Ep. 133-Mama (Genesis)

In the heat and the steam of the city, Al, Ryan & Louie discuss "Mama," one of Genesis' most bizarre songs and the music video where Phil Collins freaked generations of children before "The Land of Confusion" did.

Episode Transcript

Speaker 1 (00:08):
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(00:28):
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Speaker 2 (00:32):
Okay, hello, and welcome to episode one hundred and thirty
three of Throwback Music Video Review podcast, and tonight we
will be reviewing Mama on Phil Collins's seventy fifth birthday. Hey,
by the way, guys, what is it today?

Speaker 3 (00:47):
It's today today birthday.

Speaker 4 (00:50):
And I saw somebody posts on Instagram about that.

Speaker 2 (00:52):
It's all over Instagram apparently right it is, well, Happy
birthday Phil. Mama is a song by English rock band Genesis,
released as the first single in nineteen eighty three from
the self titled album, and is the band's most successful
single in the UK, peaking at number four on the
UK Singles Chart. It was less popular in the US,
reaching only number seventy three on the Billboard Hot one hundred.

(01:16):
The music video is directed by Stuart or Mey and
currently has five million views on YouTube. So, guys, Louis
and Ryan and I'm out, what is your history with Genesis? Mama?

Speaker 4 (01:28):
Hey, real quick? Before Stuart Omi did he what other
stuff did you do?

Speaker 2 (01:32):
He did like a lot of the Genesis music videos
of this era, quite a few. He did a lot
of Phil Collins side projects. He did his the Freeda
I know there's something going on music video for that one,
which we've seen quite a few times, the ad Nauseum.
If he gets in TV and stuff, he's mostly in
the technical side of it or the crew side. But
he's never really been a big time.

Speaker 4 (01:51):
Director, okay's I mean like a lot of the directors
that I mean other than the really big one so okay.

Speaker 2 (01:56):
Right, yeah, but he's done like most of Genesis eighties videos,
some Philmms videos.

Speaker 4 (02:02):
I mean, as for me, like Genesis other than their
like eighties stuff, I don't really know. I'm more like
like probably Phil Collins, Phil Collins, Phil Collins, you know,
like in their singles Another Damn Paradise, You'll Be in
My Heart from the Tarzan soundtrack.

Speaker 2 (02:19):
You know, that's that's what like like on the millennials
know Phil comms from which which amazes me because like
they only know from the Tarzan soundtrack. I mean those
are jams though, Like yeah, they are just but I'm
just amazed, like they didn't catch any of his Like
he was like everywhere Phil Collins' music, Genesis and Phil
Collins just ever during the eighties.

Speaker 4 (02:36):
But if you're a little kid watching Disney, you're not
gonna listen to in the Air Tonight or Another Day
in Paradise about like homeless people.

Speaker 3 (02:45):
Teas.

Speaker 2 (02:45):
I mean, he's like not Mama either. Huh.

Speaker 4 (02:48):
It's weird how he he is like such a an
epitome like Reagan era eighties singer, right because he was
also very, you know, pretty political. You know, it's it
seemed like, you know this music and stuff like that.
So I remember a lot of that. And then you know,
because of MTV, he was all over there.

Speaker 2 (03:06):
He was everywhere, man.

Speaker 4 (03:08):
And then I remember, like in my early twenties going
to the thrift stores and buying records and listening to
like you know, Velvet Underground or Hearing Can or Hearing
you know, craft Work. I'm like, oh, I should get
into Genesis, like they're supposed to be like this amazing
prog rock band, right, so everyone, So I would grab
one of their records from the because there's tons.

Speaker 2 (03:30):
Back in the days there it was like it was.

Speaker 4 (03:33):
Like ninety percent Genesis and then everything else. Right. So
I remember I bought a Lion Laid down on Broadway
or something like that, or a couple of there. I
bought a couple of the records, and I like listen,
and I also knew like their guitar player was like
this guy who was like a revolutionary guitar player and
like noisy. And I was already playing guitar and getting noisy,

(03:54):
so I got to listen to these guys, like these
guys seem like they're the cat's pajamas, you know. So
I got bought the records and I put them on
in my room, and I'm just I just could not
get into it. I just it wasn't. I think I
was too still in that like aggressive kind of area
where I was born punk or post punk raw yeah,

(04:14):
where something like the Velvet Underground or like can like
really are you know even craft word really spoke to me.
It was like harsh and it was like.

Speaker 3 (04:23):
Adult contemporary yeah, it's very yeah, and I couldn't really
appealing to our exactly group.

Speaker 4 (04:29):
It's it made me feel like I was listening to
my grandparents music or.

Speaker 3 (04:32):
Something, not even my parents, older uncles or something.

Speaker 4 (04:35):
That's what it was, older uncle's music. And I just
couldn't get into it. And I tried and I tried,
and then finally I was like, these records are taking
up some valuable space. I need to take them back
to the third story, you know. I think I took
them to two Amba and sold them, sold them for
like probably a quarter or something, you know, a.

Speaker 3 (04:56):
Couple of quids.

Speaker 4 (04:56):
Yeah, but I just could never get into them. And
then when I meet people that are into Genesis, I'm like,
you know early Genesis, right, I'm just like, what is what?
What is it? And they just love them? And I
just never got into it.

Speaker 3 (05:09):
It's an acquired tank. Yeah.

Speaker 4 (05:10):
Maybe when I turn at sixty, I'll go back to
figure it out or something. But pre film, you know,
And I love Peter Gabriel. Fucking Peter Gabriel. The eighties rocked.
I loved all his stuff. Sledgehammer, that's awesome. You know
you shocked the Monkey, the Monkey? Yeah, christ I don't.
I love the lead singers, but the when they're a
full band before the eighties, I just couldn't get into it.
It's really weird.

Speaker 3 (05:30):
Because not to say that it's not to say that
they're not it's not good music though it actually is.

Speaker 4 (05:34):
Yeah, they're like jazzed. I mean, they're like a music
they're like classically trained.

Speaker 3 (05:38):
They're amazing musicians, man, I mean all the hits are
super catchy. You know, both Genesis at least eighties. I'm
not really familiar with the earlier sound, but you know,
Phil collins Man, his voice, it's it's perfect. And also
one of the things I remember is that I didn't
realize it was a drummer until way later, you know,
because you don't really think about that. You know, you
saw him as a singer who was very you know,

(05:59):
emotional ay sings, and then you actually see him play
because you know, when YouTube came out and you see
him like these clips, it's like he's badass, you know.
But yeah, and as far as the music, I never
got into any records. Thrift stores. Man, it's tons of
genis and Bosqua eggs. That's all you want, and that's
the menu every day. Every time. But yeah, I didn't really,
I didn't get into it. I always thought like that's

(06:20):
for older kind of people music as I was growing up,
you know and kind of getting into my own music.

Speaker 2 (06:24):
Wait, Louis, you didn't stumble into this song when in
your Genesis album Buying Mom. No, I don't remember this, no,
because it would be the Peter Gabriel era Genesis.

Speaker 4 (06:34):
It was Peter Gabriel. Yeah, it was like the seventies
stuff that was in the third sort of. I mean,
I don't even know what this album cover looks like,
so I don't you know, but.

Speaker 2 (06:42):
It's a self titled album. It's like Genesis is so
plain looking, like you'll just glossal or if you see it.

Speaker 4 (06:46):
Yeah, I probably assumed it was one of the ones
that like that are like Victorian characters on.

Speaker 2 (06:51):
Him, those are like the older one. Yeah, yeah, that
was like nursery crimes.

