March 26, 2026 • 51 mins
Yeah, admit it, you don’t like Suede either. Plus, you’re going to want to learn more about the British band that attempted to kidnap not one, but two different British musical icons. Also, we explain how we plan to produce our answer to Ryan Murphy’s Love Story: JFK Jr. and Carolyn Bessette. That’s right…Damon and Justine are coming to Disgraceland.
To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy
Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
See omnystudio.com/listener for privacy information.
Listen
Watch
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Hey discos, need a little more Disgraceland in your life,
just to touch, to get you through. Yeah me too.
This is the podcast. It comes after the podcast. Welcome
to Disgraceland, the after Party. Welcome to the Disgraceland bonus episode,
(00:31):
a little thing we like to call the after party.
This is the show after the show, the party after
the party. The bridge to get you from one full
episode or Disgraceland to the other. The backyard to dig
into the dirt, our mission to uncover the truth, to
confront the myth, to reclaim the story. On this bonus episode,
we jump off of Pete Daherty and jump back into
the britpop glory years. Get your thoughts on all things
(00:52):
music and true crime. Preview next week's very special episode,
and in the exclusive section, we dive into two new
brit specific music in true crime stories, one involving the
attempted kidnappings. I'm not just one, but two iconic British
musicians by You're never going to believe this, a bunch
of other gangster British musicians. Plus we get into your emails, comments, dms,
(01:15):
and as always, a whole lot of rosie. This is
the podcast for the musically obsessed, the outsiders, the independent
thinkers who know that the best history is the history
that gets buried. Disgraceland is where I tell the stories
they didn't want told, the kind you'll end up telling
someone else. All right, discos, let's get into it. You
(01:43):
know something we've never really discussed here in Disgraceland is britpop. Now.
I know, the Libertines, the subject of this week's full episode,
isn't technically britpop. They're really just an indie rock band
with UK influence from the UK of from London, and
they're part of a generation of British indie bands that
(02:05):
became known after Britpop. Britpop to me is decidedly a
nineties thing. Oasis, Blur, Pulp, the nineties are the era
of British bands. Okay, that to me is britpop. The Libertines,
Block Party, the Cribs. That's a different generation British sure,
but not necessarily britpop. So we covered Oasis here in
(02:27):
disgraysand obviously britpop, and we have Blur and Elastica on
our list for this year for episodes that we're going
to produce. But we've barely spoken about the groups from
that nineties britpop era that inspired bands like the Libertines
and the Cribs and Block Party, you know again, britpop
(02:49):
band Supergrass, Swede, Radiohead, And we've barely spoken about the
group of British bands that came to inspire these britpop bands.
I'm talking about the post punk era of British groups
that inspired Oasis and Blur and Pulp and all that.
I'm talking about the Cure Smiths susing the Banshees, and
(03:09):
we've spent a ton of time talking about the first
generation of British punk sex pistols Clash Generation X, which
just did an episode on The Pretender's Chrissy Hind which
is set largely in that world in London in the
late seventies. So here's what I want to do, thanks
to the Libertines, thanks to Pete Daugherty, I want to
talk about the britpop movement here with the Libertines obviously
(03:34):
as a jumping off point, and I want to use
it as an entry point, ideally into some more disgrace
sand episodes we can cover going forward from this era. Now,
I can't recall if in the Oasis episode, if I
mentioned whether I'm Oasis or a team Oasis or team Blur.
Not that you have to be either, but you know
you kind of like one more than the other, you
(03:55):
don't like them both the same, or you're not really
paying attention. I can't remember if I got into that
in those Oasis episodes, but I am an Oasis guy,
which is a very unpopular opinion in my house. My
wife and my oldest son are decidedly Blur first, and
my youngest son is basically just agreeing with them to
piss me off. So I'm in the minority, but I'm
(04:19):
gonna win him over. Let's look, though, not just at
Oasis and Blur, but at that whole nineties generation of
peak British pop music, the era that directly influenced Pete
Doherty in the Libertines, and let's steep ourselves a little
(04:40):
bit more in London music history, more recent of course,
and hopefully some lore. All Right, So I went dig
in this morning as I was thinking about what I
was going to say to you guys today, and surprisingly
Rolling Stone magazine does not have a list of top
pop groups or albums. But side note rolling Stone, if
you want one, you know you can call me up.
(05:02):
You know, I was kind of surprised by that Rolling
Stones all about the list. I don't know why they
don't have one. Pitchfork, on the other hand, has a
fifty best Britpop album's list, and right out of the gate,
I'm angry before even looking at the list, because I
know the Pitchfork isn't going to have Oasis is definitely
maybe at number one, which they absolutely should because really,
(05:22):
to me, that nineteen ninety four album is Britpop's big Bang. Instead,
Pitchfork is going to have something obscure like Richard Holly's
cousin's third grade teacher's best friend's demo that he cut
in the basement of the local pub as their number
one album of top fifty Britpop albums. That imaginary album
is called Chandler and the Ghosts by the imaginary band
(05:44):
causely but I digress, and despite my anger, or perhaps
because of it, I'm gonna trudge on here, like Liam Gallagher,
into a violent melee of warring soccer hooligans and cops,
which is to say, I'm going to dive headfirst into
this list. Okay, so this is just kind of recent.
It's from twenty seventeen and right out of the gate.
Despite my reservations, I have hope here, okay, because the list,
(06:08):
as I look at it, it starts with a Jarvis
Cocker quote and it goes on to interview Danny Boyle. Okay,
trainspotting Danny Boyle. Pitchfork defines Britpop similarly to the way
I do, but they put more meat on the bone.
They say that britpop is quote the musical scene active
in the United Kingdom in the mid nineties. Particularly, we
(06:28):
are looking at the guitar based musicians who shared focus
on anthemic melodies, social observations of British culture, and daily
life in their country's musical heritage. That sounds about right
to me. That nails the definition of britpop. So let's
dive in. I'm not doing all fifty here, by the way,
I'm just doing the top ten, number ten, the verve
(06:51):
urban hymns. This feels both too low and too high
at the same time, So maybe this album is perfect
at number ten. I don't know, I don't know. I'm
gonna reserve judgment here number nine now see I knew it,
I knew it. Oasis Definitely Maybe at number nine, this
(07:13):
is an affront to uh, I don't know, the monarchy, No,
to the working class. That's what it's in front two.
This is way, way, way too low. Okay, this is
what Pitchfork has to say about Definitely Maybe hold on, i'
let men pull it up for you. It's interesting. At
number nine. Definitely maybe Oasis's full length album, their debut
(07:35):
full length from nineteen ninety four. Pitchfork has this to
say in the context of this list of top fifty
britpop albums. Okay, here we go Tonight, I'm a rock
and roll Star, Liam Gallagher proclaims at the start of
Oasis's debut. Taken out of context, it's easy to mistake
this course as another example of braggadoccio from britpop's brashest band,
(07:58):
particularly given the anti stadium hero ethos of the era.
But the verses of rock and Roll Star tell a
different story, reflecting Oasis's modest circumstances when they made Definitely
Maybe before Oasis were arrogant, they were aspirational. I disagree
with that. They were always arrogant, goes on to say
throughout the album. Noel Gallagher writes about a dead end
(08:20):
working class life from which there is no escape save
for fantasies of fame and fortune. In that same song,
in a cutting wine pitched at the midpoint of John
Lennon and Johnny Rotten, Liam Gallagher sings, definitely maybe's truest
line in my mind, my dreams are real. It was
up to Oasis to make them real. There's more to
it than that, but that's the part I wanted to
(08:41):
read to you, because I don't really disagree with anything there,
except for the claim that this was before Oasis were arrogant,
you know, insinuating that there was a time when they
weren't arrogant, which just isn't true. They always had that
cockiness and that was, honestly, that was the appeal to
(09:02):
me of Oasis back in the nineties. It was super
refreshing to finally after Kurt Cobain, after just this sort
of the grunge era of the nineties in America, the
time in which we were all supposed to do, and
I felt this way authentically, you know, we were all
(09:25):
sort of like just rejecting the idea of the rock
star for something more authentic and more artistic. It was
even though we felt that way, it was just honest
to get the opposite inn Oasis of these guys who
were clearly larger than life, absolute rock stars and just
(09:47):
made no bones about it. Came out of the gates
swinging exactly authentically who they were, not putting anything on.
You could just feel it. They were fucking gangsters, rock stars.
Absolutely didn't give a shit about societal norms. It was
expressed in their music. And yes, this was not the
(10:08):
brand of your sort of you know, like high falutant,
high society late sixties swing in London, Rolling Stones, rock Star.
This was a different breed entirely. This was totally working class, thugish.
It was great. It was great to know that these
guys were going for it and we were rooting for them.
(10:31):
In the hardcore scene, we were at least, I mean,
it was kind of just this thing was I don't
know what it was. I don't know why hardcore kids
liked Oasis so much, because I think them being British
gave us the freedom to root for further rockstardom because
there was some separation there. We didn't do that with
American bands, not in nineteen ninety four, certainly not with
(10:52):
new American bands in nineteen ninety four. Anyways, this record
to me, like I said, it's the big band of ritpop.
And I know there's there are plenty of arguments to
make against this record for other records. That's what makes
this topic so interesting. But for me, this is the one.
This is the one. It's a ringing bell, It's Bunker
(11:13):
Hill or Lexington or whatever it is. This is the thing.
This is when it starts for me. So number nine,
I just nine, barely in the top ten. I just
can't go there. I can't come on. But it's Pitchfork,
so what do you expect? Number eight is Blur's self
titled album Blur from nineteen ninety seven, which I don't know.
(11:33):
This also feels very low. This was Blur's breakthrough in
America sort of. Blur never really broke through in America
like Oasis did, despite despite the massive single from this album,
song number two, which still has cultural relevance. This record
(11:53):
personally is I love it. It's incredible. One of my
favorite albums from this era for sure. It's definitely my
favorite Blur album. I like it more than park Life,
which is saying something is Park life is fantastic. And again,
this is the band that broke the band broke Blur
in America, and America is still listening to it. Like
I said, pretty much every day, turn on most any
sporting event broadcast and wait a couple of minutes and
(12:16):
you're gonna hear the crowd singing song number two at
some point A woo who as they say so. Number
eight here feels low for Blur's self titled album, Number seven,
paulp This is hardcore. And you know by now, guys
that I'm not a huge Pulp fan. But I don't
dislike Pulp like your favorite New Jersey crime boss. I
like some Pulp and this record ain't it not for
(12:38):
me anyways, But that's mainly out of ignorance in preference.
