being like,
I'm going to play this. That'show I mean. There are b sides
that became number one hits back ofthe day. It's just because of a
DJ being like, I like thisone better, and they did it and
it took off. I agree.This plays into what you were saying previously
that it's a little more democratized nowthat you can make the music and distribute

(23:38):
the music on your own, whichis fantastic The problem is we need to
figure out a way where we canall be privy to it in the way
that you're describing the DJ who goes, hey, everyone, you're just going
to listen to this album for howeverlong I'm going to play it, you
know, down and say you're listeningto this right now. It's a very

(24:00):
it's a it really is a doubleedged sword because I can come at it
like my experience. This isn't necessarilynecessarily related to radio, but I have
a little band campsite for some songsthat I've written, and I have a
couple albums up there. But it'sYes, folks don't have to grovel in
front of a record executive to gettheir you know, get their music recorded

(24:22):
and promoted and everything. So that'sall greatly you know, probably ols,
But at the same time, it'salmost too much of a good thing.
Like now, the challenges. There'sall this great music that people can frankly,
they can just record in their bedroomsor what have you, their home
studios. There's just too many placesto go for music, too many musicians,

(24:48):
too many bands, Like how doesone differentiate themselves and get their music
promoted and heard well? That's fthings I really have enjoyed about about Spotify
is that you can search other people'slaylist. That's how I discovered Doctor Gasp.
Was just like randomly kind of researchingother playlists and just being like,
Hey, what's this sound like?And a lot of times it's you know,

(25:11):
yeah, it's like anything else.I mean, it's kind of like
a women's sampler. But every sooften you're like, oh, what's that
and you like it? And that'sthe thing I always really try to encourage
people. I think us doing thisshow helps too. I think every little
seed you can plan because the alternativeis you know, what we're hearing on

(25:32):
major radio and what we and youknow, like what we went through,
you know, even in the MTVdays where it's just like you know,
a handful will get all the gloryand everybody else you have to like gosh.
I mean, in some ways,like do kind of misslike I hate
Nostalia, I do miss the treasureHunt aspect, a little bit of culture
seeking pre Internet. But at thesame time, I love the availability we

(25:55):
have me out. I love thefact that like some kid and you know,
the Midwest can record an album becausethey heard can they heard the band
can on Spotify and they were likethey're hearing crowd rock and they're like,
holy shit, you know, Ilove this, and they can make their
own album inspired by that. Imean, it does make it harder,
but for me, like it makesthe rewards that much richer. And it

(26:17):
also to me is taking like takingthe energy away from just the big,
bloated you know, stuff that's justbeen like it's like a dying tick that's
been feeding off the blood of artfor decades, for decades. Take about
of all the blues men, likeyou know how much money, Like like,

(26:37):
I don't know, that's a thing. I should have made that my
hate like a little earlier. Firstof all, I believe harkening is the
proper pronunciation. Secondly, I wantto apologize to the ghost of John Lennon
for my terrible impression. The pointI was going to make a little bit
earlier is and maybe this is justme, but for me, the idea

(26:59):
of like like radio music, anythingthat's not like talk radio or like that
has been dead to me for itfeels like forever. I can't I couldn't
even tell you the last time Ilisten. No, no, no,
I'm not trying to put it anythingdown. I just can't remember the last
time I put on the radio inmy car and listen to a radio station,

(27:19):
like because I'm just so conditioned,because first of all, I never
I'm rarely gonna hear what I wantto hear. I put all the music
on my phone or I listen toSpotify in the phone, and I just
plugged into my car and that's whatI listened to. But do you guys
like listen to the radio in yourcar or every day? Really? Yeah,
I listened to No, I do. Honestly. When I'm driving in

(27:41):
the car is the only time Iget to listen to what I consider random
music. But I only listen toclassical stations. So it's not the It
isn't as mind numbing and grading aslistening to the same fucking Lynyrd SKINNERD songs
over and on any random classic rockstation you're gonna put on. Like do

(28:03):
I need your flock of singles onemore time? Probably not, I don't.
This is your This is my point, Like any classical is different because
that's like preserved in amber forever,you know what I mean, Like that's
never going to change. It's alwaysgoing to be you know, probably supported
by you know public, there's lotsof funding. You know, there's lots
of contemporary, you know music that'sclassical. You know. Oh man,

(28:30):
are you saying, are you quittinggood? I'm listening to that? Do
you know that? I was atI was at Amiba Records in Los Angeles
and I was looking for some Tangerinedream and it was in the new age
section and I it was in thenew Age Why, I don't know.
Why was it a new wage?I don't know. It broke my heart
though, that's weird. Oh I. I removed it and brought it over

(28:52):
to the electronica. What is thetrend the last twenty years that you hate
that you want to just throw acar back at It all starts with auto
tune. Yes, at some point, hip hop had kind of evolved into
lots of mostly female background vocals oryou know, a female singer doing the

(29:18):
chorus of a song, and whichis mostly hip hop, this sort of
hybrid between song and the hip hoptune. And then auto tune hit the
scene, and then all these rapperswho can't carry a tune in a bucket
got to sing their own choruses.My complaint is not necessarily about auto tune
on its own, because then afterNicki Minaj hit the scene and she can

(29:41):
actually sing in addition to rhyming prettyfantastically, then it was all over.
Now what was a novelty it seemed, or a trend in hip hop?
It's just rampant. Like I likehip hop because it's spoken and then you
can have a sing sort of flavorto it. But I don't need every

(30:03):
hip hop artist to be on theirsongs. I just don't. I would
like that to stop. That's all. It's a minor thing, but it
bugs the shit out of me.No, No, I agree. I
agree, that's in a weird way. It ties in with what I'm going
to go over, but yeah,it's yeah. Hip hop has gone through
some interesting changes and kind and that'sfine. All music should evolve over time.

