Podcasts about me live

 | Artist  | Title  | Album Name  | Album Copyright  | Innes Sibun  | Freya's Smile - The Preacher  | The Preacher  |   | Captain Morgan Express  |The Bottle Wins Again  | The Pussycat Tapes  |   | Rick Estrin & The Nightcats  | Living Hand To Mouth  | Groovin' In Greaseland  | Dana Fuchs  | Calini Angels  | Love Lives On  |   | Leavin' Trunk  | Shop Around  | The River  |   |   | Jeff Chaz  | How Can I Live  | I Just Caught the Blues  | J.B. Hutto & the House Rockers  | Don't You Lie to Me  | Live 1977  |   |   | Albert Ammons  | In A Little Spanish Town  | Albert Ammons 1946-1948  | Jake Shimabukuro  | Lament  | Trio  |   |   | Mahalia Jackson  | Let The Church Roll On  | Complete Mahalia Jackson: Vol 7 1956  | J. J. Cale  | Rock And Roll Records  | Anyway The Wind Blows - The Anthology  | Dion  | I'm Ready To Go  | Tank Full Of Blues  |   | Henrik Freischlader  | Down The Road  | Night Train To Budapest  | Cable Car Records

On tonight's show: Édith Piaf, La vie en rose (Live Paris 3 Avril 1954) Ella Fitzgerald, Cry Me a River (Live at Zardi's 1956) Duke Ellington, Tea for Two Charlie Shavers & Coleman Hawkins, Jumpin' with Symphony Sid Lena Horne, Let Me Love You and It's All Right with Me (Live at The Waldorf Astoria) Ahmad Jamal, I'll Take Romance and My Funny Valentine Carmen McRae, Take Five (Live at Sugar Hill with Dave Brubeck) George Benson, Take Five (Live at Carnegie Hall) Toots Thielemans with Joe Pass and Niels-Henning Orsted Pederson, The Mooche Lincoln Center Jazz Orchestra, Bli Blip (with Dianne Reeves) Etta Jones & Houston Person, Deed I Do Lincoln Center Jazz Orchestra, C Jam Blues

In de aanloop naar de opening van Danse Macabre bracht de wereldwijd bekende Nederlandse symphonic metalband Epica het nummer "The Ghost in Me" uit. Het nummer is een muzikale ode aan het originele muziekstuk én een visuele ode aan de nieuwe attractie. In dit laatste deel van ons vierluik over Danse Macabre gaan we om tafel met Coen Janssen, de toetsenist van Epica én Efteling-liefhebber. Coen vertelt ons alles over de totstandkoming van het nummer, de opname van de muziek en de videoclip en over zijn liefde voor de Efteling.Show notes- EPICA - The Ghost In Me (Danse Macabre) Official Music Video for Danse Macabre at Efteling - YouTube- EPICA - The Ghost in Me (Live at The Symphonic Synergy) - YouTube- Home | EPICA Official Website- Epica (band) - Wikipedia- EPICA - Storm The Sorrow (Official video - HD remastered) - YouTube- EPICA - Dancing in a Hurricane - YouTube- @coenjanssenofficial - Instagram- Coen Janssen - Wikipedia- Kleine Boodschap 415: Het muziekstuk Danse Macabre- Kleine Boodschap 322: Efteling in Concert

Nu de herfst in volle hevigheid is losgebarsten klotst ook al het Efteling-nieuws tegen de plinten omhoog! De opening van Danse Macabre nadert, dus hebben we heel wat te bespreken over deze attractie, maar ook het Efteling Grand Hotel (en dan vooral de restaurants) houden de gemoederen flink bezig. Daarnaast is er nieuws over Raveleijn, een winterse editie van Te Land Ter Zee en in de Lucht, een nieuwe Efteling-musical én IAAPA Expo.Show notes- Villa Pardoes WinterRun - Kleine Boodschap- Villa Pardoes WinterRun 2024 6k - Google My Maps- Villa Pardoes WinterRun 10k 2024 - Google My Maps- Ontmoet de dirigent van Danse Macabre- Efteling | Maak kennis met de dirigent van Danse Macabre | Instagram- Epica - The Ghost in Me - Live at Afas Live Amsterdam 20-09-2024 4Kf - YouTube- Nick Ringelberg op X: 'Danse Macabre opent bijna in de Efteling!'- Danse Macabre, Paul van Loon | bol- Vacatures bij de Efteling- Nick Ringelberg op X: 'BOUWUPDATE: van het Efteling Grand hotel.'- Efteling op X: 'Wat een ongeheurde prestaties bij Te Land, Ter Zee En In De Lucht!'- Efteling en Vekoma inspireren branchegenoten over duurzaamheid tijdens IAAPA Sustainability Day- Jan van Kampen op X: 'Efteling over de ontwikkeling van Symbolica op #IAAPA. Over onder andere alternatieve layouts.'- Bouwhesje onthult ontwerp van vernieuwde Efteling-watershow Aquanura - Looopings- Foto's: enorme lantaarns voor Efteling-fonteinenshow Aquanura staan klaar - Looopings- Vier Oud & Nieuw in de Efteling- Tijdschrift.nl - De Efteling ook financieel een sprookje- Visie van collega's en netwerkpartners - decontrollerinbeweging- Fragment Voorbij, voorbij (Paul Verhoeven), opgenomen in de Efteling 1979 - YouTube- Politie trekt letterlijk stekker uit illegale rave en veegt terrein met 250 bezoekers leeg met wapenstokken | Binnenland | AD.nl- Meer vakantiehuizen voor Loon op Zand: EuroParcs verrijkt regio met 128 verblijven | Loon op Zand | bd.nl- Interview: hoe is de Magische Vallei ontstaan? - Toverland- HAVEN | Storyland Studios Design Challenge- Kröller-Müller Museum | Unieke combinatie van kunst en natuur

Les nouveautés du jour : - Hervé "Comme tout le monde" - Lusaint "Sober" Le journal de la musique : - Devenez citoyen chez John Lennon et Yoko Ono - Une nouvelle série sur le mythique festival Lollapalooza Who's Who : Matt Helders des Arctic Monkeys Les classiques du jour : - PJ Harvey "Good Fortune" - Visage "Fade To Grey" Le live du jour : The Police "Don't Stand So Close to Me" (Live at the Omni, Atlanta) A suivre : Aden Foyer "Queen of the Night"

MGMT - Bubblegum Dog The Doors - Soul Kitchen David Bowie - Lazarus The Runaways - Cherry Bomb Frank Carter & The Rattlesnakes - Brambles Les Wampas - Manu Chao Dolly Parton - Jolene Cold War Kids - Run Away With Me George Thorogood & The Destroyers - Bad To The Bone Trevor Horn Feat. Iggy Pop - Personal Jesus Metallica - Fade To Black Gossip - Crazy Again Bobby Ramone - I Don't Wanna Stand Up Vampire Weekend - A-Punk Blur - Parklife Bob Vylan - He's A Man Led Zeppelin - Since I Ve Been Loving You Suicidal Tendencies - Institutionalized Tracy Chapman - Stand by Me (Live at the Late Show with David Letterman) Linkin Park - Papercut Mötley Crüe - Girls Girls Girls I Me Mine - Childish World Aretha Franklin - Respect Kings Of Leon - Closer Dr John - In The Night NOFX - Linoleum Bandit Bandit - Pyromane Creedence Clearwater Revival - Ramble Tamble

The Sundilla Radio Hour for the week of 01/01/2024 featuring: Rachael Kilgour “My Father Loved Me” My Father Loved Me (2023 Rachael Kilgour) 4:25 Abby Posner “At Any Cost” Second Chances (2023 Blackbird) 3:12 Tim Grimm “The Little in-Between” The Little in-Between (2023 Tim Grimm) 3:26 Raye Zaragoza “Still Here” Hold That Spirit (2023 Rebel River) 4:16 Ellis Paul “Be the Fire” 55 (2023 Ellis Paul) 3:40 Big Little Lions “After Midnight Here” AMPM (2023 FALLEN TREE) 3:12 Eric Taylor “Jack-Knife Gypsy” Early Eric Taylor (2023 Eric Taylor) 4:30 Joy Clark “Come with Me” Live! in Seattle (2023 Joy Clark) 4:12 David Jacobs-Strain & Bob Beach “Higher” The Belfry Session (2023 David Jacobs-Strain) 3:21 Michelle Malone “Georgia Made” 1977 (2022 SBS) 4:21 Tim Easton “Voice on the Radio” You Don't Really Know Me (2021 Tim Easton) 2:41 Wyatt Edmonson “Somewhere on a Lake” Made for the Road (2023 Wyatt Edmonson) 3:54