I don't know this album that well. I always love
the album cover, but I was never compelled to really
dig into this and explore it. I suppose now is
the time to change. That I just learned today, however,
in going through this britpop history that Pulp had been
a band for seventeen years before breaking out, and I
(13:02):
had to look at this twice before breaking out in
the rippop era of the nineteen nineties. Pulp formed in
nineteen seventy eight. What that's incredible, that's shocking. I think
Picasso was still alive in nineteen seventy eight.
Speaker 2 (13:18):
He wasn't.
Speaker 1 (13:18):
I think he died a couple of years earlier. But
you get my point. Wild all right. Number six Elastica's
self titled album. Now, this placement seems right. Perhaps it
could be a little higher. Perhaps this album suffers in
its positioning because it's a female front and group and
most of the folks putting this list together are krusty
(13:40):
rock dude journalists. This is a great record with a
great breakout single connection and songs on it that Nod
enthusiastically to the past. Maybe too enthusiastically got him into
some trouble, and you know, this is the type of
album that also storms into the future fearlessly. In the
result of core is a sound that is undeniably or
(14:03):
was undeniably present at the time. I loved this record
and I can't wait to cover Justine Frishman in either
an Elastica episode of Disgraceland or in a joint Damon
Alburn Disgraceland episod. We're going to talk about that later,
Seth and I in the exclusive section of this here
Bonus episode. Number five Swayed dog Man Star. Now, I
(14:26):
was never a big Swede fan. Swayed for me was
where brit pop just kind of went a little too
Brit poppy. But people love this record, So what do
I know? At number four, here we go, Now we're
getting down to it. Oasis is What's the Story? Morning Glory?
I honestly don't know how to rank this album. Oasis,
(14:49):
who I clearly love only really has two great albums,
this and definitely maybe and definitely maybe is my favorite
among the two. But what's the story? Morning Glory is
a mom stir album. It's skyrocketed the band to international fame.
It made Oasis the biggest band to come out of
Britain at the time. So I kind of don't know
(15:10):
how it's just not number one on this list. But
then again, I do know because it's not even my
favorite Oasis album either way, for just feels too low.
Number three Radioheads The Bends, mixed by my mentor and
American Paul Q. COLDERI and Paul's production partner at the time,
(15:33):
Sean Slaid. This feels right. Number three. Radiohead busted into
the mainstream during the grunge era with Pablo Honey and
their single Creep, which I believe is nineteen ninety two.
But this follow up in the middle of the britpop
era nineteen ninety five is incredible. The only thing, though,
I don't know how. I don't know if people will
(15:55):
be able to relate to this, this album like it's
fall Up, okay, computer, they don't really feel britpoppy. Radiohead
feels like its own thing. This record feels like its
own thing, you know. It feels like Radiohead and Radiohead alone,
like the beginnings of a new genre almost, But that's
(16:16):
just me. I don't know what that says about its
placement on the list here at number three. Perhaps it
should be even higher, Perhaps it should have its own list.
I don't know. Number two, okay, Before I get to
number two. There are only two more albums that can
possibly be at number two and number one on this list, right,
and I should Coco Buy Supergrass and Grand Prix by
(16:39):
Teenage Fan Club? Are those two albums? Right? They have
to be They haven't been mentioned yet, but no they're not,
and my dog's pissed about it. You hear that Dusty
is upset. Dusty is upset. She's a huge supergrass fan.
Why wouldn't she be damn it. Both these incredible britpop
(17:03):
albums were left out of the top ten by the
supposed big brains at Pitchfork. Unbelievable. Number two is park
Life by blur which is the appropriate ranking? I think?
I don't know. I know, I'm contradicting myself because I
already said that I like their self titled album better
than park Life, which you know, Blurheads I'm sure would hate.
(17:25):
But this record just I feel like it meant more
to the britpop movement and it should be behind Oasis,
as we've already discussed. Incredible as park Life is, but
the two great Oasis records, they've already been talked about
here on this list. You know, actually, if I start
to think about it for five seconds longer, I can
probably make the case that park Life should be number
(17:46):
one on this list. If I'm being honest, It's as
genre defining as either of the great Oasis albums. I'm
just letting my Oasis bias sway me that or my wife.
But again, park Life here at number two, so what
is number one? Number one? Number one? Britpop heads have
already figured this out. Number one on this list. I
(18:10):
don't know. This kind of feels like, look at me, journalism,
you know what I mean, like some hipper than you,
because I'm naming this record type of bullshit, which is
just obviously so Pitchfork. Number one on Pitchfork's list of
top fifty Britpop albums is Pulp's Different Class, which, Deborah,
(18:31):
come on, we love this album, but placing it above
Blur or Oasis just feels like, like I said Pitchfork,
like trying. They're trying just a little too hard, trying
to appeal to the so called cool kids hanging out
at MisShapes in the mid odds in New York, or
Boston's The Pill during that same era, or Great Scott.
I cannot get with Pulp's Different Class at number one.
(18:52):
Maybe that says something about me. Maybe it says that
I'm not as big of a britpop fan. You know,
I'm not. I'm not a huge britpop fan. For me,
totally on us, I like some britpop I get to stop.
It's true though, and there is kind of a gaping
hole in my knowledge of the history, which is why
I'm excited to get into some britpop focused episodes going
(19:16):
forward here with Disgray sand I just can't get with
the fact that Supergrass and Teenage Fan Club with I
Should Cocoa and Grand Prix are not cracking the top
ten list here. All right, These are capital G great
records from start to finish, and not having in the
top ten just doesn't make any sense to me. Pitchfork
does have I Should Coco at number twelve and Grand
(19:41):
Prix way down at number thirty six. I'm sure Bandwagon
ESK is higher than Grand Prix. I didn't look. But
also not having Primal Scream on this list kind of
feels intentionally hurtful. Stone Roses I get. I get why
they're not in the top ten or even on the
list at all. They sort of I've preceded the whole
(20:01):
britpop thing, and to an extent, so did Primal Screen,
but not really some not too butt hurt about these
two omissions anyway. If you are a Libertines fan or
a fan of any of the early to mid two
thousands British indie rock, Maximal Park, Razorlight, these bands that
we're discussing right here. From this list, they're going to
give you some idea of what Pete Tardi and Carl
(20:23):
Barra and others from the two thousands indie sleis era
were weaned on. So there you go. Now, Jake, you
might be asking me, maybe screaming at your car speaker
or whatever right now, going what brip pop bands are
you going to cover?
Speaker 2 (20:41):
Dude?
Speaker 1 (20:42):
Well, like I said, I think there's a blur. I
think there's blur and elastic episodes, perhaps a Damon and
just seeing joint episode. Maybe we write a really transgressive
kind of junkie love story from the nineties set in
the UK, explore all the drug the heroin, the crime
(21:03):
and grime, and the tabloid era that their relationship took
place in. That sounds interesting to me. I'm obsessed with
the rhymer of his love story at the moment. I
JFK Junior and Carolyn Bassett and maybe Damon and Justine
is our answer to that here in Disgrace Land. I
like this idea. It's nineties, it's the same era, but
(21:24):
it's a totally different scene, a totally different place obviously,
and it also has a completely kind of different type
of glamor, yet it's still glamorous. It's got similar tabloid madness.
It's just the UK rippop version. I'm loving this idea
as I'm talking about it to you right now. From
a crime angle, we've got heroin use, Damon's arrests, Elastica's
(21:45):
legal settlement with wire, all kinds of stuff we can
get into. There's also what I've learned here over the
years from you guys. I wish I could remember your
names who had written me on this subject, but quite
a few of you, more than a handful, have written
about another British band that we should cover that we
have not mentioned at all yet, and that is the
(22:07):
Happy Mondays, a group with an insane true crime backstory
including kidnapping, multiple kidnappings, assault. One of the kidnappings actually
both involve musical icons. I can't even can't believe these stories.
(22:29):
Heroin of course, not just using heroin, but large scale
drug smuggling and of course all manner of rock and
roll hedonism and debauchery. The Happy Mondays pre date britpop.
They go back to the wild sort of Manchester club
scene that was the decade before. But nonetheless This is
(22:49):
an insane story and one that needs further exploration and
most definitely its own Disgraceland episode on the Happy Mondays.
I want to talk more about the true crime story
of the Happy Mondays as well as the junkie love
story of Damon from Blur and Justine from Elastica with
Ze and figure out how these episodes will take shape.
(23:09):
We're gonna do that in the exclusive section of this
after party, where we'll reveal which rockstar rock stars the
Happy Mondays attempted to kidnap. Go to disgracelandpod dot com
to become an all access member and unlock this and
more exclusive and ad free content. Often oftentimes, guys, if
you knew here, we use the exclusive portion of this
(23:33):
bonus episode, Zeth and I as sort of a creative session,
a behind the scenes look at how we figure out
what episodes we're going to cover and whether or not
there's enough crime and transgression there to warrant a Disgraceland episodes.
Kind of our think tank, our laboratory, so to speak,
and that's what that's what we got going on today again.
Go to disgrace landpod dot com to sign up to
(23:54):
become an All Access member and you'll get exclusive content
like this and add free content every month. All right,
before we dive into all that, let's do a little
table setting here. As we mentioned, this week's Pete Doherty
from the Libertines episode is available for you to check
out and look. This story and the death of Mark Blanco,
(24:16):
who is hanging out with Pete Dodhugherty that night, is
one of the most underreported stories in music history. And
we did our part here. Look, we're not journalists. We're
not pretending to be journalists. We are storytellers, open source
storytellers who use information that's already been published. We don't
(24:41):
go out and dig up new stories. We source everything.
We're careful about it. We make sure that we're giving
you guys what really happened. But this story in particular
really requires some real journalism. And you know, I'm coming
across this is the second time in like this week
(25:03):
actually that I've come across this where we're telling these stories.
It's almost like so many of the stories we tell
this Gray Sand are from like the nineteen sixties and
seventies and eighties, and a lot of time has passed.
This story is from two thousand and six, not that
much time has passed, and I don't believe that the
facts are all out there or the truth is out there,
but I wanted to dip in and find our way
through this story. And you know, if I'm being totally frank,
(25:26):
we come up like with more questions than answers at
the end. And it's super frustrating because you know, I
get a business to run, I got a podcasts to
make every week. I can't just like we have a
way of doing it. I can't just like pack up
and fly to London and start asking people questions. Not
that anyone would even talk to me if I did
that anyhow, That's not what I do. So it's kind
of frustrating, and I don't understand why actual music journalists.
(25:51):
And again I've never called myself a journalist. Some people have.
I never have not from the beginning. Like a definition
of a journalist to me is not somebody who does
what I do. It definitely of a journalist to me
as somebody who goes out and actually digs up and
finds information for the first time, you know, like finds
information that has not yet been public. Everything we talk
(26:13):
about is public information. Oftentimes made public by the artists
themselves that we are covering in their autobiographies, and it
gets buried throughout time. So it becomes very interesting when
we get to it because a lot of this stuff
has sort of been shoved under the covers, because it
goes back, like I said, to the sixties, to seventies,
(26:33):
the eighties, the nineties here though again two thousand and
six not that long ago when you think about it.
