Noise Junkies - Love/Hate

Duality is something that rules our lives and their nature. We cannot have the light without the shadow, or the end without a junk, or love without hate. But love hate is more than just a hard rock band fronted by singer, songwriter and nonfiction scribe Jessy Pearl. Yes, I said Jessy Pearl. It is the topic of tonight's Noise Junkies episode.

We will delve into some of our select delights and repugnant frights for your hopeful delights. And to quote the great mister Pearl himself, so you're gonna paint the town red. It's party time, gonna turn back to maybe anyways. Welcome to Noise Junkies. I am Father Drain and I have the two most bitchen dudes with me, my Noise Junkies brothers.

We have Father Malone. Hey, everybody, we don't rest in peace. We just disappear ukukuju and we got HP HP Welcome, Hello, folks, good evening, Glad to be here. It's been a while. We appreciate everybody's patience.

To the Noise Junkies. We were back in the saddle again, just like Aerosmith, but with less heroin and commercial sell ass and I love Aerosmith. I should have made the show. I'm sorry early well seventies Aerosmith. Yeah, they are commercial Sabbats.

I mean, you're not wrong. No, no, that's hey, my fellas. What have you guys been listening to lately? Ah? So the new music has been a little bit thin on the ground for me lately, So I'm kind of going back.

So one of my one of my favorite albums. I don't know what prompted me to get back into this, but I'm listening to the debut by the one and Only Black Sabbath, the album Black Sabbath, self titled by you Guessed Black Sabbath. It's one of my favorite albums. It's really it's an outlier in their catalog. I think it was kind of the bridge between them when they were Earth.

That's right. They were Earth kind of a blues band before they became the band we all know and love. But that's what I love about it. It's really kind of it's bluesy, it's sort of proggy in a way that they really didn't allow themselves to be in Future LP. He's not that there's anything wrong with what they became.

It's fantastic, but this is such a unique album in their catalog. The jams just kind of seemed to go on forever, and there's the production is incredible. The guitar playing is just He's just blows my mind. I hear new things every time I listen to it. And bill Ward is just a beast.

He's so much more jazzy and kind of in the pocket in this than I think he was ever really allowed to be in later Sabbath albums. So that's what I'm listening to. Heather, what are you listening to these days? Oh my god? Well, first up, give it up to Bill Ward, one of my favorite drummers of all time.

I love Yeah, Yes, and you can never go wrong with Black Sabbath, but I have been listening to both are new discovery for me. One of them is actually a New Wish entity. It's a It's actually a band called Doctor Gasp in the Eeks and I yeah a name. Well. Every year I always like to try and discover new songs for what I consider my ultimate Halloween playlist.

Yeah, I love Halloween music. And this is actually a side project by a New England folk singer Dan Blakesley, and they have a song called She Vampire Tamer and it is she she will be Mine, I'll drink like why Like there. He had such a rich voice and the song is very cheeky and fun and spooky, and it's kind of sexy, which you don't really typically think of with most Halloween music of having a sensual sign. Of course, then again, I would be the kind of light you know, clown hog that would see that and listen to that, But I love it. And the other one is a nineteen sixty seven garage rock band called Calico Wall with their song I'm a Living Sickness When I'm great, kind of sinister psych rock, total like nuggets pebbles action.

The sound that just that low fi organ sound just sounds like you're on a bad trip. It's stunning, as are my current listens. And what about you bother them alone? I kind of quoted them at the top of the show. I've been listening to the Distillers sing Sync Death House on repeat.

I know it's like late in their catalog and it's a little too melodic for most people. And Brodie Dollard's actually like singing and not just growling like a fucking damon from hell. But I consider it's like one of their better albums. Look around in a red sid I just say what's down. The City of Angels is fucking killer on every level.

It transcends whatever genre that song is emerging from. And Brodie Dollars just adore her. I once I once drove to fucking Anaheim to see a Brodie doll solo show and it was worth it, even though it was in Anaheim. That's all I'll say. So the Distillers.

If you don't know folks, of course you do. But if you don't, distiller sing sing Death, Death House a delicious, that young Craze peeling that a song about her growing up and fucking Australia and her mom and everything. I love a man Californie. Anyway, go listen the Distillers everybody. Today we're talking about a few select questions and things dealing with love and hate.

You cannot have one with that the other. I think when you're passionate about anything in life, it's going to be natural to have some things that you just that are like part of your DNA, you love them so much, and then other things that you're just like I want to set that on fire with my mind and so I thought it'd be kind of cool. And I like us having the balance because I think there's so much negativity out there. We don't ever want to contribute to anything that's just negative. Like even when we're negative, it's like with piss and vinegar and fun.

But it's like a blatop cocktail of awesome, you know, it's like being it's like being mugged by a bunch of clowns, because like that's terribly got mugged, but it's literally clowns, Like if you're white on you it would be the funniest thing ever. Yeah, would you slow to answer the clown me? He has? I'll bet have you? Yeah?

Probably, I deal with a lot of it. Now, you would remember that if you're not sure you didn't do it. No, listen, I've been around a lot of clowns, a lot of carney folk. I'm not saying it didn't happen. I'm trying to see.

In my mind, I'm thinking, have I danced with a full sized bozo looking clown? And no, definitely not. But have I danced with a three foot clown? Yeah? Now that I think of it a half, so that's yes, I have a low dance with a clown.

Did you say a three foot tall clown? Correct? I have friends in low places. We're gonna start with question number one, and this one is, of course musical trends, which I don't know about you guys. Usually when I hear musical trends, I get a little rashy, little itchy, because I'm just instinctively just like, just make art that you love, don't worry about trans fut trends.

But I think it's good for me to get outside my own comfort zone. And so I was like, this could be interesting. And I originally written, which one of the past twenty years have you enjoyed the most? Now, when I say twenty years, my sense of time is bad, that could be forty years. Whatever strikes you, guys.

Oh no, no, no, you don't say that now. I said it earlier, message sir. No listen, madam there, madam, Yes, I did the twenty year constraint, and that's what you're getting mine. It's a little more loosey goosey. Hell yeah.

The H is in solidarity. We don't need no fucking rules. That's super I appreciate your adherents. And so we'll start with you since you did your due diligence. Okay, father alone, this is trends, right, which one did you love?

Okay, we're doing love. Mine actually has roots a little bit earlier than the twenty year thing and actually began kind of in the early nineties. There was a proliferation of what people were calling trip hop bands like Port Say Yeah, Everybody, Corti's Head and Tricky and Massive Attack I think falls into the trip hop thing. But here's the thing, though, I'm looking at HP's list. Apparently Okay, I get it, he picked the same thing, but you didn't actually, because here's the thing.

The thing I loved about trip hop was like all the weirdo influences that sort of came through in the music, like seventies B movies and like sixties soundtrack music and sample dialogues and loops. But all of those influences, in my mind kind of came to a fruition in the early two thousands was something called hantology. Hantology you know this one, HP, right, See, I'm not even I'm not even dealing with trip hop. I'm dealing with trip hop's kid. Basically, this is because hantology is very specific to around two thousand and five.

Sinks. It's when it's very British in its origin. It's a lot of retrofuturism. It's beats using instruments that were once meant to evoke the future, but they're so old now that they're ancient, so it recontextualizes sound. So it's like music from the future but rooted in the past.