Episode 169 of A History of Rock Music in Five Hundred Songs looks at “Piece of My Heart" and the short, tragic life of Janis Joplin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "Spinning Wheel" by Blood, Sweat & Tears. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There are two Mixcloud mixes this time. As there are so many songs by Big Brother and the Holding Company and Janis Joplin excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two . For information on Janis Joplin I used three biographies -- Scars of Sweet Paradise by Alice Echols, Janis: Her Life and Music by Holly George-Warren, and Buried Alive by Myra Friedman. I also referred to the chapter '“Being Good Isn't Always Easy": Aretha Franklin, Janis Joplin, Dusty Springfield, and the Color of Soul' in Just Around Midnight: Rock and Roll and the Racial Imagination by Jack Hamilton. Some information on Bessie Smith came from Bessie Smith by Jackie Kay, a book I can't really recommend given the lack of fact-checking, and Bessie by Chris Albertson. I also referred to Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis And the best place to start with Joplin's music is this five-CD box, which contains both Big Brother and the Holding Company albums she was involved in, plus her two studio albums and bonus tracks. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains discussion of drug addiction and overdose, alcoholism, mental illness, domestic abuse, child abandonment, and racism. If those subjects are likely to cause you upset, you may want to check the transcript or skip this one rather than listen. Also, a subject I should probably say a little more about in this intro because I know I have inadvertently caused upset to at least one listener with this in the past. When it comes to Janis Joplin, it is *impossible* to talk about her without discussing her issues with her weight and self-image. The way I write often involves me paraphrasing the opinions of the people I'm writing about, in a mode known as close third person, and sometimes that means it can look like I am stating those opinions as my own, and sometimes things I say in that mode which *I* think are obviously meant in context to be critiques of those attitudes can appear to others to be replicating them. At least once, I have seriously upset a fat listener when talking about issues related to weight in this manner. I'm going to try to be more careful here, but just in case, I'm going to say before I begin that I think fatphobia is a pernicious form of bigotry, as bad as any other form of bigotry. I'm fat myself and well aware of how systemic discrimination affects fat people. I also think more generally that the pressure put on women to look a particular way is pernicious and disgusting in ways I can't even begin to verbalise, and causes untold harm. If *ANYTHING* I say in this episode comes across as sounding otherwise, that's because I haven't expressed myself clearly enough. Like all people, Janis Joplin had negative characteristics, and at times I'm going to say things that are critical of those. But when it comes to anything to do with her weight or her appearance, if *anything* I say sounds critical of her, rather than of a society that makes women feel awful for their appearance, it isn't meant to. Anyway, on with the show. On January the nineteenth, 1943, Seth Joplin typed up a letter to his wife Dorothy, which read “I wish to tender my congratulations on the anniversary of your successful completion of your production quota for the nine months ending January 19, 1943. I realize that you passed through a period of inflation such as you had never before known—yet, in spite of this, you met your goal by your supreme effort during the early hours of January 19, a good three weeks ahead of schedule.” As you can probably tell from that message, the Joplin family were a strange mixture of ultraconformism and eccentricity, and those two opposing forces would dominate the personality of their firstborn daughter for the whole of her life.  Seth Joplin was a respected engineer at Texaco, where he worked for forty years, but he had actually dropped out of engineering school before completing his degree. His favourite pastime when he wasn't at work was to read -- he was a voracious reader -- and to listen to classical music, which would often move him to tears, but he had also taught himself to make bathtub gin during prohibition, and smoked cannabis. Dorothy, meanwhile, had had the possibility of a singing career before deciding to settle down and become a housewife, and was known for having a particularly beautiful soprano voice. Both were, by all accounts, fiercely intelligent people, but they were also as committed as anyone to the ideals of the middle-class family even as they chafed against its restrictions. Like her mother, young Janis had a beautiful soprano voice, and she became a soloist in her church choir, but after the age of six, she was not encouraged to sing much. Dorothy had had a thyroid operation which destroyed her singing voice, and the family got rid of their piano soon after (different sources say that this was either because Dorothy found her daughter's singing painful now that she couldn't sing herself, or because Seth was upset that his wife could no longer sing. Either seems plausible.) Janis was pushed to be a high-achiever -- she was given a library card as soon as she could write her name, and encouraged to use it, and she was soon advanced in school, skipping a couple of grades. She was also by all accounts a fiercely talented painter, and her parents paid for art lessons. From everything one reads about her pre-teen years, she was a child prodigy who was loved by everyone and who was clearly going to be a success of some kind. Things started to change when she reached her teenage years. Partly, this was just her getting into rock and roll music, which her father thought a fad -- though even there, she differed from her peers. She loved Elvis, but when she heard "Hound Dog", she loved it so much that she tracked down a copy of Big Mama Thornton's original, and told her friends she preferred that: [Excerpt: Big Mama Thornton, "Hound Dog"] Despite this, she was still also an exemplary student and overachiever. But by the time she turned fourteen, things started to go very wrong for her. Partly this was just down to her relationship with her father changing -- she adored him, but he became more distant from his daughters as they grew into women. But also, puberty had an almost wholly negative effect on her, at least by the standards of that time and place. She put on weight (which, again, I do not think is a negative thing, but she did, and so did everyone around her), she got a bad case of acne which didn't ever really go away, and she also didn't develop breasts particularly quickly -- which, given that she was a couple of years younger than the other people in the same classes at school, meant she stood out even more. In the mid-sixties, a doctor apparently diagnosed her as having a "hormone imbalance" -- something that got to her as a possible explanation for why she was, to quote from a letter she wrote then, "not really a woman or enough of one or something." She wondered if "maybe something as simple as a pill could have helped out or even changed that part of me I call ME and has been so messed up.” I'm not a doctor and even if I were, diagnosing historical figures is an unethical thing to do, but certainly the acne, weight gain, and mental health problems she had are all consistent with PCOS, the most common endocrine disorder among women, and it seems likely given what the doctor told her that this was the cause. But at the time all she knew was that she was different, and that in the eyes of her fellow students she had gone from being pretty to being ugly. She seems to have been a very trusting, naive, person who was often the brunt of jokes but who desperately needed to be accepted, and it became clear that her appearance wasn't going to let her fit into the conformist society she was being brought up in, while her high intelligence, low impulse control, and curiosity meant she couldn't even fade into the background. This left her one other option, and she decided that she would deliberately try to look and act as different from everyone else as possible. That way, it would be a conscious choice on her part to reject the standards of her fellow pupils, rather than her being rejected by them. She started to admire rebels. She became a big fan of Jerry Lee Lewis, whose music combined the country music she'd grown up hearing in Texas, the R&B she liked now, and the rebellious nature she was trying to cultivate: [Excerpt: Jerry Lee Lewis, "Whole Lotta Shakin' Goin' On"] When Lewis' career was derailed by his marriage to his teenage cousin, Joplin wrote an angry letter to Time magazine complaining that they had mistreated him in their coverage. But as with so many people of her generation, her love of rock and roll music led her first to the blues and then to folk, and she soon found herself listening to Odetta: [Excerpt: Odetta, "Muleskinner Blues"] One of her first experiences of realising she could gain acceptance from her peers by singing was when she was hanging out with the small group of Bohemian teenagers she was friendly with, and sang an Odetta song, mimicking her voice exactly. But young Janis Joplin was listening to an eclectic range of folk music, and could mimic more than just Odetta. For all that her later vocal style was hugely influenced by Odetta and by other Black singers like Big Mama Thornton and Etta James, her friends in her late teens and early twenties remember her as a vocal chameleon with an achingly pure soprano, who would more often than Odetta be imitating the great Appalachian traditional folk singer Jean Ritchie: [Excerpt: Jean Ritchie, "Lord Randall"] She was, in short, trying her best to become a Beatnik, despite not having any experience of that subculture other than what she read in books -- though she *did* read about them in books, devouring things like Kerouac's On The Road. She came into conflict with her mother, who didn't understand what was happening to her daughter, and who tried to get family counselling to understand what was going on. Her father, who seemed to relate more to Janis, but who was more quietly eccentric, put an end to that, but Janis would still for the rest of her life talk about how her mother had taken her to doctors who thought she was going to end up "either in jail or an insane asylum" to use her words. From this point on, and for the rest of her life, she was torn between a need for approval from her family and her peers, and a knowledge that no matter what she did she couldn't fit in with normal societal expectations. In high school she was a member of the Future Nurses of America, the Future Teachers of America, the Art Club, and Slide Rule Club, but she also had a reputation as a wild girl, and as sexually active (even though by all accounts at this point she was far less so than most of the so-called "good girls" – but her later activity was in part because she felt that if she was going to have that reputation anyway she might as well earn it). She also was known to express radical opinions, like that segregation was wrong, an opinion that the other students in her segregated Texan school didn't even think was wrong, but possibly some sort of sign of mental illness. Her final High School yearbook didn't contain a single other student's signature. And her initial choice of university, Lamar State College of Technology, was not much better. In the next town over, and attended by many of the same students, it had much the same attitudes as the school she'd left. Almost the only long-term effect her initial attendance at university had on her was a negative one -- she found there was another student at the college who was better at painting. Deciding that if she wasn't going to be the best at something she didn't want to do it at all, she more or less gave up on painting at that point. But there was one positive. One of the lecturers at Lamar was Francis Edward "Ab" Abernethy, who would in the early seventies go on to become the Secretary and Editor of the Texas Folklore Society, and was also a passionate folk musician, playing double bass in string bands. Abernethy had a great collection of blues 78s. and it was through this collection that Janis first discovered classic blues, and in particular Bessie Smith: [Excerpt: Bessie Smith, "Black Mountain Blues"] A couple of episodes ago, we had a long look at the history of the music that now gets called "the blues" -- the music that's based around guitars, and generally involves a solo male vocalist, usually Black during its classic period. At the time that music was being made though it wouldn't have been thought of as "the blues" with no modifiers by most people who were aware of it. At the start, even the songs they were playing weren't thought of as blues by the male vocalist/guitarists who played them -- they called the songs they played "reels". The music released by people like Blind Lemon Jefferson, Son House, Robert Johnson, Kokomo Arnold and so on was thought of as blues music, and people would understand and agree with a phrase like "Lonnie Johnson is a blues singer", but it wasn't the first thing people thought of when they talked about "the blues". Until relatively late -- probably some time in the 1960s -- if you wanted to talk about blues music made by Black men with guitars and only that music, you talked about "country blues". If you thought about "the blues", with no qualifiers, you thought about a rather different style of music, one that white record collectors started later to refer to as "classic blues" to differentiate it from what they were now calling "the blues". Nowadays of course if you say "classic blues", most people will think you mean Muddy Waters or John Lee Hooker, people who were contemporary at the time those white record collectors were coming up with their labels, and so that style of music gets referred to as "vaudeville blues", or as "classic female blues": [Excerpt: Mamie Smith, "Crazy Blues"] What we just heard was the first big blues hit performed by a Black person, from 1920, and as we discussed in the episode on "Crossroads" that revolutionised the whole record industry when it came out. The song was performed by Mamie Smith, a vaudeville performer, and was originally titled "Harlem Blues" by its writer, Perry Bradford, before he changed the title to "Crazy Blues" to get it to a wider audience. Bradford was an important figure in the vaudeville scene, though other than being the credited writer of "Keep A-Knockin'" he's little known these days. He was a Black musician and grew up playing in minstrel shows (the history of minstrelsy is a topic for another day, but it's more complicated than the simple image of blackface that we are aware of today -- though as with many "more complicated than that" things it is, also the simple image of blackface we're aware of). He was the person who persuaded OKeh records that there would be a market for music made by Black people that sounded Black (though as we're going to see in this episode, what "sounding Black" means is a rather loaded question). "Crazy Blues" was the result, and it was a massive hit, even though it was marketed specifically towards Black listeners: [Excerpt: Mamie Smith, "Crazy Blues"] The big stars of the early years of recorded blues were all making records in the shadow of "Crazy Blues", and in the case of its very biggest stars, they were working very much in the same mould. The two most important blues stars of the twenties both got their start in vaudeville, and were both women. Ma Rainey, like Mamie Smith, first performed in minstrel shows, but where Mamie Smith's early records had her largely backed by white musicians, Rainey was largely backed by Black musicians, including on several tracks Louis Armstrong: [Excerpt: Ma Rainey, "See See Rider"] Rainey's band was initially led by Thomas Dorsey, one of the most important men in American music, who we've talked about before in several episodes, including the last one. He was possibly the single most important figure in two different genres -- hokum music, when he, under the name "Georgia Tom" recorded "It's Tight Like That" with Tampa Red: [Excerpt: Tampa Red and Georgia Tom, "It's Tight Like That"] And of course gospel music, which to all intents and purposes he invented, and much of whose repertoire he wrote: [Excerpt: Mahalia Jackson, "Take My Hand, Precious Lord"] When Dorsey left Rainey's band, as we discussed right back in episode five, he was replaced by a female pianist, Lil Henderson. The blues was a woman's genre. And Ma Rainey was, by preference, a woman's woman, though she was married to a man: [Excerpt: Ma Rainey, "Prove it on Me"] So was the biggest star of the classic blues era, who was originally mentored by Rainey. Bessie Smith, like Rainey, was a queer woman who had relationships with men but was far more interested in other women.  There were stories that Bessie Smith actually got her start in the business by being kidnapped by Ma Rainey, and forced into performing on the same bills as her in the vaudeville show she was touring in, and that Rainey taught Smith to sing blues in the process. In truth, Rainey mentored Smith more in stagecraft and the ways of the road than in singing, and neither woman was only a blues singer, though both had huge success with their blues records.  Indeed, since Rainey was already in the show, Smith was initially hired as a dancer rather than a singer, and she also worked as a male impersonator. But Smith soon branched out on her own -- from the beginning she was obviously a star. The great jazz clarinettist Sidney Bechet later said of her "She had this trouble in her, this thing that would not let her rest sometimes, a meanness that came and took her over. But what she had was alive … Bessie, she just wouldn't let herself be; it seemed she couldn't let herself be." Bessie Smith was signed by Columbia Records in 1923, as part of the rush to find and record as many Black women blues singers as possible. Her first recording session produced "Downhearted Blues", which became, depending on which sources you read, either the biggest-selling blues record since "Crazy Blues" or the biggest-selling blues record ever, full stop, selling three quarters of a million copies in the six months after its release: [Excerpt: Bessie Smith, "Downhearted Blues"] Smith didn't make royalties off record sales, only making a flat fee, but she became the most popular Black performer of the 1920s. Columbia signed her to an exclusive contract, and she became so rich that she would literally travel between gigs on her own private train. She lived an extravagant life in every way, giving lavishly to her friends and family, but also drinking extraordinary amounts of liquor, having regular affairs, and also often physically or verbally attacking those around her. By all accounts she was not a comfortable person to be around, and she seemed to be trying to fit an entire lifetime into every moment. From 1923 through 1929 she had a string of massive hits. She recorded material in a variety of styles, including the dirty blues: [Excerpt: Bessie Smith, "Empty Bed Blues] And with accompanists like Louis Armstrong: [Excerpt: Bessie Smith with Louis Armstrong, "Cold in Hand Blues"] But the music for which she became best known, and which sold the best, was when she sang about being mistreated by men, as on one of her biggest hits, "'Tain't Nobody's Biz-Ness if I Do" -- and a warning here, I'm going to play a clip of the song, which treats domestic violence in a way that may be upsetting: [Excerpt: Bessie Smith, "'Tain't Nobody's Biz-Ness if I Do"] That kind of material can often seem horrifying to today's listeners -- and quite correctly so, as domestic violence is a horrifying thing -- and it sounds entirely too excusing of the man beating her up for anyone to find it comfortable listening. But the Black feminist scholar Angela Davis has made a convincing case that while these records, and others by Smith's contemporaries, can't reasonably be considered to be feminist, they *are* at the very least more progressive than they now seem, in that they were, even if excusing it, pointing to a real problem which was otherwise left unspoken. And that kind of domestic violence and abuse *was* a real problem, including in Smith's own life. By all accounts she was terrified of her husband, Jack Gee, who would frequently attack her because of her affairs with other people, mostly women. But she was still devastated when he left her for a younger woman, not only because he had left her, but also because he kidnapped their adopted son and had him put into a care home, falsely claiming she had abused him. Not only that, but before Jack left her closest friend had been Jack's niece Ruby and after the split she never saw Ruby again -- though after her death Ruby tried to have a blues career as "Ruby Smith", taking her aunt's surname and recording a few tracks with Sammy Price, the piano player who worked with Sister Rosetta Tharpe: [Excerpt: Ruby Smith with Sammy Price, "Make Me Love You"] The same month, May 1929, that Gee left her, Smith recorded what was to become her last big hit, and most well-known song, "Nobody Knows You When You're Down and Out": [Excerpt: Bessie Smith, "Nobody Knows You When You're Down and Out"] And that could have been the theme for the rest of her life. A few months after that record came out, the Depression hit, pretty much killing the market for blues records. She carried on recording until 1931, but the records weren't selling any more. And at the same time, the talkies came in in the film industry, which along with the Depression ended up devastating the vaudeville audience. Her earnings were still higher than most, but only a quarter of what they had been a year or two earlier. She had one last recording session in 1933, produced by John Hammond for OKeh Records, where she showed that her style had developed over the years -- it was now incorporating the newer swing style, and featured future swing stars Benny Goodman and Jack Teagarden in the backing band: [Excerpt: Bessie Smith, "Gimme a Pigfoot"] Hammond was not hugely impressed with the recordings, preferring her earlier records, and they would be the last she would ever make. She continued as a successful, though no longer record-breaking, live act until 1937, when she and her common-law husband, Lionel Hampton's uncle Richard Morgan, were in a car crash. Morgan escaped, but Smith died of her injuries and was buried on October the fourth 1937. Ten thousand people came to her funeral, but she was buried in an unmarked grave -- she was still legally married to Gee, even though they'd been separated for eight years, and while he supposedly later became rich from songwriting royalties from some of her songs (most of her songs were written by other people, but she wrote a few herself) he refused to pay for a headstone for her. Indeed on more than one occasion he embezzled money that had been raised by other people to provide a headstone. Bessie Smith soon became Joplin's favourite singer of all time, and she started trying to copy her vocals. But other than discovering Smith's music, Joplin seems to have had as terrible a time at university as at school, and soon dropped out and moved back in with her parents. She went to business school for a short while, where she learned some secretarial skills, and then she moved west, going to LA where two of her aunts lived, to see if she could thrive better in a big West Coast city than she did in small-town Texas. Soon she moved from LA to Venice Beach, and from there had a brief sojourn in San Francisco, where she tried to live out her beatnik fantasies at a time when the beatnik culture was starting to fall apart. She did, while she was there, start smoking cannabis, though she never got a taste for that drug, and took Benzedrine and started drinking much more heavily than she had before. She soon lost her job, moved back to Texas, and re-enrolled at the same college she'd been at before. But now she'd had a taste of real Bohemian life -- she'd been singing at coffee houses, and having affairs with both men and women -- and soon she decided to transfer to the University of Texas at Austin. At this point, Austin was very far from the cultural centre it has become in recent decades, and it was still a straitlaced Texan town, but it was far less so than Port Arthur, and she soon found herself in a folk group, the Waller Creek Boys. Janis would play autoharp and sing, sometimes Bessie Smith covers, but also the more commercial country and folk music that was popular at the time, like "Silver Threads and Golden Needles", a song that had originally been recorded by Wanda Jackson but at that time was a big hit for Dusty Springfield's group The Springfields: [Excerpt: The Waller Creek Boys, "Silver Threads and Golden Needles"] But even there, Joplin didn't fit in comfortably. The venue where the folk jams were taking place was a segregated venue, as everywhere around Austin was. And she was enough of a misfit that the campus newspaper did an article on her headlined "She Dares to Be Different!", which read in part "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break out into song it will be handy." There was a small group of wannabe-Beatniks, including Chet Helms, who we've mentioned previously in the Grateful Dead episode, Gilbert Shelton, who went on to be a pioneer of alternative comics and create the Fabulous Furry Freak Brothers, and Shelton's partner in Rip-Off Press, Dave Moriarty, but for the most part the atmosphere in Austin was only slightly better for Janis than it had been in Port Arthur. The final straw for her came when in an annual charity fundraiser joke competition to find the ugliest man on campus, someone nominated her for the "award". She'd had enough of Texas. She wanted to go back to California. She and Chet Helms, who had dropped out of the university earlier and who, like her, had already spent some time on the West Coast, decided to hitch-hike together to San Francisco. Before leaving, she made a recording for her ex-girlfriend Julie Paul, a country and western musician, of a song she'd written herself. It's recorded in what many say was Janis' natural voice -- a voice she deliberately altered in performance in later years because, she would tell people, she didn't think there was room for her singing like that in an industry that already had Joan Baez and Judy Collins. In her early years she would alternate between singing like this and doing her imitations of Black women, but the character of Janis Joplin who would become famous never sang like this. It may well be the most honest thing that she ever recorded, and the most revealing of who she really was: [Excerpt: Janis Joplin, "So Sad to Be Alone"] Joplin and Helms made it to San Francisco, and she started performing at open-mic nights and folk clubs around the Bay Area, singing in her Bessie Smith and Odetta imitation voice, and sometimes making a great deal of money by sounding different from the wispier-voiced women who were the norm at those venues. The two friends parted ways, and she started performing with two other folk musicians, Larry Hanks and Roger Perkins, and she insisted that they would play at least one Bessie Smith song at every performance: [Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, "Black Mountain Blues (live in San Francisco)"] Often the trio would be joined by Billy Roberts, who at that time had just started performing the song that would make his name, "Hey Joe", and Joplin was soon part of the folk scene in the Bay Area, and admired by Dino Valenti, David Crosby, and Jerry Garcia among others. She also sang a lot with Jorma Kaukonnen, and recordings of the two of them together have circulated for years: [Excerpt: Janis Joplin and Jorma Kaukonnen, "Nobody Knows You When You're Down and Out"] Through 1963, 1964, and early 1965 Joplin ping-ponged from coast to coast, spending time in the Bay Area, then Greenwich Village, dropping in on her parents then back to the Bay Area, and she started taking vast quantities of methamphetamine. Even before moving to San Francisco she had been an occasional user of amphetamines – at the time they were regularly prescribed to students as study aids during exam periods, and she had also been taking them to try to lose some of the weight she always hated. But while she was living in San Francisco she became dependent on the drug. At one point her father was worried enough about her health to visit her in San Francisco, where she managed to fool him that she was more or less OK. But she looked to him for reassurance that things would get better for her, and he couldn't give it to her. He told her about a concept that he called the "Saturday night swindle", the idea that you work all week so you can go out and have fun on Saturday in the hope that that will make up for everything else, but that it never does. She had occasional misses with what would have been lucky breaks -- at one point she was in a motorcycle accident just as record labels were interested in signing her, and by the time she got out of the hospital the chance had gone. She became engaged to another speed freak, one who claimed to be an engineer and from a well-off background, but she was becoming severely ill from what was by now a dangerous amphetamine habit, and in May 1965 she decided to move back in with her parents, get clean, and have a normal life. Her new fiance was going to do the same, and they were going to have the conformist life her parents had always wanted, and which she had always wanted to want. Surely with a husband who loved her she could find a way to fit in and just be normal. She kicked the addiction, and wrote her fiance long letters describing everything about her family and the new normal life they were going to have together, and they show her painfully trying to be optimistic about the future, like one where she described her family to him: "My mother—Dorothy—worries so and loves her children dearly. Republican and Methodist, very sincere, speaks in clichés which she really means and is very good to people. (She thinks you have a lovely voice and is terribly prepared to like you.) My father—richer than when I knew him and kind of embarrassed about it—very well read—history his passion—quiet and very excited to have me home because I'm bright and we can talk (about antimatter yet—that impressed him)! I keep telling him how smart you are and how proud I am of you.