I mean, two decades sounds like a long time, but
culturally not really. And this story still it's hard to
accept the story of how Mark Blanco died. I'm not
(26:55):
pointing any fingers. What the official story is may very
well be the case, but we it's just one of
those things where we need more evidence that proves it
that way one way or another. And I've similarly come
across the same challenge and the story that I'm researching
right now on the Food Fighters, which I mean, look,
(27:18):
man Taylor Hawkins died in twenty twenty two, and we
still don't know the cause of his death. He died tragically.
I say that as a point of fact, but that
is not the explanation for how he died, which if
you read anything about the food fighters over the last
few years. That's the explanation you're going to get. They'll
(27:42):
talk about drugs in his system, but that's not the
official take. They won't talk about an overdose. Again, more
questions than answers. And this is only four years ago.
And look, man like, I'm not trying to pry into
anybody's life. And I get the sensitivity that this has
(28:04):
with Taylor Hawkins's family, and certainly I would feel like
this shit was none of anybody's business if this was
my family member. But we know how Keith Moon died,
we know how John Bonham died. It just doesn't make
any sense that we don't know how Taylor Hawkins died.
(28:25):
And anyway, like the Pete Doherty story here, the death
of Mark Blanco, which Pete Doherty is at the center
of the death of Taylor Hawkins is one of those
things that we still don't have an answer for. I'm
gonna go a little bit harder into this one than
we did Pete Darty, and I'm gonna try to find out.
I'm not promising you anything, nothing at all, but I
am gonna ask questions that people don't seem to really
(28:49):
want to ask, and I don't think there's anything wrong
with that. People in the public public eye. That's the price.
And you can be a fan of the food Fighters.
I mean to Taylor Hawkins. I mean, he just struck
me as a type of guy. I never met him,
but he struck me as a type of guy that
if you met him, you would just instantly be like,
you know, just vibe. And he's just such a spirit
(29:12):
and an incredible talent. And our episode is not going
to be a takedown in any way, but it is
going to ask some questions and maybe perhaps at a
later date, we'll dive back into this Pete Doherty story
as well. But we need more journalism here, and I'm
appealing to the actual music journalists out there who listened
to the show. You know, come on, let's go, let's
(29:34):
figure this out, all right. Anyways, I say all that
because we're in the midst of Pete Doherty week here
in this graceland. That's our latest episode this year is
the bonus episode. Episode tomorrow is our rewind episode, and
that is on Bobby Brown. Now, Lison, if you ever
wondered what having sex with a ghost was like, you
(29:55):
don't have to wonder anymore, because we're going to answer
that question in the Bobby Well Bobby, Bobby Brown has
answered it for us, and you can hear about it
in the Bobby Brown episode. I'm not kidding. Next week,
next week, next week, we have a very special episode
coming your way on Tuesday. Does something happening in Disgraceland
right now? Something big? I can't exactly say what it
(30:16):
is yet. I'm not even saying I'm gonna go all
the way there with this news and next week special episode,
but i am going to come close. So make sure
you check out our special episode coming to you on Tuesday.
That is a new app coming up right after Bobby Brown.
All right, and I'll be coming up right after this break.
I'm gonna take a quick break. I'll be back after
(30:37):
this with your voicemails text him. All right, guys, I'm back.
I'm in the chair. I'm talking to you all. I'm
in my happy place. I'm gonna go to Los Angeles
kind of unexpectedly, and it's a super quick trip, so
(31:02):
I'm getting it. I'm recording this early. My point is
in telling you this, I'm recording the after party earlier
this week. So we're not going to get a lot
of your answers and responses to the p Tord episode
here right now, but we will get to it next
week and next week's after party. But we are going
to talk to you, guys. We're gonna hear from you
as always six one seven nine oh six six six
three eight, voicemail and text. You want to hit me
(31:24):
up about anything, anything at all, episodes, you want to
hear artists, you want us to cover whatever it is,
get at us six one seven nine oh six six
six three eight. If you're shy you don't want to
leave a voicemail, I would encourage you to, you know,
leave a voicemail for sure. I love hearing your voices.
You can always send me a text as well. This voicemail, however,
comes from let's see here. This is the five oh.
Speaker 2 (31:46):
Three, Hey Jake, this is the five o three two
fifty three am in the morning, listening to Not even
sure I listened to all of your shows anyway. We're
talking about women in rock and roll, which I'm not
sure that I've never really been two into. But you
haven't mentioned heart and I'm not a huge I prefer
(32:12):
Patty Smith over Heart. But what the hell, man, those guys,
those two must have sold more records than me of
these people, these others you're mentioning anyway, dude, that's it.
I hope you're doing well, man, fine, five.
Speaker 1 (32:25):
O three, Thank you for the call. Yeah, you're right, man.
I don't know that I have mentioned Heart. I think
a listener might have in the last after party. I
guess I take Heart for granted, Like I was talking
the other day, we take CCR for granted because it's
kind of they've kind of they're just there. They've been
there forever, you know, on classic rock radio. But they
are incredible, incredible musicians, and yeah, they sold a shit
(32:49):
ton of records, and they they're definitely in the conversation.
I like Patti Smith more than HERD. I guess if
I was going to pull an album off my shelf
and I only had two choices, and those of them,
I I like, you would listen to Patty Smith as well.
But authored yeah, I don't really understand the comparison. I
guess I guess you're comparing them because I guess I
was talking a lot about Patty Smith in the last episode,
(33:10):
and I get that. But yeah, Heart great, great, great
great band. Well deserved Rock and Roll Hall of Fame inductee.
By the way, I guess we're gonna find out in
the next couple weeks who's getting in in the Hall
of Fame. I can't wait to talk to you guys
about it, but in the meantime, let's talk to the
seven two four.
Speaker 3 (33:31):
Hey, Jay, this is Clint from seven two four. I'm
responding to your response to my response about the Baddest
Dass Females. I had said, John Jet, you wade in
and said you thought it was a pretty good choice
and asked me to get back that I ever seen
Light of Day Fucking a Dad. That was a great movie.
You could tavern. I live right up right on the
(33:53):
state line between Pennsylvania and Ohio, so I get up
that way for a long time a wive and back
in the day when that was a relatively popular cousin
Michael J. Bloxing John certainly made the pilgrimage, went up
there and check it out. There's also the Warsaw up there,
kind of same area where Joe Walsh played a lot with,
(34:14):
did did Drew Carrey show and shit like that kind
of fun. So yeah, thanks for getting me on. Thank
you for taking my response. Always a lot of fun.
You do a great job with your show.
Speaker 1 (34:25):
Have a good day seven two four. Thanks for the call,
but thanks specifically for your your excellent placement of the
phrase fucking a Jake. I just love fucking a I
love that. I love that. You know what else? I
love I love I shit you not. I love it
when people say those those two phrases. Fucking a Clint,
Yeah you clid Tavern right right on, man, Thanks for
getting back and uh light a day. I love that
(34:46):
we're talking obscure Joon Jet movies from the eighties six
one seven, nine oh six, six, six three eight. You
guys want to talk to us about anything, doesn't have
to be obscure joone Jet movies from the nineteen eighties
six one nine Texan, Hey, Melissa here from the six
one nine. I'm not sure sure how we can have
a discussion about influential women in rock without mentioning and
in Nancy Wilson and as one of the most recognizable
(35:07):
voices of rock women, and Nancy is an outstanding guitarist.
The two of them combined in Heart makes a catalog
of some of the best rock tracks in history. Just
my two cents and your spot on those are two
cents well spent. Melissa, I agree with you one hundred percent.
I'll go even a step farther and say that Nancy
(35:28):
should get more recognition for her guitar playing. She's one
of the best in classic rock and not and I
don't mean like ripping off solos. I mean just as
her guitar playing sets the stage for the songwriting in heart,
it's kind of unmistakably her, which is awesome. Three h
(35:50):
two rites in how many messages did you get giving
you shit for omitting Susie Quatro from your most Influential
Female Rock Musicians discussion. I didn't think I omitted her.
I think we talked about her. I think she was
brought up by you guys, by the listeners first. And yeah,
we have a Susie Squatro episode coming three oh two,
so you will not be disappointed. Eric from the nine
(36:12):
to five four text and Hey, Eric from the nine
to five to four X Boston eighties nineties early two
thousands always enjoyed the show. The AFX Sex Pistol series
included Chrissy Hine throughout her and Susie Sue and others
blaze the trail in Europe. I think Carol King deserves
much credit for her role in the evolution of popular music. Damn,
(36:35):
you are absolutely right, Carol King. Her influence is hard
to measure in pop music. She's incredible, incredible, all right.
One little message here in the Rock and Roll Hall
of Fame nominee is this one because I want to
keep this conversation going with y'all. By the way, did
we talk about that in the I think we just
talked about it in the exclusive section last week. But anyways,
(36:56):
this one comes from Jason four one six Hey rock
Hall non and he's the one I'm really pulling for.
Is Joy Division New Order. It'll be a very blue
Monday if they don't get in highly highly influential. I
can't imagine the soundtrack of My life without at least
three Joy Division and three New Order songs on my
triple album saw them in twenty twenty two with Pet
(37:16):
Shop Boys and the show Blazed. I also noted that
it was not just gen xers like me and the audience,
people of all ages and many twenty and thirty somethings
rock and rolla yes, hugely influential and relevant to the
conversation we were having earlier about British bands. I don't know, man,
I have a problem with this one. Not that I
don't love the music or the band z a plural,
(37:41):
but it's the fact that the rock and Roll Hall
of Fame is inducting like a hybrid Joy Division slash
New Order. And I get why, it's just the difference
of a singer, right, It just seems fucking weird to me,
Like just like induct New Order and then inducting Curtis
(38:01):
at a later date or something. Doesn't this seem weird?
Doesn't this open a can of worms that we're not
that we're gonna be upset that we opened in like
five ten years. I don't know. Just seems kind of
odd to me. But I hear you hugely influential, and
I get it, and I love them too, and I
understand their greatness. I get it. Just there's something about
that the way it's being done rubs me the wrong way,
(38:23):
and it probably working against them if we're being if
we're being honest about it. But then again, we don't
know how these things get decided, so who the fuck knows?
All right, six one seven nine oh six six six
three eight, voicemail and text you guys want to get
at me at disgrace, slam pod on the socials, Instagram, TikTok, Facebook,
you how to do it. I'm gonna take a quick
(38:44):
break and I'll be back in a flash with some recommendations.