It's very, very interesting. The major kind of people that were operating at the time were Larry Paul and the Advisory Circle. But better than all of them is a band called the Focus Group. It's a collage of all of the stuff I've mentioned and gets really really dizzying. Movement also kind of trafficked in what wouldn't become wouldn't become popular or become popular again until stranger things became so popular, and that is the use of synth, like eighties type synth, like it's all over hantology, and I think it even influenced like vapor wave and everything else.

So as far as my favorite transfer the past twenty years specifically, I think this one kind of qualifies. So while we're on the subject of where we that's that's why we were. We kind of went beyond it, but we're going to take it back to the old school of trip hop, and we're going to go back to I consider for me it was ground zero for trip hop. It was sort of the Rosetta Stone, if you will, trip popping from me. It all began with a DJ Shadows debut album introducing This was an album that it absolutely floored me when I first heard it.

I had read a review of it. It had a lot of buzz behind it, and the word was that this guy was creating whole new worlds using nothing more than an MPC, and that's he did that and more. It expanded what I thought the vocabulary of music at that time could be. To your point, Father Malone, taking old B David, everything from David axel Rod to Metallica to advertisements and L cool J shout outs hip hop and just blending them up into this incredible concoction that I guess we now call trip hop and it eventually The timelines are a little fuzzy for me with some of the sort of bands and groups that were tangential to that, But I would also put in the same category as you already said, the portas head their debut album Dummy, Did You Really?

Did You Really? Fantastic un Klee, which is cheating a little bit because it's a DJ Shadow project with James Lavelle with a lot of guest artists including Mike d I'm Beastie Boys, Don't in Town. It's right now. It is incredible, and then later bands like a Chemical Brothers. I think Dig Your Own Hull was another album.

It's not necessarily trip hop in its execution, but it's certainly in my mind indebted to Tripp. But if I'm looking for my favorite sort of trend or of the last twenty thirty thirty five years, let's say because I think introducing was nineties from around ninety six. This is, like I said, I go back to introducing all the time. It's an accomplishment, that is, it will never be equal. It's often copied but never mastered in quite the way that including his own catalog.

DJ Shadow is fabulous and he's had an incredible sort of discography, but they will never come close to introducing. So trip hop is my go to for the favorite trend of the last years. How I weigh in one Portishead's album Dummy. It's a perfect fucking album and unquestionably, and what I liked about them particularly is they weren't satisfied with the sound of their own music to the point where they took that they made a vinyl then they re recorded the album with the scratches and the pops. That's how dedicated they were to that old time sound.

I love that album. I love all the bands you mentioned HP, but that is an album I can listen to and no matter what the mood, it will put me into a port said mood. Yeah, it's something you said when you were talking about ontology, which I think holds true for a lot of what I've described about trip hop. Is what strikes me about it when I think about it is the timelessness of these albums. These albums are now thirty plus years old, let's say, but they sound just as fresh and innovative now as they did when they were released.

And I think that's clearly the mark of genius, in the mark of a classic recording. I'm curious what an eighteen year old would think about hearing Glory Box, but I agree with you. To me, it sounds like the album just came out, but we're old. Maybe probably yeah, because for me, like instead of going into genres or anything like that, I thought I was thinking in terms of like what's affected music as a whole and music accessibility, and especially for where artists are concerned, because you know, oh I've heard you know, we've all heard a lot of people and there other's I mean legitimacy too. I've had complaints about like with the Internet.

You know, obviously with artists it's like, you know, it's getting access to money. But that's the thing musicians have always been, unfortunately like fucked over by the industry. And I feel like, especially in the last twenty years, we're seeing more and more artists be able to make a go of it independently, truly on their own because of the Internet. And we also have so much more accessibility, and I'm thinking like excites like band camp, even like social media. I've actually discovered bands.

There's an artist in particular I'm a huge fan of name. Actually, her name is actually Housinga and her band right now is Patriarchy. At the time I discovered her, she was just under the name actually, but I discovered her through Tumbler of all things, and I know well, and I mean that was like she's like ten years ago and I'm still a huge fan. And the thing is, like, I feel like anything that can kind of like further drive the steak into the dinosaur that is the music industry is a good thing, you know. And I definitely would like to see artists get more money in general.

In AI's bullshit, that's not even a debate that we'll get into, because I think we're all on the same page. But you know, and that's why I definitely encouraged. But I think most people that are music fans, like everybody's like, oh the Internet, you know. I think if you're a music fan, if you're like us, if you hear something you like, you want to support that artist. Like I have heard so many things online that I use that to inform my opinion and as well as to learn about a lot of different fans.

I mean, so for me, like the trend twenty years is basically how artists like their social media presence, their ability to make more money just being their own entity. They are their own record label a lot of times. And I just got an album and I'm not gonna try and pronounce the band stand because I will sparely butcher it because they're Polish, but like I got into a dark wave band from Poland. Like, it's very unpresed if you didn't say what you just said. But I don't even think about it.

I hate nostalgia for people. I'll hear people be like, oh, we moves some TV when they played music videos, most of the stuff in TV wouldn't have touched and nobody loves the music video format, I would say more than me. I mean, I'm literally working on a book about its history right now. But let's yeah, let's be let's face it, and you know we in some ways it's you have to work harder, but you can work smarter, not harder. And with access to sites and the things, you can use something like Spotify, which isn't the best at paying artists, but you can use that to inform an opinion to grow out and support that artist and find them.

And we actually we are flirting with and we may be pulling a trigger very soon on noise chunkie Spotify playlists. That's a great idea. Iacky, yes, you guys, don't mind, I'm going to segue into my own bullshit here because that's right. Fuck around and find out with me. Had their training with music industry trends, and for me, one of them, and speaking of the Beast, is the absolute clear channel like Harcnan like entity that is major radio.

I mean, no motre. People are flocking to the Internet and things like Spotify because the few times in the last few years, like especially like you know, in my day job, I'll hear regular radio and it's funking atrocious. And I mean it wasn't great when I was a kid because already, like I grew up in the nineties and the eighties, and even then, like unless you were somewhere that had a really cool college station, radio was already getting pretty pretty prickly, and classic rock radio, especially where it's you know, we'll play good bands. But yeah, according to classic rock radio, the Kings only did Lola and You Really Got Me Going and maybe two other songs. The Kings have thirty albums, like at least like what I Know, I know, you know, three singles.

I think, right, a couple of these signs. What's sad is like now they're starting to play like the grunge stuff, but it's I mean, some of those bands owners prolific because a lot of them to stay around that long, but they still had more than one song long. Like I mean, it's just it's the most trough. It's a fucking trough for listeners. And I mean, if you're going to treat me like a piggy, at least put a ribbon on.

I don't know that analogy, but I'm just saying, clear channel and all of that is evil, I really, And I'm sure there's downsides, but I've heard legends and tales fagance lines way older it is, but like they're way I mean, it wasn't even that longer where you could have DJ's play a whole side of an album. I mean, it was like the seventies. I mean, there are songs that became major hits because of DJ's just being like, I'm going to play this. That's how I mean. There are b sides that became number one hits back of the day.

It's just because of a DJ being like, I like this one better, and they did it and it took off. I agree. This plays into what you were saying previously that it's a little more democratized now that you can make the music and distribute the music on your own, which is fantastic The problem is we need to figure out a way where we can all be privy to it in the way that you're describing the DJ who goes, hey, everyone, you're just going to listen to this album for however long I'm going to play it, you know, down and say you're listening to this right now. It's a very it's a it really is a double edged sword because I can come at it like my experience. This isn't necessarily necessarily related to radio, but I have a little band campsite for some songs that I've written, and I have a couple albums up there.