(30:25):
But I can hear the bands inthe acts that you're describing with this
autotune bullshit, and I couldn't agreemore terrible. Yeah, when I think
of autotude, I think if thissnel sketch saw years ago where it was
making fun of the real housewives likehaving musical careers and they literally all of
them were. There's like what asong called an Apple Day keeps the haters

(30:49):
of way. It was funny,but yeah, I meant autotune's kind of
become like the sonic version. Doyou guys remember glamour photos like this was
very nineties were. Yeah, thatwas huge of my childhood and new girls
that were envy other girls. Igot to go get glamour shot. But
it's basically like you could look likeErnest borgnine, but they could put enough

(31:11):
diffusement and yeah through sweat socks notgus, and I'd give you huge hair.
And I mean it was kind ofdisturbing because they would make young girls
like they were like forty year olddivorces listening to Don Henley and a smoky
bar. They're down in their fifthpink squirrel. That's a lot of detail

(31:33):
for that story, but there yougo. Payton Pictures, HP. Let
it. Let open up your heartand lift it, y'all shine. This
was yeah, So again I kindof issued the idea of a trend and
I kind of made it into whatgenre. I think that's kind of what
Father Malone and I both did withwith our love picks. But I can't

(31:55):
this I think of this, itjust puts me in a really bad state
of fright that I'm just not happy. The thing I'm the most hated trend
for me over the last twenty orso years is the rise of I guess.
You could call it new country,you could call it country pop,
you could call it whatever. Ijust call it a big steaming pile of

(32:17):
bullshit. It's amazing to me becausethere's a cultural thing at play here too,
because you're listening to it, andif you took it's just basically just
auto tune pop but with the southerntwang, and I don't. It's amusing
to me that the fans of countrypop and new country can kind of still

(32:37):
look down their noses at like traditionalpop, but in reality, what they're
listening to is nothing more than justpop with like like I said, pop,
you know, driving a broken downforward. Basically it's the It's I
just it puts the hairs in theback of my neck on edge when I

(32:58):
hear it. Kids, And ifit's proground here we fix it. I
can take yore. You need togo down to my hood back in the
woods. We do a different roundme. And that's right. But we
sho will do it, dude,and we do it all night. So
if you really want to know howit feels to get off the road trucks
and full wheels, jimponi and aman, tell your friends will raise some
piale with a black nun. Thatis a ground no one should ever cover.

(33:19):
It never works. Little Little Nasaacts like that was a novelty song
that in no way accomplished the fusionof hip hop and country music. It
was a novelty song exactly one percentright, And now that just full disclosure.
I love Johnny Cash, I loveWillie Nelson, I love Whalen Jennings.
I'm not country averse. I'm notone of these people that says a

(33:40):
country it's just you know, terriblelove that's good enough for you find is
fantastic. I just noticed that youdidn't mention her that song. I'm sorry.
I'm just giving examples of things thatI like. Do you want me
to list every single country artist thatI love? All right, let me
do it in reverse. I justI want you to mention the best ones.

(34:01):
That's all you know. In fairness, and you know, maybe cross
gender lines every once in a while. HB. Maybe you could do that.
My pick for the most hated,my personal demon of awful music over
the last twenty years or so iscountry pop. We've had experience. I

(34:22):
think we've all had experience with thesenew country artists because they're the only thing
being ladled out to us these daysas representatives of what country can be.
And the fact is, one ofmy one thousand percent favorite artists right now
is named Lily May, who's thisfucking country as you can get, and

(34:58):
she's fucking genius. So I agreewith you, father Malone, that maybe
I'm painting with a little bit ofa broad brush, because there are like
Casey Musgraves. I actually enjoy CaseyMusgraves because she's country, but she's not
like coming at it as yet.She's under no illusions that what she's doing
is an amalgam of country and popand a lot of other kind of cool

(35:20):
stuff. And she has a voice, a very singular voice. There are
other artists I could put in thatsame sort of bucket. But my point
is like, there's a very specificaudience and a very specific it's an assembly
line. Yeah, No, Ithink it's like anything else. Once you
have a genre that is particularly likethat has started with the roots, and

(35:40):
that roots could be It could belike the roots of punk rock, which
is kind of working class and misfitsunite, you know, whether it's country
music, which was, you know, a genre basically for poor, working
class role Americans a lot of ways, the blues, you know, rap.
Any thing that becomes popular, itcould becomes codified and it becomes it

(36:04):
becomes merchandising. It doesn't it's nottreated as art. That doesn't mean that
people that aren't working with and doesn'tlouse that are artists. But I think
looking at the mainstream for anything that'sgonna be enlightening. You know, it's
going to be kind of a you'regonna get heartbroken Randy pretty quick. But
that's why we got the noise junkieshere. We're not going to leave abody
a straight. We're gonna tell youguys what is up, and you know

(36:28):
what else is up? We arenext question, we got words about sounds,
people, music writing that moved you. We're talking could be a journalist,
could be a music biography, couldbe a historical book, etc.
A particular writer and what music writingin that form has moved to your HP.

(36:49):
I didn't come at this like thisis a book I want to go
into a book that moved me.But it didn't moved me because the writing
was especially you know, it touchedmy soul or something like that. But
it moved me in the sense thatit really it made this particular band more
cinematic in my mind and kind ofyou know, made me look at music

(37:12):
in a did of a different way. Now you may laugh, but this
was a book called a Hammer ofthe Gods by Stephen Davis. This was
the biography of Led Zeppelin. Iread it when I was in high school.
I want to say I was probablyI don't know, fifteen actually probably
maybe it would have been might havebeen predated high school. Actually I was
probably fourteen fifteen when I read it, and I was I was I was

(37:36):
already at the age where I wasgetting into classic rock a lot more.
It led Zeppelin in particular. Andno one will ever confuse Hammer of the
Gods for being like exquisite literature.But for a teenager painfully shy, just
learning about the music that moved himand kind of getting into bands and discovering

(38:00):
an identity through those bands, theHammer of the Gods was for me nothing
short of cinematic at that time.It was it's it was laurd, It
was exciting. It made me wantto really dig into the led Zeppelin catalog
because he did a great job notonly of getting into the salacious bits of
them with all the groupies and everythingelse, but he wouldn't right the face

(38:25):
it's indelible, and that's I thinkZappa had a song about that too,
But he also Stephen Davis also wentinto the recordings of these albums and talked
a little bit about each song andthe production and all that, and it

(38:45):
really, like I said, itgave me this sort of wides free view
of this epic story of this bandand fourteen fifteen year old HP just ate
it up like like candy. Andit really ain't excited me about music about
classic rock, about led Zeppelin ina way that I hadn't before. So

(39:07):
it really kind of kick started alot of my fondness and my my sort
of monomania for classic rock at thattime. So there's a primary sort of
text for you know, a teenagedHP. I guess HP in the high
school that we shared, I wasin English class where someone was trying to