All right, we're back and I talked about this last week.
(39:07):
Gonna start doing more recommendations. I know you guys like it.
I like it. I like talking about what music I'm into.
I like talking about what music and films combined get
me going. I like talking about books. I'm reading movies,
I'm watching all that stuff. But I've been thinking, I've
been guys, this is gonna sound so fucked up. I
(39:27):
don't even know how to start this. I've been listening
to more new music that I have in the last decade,
and I have a take on why, but I can't
really articulate it yet. It has a lot to do
with how I don't like how modern rock and modern
(39:47):
guitar oriented music is produced in this sort of new
age of production that we're into, where everything's kind of
done in the box, so to speak. In the way
things sound. It just sounds different from how I was raised,
but going to get into that. However, I've sort of
opened myself up a little bit to being very curious
(40:08):
of modern pop music. And this is largely spun spun
me out from there's spun out, I should say, and
spun me out, spun out from me being on TikTok
and scrolling through and hearing stuff. I'm like, what the
fuck is that? That's good and you know it's new shit,
(40:31):
but it's not new rock, and it's not new ponk
or hardcore. It's like new fucking hip hop and Top forty.
I know that sounds insane, mainly Top forty. I like
the new Harry Styles American Girls song. I know some
of you are vomiting in your mouth. I don't care.
It's a good song and I can appreciate that song
(40:51):
the same way that I could appreciate George Michael in
the nineties. I like, it's not that new, it's from
twenty twenty four. The Dochi song Denial is a River.
It's fucking incredible. Everything I've heard by her is incredible,
by the way, which is new. This is like the
last few days for me. But I can appreciate her
(41:15):
stuff in the same way that I can appreciate Salt
and Pepa from the eighties or en Vogue or something
like that, which I love Doja Cat same thing. You're
gonna think I'm nuts, but I can appreciate that shit
the same way I can appreciate Kanye stuff from like,
you know, the twenty tens or whatever. So I'm not
(41:35):
saying that like we're gonna do recommendations is gonna be
all new music. I'm not saying that, you know. In
addition to I'm also like I've just have late onset
father John Misty appreciation. That's happened to me over the
last month. I've always kind of been curious and liked,
you know, what's a real love baby, that huge song.
But I've now I'm like, I'm deeper into the albums,
and that makes sense. If I told you I was
(41:56):
getting into that that was kind of a new thing
for me, even though he's not new, but a new
thing for me, guy would go, I gotta get that
the dough chy stuff though, that makes no sense, and
I'm not saying again, I'm not saying that, like are
the recommendations We're gonna be doing it gonna be like
new pop music. But I'm just gonna be honest with
what I'm listening to and let you guys know. And
(42:16):
I think it's a good thing. You know, I'm being
turned on to new shit, filthy, some of it. Do
Chi stuff is filthy. It's great. Anyhow, We're gonna be
doing the res over in Zeth's Rap Party episodes because
these after parties are jammed and we used to do
them over there, and then we stopped for reasons I
(42:39):
can't remember. But we're gonna start doing them again over
They'll be over there, and uh, don't worry, you won't forget.
I'll remind you here in the after party. And the
best part of the recommendations is it cues up this
conversation with you guys, and you start to send us
your recommendations, which is what we want. Six point seven
I know, sixt sixty six three eight, voicemail and text,
(43:01):
let us know what you're listening to, watching and reading.
TV sucks right now, guys, it sucks. I'm watching fucking
Love Story. Okay. TV blows at the moment. In my opinion,
I'm forcing myself to like this. Jason Bateman Slowburn DTF,
which I don't hate, but I mean, I just like,
I've given this thing, now what four hours of my life,
(43:24):
and I'm just mildly entertained. TV res give me the
TV res. Okay, great film res. I feel like movies
have come back. Movies are now what peak television was
ten years ago, or they're getting there. So we're gonna
talk about that stuff too in the recommendations. And as
you know, music and movies always a central topic for us.
(43:46):
Some of you, if not all of you, know that
we have a new video podcast called This Film Should
be Played Loud and it is available the new episode. Yeah,
you can hear it right now. It came out yesterday.
You gotta be a Patreon member. Go to disgrace pod
dot com to sign up to become an all access member.
We did Big Lebowski this month and it was a
(44:07):
lot of fun, great great movie with incredible music, one
of the greatest soundtracks from the nineties in my opinion,
and a movie where the music I believe changed the
trajectory of the Coen Brothers career. The music from The
Big Lebowski. And you'll hear why I think that, and
you'll hear Ze's thoughts as well, and Zeth is really
(44:28):
more of a film guy than I am, and his
insights into soundtracks and scoring is pretty incredible and I
always come away having learned something and I laugh pretty
fucking hard when we do these, which is great. So
check that out. Next next month's episode is going to
be on High Fidelity, which I know all of you
love that movie, so that's coming up as well. Go
(44:49):
to Disgrace slamdpod dot com to sign up for this
film should be played loud. Make sure you're subscribed to
the hollywood Land podcast so you can get the rap
parties and all the recommendations I'll be doing over there
with Zez, plus everything that Zeth has going on. He's
we got three episodes pop it off a week over
in the Hollywoodland fees. So if you want more double
Elvis content, you're gonna supersize it over there. So make
(45:11):
sure you're subscribed to Hollywoodland on Apple podcasts, see iHeartRadio
app wherever you get your podcasts. Now, it is time
for the Sports Rant sponsored by Five Hour Energy. This
is the sixty second Sports Rant and under thirty seconds
sponsored by five Hour Energy in their fruity Rainbow flavor.
Treat your taste buds to an explosion of fruity candy
(45:33):
flavor with a tasty caffeine kick. Get candy flavored chaos
with Fruity Rainbow Five Hour Energy shots online at www
dot five hour Energy dot com or at Amazon Now. Listen, guys,
I don't think I've nailed one of these sixty second
sports rants and under thirty seconds yet, so we're going
to try right now. The other day, I was cruising
(45:55):
around to YouTube on my couch with my youngest son,
a years old, and we came across a CBS network
football promo from the nineteen seventies, and literally every single
piece of footage, every hit, every action shot from an
(46:16):
NFL game that they were using to promote their games
on CBS, every single one would now be an illegal
hit in today's NFL. My son's mind was blown. He
literally was like, that's a penalty. You can't do it.
You can't do that, you can't now listen, He's not wrong.
Am I gonna pull the old guy card here and
rant about how football is this better back then? Was
(46:38):
it better back then? I can't really say. I don't
know it certainly wasn't healthier. I don't want my son
playing that game that was up there on that screen.
It was nuts. Do yourself as a favorite and google
this or search for this on YouTube. I should say
CBS NFL Sunday Sports promo. It'll come up in no time.
I guarantee it all to say I miss sports right now.
(47:01):
I got nothing. I got nothing. You know this. We're
in the dead zone. I guess I gotta turn my
I gotta put my my frickin green teamer shirt on
here and get on the Celtics bandwagon as we head
into the postseason. But it's it's just where you know.
I'm watching. I'm watching seventies NFL promos on YouTube. Come on, man,
what's wrong with me? Matt? How did I get eighty
(47:22):
nine seconds?
Speaker 2 (47:23):
Jake?
Speaker 1 (47:23):
So, I guess it was a sixty second sports rant
in under ninety seconds? All right, Well, you can't faulp
me for trying. That was a sports rant sponsored by
Five Hour Energies. Fruity Rainbow Flavor. Treat yourself to a
candy like flavor explosion and satisfy your sweet tooth with
this zero sugar treat. Once again, you can get in
on the candy flavor Chaos online at www Dot five
(47:46):
hour Energy dot com or Amazon today. Guys. I loved
our britpop conversation from earlier, but we got more on
this subject, specifically, which iconic rockstars were nearly kidnapped by
a British band of just complete in Total Criminals. We're
(48:06):
gonna get into that. We're gonna get into love story
Damon and Justine. Okay, we're gonna get into that in
the exclusive section. Good at disgracelandpod dot com to sign up.
(48:28):
All right, guys, welcome back. Let's uh, you know the archive.
You know the archive, Disgraceland Archive. What's the disgrace Land Archive. Well,
let's got two hundred and sixty plus episodes on tons
of artists that you know and love, and every week
I inevitably mentioned some of them, and it's a good
jumping off point to clue you guys into the archive.
(48:48):
We mentioned Oasis, The Clash, Sex Pistols, Generation X, Billy Idol,
Joy Division, and we have episodes on all of those artists.
Matt will grab the episode information put it in the
show notes of this page to help you guys easily
navigate to those stories. Should you want to hear them?
And you should. You should want to hear them because
if you know, if I say so myself, they're you know,
(49:11):
they're fucking awesome. Okay, listen, let's recap shat we Number
one this week, our new episode on Pete Already is
available for you to listen to you right now. Number two,
our rewind episode coming up next is on Bobby Brown.
Number three next week a very special Disgraceland episode that
you are not going to want to miss. Number four,
Zeth gives you those Hollywood and crime vibes in Hollywood Lands.
To make sure you're subscribed on Apple Podcasts, the iHeartRadio app,
(49:33):
or wherever you get your podcast. Number five are new.
This film should be played loud video podcasts on the
Big Lebowski is available for you to watch right now
over on our Patreon. Go to disgracelandpod dot com to
sign up. Number six six one seven nine oh six
six six three eight, Give me call, let me voicemail,
semi text your voice. It keeps us digging into the
dark corners of music history. So keep calling, keep texting
(49:56):
with your answers to the week's question of the week,
or with whatever else you want to talk.
Speaker 2 (50:00):
Seven.
Speaker 1 (50:00):
Don't forget discos. This isn't just content. It's a community,
a community the obsessed, and no one cares about music, books,
records and the crime and grime that ties them all together,
like you do. And well that's a disgrace, all right.
December second, two thousand and six, that's the day that
Mark Blanco stopped partying with Pete Daugherty and died in
(50:21):
a well pretty sketchy way. And on that day, this
is what America was listening to, according to the Billboard Charts.
Number one I Want to Love You Acon featuring Snoop
Dogg last week seventeen peak positions one weeks on chart
number eight, Number two, Smack That Acon featuring eminem Pea
(50:45):
last week three two peak position peak two weeks on chart.
Weeks on number three, it replaced it last week hind
position peak position five seeks on chart three five weeks
on number four. My Love Justin Timberlake featuring t I
last week one, keep position one week's on a shot
(51:11):
number five
Speaker 2 (51:12):
For Delicious, Quit talking and start mixing cult It
Hey discos, need a little more Disgraceland in your life,
just to touch, to get you through. Yeah me too.
This is the podcast. It comes after the podcast. Welcome
to Disgraceland, the after Party. Welcome to the Disgraceland bonus episode,
(00:31):
a little thing we like to call the after party.