Speaker 4 (06:54):
I think it was probably, yeah, a couple and it
was just but it wasn't one of these ones it was.
It wasn't a Phil Collins one.

Speaker 2 (07:03):
It's for my history though, with this song in particular,
you know, I touched upon this in a few episodes
where like I saw this music video at MTV Classico,
and I've never heard the song ever. This song was
never came to my to my sphere, I heard the
other one, which was that That's All song from the
same album, And that's actually the very first time I
saw Genesis as a band. But I knew of Phil

(07:24):
Collins already, but then I realized, like, hey, that's Phil
Collins singing in the music video for That's All. Oh
so he's in a band called Genesis too, and you know, like, oh, okay,
Like that's when it kind of became synonymous to me.
But Genesis is Phil Collins and and all that. But
this music video, though, when I saw this ANTIV Classico,
I like took me by surprise because I always had
an expectation of what Genesis was, which was like the

(07:46):
invisible touch I can't dan Era, you know, the more
poppy stuff. And then like I hear this freaking industrial
sounding drum loop and this creepy ass serial murderer Phil Collins,
I'm like, what, like it really appealed to me, like
peak my curiosity, and this song fucking rocks.

Speaker 3 (08:02):
Yeah, the song, this song.

Speaker 2 (08:04):
Fucking is amazing. So I'm like, I'm like, okay, I'm
solo on Genesis. Everything else is like Phil Collin slush
and slop, but not that he slop because he makes
great music. But you know, like sometimes I can't tell
between a Phil Collins solo project versus what Genesis exactly,
you know, or.

Speaker 3 (08:19):
Mechanics All bangers, that's what all bangers?

Speaker 4 (08:24):
Did you ever get in like in the eighties, get
into Phil Collins acting work.

Speaker 2 (08:28):
I remember him in an episode of Miami Vice. I
never saw a buster.

Speaker 3 (08:32):
As Phil Collins.

Speaker 2 (08:34):
Now he was playing like a game show host or something.

Speaker 4 (08:36):
And then he's in Hook also he plays an inspector
like a cop and Hook all right, and then I
never seen Buster, but he's the lead.

Speaker 2 (08:45):
Yep, he's the lead actor that was in the height
of the Phil Collins solo project. Yeah, lady, like eighty
seventy eighty eight, okay, yeah, but Phil cons was everywhere
during my my developing years though, you know, from Studio
Another Day in Paradise, against all, against oh yeah, against
all yeah, yeah, that's when actually, like I think when
he hit me and streaming against all lost. And there's

(09:07):
a song too called Billy Don't Lose My Number, which is.

Speaker 3 (09:10):
A funny sound.

Speaker 4 (09:10):
So Yeah, that's a good song.

Speaker 2 (09:11):
Yeah, it's a funny music video too, so it's a
very lighthearted one. And he was easy Lover with Operation
Philip Bailey of earth Wind and Fireflame.

Speaker 4 (09:19):
Great song, that's a good song. Yeah.

Speaker 2 (09:21):
And that's the first time I actually saw him play
the drums. Was the music video for that, And I'm like, hey,
he's a drummer. Oh you know, all makes sense that
he's doing drums and frocking band Aid, right.

Speaker 4 (09:29):
I would say, yea, yeah you saw I mean saw
that before you saw the band Aid.

Speaker 3 (09:33):
Yeah.

Speaker 2 (09:33):
Yeah, Like it's like they were like almost maybe two
weeks later, because eighty five was just like you know,
my introduction to binge watching music videos, okay, and and yeah,
like band Aid was like started happening shorty because Easy
Lofe came out like a eighty four, like late eighty four,
then band Aid. Of course eighty five.

Speaker 4 (09:48):
You can't keep those pipes in a drum set, you know,
you gotta you gotta, you gotta pull that guy up front.

Speaker 3 (09:53):
Well it would have stopped because he did try it
or not try, but he wanted to audition for the WHO, right,
he wanted to be the drummer back in seventy eight
when Keith Moon Dye because he he loves the band,
he wants to be part of it, but he never
he never did it. And right after that is when
he became like the singer for or actually you know,
being more of the front man Genesis.

Speaker 2 (10:12):
Because apparently before they got the small.

Speaker 3 (10:14):
Faces guy, yeah, Anny Jones.

Speaker 2 (10:16):
Because apparently, like when when they kicked off because Peter
Gabriel left, they weren't really sure who's gonna sing. But
Phil Collins have been kind of filling in the vocal duties,
you know, during their their practices and then just kind
of like, well, you're the defective singer, now.

Speaker 3 (10:31):
Do it.

Speaker 2 (10:32):
I mean, it's it's funny because sometimes I could, you know,
like their voice can sound the same, like they're different
pitches and all that. Their delivery. It's like it's very
like there's times where I'm like, you know, Peter Gabriel
sounds a lot like Phil Collins and some of their
old some of the Genesis songs I've.

Speaker 3 (10:47):
Heard, but he can't do that.

Speaker 4 (10:49):
You can't do that.

Speaker 2 (10:50):
They can't do that range.

Speaker 4 (10:52):
It's so weird because of their like I don't think
it's their songwriting styles are very similar, but I think
it's just the recording stuff. The eighties. Yeah, they have
that where it's like that you know, that really clean
super studio fied you know eighties sound where they have
a similar sound too, and the records like so it's

(11:13):
not really the music writing, it's just the sound of
the ages.

Speaker 2 (11:15):
Yeah, and Collins, you know, collaborated with Peter Gabril and
some of Peter gables sole albums, so he played drums
for some of them. So you know, philm cons just everywhere.

Speaker 3 (11:23):
But simultaneously, they never all in the same band right now.

Speaker 2 (11:26):
Oh Peter gab Yeah, Genesis, Yeah they were.

Speaker 3 (11:30):
He's just a drummer.

Speaker 2 (11:31):
He was just a drummer. But yeah, like I guess
everyone just got tired of Peter Gabriels like antics of
you know, the stage performance that they felt like the
music was becoming secondary.

Speaker 4 (11:39):
And yeah, bands like I mean like kind of like
how we're talking about last episode with Culture Club. It's like,
you know, sometimes they're you're not really friends, you're just
work associates, you know, and you don't check up on
each other, you know, and sometimes someone thinks like, oh no,
we're actually friends, but the other bands like, no, we're not.

Speaker 3 (11:56):
Liked like for the for the people who watch or fans,
like immediately, that's the first thing, like all these guys
must hang out and have a great time everything, right exactly, Yeah,
I mean like little did you know?

Speaker 2 (12:07):
Right well, I mean Peter Gable's not sleeping with Phil Collins.

Speaker 4 (12:11):
And then also like I'm sure like people in the
band sometimes will take it differently than other people will
take it. Like some people are like, no, I just
write the songs and you guys are just you know,
and then some people are like, no, we're buddies, you know,
like there's always that fight, like you know, right, yeah,
So I could see.

Speaker 3 (12:25):
It can't be both all the time, right, because.

Speaker 4 (12:27):
It's like, how could we be so intimate being hanging
out for like six hours practicing every day, and then
we're we're not friends.

Speaker 3 (12:34):
Right, touring right all over the world, that's all these experiences.

Speaker 2 (12:38):
It's naturally you're gonna have some sort of camaraderie, you know.
But like Phil, I can only imagine how what a
difficult personality Peter Gable was back then, you know, and
just he's probably so focused on songwriting. The guys are
just more technical you know. But anyway, Yeah, but that's
the kind of air that louis just like rejected. I
was just like, like, some some kid in the United

(13:00):
States will listen to this album and reject it, so
let's get him out of the band.

Speaker 3 (13:04):
I remember. I remember like.