(39:27):
pass that book off as a biographythat they wanted to review for an assignment
and class, and I remember theteachers going, no, this is what
I need to I need I havean idea of who that might have been.
What are you even I guess,well, what are you even thinking?
The teacher said, And then Iremember that this student arguing that,

(39:52):
no, you don't understand. They'revery, very literate. Their songs are
about Lord of the Rings, andI thought, oh, I mean that's
far sure that that is true.They also played musical instruments. It doesn't
make what you're trying to pass offas a piece of like his history or
historical right, like props. Hello, what is your Okay? I'm gonna

(40:16):
be lame and kind of read.But I've been thinking about this a lot,
this idea of rock criticism, becauselet me just read it. I've
read that, you know, discoveringa kindred critic is tough because it's about
finding someone who vibrates on your sameemotional level. Rock criticism is particularly treacherous
territory because, unlike pros or film, the listener is supplying so much of

(40:39):
the world the song that finding asympathetic critic depends on shared idiosyncrasies idiosynchronicity.
Like a cool older friend. Agood critic will expose you to bands,
genres and musicians you never would havebeen privy to, and yet you'll end
up cherishing. But they'll also turnyou on to bands and genre and musicians

(41:00):
that, though you'll agree to disagreeof their merits historically or musically, you'll
still feel enriched of the knowledge ofthem because it was transmitted to you and
the one that was transmitting the subjectmatter. Yeah, but the language and
the rhythm of the one giving youthis information. What's ironic is that I
don't actually have a kindred rock criticor a journalist. I've admired plenty of

(41:22):
them, and I've mined plenty outof the criticism and journals that I've read
over the years, but there's neverbeen a consistent voice I've been tuned into.
Which doesn't mean I don't have favorites, because I do. Starting with
Legs McNeil, he's notoriously connected topunk through Punk, the magazine he co
founded, and you can debate itall you want, but he basically named

(41:45):
a genre of music. He putout a book called Please Kill Me.
The Unsensored Oral History of Punk,which is a good book even if you're
overly familiar with the players and thescene. But that's not my favorite.
My favorite is inspired by that book, and that was put up by a
guy named Mark Spitz, who's theother guy admire and rock journalism. He

(42:05):
put out a better book that's calledWe Got the Neutron Bomb, The Untold
Story of La Punk. I thinkoral histories are invaluable. I always prefer
to hear a song, like astory of a song by who wrote it?
Call me crazy, and I thinkit's and I know it's just as
curated as like any prose biography,and what's left out is as important as

(42:27):
what's being left in. But evenin an account from some ROADI on some
tour is more valuable to me thanwhat a journalist might imagine have happened in
a scenario. So that that book, in particular, I want to say,
is my favorite piece of journalist becauseI'm fascinated with that time and place,
which is kind of unheralded. Everyoneknows everything about fucking cbgevs man.

(42:52):
We all get it. We knowyou know, and we've all had the
debate, where did the punk comefrom, which I always think about SLC,
like, what does it matter whereit came from? Talking about who
started punk rock music? Was itsex Pistols in England? Was it the
Ramons in the velvet on the groundin New York? Ramos? And who

(43:12):
guys have started? But having saidthat, it clearly started in New York,
and like a wave, it wentover to London. And then when
that wave came back, it fuckingdevoured the United States and got over to
Los Angeles, which is where theactual interesting punk scene begins in America.
And if you want to know moreabout that, then I would encourage people
to check out We Got the NeutronBomb, which, by the way,

(43:34):
is a great title for a book. Well, it's taken blink? Was
that the not the Nerves? That'sa song. It's a great song.
Why am I blanket on the bandname? I don't know, because I
know it's Yeah, I think itis. I think it might be.
I know it's a song too,No idea who sung it? Yeah,
I would highly recommend it if heliked that. Alice bag who is one
of my heroes. She, ofcourse lead singer of the band the punk

(43:57):
band The Bags La On her website, she has a curation of dozens of
interviews with the various women of thatscene. My my problem with that book
is I felt like it was veryheavy on the dudes. Oh yeah,
it's it's heavy because Brendan Mullen isthe co author of that and Brendan Mullin's
contribution to the scene is basically owningthe mask like nightclub Branda Mullin's cool.

(44:23):
I mean, he was very goodto Stephen Satan, who, as you
guys know, everybody probably does something. I love Steven and I'm writing a
book on his art. But butno, I mean, I mean they
talk more to Kim Falley than theydo today, and I love and I
have a weird love for Kim Faallely. But you know, I don't know.
It is interesting, But I highlyrecommend Alice Bag site for that.

(44:45):
And I love compliment each other.That doesn't have to be one or the
other. Everybody reading everything about theLa punk scene, and I totally agree
with you about this sort of moredudes than not sort of policy with that
book. But let me just sayabout we Got the Neutron Bomb contains one
of my favorite quotes of all time. About the Cramps, which is somebody
said when the Cramp's gone to town, we realized how much of American culture

(45:09):
was left to destroy. And thatto me, just like Touches my Heart,
I have a fallow along to thatfather alone. I have ever read
the book The Hepatitis Bathtub. That'san oral history of the band No Effects.
No I also right, also highlyI'm not can't claim to be a

(45:30):
huge No Effects fan, but ifyou're looking for a well oral histories,
I agree are some of the bestbooks if you want to get the street
scoop on this stuff. And thisis written by the band members about their
time, you know, starting outas punks in LA and everything leading up,
and it's fantastic. I read oneabout the DC punk scene too,

(45:50):
which I cannot remember the title orwho wrote it or whatever, but like
this sort of same format detailing thatscene as well. And also I do
have to give a shout out totwo other cities of punk origins. Detroit,
Baby, which in some ways Ithink you could argue Detroit maybe had
a little step up towards punk alittle faster than New York, but New
York had more the trajectory and alittle talent that doesn't get enough that.

(46:12):
I know you guys, I flywith this. The Boston punk scene.
Boston has some great punk music.No it didn't. It was lame.
People who are living in Boston oradjacent to it right now are also lame.
I feel like that, sir,sir, No, sir, that's
a no. That's a no.And you know what you did was wrong.