This is the show after the show, the party after
the party. The bridge to get you from one full
episode or Disgraceland to the other. The backyard to dig
into the dirt, our mission to uncover the truth, to
confront the myth, to reclaim the story. On this bonus episode,
we jump off of Pete Daherty and jump back into
the britpop glory years. Get your thoughts on all things
(00:52):
music and true crime. Preview next week's very special episode,
and in the exclusive section, we dive into two new
brit specific music in true crime stories, one involving the
attempted kidnappings. I'm not just one, but two iconic British
musicians by You're never going to believe this, a bunch
of other gangster British musicians. Plus we get into your emails, comments, dms,
(01:15):
and as always, a whole lot of rosie. This is
the podcast for the musically obsessed, the outsiders, the independent
thinkers who know that the best history is the history
that gets buried. Disgraceland is where I tell the stories
they didn't want told, the kind you'll end up telling
someone else. All right, discos, let's get into it. You
(01:43):
know something we've never really discussed here in Disgraceland is britpop. Now.
I know, the Libertines, the subject of this week's full episode,
isn't technically britpop. They're really just an indie rock band
with UK influence from the UK of from London, and
they're part of a generation of British indie bands that
(02:05):
became known after Britpop. Britpop to me is decidedly a
nineties thing. Oasis, Blur, Pulp, the nineties are the era
of British bands. Okay, that to me is britpop. The Libertines,
Block Party, the Cribs. That's a different generation British sure,
but not necessarily britpop. So we covered Oasis here in
(02:27):
disgraysand obviously britpop, and we have Blur and Elastica on
our list for this year for episodes that we're going
to produce. But we've barely spoken about the groups from
that nineties britpop era that inspired bands like the Libertines
and the Cribs and Block Party, you know again, britpop
(02:49):
band Supergrass, Swede, Radiohead, And we've barely spoken about the
group of British bands that came to inspire these britpop bands.
I'm talking about the post punk era of British groups
that inspired Oasis and Blur and Pulp and all that.
I'm talking about the Cure Smiths susing the Banshees, and
(03:09):
we've spent a ton of time talking about the first
generation of British punk sex pistols Clash Generation X, which
just did an episode on The Pretender's Chrissy Hind which
is set largely in that world in London in the
late seventies. So here's what I want to do, thanks
to the Libertines, thanks to Pete Daugherty, I want to
talk about the britpop movement here with the Libertines obviously
(03:34):
as a jumping off point, and I want to use
it as an entry point, ideally into some more disgrace
sand episodes we can cover going forward from this era. Now,
I can't recall if in the Oasis episode, if I
mentioned whether I'm Oasis or a team Oasis or team Blur.
Not that you have to be either, but you know
you kind of like one more than the other, you
(03:55):
don't like them both the same, or you're not really
paying attention. I can't remember if I got into that
in those Oasis episodes, but I am an Oasis guy,
which is a very unpopular opinion in my house. My
wife and my oldest son are decidedly Blur first, and
my youngest son is basically just agreeing with them to
piss me off. So I'm in the minority, but I'm
(04:19):
gonna win him over. Let's look, though, not just at
Oasis and Blur, but at that whole nineties generation of
peak British pop music, the era that directly influenced Pete
Doherty in the Libertines, and let's steep ourselves a little
(04:40):
bit more in London music history, more recent of course,
and hopefully some lore. All Right, So I went dig
in this morning as I was thinking about what I
was going to say to you guys today, and surprisingly
Rolling Stone magazine does not have a list of top
pop groups or albums. But side note rolling Stone, if
you want one, you know you can call me up.
(05:02):
You know, I was kind of surprised by that Rolling
Stones all about the list. I don't know why they
don't have one. Pitchfork, on the other hand, has a
fifty best Britpop album's list, and right out of the gate,
I'm angry before even looking at the list, because I
know the Pitchfork isn't going to have Oasis is definitely
maybe at number one, which they absolutely should because really,
(05:22):
to me, that nineteen ninety four album is Britpop's big Bang. Instead,
Pitchfork is going to have something obscure like Richard Holly's
cousin's third grade teacher's best friend's demo that he cut
in the basement of the local pub as their number
one album of top fifty Britpop albums. That imaginary album
is called Chandler and the Ghosts by the imaginary band
(05:44):
causely but I digress, and despite my anger, or perhaps
because of it, I'm gonna trudge on here, like Liam Gallagher,
into a violent melee of warring soccer hooligans and cops,
which is to say, I'm going to dive headfirst into
this list. Okay, so this is just kind of recent.
It's from twenty seventeen and right out of the gate.
Despite my reservations, I have hope here, okay, because the list,
(06:08):
as I look at it, it starts with a Jarvis
Cocker quote and it goes on to interview Danny Boyle. Okay,
trainspotting Danny Boyle. Pitchfork defines Britpop similarly to the way
I do, but they put more meat on the bone.
They say that britpop is quote the musical scene active
in the United Kingdom in the mid nineties. Particularly, we
(06:28):
are looking at the guitar based musicians who shared focus
on anthemic melodies, social observations of British culture, and daily
life in their country's musical heritage. That sounds about right
to me. That nails the definition of britpop. So let's
dive in. I'm not doing all fifty here, by the way,
I'm just doing the top ten, number ten, the verve
(06:51):
urban hymns. This feels both too low and too high
at the same time, So maybe this album is perfect
at number ten. I don't know, I don't know. I'm
gonna reserve judgment here number nine now see I knew it,
I knew it. Oasis Definitely Maybe at number nine, this
(07:13):
is an affront to uh, I don't know, the monarchy, No,
to the working class. That's what it's in front two.
This is way, way, way too low. Okay, this is
what Pitchfork has to say about Definitely Maybe hold on, i'
let men pull it up for you. It's interesting. At
number nine. Definitely maybe Oasis's full length album, their debut
(07:35):
full length from nineteen ninety four. Pitchfork has this to
say in the context of this list of top fifty
britpop albums. Okay, here we go Tonight, I'm a rock
and roll Star, Liam Gallagher proclaims at the start of
Oasis's debut. Taken out of context, it's easy to mistake
this course as another example of braggadoccio from britpop's brashest band,
(07:58):
particularly given the anti stadium hero ethos of the era.
But the verses of rock and Roll Star tell a
different story, reflecting Oasis's modest circumstances when they made Definitely
Maybe before Oasis were arrogant, they were aspirational. I disagree
with that. They were always arrogant, goes on to say
throughout the album. Noel Gallagher writes about a dead end
(08:20):
working class life from which there is no escape save
for fantasies of fame and fortune. In that same song,
in a cutting wine pitched at the midpoint of John
Lennon and Johnny Rotten, Liam Gallagher sings, definitely maybe's truest
line in my mind, my dreams are real. It was
up to Oasis to make them real. There's more to
it than that, but that's the part I wanted to
(08:41):
read to you, because I don't really disagree with anything there,
except for the claim that this was before Oasis were arrogant,
you know, insinuating that there was a time when they
weren't arrogant, which just isn't true. They always had that
cockiness and that was, honestly, that was the appeal to
(09:02):
me of Oasis back in the nineties. It was super
refreshing to finally after Kurt Cobain, after just this sort
of the grunge era of the nineties in America, the
time in which we were all supposed to do, and
I felt this way authentically, you know, we were all
(09:25):
sort of like just rejecting the idea of the rock
star for something more authentic and more artistic. It was
even though we felt that way, it was just honest
to get the opposite inn Oasis of these guys who
were clearly larger than life, absolute rock stars and just
(09:47):
made no bones about it. Came out of the gates
swinging exactly authentically who they were, not putting anything on.
You could just feel it. They were fucking gangsters, rock stars.
Absolutely didn't give a shit about societal norms. It was
expressed in their music. And yes, this was not the
(10:08):
brand of your sort of you know, like high falutant,
high society late sixties swing in London, Rolling Stones, rock Star.
This was a different breed entirely. This was totally working class, thugish.
It was great. It was great to know that these
guys were going for it and we were rooting for them.
(10:31):
In the hardcore scene, we were at least, I mean,
it was kind of just this thing was I don't
know what it was. I don't know why hardcore kids
liked Oasis so much, because I think them being British
gave us the freedom to root for further rockstardom because
there was some separation there. We didn't do that with
American bands, not in nineteen ninety four, certainly not with
(10:52):
new American bands in nineteen ninety four. Anyways, this record
to me, like I said, it's the big band of ritpop.
And I know there's there are plenty of arguments to
make against this record for other records. That's what makes
this topic so interesting. But for me, this is the one.
This is the one. It's a ringing bell, It's Bunker
(11:13):
Hill or Lexington or whatever it is. This is the thing.
This is when it starts for me. So number nine,
I just nine, barely in the top ten. I just
can't go there. I can't come on. But it's Pitchfork,
so what do you expect? Number eight is Blur's self
titled album Blur from nineteen ninety seven, which I don't know.
(11:33):
This also feels very low. This was Blur's breakthrough in
America sort of. Blur never really broke through in America
like Oasis did, despite despite the massive single from this album,
song number two, which still has cultural relevance. This record
(11:53):
personally is I love it. It's incredible. One of my
favorite albums from this era for sure. It's definitely my
favorite Blur album. I like it more than park Life,
which is saying something is Park life is fantastic. And again,
this is the band that broke the band broke Blur
in America, and America is still listening to it. Like
I said, pretty much every day, turn on most any
sporting event broadcast and wait a couple of minutes and
(12:16):
you're gonna hear the crowd singing song number two at
some point A woo who as they say so. Number
eight here feels low for Blur's self titled album, Number seven,
paulp This is hardcore. And you know by now, guys
that I'm not a huge Pulp fan. But I don't
dislike Pulp like your favorite New Jersey crime boss. I
like some Pulp and this record ain't it not for
(12:38):
me anyways, But that's mainly out of ignorance in preference.
I don't know this album that well. I always love
the album cover, but I was never compelled to really
dig into this and explore it. I suppose now is
the time to change. That I just learned today, however,
in going through this britpop history that Pulp had been
a band for seventeen years before breaking out, and I
(13:02):
had to look at this twice before breaking out in
the rippop era of the nineteen nineties. Pulp formed in
nineteen seventy eight. What that's incredible, that's shocking. I think
Picasso was still alive in nineteen seventy eight.
Speaker 2 (13:18):
He wasn't.