Speaker 4 (13:06):
The first time I put I put one of the
you know records on, I started listening to it. I
was like, Jesus, I spent ninety nine cents on what
I could have bought something else. I could have bought
a pet Chop Boys single, because there's also tons of
pet Chop Boys singles in there too all the time.

Speaker 3 (13:20):
Yeah, it's like I heard you trade it for the
Futurama Season one DVD.

Speaker 2 (13:28):
Okay, but yeah, so yeah, as far as the song
you Know Mama, I thought there was like, it's probably
my favorite Genesis song because it appeals more to my
to my taste in music. You know, it's just it's dark,
it's it's mechanical. You know, it's very minimal too, but
it's just it's moody and like, I don't know, it's
just it really resonates with me.

Speaker 3 (13:47):
I could see you making this song. Yeah.

Speaker 2 (13:51):
I actually wanted to cover this from my old cover album,
and I was on my way to do it, and
then I heard some guy do it in sound Clad,
some another goth industrial band do a cover doesn't sound
coming like, you know what? He did this exactly how
I wanted to do it. I'm not gonna bother.

Speaker 3 (14:07):
And it was good.

Speaker 2 (14:08):
It was good. It was good.

Speaker 3 (14:09):
Okay.

Speaker 2 (14:09):
I mean, you know, I could have done the laugh better,
but everything else, I'm like, yeah, that's good. I'm not
even gonna fuck it. I'm not gonna touch it. You know,
I've sold enough music you know already. Not gonna soil
fucking genesis. Okay, So we'll be right back for some
pop quiz. All right, it's tide for some pop quiz, okay.

(14:31):
Fellas Pill Collins is one of only three recording artists
who have sold over one hundred million records both as
a solo artist and separately as principal members of a band.
All Right. The other one is Michael Jackson. And this
singer okay, A Paul McCartney, B Peter Gabriel, see George

(14:54):
Michael d Gwen Stefani or e Ozzy Osbourne.

Speaker 3 (15:00):
He gives fun.

Speaker 2 (15:01):
So, Ryan, what is your answer?

Speaker 3 (15:03):
What was it Spoors, one Gwen Stefani, and then one
before that, George Michael. George Michael, Ryan says George Michael, Louis,
that's why.

Speaker 4 (15:11):
I'm going George Michael. I was gonna go George Michael.

Speaker 2 (15:13):
Yeah. Okay, Well you guys are both wrong, and I'm
using a very special soundboard for this one. When it's wrong,
it's what the hell is that? No, that's krill clown yelp.

Speaker 3 (15:29):
I love it a frog that's not like a frog.

Speaker 2 (15:35):
So no, the answer is Paul McCartney.

Speaker 3 (15:38):
That was my second guest.

Speaker 4 (15:39):
I was did a guest, but I thought that George
Michael would sell more than wings.

Speaker 2 (15:43):
He almost did. But the thing is that George Michael
sold a lot as a soul arts Wham only sold
fifteen million. Ok yeah, so yeah, Beatles and I okay.
Second question, The Laughing Mama was inspired by another laughing
verse in this early eighties song Okay he heard the song,

(16:04):
Phil Concerted song says he used, I should apply that
yeah to one of our songs. So a Peekaboo by Devo,
b Seeking Destroy by Metallica, see Crazy Train by Ozzy Osbourne,
or d The Message by Grand Master Flash and the
fear is five Divo.

Speaker 4 (16:22):
It sounds like that. Ah ha ha ha pao.

Speaker 2 (16:25):
Okay, Luis says Devo.

Speaker 3 (16:27):
Another thing about giants is I did do my homework
and this is the nailed it.

Speaker 2 (16:31):
Ryan is right, Right is right, and Louie is wrong.

Speaker 4 (16:36):
It's a crazy train.

Speaker 2 (16:38):
No no, the message by grand Master Flash it goes
like this, lud, I know that.

Speaker 4 (16:46):
Hey, it's like a chunkle sometimes.

Speaker 2 (16:50):
So yes.

Speaker 4 (16:51):
I never thought that Phil Collins would listening to Grand
Mass Rights, but I.

Speaker 2 (16:55):
Sent you the link of this Phil Collins explaining it
on Instagram because you didn't ask anyways. Okay, next question.
Before Phil Collins audition and got the job as the
new Genesis drummer in nineteen seventy, this now legendary drummer
turned down the role, so he could have been the
drummer for Genesis if he wanted to. Is A John

(17:18):
Densmore from The Doors, b Roger Taylor from Queen, c
Spencer Dryden from Jefferson Airplane, or d John Pinoso from
Styx Friend the Podcast.

Speaker 3 (17:30):
Okay, right, I'm gonna go with the timeline. It's probably
what's his name from Queen Queen Roger Taylor and Taylor.

Speaker 2 (17:38):
Okay, Louis, who's c H. Spencer Dryden of Jeff Jefferson Airplane?

Speaker 4 (17:44):
And I'm going for either one of those two. I'm
trying to remember when Ford you mercery. Yeah, I'm guessing Queen.
Probably it's more of the He's still hip.

Speaker 2 (17:53):
You guys, got it?

Speaker 3 (17:56):
I like that correct one. It was like James Brownish,
I know that, all right?

Speaker 2 (18:03):
Okay, next question in the music video, Tony Banks is
not playing the synthesiz man okay, A, the mini moog, B,
the arp, quadra, C, the st clavier or D the
prophet ten Okay, Ryan.

Speaker 3 (18:23):
I didn't. I didn't see any anything many theres go
mini mood rhymes.

Speaker 2 (18:27):
This mini moog.

Speaker 4 (18:28):
He's not playing.

Speaker 2 (18:29):
He's not playing.

Speaker 4 (18:30):
He's not playing, all right. Yes, he's playing Giant.

Speaker 2 (18:34):
Yeah he's playing gigantic for something called Meani.

Speaker 4 (18:39):
But yes, but he's playing like a prophet and something else.
I the prophet.

Speaker 2 (18:45):
All right, it's now time for the lightning round. Okay,
so you know we're doing Gensis Mama and this question,
you know the around Mama's fictional.

Speaker 3 (18:59):
Characters for the Bible Genesis Bible.

Speaker 2 (19:02):
No, none of that fictional characters named Mama, Mother or
Mama name the media these characters came from. Okay, so
where did these characters come from? The name it? Okay,
I'll start with Louis undercover cop Malcolm Turner this guise
himself as this large elderly woman to catch a murderer.
It's a movie.

Speaker 4 (19:23):
Yeah, that's that Big Mama.

Speaker 3 (19:26):
Yes, yeah, good.

Speaker 2 (19:29):
Okay, right, Lawrence, right mind, Lawrence, yes, Big Mama's House.
Okay right. In this sci fi adaptation of the DC comic,
Mama is a drug kingpin who pedals slow Mo, a
hallucinogen that appears to slow down time for its user.

Speaker 3 (19:42):
Shit, I don't know, Nope.

Speaker 2 (19:45):
It's Dread. It's the Judge Dread movie that came out in.

Speaker 4 (19:50):
I knew Mama from the DC, but I was trying
to figure out where I remember Mother's box and there's
a couple of Mama things.

Speaker 2 (19:58):
And but yeah that watch. It's an amazing movie. Okay, Well
that's the newer Drudge Dreader. Yeah, the newer Judge Dread,
not the not the one, but still alone that was
one where he never takes off the helmet, right, yeah, yeah,
amazing movie. Rob Schneider, YEP, he's getting divorced.

Speaker 4 (20:14):
Many sympathy for him, but.

Speaker 2 (20:18):
Mama for Telly, is a greedy criminal plans to gain
one Eyed Willie's treasure along with her two evil sons.