But it's Yes, folks don't have to grovel in front of a record executive to get their you know, get their music recorded and promoted and everything. So that's all greatly you know, probably ols, But at the same time, it's almost too much of a good thing. Like now, the challenges. There's all this great music that people can frankly, they can just record in their bedrooms or what have you, their home studios. There's just too many places to go for music, too many musicians, too many bands, Like how does one differentiate themselves and get their music promoted and heard well?

That's f things I really have enjoyed about about Spotify is that you can search other people's laylist. That's how I discovered Doctor Gasp. Was just like randomly kind of researching other playlists and just being like, Hey, what's this sound like? And a lot of times it's you know, yeah, it's like anything else. I mean, it's kind of like a women's sampler.

But every so often you're like, oh, what's that and you like it? And that's the thing I always really try to encourage people. I think us doing this show helps too. I think every little seed you can plan because the alternative is you know, what we're hearing on major radio and what we and you know, like what we went through, you know, even in the MTV days where it's just like you know, a handful will get all the glory and everybody else you have to like gosh. I mean, in some ways, like do kind of misslike I hate Nostalia, I do miss the treasure Hunt aspect, a little bit of culture seeking pre Internet.

But at the same time, I love the availability we have me out. I love the fact that like some kid and you know, the Midwest can record an album because they heard can they heard the band can on Spotify and they were like they're hearing crowd rock and they're like, holy shit, you know, I love this, and they can make their own album inspired by that. I mean, it does make it harder, but for me, like it makes the rewards that much richer. And it also to me is taking like taking the energy away from just the big, bloated you know, stuff that's just been like it's like a dying tick that's been feeding off the blood of art for decades, for decades. Take about of all the blues men, like you know how much money, Like like, I don't know, that's a thing.

I should have made that my hate like a little earlier. First of all, I believe harkening is the proper pronunciation. Secondly, I want to apologize to the ghost of John Lennon for my terrible impression. The point I was going to make a little bit earlier is and maybe this is just me, but for me, the idea of like like radio music, anything that's not like talk radio or like that has been dead to me for it feels like forever. I can't I couldn't even tell you the last time I listen.

No, no, no, I'm not trying to put it anything down. I just can't remember the last time I put on the radio in my car and listen to a radio station, like because I'm just so conditioned, because first of all, I never I'm rarely gonna hear what I want to hear. I put all the music on my phone or I listen to Spotify in the phone, and I just plugged into my car and that's what I listened to. But do you guys like listen to the radio in your car or every day? Really?

Yeah, I listened to No, I do. Honestly. When I'm driving in the car is the only time I get to listen to what I consider random music. But I only listen to classical stations. So it's not the It isn't as mind numbing and grading as listening to the same fucking Lynyrd SKINNERD songs over and on any random classic rock station you're gonna put on.

Like do I need your flock of singles one more time? Probably not, I don't. This is your This is my point, Like any classical is different because that's like preserved in amber forever, you know what I mean, Like that's never going to change. It's always going to be you know, probably supported by you know public, there's lots of funding. You know, there's lots of contemporary, you know music that's classical.

You know. Oh man, are you saying, are you quitting good? I'm listening to that? Do you know that? I was at I was at Amiba Records in Los Angeles and I was looking for some Tangerine dream and it was in the new age section and I it was in the new Age Why, I don't know.

Why was it a new wage? I don't know. It broke my heart though, that's weird. Oh I. I removed it and brought it over to the electronica.

What is the trend the last twenty years that you hate that you want to just throw a car back at It all starts with auto tune. Yes, at some point, hip hop had kind of evolved into lots of mostly female background vocals or you know, a female singer doing the chorus of a song, and which is mostly hip hop, this sort of hybrid between song and the hip hop tune. And then auto tune hit the scene, and then all these rappers who can't carry a tune in a bucket got to sing their own choruses. My complaint is not necessarily about auto tune on its own, because then after Nicki Minaj hit the scene and she can actually sing in addition to rhyming pretty fantastically, then it was all over. Now what was a novelty it seemed, or a trend in hip hop?

It's just rampant. Like I like hip hop because it's spoken and then you can have a sing sort of flavor to it. But I don't need every hip hop artist to be on their songs. I just don't. I would like that to stop.

That's all. It's a minor thing, but it bugs the shit out of me. No, No, I agree. I agree, that's in a weird way. It ties in with what I'm going to go over, but yeah, it's yeah.

Hip hop has gone through some interesting changes and kind and that's fine. All music should evolve over time. But I can hear the bands in the acts that you're describing with this autotune bullshit, and I couldn't agree more terrible. Yeah, when I think of autotude, I think if this snel sketch saw years ago where it was making fun of the real housewives like having musical careers and they literally all of them were. There's like what a song called an Apple Day keeps the haters of way.

It was funny, but yeah, I meant autotune's kind of become like the sonic version. Do you guys remember glamour photos like this was very nineties were. Yeah, that was huge of my childhood and new girls that were envy other girls. I got to go get glamour shot. But it's basically like you could look like Ernest borgnine, but they could put enough diffusement and yeah through sweat socks not gus, and I'd give you huge hair.

And I mean it was kind of disturbing because they would make young girls like they were like forty year old divorces listening to Don Henley and a smoky bar. They're down in their fifth pink squirrel. That's a lot of detail for that story, but there you go. Payton Pictures, HP. Let it.

Let open up your heart and lift it, y'all shine. This was yeah, So again I kind of issued the idea of a trend and I kind of made it into what genre. I think that's kind of what Father Malone and I both did with with our love picks. But I can't this I think of this, it just puts me in a really bad state of fright that I'm just not happy. The thing I'm the most hated trend for me over the last twenty or so years is the rise of I guess.

You could call it new country, you could call it country pop, you could call it whatever. I just call it a big steaming pile of bullshit. It's amazing to me because there's a cultural thing at play here too, because you're listening to it, and if you took it's just basically just auto tune pop but with the southern twang, and I don't. It's amusing to me that the fans of country pop and new country can kind of still look down their noses at like traditional pop, but in reality, what they're listening to is nothing more than just pop with like like I said, pop, you know, driving a broken down forward. Basically it's the It's I just it puts the hairs in the back of my neck on edge when I hear it.

Kids, And if it's proground here we fix it. I can take yore. You need to go down to my hood back in the woods. We do a different round me. And that's right.

But we sho will do it, dude, and we do it all night. So if you really want to know how it feels to get off the road trucks and full wheels, jimponi and a man, tell your friends will raise some piale with a black nun. That is a ground no one should ever cover. It never works. Little Little Nasa acts like that was a novelty song that in no way accomplished the fusion of hip hop and country music.

It was a novelty song exactly one percent right, And now that just full disclosure. I love Johnny Cash, I love Willie Nelson, I love Whalen Jennings. I'm not country averse. I'm not one of these people that says a country it's just you know, terrible love that's good enough for you find is fantastic. I just noticed that you didn't mention her that song.

I'm sorry. I'm just giving examples of things that I like. Do you want me to list every single country artist that I love? All right, let me do it in reverse. I just I want you to mention the best ones.