…" She went back to Lamar, her mother started sewing her a wedding dress, and for much of the year she believed her fiance was going to be her knight in shining armour. But as it happened, the fiance in question was described by everyone else who knew him as a compulsive liar and con man, who persuaded her father to give him money for supposed medical tests before the wedding, but in reality was apparently married to someone else and having a baby with a third woman. After the engagement was broken off, she started performing again around the coffeehouses in Austin and Houston, and she started to realise the possibilities of rock music for her kind of performance. The missing clue came from a group from Austin who she became very friendly with, the Thirteenth Floor Elevators, and the way their lead singer Roky Erickson would wail and yell: [Excerpt: The 13th Floor Elevators, "You're Gonna Miss Me (live)"] If, as now seemed inevitable, Janis was going to make a living as a performer, maybe she should start singing rock music, because it seemed like there was money in it. There was even some talk of her singing with the Elevators. But then an old friend came to Austin from San Francisco with word from Chet Helms. A blues band had formed, and were looking for a singer, and they remembered her from the coffee houses. Would she like to go back to San Francisco and sing with them? In the time she'd been away, Helms had become hugely prominent in the San Francisco music scene, which had changed radically. A band from the area called the Charlatans had been playing a fake-Victorian saloon called the Red Dog in nearby Nevada, and had become massive with the people who a few years earlier had been beatniks: [Excerpt: The Charlatans, "32-20"] When their residency at the Red Dog had finished, several of the crowd who had been regulars there had become a collective of sorts called the Family Dog, and Helms had become their unofficial leader. And there's actually a lot packed into that choice of name. As we'll see in a few future episodes, a lot of West Coast hippies eventually started calling their collectives and communes families. This started as a way to get round bureaucracy -- if a helpful welfare officer put down that the unrelated people living in a house together were a family, suddenly they could get food stamps. As with many things, of course, the label then affected how people thought about themselves, and one thing that's very notable about the San Francisco scene hippies in particular is that they are some of the first people to make a big deal about what we now  call "found family" or "family of choice". But it's also notable how often the hippie found families took their model from the only families these largely middle-class dropouts had ever known, and structured themselves around men going out and doing the work -- selling dope or panhandling or being rock musicians or shoplifting -- with the women staying at home doing the housework. The Family Dog started promoting shows, with the intention of turning San Francisco into "the American Liverpool", and soon Helms was rivalled only by Bill Graham as the major promoter of rock shows in the Bay Area. And now he wanted Janis to come back and join this new band. But Janis was worried. She was clean now. She drank far too much, but she wasn't doing any other drugs. She couldn't go back to San Francisco and risk getting back on methamphetamine. She needn't worry about that, she was told, nobody in San Francisco did speed any more, they were all on LSD -- a drug she hated and so wasn't in any danger from. Reassured, she made the trip back to San Francisco, to join Big Brother and the Holding Company. Big Brother and the Holding Company were the epitome of San Francisco acid rock at the time. They were the house band at the Avalon Ballroom, which Helms ran, and their first ever gig had been at the Trips Festival, which we talked about briefly in the Grateful Dead episode. They were known for being more imaginative than competent -- lead guitarist James Gurley was often described as playing parts that were influenced by John Cage, but was equally often, and equally accurately, described as not actually being able to keep his guitar in tune because he was too stoned. But they were drawing massive crowds with their instrumental freak-out rock music. Helms thought they needed a singer, and he had remembered Joplin, who a few of the group had seen playing the coffee houses. He decided she would be perfect for them, though Joplin wasn't so sure. She thought it was worth a shot, but as she wrote to her parents before meeting the group "Supposed to rehearse w/ the band this afternoon, after that I guess I'll know whether I want to stay & do that for awhile. Right now my position is ambivalent—I'm glad I came, nice to see the city, a few friends, but I'm not at all sold on the idea of becoming the poor man's Cher.” In that letter she also wrote "I'm awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there's an awfully good chance I won't blow it this time." The band she met up with consisted of lead guitarist James Gurley, bass player Peter Albin, rhythm player Sam Andrew, and drummer David Getz.  To start with, Peter Albin sang lead on most songs, with Joplin adding yelps and screams modelled on those of Roky Erickson, but in her first gig with the band she bowled everyone over with her lead vocal on the traditional spiritual "Down on Me", which would remain a staple of their live act, as in this live recording from 1968: [Excerpt: Big Brother and the Holding Company, "Down on Me (Live 1968)"] After that first gig in June 1966, it was obvious that Joplin was going to be a star, and was going to be the group's main lead vocalist. She had developed a whole new stage persona a million miles away from her folk performances. As Chet Helms said “Suddenly this person who would stand upright with her fists clenched was all over the stage. Roky Erickson had modeled himself after the screaming style of Little Richard, and Janis's initial stage presence came from Roky, and ultimately Little Richard. It was a very different Janis.” Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences -- mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. That's not to say that those performances weren't an authentic expression of part of herself -- they absolutely were. But the ethos that dominated San Francisco in the mid-sixties prized self-expression over technical craft, and so Joplin had to portray herself as a freak of nature who just had to let all her emotions out, a wild woman, rather than someone who carefully worked out every nuance of her performances. Joplin actually got the chance to meet one of her idols when she discovered that Willie Mae Thornton was now living and regularly performing in the Bay Area. She and some of her bandmates saw Big Mama play a small jazz club, where she performed a song she wouldn't release on a record for another two years: [Excerpt: Big Mama Thornton, "Ball 'n' Chain"] Janis loved the song and scribbled down the lyrics, then went backstage to ask Big Mama if Big Brother could cover the song. She gave them her blessing, but told them "don't" -- and here she used a word I can't use with a clean rating -- "it up". The group all moved in together, communally, with their partners -- those who had them. Janis was currently single, having dumped her most recent boyfriend after discovering him shooting speed, as she was still determined to stay clean. But she was rapidly discovering that the claim that San Franciscans no longer used much speed had perhaps not been entirely true, as for example Sam Andrew's girlfriend went by the nickname Speedfreak Rita. For now, Janis was still largely clean, but she did start drinking more. Partly this was because of a brief fling with Pigpen from the Grateful Dead, who lived nearby. Janis liked Pigpen as someone else on the scene who didn't much like psychedelics or cannabis -- she didn't like drugs that made her think more, but only drugs that made her able to *stop* thinking (her love of amphetamines doesn't seem to fit this pattern, but a small percentage of people have a different reaction to amphetamine-type stimulants, perhaps she was one of those). Pigpen was a big drinker of Southern Comfort -- so much so that it would kill him within a few years -- and Janis started joining him. Her relationship with Pigpen didn't last long, but the two would remain close, and she would often join the Grateful Dead on stage over the years to duet with him on "Turn On Your Lovelight": [Excerpt: Janis Joplin and the Grateful Dead, "Turn on Your Lovelight"] But within two months of joining the band, Janis nearly left. Paul Rothchild of Elektra Records came to see the group live, and was impressed by their singer, but not by the rest of the band. This was something that would happen again and again over the group's career. The group were all imaginative and creative -- they worked together on their arrangements and their long instrumental jams and often brought in very good ideas -- but they were not the most disciplined or technically skilled of musicians, even when you factored in their heavy drug use, and often lacked the skill to pull off their better ideas. They were hugely popular among the crowds at the Avalon Ballroom, who were on the group's chemical wavelength, but Rothchild was not impressed -- as he was, in general, unimpressed with psychedelic freakouts. He was already of the belief in summer 1966 that the fashion for extended experimental freak-outs would soon come to an end and that there would be a pendulum swing back towards more structured and melodic music. As we saw in the episode on The Band, he would be proved right in a little over a year, but being ahead of the curve he wanted to put together a supergroup that would be able to ride that coming wave, a group that would play old-fashioned blues. He'd got together Stefan Grossman, Steve Mann, and Taj Mahal, and he wanted Joplin to be the female vocalist for the group, dueting with Mahal. She attended one rehearsal, and the new group sounded great. Elektra Records offered to sign them, pay their rent while they rehearsed, and have a major promotional campaign for their first release. Joplin was very, very, tempted, and brought the subject up to her bandmates in Big Brother. They were devastated. They were a family! You don't leave your family! She was meant to be with them forever! They eventually got her to agree to put off the decision at least until after a residency they'd been booked for in Chicago, and she decided to give them the chance, writing to her parents "I decided to stay w/the group but still like to think about the other thing. Trying to figure out which is musically more marketable because my being good isn't enough, I've got to be in a good vehicle.” The trip to Chicago was a disaster. They found that the people of Chicago weren't hugely interested in seeing a bunch of white Californians play the blues, and that the Midwest didn't have the same Bohemian crowds that the coastal cities they were used to had, and so their freak-outs didn't go down well either. After two weeks of their four-week residency, the club owner stopped paying them because they were so unpopular, and they had no money to get home. And then they were approached by Bob Shad. (For those who know the film Walk Hard: The Dewey Cox Story, the Bob Shad in that film is named after this one -- Judd Apatow, the film's director, is Shad's grandson) This Shad was a record producer, who had worked with people like Big Bill Broonzy, Sarah Vaughan, Dinah Washington, and Billy Eckstine over an eighteen-year career, and had recently set up a new label, Mainstream Records. He wanted to sign Big Brother and the Holding Company. They needed money and... well, it was a record contract! It was a contract that took half their publishing, paid them a five percent royalty on sales, and gave them no advance, but it was still a contract, and they'd get union scale for the first session. In that first session in Chicago, they recorded four songs, and strangely only one, "Down on Me", had a solo Janis vocal. Of the other three songs, Sam Andrew and Janis dueted on Sam's song "Call on Me", Albin sang lead on the group composition "Blindman", and Gurley and Janis sang a cover of "All Is Loneliness", a song originally by the avant-garde street musician Moondog: [Excerpt: Big Brother and the Holding Company, "All is Loneliness"] The group weren't happy with the four songs they recorded -- they had to keep the songs to the length of a single, and the engineers made sure that the needles never went into the red, so their guitars sounded far more polite and less distorted than they were used to. Janis was fascinated by the overdubbing process, though, especially double-tracking, which she'd never tried before but which she turned out to be remarkably good at. And they were now signed to a contract, which meant that Janis wouldn't be leaving the group to go solo any time soon. The family were going to stay together. But on the group's return to San Francisco, Janis started doing speed again, encouraged by the people around the group, particularly Gurley's wife. By the time the group's first single, "Blindman" backed with "All is Loneliness", came out, she was an addict again. That initial single did nothing, but the group were fast becoming one of the most popular in the Bay Area, and almost entirely down to Janis' vocals and on-stage persona. Bob Shad had already decided in the initial session that while various band members had taken lead, Janis was the one who should be focused on as the star, and when they drove to LA for their second recording session it was songs with Janis leads that they focused on. At that second session, in which they recorded ten tracks in two days, the group recorded a mix of material including one of Janis' own songs, the blues track "Women is Losers", and a version of the old folk song "the Cuckoo Bird" rearranged by Albin. Again they had to keep the arrangements to two and a half minutes a track, with no extended soloing and a pop arrangement style, and the results sound a lot more like the other San Francisco bands, notably Jefferson Airplane, than like the version of the band that shows itself in their live performances: [Excerpt: Big Brother and the Holding Company, "Coo Coo"] After returning to San Francisco after the sessions, Janis went to see Otis Redding at the Fillmore, turning up several hours before the show started on all three nights to make sure she could be right at the front. One of the other audience members later recalled “It was more fascinating for me, almost, to watch Janis watching Otis, because you could tell that she wasn't just listening to him, she was studying something. There was some kind of educational thing going on there. I was jumping around like the little hippie girl I was, thinking This is so great! and it just stopped me in my tracks—because all of a sudden Janis drew you very deeply into what the performance was all about. Watching her watch Otis Redding was an education in itself.” Joplin would, for the rest of her life, always say that Otis Redding was her all-time favourite singer, and would say “I started singing rhythmically, and now I'm learning from Otis Redding to push a song instead of just sliding over it.” [Excerpt: Otis Redding, "I Can't Turn You Loose (live)"] At the start of 1967, the group moved out of the rural house they'd been sharing and into separate apartments around Haight-Ashbury, and they brought the new year in by playing a free show organised by the Hell's Angels, the violent motorcycle gang who at the time were very close with the proto-hippies in the Bay Area. Janis in particular always got on well with the Angels, whose drugs of choice, like hers, were speed and alcohol more than cannabis and psychedelics. Janis also started what would be the longest on-again off-again relationship she would ever have, with a woman named Peggy Caserta. Caserta had a primary partner, but that if anything added to her appeal for Joplin -- Caserta's partner Kimmie had previously been in a relationship with Joan Baez, and Joplin, who had an intense insecurity that made her jealous of any other female singer who had any success, saw this as in some way a validation both of her sexuality and, transitively, of her talent. If she was dating Baez's ex's lover, that in some way put her on a par with Baez, and when she told friends about Peggy, Janis would always slip that fact in. Joplin and Caserta would see each other off and on for the rest of Joplin's life, but they were never in a monogamous relationship, and Joplin had many other lovers over the years. The next of these was Country Joe McDonald of Country Joe and the Fish, who were just in the process of recording their first album Electric Music for the Mind and Body, when McDonald and Joplin first got together: [Excerpt: Country Joe and the Fish, "Grace"] McDonald would later reminisce about lying with Joplin, listening to one of the first underground FM radio stations, KMPX, and them playing a Fish track and a Big Brother track back to back. Big Brother's second single, the other two songs recorded in the Chicago session, had been released in early 1967, and the B-side, "Down on Me", was getting a bit of airplay in San Francisco and made the local charts, though it did nothing outside the Bay Area: [Excerpt: Big Brother and the Holding Company, "Down on Me"] Janis was unhappy with the record, though, writing to her parents and saying, “Our new record is out. We seem to be pretty dissatisfied w/it. I think we're going to try & get out of the record contract if we can. We don't feel that they know how to promote or engineer a record & every time we recorded for them, they get all our songs, which means we can't do them for another record company. But then if our new record does something, we'd change our mind. But somehow, I don't think it's going to." The band apparently saw a lawyer to see if they could get out of the contract with Mainstream, but they were told it was airtight. They were tied to Bob Shad no matter what for the next five years. Janis and McDonald didn't stay together for long -- they clashed about his politics and her greater fame -- but after they split, she asked him to write a song for her before they became too distant, and he obliged and recorded it on the Fish's next album: [Excerpt: Country Joe and the Fish, "Janis"] The group were becoming so popular by late spring 1967 that when Richard Lester, the director of the Beatles' films among many other classics, came to San Francisco to film Petulia, his follow-up to How I Won The War, he chose them, along with the Grateful Dead, to appear in performance segments in the film. But it would be another filmmaker that would change the course of the group's career irrevocably: [Excerpt: Scott McKenzie, "San Francisco (Be Sure to Wear Some Flowers in Your Hair)"] When Big Brother and the Holding Company played the Monterey Pop Festival, nobody had any great expectations. They were second on the bill on the Saturday, the day that had been put aside for the San Francisco acts, and they were playing in the early afternoon, after a largely unimpressive night before. They had a reputation among the San Francisco crowd, of course, but they weren't even as big as the Grateful Dead, Moby Grape or Country Joe and the Fish, let alone Jefferson Airplane. Monterey launched four careers to new heights, but three of the superstars it made -- Otis Redding, Jimi Hendrix, and the Who -- already had successful careers. Hendrix and the Who had had hits in the UK but not yet broken the US market, while Redding was massively popular with Black people but hadn't yet crossed over to a white audience. Big Brother and the Holding Company, on the other hand, were so unimportant that D.A. Pennebaker didn't even film their set -- their manager at the time had not wanted to sign over the rights to film their performance, something that several of the other acts had also refused -- and nobody had been bothered enough to make an issue of it. Pennebaker just took some crowd shots and didn't bother filming the band. The main thing he caught was Cass Elliot's open-mouthed astonishment at Big Brother's performance -- or rather at Janis Joplin's performance. The members of the group would later complain, not entirely inaccurately, that in the reviews of their performance at Monterey, Joplin's left nipple (the outline of which was apparently visible through her shirt, at least to the male reviewers who took an inordinate interest in such things) got more attention than her four bandmates combined. As Pennebaker later said “She came out and sang, and my hair stood on end. We were told we weren't allowed to shoot it, but I knew if we didn't have Janis in the film, the film would be a wash. Afterward, I said to Albert Grossman, ‘Talk to her manager or break his leg or whatever you have to do, because we've got to have her in this film. I can't imagine this film without this woman who I just saw perform.” Grossman had a talk with the organisers of the festival, Lou Adler and John Phillips, and they offered Big Brother a second spot, the next day, if they would allow their performance to be used in the film. The group agreed, after much discussion between Janis and Grossman, and against the wishes of their manager: [Excerpt: Big Brother and the Holding Company, "Ball and Chain (live at Monterey)"] They were now on Albert Grossman's radar. Or at least, Janis Joplin was. Joplin had always been more of a careerist than the other members of the group. They were in music to have a good time and to avoid working a straight job, and while some of them were more accomplished musicians than their later reputations would suggest -- Sam Andrew, in particular, was a skilled player and serious student of music -- they were fundamentally content with playing the Avalon Ballroom and the Fillmore and making five hundred dollars or so a week between them. Very good money for 1967, but nothing else. Joplin, on the other hand, was someone who absolutely craved success. She wanted to prove to her family that she wasn't a failure and that her eccentricity shouldn't stop them being proud of her; she was always, even at the depths of her addictions, fiscally prudent and concerned about her finances; and she had a deep craving for love. Everyone who talks about her talks about how she had an aching need at all times for approval, connection, and validation, which she got on stage more than she got anywhere else. The bigger the audience, the more they must love her. She'd made all her decisions thus far based on how to balance making music that she loved with commercial success, and this would continue to be the pattern for her in future. And so when journalists started to want to talk to her, even though up to that point Albin, who did most of the on-stage announcements, and Gurley, the lead guitarist, had considered themselves joint leaders of the band, she was eager. And she was also eager to get rid of their manager, who continued the awkward streak that had prevented their first performance at the Monterey Pop Festival from being filmed. The group had the chance to play the Hollywood Bowl -- Bill Graham was putting on a "San Francisco Sound" showcase there, featuring Jefferson Airplane and the Grateful Dead, and got their verbal agreement to play, but after Graham had the posters printed up, their manager refused to sign the contracts unless they were given more time on stage. The next day after that, they played Monterey again -- this time the Monterey Jazz Festival. A very different crowd to the Pop Festival still fell for Janis' performance -- and once again, the film being made of the event didn't include Big Brother's set because of their manager. While all this was going on, the group's recordings from the previous year were rushed out by Mainstream Records as an album, to poor reviews which complained it was nothing like the group's set at Monterey: [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] They were going to need to get out of that contract and sign with somewhere better -- Clive Davis at Columbia Records was already encouraging them to sign with him -- but to do that, they needed a better manager. They needed Albert Grossman. Grossman was one of the best negotiators in the business at that point, but he was also someone who had a genuine love for the music his clients made.  And he had good taste -- he managed Odetta, who Janis idolised as a singer, and Bob Dylan, who she'd been a fan of since his first album came out. He was going to be the perfect manager for the group. But he had one condition though. His first wife had been a heroin addict, and he'd just been dealing with Mike Bloomfield's heroin habit. He had one absolutely ironclad rule, a dealbreaker that would stop him signing them -- they didn't use heroin, did they? Both Gurley and Joplin had used heroin on occasion -- Joplin had only just started, introduced to the drug by Gurley -- but they were only dabblers. They could give it up any time they wanted, right? Of course they could. They told him, in perfect sincerity, that the band didn't use heroin and it wouldn't be a problem. But other than that, Grossman was extremely flexible. He explained to the group at their first meeting that he took a higher percentage than other managers, but that he would also make them more money than other managers -- if money was what they wanted. He told them that they needed to figure out where they wanted their career to be, and what they were willing to do to get there -- would they be happy just playing the same kind of venues they were now, maybe for a little more money, or did they want to be as big as Dylan or Peter, Paul, and Mary? He could get them to whatever level they wanted, and he was happy with working with clients at every level, what did they actually want? The group were agreed -- they wanted to be rich. They decided to test him. They were making twenty-five thousand dollars a year between them at that time, so they got ridiculously ambitious. They told him they wanted to make a *lot* of money. Indeed, they wanted a clause in their contract saying the contract would be void if in the first year they didn't make... thinking of a ridiculous amount, they came up with seventy-five thousand dollars. Grossman's response was to shrug and say "Make it a hundred thousand." The group were now famous and mixing with superstars -- Peter Tork of the Monkees had become a close friend of Janis', and when they played a residency in LA they were invited to John and Michelle Phillips' house to see a rough cut of Monterey Pop. But the group, other than Janis, were horrified -- the film barely showed the other band members at all, just Janis. Dave Getz said later "We assumed we'd appear in the movie as a band, but seeing it was a shock. It was all Janis. They saw her as a superstar in the making. I realized that though we were finally going to be making money and go to another level, it also meant our little family was being separated—there was Janis, and there was the band.” [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] If the group were going to make that hundred thousand dollars a year, they couldn't remain on Mainstream Records, but Bob Shad was not about to give up his rights to what could potentially be the biggest group in America without a fight. But luckily for the group, Clive Davis at Columbia had seen their Monterey performance, and he was also trying to pivot the label towards the new rock music. He was basically willing to do anything to get them. Eventually Columbia agreed to pay Shad two hundred thousand dollars for the group's contract -- Davis and Grossman negotiated so half that was an advance on the group's future earnings, but the other half was just an expense for the label. On top of that the group got an advance payment of fifty thousand dollars for their first album for Columbia, making a total investment by Columbia of a quarter of a million dollars -- in return for which they got to sign the band, and got the rights to the material they'd recorded for Mainstream, though Shad would get a two percent royalty on their first two albums for Columbia. Janis was intimidated by signing for Columbia, because that had been Aretha Franklin's label before she signed to Atlantic, and she regarded Franklin as the greatest performer in music at that time.  Which may have had something to do with the choice of a new song the group added to their setlist in early 1968 -- one which was a current hit for Aretha's sister Erma: [Excerpt: Erma Franklin, "Piece of My Heart"] We talked a little in the last episode about the song "Piece of My Heart" itself, though mostly from the perspective of its performer, Erma Franklin. But the song was, as we mentioned, co-written by Bert Berns. He's someone we've talked about a little bit in previous episodes, notably the ones on "Here Comes the Night" and "Twist and Shout", but those were a couple of years ago, and he's about to become a major figure in the next episode, so we might as well take a moment here to remind listeners (or tell those who haven't heard those episodes) of the basics and explain where "Piece of My Heart" comes in Berns' work as a whole. Bert Berns was a latecomer to the music industry, not getting properly started until he was thirty-one, after trying a variety of other occupations. But when he did get started, he wasted no time making his mark -- he knew he had no time to waste. He had a weak heart and knew the likelihood was he was going to die young. He started an association with Wand records as a songwriter and performer, writing songs for some of Phil Spector's pre-fame recordings, and he also started producing records for Atlantic, where for a long while he was almost the equal of Jerry Wexler or Leiber and Stoller in terms of number of massive hits created. His records with Solomon Burke were the records that first got the R&B genre renamed soul (previously the word "soul" mostly referred to a kind of R&Bish jazz, rather than a kind of gospel-ish R&B). He'd also been one of the few American music industry professionals to work with British bands before the Beatles made it big in the USA, after he became alerted to the Beatles' success with his song "Twist and Shout", which he'd co-written with Phil Medley, and which had been a hit in a version Berns produced for the Isley Brothers: [Excerpt: The Isley Brothers, "Twist and Shout"] That song shows the two elements that existed in nearly every single Bert Berns song or production. The first is the Afro-Caribbean rhythm, a feel he picked up during a stint in Cuba in his twenties. Other people in the Atlantic records team were also partial to those rhythms -- Leiber and Stoller loved what they called the baion rhythm -- but Berns more than anyone else made it his signature. He also very specifically loved the song "La Bamba", especially Ritchie Valens' version of it: [Excerpt: Ritchie Valens, "La Bamba"] He basically seemed to think that was the greatest record ever made, and he certainly loved that three-chord trick I-IV-V-IV chord sequence -- almost but not quite the same as the "Louie Louie" one.  He used it in nearly every song he wrote from that point on -- usually using a bassline that went something like this: [plays I-IV-V-IV bassline] He used it in "Twist and Shout" of course: [Excerpt: The Isley Brothers, "Twist and Shout"] He used it in "Hang on Sloopy": [Excerpt: The McCoys, "Hang on Sloopy"] He *could* get more harmonically sophisticated on occasion, but the vast majority of Berns' songs show the power of simplicity. They're usually based around three chords, and often they're actually only two chords, like "I Want Candy": [Excerpt: The Strangeloves, "I Want Candy"] Or the chorus to "Here Comes the Night" by Them, which is two chords for most of it and only introduces a third right at the end: [Excerpt: Them, "Here Comes the Night"] And even in that song you can hear the "Twist and Shout"/"La Bamba" feel, even if it's not exactly the same chords. Berns' whole career was essentially a way of wringing *every last possible drop* out of all the implications of Ritchie Valens' record. And so even when he did a more harmonically complex song, like "Piece of My Heart", which actually has some minor chords in the bridge, the "La Bamba" chord sequence is used in both the verse: [Excerpt: Erma Franklin, "Piece of My Heart"] And the chorus: [Excerpt: Erma Franklin, "Piece of My Heart"] Berns co-wrote “Piece of My Heart” with Jerry Ragavoy. Berns and Ragavoy had also written "Cry Baby" for Garnet Mimms, which was another Joplin favourite: [Excerpt: Garnet Mimms, "Cry Baby"] And Ragavoy, with other collaborators