Speaker 4 (20:24):
It's a little movie called the Guineas.

Speaker 2 (20:28):
You are right, okay, Ryan, Mama, Cecil and Papa Justify
are the spirits of nineteen hundred's renowned who do partitioners
in this two thousand and five horror thriller?

Speaker 3 (20:38):
Horror thriller? Right now? I have no idea. Give you
a chance. You know this, you know this one movie.

Speaker 2 (20:46):
Give me the chance.

Speaker 4 (20:48):
I was thinking for some reason, I thought Justify Mama
going to the stairs.

Speaker 2 (20:51):
No, yeah, Early, it's the Skeleton Key Kate Hudson.

Speaker 3 (20:59):
I've never seen any don't seen it?

Speaker 2 (21:00):
Watch it? Man, that's cool.

Speaker 4 (21:02):
Is what's the name of that is? He?

Speaker 2 (21:05):
No? I was thinking that, Yeah, it was somebody like
that Devil's advocate doing the Woodoo.

Speaker 4 (21:11):
Shit, that's right, it's a.

Speaker 3 (21:12):
Good movie, he said.

Speaker 2 (21:16):
Okay, Uh, louis mother Brain is the final boss of
this classic Nintendo game.

Speaker 4 (21:21):
Is that called Metroy?

Speaker 2 (21:22):
Yes?

Speaker 3 (21:23):
Man, that's the easy one.

Speaker 2 (21:27):
Okay, Ryan, you get this one. Norma is the mother's
name in this nineteen sixty classic thriller that involved in
bezzling and taxidermy. Nineteen nineteen sixty classic thriller Norma is
the Mother's name?

Speaker 3 (21:39):
Is it?

Speaker 4 (21:40):
Yes?

Speaker 3 (21:42):
I was on a call kick too, man, there you go.

Speaker 2 (21:46):
Yeah, I tried to hide the shower thing with bezzling
and taxidermy. But okay, louis Yes. Tama Spencer portrays a
murderous alcoholic who is out for vengeance from being bullied
in her childhood.

Speaker 4 (21:58):
What's called mama?

Speaker 2 (21:59):
Right? Oh yeah, but we'll take it. Okay, okay, Ryan,
they say this cat is one bad mother.

Speaker 3 (22:07):
This cat's one bad mother.

Speaker 4 (22:09):
That darn cat.

Speaker 2 (22:11):
No, it's not. It's not a literal cat, you know.
I don't know, shaft, but there's no no.

Speaker 4 (22:21):
I thought I thought I had to have mama.

Speaker 3 (22:23):
Sometimes I get one bad mother.

Speaker 2 (22:25):
Yeah, mother really this is oh? I mean metro was
the answer, and there was no mother. Yeah, so okay.
Adam Baldwin portrayed Sergeant Animal Mother from this classic Kubrick
film Come on the Way.

Speaker 4 (22:39):
Yeah that's a full metal jacket.

Speaker 3 (22:42):
Yes.

Speaker 2 (22:42):
Yes. And finally, Ryan, an ancient Chinese title game, You.

Speaker 3 (22:51):
Mama Young, I like that with an h Okay, let's
talk about the music video for Mama. He's like behind me,
he's on my shoulder.

Speaker 4 (23:05):
I know, we're right headphones. It sounds like he's in
the room with us.

Speaker 2 (23:08):
Well, he's gonna be a room for our listeners, suit right,
all right, So it starts off in the sep toned,
kind of seedy little lobby.

Speaker 3 (23:18):
Uh.

Speaker 2 (23:18):
They probably sell you know, like sodas and beer in there.

Speaker 3 (23:21):
Too, Right. It could be like South of the Border,
you know, like.

Speaker 4 (23:26):
It's hot and from the heat, and it was.

Speaker 3 (23:28):
Giving me like the way of the gun. Where is
there some stuff happening in those room upstairs? You don't know?
All you hear is it's all you're here.

Speaker 4 (23:36):
You beniad was it to come out dancing?

Speaker 2 (23:39):
Yeah, it's like, you know, there's this lady walking. It's
all shadowy. You got the ceiling fan working casting a
lot of shadows, right, yeah, and you got Tony Adams
surrounded by synthesizers.

Speaker 3 (23:51):
He's in prisoned, like you can't get out.

Speaker 2 (23:55):
The only way you can get out is you can
crack the code or something with us.

Speaker 3 (23:58):
Right, Mama has the keys man.

Speaker 2 (24:00):
But but I mean to me, that's like one of
the first personis I've really seen like multiple sins actually
being played live as far as like you know, in
note of he's literally playing. He's like an octopus, right,
multiple brains operating that damn thing. It's crazy. But you know,
to a lot of people, it's just like whatever, it's
like simple as fun. But you know what I love.

Speaker 4 (24:18):
It's like he's like, no, I need everything on this track.
You have your one guitar.

Speaker 2 (24:25):
You know.

Speaker 4 (24:25):
It's so funny that he needs to have all the
synths that he us, Like, it's so crazy.

Speaker 2 (24:31):
I mean, those two those sins were cheap either. I
mean they still they're super valuable even.

Speaker 4 (24:36):
Now, but back then they're still expensive.

Speaker 2 (24:38):
Yeah, they're probably like yeah, oh my god. But yeah,
you know, this lady walked past Phil Collins singing the.

Speaker 3 (24:43):
Song's Phil Colins smoking, Yeah, because there's a lot of
smoke coming out of his right.

Speaker 4 (24:47):
He's like, okay, they're all out the tiny T shirts, no,
like no sleeves and.

Speaker 2 (24:55):
Yeah, so like you know the way Phil Collins looks here.
And we made a comment earlier about how you lack
of play current karent Jude Law we'll playful calls in
a biopic right now.

Speaker 4 (25:07):
Yeah, he's got jew law vibes with he's a little
bit older, he's buffed out still, he's losing his hair,
but he still looks good.

Speaker 3 (25:14):
You know. That's that's uh, but the confidence still losing, right,
t exactly.

Speaker 2 (25:19):
But yeah, he's singing the song about apparently a man
who is in love with a prostitute who refuses to
love him back.

Speaker 3 (25:26):
You know, that's it was.

Speaker 4 (25:27):
I had no idea that it was about a prostitute.

Speaker 3 (25:29):
Well, most people, even myself when I first heard it,
I thought it was about not necessarily abortion, but.

Speaker 2 (25:34):
That was suggested by a person too.

Speaker 3 (25:36):
Right, Yeah, I thought it was just something about like
the longing for your relationship with the mom that never
really you know, was fruitful.

Speaker 4 (25:44):
So like, wait, is there an abortion in the So
he's having unprotected with the prostitute.

Speaker 3 (25:50):
What you're telling me all that?

Speaker 2 (25:53):
Come on, Philly, Well, according to this is that the
song is about a young man obsessed with a prostitute
who is not in is it in him? He has
an oedipal fixation on her and insists on calling her mama.
It is based on the book Phil Collins read called
The Moon's a Balloon by David Nivin. Have you guys
read it?

Speaker 4 (26:11):
No, David Niven the actor?

Speaker 3 (26:12):
Yeah, wow, I don't know.

Speaker 2 (26:14):
Who David Nivin is, but what has he done.

Speaker 3 (26:16):
He's a pink panther panther.

Speaker 2 (26:19):
Oh, then I guess so. The moon's a balloon and
in the book, the young man falls in love in
an older prostitute who does not return his affections.

Speaker 4 (26:26):
Right, Yes, it is by David Niven.

Speaker 1 (26:28):
There you go.