Speaker 1 (13:18):
I think he died a couple of years earlier. But
you get my point. Wild all right. Number six Elastica's
self titled album. Now, this placement seems right. Perhaps it
could be a little higher. Perhaps this album suffers in
its positioning because it's a female front and group and
most of the folks putting this list together are krusty
(13:40):
rock dude journalists. This is a great record with a
great breakout single connection and songs on it that Nod
enthusiastically to the past. Maybe too enthusiastically got him into
some trouble, and you know, this is the type of
album that also storms into the future fearlessly. In the
result of core is a sound that is undeniably or
(14:03):
was undeniably present at the time. I loved this record
and I can't wait to cover Justine Frishman in either
an Elastica episode of Disgraceland or in a joint Damon
Alburn Disgraceland episod. We're going to talk about that later,
Seth and I in the exclusive section of this here
Bonus episode. Number five Swayed dog Man Star. Now, I
(14:26):
was never a big Swede fan. Swayed for me was
where brit pop just kind of went a little too
Brit poppy. But people love this record, So what do
I know? At number four, here we go, Now we're
getting down to it. Oasis is What's the Story? Morning Glory?
I honestly don't know how to rank this album. Oasis,
(14:49):
who I clearly love only really has two great albums,
this and definitely maybe and definitely maybe is my favorite
among the two. But what's the story? Morning Glory is
a mom stir album. It's skyrocketed the band to international fame.
It made Oasis the biggest band to come out of
Britain at the time. So I kind of don't know
(15:10):
how it's just not number one on this list. But
then again, I do know because it's not even my
favorite Oasis album either way, for just feels too low.
Number three Radioheads The Bends, mixed by my mentor and
American Paul Q. COLDERI and Paul's production partner at the time,
(15:33):
Sean Slaid. This feels right. Number three. Radiohead busted into
the mainstream during the grunge era with Pablo Honey and
their single Creep, which I believe is nineteen ninety two.
But this follow up in the middle of the britpop
era nineteen ninety five is incredible. The only thing, though,
I don't know how. I don't know if people will
(15:55):
be able to relate to this, this album like it's
fall Up, okay, computer, they don't really feel britpoppy. Radiohead
feels like its own thing. This record feels like its
own thing, you know. It feels like Radiohead and Radiohead alone,
like the beginnings of a new genre almost, But that's
(16:16):
just me. I don't know what that says about its
placement on the list here at number three. Perhaps it
should be even higher, Perhaps it should have its own list.
I don't know. Number two, okay, Before I get to
number two. There are only two more albums that can
possibly be at number two and number one on this list, right,
and I should Coco Buy Supergrass and Grand Prix by
(16:39):
Teenage Fan Club? Are those two albums? Right? They have
to be They haven't been mentioned yet, but no they're not,
and my dog's pissed about it. You hear that Dusty
is upset. Dusty is upset. She's a huge supergrass fan.
Why wouldn't she be damn it. Both these incredible britpop
(17:03):
albums were left out of the top ten by the
supposed big brains at Pitchfork. Unbelievable. Number two is park
Life by blur which is the appropriate ranking? I think?
I don't know. I know, I'm contradicting myself because I
already said that I like their self titled album better
than park Life, which you know, Blurheads I'm sure would hate.
(17:25):
But this record just I feel like it meant more
to the britpop movement and it should be behind Oasis,
as we've already discussed. Incredible as park Life is, but
the two great Oasis records, they've already been talked about
here on this list. You know, actually, if I start
to think about it for five seconds longer, I can
probably make the case that park Life should be number
(17:46):
one on this list. If I'm being honest, It's as
genre defining as either of the great Oasis albums. I'm
just letting my Oasis bias sway me that or my wife.
But again, park Life here at number two, so what
is number one? Number one? Number one? Britpop heads have
already figured this out. Number one on this list. I
(18:10):
don't know. This kind of feels like, look at me, journalism,
you know what I mean, like some hipper than you,
because I'm naming this record type of bullshit, which is
just obviously so Pitchfork. Number one on Pitchfork's list of
top fifty Britpop albums is Pulp's Different Class, which, Deborah,
(18:31):
come on, we love this album, but placing it above
Blur or Oasis just feels like, like I said Pitchfork,
like trying. They're trying just a little too hard, trying
to appeal to the so called cool kids hanging out
at MisShapes in the mid odds in New York, or
Boston's The Pill during that same era, or Great Scott.
I cannot get with Pulp's Different Class at number one.
(18:52):
Maybe that says something about me. Maybe it says that
I'm not as big of a britpop fan. You know,
I'm not. I'm not a huge britpop fan. For me,
totally on us, I like some britpop I get to stop.
It's true though, and there is kind of a gaping
hole in my knowledge of the history, which is why
I'm excited to get into some britpop focused episodes going
(19:16):
forward here with Disgray sand I just can't get with
the fact that Supergrass and Teenage Fan Club with I
Should Cocoa and Grand Prix are not cracking the top
ten list here. All right, These are capital G great
records from start to finish, and not having in the
top ten just doesn't make any sense to me. Pitchfork
does have I Should Coco at number twelve and Grand
(19:41):
Prix way down at number thirty six. I'm sure Bandwagon
ESK is higher than Grand Prix. I didn't look. But
also not having Primal Scream on this list kind of
feels intentionally hurtful. Stone Roses I get. I get why
they're not in the top ten or even on the
list at all. They sort of I've preceded the whole
(20:01):
britpop thing, and to an extent, so did Primal Screen,
but not really some not too butt hurt about these
two omissions anyway. If you are a Libertines fan or
a fan of any of the early to mid two
thousands British indie rock, Maximal Park, Razorlight, these bands that
we're discussing right here. From this list, they're going to
give you some idea of what Pete Tardi and Carl
(20:23):
Barra and others from the two thousands indie sleis era
were weaned on. So there you go. Now, Jake, you
might be asking me, maybe screaming at your car speaker
or whatever right now, going what brip pop bands are
you going to cover?
Speaker 2 (20:41):
Dude?
Speaker 1 (20:42):
Well, like I said, I think there's a blur. I
think there's blur and elastic episodes, perhaps a Damon and
just seeing joint episode. Maybe we write a really transgressive
kind of junkie love story from the nineties set in
the UK, explore all the drug the heroin, the crime
(21:03):
and grime, and the tabloid era that their relationship took
place in. That sounds interesting to me. I'm obsessed with
the rhymer of his love story at the moment. I
JFK Junior and Carolyn Bassett and maybe Damon and Justine
is our answer to that here in Disgrace Land. I
like this idea. It's nineties, it's the same era, but
(21:24):
it's a totally different scene, a totally different place obviously,
and it also has a completely kind of different type
of glamor, yet it's still glamorous. It's got similar tabloid madness.
It's just the UK rippop version. I'm loving this idea
as I'm talking about it to you right now. From
a crime angle, we've got heroin use, Damon's arrests, Elastica's
(21:45):
legal settlement with wire, all kinds of stuff we can
get into. There's also what I've learned here over the
years from you guys. I wish I could remember your
names who had written me on this subject, but quite
a few of you, more than a handful, have written
about another British band that we should cover that we
have not mentioned at all yet, and that is the
(22:07):
Happy Mondays, a group with an insane true crime backstory
including kidnapping, multiple kidnappings, assault. One of the kidnappings actually
both involve musical icons. I can't even can't believe these stories.
(22:29):
Heroin of course, not just using heroin, but large scale
drug smuggling and of course all manner of rock and
roll hedonism and debauchery. The Happy Mondays pre date britpop.
They go back to the wild sort of Manchester club
scene that was the decade before. But nonetheless This is
(22:49):
an insane story and one that needs further exploration and
most definitely its own Disgraceland episode on the Happy Mondays.
I want to talk more about the true crime story
of the Happy Mondays as well as the junkie love
story of Damon from Blur and Justine from Elastica with
Ze and figure out how these episodes will take shape.
(23:09):
We're gonna do that in the exclusive section of this
after party, where we'll reveal which rockstar rock stars the
Happy Mondays attempted to kidnap. Go to disgracelandpod dot com
to become an all access member and unlock this and
more exclusive and ad free content. Often oftentimes, guys, if
you knew here, we use the exclusive portion of this
(23:33):
bonus episode, Zeth and I as sort of a creative session,
a behind the scenes look at how we figure out
what episodes we're going to cover and whether or not
there's enough crime and transgression there to warrant a Disgraceland episodes.
Kind of our think tank, our laboratory, so to speak,
and that's what that's what we got going on today again.
Go to disgrace landpod dot com to sign up to
(23:54):
become an All Access member and you'll get exclusive content
like this and add free content every month. All right,
before we dive into all that, let's do a little
table setting here. As we mentioned, this week's Pete Doherty
from the Libertines episode is available for you to check
out and look. This story and the death of Mark Blanco,
(24:16):
who is hanging out with Pete Dodhugherty that night, is
one of the most underreported stories in music history. And
we did our part here. Look, we're not journalists. We're
not pretending to be journalists. We are storytellers, open source
storytellers who use information that's already been published. We don't
(24:41):
go out and dig up new stories. We source everything.
We're careful about it. We make sure that we're giving
you guys what really happened. But this story in particular
really requires some real journalism. And you know, I'm coming
across this is the second time in like this week
(25:03):
actually that I've come across this where we're telling these stories.
It's almost like so many of the stories we tell
this Gray Sand are from like the nineteen sixties and
seventies and eighties, and a lot of time has passed.
This story is from two thousand and six, not that
much time has passed, and I don't believe that the
facts are all out there or the truth is out there,
but I wanted to dip in and find our way
through this story. And you know, if I'm being totally frank,
(25:26):
we come up like with more questions than answers at
the end. And it's super frustrating because you know, I
get a business to run, I got a podcasts to
make every week. I can't just like we have a
way of doing it. I can't just like pack up
and fly to London and start asking people questions. Not
that anyone would even talk to me if I did
that anyhow, That's not what I do. So it's kind
of frustrating, and I don't understand why actual music journalists.
(25:51):
And again I've never called myself a journalist. Some people have.
I never have not from the beginning. Like a definition
of a journalist to me is not somebody who does
what I do. It definitely of a journalist to me
as somebody who goes out and actually digs up and
finds information for the first time, you know, like finds
information that has not yet been public. Everything we talk
(26:13):
about is public information. Oftentimes made public by the artists
themselves that we are covering in their autobiographies, and it
gets buried throughout time. So it becomes very interesting when
we get to it because a lot of this stuff
has sort of been shoved under the covers, because it
goes back, like I said, to the sixties, to seventies,
(26:33):
the eighties, the nineties here though again two thousand and
six not that long ago when you think about it.
I mean, two decades sounds like a long time, but
culturally not really. And this story still it's hard to
accept the story of how Mark Blanco died. I'm not
(26:55):
pointing any fingers. What the official story is may very
well be the case, but we it's just one of
those things where we need more evidence that proves it
that way one way or another. And I've similarly come
across the same challenge and the story that I'm researching
right now on the Food Fighters, which I mean, look,
(27:18):
man Taylor Hawkins died in twenty twenty two, and we
still don't know the cause of his death. He died tragically.