That's all you know. In fairness, and you know, maybe cross gender lines every once in a while. HB. Maybe you could do that. My pick for the most hated, my personal demon of awful music over the last twenty years or so is country pop.

We've had experience. I think we've all had experience with these new country artists because they're the only thing being ladled out to us these days as representatives of what country can be. And the fact is, one of my one thousand percent favorite artists right now is named Lily May, who's this fucking country as you can get, and she's fucking genius. So I agree with you, father Malone, that maybe I'm painting with a little bit of a broad brush, because there are like Casey Musgraves. I actually enjoy Casey Musgraves because she's country, but she's not like coming at it as yet.

She's under no illusions that what she's doing is an amalgam of country and pop and a lot of other kind of cool stuff. And she has a voice, a very singular voice. There are other artists I could put in that same sort of bucket. But my point is like, there's a very specific audience and a very specific it's an assembly line. Yeah, No, I think it's like anything else.

Once you have a genre that is particularly like that has started with the roots, and that roots could be It could be like the roots of punk rock, which is kind of working class and misfits unite, you know, whether it's country music, which was, you know, a genre basically for poor, working class role Americans a lot of ways, the blues, you know, rap. Any thing that becomes popular, it could becomes codified and it becomes it becomes merchandising. It doesn't it's not treated as art. That doesn't mean that people that aren't working with and doesn't louse that are artists. But I think looking at the mainstream for anything that's gonna be enlightening.

You know, it's going to be kind of a you're gonna get heartbroken Randy pretty quick. But that's why we got the noise junkies here. We're not going to leave abody a straight. We're gonna tell you guys what is up, and you know what else is up? We are next question, we got words about sounds, people, music writing that moved you.

We're talking could be a journalist, could be a music biography, could be a historical book, etc. A particular writer and what music writing in that form has moved to your HP. I didn't come at this like this is a book I want to go into a book that moved me. But it didn't moved me because the writing was especially you know, it touched my soul or something like that. But it moved me in the sense that it really it made this particular band more cinematic in my mind and kind of you know, made me look at music in a did of a different way.

Now you may laugh, but this was a book called a Hammer of the Gods by Stephen Davis. This was the biography of Led Zeppelin. I read it when I was in high school. I want to say I was probably I don't know, fifteen actually probably maybe it would have been might have been predated high school. Actually I was probably fourteen fifteen when I read it, and I was I was I was already at the age where I was getting into classic rock a lot more.

It led Zeppelin in particular. And no one will ever confuse Hammer of the Gods for being like exquisite literature. But for a teenager painfully shy, just learning about the music that moved him and kind of getting into bands and discovering an identity through those bands, the Hammer of the Gods was for me nothing short of cinematic at that time. It was it's it was laurd, It was exciting. It made me want to really dig into the led Zeppelin catalog because he did a great job not only of getting into the salacious bits of them with all the groupies and everything else, but he wouldn't right the face it's indelible, and that's I think Zappa had a song about that too, But he also Stephen Davis also went into the recordings of these albums and talked a little bit about each song and the production and all that, and it really, like I said, it gave me this sort of wides free view of this epic story of this band and fourteen fifteen year old HP just ate it up like like candy.

And it really ain't excited me about music about classic rock, about led Zeppelin in a way that I hadn't before. So it really kind of kick started a lot of my fondness and my my sort of monomania for classic rock at that time. So there's a primary sort of text for you know, a teenaged HP. I guess HP in the high school that we shared, I was in English class where someone was trying to pass that book off as a biography that they wanted to review for an assignment and class, and I remember the teachers going, no, this is what I need to I need I have an idea of who that might have been. What are you even I guess, well, what are you even thinking?

The teacher said, And then I remember that this student arguing that, no, you don't understand. They're very, very literate. Their songs are about Lord of the Rings, and I thought, oh, I mean that's far sure that that is true. They also played musical instruments. It doesn't make what you're trying to pass off as a piece of like his history or historical right, like props.

Hello, what is your Okay? I'm gonna be lame and kind of read. But I've been thinking about this a lot, this idea of rock criticism, because let me just read it. I've read that, you know, discovering a kindred critic is tough because it's about finding someone who vibrates on your same emotional level. Rock criticism is particularly treacherous territory because, unlike pros or film, the listener is supplying so much of the world the song that finding a sympathetic critic depends on shared idiosyncrasies idiosynchronicity.

Like a cool older friend. A good critic will expose you to bands, genres and musicians you never would have been privy to, and yet you'll end up cherishing. But they'll also turn you on to bands and genre and musicians that, though you'll agree to disagree of their merits historically or musically, you'll still feel enriched of the knowledge of them because it was transmitted to you and the one that was transmitting the subject matter. Yeah, but the language and the rhythm of the one giving you this information. What's ironic is that I don't actually have a kindred rock critic or a journalist.

I've admired plenty of them, and I've mined plenty out of the criticism and journals that I've read over the years, but there's never been a consistent voice I've been tuned into. Which doesn't mean I don't have favorites, because I do. Starting with Legs McNeil, he's notoriously connected to punk through Punk, the magazine he co founded, and you can debate it all you want, but he basically named a genre of music. He put out a book called Please Kill Me. The Unsensored Oral History of Punk, which is a good book even if you're overly familiar with the players and the scene.

But that's not my favorite. My favorite is inspired by that book, and that was put up by a guy named Mark Spitz, who's the other guy admire and rock journalism. He put out a better book that's called We Got the Neutron Bomb, The Untold Story of La Punk. I think oral histories are invaluable. I always prefer to hear a song, like a story of a song by who wrote it?

Call me crazy, and I think it's and I know it's just as curated as like any prose biography, and what's left out is as important as what's being left in. But even in an account from some ROADI on some tour is more valuable to me than what a journalist might imagine have happened in a scenario. So that that book, in particular, I want to say, is my favorite piece of journalist because I'm fascinated with that time and place, which is kind of unheralded. Everyone knows everything about fucking cbgevs man. We all get it.

We know you know, and we've all had the debate, where did the punk come from, which I always think about SLC, like, what does it matter where it came from? Talking about who started punk rock music? Was it sex Pistols in England? Was it the Ramons in the velvet on the ground in New York? Ramos?

And who guys have started? But having said that, it clearly started in New York, and like a wave, it went over to London. And then when that wave came back, it fucking devoured the United States and got over to Los Angeles, which is where the actual interesting punk scene begins in America. And if you want to know more about that, then I would encourage people to check out We Got the Neutron Bomb, which, by the way, is a great title for a book. Well, it's taken blink?

Was that the not the Nerves? That's a song. It's a great song. Why am I blanket on the band name? I don't know, because I know it's Yeah, I think it is.

I think it might be. I know it's a song too, No idea who sung it? Yeah, I would highly recommend it if he liked that. Alice bag who is one of my heroes. She, of course lead singer of the band the punk band The Bags La On her website, she has a curation of dozens of interviews with the various women of that scene.

My my problem with that book is I felt like it was very heavy on the dudes. Oh yeah, it's it's heavy because Brendan Mullen is the co author of that and Brendan Mullin's contribution to the scene is basically owning the mask like nightclub Branda Mullin's cool. I mean, he was very good to Stephen Satan, who, as you guys know, everybody probably does something. I love Steven and I'm writing a book on his art. But but no, I mean, I mean they talk more to Kim Falley than they do today, and I love and I have a weird love for Kim Faallely.