Ever wondered why The Tragically Hip never quite cracked the American market? Can being "too Canadian" be a legitimate reason? Join jD, Pete, and Tim, as they delve into these questions and more, in an episode that's all about the legendary Canadian band and renowned producer, Bob Rock. We examine Rock's impactful legacy, his ground-breaking record with The Hip, and why their unique Canadian-ness may have been a double-edged sword in the American music scene.This week, we immerse ourselves in The Hip's 10th studio album, dissecting the distinctive sonic footprint that Bob Rock has imprinted on each track. Hear our candid first reactions, our deep dives into the lyrics' amalgamation of quantum physics, Plato, and God, and how a short hiatus from the album breathed new life into jD's perspectives. From the booming drums akin to Stuart Copeland and Neil Peart's style to the raw, gritty sounds of hip drums, we leave no stone unturned in our exploration of this musical masterpiece.And just when you think we've hit peak musical analysis, think again! We round up our episode with a thoughtful examination of the album's themes of touring and corporate radio. We also give you our take on The Hip's Austin City Limits performance and an exciting, upcoming event in Toronto that promises to echo the essence of a live Tragically Hip experience. To top it all off, we take a side trip to Salt Lake City, diving into its cultural diversity and have a little fun contemplating a world where weed is legal in Utah. So, buckle up for a fun-filled, music-centric journey into the heart of Canadian musicTrack ListingYer not the Ocean - Studio versionIn View - Live from Abbotsford 2009The Kids Don't Get It - Live from Oshawa 2013Last Night I Dreamed that you didn't love Me - Live from Montreal 2006TranscriptTrack 1:[0:00] Well welcome to getting hip to the hip I'm here as always with Pete and Tim and we are checking out for the first time a new hip record every week we do this and we have a lot offun doing it so this week I gave you the 10th studio record produced by famous Canadian producer Bob Rock Bob Rock Bob Ross right he's born for a job part of me make wishes I wasthat guy right hair and everything all the bands he's worked with just oh my god didn't Lambert four Four-wheel drive Lamborghini, like jacked wheels and everything. Track 2:[0:48] Four-wheel drive Lamborghini. Track 3:[0:49] Sorry. Track 1:[0:54] No, don't be sorry. Track 3:[0:57] Let's talk about him a little bit though, because he's done some major bands, right? Track 1:[1:02] Yeah, really. Track 3:[1:03] I mean, wow. That guy's portfolio is quite large. Track 1:[1:09] Like from the mid 80s to the mid 90s he was like, literally. Worked with everybody in rock. Track 3:[1:18] Everybody who's making money. Track 1:[1:20] Yeah. Track 3:[1:21] He went as well. Track 2:[1:22] His last name is Rock. Track 3:[1:23] I know. That's why I kind of wish I was him for that era. Track 2:[1:27] Jeez, dude. Track 3:[1:29] Bon Jovi, Offspring. Track 1:[1:31] He's not as good as the producer Michael Indy. Oh. Track 3:[1:35] Oh, look at that. Track 2:[1:36] Yeah. Track 3:[1:39] No, but seriously, Bob Rock, he was all over the place. He even helped out Cher. But 311, Skid Row, Motley Crue. I mean, this guy. Track 2:[1:48] Which 311 record? Because Grassroots is just, that was a breakthrough, man. I don't know. Track 3:[1:58] I'm not a fan. I didn't know that one. I'd be curious. Track 2:[2:01] Their later stuff, it wasn't. But I bet he's a big Bob Seger fan. Track 3:[2:06] I'm sure. He's sounded pretty significant with Metallica. I was wondering if you, If that rang a bell for you, Mr. Pete. Yeah. Track 2:[2:18] I mean, is this his first record that he's produced with The Hip? Track 1:[2:22] This is the first one. He does two. He does the next two back to back, which they seem to, that seems to be what they do. You know, they work with the producer and then, and thenwork with him again. And it's worked, you know, on a couple of occasions. Track 2:[2:39] Oh, man, yeah, he's got a fucking dude this guy's got a He's got the hair and everything. Track 3:[2:45] She's yeah got a rap sheet. I almost Almost crushing on him Ryan Adams, right? Track 1:[2:51] Yeah, So there was there was great anticipation I think amongst Maybe not the diehard hip fans because the diehard hip fans were gonna we're gonna buy the record regardless andenjoy it regardless. but that that outer fringe that that had been listening the people like me uh that had been had been diehards but had in in between evolution despite you guys really liking it was a recordthat was divisive for me at the time uh i was just listening to other things and you know that's that's all there was to it so um i think that um i've lost my point because i was watchingJessica in the back and she's distracted. Track 2:[3:46] Thanks, Jessica. Geez. Track 1:[3:49] Geez Louise. Oh yeah, the outer fringes like me were thinking, well, Bob Rock knows how to produce a hit record. Maybe this will be the one. You know what I mean? That's like, that's going to bring me back and bring back. I don't know why I was so concerned with their success in the States. I reallydon't. It's, it's, it's pointless. Track 2:[4:14] I feel like it is something that is just fucking ingrained in you Canadians. I mean, I, it's like this, I don't know what it is. I think it's so stupid, but I get it, but I don't get it. I'm just like, why didn't we break through? Why haven't they broken through? Why do you want Americans to like you so much? Guess what? Americans aren't all that fucking great. Take it from one who is one. Track 3:[4:38] In half of us are fucking idiots if not more not more these days, I mean, there's a lot of reproduction happening We're probably towards 60% now. Just I would say Yeah Yeah, you know when I walk down the street I'm like Just ready Let's go No, but but you know I asked the bot, the AI bot, why the hip never broke through acrossthe border other than Detroit and where? or upstate New York, wherever they were playing. And the bot was like... This is my bot voice, it doesn't really exist this way, but the bot was like, They were just too Canadian. Track 1:[5:16] Oh, really? Track 3:[5:19] Yeah, that was a serious point from the bot that people thought that maybe they were just too Canadian. And I thought, wow. Track 1:[5:26] Okay. I don't even know what that means. Track 3:[5:30] Well, because a lot of the content is Canada-themed stuff, you know? Track 1:[5:37] Yeah, but it's not in your face unless somebody points it out. Track 3:[5:43] I mean, that was one explanation. Track 1:[5:46] Yeah, I hear it. Track 3:[5:48] Just content of lyrics. Track 2:[5:50] I mean, if that was the case, for crying out loud, dude, Rick Moranis and John Candy would have never been accepted into popular culture in the United States. That can't be it. Yeah, wrong. Track 3:[6:04] Maybe so because I was thinking, what about the boss? You know, or, I mean, all these artists that sell out concerts around the world. Yeah, was Bruce Springsteen to American? God forbid. Track 2:[6:19] Yeah, a little too American for me. Definitely. Track 3:[6:22] By the way, those blue jeans, pretty handsome. Wow. Track 2:[6:27] And you mentioned Metallica, Tim and JD. He didn't just produce Metallica, but the Black Album. Track 1:[6:35] The Black Album. Track 2:[6:36] Yeah. The one that like, I mean, say what you want about Metallica. I mean, I like a chunk of their stuff. I have a connection because James Hetfield went to my high school. You know? Track 1:[6:49] We know that from episode two. Track 2:[6:52] Do we know that from episode two? Track 3:[6:54] We do. I found this other podcast where it was really hidden inside iTunes, and it's about Pete getting beat up by James Heffield, like he returns to speak at the school and singles outPete. I don't know. I heard that. He said they met at the end, but... Track 2:[7:12] I've never seen the guy, never met the guy, but no, that record was pivotal. I mean, that's where they went from heavy metal band to worldwide, like if you go to another planet, people heard of Metallica. Track 1:[7:27] So here's, here's, this is exactly my point. My point is they had, they had four or five really great records before that, that Metallica fans cleave to and absolutely adore. And Metallica would have had a great career with, with, with just, you know, if they hadn't released the Black Album, they would have had a good career, you know, on the backs of thosefive records. But they did release the Black Album and Bob Rock did produce that record. So there was a thought in my head that maybe the same thing could happen with my band. And that's ridiculous and arbitrary and it ultimately I know doesn't matter, But I think that that's where it came from. Track 3:[8:10] So JD, you mentioned this album wasn't all that for you. Is that what happened? Or what was your reaction when it came out? You said you were late to it? Track 1:[8:20] Yeah, I didn't really get into this record as a fan until I really gave it a bunch of time. And that was when we did the Fully and Completely podcast. I gave it quite a bit of time. And I ended up appreciating it. it. To me, it's an interpretation of a Tragically Hip album, and it's not one that I think is the best interpretation of a Tragically Hip album, but there's some real highlights on it. There's somereal highlights on it. Track 3:[8:59] Do you mean to say it personifies a Tragically Hip album? Is that what you mean by that? Track 1:[9:06] No, because that would mean I would be be making it a person, and calling it by name and things like that. And in this case, what I'm doing... Track 2:[9:15] Okay, you're not buying it a beard, dude. Okay, you're not taking it home, dude. Track 3:[9:20] We're gonna cut that out. No, I'm joking, I'm joking. But with that, did this album kind of represent to you, like, this is a great hip album, it checks boxes? Track 1:[9:32] Or what do you mean by that statement? No, I mean, it's an interpretation of a hip record. A hip hop record to me has backing vocals that I can hear that are Paul Langlois and GordSinclair doing the backup vocals. It's got... Track 2:[9:47] Are they not singing backup on this one? Track 1:[9:49] They are, but it's just mixed differently. It's like you don't hear them the same way. There's like gang vocals on this record. It's true. Track 3:[9:57] It is a little different. Track 1:[9:59] It's just, it's a little bit odd. It's like walking into a room that you're really familiar in, but you have like a feeling like something is off. Like, am I in the same dimension? You know? Track 2:[10:14] It's like when Howard, the duck landed on earth and, and, and thought he was like just home until he saw the first human. Right. Track 3:[10:22] Exactly like that. I mean, that's what I was thinking. Yeah, like yeah. Track 1:[10:27] Yeah, so we gotta we gotta blame Bob Brock for that then That's where I'm going with this Yeah, and he get like I say he gets two stabs at it and this is this is his first stab Yeah, andthere's a lot to like, you know, I don't know. Track 2:[10:39] Should we get into the song by song or We should yeah, we should and when we do I want to I want to kind of comment on what you said JD Because I feel like there's a reason. Track 3:[10:50] Let's keep going with it. Let's keep going. Track 1:[10:51] Yeah, let's go. Track 2:[10:53] Well, I was just gonna say, I hear you when you say I know what you mean by you say it's a hip album personified. Because it's different. It's like, it's a hit, but you're like, something's, it's a little bit like Black Mirror-ish. It's like, is there something I'm missing right now? Yeah, something feels weird. I feel that, you know, it's funny, I got to think to myself, like, what do the members of the hip think? Because like, when they hear, if they were to be flies on the wall in this conversation, because, you know, they all listen week over week. This is a fact, we know this. No, but like, for them, it's probably, I mean, maybe there were some things different, but they're just like, what the fuck is this guy talking about? Track 3:[11:35] They were out front of my house this morning. They were just like, they're hoping to get a glimpse. Track 2:[11:41] Pitchforks? For the first two episodes? With their machetes. Yeah, Jesus. But I feel you, dude. I feel you completely. I do. There's something, not off, but like, as the listener, it just, like, you'll see it when we start talking about the song. I'll point out a few things where I'm just like, yeah, it's saying exactlywhat you just said, JDS. Track 1:[12:06] So where did you guys listen to this record the first time? Track 3:[12:09] Man, I after we last recorded I had a garage project to do and I brought a speaker out there and Got in my zone and just cranked it up and out the gates. I was like, oh this is gonna be Maybe a really fun album and then even during the first song I had I paused it several times and I was distracted and I had Things going on so I did likerestart the album and restart the album restart the album and that has not happen to me with my listenings. So, this one just out the gate for me it was like... all these things were happening but ultimately with the first song i was kind of like whoa what do i think of this it's it was i was a little bit perplexed so yeah after that of course just all thetypical stuff of how i listened to albums just all over the place i really gave this one a lot of time and at one point was like i need to hear this on vinyl i want to hear what's going on withthis album because it was a little bit different and I wasn't necessarily wanting to buy it on vinyl because it's like my favorite one yet. I don't know, I just, I was a little perplexed by this album. Track 1:[13:22] Yeah, yeah. It can be perplexing, yeah. Track 3:[13:27] I was overwhelmed. How about you, Pete? Track 2:[13:33] I did something a little different with this record which was actually good and not to my own even knowing that I was doing it. But I listened to it, I think I first listened to it was inthe car. But second of all, I did some heavy listening right off the bat and then I took a fat break because I was doing other stuff and was busy and I couldn't listen to anything. So I came back to it, revisited it and it gave me a whole new perspective on what the record, what it was, like really, really cool. I mean, it was totally unplanned, but I think when you like, when you start listening to a record and then just listen a bunch over a week straight, nonstop, or like, like regularly, you don't,you look at it one way, but when you listen to it for a bit, and then you put it down and then you come back to it, you have a different perspective than I certainly did. Track 1:[14:32] Interesting. Can't wait to hear more about that. Okay, well let's jump into track by track then. We start out with, you're not the ocean. Track 3:[14:48] Man, you're not coming in. You're not coming in. This song is, it's, well, at one point I was like, Pete's belting this out in the car for this chorus, for sure. So I was trying it too, you know. I love Gord's, whatever he does at the kind of end there. It's a big song. I thought, you know, there's a few songs on this album where I'm like, this is amazing for karaoke. And this song is just big. It's a big singer that way. Is it a breakup song? Is it about death? Or is it like drowning? I read a little bit on it. And there was a lot of Ontario Lake references. You know, it's this, this was kind of, this for me was kind of a word song talking about lots of stuff. Track 1:[15:43] They're called the Great Lakes, Tim. Track 3:[15:43] The Great Lakes, sorry. It was specific to Ontario Lake because, for this song, supposedly, because all those lakes send all their, you know, garbage down into Ontario, which is themost polluted out of the greats. So is it the least great? I don't know. It's somewhat of repetitive song. I like the piano add in. there's piano, like first song I'm hearing. Track 2:[16:08] A lot of piano on this record. Track 3:[16:09] Yeah, a lot of piano, I mean that was, I don't know if that was some Bon Jovi influence in there or something. Anyways, the guitar riff feels a little added, like, you know, like weput extra icing on the cake. Yeah, it was, this is a big song for me. Big chorus. Holy cow. Let's scream it together on three. You guys ready? Just kidding. It's a big one. It's a big opener. Track 2:[16:41] Yeah, I mean, I think this song is, the best way I can put it, summing up in a sentence, this is fastball down the middle, tragically hip. Like when I heard this song, it was just, just, I knew what I was listening to. It sounded like the hip. To me, it was like, and I didn't really dig into Bob Rock prior to the record, but it's like somebody went into the safe in Gord Downie's house, pulled out theformula that is for writing hip songs and fucking followed it and then folded it back up, put it in an envelope, put it in the safe and locked it. Because this song is fucking formulaic, tragically hip. Not in a bad way, in a really cool way. I loved it. I loved Gord's vocals. I love when he gets really high and goes like an octave up. You're not the ocean. And then he goes, you're not. It gets really, it's just, dude, yeah. Track 3:[17:42] And the wolf. Track 2:[17:42] A lot of wolves on this record, man. And it's just, it feels really like, going back to what you said about this record being a hip record personified, it feels like this record wasmanufactured to feel safe and familiar for hip fans. For people to like press play on the first one and just be like, okay, all right, my boys are back. Okay, cool. Okay, cool. Track 1:[18:11] Yeah, I can't hardly disagree with you. Like, I can't. Track 2:[18:15] Just the vibe that I got, you know. Track 3:[18:18] My vibe was kind of like, are we trying to get an older crowd? It didn't feel young to me. I don't know. Track 2:[18:27] Well, this is what, almost 20 years on, right, JD? Track 3:[18:30] Right, exactly. So, you know, fans are getting on in their years. Just hold another conversation. Yeah. The Lonely End of the Rink. So this one I thought was just remarkable in that it could be about Gord and his brother, or Gord or his brother individually, and hockey. And I mean, this is the hockey song, right? Track 1:[18:57] Yeah. Track 3:[18:57] They play the song at games? Track 1:[19:00] I'm sure they do. I'm sure they do. Track 3:[19:03] Yeah. Yeah. This to me was like, you know, the bot said maybe they were too Canadian. I don't I don't know. They play hockey in different countries. Track 1:[19:10] That's right. Track 3:[19:12] But not being a hockey guy, but being a father of two dudes and thinking about brothers, I kind of dug it. The beginning kind of guitar riff start feels like we're getting into an anthem song for me right away, like that guitar at the beginning. Track 1:[19:33] Yeah, this song is written to be played live for sure. Track 3:[19:36] Yeah, the drum and the bass is just super charging. There's this echoey, Pete, if you remember, this is echoey guitar. 100%. Beep, beep, beep, beep, beep. So I've heard that from a few bands, but the first time, actually, Amy and I were in the car and I played the song for her and I said, what does thisechoed out guitar remind you of? Well, I don't know, because there's a few, there's a few, But she said, Duran Duran, this is from Duran Duran. Oh my God, what were these guys listening to on tour? I think they werelistening to anything and everything. I think. Track 1:[20:14] I think they were probably pretty. Track 3:[20:16] I would love to know. Track 1:[20:17] Pretty loose about what they listened to. Yeah. Yeah, yeah. Track 2:[20:20] My money. Track 3:[20:22] That was, what was yours? Track 2:[20:23] No, my money would be that they were, I mean, this says Unforgettable Fire by U2 written all over. Oh, completely. Unforgettable Fire, that whole, like the records just, I was, I was just like, this is, this is... Track 3:[20:39] With like a sprinkle of Robert Plant. I don't know. Track 2:[20:44] There's something else. Track 3:[20:45] There's something else here. Track 2:[20:46] But the thing that was so surprising for me on this song was the drums. Like, Johnny Faye's drums, like, I don't know if it's Bob Rock. I don't know what, but like, I mean, I knew the guy's a good drummer, but this fucking song, all of a sudden he's fucking Stuart Copeland or Neil Peart. Like, what the fuck? Like, I mean, dude, like the drum work is just ridiculous. Track 1:[21:12] He's great. Track 3:[21:13] I agree. I thought at one point the drums on this album were maybe the most raw hip. I don't know, it just that to me was kind of, thank God the drums are that way on this album. If they were polished into like a fucking Bentley or something, Bobby Rock-ish, can we call him Bobby? Track 1:[21:36] You can, you're tight. Track 3:[21:37] That might piss him off if he hears this. Yeah. But yeah, the drums on, I think, throughout were killing it on this album. Track 2:[21:46] But if JD told me, if JD told me, oh, you know, one note about this record, beside it being produced by Bob Rock, Johnny Faye does not play Jones on this. It's just, they have another genre for whatever reason. I would just be like, Oh yeah, that makes sense. Like, and it's not a knock on Johnny Faye. I've just never heard any fucking thing like this from him. Like nothing, nothing. Track 3:[22:05] Yeah. Track 2:[22:07] Nothing. Track 3:[22:08] Almost like he was angry. Do you kind of feel that? Track 2:[22:10] Oh, yeah. Track 3:[22:11] Like, yeah, like not, not hyped about the, maybe the recording process. I don't know. There There was something different on his drums. Track 2:[22:17] Yeah, dude, there's some anger in there. There's some, yeah, all the cool licks. There's an acoustic lick in there and some harpsichord-style effect. But I thought of you, Tim, because there's no, like for a song this grand, they didn't fade it. They ended it, which is cool. Track 1:[22:34] It's true. Track 2:[22:35] Don't fade this shit, man. Fuck it all up. Track 3:[22:37] The momentum of it is really fun, kind of that charging, drumming momentum of the song. It's like, a few songs on this album are kind of locomotive feeling, like they just getgoing, you know? And I think that matches up with part of, at least some, you know, a chunk of the lyrics of this song of joining, oh to join the rush, you know? With Gord's voice just kind of climbing, oh to join the rush! It's fucking great. This was, as comparatively to the prior one, this one I was like, ah, people must, the Canucks must love the song live. Track 1:[23:16] Look at you representing the Pacific Northwest. What's your team called? There's a trivia question. What's your team called? You don't even know. Track 3:[23:27] Dude, I don't follow sports. It's not in my head. Track 1:[23:30] The answer is the Kraken. The Kraken. Track 3:[23:34] I don't even know that. And it makes me laugh because it's ridiculous. You could have, you could have made up like the green zebra tomatoes. You know, I wouldn't have known any better. Track 2:[23:46] Geez. Track 1:[23:48] All right, we go way out of the hips, normal lane, with this next track in view. What did you guys think of this left turn? Track 2:[24:04] You want to take it, Tim? Track 3:[24:06] I mean, I'm just scrolling through the lyrics here. It's really simple. The drums at the beginning of this one, okay, here's more drum notes, are really kind of big and strong and then it softens up. It kind of softens up. Like the song to me, the rest of the music didn't really match the way the drums start which is I'm sure purpose I'm done on purpose but it's like whoa where is thissong shifting to it's it's like felt kind of cute there's keys in the background you know I was like phone rings once phone rings twice phone links three times you know it just felt like Is thiskind of a cash grab radio hit? What is going on here? But you know, of course, I read a little bit about it. And there's like, references to quantum physics and Plato and Gorf's, Gorf's, Gord's believe in God. So, like, is he calling on the Lord? This song confused me. I'm just, if that's not obvious by now. I just wasn't really sure. Track 2:[25:26] Everybody's confused with you now and then. Track 3:[25:30] It's super fun to get into and sing through. Track 1:[25:34] It's fun, but then those lyrics are sort of dark, aren't they? Like, I mean, I've been meaning to call you, I've been meaning to call you, then I do. So this person, for whatever reason, has been meaning to call this other person, and it hasn't called them, then finally does, and the phone ring once, phone rings twice, the phone ringsthree times, and then what? They don't answer? It goes to voicemail? Like what? Like, oh my God. Track 3:[26:04] I mean, if they were calling the Lord, they might still be waiting. Who knows? Track 2:[26:10] Yeah, I don't know that they have voicemail in heaven. I've not been there myself. Track 3:[26:16] Look at that, Jesus doesn't have an iPhone. Wouldn't that be awesome? He'd be so big. Yeah, I don't know. I'm not sure who they were calling or what this one's about. It's kind of fun, but I was like, eh, what's next? But what about you, Mr. P? Track 2:[26:30] I mean, was this a single, by the way, Genie? Track 1:[26:33] I believe this was. Let me just quickly take a look. Track 3:[26:37] It felt damn written. Track 1:[26:39] The first single. Yeah, I mean. Track 3:[26:41] Yeah, there you go. There you go. Track 2:[26:43] I hear you guys with the lyrics and I've been, I think at a certain point, when it comes to The Hip, I've come to appreciate their lyrics so much because Gord's great at what he does. There were a couple times early on when I was digging into lyrics, I started to give them too much weight and it started to sway my opinion of the song, which is fucking stupid becausemusic is not supposed to do that. I mean, yeah, it is in a certain way, but if you really like something and then you dig into the lyrics, like when you dig into the lyrics of the song, fucking, I'll be watching you by the policeand you really know what it's about. No one's gonna fucking like that song and play it at their wedding. It's a creepy ass song, right? But if you kind of step away from it, and you look at it in a different light, you just listen to the melody of it. It's fucking it's a beautiful song. This song is a fucking banger. It's an absolute toe tapper. I loved it. I was fucking that the fucking keyboards. [27:50] I mean, I just was Happy as a pig in shit listening to this. Yeah, I couldn't remove this perfect pop song I am a sucker for a pop song and I make no fucking bones about it man. You know, you give me a pop song That is just pure bubblegum and rock candy and I will just be like where do I sign? This is this is this is one and I just I mean, I loved, loved, loved it. Loved it. Loved it. I think Go ahead. Track 3:[28:25] No, you go. Track 2:[28:28] I was jumping into No, I just I think it's a song like this. It's easy for any hardcore hit fan to be like, fuck that they sold out or whatever. Like, he's such a fucking asshole about it. Excuse my language. But dude, you know what, if I'm any one of those fucking dudes in the band, they probably had a blast recording this. They probably had a shit ton of fun fucking playing it live, becausepeople just fucking dance to it. And it's fun. And anybody who says anything coarse about it, go fuck themselves. That's my piece. Sorry. I guess I'm fucking myself. Track 3:[29:02] So what about this? What about this? I love these lines, right? What about these lines right here? Day erasers dark of night excited states gone in plain sight under the wave or by cave light i lose things change but never in your eyes i mean that's the loaded bit of this song at the endbut you're just going through and you're it's it's nuts to me like i'm i'm hearing the song i'm singing the chorus like you can sing along to this one right even on first listen if you're a megafan you're probably like yes, phone rings once, phone rings twice. And then this Dark Eraser's Dark of Night happens, and it's like, whoa, Gord's throwing the dagger at the wheel at the end here. Track 2:[29:51] Maybe he's just getting shit to rhyme and to fit the song too. I mean, you also don't, that's why I don't, I give, unless somebody's, unless it's like really obvious or whatever, I just try not to give lyrics that much weight because it could ruin a song. I could see if I dig into the lyrics of the song, which I did not, Tim, it would've fucking ruined it for me. I just choose to be like, oh, that's, you know. It is what it is, you know, because it's that's that's another thing because Gord's lyrics are so They're like, you know 30% THC in the CBD like dude you one drop and you're fucking done. So you got to be careful with it it's really potent and And and I I I take his lyrics with a grain of salt because otherwise like all the dude the And the Chani Wenjack shit, dude, if I reallystart digging in and thinking about that, it gets me like depressed and like super pissed off and like, yeah, you know, it does bring attention to it, which is great. But like, if I can't, I can't hold that as close to my heart as I do with some songs, because it just will fucking wreck me. Track 3:[31:15] I guess I'm kind of in the middle like I look into them to a certain degree and I either go all the way, which rarely happens or I kind of stop halfway up the hill, you know, but myone of my favorite things lyrics wise on this one is just his use of the USA calling the USA, the excited states. I think that's what that is and it just made me forever want to call where I'm from the The excited states, the excited states, because it's so true. It's like pew, pew, we're ready. Track 1:[31:49] Oh my God. Track 3:[31:50] We're so excited all the time. Excited in schools, churches, everywhere we go, we're excited country. So that, I mean, it's a packed song. It's simple, but it's, yeah, let's just keep moving. Track 1:[32:05] So the next song that we have to discuss then is Fly, which is our first song that we've heard that isn't a single. Track 2:[32:17] I think this song is, the placement of it is perfect because you've got these three fucking just monsters before and then it kind of brings it down. To me, I felt like it was, I'm in a bar in Alaska. And it's cold out. But when you get inside, it's nice and warm and toasty. And there are mugs of beer and there's a jukebox. And like, it's a romantic comedy. Track 3:[32:48] A pair of glowing thighs. Track 2:[32:50] Totally, man. I'm telling you, man. Track 3:[32:53] That lyric in here is amazing. Track 2:[32:55] I know. Track 3:[32:56] Coastline rise is like a pair of glowing thighs. Track 2:[33:00] See you soon. The chorus is a fucking banger. I just felt like this song was just a feel-good song that didn't slow... like sometimes the songs that slow it down in track three or four, whenever that song comes on a record, it will maybe sometimes put you in a depressing mood or whatever, but this songbuilds up to some fun. But it just, it does take it down a notch in a very nice, beautiful way. I loved it. Yeah, not much more I could say about it. I liked it. I liked it. Tim? Timmy? Track 3:[33:37] Yeah, I just thought there was some fun one-liners in here. It's kind of, I echo what Pete just said. I felt like it was a good number four. It's the guy batting clean up and you know he's solid for a single, you know, to keep things alive. And I think that's kind of what this song is. It felt a little, this is where I went back to Bob Rock and I'm like, this is a little bit Bon Jovi-esque feeling. It just, you know, that's that was kind of about it for me. Track 2:[34:11] By the way, I think what you mean, and I'm not trying to split hairs here, I think what you mean is Jon Bon Jovi. Because if anybody knows anything, there's two things. There's Bon Jovi, which is the band, and then there's Jon Bon Jovi, which is the solo shit. I felt Jon Bon Jovi on that. Track 3:[34:30] Yeah, well, I'm just more referencing like shoulder length feathered cut hair. Track 1:[34:35] That's a lot of years you're covering there. Track 2:[34:39] Well, I mean, Blaze of Glory was by and far his finest work, his finest hour, as was the film Young Guns 2, which... I'm with you there. Track 1:[34:48] I'm with you there. A lot of the movies. It was great. Track 2:[34:54] Oh, oh, God, I gotta rewatch that. Track 1:[34:56] Let's go into the next track, which is one that I always remember from when this record came out, because I had something named the same thing that I had written. I just think, this is me tooting my own horn, but I just think that title, that misspelling with the word sick, Which is journalism speak for there's a spelling error there. It's just so clever. I love it. But what did you think of the song? Track 3:[35:26] Yeah, I mean, I did speaking of spelling errors, I did read that Gord is quoted as saying it actually wasn't supposed to be world container. It was supposed to be world contain her. Oh, really? guys yeah yeah so supposedly the the, you know the the title of this album is incorrect so maybe it's somewhat of a reference to thatyeah so was that I that keep going on the song. Track 2:[35:55] Was she put into a parcel? Because I mean, I don't know. Track 3:[36:02] I don't know. Yeah Maybe maybe maybe it's hmm. That's that's another that's another hit mystery that we'll never know wonder if she's was priority or first-class Well, she had probably would have been DHL if she was coming out ofCanada So who knows? Yeah What do I have on this one, you know, it's I I just immediately went to, where Pete doesn't go sometimes apparently with songs, is like, who is this about? Is this a proposal gone bad? Is it rejection? Is it about being infatuated with someone and not having that feeling reciprocated? And there was some bit I read about it that this... where do I have the quote? This gal from... I guess gal... Lexi Liu. Who knows? Where am I gonna go here? Okay, so this person online wrote that it was about... she had experienced that it was about a teacher of hers who was dating Gord and she rejected Gord's proposal. And supposedly there's like a whole story there about Gord's, you know, one of his relationships. So who knows? Track 1:[37:28] I've... I've not... Track 3:[37:31] I've not heard that story. You have? Track 1:[37:35] No, I haven't. Oh, you haven't? Track 3:[37:37] Okay. So that, that to me, I mean, it got to this level with this, with this song and the lyrics and the content of it. But for me, it kind of got to this level of like, all right, whether or not this one's about, you know, a breakup or what have you, it's, it's, um... it's not my favorite on the album. It's catchy and it's good. It's a good song and it ends kind of at this height of energy, right? Track 1:[38:07] Yeah, it's not around long enough to be a fan. Track 3:[38:11] Yeah, it's... Track 1:[38:11] But it's not a great song, I don't think. Now there will be somebody out there who it's their favorite song and that's cool. That's what's cool about music. Track 3:[38:23] I thought about this one. I don't know. Yeah, I don't know when I'll hear, listen to this one next is kind of what I thought it was like, what's what's next on the album, but I'm curiouswhat Pete thought of it, of course. Track 2:[38:34] You know, I liked it a lot. I mean, I thought that there was some really cool ideas, like they were kind of experimenting with with the song. And I thought that there was like, chaos within that builds up to the chorus. chorus, and then it just returns to the verse. And you're like, okay, you're like, what the fuck is this going on? What is going on? And then it comes back to the verse. And you're like, okay, all right. Yeah, we're back. Because it's a bit disorientating. And, you know, Gord's vocals on this just singing for that guy must have been so cathartic. Track 1:[39:14] Like, he really puts a lot into it. Track 2:[39:17] Yeah, but it feels like he's doing it like he's a guy who like, you know, needs to exercise three hours a day at the gym. And like, that's just him exercising three hours, and you're just like listening to him do it. Because he's like, I got to do this, it's like part of my routine. And he's so good at it. You know what I mean? Like, and, you know, I want to just, you know, we can move on after the song. I like the song. It's definitely not one of my favorites on the record, but I like it. In terms of lyrics, and I just want to say this too, because I don't look at lyrics as much, or I don't look at things, there's a couple reasons for that, and I just want to say why. [40:08] Because, well, for me, writing songs, when I write songs, it's really hard to write a song that's so thematic. You know, that's like one idea that starts off and it's sewn up at the end like a fucking with a bow on it. And like, even then it's like, like, let's say it's not completely thematic, but it's, it's about something. Maybe not like super specific. Even that's hard. Like a lot of shit I've done is just little ideas of things sprinkled in a song and it's like kind of of just jumbled in and thrown in there so sometimes people ask you about things you're likewhat and the reason why I bring that up is because when I make a Steely Dan reference here I don't know if you guys have ever listened to any other shit a lot of people give them a lot ofshit I'll take that as a no I haven't listened to an album no I'll say the same thing but I have no nothing against Steely Dan? No, well, I mean, they're amongst people, amongst music heads, they, the biggest thing they get asked is what the fuck are your lyrics about? And the guy, the singer of the band who's written most of them or the other guy had written them, they always ask the same question. What's this song about? Because the lyrics are just all over the fucking place. [41:30] And ninety nine percent of the time is just like, I don't know, man, we You are just coming up with cool shit to say. I mean really like that's and their lyrics are regarded much as you would regard something like some pixies or pavement lyrics is just like super avant-garde, super strange like what youlike, whoa, that what the fuck is that about? And then you come to find out it's like, it's just, it's just no, yeah, it's nothing. Track 3:[41:59] Well, just random journal entry. Track 2:[42:01] Yeah, totally. And that's another reason why I think I've been head faked a lot and I don't dig into to them because I will prescribe a certain. a feeling or emotion to a song and come to find out I'm fucking wrong, or it's not at all about that. Like, hence, I'll be watching you, or every breath you take, excuse me. And then you're like, fuck, man, why did I play that at my wedding? Track 3:[42:28] You know, I have to think conceptually with Gord's songwriting, like he is such a prolific songwriter. And like, back to one of your first comments be like, I thought it must be, have been, it must have been exhausting to sing these songs or like be on tour and singing classic, you know, 52times in what, two months? Something crazy? Like, god damn. But with his songwriting skills, I mean, I can stop and hear one-liners that are fun and that I enjoy, but he pushes me, the way I receive it, it pushes me into going down rabbit holes of like,what was this song about? And there's been a few where I've listened to him and thought the chorus was, you know, A, B, C, D, E, and I actually look up the lyrics and I have some of the words wrong. It's hilarious. And I love when stuff like that happens. Like, that's entertaining. That's entertaining for me. Track 1:[43:30] That's great. Track 2:[43:31] Excuse me, excuse me while I kiss this guy. Track 3:[43:34] I'm still, I'm still, you know, JD, you've, you've commented on this with me before, but I'm still like, here's an album. It's like a book to me. I want to hear it start to finish and see if there's anything about it that's creating this novel. Or is it like this current album, which I feel like you can put in and put onrandom and it kind of doesn't matter. Order wise, it's one of those types of albums for me. So this song, Lovesick, in general, it's big, and it has this kind of a quick stop ending. It's got a lot of energy to it. After this, I was like, OK, what are we getting to next? I'm kind of like chugging along in this album, trying to get to what maybe is less produce of a feelingand more authentic hip. Track 1:[44:28] But the kids don't get it. Kids don't get it. Track 2:[44:30] Kids don't. Track 3:[44:30] That was it. That was it. It's a fun start. It's got a good build. There's like, quickly into it, there's this, I think, Pete, I don't know if you caught this. I think it might be a drumstick on top of a cymbal. Track 2:[44:47] Yeah, yeah. Like doing a swirl. Track 3:[44:48] Yeah. Right? It's like a swirl sound and then it fades off. I love that shit. I don't want that all the time. I feel like that's the surprise ingredient on a pizza, but there's that sound in this song a few times and it's fucking cool. You know, it's like, yeah, the kids don't get it, I was thinking. We're Gen X, you know, we get it. We were born without technology and we've integrated and we know both sides and that's what this song's about. Generations growing up just being in the middle of it and not getting it and all the hard work this band does and yeah the kids don't get it. But then as I listened to this song probably 20 times I thought, nah, Gord's smarter than me. what is he thinking about with this song, you know? And it felt more like anti-government, like you're not gonna fool us sentiment, which kind of made it even more, for lack of a better word, more punk rock feeling. Like this song was checking and way more boxes for me. Lots of whoos in it, you know, it just, this one is like Bobby Rock left the room and the guys busted out this song. That's the way it felt for me. Track 1:[46:16] Oh, I love it. I love that. And I love it especially because there's almost like a dichotomy of a lyric In this song kids don't get it and the next song, pretend. I think it's. Track 2:[46:36] Oh, there is. There certainly is. Track 1:[46:39] It's that, if I ask you a question, are you gonna lie to me? I said, honey, is that your question? Cause that one's easy. And then we get the, you know, that, that, that. Version of it is the banger version you know and the other version is a little more tone down but top heat what did you think of the kids don't get it. Track 2:[47:01] Well that was the first thing i wrote about pretend obviously but in terms of the kids don't get it i loved it i mean i echo much of what tim said i love the chorus the no. Kids don't get it. The woos in this song, Gord's singing like, he's like a, he's like a fucking pissed off buffalo. You ever seen a buffalo before? Track 1:[47:22] Yeah, driven. Track 3:[47:24] Driven by him. Track 2:[47:26] I was one of those assholes. Track 3:[47:27] They're as big as Volkswagens. Track 2:[47:29] Yeah, yeah, yeah, no, they're huge. Track 3:[47:32] You're one of the assholes? Track 2:[47:33] No, I was one of the assholes that gets out of the car at Custer National Park and, you know, walks over to one. and thinks like, oh, this is cool. Take a picture. And no, that's a fucking dumb move. For anybody listening, thinking that that's cool, or that's ever something to do, don't do it. It's fucking stupid. Track 1:[47:56] To be fair, the buffalo was having dinner. He said to you very politely, if you had waited till I was done dinner, I would have totally let you have the photo. But now I'm gonna tohave to run after you like a pissed off buffalo. Track 2:[48:11] Just said fucking that is the first memory that jogged my mind when I heard Gord's fucking grunts in this song. I feel like he, I want to watch more interviews with him. I really want to dig deep. I just haven't had time. But I want to figure out like, one, whether or not anything Tim has said throughout this his pod in terms of lyrics and meanings, like I know a lot of it has credence to him. But maybe some of it doesn't and like what he thought about it, because I feel like a lot of his words, he just writes down his poetry. And then he shows up to the studio is like, Hey, guys, let's do the song or let's make this song or whatever. Track 3:[48:52] I think he does that, too. I totally agree. Track 2:[48:54] But like, I wonder how much part of it he's sitting down with an acoustic guitar, and like working, working songs out with the lyrics he's written, because that's a whole anotherprocess, you know, to like write a bunch of shit and then to write chords. Like you got you got fucking Paul A. Wan and Gord Sinclair and Rob Baker to do that. You know, so I'm I'm just wondering, you know, what that is. And then if he was Scott, I wish he was fucking alive, man. I would love to fucking interview that guy or just talk to him and just be like, dude, what the fuck? And either I feel like therewould be two scenarios. Either he would be super fucking cool and chill, like, yeah, man, we're just fucking doing this and like this and like this happened, blah, blah, blah, blah. Or he would just like, look at me and be like, you're a feeble minded fuck. I can't wait for this interview to be over, get the fuck out of here. Track 3:[49:51] I think that's what he'd say about me. Track 1:[49:53] No, I don't know. Track 2:[49:55] Probably, probably. You're more nuanced than I am. But I just. Track 3:[49:59] He'd be like, Tim, you're about 16% right on the themes of my lyrics. And that's what I would love. I mean, that's what I love about this guy. I mean, he's obviously so fucking prolific. I wish I had like a book of his poetry sitting right here. Because, you know, he's one of those artists where you get served up something. And everybody, I think, could take their music a little bit differently but have this thread throughout it that joins all the fans together. You know, it's kind of... It's kind of what's amazing about them. And in that regard, who the fuck cares if he was writing about Canadian themes and the discussion of why they didn't make it in Orange County? Track 1:[50:47] Whatever. Track 3:[50:49] It's kind of like, who cares? How many bands not from Japan sell out shows in Japan all the time? They just want to be entertained. and maybe people just need to be entertained and not look into it that much. Track 2:[51:06] That's Stan McKe- That's Stan McKe- I- Stan- Stan McKeta? Or no, his name's not Stan McKeta, but Stan McKeta's Donuts. The people need to entertain, need to be entertained, Wayne. They need the distraction. Like the voices in my head. I thought you said- Why do they come to me to die? Why do they come to me to die? Oh my god. Oh my god. That's- You know, anybody- Wayne's World, like when he goes, why did they come to me to die? Why did they come to me to die? I think it's Wayne's World, too. Track 3:[51:42] Honestly, I thought you said spanakopita. I was just thinking about delicious, delicious Greek baked goods. I was totally in a different land. No, but I, I, let's, let's keep moving this, this song when I heard it, it was exhausting and it was the first song I hit forward on who was like, give me what's next. Yeah. Pretend. If you don't pretend and I don't pretend, pretending might end, but pretend can pretend to end. It's like, oh, this is arduous. This was tough for me. Track 1:[52:22] Wow. Track 2:[52:24] Yeah. J.D., what do you think? I'd love to like, as a hardcore hip. Track 1:[52:29] Well, it meanders. It certainly does meander. If I'm ranking the 11 songs on the record, it's in the bottom 10, right? It's either 10 or 11 on this record for me. But I'm just so curious. I'm so curious about that stanza, like why he chose to use it again, and then why did they sequence those songs back to that? Track 2:[53:00] Totally, right? Track 3:[53:02] I don't know. I don't know. love to know if they, you know, what level they took part in the production of this album. Track 1:[53:12] Did they just hand the keys over? At this point they were very fluent in studio, so I don't know that they get a production credit. Let me quickly look. Usually they do. Track 3:[53:22] I mean, this one I thought at one point after, you know, I did of course listen to it in complete, but... Track 1:[53:29] No, this is producer Bob Rock, period. And most of their other records, even when it was like Steve Berlin. It was like Steve Berlin, the tragically hip Mark Freak, or something like that. So this is, this is interesting. This is straight up Bob Rock. Huh. Okay. Track 3:[53:50] I had thought like the three of us need to do karaoke of this one so we can be like arm and arm I'm just shit-faced. Track 1:[53:58] Pretend? Track 3:[54:00] Yeah. Track 1:[54:01] Oh my gosh. Track 3:[54:02] I think we should pretend to do it and not actually do it. This is a total sing with friends, ironically singing with friends song. It's like a really nice glass of red wine or made me think of like plush velvet. I don't know what the fuck is happening. It's the song's candlelit and I don't know why it makes me feel that way. And it was like, skip, oh, it was tough. Track 2:[54:28] Yeah, I thought it was, I said, it feels like a love song in a fine dining restaurant during Sunday brunch. Yes, Sunday brunch. Track 3:[54:39] See, we were fine dining together. Track 2:[54:41] No, I mean, it doesn't feel, it feels like another band or like, now Gord's singing, And I know Gord had some soul stuff that he did. before he passed, but it definitely feels like, oh, this is not a hip song. This is some of the solo stuff. There's jazz guitar in there, which I gotta say, man, I mean, it speaks to Rob Baker's skills, man, because that guy fucking, I mean, he makes it sound good. The chorus feels really 70s, almost like there's a- AM radio. Track 1:[55:19] Yeah. Track 2:[55:19] Yeah. And there's something that they do with Gord's vocals in there. It's a 70s style thing that came about in the 70s, I feel. But Scott Weiland from Stone Doole Bynes was popular for it. It's where they double the vocals. They take literally I don't he doesn't re-record the vocals. They take the same vocal track, they double it And then they put it like they put the one track offset by like a millisecond to the other. So it sounds more full and rich. And they put put them in in one left, one right. And it sounds like gives this really weird, unique effect. And Wyland, Scott Wyland was prolific for that. But but, yeah, it's got that vibe to it. Fucking random. That's all I have to say about this song. Track 3:[56:12] It's like having two turbos on your car when you record like that, when you produce like that. Track 2:[56:16] It's like having 11 on your amp. Track 1:[56:17] Yeah. Track 3:[56:19] But why not make 10? 10 the loudest. With the lyrics of this one, when I finally, you know, let it, when I finally absorbed it really, because again, I skipped it on first listen, Um, I,you know, maybe this is like a fucking, maybe they were pretending, I don't know. Maybe the band, you know, maybe the band in their, in their career, maybe they're in their career at this point. I mean, I'd be exhausted and to a degree with trying to make it bigger than they are now. It's like, you're in the industry, you are a fucking... When you don't like it, you might be feeling like a marionette, you know? This is big, giant business happening with this band's career, and this is one of those songs maybe they have todo. Track 1:[57:16] Wow. I mean... Track 3:[57:18] Yeah. Track 1:[57:20] Let's move on because I don't dislike the song so much that I'm willing to beat it into a pulp. No, no. Track 2:[57:30] I don't know. Track 3:[57:31] I'm sorry to offend all the Canadians. Track 2:[57:33] I want to make one more quick point real quick. And this is not really about the song, but about the band. And I'll be really brief. My apologies. But to what Tim said about the band. No, no, no, really. This is the band, you know, being exhausted in this night. You have to think this is 2007 right? These guys have been at it 20 years right? They could fucking quit at any time in terms of like probably set money wise. I mean maybe they're not fucking living in, they got three different mansions but I would posit to think that every member of this band is not worrying about where they're going to gettheir next fucking meal. [58:13] Okay, yeah, they were when they did the 100% so That being said though This is a time where things were like through the 2000s, you know up through 2000 early 2002 thingswere like Record sales and all that stuff. They were making a shit ton of money and then think about this time though, man music and Streaming was coming up sales for records tanked, all that money, all that revenue thatpeople were used to just disappeared. And so I would imagine to think that this band went through a bit of a come to Jesus so to speak, and was like... I guess we do. I mean, maybe they're not thinking we got to break into the American market like every fucking Canadian thinks, or we think thinks. But like they're thinking we got to fucking 