I say that as a point of fact, but that
is not the explanation for how he died, which if
you read anything about the food fighters over the last
few years. That's the explanation you're going to get. They'll
(27:42):
talk about drugs in his system, but that's not the
official take. They won't talk about an overdose. Again, more
questions than answers. And this is only four years ago.
And look, man like, I'm not trying to pry into
anybody's life. And I get the sensitivity that this has
(28:04):
with Taylor Hawkins's family, and certainly I would feel like
this shit was none of anybody's business if this was
my family member. But we know how Keith Moon died,
we know how John Bonham died. It just doesn't make
any sense that we don't know how Taylor Hawkins died.
(28:25):
And anyway, like the Pete Doherty story here, the death
of Mark Blanco, which Pete Doherty is at the center
of the death of Taylor Hawkins is one of those
things that we still don't have an answer for. I'm
gonna go a little bit harder into this one than
we did Pete Darty, and I'm gonna try to find out.
I'm not promising you anything, nothing at all, but I
am gonna ask questions that people don't seem to really
(28:49):
want to ask, and I don't think there's anything wrong
with that. People in the public public eye. That's the price.
And you can be a fan of the food Fighters.
I mean to Taylor Hawkins. I mean, he just struck
me as a type of guy. I never met him,
but he struck me as a type of guy that
if you met him, you would just instantly be like,
you know, just vibe. And he's just such a spirit
(29:12):
and an incredible talent. And our episode is not going
to be a takedown in any way, but it is
going to ask some questions and maybe perhaps at a
later date, we'll dive back into this Pete Doherty story
as well. But we need more journalism here, and I'm
appealing to the actual music journalists out there who listened
to the show. You know, come on, let's go, let's
(29:34):
figure this out, all right. Anyways, I say all that
because we're in the midst of Pete Doherty week here
in this graceland. That's our latest episode this year is
the bonus episode. Episode tomorrow is our rewind episode, and
that is on Bobby Brown. Now, Lison, if you ever
wondered what having sex with a ghost was like, you
(29:55):
don't have to wonder anymore, because we're going to answer
that question in the Bobby Well Bobby, Bobby Brown has
answered it for us, and you can hear about it
in the Bobby Brown episode. I'm not kidding. Next week,
next week, next week, we have a very special episode
coming your way on Tuesday. Does something happening in Disgraceland
right now? Something big? I can't exactly say what it
(30:16):
is yet. I'm not even saying I'm gonna go all
the way there with this news and next week special episode,
but i am going to come close. So make sure
you check out our special episode coming to you on Tuesday.
That is a new app coming up right after Bobby Brown.
All right, and I'll be coming up right after this break.
I'm gonna take a quick break. I'll be back after
(30:37):
this with your voicemails text him. All right, guys, I'm back.
I'm in the chair. I'm talking to you all. I'm
in my happy place. I'm gonna go to Los Angeles
kind of unexpectedly, and it's a super quick trip, so
(31:02):
I'm getting it. I'm recording this early. My point is
in telling you this, I'm recording the after party earlier
this week. So we're not going to get a lot
of your answers and responses to the p Tord episode
here right now, but we will get to it next
week and next week's after party. But we are going
to talk to you, guys. We're gonna hear from you
as always six one seven nine oh six six six
three eight, voicemail and text. You want to hit me
(31:24):
up about anything, anything at all, episodes, you want to
hear artists, you want us to cover whatever it is,
get at us six one seven nine oh six six
six three eight. If you're shy you don't want to
leave a voicemail, I would encourage you to, you know,
leave a voicemail for sure. I love hearing your voices.
You can always send me a text as well. This voicemail, however,
comes from let's see here. This is the five oh.
Speaker 2 (31:46):
Three, Hey Jake, this is the five o three two
fifty three am in the morning, listening to Not even
sure I listened to all of your shows anyway. We're
talking about women in rock and roll, which I'm not
sure that I've never really been two into. But you
haven't mentioned heart and I'm not a huge I prefer
(32:12):
Patty Smith over Heart. But what the hell, man, those guys,
those two must have sold more records than me of
these people, these others you're mentioning anyway, dude, that's it.
I hope you're doing well, man, fine, five.
Speaker 1 (32:25):
O three, Thank you for the call. Yeah, you're right, man.
I don't know that I have mentioned Heart. I think
a listener might have in the last after party. I
guess I take Heart for granted, Like I was talking
the other day, we take CCR for granted because it's
kind of they've kind of they're just there. They've been
there forever, you know, on classic rock radio. But they
are incredible, incredible musicians, and yeah, they sold a shit
(32:49):
ton of records, and they they're definitely in the conversation.
I like Patti Smith more than HERD. I guess if
I was going to pull an album off my shelf
and I only had two choices, and those of them,
I I like, you would listen to Patty Smith as well.
But authored yeah, I don't really understand the comparison. I
guess I guess you're comparing them because I guess I
was talking a lot about Patty Smith in the last episode,
(33:10):
and I get that. But yeah, Heart great, great, great
great band. Well deserved Rock and Roll Hall of Fame inductee.
By the way, I guess we're gonna find out in
the next couple weeks who's getting in in the Hall
of Fame. I can't wait to talk to you guys
about it, but in the meantime, let's talk to the
seven two four.
Speaker 3 (33:31):
Hey, Jay, this is Clint from seven two four. I'm
responding to your response to my response about the Baddest
Dass Females. I had said, John Jet, you wade in
and said you thought it was a pretty good choice
and asked me to get back that I ever seen
Light of Day Fucking a Dad. That was a great movie.
You could tavern. I live right up right on the
(33:53):
state line between Pennsylvania and Ohio, so I get up
that way for a long time a wive and back
in the day when that was a relatively popular cousin
Michael J. Bloxing John certainly made the pilgrimage, went up
there and check it out. There's also the Warsaw up there,
kind of same area where Joe Walsh played a lot with,
(34:14):
did did Drew Carrey show and shit like that kind
of fun. So yeah, thanks for getting me on. Thank
you for taking my response. Always a lot of fun.
You do a great job with your show.
Speaker 1 (34:25):
Have a good day seven two four. Thanks for the call,
but thanks specifically for your your excellent placement of the
phrase fucking a Jake. I just love fucking a I
love that. I love that. You know what else? I
love I love I shit you not. I love it
when people say those those two phrases. Fucking a Clint,
Yeah you clid Tavern right right on, man, Thanks for
getting back and uh light a day. I love that
(34:46):
we're talking obscure Joon Jet movies from the eighties six
one seven, nine oh six, six, six three eight. You
guys want to talk to us about anything, doesn't have
to be obscure joone Jet movies from the nineteen eighties
six one nine Texan, Hey, Melissa here from the six
one nine. I'm not sure sure how we can have
a discussion about influential women in rock without mentioning and
in Nancy Wilson and as one of the most recognizable
(35:07):
voices of rock women, and Nancy is an outstanding guitarist.
The two of them combined in Heart makes a catalog
of some of the best rock tracks in history. Just
my two cents and your spot on those are two
cents well spent. Melissa, I agree with you one hundred percent.
I'll go even a step farther and say that Nancy
(35:28):
should get more recognition for her guitar playing. She's one
of the best in classic rock and not and I
don't mean like ripping off solos. I mean just as
her guitar playing sets the stage for the songwriting in heart,
it's kind of unmistakably her, which is awesome. Three h
(35:50):
two rites in how many messages did you get giving
you shit for omitting Susie Quatro from your most Influential
Female Rock Musicians discussion. I didn't think I omitted her.
I think we talked about her. I think she was
brought up by you guys, by the listeners first. And yeah,
we have a Susie Squatro episode coming three oh two,
so you will not be disappointed. Eric from the nine
(36:12):
to five four text and Hey, Eric from the nine
to five to four X Boston eighties nineties early two
thousands always enjoyed the show. The AFX Sex Pistol series
included Chrissy Hine throughout her and Susie Sue and others
blaze the trail in Europe. I think Carol King deserves
much credit for her role in the evolution of popular music. Damn,
(36:35):
you are absolutely right, Carol King. Her influence is hard
to measure in pop music. She's incredible, incredible, all right.
One little message here in the Rock and Roll Hall
of Fame nominee is this one because I want to
keep this conversation going with y'all. By the way, did
we talk about that in the I think we just
talked about it in the exclusive section last week. But anyways,
(36:56):
this one comes from Jason four one six Hey rock
Hall non and he's the one I'm really pulling for.
Is Joy Division New Order. It'll be a very blue
Monday if they don't get in highly highly influential. I
can't imagine the soundtrack of My life without at least
three Joy Division and three New Order songs on my
triple album saw them in twenty twenty two with Pet
(37:16):
Shop Boys and the show Blazed. I also noted that
it was not just gen xers like me and the audience,
people of all ages and many twenty and thirty somethings
rock and rolla yes, hugely influential and relevant to the
conversation we were having earlier about British bands. I don't know, man,
I have a problem with this one. Not that I
don't love the music or the band z a plural,
(37:41):
but it's the fact that the rock and Roll Hall
of Fame is inducting like a hybrid Joy Division slash
New Order. And I get why, it's just the difference
of a singer, right, It just seems fucking weird to me,
Like just like induct New Order and then inducting Curtis
(38:01):
at a later date or something. Doesn't this seem weird?
Doesn't this open a can of worms that we're not
that we're gonna be upset that we opened in like
five ten years. I don't know. Just seems kind of
odd to me. But I hear you hugely influential, and
I get it, and I love them too, and I
understand their greatness. I get it. Just there's something about
that the way it's being done rubs me the wrong way,
(38:23):
and it probably working against them if we're being if
we're being honest about it. But then again, we don't
know how these things get decided, so who the fuck knows?
All right, six one seven nine oh six six six
three eight, voicemail and text you guys want to get
at me at disgrace, slam pod on the socials, Instagram, TikTok, Facebook,
you how to do it. I'm gonna take a quick
(38:44):
break and I'll be back in a flash with some recommendations.
All right, we're back and I talked about this last week.
(39:07):
Gonna start doing more recommendations. I know you guys like it.
I like it. I like talking about what music I'm into.
I like talking about what music and films combined get
me going. I like talking about books. I'm reading movies,
I'm watching all that stuff. But I've been thinking, I've
been guys, this is gonna sound so fucked up. I
(39:27):
don't even know how to start this. I've been listening
to more new music that I have in the last decade,
and I have a take on why, but I can't
really articulate it yet. It has a lot to do
with how I don't like how modern rock and modern
(39:47):
guitar oriented music is produced in this sort of new
age of production that we're into, where everything's kind of
done in the box, so to speak. In the way
things sound. It just sounds different from how I was raised,
but going to get into that. However, I've sort of
opened myself up a little bit to being very curious
(40:08):
of modern pop music. And this is largely spun spun
me out from there's spun out, I should say, and
spun me out, spun out from me being on TikTok
and scrolling through and hearing stuff. I'm like, what the
fuck is that? That's good and you know it's new shit,
(40:31):
but it's not new rock, and it's not new ponk
or hardcore. It's like new fucking hip hop and Top forty.