But you know, I don't know. It is interesting, But I highly recommend Alice Bag site for that. And I love compliment each other. That doesn't have to be one or the other. Everybody reading everything about the La punk scene, and I totally agree with you about this sort of more dudes than not sort of policy with that book.

But let me just say about we Got the Neutron Bomb contains one of my favorite quotes of all time. About the Cramps, which is somebody said when the Cramp's gone to town, we realized how much of American culture was left to destroy. And that to me, just like Touches my Heart, I have a fallow along to that father alone. I have ever read the book The Hepatitis Bathtub. That's an oral history of the band No Effects.

No I also right, also highly I'm not can't claim to be a huge No Effects fan, but if you're looking for a well oral histories, I agree are some of the best books if you want to get the street scoop on this stuff. And this is written by the band members about their time, you know, starting out as punks in LA and everything leading up, and it's fantastic. I read one about the DC punk scene too, which I cannot remember the title or who wrote it or whatever, but like this sort of same format detailing that scene as well. And also I do have to give a shout out to two other cities of punk origins. Detroit, Baby, which in some ways I think you could argue Detroit maybe had a little step up towards punk a little faster than New York, but New York had more the trajectory and a little talent that doesn't get enough that.

I know you guys, I fly with this. The Boston punk scene. Boston has some great punk music. No it didn't. It was lame.

People who are living in Boston or adjacent to it right now are also lame. I feel like that, sir, sir, No, sir, that's a no. That's a no. And you know what you did was wrong. Alright, I'm going I will have to be throw my coffee.

I will beat you with my coffee. Please kill me there. It's yeah. My pick is is of course punk adjacent, and but it's two writers and one, of course I have to. I cannot go without mentioning Lester Banks.

So it's one of my heroes, my spiritual writing godheads. And the thing I love about Lester so much is his heart. He was a great writer, but he was hard even when I don't agree with him, and there's a lot of times I'll read something of his and I would not agree with but his voice is compelling, and I think, to me, that's what makes great writing is if it has a pulse, if it has that heart, especially writing about art, like anything creative, like if you're if you don't give a shit, Then why are you doing it? Baby? You know, like, don't do it.

If you're not into it, don't do it. There's other things you could be doing with your time in your life. And and Lester could be so funny, he could be savage, but he was always like so human. It was never about his ego, Like if he fucked up, he's you know, like MC five. His first review of the MC five famously trashed them, and then he went back to listen to them and he was like, fuck, I was wrong, Like it ended up be giving friends in the end.

And you know, so Lester Banks spend an associative hit. I do want to highlight. But this is Robert Duncan, who was another alumni of Cream. Robert Duncan is phenomenal, like sweet guy because he's on social media, super nice, fantastic writer. He has a new book out called Loudmouth, which is kind of a slightly fictionalized basically autobiography about you know, his childhood and you know, being in a band of the late sixties, you know, and you know, moving to New York, being friends with Lester, hanging out with you know, Peter Lafner, who was one of the founding members of para Ubu and just it's hilarious, it's touching.

Robert Duncan has the true he I can see why you know your rates some of his old rock writings and they're great, and he, you know, has that just he can be absolutely hilarious and irreverent, but he always kind of feels like a friend, like feels like that really cool friend that you kind of you know that you're like, I'm gonna listen to this guy. I want his thoughts, like you guys are like my little Robert Dunkins and because you both like That's why I love doing a show. I love having friends with great taste. And that's when I have with Father Malone in age. So thank you, thank you, guys.

You the only the only measure of our taste is that we're friends. That you're friends with us, that's all. Oh what yeah, stop stop, but but but this love best. I want to get into some juicial I'm called upon the spirits of a Marie la Vau because I'm about to curse some people, not literally, of course that's bad my joke. But if you can't stop, mind, I'd like to go straight into mine, which is and I part of me haste through this because I don't Yeah, everything is subjective, and I'll say this obviously.

Wait, we don't even need to preface this. If I if you got something that you friends, y'all dig it or fuck off. There's a book called Rip It Up which is about new wave and post punk music, and I bought it super stoked years ago when it came out when it first came out, because I love postpunk music. I find new wave was basically a marketing term. But postpunk is where like in somebody see ashes of the punk scene, particularly in the UK and in the US, created all kinds of really divergent types of bands, some of whom I think you can't even totally classify to the state.

And that could be any band from like kind of a weird one off band like Gallic I love you to say, the Chameleons or the bull Shore. I mean you had and he had all kinds of mini genres. I mean we got we basically got modern goth rock out of that, you got synthpop out of that, you got hardcore punk out of the initial you know, as the other thing is like og punk was actually a lot more diverse than people give it credit for too. But but I was so excited to get this book and it was so fucking boring and so dry. It was so dry, and that's like it breaks my heart because I'm like, how can you like it?

I mean, if you're into academic stuff, you'll love it. What is the name of this pumplication? Rip? Well, the book is called rip it Up and it's about post punk. And but I have friends that love this book.

So if you're into that kind of thing, maybe you'll like it. But for me, it don't mean a thing if it ain't got that swing. And it just did not for me have a pulse to it. And there was way too much written about scritty polity like Tuxedo Tuxedo, Tuxedo Moon, Tuxedo Moon. Too much writing about scritty pod No, I'm sorry, there's like almost like a fucking chapter our scritty Polity, and Tuxedo Moon gets two paragraphs.

Are you shitting me? Tuxedo Moon are amazing? Come on, Like, Tuxedo Moon is a that's a band you cannot classify to this day, there's nothing about Tuxedo and the sound dating they are, you know, or bands like DNA, you know, like the whole no Way Seed Big You've got you're writing about that, so did you have the riches given to you? And you're just gonna just like I'm Scrity. I don't even hate screeply, but godding out Screapolady, I've now realized as a band name I hear about once every ten years.

So thank you for providing the ten year anniversary of scrip Lady in my brain. And now I don't have to think about it again for another decade. The curse has been put to rest by now. But n of my holabaloo. Father belowe.

Much like my favorite journalist, I don't really have a particular subject as far as criticism goes. Rock criticism goes that I hate. Rather it's a collective and that the worst rock criticism is one from Rolling Stone. Maga, Yes, preach it to the mountain. Now listen, I'm not talking about the very early years, the sixty five sixties, the rebellious.

Hey you got to hear this band rolling Stone. I'm talking about the tal end of the sixties and into the seventies and on and on into irrelevance when it all became kind of all too snarky. I'm going to read again now, but I'm going to do so happily. These are some choice cuts of reviews that Rolling Stone Magazine has offered over the years. Now that the freshness of their Dorks on Parade stick has worn off, the giants, New York singer songwriters John Flansburgh and John Lennell need to prove themselves an all out novelty act or trenchant musical parodists.

Judging from Flood, they are unwilling to make either commitment or are simply incapable of doing so. The nineteen Ditties, crammed onto the album sophomoric throwaways, Particle Man Erstot's Jazz Hotcha and Country, Lucky Ball and Chain, and an overdose of their standard issue oopop pop aren't as ingratias as the giants think they are. Fuck you, David Brown, February twenty second, nineteen ninety issue of Rolling Stone Magazine. Confidentially, I never told you love her. Confidentially, we never had, But this railroad ambartment was a place.