Ever wondered why The Tragically Hip never quite cracked the American market? Can being "too Canadian" be a legitimate reason? Join jD, Pete, and Tim, as they delve into these questions and more, in an episode that's all about the legendary Canadian band and renowned producer, Bob Rock. We examine Rock's impactful legacy, his ground-breaking record with The Hip, and why their unique Canadian-ness may have been a double-edged sword in the American music scene.This week, we immerse ourselves in The Hip's 10th studio album, dissecting the distinctive sonic footprint that Bob Rock has imprinted on each track. Hear our candid first reactions, our deep dives into the lyrics' amalgamation of quantum physics, Plato, and God, and how a short hiatus from the album breathed new life into jD's perspectives. From the booming drums akin to Stuart Copeland and Neil Peart's style to the raw, gritty sounds of hip drums, we leave no stone unturned in our exploration of this musical masterpiece.And just when you think we've hit peak musical analysis, think again! We round up our episode with a thoughtful examination of the album's themes of touring and corporate radio. We also give you our take on The Hip's Austin City Limits performance and an exciting, upcoming event in Toronto that promises to echo the essence of a live Tragically Hip experience. To top it all off, we take a side trip to Salt Lake City, diving into its cultural diversity and have a little fun contemplating a world where weed is legal in Utah. So, buckle up for a fun-filled, music-centric journey into the heart of Canadian musicTrack ListingYer not the Ocean - Studio versionIn View - Live from Abbotsford 2009The Kids Don't Get It - Live from Oshawa 2013Last Night I Dreamed that you didn't love Me - Live from Montreal 2006TranscriptTrack 1:[0:00] Well welcome to getting hip to the hip I'm here as always with Pete and Tim and we are checking out for the first time a new hip record every week we do this and we have a lot offun doing it so this week I gave you the 10th studio record produced by famous Canadian producer Bob Rock Bob Rock Bob Ross right he's born for a job part of me make wishes I wasthat guy right hair and everything all the bands he's worked with just oh my god didn't Lambert four Four-wheel drive Lamborghini, like jacked wheels and everything. Track 2:[0:48] Four-wheel drive Lamborghini. Track 3:[0:49] Sorry. Track 1:[0:54] No, don't be sorry. Track 3:[0:57] Let's talk about him a little bit though, because he's done some major bands, right? Track 1:[1:02] Yeah, really. Track 3:[1:03] I mean, wow. That guy's portfolio is quite large. Track 1:[1:09] Like from the mid 80s to the mid 90s he was like, literally. Worked with everybody in rock. Track 3:[1:18] Everybody who's making money. Track 1:[1:20] Yeah. Track 3:[1:21] He went as well. Track 2:[1:22] His last name is Rock. Track 3:[1:23] I know. That's why I kind of wish I was him for that era. Track 2:[1:27] Jeez, dude. Track 3:[1:29] Bon Jovi, Offspring. Track 1:[1:31] He's not as good as the producer Michael Indy. Oh. Track 3:[1:35] Oh, look at that. Track 2:[1:36] Yeah. Track 3:[1:39] No, but seriously, Bob Rock, he was all over the place. He even helped out Cher. But 311, Skid Row, Motley Crue. I mean, this guy. Track 2:[1:48] Which 311 record? Because Grassroots is just, that was a breakthrough, man. I don't know. Track 3:[1:58] I'm not a fan. I didn't know that one. I'd be curious. Track 2:[2:01] Their later stuff, it wasn't. But I bet he's a big Bob Seger fan. Track 3:[2:06] I'm sure. He's sounded pretty significant with Metallica. I was wondering if you, If that rang a bell for you, Mr. Pete. Yeah. Track 2:[2:18] I mean, is this his first record that he's produced with The Hip? Track 1:[2:22] This is the first one. He does two. He does the next two back to back, which they seem to, that seems to be what they do. You know, they work with the producer and then, and thenwork with him again. And it's worked, you know, on a couple of occasions. Track 2:[2:39] Oh, man, yeah, he's got a fucking dude this guy's got a He's got the hair and everything. Track 3:[2:45] She's yeah got a rap sheet. I almost Almost crushing on him Ryan Adams, right? Track 1:[2:51] Yeah, So there was there was great anticipation I think amongst Maybe not the diehard hip fans because the diehard hip fans were gonna we're gonna buy the record regardless andenjoy it regardless. but that that outer fringe that that had been listening the people like me uh that had been had been diehards but had in in between evolution despite you guys really liking it was a recordthat was divisive for me at the time uh i was just listening to other things and you know that's that's all there was to it so um i think that um i've lost my point because i was watchingJessica in the back and she's distracted. Track 2:[3:46] Thanks, Jessica. Geez. Track 1:[3:49] Geez Louise. Oh yeah, the outer fringes like me were thinking, well, Bob Rock knows how to produce a hit record. Maybe this will be the one. You know what I mean? That's like, that's going to bring me back and bring back. I don't know why I was so concerned with their success in the States. I reallydon't. It's, it's, it's pointless. Track 2:[4:14] I feel like it is something that is just fucking ingrained in you Canadians. I mean, I, it's like this, I don't know what it is. I think it's so stupid, but I get it, but I don't get it. I'm just like, why didn't we break through? Why haven't they broken through? Why do you want Americans to like you so much? Guess what? Americans aren't all that fucking great. Take it from one who is one. Track 3:[4:38] In half of us are fucking idiots if not more not more these days, I mean, there's a lot of reproduction happening We're probably towards 60% now. Just I would say Yeah Yeah, you know when I walk down the street I'm like Just ready Let's go No, but but you know I asked the bot, the AI bot, why the hip never broke through acrossthe border other than Detroit and where? or upstate New York, wherever they were playing. And the bot was like... This is my bot voice, it doesn't really exist this way, but the bot was like, They were just too Canadian. Track 1:[5:16] Oh, really? Track 3:[5:19] Yeah, that was a serious point from the bot that people thought that maybe they were just too Canadian. And I thought, wow. Track 1:[5:26] Okay. I don't even know what that means. Track 3:[5:30] Well, because a lot of the content is Canada-themed stuff, you know? Track 1:[5:37] Yeah, but it's not in your face unless somebody points it out. Track 3:[5:43] I mean, that was one explanation. Track 1:[5:46] Yeah, I hear it. Track 3:[5:48] Just content of lyrics. Track 2:[5:50] I mean, if that was the case, for crying out loud, dude, Rick Moranis and John Candy would have never been accepted into popular culture in the United States. That can't be it. Yeah, wrong. Track 3:[6:04] Maybe so because I was thinking, what about the boss? You know, or, I mean, all these artists that sell out concerts around the world. Yeah, was Bruce Springsteen to American? God forbid. Track 2:[6:19] Yeah, a little too American for me. Definitely. Track 3:[6:22] By the way, those blue jeans, pretty handsome. Wow. Track 2:[6:27] And you mentioned Metallica, Tim and JD. He didn't just produce Metallica, but the Black Album. Track 1:[6:35] The Black Album. Track 2:[6:36] Yeah. The one that like, I mean, say what you want about Metallica. I mean, I like a chunk of their stuff. I have a connection because James Hetfield went to my high school. You know? Track 1:[6:49] We know that from episode two. Track 2:[6:52] Do we know that from episode two? Track 3:[6:54] We do. I found this other podcast where it was really hidden inside iTunes, and it's about Pete getting beat up by James Heffield, like he returns to speak at the school and singles outPete. I don't know. I heard that. He said they met at the end, but... Track 2:[7:12] I've never seen the guy, never met the guy, but no, that record was pivotal. I mean, that's where they went from heavy metal band to worldwide, like if you go to another planet, people heard of Metallica. Track 1:[7:27] So here's, here's, this is exactly my point. My point is they had, they had four or five really great records before that, that Metallica fans cleave to and absolutely adore. And Metallica would have had a great career with, with, with just, you know, if they hadn't released the Black Album, they would have had a good career, you know, on the backs of thosefive records. But they did release the Black Album and Bob Rock did produce that record. So there was a thought in my head that maybe the same thing could happen with my band. And that's ridiculous and arbitrary and it ultimately I know doesn't matter, But I think that that's where it came from. Track 3:[8:10] So JD, you mentioned this album wasn't all that for you. Is that what happened? Or what was your reaction when it came out? You said you were late to it? Track 1:[8:20] Yeah, I didn't really get into this record as a fan until I really gave it a bunch of time. And that was when we did the Fully and Completely podcast. I gave it quite a bit of time. And I ended up appreciating it. it. To me, it's an interpretation of a Tragically Hip album, and it's not one that I think is the best interpretation of a Tragically Hip album, but there's some real highlights on it. There's somereal highlights on it. Track 3:[8:59] Do you mean to say it personifies a Tragically Hip album? Is that what you mean by that? Track 1:[9:06] No, because that would mean I would be be making it a person, and calling it by name and things like that. And in this case, what I'm doing... Track 2:[9:15] Okay, you're not buying it a beard, dude. Okay, you're not taking it home, dude. Track 3:[9:20] We're gonna cut that out. No, I'm joking, I'm joking. But with that, did this album kind of represent to you, like, this is a great hip album, it checks boxes? Track 1:[9:32] Or what do you mean by that statement? No, I mean, it's an interpretation of a hip record. A hip hop record to me has backing vocals that I can hear that are Paul Langlois and GordSinclair doing the backup vocals. It's got... Track 2:[9:47] Are they not singing backup on this one? Track 1:[9:49] They are, but it's just mixed differently. It's like you don't hear them the same way. There's like gang vocals on this record. It's true. Track 3:[9:57] It is a little different. Track 1:[9:59] It's just, it's a little bit odd. It's like walking into a room that you're really familiar in, but you have like a feeling like something is off. Like, am I in the same dimension? You know? Track 2:[10:14] It's like when Howard, the duck landed on earth and, and, and thought he was like just home until he saw the first human. Right. Track 3:[10:22] Exactly like that. I mean, that's what I was thinking. Yeah, like yeah. Track 1:[10:27] Yeah, so we gotta we gotta blame Bob Brock for that then That's where I'm going with this Yeah, and he get like I say he gets two stabs at it and this is this is his first stab Yeah, andthere's a lot to like, you know, I don't know. Track 2:[10:39] Should we get into the song by song or We should yeah, we should and when we do I want to I want to kind of comment on what you said JD Because I feel like there's a reason. Track 3:[10:50] Let's keep going with it. Let's keep going. Track 1:[10:51] Yeah, let's go. Track 2:[10:53] Well, I was just gonna say, I hear you when you say I know what you mean by you say it's a hip album personified. Because it's different. It's like, it's a hit, but you're like, something's, it's a little bit like Black Mirror-ish. It's like, is there something I'm missing right now? Yeah, something feels weird. I feel that, you know, it's funny, I got to think to myself, like, what do the members of the hip think? Because like, when they hear, if they were to be flies on the wall in this conversation, because, you know, they all listen week over week. This is a fact, we know this. No, but like, for them, it's probably, I mean, maybe there were some things different, but they're just like, what the fuck is this guy talking about? Track 3:[11:35] They were out front of my house this morning. They were just like, they're hoping to get a glimpse. Track 2:[11:41] Pitchforks? For the first two episodes? With their machetes. Yeah, Jesus. But I feel you, dude. I feel you completely. I do. There's something, not off, but like, as the listener, it just, like, you'll see it when we start talking about the song. I'll point out a few things where I'm just like, yeah, it's saying exactlywhat you just said, JDS. Track 1:[12:06] So where did you guys listen to this record the first time? Track 3:[12:09] Man, I after we last recorded I had a garage project to do and I brought a speaker out there and Got in my zone and just cranked it up and out the gates. I was like, oh this is gonna be Maybe a really fun album and then even during the first song I had I paused it several times and I was distracted and I had Things going on so I did likerestart the album and restart the album restart the album and that has not happen to me with my listenings. So, this one just out the gate for me it was like... all these things were happening but ultimately with the first song i was kind of like whoa what do i think of this it's it was i was a little bit perplexed so yeah after that of course just all thetypical stuff of how i listened to albums just all over the place i really gave this one a lot of time and at one point was like i need to hear this on vinyl i want to hear what's going on withthis album because it was a little bit different and I wasn't necessarily wanting to buy it on vinyl because it's like my favorite one yet. I don't know, I just, I was a little perplexed by this album. Track 1:[13:22] Yeah, yeah. It can be perplexing, yeah. Track 3:[13:27] I was overwhelmed. How about you, Pete? Track 2:[13:33] I did something a little different with this record which was actually good and not to my own even knowing that I was doing it. But I listened to it, I think I first listened to it was inthe car. But second of all, I did some heavy listening right off the bat and then I took a fat break because I was doing other stuff and was busy and I couldn't listen to anything. So I came back to it, revisited it and it gave me a whole new perspective on what the record, what it was, like really, really cool. I mean, it was totally unplanned, but I think when you like, when you start listening to a record and then just listen a bunch over a week straight, nonstop, or like, like regularly, you don't,you look at it one way, but when you listen to it for a bit, and then you put it down and then you come back to it, you have a different perspective than I certainly did. Track 1:[14:32] Interesting. Can't wait to hear more about that. Okay, well let's jump into track by track then. We start out with, you're not the ocean. Track 3:[14:48] Man, you're not coming in. You're not coming in. This song is, it's, well, at one point I was like, Pete's belting this out in the car for this chorus, for sure. So I was trying it too, you know. I love Gord's, whatever he does at the kind of end there. It's a big song. I thought, you know, there's a few songs on this album where I'm like, this is amazing for karaoke. And this song is just big. It's a big singer that way. Is it a breakup song? Is it about death? Or is it like drowning? I read a little bit on it. And there was a lot of Ontario Lake references. You know, it's this, this was kind of, this for me was kind of a word song talking about lots of stuff. Track 1:[15:43] They're called the Great Lakes, Tim. Track 3:[15:43] The Great Lakes, sorry. It was specific to Ontario Lake because, for this song, supposedly, because all those lakes send all their, you know, garbage down into Ontario, which is themost polluted out of the greats. So is it the least great? I don't know. It's somewhat of repetitive song. I like the piano add in. there's piano, like first song I'm hearing. Track 2:[16:08] A lot of piano on this record. Track 3:[16:09] Yeah, a lot of piano, I mean that was, I don't know if that was some Bon Jovi influence in there or something. Anyways, the guitar riff feels a little added, like, you know, like weput extra icing on the cake. Yeah, it was, this is a big song for me. Big chorus. Holy cow. Let's scream it together on three. You guys ready? Just kidding. It's a big one. It's a big opener. Track 2:[16:41] Yeah, I mean, I think this song is, the best way I can put it, summing up in a sentence, this is fastball down the middle, tragically hip. Like when I heard this song, it was just, just, I knew what I was listening to. It sounded like the hip. To me, it was like, and I didn't really dig into Bob Rock prior to the record, but it's like somebody went into the safe in Gord Downie's house, pulled out theformula that is for writing hip songs and fucking followed it and then folded it back up, put it in an envelope, put it in the safe and locked it. Because this song is fucking formulaic, tragically hip. Not in a bad way, in a really cool way. I loved it. I loved Gord's vocals. I love when he gets really high and goes like an octave up. You're not the ocean. And then he goes, you're not. It gets really, it's just, dude, yeah. Track 3:[17:42] And the wolf. Track 2:[17:42] A lot of wolves on this record, man. And it's just, it feels really like, going back to what you said about this record being a hip record personified, it feels like this record wasmanufactured to feel safe and familiar for hip fans. For people to like press play on the first one and just be like, okay, all right, my boys are back. Okay, cool. Okay, cool. Track 1:[18:11] Yeah, I can't hardly disagree with you. Like, I can't. Track 2:[18:15] Just the vibe that I got, you know. Track 3:[18:18] My vibe was kind of like, are we trying to get an older crowd? It didn't feel young to me. I don't know. Track 2:[18:27] Well, this is what, almost 20 years on, right, JD? Track 3:[18:30] Right, exactly. So, you know, fans are getting on in their years. Just hold another conversation. Yeah. The Lonely End of the Rink. So this one I thought was just remarkable in that it could be about Gord and his brother, or Gord or his brother individually, and hockey. And I mean, this is the hockey song, right? Track 1:[18:57] Yeah. Track 3:[18:57] They play the song at games? Track 1:[19:00] I'm sure they do. I'm sure they do. Track 3:[19:03] Yeah. Yeah. This to me was like, you know, the bot said maybe they were too Canadian. I don't I don't know. They play hockey in different countries. Track 1:[19:10] That's right. Track 3:[19:12] But not being a hockey guy, but being a father of two dudes and thinking about brothers, I kind of dug it. The beginning kind of guitar riff start feels like we're getting into an anthem song for me right away, like that guitar at the beginning. Track 1:[19:33] Yeah, this song is written to be played live for sure. Track 3:[19:36] Yeah, the drum and the bass is just super charging. There's this echoey, Pete, if you remember, this is echoey guitar. 100%. Beep, beep, beep, beep, beep. So I've heard that from a few bands, but the first time, actually, Amy and I were in the car and I played the song for her and I said, what does thisechoed out guitar remind you of? Well, I don't know, because there's a few, there's a few, But she said, Duran Duran, this is from Duran Duran. Oh my God, what were these guys listening to on tour? I think they werelistening to anything and everything. I think. Track 1:[20:14] I think they were probably pretty. Track 3:[20:16] I would love to know. Track 1:[20:17] Pretty loose about what they listened to. Yeah. Yeah, yeah. Track 2:[20:20] My money. Track 3:[20:22] That was, what was yours? Track 2:[20:23] No, my money would be that they were, I mean, this says Unforgettable Fire by U2 written all over. Oh, completely. Unforgettable Fire, that whole, like the records just, I was, I was just like, this is, this is... Track 3:[20:39] With like a sprinkle of Robert Plant. I don't know. Track 2:[20:44] There's something else. Track 3:[20:45] There's something else here. Track 2:[20:46] But the thing that was so surprising for me on this song was the drums. Like, Johnny Faye's drums, like, I don't know if it's Bob Rock. I don't know what, but like, I mean, I knew the guy's a good drummer, but this fucking song, all of a sudden he's fucking Stuart Copeland or Neil Peart. Like, what the fuck? Like, I mean, dude, like the drum work is just ridiculous. Track 1:[21:12] He's great. Track 3:[21:13] I agree. I thought at one point the drums on this album were maybe the most raw hip. I don't know, it just that to me was kind of, thank God the drums are that way on this album. If they were polished into like a fucking Bentley or something, Bobby Rock-ish, can we call him Bobby? Track 1:[21:36] You can, you're tight. Track 3:[21:37] That might piss him off if he hears this. Yeah. But yeah, the drums on, I think, throughout were killing it on this album. Track 2:[21:46] But if JD told me, if JD told me, oh, you know, one note about this record, beside it being produced by Bob Rock, Johnny Faye does not play Jones on this. It's just, they have another genre for whatever reason. I would just be like, Oh yeah, that makes sense. Like, and it's not a knock on Johnny Faye. I've just never heard any fucking thing like this from him. Like nothing, nothing. Track 3:[22:05] Yeah. Track 2:[22:07] Nothing. Track 3:[22:08] Almost like he was angry. Do you kind of feel that? Track 2:[22:10] Oh, yeah. Track 3:[22:11] Like, yeah, like not, not hyped about the, maybe the recording process. I don't know. There There was something different on his drums. Track 2:[22:17] Yeah, dude, there's some anger in there. There's some, yeah, all the cool licks. There's an acoustic lick in there and some harpsichord-style effect. But I thought of you, Tim, because there's no, like for a song this grand, they didn't fade it. They ended it, which is cool. Track 1:[22:34] It's true. Track 2:[22:35] Don't fade this shit, man. Fuck it all up. Track 3:[22:37] The momentum of it is really fun, kind of that charging, drumming momentum of the song. It's like, a few songs on this album are kind of locomotive feeling, like they just getgoing, you know? And I think that matches up with part of, at least some, you know, a chunk of the lyrics of this song of joining, oh to join the rush, you know? With Gord's voice just kind of climbing, oh to join the rush! It's fucking great. This was, as comparatively to the prior one, this one I was like, ah, people must, the Canucks must love the song live. Track 1:[23:16] Look at you representing the Pacific Northwest. What's your team called? There's a trivia question. What's your team called? You don't even know. Track 3:[23:27] Dude, I don't follow sports. It's not in my head. Track 1:[23:30] The answer is the Kraken. The Kraken. Track 3:[23:34] I don't even know that. And it makes me laugh because it's ridiculous. You could have, you could have made up like the green zebra tomatoes. You know, I wouldn't have known any better. Track 2:[23:46] Geez. Track 1:[23:48] All right, we go way out of the hips, normal lane, with this next track in view. What did you guys think of this left turn? Track 2:[24:04] You want to take it, Tim? Track 3:[24:06] I mean, I'm just scrolling through the lyrics here. It's really simple. The drums at the beginning of this one, okay, here's more drum notes, are really kind of big and strong and then it softens up. It kind of softens up. Like the song to me, the rest of the music didn't really match the way the drums start which is I'm sure purpose I'm done on purpose but it's like whoa where is thissong shifting to it's it's like felt kind of cute there's keys in the background you know I was like phone rings once phone rings twice phone links three times you know it just felt like Is thiskind of a cash grab radio hit? What is going on here? But you know, of course, I read a little bit about it. And there's like, references to quantum physics and Plato and Gorf's, Gorf's, Gord's believe in God. So, like, is he calling on the Lord? This song confused me. I'm just, if that's not obvious by now. I just wasn't really sure. Track 2:[25:26] Everybody's confused with you now and then. Track 3:[25:30] It's super fun to get into and sing through. Track 1:[25:34] It's fun, but then those lyrics are sort of dark, aren't they? Like, I mean, I've been meaning to call you, I've been meaning to call you, then I do. So this person, for whatever reason, has been meaning to call this other person, and it hasn't called them, then finally does, and the phone ring once, phone rings twice, the phone ringsthree times, and then what? They don't answer? It goes to voicemail? Like what? Like, oh my God. Track 3:[26:04] I mean, if they were calling the Lord, they might still be waiting. Who knows? Track 2:[26:10] Yeah, I don't know that they have voicemail in heaven. I've not been there myself. Track 3:[26:16] Look at that, Jesus doesn't have an iPhone. Wouldn't that be awesome? He'd be so big. Yeah, I don't know. I'm not sure who they were calling or what this one's about. It's kind of fun, but I was like, eh, what's next? But what about you, Mr. P? Track 2:[26:30] I mean, was this a single, by the way, Genie? Track 1:[26:33] I believe this was. Let me just quickly take a look. Track 3:[26:37] It felt damn written. Track 1:[26:39] The first single. Yeah, I mean. Track 3:[26:41] Yeah, there you go. There you go. Track 2:[26:43] I hear you guys with the lyrics and I've been, I think at a certain point, when it comes to The Hip, I've come to appreciate their lyrics so much because Gord's great at what he does. There were a couple times early on when I was digging into lyrics, I started to give them too much weight and it started to sway my opinion of the song, which is fucking stupid becausemusic is not supposed to do that. I mean, yeah, it is in a certain way, but if you really like something and then you dig into the lyrics, like when you dig into the lyrics of the song, fucking, I'll be watching you by the policeand you really know what it's about. No one's gonna fucking like that song and play it at their wedding. It's a creepy ass song, right? But if you kind of step away from it, and you look at it in a different light, you just listen to the melody of it. It's fucking it's a beautiful song. This song is a fucking banger. It's an absolute toe tapper. I loved it. I was fucking that the fucking keyboards. [27:50] I mean, I just was Happy as a pig in shit listening to this. Yeah, I couldn't remove this perfect pop song I am a sucker for a pop song and I make no fucking bones about it man. You know, you give me a pop song That is just pure bubblegum and rock candy and I will just be like where do I sign? This is this is this is one and I just I mean, I loved, loved, loved it. Loved it. Loved it. I think Go ahead. Track 3:[28:25] No, you go. Track 2:[28:28] I was jumping into No, I just I think it's a song like this. It's easy for any hardcore hit fan to be like, fuck that they sold out or whatever. Like, he's such a fucking asshole about it. Excuse my language. But dude, you know what, if I'm any one of those fucking dudes in the band, they probably had a blast recording this. They probably had a shit ton of fun fucking playing it live, becausepeople just fucking dance to it. And it's fun. And anybody who says anything coarse about it, go fuck themselves. That's my piece. Sorry. I guess I'm fucking myself. Track 3:[29:02] So what about this? What about this? I love these lines, right? What about these lines right here? Day erasers dark of night excited states gone in plain sight under the wave or by cave light i lose things change but never in your eyes i mean that's the loaded bit of this song at the endbut you're just going through and you're it's it's nuts to me like i'm i'm hearing the song i'm singing the chorus like you can sing along to this one right even on first listen if you're a megafan you're probably like yes, phone rings once, phone rings twice. And then this Dark Eraser's Dark of Night happens, and it's like, whoa, Gord's throwing the dagger at the wheel at the end here. Track 2:[29:51] Maybe he's just getting shit to rhyme and to fit the song too. I mean, you also don't, that's why I don't, I give, unless somebody's, unless it's like really obvious or whatever, I just try not to give lyrics that much weight because it could ruin a song. I could see if I dig into the lyrics of the song, which I did not, Tim, it would've fucking ruined it for me. I just choose to be like, oh, that's, you know. It is what it is, you know, because it's that's that's another thing because Gord's lyrics are so They're like, you know 30% THC in the CBD like dude you one drop and you're fucking done. So you got to be careful with it it's really potent and And and I I I take his lyrics with a grain of salt because otherwise like all the dude the And the Chani Wenjack shit, dude, if I reallystart digging in and thinking about that, it gets me like depressed and like super pissed off and like, yeah, you know, it does bring attention to it, which is great. But like, if I can't, I can't hold that as close to my heart as I do with some songs, because it just will fucking wreck me. Track 3:[31:15] I guess I'm kind of in the middle like I look into them to a certain degree and I either go all the way, which rarely happens or I kind of stop halfway up the hill, you know, but myone of my favorite things lyrics wise on this one is just his use of the USA calling the USA, the excited states. I think that's what that is and it just made me forever want to call where I'm from the The excited states, the excited states, because it's so true. It's like pew, pew, we're ready. Track 1:[31:49] Oh my God. Track 3:[31:50] We're so excited all the time. Excited in schools, churches, everywhere we go, we're excited country. So that, I mean, it's a packed song. It's simple, but it's, yeah, let's just keep moving. Track 1:[32:05] So the next song that we have to discuss then is Fly, which is our first song that we've heard that isn't a single. Track 2:[32:17] I think this song is, the placement of it is perfect because you've got these three fucking just monsters before and then it kind of brings it down. To me, I felt like it was, I'm in a bar in Alaska. And it's cold out. But when you get inside, it's nice and warm and toasty. And there are mugs of beer and there's a jukebox. And like, it's a romantic comedy. Track 3:[32:48] A pair of glowing thighs. Track 2:[32:50] Totally, man. I'm telling you, man. Track 3:[32:53] That lyric in here is amazing. Track 2:[32:55] I know. Track 3:[32:56] Coastline rise is like a pair of glowing thighs. Track 2:[33:00] See you soon. The chorus is a fucking banger. I just felt like this song was just a feel-good song that didn't slow... like sometimes the songs that slow it down in track three or four, whenever that song comes on a record, it will maybe sometimes put you in a depressing mood or whatever, but this songbuilds up to some fun. But it just, it does take it down a notch in a very nice, beautiful way. I loved it. Yeah, not much more I could say about it. I liked it. I liked it. Tim? Timmy? Track 3:[33:37] Yeah, I just thought there was some fun one-liners in here. It's kind of, I echo what Pete just said. I felt like it was a good number four. It's the guy batting clean up and you know he's solid for a single, you know, to keep things alive. And I think that's kind of what this song is. It felt a little, this is where I went back to Bob Rock and I'm like, this is a little bit Bon Jovi-esque feeling. It just, you know, that's that was kind of about it for me. Track 2:[34:11] By the way, I think what you mean, and I'm not trying to split hairs here, I think what you mean is Jon Bon Jovi. Because if anybody knows anything, there's two things. There's Bon Jovi, which is the band, and then there's Jon Bon Jovi, which is the solo shit. I felt Jon Bon Jovi on that. Track 3:[34:30] Yeah, well, I'm just more referencing like shoulder length feathered cut hair. Track 1:[34:35] That's a lot of years you're covering there. Track 2:[34:39] Well, I mean, Blaze of Glory was by and far his finest work, his finest hour, as was the film Young Guns 2, which... I'm with you there. Track 1:[34:48] I'm with you there. A lot of the movies. It was great. Track 2:[34:54] Oh, oh, God, I gotta rewatch that. Track 1:[34:56] Let's go into the next track, which is one that I always remember from when this record came out, because I had something named the same thing that I had written. I just think, this is me tooting my own horn, but I just think that title, that misspelling with the word sick, Which is journalism speak for there's a spelling error there. It's just so clever. I love it. But what did you think of the song? Track 3:[35:26] Yeah, I mean, I did speaking of spelling errors, I did read that Gord is quoted as saying it actually wasn't supposed to be world container. It was supposed to be world contain her. Oh, really? guys yeah yeah so supposedly the the, you know the the title of this album is incorrect so maybe it's somewhat of a reference to thatyeah so was that I that keep going on the song. Track 2:[35:55] Was she put into a parcel? Because I mean, I don't know. Track 3:[36:02] I don't know. Yeah Maybe maybe maybe it's hmm. That's that's another that's another hit mystery that we'll never know wonder if she's was priority or first-class Well, she had probably would have been DHL if she was coming out ofCanada So who knows? Yeah What do I have on this one, you know, it's I I just immediately went to, where Pete doesn't go sometimes apparently with songs, is like, who is this about? Is this a proposal gone bad? Is it rejection? Is it about being infatuated with someone and not having that feeling reciprocated? And there was some bit I read about it that this... where do I have the quote? This gal from... I guess gal... Lexi Liu. Who knows? Where am I gonna go here? Okay, so this person online wrote that it was about... she had experienced that it was about a teacher of hers who was dating Gord and she rejected Gord's proposal. And supposedly there's like a whole story there about Gord's, you know, one of his relationships. So who knows? Track 1:[37:28] I've... I've not... Track 3:[37:31] I've not heard that story. You have? Track 1:[37:35] No, I haven't. Oh, you haven't? Track 3:[37:37] Okay. So that, that to me, I mean, it got to this level with this, with this song and the lyrics and the content of it. But for me, it kind of got to this level of like, all right, whether or not this one's about, you know, a breakup or what have you, it's, it's, um... it's not my favorite on the album. It's catchy and it's good. It's a good song and it ends kind of at this height of energy, right? Track 1:[38:07] Yeah, it's not around long enough to be a fan. Track 3:[38:11] Yeah, it's... Track 1:[38:11] But it's not a great song, I don't think. Now there will be somebody out there who it's their favorite song and that's cool. That's what's cool about music. Track 3:[38:23] I thought about this one. I don't know. Yeah, I don't know when I'll hear, listen to this one next is kind of what I thought it was like, what's what's next on the album, but I'm curiouswhat Pete thought of it, of course. Track 2:[38:34] You know, I liked it a lot. I mean, I thought that there was some really cool ideas, like they were kind of experimenting with with the song. And I thought that there was like, chaos within that builds up to the chorus. chorus, and then it just returns to the verse. And you're like, okay, you're like, what the fuck is this going on? What is going on? And then it comes back to the verse. And you're like, okay, all right. Yeah, we're back. Because it's a bit disorientating. And, you know, Gord's vocals on this just singing for that guy must have been so cathartic. Track 1:[39:14] Like, he really puts a lot into it. Track 2:[39:17] Yeah, but it feels like he's doing it like he's a guy who like, you know, needs to exercise three hours a day at the gym. And like, that's just him exercising three hours, and you're just like listening to him do it. Because he's like, I got to do this, it's like part of my routine. And he's so good at it. You know what I mean? Like, and, you know, I want to just, you know, we can move on after the song. I like the song. It's definitely not one of my favorites on the record, but I like it. In terms of lyrics, and I just want to say this too, because I don't look at lyrics as much, or I don't look at things, there's a couple reasons for that, and I just want to say why. [40:08] Because, well, for me, writing songs, when I write songs, it's really hard to write a song that's so thematic. You know, that's like one idea that starts off and it's sewn up at the end like a fucking with a bow on it. And like, even then it's like, like, let's say it's not completely thematic, but it's, it's about something. Maybe not like super specific. Even that's hard. Like a lot of shit I've done is just little ideas of things sprinkled in a song and it's like kind of of just jumbled in and thrown in there so sometimes people ask you about things you're likewhat and the reason why I bring that up is because when I make a Steely Dan reference here I don't know if you guys have ever listened to any other shit a lot of people give them a lot ofshit I'll take that as a no I haven't listened to an album no I'll say the same thing but I have no nothing against Steely Dan? No, well, I mean, they're amongst people, amongst music heads, they, the biggest thing they get asked is what the fuck are your lyrics about? And the guy, the singer of the band who's written most of them or the other guy had written them, they always ask the same question. What's this song about? Because the lyrics are just all over the fucking place. [41:30] And ninety nine percent of the time is just like, I don't know, man, we You are just coming up with cool shit to say. I mean really like that's and their lyrics are regarded much as you would regard something like some pixies or pavement lyrics is just like super avant-garde, super strange like what youlike, whoa, that what the fuck is that about? And then you come to find out it's like, it's just, it's just no, yeah, it's nothing. Track 3:[41:59] Well, just random journal entry. Track 2:[42:01] Yeah, totally. And that's another reason why I think I've been head faked a lot and I don't dig into to them because I will prescribe a certain. a feeling or emotion to a song and come to find out I'm fucking wrong, or it's not at all about that. Like, hence, I'll be watching you, or every breath you take, excuse me. And then you're like, fuck, man, why did I play that at my wedding? Track 3:[42:28] You know, I have to think conceptually with Gord's songwriting, like he is such a prolific songwriter. And like, back to one of your first comments be like, I thought it must be, have been, it must have been exhausting to sing these songs or like be on tour and singing classic, you know, 52times in what, two months? Something crazy? Like, god damn. But with his songwriting skills, I mean, I can stop and hear one-liners that are fun and that I enjoy, but he pushes me, the way I receive it, it pushes me into going down rabbit holes of like,what was this song about? And there's been a few where I've listened to him and thought the chorus was, you know, A, B, C, D, E, and I actually look up the lyrics and I have some of the words wrong. It's hilarious. And I love when stuff like that happens. Like, that's entertaining. That's entertaining for me. Track 1:[43:30] That's great. Track 2:[43:31] Excuse me, excuse me while I kiss this guy. Track 3:[43:34] I'm still, I'm still, you know, JD, you've, you've commented on this with me before, but I'm still like, here's an album. It's like a book to me. I want to hear it start to finish and see if there's anything about it that's creating this novel. Or is it like this current album, which I feel like you can put in and put onrandom and it kind of doesn't matter. Order wise, it's one of those types of albums for me. So this song, Lovesick, in general, it's big, and it has this kind of a quick stop ending. It's got a lot of energy to it. After this, I was like, OK, what are we getting to next? I'm kind of like chugging along in this album, trying to get to what maybe is less produce of a feelingand more authentic hip. Track 1:[44:28] But the kids don't get it. Kids don't get it. Track 2:[44:30] Kids don't. Track 3:[44:30] That was it. That was it. It's a fun start. It's got a good build. There's like, quickly into it, there's this, I think, Pete, I don't know if you caught this. I think it might be a drumstick on top of a cymbal. Track 2:[44:47] Yeah, yeah. Like doing a swirl. Track 3:[44:48] Yeah. Right? It's like a swirl sound and then it fades off. I love that shit. I don't want that all the time. I feel like that's the surprise ingredient on a pizza, but there's that sound in this song a few times and it's fucking cool. You know, it's like, yeah, the kids don't get it, I was thinking. We're Gen X, you know, we get it. We were born without technology and we've integrated and we know both sides and that's what this song's about. Generations growing up just being in the middle of it and not getting it and all the hard work this band does and yeah the kids don't get it. But then as I listened to this song probably 20 times I thought, nah, Gord's smarter than me. what is he thinking about with this song, you know? And it felt more like anti-government, like you're not gonna fool us sentiment, which kind of made it even more, for lack of a better word, more punk rock feeling. Like this song was checking and way more boxes for me. Lots of whoos in it, you know, it just, this one is like Bobby Rock left the room and the guys busted out this song. That's the way it felt for me. Track 1:[46:16] Oh, I love it. I love that. And I love it especially because there's almost like a dichotomy of a lyric In this song kids don't get it and the next song, pretend. I think it's. Track 2:[46:36] Oh, there is. There certainly is. Track 1:[46:39] It's that, if I ask you a question, are you gonna lie to me? I said, honey, is that your question? Cause that one's easy. And then we get the, you know, that, that, that. Version of it is the banger version you know and the other version is a little more tone down but top heat what did you think of the kids don't get it. Track 2:[47:01] Well that was the first thing i wrote about pretend obviously but in terms of the kids don't get it i loved it i mean i echo much of what tim said i love the chorus the no. Kids don't get it. The woos in this song, Gord's singing like, he's like a, he's like a fucking pissed off buffalo. You ever seen a buffalo before? Track 1:[47:22] Yeah, driven. Track 3:[47:24] Driven by him. Track 2:[47:26] I was one of those assholes. Track 3:[47:27] They're as big as Volkswagens. Track 2:[47:29] Yeah, yeah, yeah, no, they're huge. Track 3:[47:32] You're one of the assholes? Track 2:[47:33] No, I was one of the assholes that gets out of the car at Custer National Park and, you know, walks over to one. and thinks like, oh, this is cool. Take a picture. And no, that's a fucking dumb move. For anybody listening, thinking that that's cool, or that's ever something to do, don't do it. It's fucking stupid. Track 1:[47:56] To be fair, the buffalo was having dinner. He said to you very politely, if you had waited till I was done dinner, I would have totally let you have the photo. But now I'm gonna tohave to run after you like a pissed off buffalo. Track 2:[48:11] Just said fucking that is the first memory that jogged my mind when I heard Gord's fucking grunts in this song. I feel like he, I want to watch more interviews with him. I really want to dig deep. I just haven't had time. But I want to figure out like, one, whether or not anything Tim has said throughout this his pod in terms of lyrics and meanings, like I know a lot of it has credence to him. But maybe some of it doesn't and like what he thought about it, because I feel like a lot of his words, he just writes down his poetry. And then he shows up to the studio is like, Hey, guys, let's do the song or let's make this song or whatever. Track 3:[48:52] I think he does that, too. I totally agree. Track 2:[48:54] But like, I wonder how much part of it he's sitting down with an acoustic guitar, and like working, working songs out with the lyrics he's written, because that's a whole anotherprocess, you know, to like write a bunch of shit and then to write chords. Like you got you got fucking Paul A. Wan and Gord Sinclair and Rob Baker to do that. You know, so I'm I'm just wondering, you know, what that is. And then if he was Scott, I wish he was fucking alive, man. I would love to fucking interview that guy or just talk to him and just be like, dude, what the fuck? And either I feel like therewould be two scenarios. Either he would be super fucking cool and chill, like, yeah, man, we're just fucking doing this and like this and like this happened, blah, blah, blah, blah. Or he would just like, look at me and be like, you're a feeble minded fuck. I can't wait for this interview to be over, get the fuck out of here. Track 3:[49:51] I think that's what he'd say about me. Track 1:[49:53] No, I don't know. Track 2:[49:55] Probably, probably. You're more nuanced than I am. But I just. Track 3:[49:59] He'd be like, Tim, you're about 16% right on the themes of my lyrics. And that's what I would love. I mean, that's what I love about this guy. I mean, he's obviously so fucking prolific. I wish I had like a book of his poetry sitting right here. Because, you know, he's one of those artists where you get served up something. And everybody, I think, could take their music a little bit differently but have this thread throughout it that joins all the fans together. You know, it's kind of... It's kind of what's amazing about them. And in that regard, who the fuck cares if he was writing about Canadian themes and the discussion of why they didn't make it in Orange County? Track 1:[50:47] Whatever. Track 3:[50:49] It's kind of like, who cares? How many bands not from Japan sell out shows in Japan all the time? They just want to be entertained. and maybe people just need to be entertained and not look into it that much. Track 2:[51:06] That's Stan McKe- That's Stan McKe- I- Stan- Stan McKeta? Or no, his name's not Stan McKeta, but Stan McKeta's Donuts. The people need to entertain, need to be entertained, Wayne. They need the distraction. Like the voices in my head. I thought you said- Why do they come to me to die? Why do they come to me to die? Oh my god. Oh my god. That's- You know, anybody- Wayne's World, like when he goes, why did they come to me to die? Why did they come to me to die? I think it's Wayne's World, too. Track 3:[51:42] Honestly, I thought you said spanakopita. I was just thinking about delicious, delicious Greek baked goods. I was totally in a different land. No, but I, I, let's, let's keep moving this, this song when I heard it, it was exhausting and it was the first song I hit forward on who was like, give me what's next. Yeah. Pretend. If you don't pretend and I don't pretend, pretending might end, but pretend can pretend to end. It's like, oh, this is arduous. This was tough for me. Track 1:[52:22] Wow. Track 2:[52:24] Yeah. J.D., what do you think? I'd love to like, as a hardcore hip. Track 1:[52:29] Well, it meanders. It certainly does meander. If I'm ranking the 11 songs on the record, it's in the bottom 10, right? It's either 10 or 11 on this record for me. But I'm just so curious. I'm so curious about that stanza, like why he chose to use it again, and then why did they sequence those songs back to that? Track 2:[53:00] Totally, right? Track 3:[53:02] I don't know. I don't know. love to know if they, you know, what level they took part in the production of this album. Track 1:[53:12] Did they just hand the keys over? At this point they were very fluent in studio, so I don't know that they get a production credit. Let me quickly look. Usually they do. Track 3:[53:22] I mean, this one I thought at one point after, you know, I did of course listen to it in complete, but... Track 1:[53:29] No, this is producer Bob Rock, period. And most of their other records, even when it was like Steve Berlin. It was like Steve Berlin, the tragically hip Mark Freak, or something like that. So this is, this is interesting. This is straight up Bob Rock. Huh. Okay. Track 3:[53:50] I had thought like the three of us need to do karaoke of this one so we can be like arm and arm I'm just shit-faced. Track 1:[53:58] Pretend? Track 3:[54:00] Yeah. Track 1:[54:01] Oh my gosh. Track 3:[54:02] I think we should pretend to do it and not actually do it. This is a total sing with friends, ironically singing with friends song. It's like a really nice glass of red wine or made me think of like plush velvet. I don't know what the fuck is happening. It's the song's candlelit and I don't know why it makes me feel that way. And it was like, skip, oh, it was tough. Track 2:[54:28] Yeah, I thought it was, I said, it feels like a love song in a fine dining restaurant during Sunday brunch. Yes, Sunday brunch. Track 3:[54:39] See, we were fine dining together. Track 2:[54:41] No, I mean, it doesn't feel, it feels like another band or like, now Gord's singing, And I know Gord had some soul stuff that he did. before he passed, but it definitely feels like, oh, this is not a hip song. This is some of the solo stuff. There's jazz guitar in there, which I gotta say, man, I mean, it speaks to Rob Baker's skills, man, because that guy fucking, I mean, he makes it sound good. The chorus feels really 70s, almost like there's a- AM radio. Track 1:[55:19] Yeah. Track 2:[55:19] Yeah. And there's something that they do with Gord's vocals in there. It's a 70s style thing that came about in the 70s, I feel. But Scott Weiland from Stone Doole Bynes was popular for it. It's where they double the vocals. They take literally I don't he doesn't re-record the vocals. They take the same vocal track, they double it And then they put it like they put the one track offset by like a millisecond to the other. So it sounds more full and rich. And they put put them in in one left, one right. And it sounds like gives this really weird, unique effect. And Wyland, Scott Wyland was prolific for that. But but, yeah, it's got that vibe to it. Fucking random. That's all I have to say about this song. Track 3:[56:12] It's like having two turbos on your car when you record like that, when you produce like that. Track 2:[56:16] It's like having 11 on your amp. Track 1:[56:17] Yeah. Track 3:[56:19] But why not make 10? 10 the loudest. With the lyrics of this one, when I finally, you know, let it, when I finally absorbed it really, because again, I skipped it on first listen, Um, I,you know, maybe this is like a fucking, maybe they were pretending, I don't know. Maybe the band, you know, maybe the band in their, in their career, maybe they're in their career at this point. I mean, I'd be exhausted and to a degree with trying to make it bigger than they are now. It's like, you're in the industry, you are a fucking... When you don't like it, you might be feeling like a marionette, you know? This is big, giant business happening with this band's career, and this is one of those songs maybe they have todo. Track 1:[57:16] Wow. I mean... Track 3:[57:18] Yeah. Track 1:[57:20] Let's move on because I don't dislike the song so much that I'm willing to beat it into a pulp. No, no. Track 2:[57:30] I don't know. Track 3:[57:31] I'm sorry to offend all the Canadians. Track 2:[57:33] I want to make one more quick point real quick. And this is not really about the song, but about the band. And I'll be really brief. My apologies. But to what Tim said about the band. No, no, no, really. This is the band, you know, being exhausted in this night. You have to think this is 2007 right? These guys have been at it 20 years right? They could fucking quit at any time in terms of like probably set money wise. I mean maybe they're not fucking living in, they got three different mansions but I would posit to think that every member of this band is not worrying about where they're going to gettheir next fucking meal. [58:13] Okay, yeah, they were when they did the 100% so That being said though This is a time where things were like through the 2000s, you know up through 2000 early 2002 thingswere like Record sales and all that stuff. They were making a shit ton of money and then think about this time though, man music and Streaming was coming up sales for records tanked, all that money, all that revenue thatpeople were used to just disappeared. And so I would imagine to think that this band went through a bit of a come to Jesus so to speak, and was like... I guess we do. I mean, maybe they're not thinking we got to break into the American market like every fucking Canadian thinks, or we think thinks. But like they're thinking we got to fucking 