(46:35):
Alright, I'm going I will haveto be throw my coffee. I
will beat you with my coffee.Please kill me there. It's yeah.
My pick is is of course punkadjacent, and but it's two writers and
one, of course I have to. I cannot go without mentioning Lester Banks.
So it's one of my heroes,my spiritual writing godheads. And the

(47:00):
thing I love about Lester so muchis his heart. He was a great
writer, but he was hard evenwhen I don't agree with him, and
there's a lot of times I'll readsomething of his and I would not agree
with but his voice is compelling,and I think, to me, that's
what makes great writing is if ithas a pulse, if it has that
heart, especially writing about art,like anything creative, like if you're if

(47:22):
you don't give a shit, Thenwhy are you doing it? Baby?
You know, like, don't doit. If you're not into it,
don't do it. There's other thingsyou could be doing with your time in
your life. And and Lester couldbe so funny, he could be savage,
but he was always like so human. It was never about his ego,
Like if he fucked up, he'syou know, like MC five.
His first review of the MC fivefamously trashed them, and then he went

(47:43):
back to listen to them and hewas like, fuck, I was wrong,
Like it ended up be giving friendsin the end. And you know,
so Lester Banks spend an associative hit. I do want to highlight.
But this is Robert Duncan, whowas another alumni of Cream. Robert Duncan
is phenomenal, like sweet guy becausehe's on social media, super nice,
fantastic writer. He has a newbook out called Loudmouth, which is kind

(48:06):
of a slightly fictionalized basically autobiography aboutyou know, his childhood and you know,
being in a band of the latesixties, you know, and you
know, moving to New York,being friends with Lester, hanging out with
you know, Peter Lafner, whowas one of the founding members of para
Ubu and just it's hilarious, it'stouching. Robert Duncan has the true he

(48:30):
I can see why you know yourrates some of his old rock writings and
they're great, and he, youknow, has that just he can be
absolutely hilarious and irreverent, but healways kind of feels like a friend,
like feels like that really cool friendthat you kind of you know that you're
like, I'm gonna listen to thisguy. I want his thoughts, like
you guys are like my little RobertDunkins and because you both like That's why

(48:52):
I love doing a show. Ilove having friends with great taste. And
that's when I have with Father Malonein age. So thank you, thank
you, guys. You the onlythe only measure of our taste is that
we're friends. That you're friends withus, that's all. Oh what yeah,
stop stop, but but but thislove best. I want to get

(49:14):
into some juicial I'm called upon thespirits of a Marie la Vau because I'm
about to curse some people, notliterally, of course that's bad my joke.
But if you can't stop, mind, I'd like to go straight into
mine, which is and I partof me haste through this because I don't
Yeah, everything is subjective, andI'll say this obviously. Wait, we

(49:37):
don't even need to preface this.If I if you got something that you
friends, y'all dig it or fuckoff. There's a book called Rip It
Up which is about new wave andpost punk music, and I bought it
super stoked years ago when it cameout when it first came out, because
I love postpunk music. I findnew wave was basically a marketing term.
But postpunk is where like in somebodysee ashes of the punk scene, particularly

(50:00):
in the UK and in the US, created all kinds of really divergent types
of bands, some of whom Ithink you can't even totally classify to the
state. And that could be anyband from like kind of a weird one
off band like Gallic I love youto say, the Chameleons or the bull
Shore. I mean you had andhe had all kinds of mini genres.

(50:21):
I mean we got we basically gotmodern goth rock out of that, you
got synthpop out of that, yougot hardcore punk out of the initial you
know, as the other thing islike og punk was actually a lot more
diverse than people give it credit fortoo. But but I was so excited
to get this book and it wasso fucking boring and so dry. It
was so dry, and that's likeit breaks my heart because I'm like,

(50:42):
how can you like it? Imean, if you're into academic stuff,
you'll love it. What is thename of this pumplication? Rip? Well,
the book is called rip it Upand it's about post punk. And
but I have friends that love thisbook. So if you're into that kind
of thing, maybe you'll like it. But for me, it don't mean
a thing if it ain't got thatswing. And it just did not for
me have a pulse to it.And there was way too much written about

(51:07):
scritty polity like Tuxedo Tuxedo, TuxedoMoon, Tuxedo Moon. Too much writing
about scritty pod No, I'm sorry, there's like almost like a fucking chapter
our scritty Polity, and Tuxedo Moongets two paragraphs. Are you shitting me?
Tuxedo Moon are amazing? Come on, Like, Tuxedo Moon is a

(51:28):
that's a band you cannot classify tothis day, there's nothing about Tuxedo and
the sound dating they are, youknow, or bands like DNA, you

(51:52):
know, like the whole no WaySeed Big You've got you're writing about that,
so did you have the riches givento you? And you're just gonna
just like I'm Scrity. I don'teven hate screeply, but godding out Screapolady,

(52:15):
I've now realized as a band nameI hear about once every ten years.
So thank you for providing the tenyear anniversary of scrip Lady in my
brain. And now I don't haveto think about it again for another decade.
The curse has been put to restby now. But n of my
holabaloo. Father belowe. Much likemy favorite journalist, I don't really have

(52:38):
a particular subject as far as criticismgoes. Rock criticism goes that I hate.
Rather it's a collective and that theworst rock criticism is one from Rolling
Stone. Maga, Yes, preachit to the mountain. Now listen,
I'm not talking about the very earlyyears, the sixty five sixties, the

(53:00):
rebellious. Hey you got to hearthis band rolling Stone. I'm talking about
the tal end of the sixties andinto the seventies and on and on into
irrelevance when it all became kind ofall too snarky. I'm going to read
again now, but I'm going todo so happily. These are some choice
cuts of reviews that Rolling Stone Magazinehas offered over the years. Now that

(53:24):
the freshness of their Dorks on Paradestick has worn off, the giants,
New York singer songwriters John Flansburgh andJohn Lennell need to prove themselves an all
out novelty act or trenchant musical parodists. Judging from Flood, they are unwilling
to make either commitment or are simplyincapable of doing so. The nineteen Ditties,

(53:46):
crammed onto the album sophomoric throwaways,Particle Man Erstot's Jazz Hotcha and Country,
Lucky Ball and Chain, and anoverdose of their standard issue oopop pop
aren't as ingratias as the giants thinkthey are. Fuck you, David Brown,
February twenty second, nineteen ninety issueof Rolling Stone Magazine. Confidentially,

(54:08):
I never told you love her.Confidentially, we never had, But this
railroad ambartment was a place. Here'sone from October the twentieth of nineteen seventy