Here's one from October the twentieth of nineteen seventy seven. Richard Hell has been touted as an underground genius for nearly three years. In this debut album, boldly tries to document him as such. The result is thirty odd minutes of grinding, sado messochistic rock. Love Comes in Spurts has all the earmarks of the younger New York bands, a half sobbed double time lead vocal, patently dumb backup singing, and chattering dual guitars, But Hell, confident that his presence and lyrics can transcend so artless a rock medium likes to wallow him.

This tends to make an eight minute song like Another World sound like beat Nick indulgence. The Fugs did the same thing as a jug band, much more wittily. That's a review of Richard Hell. Who was that? Who was that?

Writer Fred Schreer Schurrs schre Love comments first is one of Richard Hill's best songs. Fight Oh my God, like fucking rock. I read the words and it starts resonating in my head and this guy's just like it's kind of a poppy tune. At least you mentioned that they might be giants. Guy, Jesus, here's one for you.

These guys synthesize trenching experimental trends into a hodgepodge that's compelling only to those without the intellectual vigor to penetrate the band's surface pose to find the real pose underneath. Most of the concepts on their second album, Duty Now for the Future have been recycled from Frank Zappa, the Yardbirds, and other sixties avant gardists, and the handful of original notions they do try to express are mostly lame or fraudulent. As rock and roll, this sort of stuff is a horror show that dispenses with backbeat, melody and raw emotion, I e. All the things that ever made rock worthwhile. When I finished typing this, I'm taking a hammer to Duty Now for the Future, lest it corrupt anyone dumb or innocent enough to take it seriously.

That review was written by Dave Marsh. That's okay. Lester beat him up in a lot as well. He should have. Marsh in nineteen ninety one wrote a book, an anti censorship book, The Guy Who's going to Smash a Devo record lest it corrupt.

Others wrote and sold a book to crying censorship. I could go on, I have a lot more, but you got the idea. Now, I know, every like publication or periodical is going to have ups and downs, and they'll employ some people who make some mistakes and everything. But the sheer volume of not just snark but dismissive kind of clicky, you don't belong here, we're the rock gatekeeper fucking attitude from this rag. It was just used to sell fucking, you know CDs in like a whiskey for the past fucking fifty years.

It's inexcusable, and fuck them. But I love Ben Fong Torres. I love Ben Fong Torres, and obviously Hunter Thompson and blah blah blah blah blah. We've heard there. They've sung their own praises long enough that they convinced us that they aren't a piece of shit when it comes to actual rock writing, which is what there the whole purpose was supposed to be, right, Yeah, Well, every time I see n Winners fucking Memoire at Barnes and Knowable, I just I always like, if nobody's going to give a finger this guy not only did he fire, he fired Lester Bains because Lester Negative gave a negative review to Canned Heat and that post off a record exactly.

You know when I think of when I think of Yon Winner. Did you ever see the movie Perfect with John Travolta and Jamie Lee Curtis, where he's a journalist infiltrating the scene at the aerobic scene and he's working for Rolling Stone Magazine. At one point he calls Jan Winner, who's at Who's hosting a fun due party, and he's wearing an apron dipping a stick into this bubbling vat of cheese, and I think, perfect, God, that motherfucker. I can't stand home, Yeah, Fuyan Winner, And I agree, I can't. I can't wait mine.

I don't have a specific target in mind. This is kind of more of a blanket catch all of things that I just I hate in terms of writing, and it's not limited to music necessarily, but that's the focus of my personal reading, and that is ghost written music autobiographies. I have, at one time or another read every book by every member of the group Kiss, from Paul Stanley to Peter Chris And have you read the bo I Lived to Win or something I think Peter Chriss was called like Breakup to Makeup or something I've read Ace Freely's which was called No Regrets. It should have been called no Regrets. I think it would have been funnier, but it's always funny.

Yes, So there's something. I think there's something. Well, first of all, you know, in an ideal situation, if somebody is dictating their life story to somebody, then you should get this person's voice loud and clear. But I think the problem is I think, honestly, most musicians, most rock musicians, maybe classic rock musicians to particular, are just the idiots. They don't have a lot of I think they fancy themselves.

It's like the spinal temp thing. They fancy themselves as being sort of smarter than they are and maybe with more to say and more to contribute. But the fact is they most of these musicians have achieved success at a very young age and really kind of stopped progressing intellectually, and that during that time period. For when I'm there, when they achieve their success, and it's painfully obvious when you read it, I always feel a lot of sympathy because in my mind, I'm seeing like some poor ghostwriter, like Feverish, like he has all these cassette tapes of conversations he's had with Ace freely, and he's thinking himself what How the fuck am I going to make this into a coherent narrative? Like one minute he's talking about Paul, the next minute he's talking about crashing his car into a tree, and then he's talking about his music studio and how do I And that's fine, they get to work, they need to eat these ghost writers.

That's fine if they can, it's good work. I'm sure if you can get it. But I think, and I think I'm gonna have to take a hiatus from reading music autobiographies. Yeah, I mean, it's just I should know what I'm getting into. But it's just it's not interesting to me.

It's oftentimes, like I said, it feels like somebody trying to inflate their life into something bigger than it actually was. And you would think the sellasious bits would be interesting, but I find them kind of sad to read somebody who's looking back, like Peter Chris on his life at seventies something or whatever, and really trying to build themselves up to something more than maybe he was. I don't know, there's no lack of a real voice drives me nuts. And I think it's just it's a cheap way to cash in on someone's success. Ghost written music autobiographies are the worst for me.

I know a ghostwriter. You know somebody who ghost writes for a living. Yeah, I can't tell you. I can't tell you what they've written or who they are, but I will tell you off there. Okay, I look forward, and you're right.

People, you know, people gotta make a living. But I also totally agree with you. Ghost written autobiographies what a joke? Can I throw a couple couple of more logs on the on the fire that is rock criticism or journalism quote unquote that I hate real quick? If the spirit mayors do you go for?

Albert Goldman's familiar with Albert Goldman? Of course he wrote that John Lennon book that was just really a hit piece, The Lives of John Lennon or Lives of John Lennon. Albert Goldman is a rock critic or journalist or or biographer. Really, he's just a bitter, fucking prick of a man, and who I think was really mad at everything culturally that occurred post fifty nine or something like that, or even before that a little bit. I think anything rock and roll really related, because boy, he went after Elvis with a ferocity and accused every one of his subject matters of the same sort of salacious things, and it was just a no joy in the music at all that there was no I think he's one of these awful muckrakers who I think believes they're actually performing a service and shining the light on all the depravity or unsavory behavior that you know, tears our idols down and makes them human.

You can do that, but you have to balance it out with what was joyous about the person to begin with, because otherwise it's otherwise it's all the stations of the Cross, you know, Like, yeah, we know he was treated badly. You know, we watched him get whipped and beaten, Like, you know, why why are we reveling in it? We've got one last question for our holy trinity of love and hate. We're gonna go to everybody's favorite and probably not the favorite topic, classic rock lyrics. Now that all lyrics are are created the same, Some I have the spirit of poetry to move you, while others make you want to basically annihilate the entire sperm bank of whatever.

You know, clear Channel Abomination, Buffalow, wild Wings, howdown that is going on? I'm sorry. I feel like I just had a many vapor thinking about the one I hate so much because it's terrible, but look as I would love when it it's a love and HP give us your favorite classic rock lyric, one that marks that you think is just exquisite in its formation. Sure, and this is more recent. I don't know.