Una artista única e irrepetible, fuera de este mundo. Aunque con una corta carrera musical de apenas 4 años, vivió y experimentó la vida al máximo. Poseedora de una de las voces más potentes del blues y el rock psicodélico de los 60s, heredera musical de Billie Holiday, Bessie Smith, Aretha Franklin y Otis Redding. Siempre con una cálida sonrisa y un pelo alborotado, aquí está: Janis Joplin.Lista de reproducción:Try (Just a Little Bit Harder)One Good Man (fragmento)Piece of My HeartCoo Coo (fragmento)Little Girl BlueCry Baby (fragmento)All is LonelinessDown on Me (Live at Monterey International Pop Festival) (fragmento)Ball and Chain (Live at Monterey International Pop Festival)Bye, Bye Baby (fragmento)Down on MeI Need a Man to Love (fragmento)SummertimeWork Me, Lord (fragmento)MaybeA Woman Left Lonely (fragmento)Get it While you CanMy Baby (fragmento)Me and Bobby McGeeTo Love Somebody (fragmento)Kozmic Blues

PLAYLIST INTRO 20 West: Baby Go Crazy (Single-2022) Cody Joe Hodges: Make it Through (Single-2022) Kimberly Kelly: Honky Tonk Town (Single-2022) Merle Jagger: Pour Me a Drink (Trash Talking Guitars-2022) BlackFields: Im Always Right behind you Honey (Single-2022) Jacob Armitage: Your Hometown (Single-2022) Kristen Renee: Like The World's Gonna End (Single-2022) Jordan Robert Kirk: Good Intentions (Single-2022) Randall King: Roger, Miller Lite and Me (Live at Brooklyn Bowl Nashville -2022) Ri Wolf: Two Wild Horses (Single-2022) Isaac Jacob Band: Better on You (Single-2022) Skip Pullig: Fireflies and Mason Jars (Single-2022) The Broken Spokes: Honky Tonkitis (Where I Went Wrong-2022) Cody Winkler: Fourteen Carat Mind (Single-2022) Ragland: Better to Be Lonely (Single-2022) Tell Runyan: Still the One (Single-2022) OUTRO: Campfire

Estamos de regreso y "Spoiler Alert": para no perder la costumbre de inicios de los programas nos quejamos un poquito sobre la pirotecnia y el clima, pero sin duda los temas que tocamos también han dejado mucho que hablar durante los últimos días. Platicamos sobre la revelación de Ken que veremos en la película de Barbie, sobre el estreno de Buzz Lightyear, y porque no, solo el tema viral y que generó controversia con la mujer que asegura hablar alienígena. ¿Ustedes ya aprendieron a comunicarse con los alienígenas? Las recomendaciones musicales de esta semana son: * Kings of Leon - Wait for Me - Live at Red Bull Sound Space at KROQ, 2014 * Arctic Monkeys - She's Thunderstorms - iHeartRadio Live, 2014 Síguenos en nuestros Instagram: Felipe: https://www.instagram.com/gelipunks/ Jaime: https://www.instagram.com/_megawolf/ Código Libre: https://www.instagram.com/codigolibre.radio/ Y escucha mucho nuestra estación www.codigolibreradio.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/frikindieviduos/support

Screeching Weasel – “Any Minute Now” – ‘The Awful Disclosures of Screeching Weasel' Dropped Out – “I'm Still Alive” – ‘Get Lost' Breaklights – “Dream On” – ‘Wind Down' Amuse – “Telescope” – ‘Horsing Around' Fatrace – “Rappokki Girl” – ‘Here Come The New Noisy Neighbors' The Young Rochelles – “Fantasy World” – single The Slow Death – “So Obscene” – single TV Cop – “Am I Dumb?” – single Sweet Teeth – “No Me” -‘High Anxiety' Snuff – “One Of These Days” – ‘Crepuscolo Dorato' Martha – “Please Don't Take Me Back” – single Johnnie Carwash – “Shy” – st Cosmit – “Go Go Go” – ‘It's Cosmit' PLOSIVS – “Rose Waterfall” – st Les Salvatges – “No Vull Ser Un Policia” - ‘El Caliu I La Cendra' The Melmacs – “Record Store” - single Flatfoot 56 –“Stutter” – ‘Odd Boat' Undertipper – “Joneses” – ‘Bent Spent Bridge' Among Legends – “Come Up Swinging” – ‘Take Good Care' Cereal Killers – “Pizza Wars” – ‘Snap Crackle Pop Punk' Florida Men – “Better Safe Than Sober” – new st The Reflectors – “Faster Action” – ‘Faster Action” Alvilda – “Kylie” – st Pogy et les Kéfars – “Kilomètre-heure” – ‘Dans Ton Rétro' Les Shirleys – “Fuck It I'm In Love” – ‘Forever is Now' Civic – “Back to You” - ‘Future Forecast' Direct Hit – “Hollow Comfort” – demo Descendents – “Nightage” – ‘9th and Walnut' Debt Neglector – “Anti Trust” – ‘Dirty Water' Avenues – “Lights Out” – ‘We're All Doomed' Pep Talk – “She Sat Next to Me” – ‘Live, Laugh, Lobotomy'