I know that sounds insane, mainly Top forty. I like
the new Harry Styles American Girls song. I know some
of you are vomiting in your mouth. I don't care.
It's a good song and I can appreciate that song
(40:51):
the same way that I could appreciate George Michael in
the nineties. I like, it's not that new, it's from
twenty twenty four. The Dochi song Denial is a River.
It's fucking incredible. Everything I've heard by her is incredible,
by the way, which is new. This is like the
last few days for me. But I can appreciate her
(41:15):
stuff in the same way that I can appreciate Salt
and Pepa from the eighties or en Vogue or something
like that, which I love Doja Cat same thing. You're
gonna think I'm nuts, but I can appreciate that shit
the same way I can appreciate Kanye stuff from like,
you know, the twenty tens or whatever. So I'm not
(41:35):
saying that like we're gonna do recommendations is gonna be
all new music. I'm not saying that, you know. In
addition to I'm also like I've just have late onset
father John Misty appreciation. That's happened to me over the
last month. I've always kind of been curious and liked,
you know, what's a real love baby, that huge song.
But I've now I'm like, I'm deeper into the albums,
and that makes sense. If I told you I was
(41:56):
getting into that that was kind of a new thing
for me, even though he's not new, but a new
thing for me, guy would go, I gotta get that
the dough chy stuff though, that makes no sense, and
I'm not saying again, I'm not saying that, like are
the recommendations We're gonna be doing it gonna be like
new pop music. But I'm just gonna be honest with
what I'm listening to and let you guys know. And
(42:16):
I think it's a good thing. You know, I'm being
turned on to new shit, filthy, some of it. Do
Chi stuff is filthy. It's great. Anyhow, We're gonna be
doing the res over in Zeth's Rap Party episodes because
these after parties are jammed and we used to do
them over there, and then we stopped for reasons I
(42:39):
can't remember. But we're gonna start doing them again over
They'll be over there, and uh, don't worry, you won't forget.
I'll remind you here in the after party. And the
best part of the recommendations is it cues up this
conversation with you guys, and you start to send us
your recommendations, which is what we want. Six point seven
I know, sixt sixty six three eight, voicemail and text,
(43:01):
let us know what you're listening to, watching and reading.
TV sucks right now, guys, it sucks. I'm watching fucking
Love Story. Okay. TV blows at the moment. In my opinion,
I'm forcing myself to like this. Jason Bateman Slowburn DTF,
which I don't hate, but I mean, I just like,
I've given this thing, now what four hours of my life,
(43:24):
and I'm just mildly entertained. TV res give me the
TV res. Okay, great film res. I feel like movies
have come back. Movies are now what peak television was
ten years ago, or they're getting there. So we're gonna
talk about that stuff too in the recommendations. And as
you know, music and movies always a central topic for us.
(43:46):
Some of you, if not all of you, know that
we have a new video podcast called This Film Should
be Played Loud and it is available the new episode. Yeah,
you can hear it right now. It came out yesterday.
You gotta be a Patreon member. Go to disgrace pod
dot com to sign up to become an all access member.
We did Big Lebowski this month and it was a
(44:07):
lot of fun, great great movie with incredible music, one
of the greatest soundtracks from the nineties in my opinion,
and a movie where the music I believe changed the
trajectory of the Coen Brothers career. The music from The
Big Lebowski. And you'll hear why I think that, and
you'll hear Ze's thoughts as well, and Zeth is really
(44:28):
more of a film guy than I am, and his
insights into soundtracks and scoring is pretty incredible and I
always come away having learned something and I laugh pretty
fucking hard when we do these, which is great. So
check that out. Next next month's episode is going to
be on High Fidelity, which I know all of you
love that movie, so that's coming up as well. Go
(44:49):
to Disgrace slamdpod dot com to sign up for this
film should be played loud. Make sure you're subscribed to
the hollywood Land podcast so you can get the rap
parties and all the recommendations I'll be doing over there
with Zez, plus everything that Zeth has going on. He's
we got three episodes pop it off a week over
in the Hollywoodland fees. So if you want more double
Elvis content, you're gonna supersize it over there. So make
(45:11):
sure you're subscribed to Hollywoodland on Apple podcasts, see iHeartRadio
app wherever you get your podcasts. Now, it is time
for the Sports Rant sponsored by Five Hour Energy. This
is the sixty second Sports Rant and under thirty seconds
sponsored by five Hour Energy in their fruity Rainbow flavor.
Treat your taste buds to an explosion of fruity candy
(45:33):
flavor with a tasty caffeine kick. Get candy flavored chaos
with Fruity Rainbow Five Hour Energy shots online at www
dot five hour Energy dot com or at Amazon Now. Listen, guys,
I don't think I've nailed one of these sixty second
sports rants and under thirty seconds yet, so we're going
to try right now. The other day, I was cruising
(45:55):
around to YouTube on my couch with my youngest son,
a years old, and we came across a CBS network
football promo from the nineteen seventies, and literally every single
piece of footage, every hit, every action shot from an
(46:16):
NFL game that they were using to promote their games
on CBS, every single one would now be an illegal
hit in today's NFL. My son's mind was blown. He
literally was like, that's a penalty. You can't do it.
You can't do that, you can't now listen, He's not wrong.
Am I gonna pull the old guy card here and
rant about how football is this better back then? Was
(46:38):
it better back then? I can't really say. I don't
know it certainly wasn't healthier. I don't want my son
playing that game that was up there on that screen.
It was nuts. Do yourself as a favorite and google
this or search for this on YouTube. I should say
CBS NFL Sunday Sports promo. It'll come up in no time.
I guarantee it all to say I miss sports right now.
(47:01):
I got nothing. I got nothing. You know this. We're
in the dead zone. I guess I gotta turn my
I gotta put my my frickin green teamer shirt on
here and get on the Celtics bandwagon as we head
into the postseason. But it's it's just where you know.
I'm watching. I'm watching seventies NFL promos on YouTube. Come on, man,
what's wrong with me? Matt? How did I get eighty
(47:22):
nine seconds?
Speaker 2 (47:23):
Jake?
Speaker 1 (47:23):
So, I guess it was a sixty second sports rant
in under ninety seconds? All right, Well, you can't faulp
me for trying. That was a sports rant sponsored by
Five Hour Energies. Fruity Rainbow Flavor. Treat yourself to a
candy like flavor explosion and satisfy your sweet tooth with
this zero sugar treat. Once again, you can get in
on the candy flavor Chaos online at www Dot five
(47:46):
hour Energy dot com or Amazon today. Guys. I loved
our britpop conversation from earlier, but we got more on
this subject, specifically, which iconic rockstars were nearly kidnapped by
a British band of just complete in Total Criminals. We're
(48:06):
gonna get into that. We're gonna get into love story
Damon and Justine. Okay, we're gonna get into that in
the exclusive section. Good at disgracelandpod dot com to sign up.
(48:28):
All right, guys, welcome back. Let's uh, you know the archive.
You know the archive, Disgraceland Archive. What's the disgrace Land Archive. Well,
let's got two hundred and sixty plus episodes on tons
of artists that you know and love, and every week
I inevitably mentioned some of them, and it's a good
jumping off point to clue you guys into the archive.
(48:48):
We mentioned Oasis, The Clash, Sex Pistols, Generation X, Billy Idol,
Joy Division, and we have episodes on all of those artists.
Matt will grab the episode information put it in the
show notes of this page to help you guys easily
navigate to those stories. Should you want to hear them?
And you should. You should want to hear them because
if you know, if I say so myself, they're you know,
(49:11):
they're fucking awesome. Okay, listen, let's recap shat we Number
one this week, our new episode on Pete Already is
available for you to listen to you right now. Number two,
our rewind episode coming up next is on Bobby Brown.
Number three next week a very special Disgraceland episode that
you are not going to want to miss. Number four,
Zeth gives you those Hollywood and crime vibes in Hollywood Lands.
To make sure you're subscribed on Apple Podcasts, the iHeartRadio app,
(49:33):
or wherever you get your podcast. Number five are new.
This film should be played loud video podcasts on the
Big Lebowski is available for you to watch right now
over on our Patreon. Go to disgracelandpod dot com to
sign up. Number six six one seven nine oh six
six six three eight, Give me call, let me voicemail,
semi text your voice. It keeps us digging into the
dark corners of music history. So keep calling, keep texting
(49:56):
with your answers to the week's question of the week,
or with whatever else you want to talk.
Speaker 2 (50:00):
Seven.
Speaker 1 (50:00):
Don't forget discos. This isn't just content. It's a community,
a community the obsessed, and no one cares about music, books,
records and the crime and grime that ties them all together,
like you do. And well that's a disgrace, all right.
December second, two thousand and six, that's the day that
Mark Blanco stopped partying with Pete Daugherty and died in
(50:21):
a well pretty sketchy way. And on that day, this
is what America was listening to, according to the Billboard Charts.
Number one I Want to Love You Acon featuring Snoop
Dogg last week seventeen peak positions one weeks on chart
number eight, Number two, Smack That Acon featuring eminem Pea
(50:45):
last week three two peak position peak two weeks on chart.
Weeks on number three, it replaced it last week hind
position peak position five seeks on chart three five weeks
on number four. My Love Justin Timberlake featuring t I
last week one, keep position one week's on a shot
(51:11):
number five
Speaker 2 (51:12):
For Delicious, Quit talking and start mixing cult It
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.
Betrayal Season 5
Saskia Inwood woke up one morning, knowing her life would never be the same. The night before, she learned the unimaginable – that the husband she knew in the light of day was a different person after dark. This season unpacks Saskia’s discovery of her husband’s secret life and her fight to bring him to justice. Along the way, we expose a crime that is just coming to light. This is also a story about the myth of the “perfect victim:” who gets believed, who gets doubted, and why. We follow Saskia as she works to reclaim her body, her voice, and her life. If you would like to reach out to the Betrayal Team, email us at betrayalpod@gmail.com. Follow us on Instagram @betrayalpod and @glasspodcasts. Please join our Substack for additional exclusive content, curated book recommendations, and community discussions. Sign up FREE by clicking this link Beyond Betrayal Substack. Join our community dedicated to truth, resilience, and healing. Your voice matters! Be a part of our Betrayal journey on Substack.