The tag classic maybe a bit of a stretch. I think this is a classic lyric, but you know, if your mileage, maybe, Harry, I'm going to my probably my all time favorite, which is David Bowie. And just to sort of set the stage, this comes off. This lyric is from the song where Are We Now, which is from the album The Next Day, which was released and it was a surprise release in twenty thirteen. And I'll get to the lyric itself in a minute, but just to remind people what an extraordinary event it was that this album even came out, Bowie had a heart attack in two thousand and four.

He was on stage and he suffered a heart attack and he I think he had to have an ANGIOPLASTI and he aside from a couple of appearances here and there and some soundtrack work, we no one had heard anything from him in nine years. Then all of a sudden, one day in twenty thirteen, out of nowhere, literally out of nowhere, he dropped this album the next day, which really from me, had harkened back to his best work some of the albums he did, the Berlin Trilogy, he did. Tony Visconti, the producer, actually reunited with him on this album, and the lyric I'll tell you lyric is at the very end of the song. It's the last bit that he really sings. And I'm not going to sing it because you don't want to hear that, but I'll read it, repeats us a couple of times.

He says, as long as there's sun, as long as there's fire, as long as there's me, as long as there's you, And he repeats this a couple of times. As the song sort of trails out, how slow that's fire, Sloan ASTs me, as long as death you. This was It was such a remarkable thing. We all collectively, I'll lump myself in with the rest of the fans, we thought that he was done, that he maybe had put out his last album, and maybe he would never be, you know, omnipresent in the culture again and for this to come out of nowhere, this gift of an album to really sort of proof to people and show people I'm still here. And that's part of what this lyric really means me.

That's really why it touches me, because it felt like he was saying, look, I'm not gonna be here forever, but I will be here for a while. You know, I'm going to hang on as long as I can, as long as I can. I'm gonna be here, and so are you. It will be here and will and this is the way things are. And even now when I think about it, and you hear his voice and he really evolved in his later years into the sort of more of the Scott Walker runer that I always I really dug.

He leaned as his upper register kind of started to go away into that sort of bass in his voice, and he just in this song he sounds every bit the sort of tired, wise, sort of you know singer that he's been a musician. But it gave me hope and it made me feel good. You know, he's still here. He's still here, He's still in the firmament. Bowie is still here, and he's still giving his fucking great music.

Oh Man, beautiful peck. I love that. I love David doy pop him alone. Yes, what are you gring favorite classic classic rock lyric? Yes, Little Old Lady got mutilated late last night were Wolves of London again?

Wunder again, Little Old Lady again? Mutilated day last night and again listen to that again, Little Old Lady got mutilated late last night Werewolves of London again. I know it's just alliteration and it shouldn't tackle me as much as it does, but what a beautiful grouping of words in both sound and content. It's an easy question for me to answer. What's your favorite?

It's up there and favorite lyrics of all time. I don't know what order they're in, but it's definitely up there. So you know, when I'm talking love and bands that get filed in a classic rock I have to mention Blue Oyster Colds. I am a massive, massive BFC fan, seen them live twice. I hope to see them live even more.

They're just They're current lineups phenomenal like and that new album of the Symbol Remains is excellent, But my pick is not off that album. I'm going with a quote from John Crawford, which is a great creepy song the basic video. But these lyrics I think I love at BSc is. They're so good about having almost like witchy lyrics very at times almost like mysticals. So chasty but definitely dark.

I mean, you understand why riders like Stephen Kane considers themself a huge fan of Voister Cold. And they also worked with Michael Moorcock, who was tied to one of my other piper bands, full Time Hawkwin. But from John Crawford, these series of lyrics junkies down in Brooklyn going crazy. They're laughing just like hungry dogs in the street. Policemen are hiding behind the skirts of little girls.

Their eyes have changed the color of frozen Meat's down going crazy man skirts. What a great line that is. It's so instantly creepy, it's evocative, it's chilling. Oh, I just love it it. What a spooky, spooky little lady I am.

I guess it's fantastic. And I think Blue Oyster Cults are a very underrated band. I mean, they're yeah, no, fantastic. We don't hear enough. It's easy to overlook them in favor of, you know, other bands.

That, like, we already talked about Sabbath. But cult is great and they're on the heavy metal soundtrack. I mean, what more do you need? The veteran of a psychic war so good? Yes?

Are they burning for you? Yes? Okay, they don't fear the reaper either. Bluster Hit Machine Music stands up their song which is off of I believe it's it's off of Agents of Fortune, and that's seventy six. Seventy seven has the lyric about like a reverence to the King and Yellow, that nineteen sixteen book which people talked about with that that show?

What was that show on HBO that everybody told I got that Woody Harrelson in it? True Detective. It's the first season. I guess I had something to do with the nineteen sixteen book The King and Yellow, which is like a Lovecraftian type thing. I haven't read it, so nebody get mad at me.

My point is Bloister called rock and you're right, HP. Everybody should check out. Boister called that discography is stacked. But we cannot we this is a little too good. We got to get into some piss and vigger, Father Malone, what is the lyric you hate I'm not going to recite, but please do no, no, please no, because no, Here's it's one particular song and is everyone familiar with the musical artist known as Made Love of course, of course, of course, and of course to break the album Bad out of Health.

It's a fucking fantastic album. Jim Steimon is one hell of a fucking lyricist, fucking he's amazing. Paradise by the Dashboard Light is a near perfect song. Accept it. Hence the most infuriating fucking bridge of all time with Phil Rizzutto narrating this guy trying to trying to get to home base with a girl.

I'm gonna cut it in here, this kid, It just it makes me want to bang my head against the wall, sincerely, just because it's so fucking clumsy. First of all, in the you know how many bass did you get? The third base with her like h like dramatized, and at the end they got Phil Rizzuo, poor Phil Rizzuto to do it. It's just so juvenile and like subpar national lampoon skit cut into what is an epic tale of young lust and love. I never minded that because it because to me, it was just like I know that my favorite part is coming where you know, Ellen Foley screams out stop rot like, oh yeah, you need you need that build up, no question about it.

But do it musically. Don't have filed sua. Do it like a fun like they're not listening to the fucking ball game on the radio when they're making out. They're listening to a fucking great song, which is what we're trying to do. Don't do this.

So this isn't a single lyric. I'm just gonna say the whole song. And it pains me to say this because this is one of my favorite bands of all time, and I'm in kind of a classic rock mode. We didn't start the fire by Billy Joel how dare that's a modern masterpiece. It's not even classic rock.

The man is a national treasure. No, it's even worse than that. And the song that I just collectively hate. I hate their think about this song, but particularly I hate the lyrics. And the song is Oblade Obla Dah by the Beatles the White Album.

While my guitar getting the weeps. You've got you know, dear Prudence, You've got helter skelter. Of course, it's great pauccartney wrote that song. He did, and it was supposedly he wanted to write the sweatiest rock and roll song ever made, and he came stay close, didn't he say? He wanted to write the song that he expected to hear when somebody told him he had to listen to the who They built it up like it's just noise, it's just fucking They're just banging on instruments.

And then he listened to it. He was like, well's yeah, okay, I guess it's kind of okay. And then he tried to replicate what he thought they were going to be. Is that true? Is that apocryphal?

If it didn't happen, it should have that. I know the who did who didn't figure into the story. I don't remember the particulars. Your version sounds as right as any. I thought it was something like he had.