Big Blind – Russian Roulette ( Circus left town -2009)Los Lonely Boys – Heaven (Live at Blue cat Blues – 2006)J. Geils Band – Cruisin for Love (The J. Geilsband-1970)Daantje – helping hand (Bootleg demo -2009)Nine Below Zero – How Sweet it is (Bring it on home -2007)Phil Guy – Back to Louisiana (He's my blues brother -2006)Eric Sardinas – This Time (Eric Sardinas and Big Motor -2008)Connie Lush and Blues shouter – Doctor Doctor (Live at the Royal Albert Hall – 1999)Sharrie Williams & the wiseguys – Just you and Me (Live at Bay Car bues festival – 2007)Duke Robillard – Money's getting cheaper (Stomp! The blues tonight- 2009)Maurizio Pugno - Kill the Coffee

PLAYLIST 12/30/21 Pep Talk – “She Sat Next to Me” – ‘Live, Laugh, Lobotomy' Teenage Bottlerocket – “Hello Dana” – ‘Sick Sesh!' DeeCracks – “Don't Turn Your Heart Off” – ‘Serious Issues' Sad Girlz Club – “I Think I'm Ready” – ‘I Think I'm Ready' Mark Murphy and The Meds – “Alone Again Nor” – ‘On The Brink' Death by Unga Bunga – “All Pain No Gain” – ‘Heavy Male Insecurity' Los Pepes – “Want You Back” – single Dartz – “Toyota Corolla” – single Neighborhood Brats –“Who Took The Rain” – ‘The Confines of Life' The Suitesixteen – “Everything Stops” – ‘Mine Would be The Sun' Dollar Signs –“Bonghammer” – ‘Hearts of Gold' Skegss – “Down to Ride” – ‘Rehearsal' Tommy Ray – “Beer Wine & Whiskey” – ‘Handful of Hits' Geoff Palmer – “Many More Drugs” – ‘Charts and Graphs' Horror Section – “Can't Stop The Party” – ‘My Bloody Valentine' Lost Love – “Portuguese Knives” – ‘Empathy' Cluttered – “Burn All Of It” – ‘The First Pandemic' The Raging Nathans – “New Direction” – ‘Waste My Heart' Teenage Bigfoot – “I Can't See” – ‘Weapons Against Destruction Animal Byproducts – “Bin Day” – ‘Attempts at Understanding' All Away Lou – “The Never End” – single The Shivvies – “Phone Booth” – st Real Sickies – “Destructive Nights” – ‘Love is for Lovers' Spoilers – “There, Well Thereabouts” – ‘Nice One' Lost in Society – “Say Anything” – ‘Stay Jaded' fear gods. – “The Greatest Song Ever Written” – split w/ The O.C. Rippers Jimmy Vapid – “Walking in Circles” – ‘Killmatic'

1) Intro [00:00] 2) Zion Y Lennox ft Daddy Yankee – Yo Voy [00:30] 3) Zion – Yo Voy a Llegar [02:10] 4) Wisin Y Yandel, Hector El Father – El Telefono [02:30] 5) Hector El Father – Sola [03:22] 6) Zion – Alocate [04:24] 7) Rakim Y Ken-Y – Down [05:45] 8) La Factoria, Eddy Lover – Perdoname [07:06] 9) Big Boy, Angel Lopez – Mis Ojos Lloran Por Ti [08:27] 10) De La Ghetto, Randy – Sensacion Del Bloque [09:30] 11) Don Omar – Pobre Diabla [10:00] 12) Tego Calderon – Dominicana [11:25] 13) Daddy Yankee – Lo Que Paso, Paso [12:36] 14) Ivy Queen – Yo Quiero Bailar [13:16] 15) Daddy Yankee – Gasolina [14:47] 16) Plan B – Guatauba [15:47] 17) El General ft Anayka – Rica y Apretadita [17:02] 18) Jowell Y Randy – No Te Veo [18:02] 19) Arcangel – Pa Que La Pases Bien [19:42] 20) Arcangel – Tengo Ganas De Ti [20:42] 21) Wisin Y Yandel – Me Estas Tentando [21:58] 22) Tego Calderon, Randy – Quitarte To [22:16] 23) Nicky Jam, Daddy Yankee – Donde Estan Las Gatas [23:08] 24) Speedy – Amor Con La Ropa [24:18] 25) Don Chezina – Tra Tra Tra [25:11] 26) Daddy Yankee – Nunca Me Quedo (Live) [26:29] 27) Nicky Jam, Daddy Yankee – La Combi Complet (Live) [26:43] 28) Secreto – Yo Soy Tu Tiguere (Live) [28:03] 29) La Nueva Escuela – Ella Me Mira [28:56] 30) Pablo Piddy – Si Tu Quiere Dembow [29:27] 31) Los Lunaticos – Siente El Ki [30:16] 32) Dembow Clasico Unstoppable Break [30:41] 33) El Alfa – Como Yo Me Muevo [30:57] 34) El Mayor Clasico ft Sensato – Bello [31:37] 35) Secreto – Papa Dios Me Dijo [32:43] 36) The Cover Girls – Show Me [34:55] 37) Shannon – Let The Music Play [36:27] 38) Lisa Lisa & Cult Jam – I Wonder If I Take You Home [37:46] 39) Stevie B – Spring Love [34:53] 40) Cynthia – Change On Me [39:50] 41) Jennifer Lopez – Waiting For Tonight [40:56] 42) Haddaway – What Is Love [42:13] 43) Corona – The Rhythm of the Night [43:13] 44) Modjo – Lady (Hear Me Tonight) [44:20] 45) Daft Punk – One More Time [45:36] 47) Eurythmics – Sweet Dreams (Are Made of This) [46:37] 48) Bon Jovi – Livin’ On A Prayer [47:41] 49) Mana – Oye Mi Amor [48:46] 50) a-ha – Take on Me (Live) [50:37] 51) Michael Jackson – Don’t Stop ‘Til You Get Enough [52:36] 52) Rick James – Give It To Me Baby [54:18] 53) Sergio Vargas – La Ventanita [55:46] 54) Benny Sadel – Que Pasara [57:08] 55) Bonny Cepeda – La Fotografia [58:47] 56) Los Hermanos Rosario – Mi Tonto Amor [60:24] 57) Fernandito Villalona – No Podras [61:45] 58) Rubby Perez – Tu Vas A Volar [63:40] 59) Juan Luis Guerra – El Farolito [65:21] 60) Anthony Santos – Yo Me Muero Por Ti (Live) [67:17] 61) Aventura – La Novelita (Live) [68:42] 62) Aventura – Amor Bonito (Novela 2) [69:09] 63) Teodoro Reyes – Los Pobres Tambien Lloran [70:22] 64) Anthony Santos – Ay Mujer [71:31] 65) Anthony Santos – Te Vas Amor [72:26] 66) Raulin Rodriguez – Medicina De Amor [73:17] 67) Raulin Rodriguez – Su Novio Primero [74:30] 68) Luis Miguel Del Amargue – Niña Coqueta [76:25] 69) Elvis Martinez – Fabula De Amor [77:50] 70) Jose Manuel El Sultan – Elizabeth [79:05] 71) Kiko Rodriguez – Vagabundo, Borracho y Loco [80:19] 72) Joe Veras – Se Te Nota [81:02] 73) Teodoro Reyes – Morire Bebiendo [81:52] 74) Luis Vargas – Esa Mujer [83:45] 75) Juan Bautista – Por Mala Fe [85:05] 76) Hildemaro – Desde El Fondo De Mi Corazon [87:17] 77) Willie Gonzalez – Pequeñas Cosas [89:18] 78) Maelo Ruiz, Pedro Conga – Si Supieras [90:33] 79) Jerry Rivera – Cuenta Conmigo [92:17] 80) Tito Rojas – Ella Se Hizo Deseo [93:51] 81) Eddie Santiago – Me Fallaste [95:38] 82) Grupo Niche – Gotas De Lluvia [96:50] 83) Frankie Ruiz – Ironia [99:06] 84) Los Adolescentes – Personal Ideal [101:21] 85) Selena – Amor Prohibido (Live) [103:03] 86) Selena – Como La Flor (Live) [104:11] 87) Ini Kamoze – World A Reggae (Out In The Street They Call It Murder) [105:15] 88) Buju Banton – Champion [106:39] 89) Red Fox, Rayvon – Bashment Party [107:36] 90) Wayne Wonder – Searching Dem Searching [108:40] 91) Beenie Man – Who Am I [109:02] 92) Mr. Vegas – Nike Air (Hands In The Air) [110:22] 93) Sean Paul – Infiltrate [110:54] 94) Red Rat – Tight Up Skirt [111:57] 95) Mr. Vegas – Heads High [112:53] 96) Louchie Lou & Michie One – Rich Girl [114:24] 97) Cutty Ranks – Limb By Limb [115:38] 98) Chaka Demus & Pliers – Murder She Wrote [116:27] 99) Chaka Demus & Pliers – Bam Bam [117:38] 100) Tanto Metro & Devonte – Everyone Falls in Love [118:21] 101) Sean Paul ft Keyshia Cole – Give It Up To Me [119:31] 102) Wayne Wonder – No Letting Go [120:35] 103) Rupee – Tempted to Touch [122:25] 104) Kevin Lyttle – Turn Me On [123:23] 105) Nelly – Hot In Herre [124:18] 106) Snoop Dogg ft Pharell Williams – Beautiful [125:20] 107) Jagged Edge ft Nelly – Where The Party At [126:31] 108) Fatman Scoop ft Faith Evans – Be Faithful [128:12] 109) Usher ft Lil Jon & Ludacris – Yeah! [129:13] 110) Lil Jon & The East Side Boyz – Get Low [130:55] 111) Ciara ft Petey Pablo – Goodies [131:22] 112) Missy Elliot – Work It [132:00] 113) Busta Rhymes ft P. Diddy & Pharell – Pass The Courvoisier Part II [132:30] 114) DMX – Party Up [133:00] 115) Dr. Dre ft Snoop Dogg & Nate Dogg – The Next Episode [134:30] 116) Fat Joe ft Terror Squad – Lean Back [135:50] 117) 50 Cent, Olivia – Candy Shop [136:50] 118) N.O.R.E. – Nothin’ [138:08] 119) Nas ft The Bravehearts – Oochie Wally [139:26] 120) Lil’ Kim ft 50 Cent – Magic Stick [140:54] 121) 50 Cent – In Da Club [141:12] 122) The Game ft 50 Cent – How We Do [141:43] 123) Jay-Z – I Just Wanna Love U (Give It 2 Me) [143:36] 124) Jim Jones – We Fly High [144:37] 125) Jay-Z – Public Service Announcement [144:57] 126) 50 Cent – What Up Gangsta [145:42] 127) The Diplomats – Dipset Anthem [146:10] 128) Cam’ron, Lil Wayne – Suck It or Not [147:30] 129) The Diplomats – I Really Mean It [148:15] 130) Cam’ron, Juelz Santana – Oh Boy [148:43] 131) Kanye West – Can’t Tell Me Nothing [150:17] 132) Jay-Z – U Don’t Know [151:32] 133) Don Omar, Tego Calderon – Bandoleros [152:38] 134) T-Pain ft Akon – Bartender [154:25] 135) T-Pain – I’m Sprung [155:58] 136) Diddy ft Ginuwine, Loon & Mario Winans – I Need a Girl (Pt. 2) [157:40] 137) Akon ft Snoop Dogg – I Wanna Love You [158:48] 138) Mario – Let Me Love You [159:57] 139) Lloyd ft Lil Wayne – You [161:01] 140) Usher – U Don’t Have To Call [162:34] 141) Mya – Case Of The Ex (Whatcha Gonna Do) [163:32] 142) 112 – It’s Over Now [164:30] 143) Mario Winans – I Don’t Wanna Know [166:57] 144) Outkast – Ms. Jackson [167:57] 145) Bobby Valentino – Slow Down [169:47] 146) Fantasia – When I See U [171:47] 147) Ne-Yo – So Sick [172:46] 148) Keyshia Cole ft Missy Elliot & Lil’ Kim – Let It Go [173:47] 149) Ja Rule ft Lil’ Mo & Vita – Put It On Me [175:39] 150) Lil’ Flip ft Lea – Sunshine [177:20] 151) 50 Cent ft Nate Dogg – 21 Questions [178:41] 152) Fabolous ft Mike Shorey & Lil’ Mo – Can’t Let You Go [180:52] 153) Ja Rule ft Ashanti – Always On Time [182:11] 154) Cam’ron, Juelz Santana – Hey Ma [183:31] 155) G-Unit ft Joe – Wanna Get To Know You [185:07] 156) Busta Rhymes ft Flipmode Squad & Mariah Carey – I Know What You Want [186:40] 157) Jadakiss ft Mariah Carey – U Make Me Wanna [188:09] 158) Usher – Bad Girl [189:23] 159) Baby Bash, Frankie J – Suga Suga [191:13] 160) Monica – So Gone [192:32] 161) Nelly ft Kelly Rowland – Dilemma [194:03] 162) Justin Timberlake ft T.I. – My Love [195:34] 163) Lloyd – Get It Shawty [198:16] 164) R. Kelly – Ignition (Remix) [199:16] 165) Usher – U Got It Bad [200:47] 166) Ludacris, Lil Jon & Usher – Lovers And Friends [203:43] 167) Backstreet Boys – I Want It That Way [207:43]

PLAYLIST 8/19/21 Pep Talk – “Next to Me” – ‘Live, Laugh, Lobotomy' Cluttered – “Burn All of It” - ‘Accidents' Death Kill Overdrive – “Toxoplamosis” – st Wild Red – “Cheap Divorce” – ‘Brain Squeeze' Mark Murphy and The Meds – “Don't” – ‘Crest of a Different Wave' The Raging Nathans – “Out of Touch” – ‘Waste My Heart' Alien Boy – “The Way I Feel” – ‘Don't Know What I Am' Sweet Teeth – “Acid Rain” - st Real Sickies – “Give and Take” – ‘Love is for Lovers' Soft Jocks – “Sittin' One Out” – ‘Socking Dinners' Come Closer – “The Last Time” – ‘Pretty Garbage' Geoff Palmer – “Tomorrow” – ‘Charts and Graphs' Descendents – “I'm Shaky” – ‘9th and Walnut' Meatwave – “Yell at The Moon” – ‘Volcano Park' RMBLR – “Move Over” – ‘Same' fear gods. – “The Greatest Song Ever Written” – split w/ The O.C. Rippers Neighborhood Brats –“Lebron James” – ‘The Confines of Life' The Sleep Demons – “Girl From The Local Eatery” – ‘Suffer in Silence' Skegss – “Down to Ride” – ‘Rehearsal' Rad Gnar - “End of The World” – ‘Bottomless Hits' Mom - “Waste My Time” - ‘Pleasure Island' Pavid Vermin – “Mindreader” - ‘Jump Jive and Fail' Stiff Richards – “Talk” – ‘State of Mind' Strangelight – “Gold Rolex” – ‘Adult Themes' PUP – “Rot” – ‘This Place Sucks Ass'

We're back with Katy reporting in from the surface of the sun (...or Seattle in a historic heat cone) with some strange medical mysteries. If you are a hypochondriac... be warned, these maladies are wild and only provide more evidence that the brain is a terrifying place. Learn about aquagenic urticaria, or being ALLERGIC TO WATER, and a mystery brain disease striking in New Brunswick, Canada. Spoiler alert, neither of us are doctors, so please don't take any of this as medically perfect. Katy just researched online, okay? Everything sounds like an episode of House. There are some bonus mysteries discussed, like chimeric people, Foreign Accent Syndrome, and whatever the fuck possessed people to eat rotten meat as a health trend. Sources/Things Mentioned: The "medical mysteries" section of the Washington Post: https://wapo.st/3ycqK4M (https://wapo.st/3ycqK4M) New Scientist, "Seven Unsolved Medical Mysteries": https://bit.ly/3w8gvxc (https://bit.ly/3w8gvxc) BBC, "The Woman Who is Allergic to Water": https://bbc.in/3h7Orpd (https://bbc.in/3h7Orpd) Wikipedia article on aquagenic urticaria: https://bit.ly/2UgT7Al (https://bit.ly/2UgT7Al) Know Your Meme, "Fuck Around, Find Out - the Scientific Method": https://bit.ly/2Ue4Nnt (https://bit.ly/2Ue4Nnt) Washington Post, "A mysterious, devastating brain disorder is afflicting dozens in one Canadian province": https://wapo.st/3A9Aleu (https://wapo.st/3A9Aleu) BBC, "Doctors investigate mystery brain disease in Canada": https://bbc.in/3A9ABKu (https://bbc.in/3A9ABKu) L.A. Not So Confidential Episode 35, "Capgras Syndrome": https://apple.co/3x5b1V4 (https://apple.co/3x5b1V4) My Brother, My Brother, and Me: Live and Virtual (available until July 9): https://bit.ly/mbmbamvirtual (https://bit.ly/mbmbamvirtual)

I leaned in hard to creative financing when I saw how many leads I was throwing away. That’s the beauty of this strategy; You make more deals possible when you offer sellers speed and convenience to get out of their house quickly. Join Pace Morby, Matt Theriault, and Me LIVE every Wednesday at 8 a.m. PST and 11 a.m. EST as we talk high-level creative financing strategies. We’ll take your questions, and you’ll get a chance to network with other real estate investors right in the comments.Whenever you talk about creative financing options, you’re going to hear people object to it. “It’s illegal, immoral, and fattening”, insist the lawyers and real estate agents. They’re wrong. Real estate agents aren’t taught how to comp things in school, and they don’t understand creative financing.Those that say it can’t be done should get out of the way of the people doing it, says Matt Theriault. Both Matt and Pace share some of their favorite strategies for finding creative financing deals, and it might surprise you that they don’t agree. That’s part of the magic; there’s a little something for everyone.When you’re starting a business, you’re concerned about finding buyers and sellers. But once you’ve started building and adding management, you become a lot more concerned about your massive tax bill. Doing deals in your own name puts a huge target on your back. Can you imagine if your tenants knew that you were a big YouTube star? Pace names some of his favorite resources to protect his assets, so be sure and check them out.What's Inside:—Do you need a bigger buyers list? Or just a bigger sucker than you?—Set your company up right from the beginning and save yourself millions down the road.—Pace’s biggest regret in his lease option formula.—How do I get my tax burden to zero? Tax depreciation is the magic sauce that every real estate investor needs to know about.

Il fut un temps, très bref, ou les musiciens qui avaient participé à l'enregistrement d'un album étaient crédités quelque part sur la jaquette. Signe des temps, plus de disques, plus de pochettes : les musiciens sont retournés à l'anonymat. Johan s'est voué à réparer cette injustice. Vous avez eu droit à Steve Jordan, Calep Hamphrey, Hal Blaine, Bernard Purdie ... Dans la famille batterie, voici James Gadson dont la carrière a commencé en 1968. Depuis vous l'avez entendu aux côtés de Marvin Gaye, Barbra Streisand, Herbie Hancock, Lalo Schifrin, Norah Jones ou Albert King pour ne citer qu'eux. James Gadson, Express Yourself, cette semaine dans Bon Temps Rouler…      Playlist :   Nobody Wants A Loser - Albert King - Truckload Of Lovin' Who Is He (And What Is He to You?) - Bill Withers - Lean on Me: The Best of Bill Withers   Express Yourself - Charles Wright, The Watts 103rd. Street Rhythm Band - Express Yourself: The Best Of Charles Wright And The Watts 103rd Street Rhythm Band C'mon in My Kitchen - Kara Grainger - Shiver & Sigh   I've Always Been Lonely - B.B. King - Take It Home In My Girlish Days (Album Version) - Phoebe Snow - It Looks Like Snow   Give It Up - Amos Lee - Amos Lee Cheatin' On Me - BJ Sharp - Never Felt No Blues   I'll Get Along - Michael Kiwanuka - Home Again (Deluxe Version) I Think About You - Patti LaBelle - Love Songs   Cruisin' - Smokey Robinson - Where There's Smoke... It's All Right - Aaron Neville - Bring It On Home...The Soul Classics   Lean on Me (Live at Carnegie Hall, New York, NY - October 1972) - Bill Withers - Bill Withers Live At Carnegie HallHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Sunday is My Favorite Day to Relax, Slowing down with some Self-Love - Rise & Shine Yoga, Afternoon Hikes and Sunset Meditations. This Spring, I'm inviting YOU guys to join Me LIVE! Listen in for details on the THREE different ways YOU can participate with the Virtual Sangha (community) Family. I can't wait to see You there! For more information go to: http://www.linktr.ee/rovingyoga --- Send in a voice message: https://anchor.fm/rovingyoga/message