(54:29):
seven. Richard Hell has been toutedas an underground genius for nearly three years.
In this debut album, boldly triesto document him as such. The
result is thirty odd minutes of grinding, sado messochistic rock. Love Comes in
Spurts has all the earmarks of theyounger New York bands, a half sobbed
double time lead vocal, patently dumbbackup singing, and chattering dual guitars,

(54:52):
But Hell, confident that his presenceand lyrics can transcend so artless a rock
medium likes to wallow him. Thistends to make an eight minute song like

(55:14):
Another World sound like beat Nick indulgence. The Fugs did the same thing as
a jug band, much more wittily. That's a review of Richard Hell.
Who was that? Who was that? Writer Fred Schreer Schurrs schre Love comments
first is one of Richard Hill's bestsongs. Fight Oh my God, like
fucking rock. I read the wordsand it starts resonating in my head and

(55:37):
this guy's just like it's kind ofa poppy tune. At least you mentioned
that they might be giants. Guy, Jesus, here's one for you.
These guys synthesize trenching experimental trends intoa hodgepodge that's compelling only to those without

(55:58):
the intellectual vigor to penetrate the band'ssurface pose to find the real pose underneath.
Most of the concepts on their secondalbum, Duty Now for the Future
have been recycled from Frank Zappa,the Yardbirds, and other sixties avant gardists,
and the handful of original notions theydo try to express are mostly lame

(56:19):
or fraudulent. As rock and roll, this sort of stuff is a horror
show that dispenses with backbeat, melodyand raw emotion, I e. All
the things that ever made rock worthwhile. When I finished typing this, I'm

(56:46):
taking a hammer to Duty Now forthe Future, lest it corrupt anyone dumb
or innocent enough to take it seriously. That review was written by Dave Marsh.
That's okay. Lester beat him upin a lot as well. He
should have. Marsh in nineteen ninetyone wrote a book, an anti censorship
book, The Guy Who's going toSmash a Devo record lest it corrupt.

(57:10):
Others wrote and sold a book tocrying censorship. I could go on,
I have a lot more, butyou got the idea. Now, I
know, every like publication or periodicalis going to have ups and downs,
and they'll employ some people who makesome mistakes and everything. But the sheer
volume of not just snark but dismissivekind of clicky, you don't belong here,

(57:35):
we're the rock gatekeeper fucking attitude fromthis rag. It was just used
to sell fucking, you know CDsin like a whiskey for the past fucking
fifty years. It's inexcusable, andfuck them. But I love Ben Fong
Torres. I love Ben Fong Torres, and obviously Hunter Thompson and blah blah
blah blah blah. We've heard there. They've sung their own praises long enough

(57:58):
that they convinced us that they aren'ta piece of shit when it comes to
actual rock writing, which is whatthere the whole purpose was supposed to be,
right, Yeah, Well, everytime I see n Winners fucking Memoire
at Barnes and Knowable, I justI always like, if nobody's going to
give a finger this guy not onlydid he fire, he fired Lester Bains
because Lester Negative gave a negative reviewto Canned Heat and that post off a

(58:22):
record exactly. You know when Ithink of when I think of Yon Winner.
Did you ever see the movie Perfectwith John Travolta and Jamie Lee Curtis,
where he's a journalist infiltrating the sceneat the aerobic scene and he's working
for Rolling Stone Magazine. At onepoint he calls Jan Winner, who's at
Who's hosting a fun due party,and he's wearing an apron dipping a stick

(58:45):
into this bubbling vat of cheese,and I think, perfect, God,
that motherfucker. I can't stand home, Yeah, Fuyan Winner, And I
agree, I can't. I can'twait mine. I don't have a specific
target in mind. This is kindof more of a blanket catch all of

(59:07):
things that I just I hate interms of writing, and it's not limited
to music necessarily, but that's thefocus of my personal reading, and that
is ghost written music autobiographies. Ihave, at one time or another read
every book by every member of thegroup Kiss, from Paul Stanley to Peter

(59:30):
Chris And have you read the boI Lived to Win or something I think
Peter Chriss was called like Breakup toMakeup or something I've read Ace Freely's which
was called No Regrets. It shouldhave been called no Regrets. I think
it would have been funnier, butit's always funny. Yes, So there's

(59:52):
something. I think there's something.Well, first of all, you know,
in an ideal situation, if somebodyis dictating their life story to somebody,
then you should get this person's voiceloud and clear. But I think
the problem is I think, honestly, most musicians, most rock musicians,
maybe classic rock musicians to particular,are just the idiots. They don't have

(01:00:15):
a lot of I think they fancythemselves. It's like the spinal temp thing.
They fancy themselves as being sort ofsmarter than they are and maybe with
more to say and more to contribute. But the fact is they most of
these musicians have achieved success at avery young age and really kind of stopped
progressing intellectually, and that during thattime period. For when I'm there,

(01:00:37):
when they achieve their success, andit's painfully obvious when you read it,
I always feel a lot of sympathybecause in my mind, I'm seeing like
some poor ghostwriter, like Feverish,like he has all these cassette tapes of
conversations he's had with Ace freely,and he's thinking himself what How the fuck

(01:00:58):
am I going to make this intoa coherent narrative? Like one minute he's
talking about Paul, the next minutehe's talking about crashing his car into a
tree, and then he's talking abouthis music studio and how do I And
that's fine, they get to work, they need to eat these ghost writers.
That's fine if they can, it'sgood work. I'm sure if you
can get it. But I think, and I think I'm gonna have to

(01:01:22):
take a hiatus from reading music autobiographies. Yeah, I mean, it's just
I should know what I'm getting into. But it's just it's not interesting to
me. It's oftentimes, like Isaid, it feels like somebody trying to
inflate their life into something bigger thanit actually was. And you would think

(01:01:43):
the sellasious bits would be interesting,but I find them kind of sad to
read somebody who's looking back, likePeter Chris on his life at seventies something
or whatever, and really trying tobuild themselves up to something more than maybe
he was. I don't know,there's no lack of a real voice drives
me nuts. And I think it'sjust it's a cheap way to cash in

(01:02:06):
on someone's success. Ghost written musicautobiographies are the worst for me. I
know a ghostwriter. You know somebodywho ghost writes for a living. Yeah,
I can't tell you. I can'ttell you what they've written or who
they are, but I will tellyou off there. Okay, I look
forward, and you're right. People, you know, people gotta make a
living. But I also totally agreewith you. Ghost written autobiographies what a