Speaker 4 (26:29):
I could see this being David Nivin's real life.

Speaker 3 (26:32):
That could actually happen. Yeah, I can see that too.
I leave that part.

Speaker 4 (26:35):
Yeah, he seems like the kind of guy who probably
had sex with the first time at eleven years old.

Speaker 3 (26:39):
Hut, he seems to be older than he is. You
know what I'm saying, Like his soul is he tends
to be more attractive to his people who are kind
of way beyond his time exactly.

Speaker 4 (26:49):
And then that happened, and then for the for the
rest of his life, he was just a playboy exactly.

Speaker 3 (26:53):
That's what he got into it, into the industry, right
to be surrounded by these beautiful women that he could
like seduce and be with you.

Speaker 4 (26:59):
To let you know, it gets a four point one
out of five on good Reads.

Speaker 3 (27:02):
Wow, that's pretty good.

Speaker 4 (27:04):
I'm gonna read this. I'm gonna check this out.

Speaker 2 (27:06):
Why don't, Phil Collins added one of those five star reviews.

Speaker 4 (27:08):
Right The Moon to Balloon is the best selling next
to seventy one memoir memoir to be called It by
British actor David Davin Kronik his life of aristocratic childhood
in military service to his rise as a Hollywood star.

Speaker 2 (27:20):
Aristocratic childhood. Can you imagine, you know, all proper with
the ruffled shirts and everything.

Speaker 3 (27:26):
It's smoking jacket.

Speaker 2 (27:28):
Okay, So to me, the highlight of this one is
when the camera kind of shifts and Phil Collins his
face screaming at us, you know, laughing at us, right
with this breakdown into the song.

Speaker 3 (27:39):
Do you have any idea why he hands that part
the you know, why do you wanted? No? Why? What
is that? What do you think that signifies? That? That
just that, because you know it's that's the whole contrast
of the you know, like you hear that's like what
just breaks into it when this happened.

Speaker 2 (27:54):
Right, Well, let's let's hear from Phil himself, you know.

Speaker 5 (27:56):
In fact, our engineer at the time in Grandma the
flash the message while we were recording, while we were
writing Mama, and you put it on and this is
like early days of rap, you know. I mean you
listen to it now and it's like very very different
from the stuff here now. But it's like a you know,
it's like a jungle. Sometimes it makes me wonder how
I keep them going under?

Speaker 3 (28:16):
And we laugh.

Speaker 5 (28:17):
Thought, what a fantastic thing to put in a song,
just a lot. So I went out there and we
were writing and we would get to the spit like
the drum machine was going and it was like just
who you cause? And I went and it looked around
you know, that's good like that, So you came part
of the song.

Speaker 3 (28:33):
That's uh, nothing special anything. It's not connected to the
lyrics or the theme. Okay.

Speaker 4 (28:39):
You know why I find that interesting is because if
a hip hop artist at that time would have sampled
one of his tracks, he would have probably sued him
in charge him a million dollars. But he does that
to a hip hop artists, He's not gonna pay for that.
You know, It's interesting.

Speaker 2 (28:56):
I don't know. I mean, I can't see him being
that much of a capitalist, cause I don't know totally
all wet on this.

Speaker 4 (29:02):
You never know, it might be the other guy that. Yeah,
it could be micro Utherford, right, it might be a
rougher for the project is on this unsuing table.

Speaker 2 (29:10):
It's got Tony Adams. It's like, hey, man, I gotta
pay for these sins, bro.

Speaker 4 (29:15):
I know they pay for themselves.

Speaker 2 (29:18):
But but yeah, they just decided it's a good segue.
Just throw it in.

Speaker 3 (29:21):
It's interesting, right, laugh, you know, just like from where
it even comes from. It's a strange choice to make.

Speaker 4 (29:26):
And it's with that so he wasn't listening to it.
It's the engineer brought it in. It was playing it
for you know. I don't know if to give him
his ears a change.

Speaker 3 (29:33):
What's also interesting is that they laugh, right, they thought
it was It wasn't even like a serious thing or
like you know, like or an artistic thing. It's more
like they thought it was entertaining, right.

Speaker 4 (29:45):
But they also it seems like they kind of sort
of respected it to the like, oh that's a good
that's pretty cool, you know.

Speaker 3 (29:50):
Like they didn't know how to react to it. It's like, oh,
that's so weird that if I put that in this, And.

Speaker 4 (29:55):
They were probably also like what is this music? Right?
And the engineers like fuck him, so had so listen
to this hip hop record.

Speaker 3 (30:04):
He was good because he was he was actually rapping
it like he obviously he absorbed it.

Speaker 4 (30:07):
Yeah, he remembered the lyrics.

Speaker 3 (30:09):
He got into it.

Speaker 4 (30:10):
He's like, it's on shuffle on my iPod.

Speaker 2 (30:12):
What do you think though of the whole sudden shift
and tone where like it's like half a Phil cons
Red and the other ones.

Speaker 3 (30:19):
That' and you could in his eyeballs.

Speaker 2 (30:20):
Yeah, it came like hollow black it's and then you
cameras turning around him and he's following you with a stare.

Speaker 3 (30:26):
Yeah, it's disturbing because I didn't I didn't expect any
of that to happen. Yeah, it's like I said, it's.

Speaker 2 (30:32):
A strange choice when you haven't seen this.

Speaker 3 (30:34):
I've never seen until until Yeah, exactly, so when you
watched it, like that was the crescendo. Man, that was
a peak of But I was also thinking what else
is going to happen? So you know, it kept my interest.
But yeah, I didn't see that coming because it goes
back to its you know, to its regular groove after that, right, Right.

Speaker 4 (30:49):
It's weird that now that I know the context of
the video, and then like what the video is, It's like, yeah,
why did he get evil? Right there?

Speaker 2 (30:57):
It's probably because his edible impulses.

Speaker 3 (30:59):
And right what you want, you're gonna be my mom?

Speaker 2 (31:07):
So gross, so gross.

Speaker 3 (31:11):
But you know, well, I mean that's a very common
topic when you know, like, I mean, it goes both ways.
But obviously this is a young man's perspective, right, you know,
maybe you didn't grow up with a mom, or maybe
he never got that satisfaction of you know, being cared for, nurtured,
and so you start to develop these strange feelings and
as you get older, right, like, it becomes sexualized, even
though it was pure and I have an innocent feeling before.

Speaker 4 (31:32):
Yeah, and it's coming from Divid's memoirs where he was a.

Speaker 2 (31:37):
Kid.

Speaker 4 (31:37):
He probably didn't see his mom.

Speaker 3 (31:38):
Very often exactly school. Yeah, but yeah, and then.

Speaker 2 (31:42):
It reverts back to playing a keyboard and.

Speaker 3 (31:48):
You don't have that sample.

Speaker 2 (31:54):
I'm out of samples actually that was. But anyway, so
basically the song is just that, and and then of
course climax of the song about three minutes in is
when Phil Collins' real drums come in, like another in
the air tonight kind of moment, right, but without the
cool slow roll, the role the reverse reverbated gated reverbs. Yes, yeah,

(32:21):
you know he took all that technical stuff and still
applied it. And yeah, when the band really rocks out,
you know, he gets more passionate. And also when it
comes in the dissipates and that becomes kind of a
full color and music video.

Speaker 3 (32:34):
Yeah. Now the processating question, right, she's kind of walking around,
but we're assuming that's who Mammy is.

Speaker 2 (32:39):
Yeah, it's like it's weird. It's almost in the in
the second in the little balconies.

Speaker 3 (32:47):
And she doesn't really appear again. Right, that was like
a one time thing.