You know, it was like a one upsmanship thing where he heard a song and he's like, I can do better than that. It's great, Paul, when he puts his mind to it, can is capable of genius. Obladi Oblada is not genius. Is sweet just just like verbal diarrhea. Hate it.

I just it's to me, it's nothing more than a press of the old skip button in the car when it comes on when everybody, everybody accuses Paul of being this sort of sentimental kind of songwriter who's very old fashioned, and that's certain that this is the thing that proves that case. If you believe that about Paul McCartin by and you hear ob ladio Lada, it'll seal the deal for your case closed. So yeah, I just like I said, It pains me to say it, but because I love the Beatles and I do enjoy Paul McCartney, but oblatio ladas just so infuriatingly sweet after in the market place. Shut up, man, get back to Penny Lane already? Do I feel confident that mine is quite far the worse O that?

Okay, okay, because Bob Seeger's night moves. Oh boy, I'm so excited. Please continue. I know, much like what you said about I would say that this. I hate this entire song.

I think it's boomer nostalgia at its most disgusting and written by somebody when he was still young, Like you're being nostalgia for shit. They happened like fifteen years ago, Bob, Seeger was an old old man when he was writing songs at the twenty. That's sad and but the worst part of all the insipid lyrics and the song it's there's this line and I'm not going to quote it directly because I feel like I'd be opening like the portal to eyebon or something if I did it. But it's like he talks about, you know, being with this girl and that she had quote unquote points of her own some way up high, and it's like, okay, yeah, we get it. Titties.

We're talking about titties, right, she was a black up dude. And then Bob up high boom high talking about boobs. Now, yeah, I talked about way up urb and high. And it's like and so I'm like, great, fuck you, Bob Singer. Now not only have you made you know, okay boobs, Yeah, boops are great.

I would rather I would respect him more if it was called boom booms. Then moves like it's just like him trying to be cheeky. That get it. It's like Kevin, somebody's disgusting uncle or dad. I got to you know, it's it's fucking revolting.

And I don't want to number one. I don't think about Bob Singer cop in a fuel. Okay, I definitelyn't want to think about anybody cop in a field of this fucking song you talk about. For listen, the entire discography of meat Loaf is infinitely more bangable than one bar of Night Moves, And I don't want to bang to meat Loaf. I love meat Loop, but it ain't banging music.

Are there any bomb Singer songs that are bangable? If you mean with a with like a sledgehammer? Can you can you put on a bomb singer tune? And fuck? I guess what I'm asking?

Gross Cross Now, I feel like like it's like, I mean not to get personal, but I feel like there'd be like some mommification going on. Do you think, Oh my god, do you think do you think that character you're describing the narrator of the song made the sort of creepy you kind of uncle who like you know, probably has like a nudy picture in his wallet that'll show you and you're just like, dude, what are you doing? Like do you think that character carries over throughout his Bomb singer's uber? Oh? Totally, like he's totally like hearing against the Wind while he's drinking his fucking light blood Light or now you know or Miller Light and he's got that one t year like, Oh, Bob Singer gets it, brother, Bob Singer gets the plight of the working man.

No he doesn't. He's a fucking rock star. No rock star understands the plight of the working class. Okay, that includes some of the ones that I even I like. Now you act at a point you can You are never going to be fully tuned to the working class when you've lived in a bubble for X amount of time.

But he wrote songs, you know, describing situations that everyone can relate to, like when you go into a diner. Can you get off your tour bus and people are making fun of because oh, oh I hate it? I hate it? Is it a woman or man? Oh?

The only thing I hate more is fucking Don Henley and like his fucking solo uber. I don't like most of the Eagles either, but there's at least a few Eagles tunes, some Raje Walsh that I mean, I love me some Joe Walsh straight up. I have nothing but love in my heart for the Walls it was a super group they had, they were bound to have some hits. No sorry, like they all seem like a bunch of dickheads singly for the most part, but like you know, they had some good songs. Even Don henley solo work.

There's some of his ships that I like, and he just seems like a personal person. I don't mind dirty laundry. The rest of it can go jump in a lake fire. I got news for you. Don Henley's the first class asshole.

Do you ask anybody, They'll tell you that. No, no, no, But I will say to get it back to Night Moves, like I have a kind of a car. Were trying to make some front things. What I think, you see, when I think of Night Moves, I don't think of Bob seeger ogling some girl, poor girls, you know, chest I think of the climax of the movie American Pop by Ralph Bakshe, which is so sale is that drugs man on the future of rock? That is a that is an excellent, excellent you know, mimicry of that end there but father alone.

But what I thought was interesting is so that's that plays in the Class's one of the songs at the end. That's the song that this the culmination of many generations of striving and working for the American dream. It all comes to somebody playing night moves in front of the executive. But here's the thing what I later found out, I don't know, maybe you knew this father alone. Actually she himself hated that he had to use night moves?

Did you know this? No? What what did he want to say? You know, it's funny because we had this conversation a long time ago where I was making the point that you're making now like that that's supposed to be the future of rock and roll. Fucking Bob Seeger.

So what was back? She back? She originally wanted to use Freebird by Leonard Skinner as the climax. Now, but that would have been better. It would have been better.

It would have been better, but it still would have been wanted. It was already. It would still would have been bad. But apparently the skinnerd wanted too much money for it to have the song in the movie. So his plan B was Bob Seeger and his you know, his Zoe to American He should have got with a c DC.

Who should have gone somebody like that, you know, last, at least somebody like Todd run Gren. At least get a forward thinking rocker. Todd is God. We'll get into some Todd run grend know you like Todd running Oh my god, I got several you told me album's on Final Alone. Baby Kasim Sultan, He's a beast.

I loved cousin. Anyway, we'll get into that later. You know what, I don't hate our listen. Thank you guys so much for listening. Before we wrap this, Katie kat up, Let's let's get a little pluggy plug going on here, fatherom alone, Where can the good people listen to you and find you and see your amazing work?

If you want to see the visual things I do, go to Father Malone dot com. But that will also link you to the audio stuff, one of those links being Weirdingwaymedia dot com. It's just the music conglomerate. I'm stuck to those that has my audio offerings like Dark Destinations and Astounding Tales of the public Domain and other things like that. Perfect Thank you and HP.

Where can the good people find you? And please also let them know about your band camp? Yes? Thank you, Yes, I'd love to so, I too, am I'm on the as I've heard fatherom alone describe the Galaxy of Stars on the Weirdingway Network. You can hear me on the Off and Raising Bandit Check podcast, the Night Mister Walters Taxi podcast as well.

I've done some guesting on the Culture Cast This fine show. You can also hear some of my music interspersed and some of the dark Destinations stuff in. As Heather so graciously mentioned, I have a band camp HP Boston. I don't have the address right here unfortunately, but if you just search for HP in Boston you'll find it. I got a couple albums up there.

Please give you my first sale. I beg of you, thank you, Please everybody that sweet little theme music that is more noise junkies that was courtesy of HP. That were all the music, all the good music at weirding Ways. HP is doing like sincerely, He's looked on so many goddamn shows. Everybody, there you go, there you go, the music, the music don't lie.

And of course you can find me over at my website Mondoheather dot com. And also I can find my latest article which is about the British serial killer art house Spell The Cold Light of Day over on aerofilms dot com blog. I'll check that out and check out all of the weirding way As shows. Thank you, guys so much for listening. We love you.

Be good to each other, and most importantly, be good to yourselves.