(01:02:28):
joke? Can I throw a couplecouple of more logs on the on the
fire that is rock criticism or journalismquote unquote that I hate real quick?
If the spirit mayors do you gofor? Albert Goldman's familiar with Albert Goldman?
Of course he wrote that John Lennonbook that was just really a hit
piece, The Lives of John Lennonor Lives of John Lennon. Albert Goldman

(01:02:52):
is a rock critic or journalist oror biographer. Really, he's just a
bitter, fucking prick of a man, and who I think was really mad
at everything culturally that occurred post fiftynine or something like that, or even
before that a little bit. Ithink anything rock and roll really related,

(01:03:12):
because boy, he went after Elviswith a ferocity and accused every one of
his subject matters of the same sortof salacious things, and it was just
a no joy in the music atall that there was no I think he's
one of these awful muckrakers who Ithink believes they're actually performing a service and

(01:03:32):
shining the light on all the depravityor unsavory behavior that you know, tears
our idols down and makes them human. You can do that, but you
have to balance it out with whatwas joyous about the person to begin with,
because otherwise it's otherwise it's all thestations of the Cross, you know,
Like, yeah, we know hewas treated badly. You know,

(01:03:53):
we watched him get whipped and beaten, Like, you know, why why
are we reveling in it? We'vegot one last question for our holy trinity
of love and hate. We're gonnago to everybody's favorite and probably not the
favorite topic, classic rock lyrics.Now that all lyrics are are created the
same, Some I have the spiritof poetry to move you, while others

(01:04:15):
make you want to basically annihilate theentire sperm bank of whatever. You know,
clear Channel Abomination, Buffalow, wildWings, howdown that is going on?
I'm sorry. I feel like Ijust had a many vapor thinking about
the one I hate so much becauseit's terrible, but look as I would

(01:04:35):
love when it it's a love andHP give us your favorite classic rock lyric,
one that marks that you think isjust exquisite in its formation. Sure,
and this is more recent. Idon't know. The tag classic maybe
a bit of a stretch. Ithink this is a classic lyric, but

(01:04:56):
you know, if your mileage,maybe, Harry, I'm going to my
probably my all time favorite, whichis David Bowie. And just to sort
of set the stage, this comesoff. This lyric is from the song
where Are We Now, which isfrom the album The Next Day, which
was released and it was a surpriserelease in twenty thirteen. And I'll get

(01:05:18):
to the lyric itself in a minute, but just to remind people what an
extraordinary event it was that this albumeven came out, Bowie had a heart
attack in two thousand and four.He was on stage and he suffered a
heart attack and he I think hehad to have an ANGIOPLASTI and he aside

(01:05:40):
from a couple of appearances here andthere and some soundtrack work, we no
one had heard anything from him innine years. Then all of a sudden,
one day in twenty thirteen, outof nowhere, literally out of nowhere,
he dropped this album the next day, which really from me, had
harkened back to his best work someof the albums he did, the Berlin

(01:06:01):
Trilogy, he did. Tony Visconti, the producer, actually reunited with him
on this album, and the lyricI'll tell you lyric is at the very
end of the song. It's thelast bit that he really sings. And
I'm not going to sing it becauseyou don't want to hear that, but
I'll read it, repeats us acouple of times. He says, as
long as there's sun, as longas there's fire, as long as there's

(01:06:25):
me, as long as there's you, And he repeats this a couple of
times. As the song sort oftrails out, how slow that's fire,
Sloan ASTs me, as long asdeath you. This was It was such

(01:06:54):
a remarkable thing. We all collectively, I'll lump myself in with the rest
of the fans, we thought thathe was done, that he maybe had
put out his last album, andmaybe he would never be, you know,
omnipresent in the culture again and forthis to come out of nowhere,
this gift of an album to reallysort of proof to people and show people

(01:07:16):
I'm still here. And that's partof what this lyric really means me.
That's really why it touches me,because it felt like he was saying,
look, I'm not gonna be hereforever, but I will be here for
a while. You know, I'mgoing to hang on as long as I
can, as long as I can. I'm gonna be here, and so
are you. It will be hereand will and this is the way things

(01:07:40):
are. And even now when Ithink about it, and you hear his
voice and he really evolved in hislater years into the sort of more of
the Scott Walker runer that I alwaysI really dug. He leaned as his
upper register kind of started to goaway into that sort of bass in his

(01:08:01):
voice, and he just in thissong he sounds every bit the sort of
tired, wise, sort of youknow singer that he's been a musician.
But it gave me hope and itmade me feel good. You know,
he's still here. He's still here, He's still in the firmament. Bowie
is still here, and he's stillgiving his fucking great music. Oh Man,

(01:08:26):
beautiful peck. I love that.I love David doy pop him alone.
Yes, what are you gring favoriteclassic classic rock lyric? Yes,
Little Old Lady got mutilated late lastnight were Wolves of London again? Wunder
again, Little Old Lady again?Mutilated day last night and again listen to

(01:08:58):
that again, Little Old Lady gotmutilated late last night Werewolves of London again.
I know it's just alliteration and itshouldn't tackle me as much as it
does, but what a beautiful groupingof words in both sound and content.
It's an easy question for me toanswer. What's your favorite? It's up
there and favorite lyrics of all time. I don't know what order they're in,

(01:09:20):
but it's definitely up there. Soyou know, when I'm talking love
and bands that get filed in aclassic rock I have to mention Blue Oyster
Colds. I am a massive,massive BFC fan, seen them live twice.
I hope to see them live evenmore. They're just They're current lineups
phenomenal like and that new album ofthe Symbol Remains is excellent, But my

(01:09:43):
pick is not off that album.I'm going with a quote from John Crawford,
which is a great creepy song thebasic video. But these lyrics I
think I love at BSc is.They're so good about having almost like witchy
lyrics very at times almost like mysticals. So chasty but definitely dark. I
mean, you understand why riders likeStephen Kane considers themself a huge fan of

(01:10:05):
Voister Cold. And they also workedwith Michael Moorcock, who was tied to
one of my other piper bands,full Time Hawkwin. But from John Crawford,
these series of lyrics junkies down inBrooklyn going crazy. They're laughing just
like hungry dogs in the street.Policemen are hiding behind the skirts of little
girls. Their eyes have changed thecolor of frozen Meat's down going crazy man

(01:10:48):
skirts. What a great line thatis. It's so instantly creepy, it's
evocative, it's chilling. Oh,I just love it it. What a
spooky, spooky little lady I am. I guess it's fantastic. And I

(01:11:12):
think Blue Oyster Cults are a veryunderrated band. I mean, they're yeah,
no, fantastic. We don't hearenough. It's easy to overlook them
in favor of, you know,other bands. That, like, we
already talked about Sabbath. But cultis great and they're on the heavy metal
soundtrack. I mean, what moredo you need? The veteran of a
psychic war so good? Yes?Are they burning for you? Yes?