Speaker 2 (32:50):
She just walked around still throughout the video, but like
none of the bands really kind of you know, like
give her any notice or attention or they're just there. Right,
it is there for like, I don't know, window dressing.

Speaker 3 (33:01):
Maybe, yeah, pretty much to remind you that this is
about mama.

Speaker 2 (33:05):
It's about mama. Yeah, it's about Octavier Spencer.

Speaker 3 (33:09):
Yeah.

Speaker 4 (33:10):
I guess if you're watching the video, you don't know
if he's talking about his mom or you.

Speaker 3 (33:14):
Know, or yeah, on the surface, that's what you would
like lean towards I mean.

Speaker 2 (33:18):
You know, like when that guy suggested that, oh, it's
just about a baby, you know it's about to be aborted.
Then you know that gave it another level of symbolism.

Speaker 3 (33:26):
Because you can, you know, give me a chance.

Speaker 2 (33:28):
I mean, yeah, you can. You can see that way.
It's a little darker than it's just I don't know,
it's equally dark. Maybe then that's.

Speaker 4 (33:34):
A wild thing to write a song about. Right, Okay,
I'm taking it from the perspective of an aborted baby.
That's that seems crazy.

Speaker 3 (33:42):
It is just about to be aborted, right, and she's
all like why why canceled?

Speaker 2 (33:51):
But that that's very controversial and back then, right, yeah,
I mean that's that's another you know, it's other level
like I was, you know, thinking of I mean, he
could totally say it though, because because why don't give
me a chance? There's some parts in the lyrics where
it can you can really interpret it that way, right,
But to me, it's like, yeah, I mean it's just
written there. Pelt Collins admitted, you know it's from the

(34:12):
base on the book.

Speaker 4 (34:12):
I mean, if you're thinking, I I if you look
at the lyrics, you really have to be already on
some other page to think of it in that context.
I first went to it as thinking about like a
mom just didn't pay attention to him or something like that.
You know, I didn't go that way. That seems like
he's reading into it through another weird conspiracy theory that
he was already going through on the internet.

Speaker 2 (34:32):
I mean, it could be a personal experience.

Speaker 4 (34:33):
You know, maybe he you know, he was he was aborted.

Speaker 2 (34:36):
No, No, maybe he had a kid and his wife
was praying one day He's like, no, it's not today.
You know, I'm like, oh, it goes.

Speaker 3 (34:45):
That's the magic of lyric writing. I suppose you know where.

Speaker 2 (34:48):
It's subjective meaning the behold.

Speaker 3 (34:50):
Whoever reads it right, But you can interpret it in
your own way. That's interesting, that's good.

Speaker 2 (34:55):
But yeah, so that's basically the music video. You know,
it's they rock out to see Phil Collins one where
standing in that Yeah, but he's standing on like, you know,
in front of a door that's like illuminated from from
behind him and it kind of which is kind of
whitewashes and it's that way. But you've got the band
and all the drums are all rocking out, you know,
and the keyboards just and this is the opening track
of that album too, right, and I think, like nothing

(35:17):
else really sounds like this after that.

Speaker 4 (35:19):
Yeah, it's a good opening track because it builds up,
you know, so, but yeah, it's weird. Nothing else does
something like that.

Speaker 2 (35:26):
Yeah, it's like prog rocks. You know that the prog rock,
right is usually themed and the kind of tied together
from one song to.

Speaker 3 (35:31):
Another, right the whole album.

Speaker 2 (35:32):
Yeah, and then you know there's that the hit that
came from this album in America is That's all where
they play Hobos.

Speaker 3 (35:38):
Which is the same set almost almost.

Speaker 4 (35:42):
When I saw that set, I was like, it's just
they just were the same video, like the thing on
here and the dressed up like Hobos. It's weird too,
Like Phil Collins could grow a nice beard. Have you
ever seen with a beard before? Yeah?

Speaker 3 (35:51):
But the Phil Collins of twenty twenty six guys, and
they never brought that out on.

Speaker 2 (35:55):
Well we talked about it with them maybe three Yeah,
Oh that's right. Yeah, Like I didn't know that he
was in such a bad shape.

Speaker 3 (36:05):
Right, he doesn't perform anymore, right, I think it was.

Speaker 4 (36:08):
He last Yeah, he performed last year and he was
sitting on a chair of the right the whole time he's.

Speaker 2 (36:12):
Doing the azzie thing. You know what Ozzi did in
this last in this final toury year last year.

Speaker 4 (36:18):
I mean the maths seventy five, seventy five, yeah.

Speaker 3 (36:21):
Yeah, I mean, you know he's got some serious like
muscle problems issues right nerves and stuff. Also here drummer,
I mean that.

Speaker 2 (36:28):
She's a all the arthritis and stuff.

Speaker 4 (36:31):
He's also like deaf in his left ear. Oh fuck,
I mean that's classic for like a seventies you know
rock guy.

Speaker 3 (36:38):
But how much you think he's worth if he's if
they sold that many shoot, there we go.

Speaker 2 (36:42):
Has been a boardline billionaire right now with all the
rights of his songs, if he had if he owns
the rights of his songs, he had so.

Speaker 3 (36:48):
Many fucking hits, so many.

Speaker 2 (36:50):
I mean, David Bowie is a billionaire because.

Speaker 3 (36:52):
I'm going to go three hundred million. There's you think
pop quiz emergency pop quick.

Speaker 2 (36:57):
I'd say he's worth nine hundred and fifty nine hundred
fifty million, Yeah, almost a billion dollars. I think, as
I was saying, I think he's a boardline billionaire.

Speaker 4 (37:04):
Okay, Ryan's closer three hundred and fifty million, So I
don't know right now, it's we don't know where it's a.

Speaker 2 (37:12):
If you invested in it's a crypto, he might go
three fifty million. I'm disappointed he should be made.

Speaker 3 (37:22):
He seems like more.

Speaker 2 (37:24):
Probably Genesis unless the studio just like freaking sign of Well.

Speaker 4 (37:28):
He's sharing music rights with Genesis, so true.

Speaker 2 (37:31):
But there's also the solo ship that's all him, right, well, well,
his solo stuff is all him unless he and the
one people got songwriting credit.

Speaker 4 (37:37):
But I think his three hundred and fifty mil is
probably from Disney Films more than Genesis Jesus. And then
also he did a lot of acting and still like
he does voice stuff in a lot of like movies,
a lot of animated stuff. Here's a lot of animes,
Brother Bear.

Speaker 3 (37:52):
So yeah he does so yeah.

Speaker 2 (37:54):
He has a lot of like credits fifty mili Okay,
that means that's no joke, got it.

Speaker 4 (38:00):
He's got a pretty girthy IMDb, come on Angry Birds too.
I don't know what he did, but he's there, Color
of Money, a song, Jungle Book two. I think he
did a voice in that, Like a ton of movies
man like it's crazy.

Speaker 2 (38:14):
Plus his daughter, you know, you know, like that that
contributes to the Collins family fortune.

Speaker 3 (38:26):
He's got like six kid hold on five kids, and
I think one of them is a musician singer.

Speaker 2 (38:34):
From Collins the Emily from Perry. Is she the one?
Is she the lead in that one? Collins familiar Emily
and Perry on Paris or whatever? It's a Netflix show.

Speaker 3 (38:43):
You guys, excuse me accent Emily and Pari.

Speaker 2 (38:47):
Now that's supposed to be the way you used to
pronounce it. But anyway, Yeah, the vast Collins dynasty.

Speaker 4 (38:53):
Do you know that Phil Collins appears as himself and
the musical comedy mockumentary The Return of Bruno the Bruce
Willis for his album that came out, Return of Bruno.
Did you know that Bruce Willis made a mockumentary?