(01:11:35):
Okay, they don't fear the reapereither. Bluster Hit Machine Music stands up
their song which is off of Ibelieve it's it's off of Agents of Fortune,
and that's seventy six. Seventy sevenhas the lyric about like a reverence

(01:12:04):
to the King and Yellow, thatnineteen sixteen book which people talked about with
that that show? What was thatshow on HBO that everybody told I got
that Woody Harrelson in it? TrueDetective. It's the first season. I
guess I had something to do withthe nineteen sixteen book The King and Yellow,
which is like a Lovecraftian type thing. I haven't read it, so

(01:12:27):
nebody get mad at me. Mypoint is Bloister called rock and you're right,
HP. Everybody should check out.Boister called that discography is stacked.
But we cannot we this is alittle too good. We got to get
into some piss and vigger, FatherMalone, what is the lyric you hate
I'm not going to recite, butplease do no, no, please no,

(01:12:53):
because no, Here's it's one particularsong and is everyone familiar with the
musical artist known as Made Love ofcourse, of course, of course,
and of course to break the albumBad out of Health. It's a fucking
fantastic album. Jim Steimon is onehell of a fucking lyricist, fucking he's
amazing. Paradise by the Dashboard Lightis a near perfect song. Accept it.

(01:13:16):
Hence the most infuriating fucking bridge ofall time with Phil Rizzutto narrating this
guy trying to trying to get tohome base with a girl. I'm gonna
cut it in here, this kid, It just it makes me want to

(01:13:41):
bang my head against the wall,sincerely, just because it's so fucking clumsy.
First of all, in the youknow how many bass did you get?
The third base with her like hlike dramatized, and at the end
they got Phil Rizzuo, poor PhilRizzuto to do it. It's just so
juvenile and like subpar national lampoon skitcut into what is an epic tale of

(01:14:05):
young lust and love. I neverminded that because it because to me,
it was just like I know thatmy favorite part is coming where you know,
Ellen Foley screams out stop rot like, oh yeah, you need you
need that build up, no questionabout it. But do it musically.

(01:14:26):
Don't have filed sua. Do itlike a fun like they're not listening to
the fucking ball game on the radiowhen they're making out. They're listening to
a fucking great song, which iswhat we're trying to do. Don't do
this. So this isn't a singlelyric. I'm just gonna say the whole
song. And it pains me tosay this because this is one of my
favorite bands of all time, andI'm in kind of a classic rock mode.

(01:14:46):
We didn't start the fire by BillyJoel how dare that's a modern masterpiece.
It's not even classic rock. Theman is a national treasure. No,
it's even worse than that. Andthe song that I just collectively hate.
I hate their think about this song, but particularly I hate the lyrics.
And the song is Oblade Obla Dahby the Beatles the White Album.

(01:15:26):
While my guitar getting the weeps.You've got you know, dear Prudence,
You've got helter skelter. Of course, it's great pauccartney wrote that song.
He did, and it was supposedlyhe wanted to write the sweatiest rock and
roll song ever made, and hecame stay close, didn't he say?
He wanted to write the song thathe expected to hear when somebody told him

(01:15:49):
he had to listen to the whoThey built it up like it's just noise,
it's just fucking They're just banging oninstruments. And then he listened to
it. He was like, well'syeah, okay, I guess it's kind
of okay. And then he triedto replicate what he thought they were going
to be. Is that true?Is that apocryphal? If it didn't happen,
it should have that. I knowthe who did who didn't figure into

(01:16:10):
the story. I don't remember theparticulars. Your version sounds as right as
any. I thought it was somethinglike he had. You know, it
was like a one upsmanship thing wherehe heard a song and he's like,
I can do better than that.It's great, Paul, when he puts
his mind to it, can iscapable of genius. Obladi Oblada is not
genius. Is sweet just just likeverbal diarrhea. Hate it. I just

(01:16:38):
it's to me, it's nothing morethan a press of the old skip button
in the car when it comes onwhen everybody, everybody accuses Paul of being
this sort of sentimental kind of songwriterwho's very old fashioned, and that's certain
that this is the thing that provesthat case. If you believe that about

(01:16:58):
Paul McCartin by and you hear obladio Lada, it'll seal the deal for
your case closed. So yeah,I just like I said, It pains
me to say it, but becauseI love the Beatles and I do enjoy
Paul McCartney, but oblatio ladas justso infuriatingly sweet after in the market place.

(01:17:23):
Shut up, man, get backto Penny Lane already? Do I
feel confident that mine is quite farthe worse O that? Okay, okay,
because Bob Seeger's night moves. Ohboy, I'm so excited. Please
continue. I know, much likewhat you said about I would say that

(01:17:43):
this. I hate this entire song. I think it's boomer nostalgia at its
most disgusting and written by somebody whenhe was still young, Like you're being
nostalgia for shit. They happened likefifteen years ago, Bob, Seeger was
an old old man when he waswriting songs at the twenty. That's sad
and but the worst part of allthe insipid lyrics and the song it's there's

(01:18:09):
this line and I'm not going toquote it directly because I feel like I'd
be opening like the portal to eyebonor something if I did it. But
it's like he talks about, youknow, being with this girl and that
she had quote unquote points of herown some way up high, and it's
like, okay, yeah, weget it. Titties. We're talking about
titties, right, she was ablack up dude. And then Bob up

(01:18:33):
high boom high talking about boobs.Now, yeah, I talked about way
up urb and high. And it'slike and so I'm like, great,
fuck you, Bob Singer. Nownot only have you made you know,

(01:18:54):
okay boobs, Yeah, boops aregreat. I would rather I would respect
him more if it was called boombooms. Then moves like it's just like
him trying to be cheeky. Thatget it. It's like Kevin, somebody's
disgusting uncle or dad. I gotto you know, it's it's fucking revolting.