Speaker 2 (39:04):
I don't know he made I know, the album of
Bruno whatever that is, But I didn't know he made
a mockumentary.

Speaker 4 (39:09):
Three Stars as alter ego Bruno Ronaldi. We gotta watch this.

Speaker 3 (39:15):
I see this. That's where he cares.

Speaker 2 (39:18):
That was like his Moonlighting era? Right?

Speaker 4 (39:19):
It was like after that, right? Or is it?

Speaker 3 (39:22):
Or that was like the height of his documentary or
the documentary that's when he has like five harmonicas with
him at all times.

Speaker 4 (39:28):
Right, Okay, I'm gonna tell you who else started this
in this out right, I'll give you one guess, right
of anybody musically, who else starred in the Return of
Bruno musically? Musically? Of musicians, there's I have one, two, three,
four of the one two, three of the biggest musicians
of all time, and then one band, one of the
biggest bands of all time. Yeah, you just have the

(39:49):
name one and.

Speaker 3 (39:50):
I'm gonna go with Beach Boys.

Speaker 4 (39:51):
Brian You're right, Yeah, yeah, Brian, how did you get it?

Speaker 3 (39:54):
I don't know.

Speaker 4 (39:55):
Brian Wilson of the Beach Boys is in that Rino,
Star of the Beatle, Elton John of Elton John and
not one, not two, but all three of the Begs.

Speaker 3 (40:06):
Wow, he's got that pull Bruno.

Speaker 4 (40:10):
I think we gotta do an episode on this.

Speaker 2 (40:12):
How deep is your love?

Speaker 3 (40:13):
Man? This is this is a special episode with Bruno
since he's you know.

Speaker 4 (40:18):
It, Phil, I know, maybe we gotta do no, Yeah, Phil, Yeah,
it's sad. Okay, these are the world we live in.

Speaker 2 (40:32):
Oh yeah, there's another video that he wants to do
it's itching to do that confusion.

Speaker 3 (40:38):
It's a scary one man, it is terrifying.

Speaker 4 (40:40):
It's so scary.

Speaker 3 (40:41):
It's like fifteen minutes long, dude, I think, right, it's
fucking long.

Speaker 2 (40:46):
It's too uncomfortable. Right, It's worse than slap, you know.
It's the way the puppets move. They're all freaking ugly
acatures of like Ronald Ridges and Phil Collins, grotesque out.
It was like the crypt Keeper in that one. Right, Yeah, okay,
we'll be right back for some notable YouTube comment. All right, guys,
it's time for some notable YouTube comments for Genesis. Mama

(41:12):
from Paz Honda eighteen twenty one says, this song jams
real hard, the video scaring me as a child. I
remember falling asleep in front of the TV and being
in a dream state while the song is playing, waking
up and seeing Phil's creepy face while he's laughing. Pretty
traumatizing for a five year old. But I love this
song then and still love it. Creepy memories are not okay,

(41:34):
so smd Rake five four two nine says I came
back to watch this for the five hundred millionth time
because in his drum Yo interview. Phil said that he
was proud of his drum playing on this song, and
what stands out to me most is that this song
is the drum machine throughout. So I wanted to hear
what Phil was talking about, like in the air tonight

(41:54):
the drum drops later in the song with a second
series of laughs. Oh yeah, I had never paid attention
to it before. Okay and synth vab when I one
says I was playing GTA four and my mom came
to my room and to say good night, and she's like,
I haven't heard the song and forever. I was like,
thanks GTA because I guess the song was my grand
the thought of four, which I never played. And finally,

(42:16):
Steph Fransen says, when I was a kid, it's always
about kids and with their moms, right, it's kind of
running theme. I'm doing it with the comments there. When
I was a kid, I asked my mom to give
Phil Collins a call because I wanted to sing with them.
I was always harmonizing with everything Genesis since I was five.
Come on, do we take note of that?

Speaker 5 (42:35):
Right?

Speaker 4 (42:36):
What's up?

Speaker 2 (42:37):
I ate lived and breathed Phil Collins. She said, we
can't call him and I cried, wow.

Speaker 3 (42:45):
Kid getting in like really into phil cons This is strange,
like the puppet, because you know what, Phil Comins seemed
old even back then. He always just seemed old to me,
like old, you know what I'm saying. Like, even he
was probably on like thirty four at the time, but
he already seemed right. He already seemed because the music
they made and the way he looked right. He didn't
really seem like a youthful kind of.

Speaker 2 (43:05):
Yeah, you know, doesn't have a baby face. Yeah, I
guess the early ball was kind of.

Speaker 3 (43:11):
But also the themes of the songs and music, it's
very adult. Like I said, it's very adult contemporary kind
of stuff. Yeah.

Speaker 4 (43:16):
He looks like your dad's alcoholic friend. Yeah, the guy
that likes him to believe man, you know.

Speaker 3 (43:22):
Like he seems like one of those dudes every party, he.

Speaker 4 (43:25):
Looks like he's like a wild card. Go.

Speaker 3 (43:28):
He's fun, but there's always that risk, right he.

Speaker 4 (43:31):
Goes, He'll be laughing and then he gets mad, push
you or something.

Speaker 3 (43:36):
All of a sudden he thinks you're laughing at him. Now,
those kinds of.

Speaker 2 (43:42):
Guys scary, But to me, it's like what I realized
this guy. You know, this guys is like pretty lighthearted.
Was when I saw him on that Miami Vice episode
and also that Billy Don't Lose My Number? That was
a that was a very fun music watch.

Speaker 4 (43:55):
Now, yeah, he has a couple of fun music videos.

Speaker 2 (43:57):
Yeah, so, I mean he does have a lot and
you know, video and just him. I don't know, it's
a video and you know, unless you're especially if you're
like Patrick Bateman, you really love that's right your fel Okay, guys,
Genesis Mama, would you keep it or would you throw

(44:19):
it back?

Speaker 3 (44:19):
Oh? That's the perfect sound effect from my revie here? Now, huh,
you know what. I love? His voice, songs is banging.
It's really good the great musicians. But the video just
didn't do it much for me to keep it. So
I'm gonna throw it back. It's a soft throw. I mean,
you know, it's it's kind of I know, right, and
I don't know. I kind of feel, you know, these
guys are working hard, man, and they're making trying to

(44:40):
make some history here, but I kind of felt like
they underplayed the female character and any more of that.
You know, we got too much of the sweaty peel
Collins and this weird like I don't know, it's like
a strange surreal world in the in some hot desert
area that you don't really I don't know. It's kind
of yeah, it's very much like that. You know, it's
like a it's barren, it's hopeless. But I guess that

(45:02):
kind of mirrors what he's singing about. Right, it's like
this yearning. But again it's a soft throw. I mean,
it's it's pretty, it's pretty cool. I'm glad you showed
it to me, but I will throw it back, all right.

Speaker 4 (45:13):
Really I should have went first.

Speaker 2 (45:15):
As for me, did the color your review Ryan's quotes? No?

Speaker 4 (45:20):
No, I don't. No, I don't want anybody to think
of just copied Ryan. I don't like his video. If
I have a feeling, almost if you brought any feel would.

Speaker 2 (45:31):
Confusion.

Speaker 4 (45:33):
I have this thing. He's just one of the artists.
When I was a kid and I watched MTV, if
one of his videos came on, it scared me and
I didn't like it, and I changed the channel for
three minutes and they would change it back to see
what's next. I don't know what it is about his videos.
I just don't like him, even the fun ones. I

(45:54):
don't understand, but it's like this kind of music that
kind of got to me. It's like even gay were
like Shock the Monkey. I didn't like watching that video.
I love the song, but for some reason, the video
change it, Sledgehammer, change it.