(01:19:14):
And I don't want to number one. I don't think about Bob Singer
cop in a fuel. Okay,I definitelyn't want to think about anybody cop
in a field of this fucking songyou talk about. For listen, the
entire discography of meat Loaf is infinitelymore bangable than one bar of Night Moves,
And I don't want to bang tomeat Loaf. I love meat Loop,
but it ain't banging music. Arethere any bomb Singer songs that are

(01:19:36):
bangable? If you mean with awith like a sledgehammer? Can you can
you put on a bomb singer tune? And fuck? I guess what I'm
asking? Gross Cross Now, Ifeel like like it's like, I mean
not to get personal, but Ifeel like there'd be like some mommification going
on. Do you think, Ohmy god, do you think do you
think that character you're describing the narratorof the song made the sort of creepy

(01:20:00):
you kind of uncle who like youknow, probably has like a nudy picture
in his wallet that'll show you andyou're just like, dude, what are
you doing? Like do you thinkthat character carries over throughout his Bomb singer's
uber? Oh? Totally, likehe's totally like hearing against the Wind while
he's drinking his fucking light blood Lightor now you know or Miller Light and

(01:20:21):
he's got that one t year like, Oh, Bob Singer gets it,
brother, Bob Singer gets the plightof the working man. No he doesn't.
He's a fucking rock star. Norock star understands the plight of the
working class. Okay, that includessome of the ones that I even I
like. Now you act at apoint you can You are never going to

(01:20:43):
be fully tuned to the working classwhen you've lived in a bubble for X
amount of time. But he wrotesongs, you know, describing situations that
everyone can relate to, like whenyou go into a diner. Can you
get off your tour bus and peopleare making fun of because oh, oh
I hate it? I hate it? Is it a woman or man?
Oh? The only thing I hatemore is fucking Don Henley and like his

(01:21:13):
fucking solo uber. I don't likemost of the Eagles either, but there's
at least a few Eagles tunes,some Raje Walsh that I mean, I
love me some Joe Walsh straight up. I have nothing but love in my
heart for the Walls it was asuper group they had, they were bound
to have some hits. No sorry, like they all seem like a bunch
of dickheads singly for the most part, but like you know, they had
some good songs. Even Don henleysolo work. There's some of his ships

(01:21:34):
that I like, and he justseems like a personal person. I don't
mind dirty laundry. The rest ofit can go jump in a lake fire.
I got news for you. DonHenley's the first class asshole. Do
you ask anybody, They'll tell youthat. No, no, no,
But I will say to get itback to Night Moves, like I have

(01:21:56):
a kind of a car. Weretrying to make some front things. What
I think, you see, whenI think of Night Moves, I don't
think of Bob seeger ogling some girl, poor girls, you know, chest
I think of the climax of themovie American Pop by Ralph Bakshe, which
is so sale is that drugs manon the future of rock? That is

(01:22:19):
a that is an excellent, excellentyou know, mimicry of that end there
but father alone. But what Ithought was interesting is so that's that plays
in the Class's one of the songsat the end. That's the song that
this the culmination of many generations ofstriving and working for the American dream.
It all comes to somebody playing nightmoves in front of the executive. But

(01:22:43):
here's the thing what I later foundout, I don't know, maybe you
knew this father alone. Actually shehimself hated that he had to use night
moves? Did you know this?No? What what did he want to
say? You know, it's funnybecause we had this conversation a long time
ago where I was making the pointthat you're making now like that that's supposed
to be the future of rock androll. Fucking Bob Seeger. So what
was back? She back? Sheoriginally wanted to use Freebird by Leonard Skinner

(01:23:11):
as the climax. Now, butthat would have been better. It would
have been better. It would havebeen better, but it still would have
been wanted. It was already.It would still would have been bad.
But apparently the skinnerd wanted too muchmoney for it to have the song in
the movie. So his plan Bwas Bob Seeger and his you know,
his Zoe to American He should havegot with a c DC. Who should

(01:23:36):
have gone somebody like that, youknow, last, at least somebody like
Todd run Gren. At least geta forward thinking rocker. Todd is God.
We'll get into some Todd run grendknow you like Todd running Oh my
god, I got several you toldme album's on Final Alone. Baby Kasim

(01:23:57):
Sultan, He's a beast. Iloved cousin. Anyway, we'll get into
that later. You know what,I don't hate our listen. Thank you
guys so much for listening. Beforewe wrap this, Katie kat up,
Let's let's get a little pluggy pluggoing on here, fatherom alone, Where
can the good people listen to youand find you and see your amazing work?

(01:24:18):
If you want to see the visualthings I do, go to Father
Malone dot com. But that willalso link you to the audio stuff,
one of those links being Weirdingwaymedia dotcom. It's just the music conglomerate.
I'm stuck to those that has myaudio offerings like Dark Destinations and Astounding Tales

(01:24:38):
of the public Domain and other thingslike that. Perfect Thank you and HP.
Where can the good people find you? And please also let them know
about your band camp? Yes?Thank you, Yes, I'd love to
so, I too, am I'mon the as I've heard fatherom alone describe
the Galaxy of Stars on the WeirdingwayNetwork. You can hear me on the

(01:25:00):
Off and Raising Bandit Check podcast,the Night Mister Walters Taxi podcast as well.
I've done some guesting on the CultureCast This fine show. You can
also hear some of my music interspersedand some of the dark Destinations stuff in.
As Heather so graciously mentioned, Ihave a band camp HP Boston.
I don't have the address right hereunfortunately, but if you just search for

(01:25:23):
HP in Boston you'll find it.I got a couple albums up there.
Please give you my first sale.I beg of you, thank you,
Please everybody that sweet little theme musicthat is more noise junkies that was courtesy
of HP. That were all themusic, all the good music at weirding
Ways. HP is doing like sincerely, He's looked on so many goddamn shows.

(01:25:44):
Everybody, there you go, thereyou go, the music, the
music don't lie. And of courseyou can find me over at my website
Mondoheather dot com. And also Ican find my latest article which is about
the British serial killer art house SpellThe Cold Light of Day over on aerofilms
dot com blog. I'll check thatout and check out all of the weirding

(01:26:06):
way As shows. Thank you,guys so much for listening. We love
you. Be good to each other, and most importantly, be good to yourselves.