Speaker 2 (46:08):
You like Sledgehammer's music there it.

Speaker 4 (46:09):
Scared me when I was a kid, I was like
six years old.

Speaker 3 (46:16):
Heart and the clamation is so scary.

Speaker 4 (46:18):
It's not gumby, that is kind of the choppiness, the chopping.

Speaker 2 (46:23):
It is a little creepy. After that, I don't know.
To me, I thought it was fun.

Speaker 4 (46:26):
And then when Phil got when Phil Gons got into
puppet mode and then he's a puppet videos, Oh my god,
they scared me. So it's just I have this weird
reaction to and I love his music, but when I
had to see him or see the bad or, I
don't know what it is. I love You'll Be in
My Heart. The Disney one so good. I love his music,

(46:47):
but I just I gotta throw it back. Oh to Throb,
And like I think, if, like what Ryan said, if
it wasn't so apocalyptic looking, if it would have been
more like, let's tell a story of this person, David Nevin.
I guess, you know, with this weird love affair and
then you find out the end it's a processing not
his bomb or something, you know. I don't know.

Speaker 3 (47:07):
It's a bit feels centric for me, I think is my.

Speaker 4 (47:10):
Yes, exactly centric and keyboard centric. There's a lot of
keyboards in this. I love keyboards. That's that's not a
bad thing. But I don't know it just it didn't
hit me like like I like, I'm not gonna watch
it again, And that's how I usually look at it,
like will I watch this again?

Speaker 2 (47:26):
You know, kind of like a movie, and now you won't.
You'll never watch it again.

Speaker 4 (47:30):
Sorry. I know this is one of your favorites of
all time.

Speaker 2 (47:33):
Bummer man, Okay, and that's for me. Well screat you guys.

Speaker 3 (47:41):
It's so effected. That's why I love that.

Speaker 2 (47:44):
I love this song. I love this video. Not not
my favorite, but it's not my favorite justis video. So
I'm definitely keeping it.

Speaker 3 (47:52):
Yes, but I've.

Speaker 2 (47:54):
Seen the other ones, like I can't dance. I hate
that music video. It's just them in a white background
moving around acting like old It's not Mike in the
mechanics level of music videos.

Speaker 3 (48:04):
You know.

Speaker 2 (48:05):
But yeah, to our audience there. Check out some Mike
and the Mechanics music videos from Mike Rutherford of Genesis. Amazing, amazing,
pretty good. Actually yeah, I've seen other Genesis and Phil
Conn's music videos, but I don't know. This one's just like, yeah,
it appeals to my darkness, you know, that that side
of me just like likes to experiment with music and
and like I could not relate with, you know, an
Oedipus complex that he's trying to sing, you know about,

(48:29):
and but to me, it's just like, yeah, it's the laugh,
like to do the chills, you know, I don't know.
It stuck with me, and yeah, I liked it enough
that I wanted to cover it until some other dude
beat me to it done, so so yeah, I'm I'm
definitely keeping this one, of course.

Speaker 3 (48:47):
Man, all right, right, what you got? But you know,
how about Phil Conn's voice, singing his voice? Yeah, his
singing voice, what's your take?

Speaker 2 (48:58):
No, well, it's it's fine, you.

Speaker 3 (49:01):
Know, from a drummer to being the front man and
having that very distinct voice.

Speaker 2 (49:05):
It is distinct, very little range, you know, as far
as like him. But he can sing, he can't sing
for sure, but I guess it works. I mean, I
sold hundreds of millions of you know, like can't argue
with that. Okay, this is this is my issue with
Phil Collins and Genesis. Like I would I would hear
a Genesis song from the eighties, and I thought that
was just Phil Collins, And then I would hear Genis

(49:25):
like a Phil Colin song and like.

Speaker 3 (49:27):
Like, this is the eighties, right, so like like to.

Speaker 2 (49:31):
Them, it's like it's almost like this is the same.

Speaker 3 (49:32):
Thing, right, It's the music though, you know, yeah.

Speaker 4 (49:35):
But his voice is his voice. It could sound like
his voice his singing, So I.

Speaker 2 (49:39):
Don't know, It's like the Genesis music sounds exactly what
a Phil Collins track would sound like, you know. So
like to me, like, I don't know a lot of
these songs were Genesis, but I thought thought they were
just Phil Collins Solar projects.

Speaker 3 (49:52):
Right. All right, well, guys, we've been stuck in the eighties, right,
I need some HD action here in this pace is
an HP in this piece, We're going twenty eleven. If
you're not Familier, you guys know who fostered the people.
Louis does a song called Houdini check out the video.
We're gonna be doing that next a right, all right, okay,

(50:13):
was good.

Speaker 2 (50:13):
Foster the People, Foster the People by Whudini.

Speaker 3 (50:17):
No nod by Foster the People twenty eleven. Now get
some dance popping you.

Speaker 4 (50:22):
All right songs?

Speaker 3 (50:23):
That's correct?

Speaker 2 (50:24):
Yeah, okay, I've never heard of any of this, so
I'm going at a raw. All right, you've heard one
of those songs? Oh yeah, probably dad, I'm sure. All right, Okay,
thank you for listening, guys, see you next time.

Speaker 1 (50:37):
Thank you for making it to the end of the show.
Please subscribe to us through your favorite podcast feed, and
if you have any comments, requests, or suggestions, hit us
up at Instagram at TMBR podcast. If you would like
to support our show, please rate us a five star
review on Apple Podcasts or buy us a coffee at
buy Me a Coffee dot com slash TMBR podcast. See

(50:57):
you soon.

Speaker 2 (51:01):
All right, you play that again?

Speaker 4 (51:05):
What's that freaking video game we used to play with?
The sounds like that? That's what I thought to its honesty,
so gross?

Speaker 2 (51:16):
Follow me?

Speaker 3 (51:17):
Follow me?

Speaker 2 (51:19):
Wow too much?

Speaker 3 (51:25):
I don't remember that. Where's that part of this from mama? Yeah?
Which part of the laugh there? Oh wow, Wow.

Speaker 4 (51:41):
That's an ugly sound.

Speaker 2 (51:46):
Proh sounds good. The prophet pads.

Speaker 3 (51:51):
She sounds like the bars of the prison. Put the
keyboards and he's blocking the things that she can't get
up there no railings.

Speaker 2 (52:06):
Uh as an a d a nightmare right there?

Speaker 4 (52:19):
H Yeah, I gotta read this David Nevin book.

Speaker 1 (52:22):
Man.

Speaker 3 (52:26):
You I can't see it now, David can't you can't
un see it?

Speaker 4 (52:30):
Yeah, David even did an audiobook to reading his own book.

Speaker 3 (52:34):
Nice, that's good and audible. Thank yourself a cup of tea.
What he is as honestly.

Speaker 2 (52:51):
Yeah, it's froggy. That's kind of froggy sound.

Speaker 4 (52:58):
If honestly he would like land into like a saw
machine that would.

Speaker 2 (53:01):
Chop them chop.

Speaker 3 (53:02):
Yeah, I see how the blood splatter. I still play.
I'll give me a little copy of the thing. Yes,
the one thing that's cool street Fighter on the How
do you get that on the used to have it
on the.

Speaker 2 (53:14):
Just give me the give me the thing, I'll plug
it in.

Speaker 3 (53:18):
But I lost all my little you know, blugs from
the moving Yeah.

Speaker 2 (53:21):
I can, I can, I can put it. I still
have the thing last