Albert Galarza is the Global Vice President of Human Resources at TELUS International. He joined the organization in 2016, and has over 20 years of experience in human resources across retail and technology industries. In his role at TELUS International, Albert leads an HR organization of over 600 professionals supporting almost 50,000 team members in 20 countries. He is responsible for the entire HR suite of services including HR Generalists, Talent Acquisition, Compensation & Benefits, HR Operations and People Analytics.   Questions   Could you just tell us a little bit about your journey, how you got to where you are today? Could you tell our audience what is TELUS International? And what do you guys do? So maybe could you share with us maybe one or two things that you think persons that would be in that role? Because you'd have a lot of persons who listen to this podcast who they may be the business owner, but they also wear the hat off recruiter or HR person for their company, because they're not big enough to have a natural HR department. So what are some things that you think they would need to be considering to ensure that you're getting the right people and retaining them? How have you seen organizations really adapt or adjust accordingly based on what's happening in terms of just keeping people motivated, especially seeing that you're managing people across different countries, every country is dealing with the pandemic differently. How has that been for your organization? Could you share with us maybe what's the one online, resource, tool, website or app that you absolutely cannot live without in your business? Could you share with us maybe one or two books that have had the biggest impact on you, it could be a book that you read a very long time ago, or it could be one that you read recently, but it has had a great impact on you. Could you share with us what's the one thing that's going on in your life right now that you're really excited about - it could be something that you're working on to develop yourself or your people? Where listeners find you online if they wanted to connect with you? Do you have a quote or saying that during times of adversity you tend to revert to this quote, it kind of helps to refocus you or get you back on track if you get derailed? Do you have one of those?   Highlights   Albert’s Journey   Albert shared that he is originally from Mexico, he was actually born and raised in Mexico, and he lived there till his teenage years, when they moved to the US and he has had the privilege of living in several states throughout the US both personally and for professional reasons. And he has had the great pleasure of travelling throughout many, many countries, both for personal reasons, and mostly for professional reasons as his bio says; they currently support 50,000 team members in 20 countries and he has been to every one of those countries that they operate in. So it's been a great, great experience for him to be part of this organization.   He still visits Mexico, obviously pandemic, and he plans to visit post pandemic when it's safe to travel again. And when he thinks of his journey, particularly to customer experience, Mexico has always had a huge tourism industry and so he thinks that his customer service experience journey began early on. It's common when one visits a Mexican resort, or even a Mexican corner. That actually the person on the other side of the car will usually say to you, it's my pleasure to serve you. And that's always stuck with him since a very early age.   He also thinks that our journey begins early on for all of us, no matter where we come from, or what we do now as adults. What he means by that is, all of us had always had an internal customer experience journey, even from the time we were children at a very early age, think of the relationship we have with our parents early on, and the experience that we provided them and the experiences that they provided us. And he thinks that translates well into the working world. His customer experience relates to achieving little win scenarios every day in his interactions with both their internal and external customers. As you can see by his bio, it's been a long journey so far, and one that he looks forward to continuing on for many, many years to come both personally and professionally.    What is TELUS International   Albert shared that TELUS International designs, builds and delivers next generation digital solutions which enhance your customer experience and many of their customers are customers that you actually deal with your daily life, whether you're using some of the world's largest search engines, or using some of the world's largest phone manufacturers, or you're using even to log on to some of your social media apps, that's what they do. They help a lot of those brands design and build the next generation digital solution. They also help them support the full lifecycle of clients’ digital transformation training, and they enable them to move quickly through these next generation of technologies that come up just about every day.   And the desired outcome for them (TELUS) is to make sure that they are a solid extension of those brands that they support. They have solutions and capabilities that expand the digital strategy, they're also quite innovative, and they do a lot of consulting with them as well when it comes to transforming their own journey. Think of companies that are trying to design autonomous vehicles, they will work with those companies to help them make sure that they have a product that will be intuitive, and that they will have a product that can be supported both remotely inshore and onshore.   Me: Okay, can you give us an example of maybe a company that you've worked with. I see here on the website that you work in industries such as Communications and Media, Healthcare, Tech and Games, eCommerce, and FinTech and Travel and Hospitality. So maybe pick one of those industries and just give us an example of how it is that you are transforming something that you're helping that client to achieve.   Albert stated that for your Canadian audience the named TELUS will be very familiar. And so that's actually one of their own internal customers, they actually help TELUS with all of its coding programming and networking, as well as support, and they have several employees around the world, including in Canada who will help the TELUS Corporation as well as TELUS customers in Canada, make sure that they have the daily communication through their network, make sure that the daily entertainment to their network and more importantly, make sure that their customers have the ability to stay connected, doing the things that they love most, to those that they love most.    Tips on Recruiting and Retaining the Right People   Me: So you focus a lot as your bio says, you're responsible for the entire HR suite of services, including Talent Acquisition and People Analytics. Customer service is all about people. I know, for example, in Jamaica, one of the big things that my customers complain about is getting the right persons and keeping them in your organization. So maybe could you share with us maybe one or two things that you think persons that would be in that role? Because you'd have a lot of persons who listen to this podcast who they may be the business owner, but they also wear the hat off recruiter or HR person for their company, because they're not big enough to have a natural HR department. So what are some things that you think they would need to be considering to ensure that you're getting the right people and retaining them?   Albert shared that if you're lucky enough to run and operation where you can make all the decisions yourself, he thinks that's actually quite good. Bigger is not always better and bigger is not always faster, it does usually mean that you have quite a bit of resources available to you. But sometimes the decision tree is a little bit bigger.   But if you are in charge of selecting your own talent, and being the decision maker, he thinks selection has to be well done before you think of retention and engagement. What he means by that is, make sure that you're clear with your candidates, what they can expect by working with you, and make sure that they're clear with you what you can expect by working with them. Because like any other relationship, the more transparent and the more honest that we are at the beginning of that relationship, that bigger likelihood for success that we will have in nurturing that relationship. And so, if once you get them in the door, and it's very important that at that point that you both listen to each other, that you both help solve solutions for each other.   One of the benefits he thinks of a smaller organization is that they tend to be more flexible and more nimble, as a beginner, if you have that ability to be much, much more open to flexibility of somebody's schedule, and spend a lot more time with them face to face, because again, the bigger you get, the less time unfortunately that you will have as a leader and as a direct report of yours to spend time with each other because naturally the work becomes larger in scope.   He thinks if you select the right person, if they select you as the right employer, or if you're transparent at the beginning of that selection process, and then once you start working together if you're open and honest with each other and listen to each other's needs you can solve together and he thinks that will help you select and retain that available talent so that when you're running an organization of 5 people or 500 people or 50,000 people, he thinks both can be achieved as far as the right selection and the right intension.    How to Keep People Motivated?    Me: It's been a very unusual period, of course because the world is going through a pandemic. Could you share with us just based on your experience? Because you've indicated that you're operating quite a few countries across the world. How have you seen organizations really adapt or adjust accordingly based on what's happening in terms of just keeping people motivated, especially seeing that you're managing people across different countries, every country is dealing with the pandemic differently. How has that been for your organization?   Albert stated that we are literally weeks away from when the pandemic was first declared, depending on the country you live in, most people declare the pandemic, the week of March 12 and then most everyone declared, the week of March 19 for the United States where he lives it was March 19, when they pretty much went on lockdown.   And so, he thinks there have been a few stages to the pandemic in the way that organizations have dealt with it. Early on from March through mid April, he thinks most of the organizations were in denial that this was going to be more than just a couple of weeks. And so, he thinks the way that we adjusted for that was okay, let's just take a wait and see attitude and see what happens. And then as we realized that more and more countries went into lockdown, and the pandemic started to spread, we quickly had to figure out a way to really embrace the remote work environment, not just for employees, but for customers.   And so the way that you think about shopping for milk changed, because maybe we're more apt to maybe have it delivered to your home versus having to go get it or the times that you went to go get milk was different than pre pandemic. And so, he thinks organizations realized in the second stage of the pandemic that we had to quickly embrace the remote workplace.   And for them at TELUS International, which is a company that is strongly built on what they call a cultural value chain, which is a proven formula where strong corporate culture and employee engagement equate to the ability to innovate. And they also achieve higher customer satisfaction, and they ultimately deliver stronger financial performance because of this culture value chain, they realized that they had a great cultural value chain in the work locations, but they had never done 50,000 employees be working remotely, literally overnight.   And so they made sure that they immediately took all the great knowledge that they had, and all the great experiences that they had on site culture validation and immediately started become virtual with it. And he thinks their team members appreciated that, their team members enjoyed the idea that, “Even though I'm not with my team, even though I'm not with my leader, and I'm working remote for I don't know how long, I appreciate that the company is still doing virtual yoga classes, I appreciate that the company is still doing remote financial wellness, I appreciate that the company is still doing mental health exercises, I appreciate that we're still having virtual recognitions, and reward.” So they had to take what they were very good at on site and immediately create a platform that they can leverage, again, the remote workplace.   And he thinks companies that already had a strong work culture on site, naturally, connect and navigate the virtual and deliver that strong culture virtually but organizations who had a tough time with building a strong culture on site, naturally, also have had a tough time delivering that virtual culture. And they're going up on a year now.   So, the good news is, it's never too late and there's plenty of good readings out there that will help an organization get better at this virtual remote environment. Because we now know that most of the biggest companies in the world is Facebook, or Google or Amazon and Microsoft have said that they don't intend to go back to the site till sometime in July. That's a great thing if you're a parent, then you've been able to spend time with your children and your family. But if you're an up and comer, and you want to be around the decision makers and you want to showcase your abilities and your talent, it's very difficult to do that in a remote environment. So, being home 100% at times is not the best thing for everybody, but being on site 100% times is that the best thing for everybody either, it just depends on the station you are within your career.   App, Website or Tool that Albert Absolutely Can’t Live Without in His Business    When asked about an online resource that he cannot live without in his business, Albert shared that he still likes to look at social media for what's fun and trendy, and the latest and greatest and he'll give you an example. He spent a few years in the retail industry and in the retail industry, a lot of big name designers often look to what was going on in the school yards, and the nightclubs, in the restaurants for inspiration, that's what the next season's big fashion thing was going to be. So he thinks that the audience that you're targeting is always the best measure of what it is that they're looking for. And as an example, they realized early on that their audience, the majority of the team members that they hire are in their 20s, they like the online social media presence, very different than even the millennials. The millennials like the playing remotely, like engaging remotely, but they still wanted to come see what your work location look like. The Generation Z is really much, much more comfortable with virtual all the time and so they really have been leveraging a lot of the social media apps to see what's the best way to reach their audience. And then they mimic some of the social media apps for even their internal communications, one of the platforms that they launched early in the pandemic is an internal social media platform called Cosmos.   And this again, mirror very much to what they know that their team members are comfortable with, it's very gamified. It's very about giving compliments, it's about posting comments, and pictures. And it worked wonderfully for them. And so, he still looks personally to a lot of what's going on in the world and in social media to try to gain inspiration for how to duplicate some of that.    Books That Have Had the Greatest Impact on Albert    When asked about books that have had the biggest impact, Albert shared that he didn't get a chance to tell Yanique this but he has an eight year old, his name is Dylan. And he's quite a lot of fun, he's their only son, he and his wife have been married for over 20 years. And so Dylan has been their shining light for the past 8 years. So while he read a lot of great professional books in his life, the last few years he has been reading a lot of children's books. And one children's book that he read that he wanted to share today. And he doesn't know if you ever read this book, but it's actually Drew Daywalt, The Legend of Rock Paper Scissors.   And the message he gets from this book is that rock is going through its surroundings, being the champion, nobody can beat him. And then scissors is going through its surroundings, also being the champion, nobody can beat them. And then paper is going through its surroundings being the champion, nobody can beat them.   And even though they're number one, and rock is beating everybody in the garden, and scissors is beating everybody in the in the kitchen, and paper is beating everybody in the home office, it wasn't till they venture out of their comfort zone looking for worthy challenge that they found fulfilment.   And that's kind of how I see the world of business today. It wasn't till we were pushed out of our comfort zone to really embrace the remote work environment. Now, some companies are further along than a lot of other companies. But when we were forced to come out of our comfort zone, and we were forced to immediately deploy at TELUS international, they have 35,000 team members around the world to work from home in a matter of three weeks. From the beginning of April to the middle of April they pretty much at 35,000 people working.   And so, he thinks that's how you grow a business, that's how you grow in life, you have to take yourself out of your comfort zone. And so, even though at TELUS International, they achieved an 86% engagement score in September as measured by an outside party called Consentrate.   They're not satisfied, that worked great in the garden, but they want to go into the kitchen and face the champion of the kitchen. So, he really quite enjoys The Legend of Rock Paper Scissors because again, the message to him is, don't stop challenging yourself, get out of your comfort zone and make sure that you take the time. Even when you are beaten to recognize that you still find a good fight, and you have to get back up, and you have to do it again. And that's ultimately what Rock, Paper, Scissors do is when they fight each other, as you know, paper beats rock, but rock beats scissors and then scissors beats paper, and they just keep going. Because to them, it was never about the win, it was about the challenge.   What Albert is Really Excited About Now!    Albert shared that he finds excitement and inspiration in both his ‘work family’ and his ‘family family.’ And his eight-year-old right now is in a stage where everything is interesting, everything is important. He wants to do his very best, he as a test tomorrow on the 50 US Capitals. And then he also has to identify by geography where each state in the US is by name, and they have been working on that non-stop for last week and a half. And so he’s excited to see him achieve his result tomorrow. And like he told him, it's ultimately about the work you put in and if you put enough work in, if you really learned it, you'll be able to do really well.   On the work side, they have been automating quite a bit, even before the pandemic. Again, if you're going to be in 20 countries with 50,000 employees, you can't be in 20 places at once. So they have been really investing in automating their day to day activities. And what's exciting about that is the more they automate, the more free sub leaders do what they do best and that's lead people and support people. And he thinks at that point, both leader and employee benefit, because that means they get to spend more time with each other, they spend less time updating their personal data, they spend less time updating their performance, they spend less time manually checking the to do lists, because all that becomes automated. And they can spend more time coaching each other guiding each other and ultimately supporting the clients that they serve around the world.    Where Can We Find Albert Online   Website – www.telusinternational.com Twitter – @TELUSint Facebook – @TELUSInternational Instagram - TELUS   Quote or Saying that During Times of Adversity Albert Uses   When asked about a quote or saying that he tends to revert to, Albert shared that he does actually, and interestingly enough he still like to think that at some point, he doesn't know when, he’s hoping the experts are accurate when the experts say it's probably 2022 around this time that things will return to as normal as the new normal will be.   But even before the pandemic, for those of us that have been around long enough, before the pandemic, if you remember, we had the great recession of 2008 that was nowhere near a health risk, but it was certainly an economic risk, and it put a lot of friends and family out of work and it made a lot of people lose their homes and so that was a pretty bad time.   But we recovered and we came out of a very strong and if you remember before that time, we had the terrorist attacks of 2001 so that created an economic shock wave. So it almost always seems like in some point in our lifetime, there's going to be some adversity. And so, but he also knows that almost always we seem to come out of it even stronger as a society than we have before. So he still loves Mark Twain's quote about, “Dance like nobody's watching, love like you've never been hurt, sing like nobody's listening and live like it's heaven on earth.”   Me: Live like it's heaven on earth. I like that one Albert, really fun, light, festive but kind of reminds you of the important things in life not to take ourselves too seriously.   Albert stated that just like they talked about, life is a journey. And like he said, three major world impacting issues in the last 21 years. But, there is always tomorrow and he thinks we have to, whether you think the glass is half full or half empty, he thinks what matters is that you fill it up.   Please connect with us on Twitter @navigatingcx and also join our Private Facebook Community – Navigating the Customer Experience and listen to our FB Lives weekly with a new guest   Grab the Freebie on Our Website – TOP 10 Online Business Resources for Small Business Owners   Links   The Legend of Rock Paper Scissors by Drew Daywalt   The ABC’s of a Fantastic Customer Experience   Do you want to pivot your online customer experience and build loyalty - get a copy of “The ABC’s of a Fantastic Customer Experience.”   The ABC's of a Fantastic Customer Experience provides 26 easy to follow steps and techniques that helps your business to achieve success and build brand loyalty. This Guide to Limitless, Happy and Loyal Customers will help you to strengthen your service delivery, enhance your knowledge and appreciation of the customer experience and provide tips and practical strategies that you can start implementing immediately! This book will develop your customer service skills and sharpen your attention to detail when serving others. Master your customer experience and develop those knock your socks off techniques that will lead to lifetime customers. Your customers will only want to work with your business and it will be your brand differentiator. It will lead to recruiters to seek you out by providing practical examples on how to deliver a winning customer service experience!

Thinking I feel blueBut really I'm just into the wrong thingsSometimes, I like to indulge in wineCome and dine with meLive by my dreamsTake it oh so deep, deepTake it how you likeBut I feel so damn goodWe no fight, we love

Thinking I feel blueBut really I'm just into the wrong thingsSometimes, I like to indulge in wineCome and dine with meLive by my dreamsTake it oh so deep, deepTake it how you likeBut I feel so damn goodWe no fight, we love

Thinking I feel blueBut really I'm just into the wrong thingsSometimes, I like to indulge in wineCome and dine with meLive by my dreamsTake it oh so deep, deepTake it how you likeBut I feel so damn goodWe no fight, we love

Cupid draw back your bow / and let your arrow go / straight to my listener's ears so they can hear this all new episode of Fire and Water Records! In honor of Black History Month, Ryan Daly and special guest Herman Louw shine the spotlight on pioneering singer-songwriter, the King of Soul, Sam Cooke. Tune in as the guys share their favorite Sam Cooke hits (and misses) and discuss the legendary singer's too-brief career ending in his controversial death. What's Ryan's favorite song of all time? What album does he think is perfect? Listen and find out! Track list "You Send Me" "Another Saturday Night" "Cupid" "(What A) Wonderful World" "Only Sixteen" "Get Yourself Another Fool" "Twistin' the Night Away" "A Change is Gonna Come" "Teenage Sonata" "Shake, Rattle and Roll" "Bring It On Home to Me" Additional songs: "One More River to Cross" by The Soul Stirrers; "Meet Me At Mary's Place", "Having a Party", "(I Love You) For Sentimental Reasons", "(Don't Fight It) Feel It" (Live), "Bring It On Home to Me" (Live). Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Playlist: Ivan Ave - Young EyeTakuya Kuroda - Fly Moon Die SoonBusty and the Bass - Go So FarThe Allergies - Every Trick in The BookGinger Root - KaraokeMestizo Beat - Canoga MadnessThe Commotions - New SuitSunny & The Sunliners - Should I Take You HomeMonophonics - ChancesLittle Ann - Deep ShadowsJason Joshua - Language of LoveNapoleon Demps - Norma JeanAladean Kheroufi - Take a StepThe War and Treaty - Five More MinutesThe California Honeydrops - Cry for Me (Live, Chicago IL)``

The post How Do I Know When A Bible Promise is for Me? – Live with Pastor David appeared first on Enduring Word.

Happy Tuesday, Freaky Friends!We're ending our Intimacy Series this week with a topic that ties everything together - physical touch. Because, let's face it, it's hard to have maximum intimacy (or sex) with the physical. So, let's get into it! Get This Off My  Chest - Seeing things in black and white v. seeing them in shades of grey... and jury duty chronicles.Topic of the Day - Physical TouchToday, we talk about the differences between sensuality and sexuality and discuss how to live everyday sensually. This ties into this week's challenge which is to discover something new that feels good to you, and (if applicable) share it with your spouse. Then, in true Going (not too) Deep fashion, we take it back to the basics of physical touch and give tips on how heightening your senses can improve your sex life. Finally, we have some real life advice on what to do when physical touch becomes an afterthought in your relationship.Throw It Back - It comes down to: Intentionality and AwarenessGot a question for the Talk Dirty to Me LIVE on Sunday, June 28th at 8 pm CST?Email us your questions at goingnottoodeeppodcast@gmail.com or DM us on IG @goingnottoodeeppodcast.

In this Episode 32 we had a quarantine conversation with Eastern High School great and current Loyal University of Chicago star Allison Day. Allison was a household name during her high school career, but she will share her college experience. She will talk about her prominent high school career, overcoming a devastating injury. The rehab, the comeback and the success she enjoy her first two years of college. She will talk in depth about finding out the covid-19 would end the season and she will talk about her appreciate for spending time with family during the Government shut down. Allison will speak on how special it was, is and always will be to be part of such a high level Eastern Lady Warriors basketball program. All this and much more on Episode 32 of "Talk Sports to Me" Live with the Sports Guru! Thanks in advance for your listen. Follow us on facebook, instagram ad twitter. Search Key words (Talk sports to me) with the sports guru! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

In this Episode 30 we catch up with Miami University RedHawk freshman sensation Peyton Scott. In this interview you will hear what a well rounded multi-sport athlete lives like. We will hear about her competitive approach that she takes to everything she does in life. You will learn in this Episode what a good teammate, leader and winner sounds like. She will walk us through her peewee days playing with the boys. She will tell us about playing with great Lynchburg teams in high school. Peyton will tell us how much of an impact her high school coach Whitney Lewis playing D1 basketball was toward her progression of achieving a college athletic dream. All this and much, much more on Episode 30 of "Talk Sports to Me" Live with the Sports Guru. This Episode is brought to you by Mt. Orab Sports Complex and Anchor.FM. Thanks in advance for your listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

In this Episode 29 of Mt. Orab Sports Complex "Talk Sports to Me" LIve University of Middle Tennessee Woman's Assistant Coach Shalon Pillow talks to us about the impact her father "The Mayor" Coach Dan Pillow had on her basketball career. She talks the importance of education and how her mother kept her focus in the classroom as well as on the court. Coach Pillow talks about her high school let down not winning a state championship, along with her prolific stat line her senior year. Shalon goes in detail about her opportunity to attend University of Tennessee on a basketball scholarship and some of the success she enjoyed. She will speak on the feeling on of love she knowledge she got from her grandparents and how she looked up to her big Cousin NBA star Brian Grant. Coach Pillow will speak on the success of her brother and sisters due to her firm upbringing. All this and much, much more on the this Episode 29 of "Talk Sports to Me" LIVE. This Episode 29 is brought to you by Mt. Orab Sports Complex and Anchor.FM. Thanks in advance for your listen. Enjoy this Episode with the Sports Guru --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

Trigger Warning: In this episode, we may cover topics related to sexual abuse, trauma, eating disorders and other mental health challenges. While we do talk about issues relating to food and body, some episodes may be more emotionally challenging or difficult and may make you uncomfortable. If the podcast feels triggering in any way, please turn it off and get the appropriate help. Remember, I am not a doctor, but an eating recovery coach. Enjoy the episode! Have you ever considered yourself a sugar addict? In this episode, Jessi was joined by FFM client and Swedish actress Julija Green. Julija shares her story of struggling with food and her body for the majority of her life. She talks about how her struggles were brought on after being sexually abused and how she used food, specifically sugary food to numb out. Julija shares how this affected her dating life and how she saw intimacy. She discusses a movie she was working on and how a bad experience prompted her to drop out and create her own films. You’ll hear her experience of thinking she was a sugar addict and advice she’d give to her younger self. She also talks about her experience in the FFM and how her life has transformed since joining the course.  In this episode: What prompted Julija’s struggles with food and body What her struggles looked like over the majority of her life How her sexual abuse left her feeling broken and using food to numb out Not knowing how to be intimate when she reached dating age Her experience of getting a part in a movie and being told to lose weight Dropping out of that film and deciding to pursue her own films How she overcame this trauma and got to where she is right now What her relationship looked like before the course and how it evolved Why she believed that she was a sugar addict The advice Julija would give her younger self How the FFM has affected her life and career Why Julija recommends using meditation  Links:Julija Green’s Facebook The Food Freedom Breakthrough Masterclass Rise with Me LIVE  Join me for The Food Freedom Breakthrough Masterclass. This class is for those who know they want to improve their relationship with food and their body, but are afraid of spiraling out-of-control and want a proven, step-by-step system to go from feeling crazy around food to normal again! You can either live your life at war with your mind or learn to work in sync with it. If you’re ready to work in sync with your mind and evolve your life, welcome to The Dear Body Podcast! Our mission is to help driven women have an easy and effortless relationship with food and unshakeable self-confidence in their own body. Make sure to subscribe so you never miss an episode & learn more about us here!

In this Episode 28 we catch up with local high school coaching legend Coach Jerry Underwood. In this episode Coach Underwood explains how his Eastern Kentucky roots help build his championship mentality. Coach will speak briefly on his Morehead State University days on the gridiron and tell us how his passion for coaching basketball overcame his desire to play football. He will give details on how he accelerated his educational process to begin his career in teaching and coaching. He will give us the inside scoop on getting a chance to be on a staff coaching Xavier and NBA star Brian Grant. Coach Underwood will give details on how Coach Tim Chadwell prepared him to be a head coach. Coach will also walk up through each of his successful season at Georgetown leading up to his 2007 State Championship. Coach Underwood will also pay homage to the late, great assistant Coach Jim Young. All this and much, much more on Episode 28 of "Talk Sports to Me" Live. This episode is brought to you by Anchor. FM and Mt. Orab Sports Complex, and your host the one and only "Sports Guru" --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

In this Episode 27 of "Talk Sports to Me" Live we got a chance to catch up with New Orleans Pelicans star Darius Miller. In this Episode Darius Miller. (D.MILL or Mills) as he known inside the locker room will take us a trip down memory lane through his 2008 KHSAA STATE CHAMPIONSHIP, He will also tell us the special parts of the 2012 NATIONAL CHAMPIONSHIP at the UNIVERSITY OF KENTUCKY. In this Episode D. Mill will also give us the inside scoop on his championship mentality and how His years in Germany winning 3 consecutive BBL premier league championships prepared him for life in the NBA as well as helping him grow from a maturity and life standpoint. You will be fortunate enough to hear how special it was for Darius to represent his country in FIBA world basketball championships and the World University games, earning gold medals in both. Also, in this episode you will get a first hand look at some of the people who impacted his youth as an athlete and how much of role his fathers tutelage played toward his athletic growth and his championship mentality. All this and much, much more on Episode 27 of "Talk Sports to Me" Live with the Sports Guru. This Episode is brought to you by Anchor.FM and Mt. Orab Sports Complex and your host the Sports Guru. Thank in advance for you listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

On this Episode 26 of Mt. Orab Sports "Talk Sports to Me" join us as we chat with Pikeville University Athletic Director and recently retired basketball Head Coach Kelly Wells. Coach Wells will walk us through his college days, his early years in coaching and ultimately his 2003 KHSAA state championship with Mason County High School. Coach Wells gives us the inside scoop on what propelled him to the collegiate coaching ranks. He will give intimate details of the some of the challenges he faced when taking over the Pikeville men's basketball program and the plan he used to revamp the culture. Coach Wells will talk about the programs rise to the top of the NAIA ranks and how the program became one of National Prominence. Last, but not least we will hear about overcoming obstacles within team to build the championship approach needed to win the 2011 NAIA National Championship. All this and much, more on Episode 26 of "Talk Sports to Me" Live with the "Sports Guru" This Episode 26 is brought to you by Anchor.FM and Mt. Orab Sports Complex. Thanks for your listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

Trigger Warning: In this episode, we may cover topics related to self-harm, rape, trauma, bi-polar disorder, eating disorders and other mental health challenges. While we do talk about issues relating to food and body, some episodes may be more emotionally challenging or difficult and may make you uncomfortable. If the podcast feels triggering in any way, please turn it off and get the appropriate help. Remember, I am not a doctor, but an eating recovery coach. Enjoy the episode! No matter what you go through in life, there’s an opportunity for you to come out stronger on the other side. That’s what happened to the guest in this episode and FFM client, Alesha. Alesha has gone through a lot of trials and tribulations over the course of her life. She navigated the trauma of multiple rapes and sexual assaults and a mysterious illness that eventually led to her eating disorder. She and Jessi chat about her experience of being diagnosed with bipolar disorder and anxiety. Alesha shares her story of surviving a suicide attempt and the life-changing realization this brought her. She opens up about overcoming past traumas in therapy. Alesha also talks about how she found the FFM and got on the journey to recovery from her food and body struggles.  In this episode: What triggered Alesha’s struggles with food and body Thinking back on her first dieting experience in 5th grade Desperately wanting to fit in and belong and the conflicting beliefs of her dieting experience Alesha’s experience with falling ill and doctors not knowing what was wrong How steroids catapulted her eating disorder into reality How Alesha’s illness randomly went away The mental health challenges that came when she overcame her illness How the trauma affected Alesha through her high school experience Being diagnosed with Bipolar 2 disorder and anxiety in college Her experience with rape and being sexually assaulted How what you’re doing or wearing isn’t a form of consent Alesha’s memory of trying to end her life and being thankful that she survived Her path to recovery and working through her layers of trauma Setting powerful intentions to focus on her physical health How Alesha got connected with Jessi and the FFM How her relationship with food has transformed since joining the FFM The supportive community and how it promotes healing  Why diversity is needed in your social groups Where Alesha’s at right now with food and her body Her biggest advice for someone who resonates with her story Links:Adult Chair Podcast Episode 153 - Binge Eating With Jessi Jean Alesha’s Instagram Rise with Me LIVE  Join me for The Food Freedom Breakthrough Masterclass. This class is for those who know they want to improve their relationship with food and their body, but are afraid of spiraling out-of-control and want a proven, step-by-step system to go from feeling crazy around food to normal again! You can either live your life at war with your mind or learn to work in sync with it. If you’re ready to work in sync with your mind and evolve your life, welcome to The Dear Body Podcast! Our mission is to help driven women have an easy and effortless relationship with food and unshakeable self-confidence in their own body. Make sure to subscribe so you never miss an episode & learn more about us here!

Talk Sports to Me Episode 25 we will be joined by 2007 OHSAA state Champion JAY CHADWELL and 2019 NAIA NATIONAL CHAMPION ELJAY COWARD. They will talk give us the inside scoop on the mentality and work ethic needed to achieve a championship. Both all state players will give advice to up and coming young athletes wanting to help in creating a winning culture and attitude. All this and much, much more on this Episode 25 of Talk Sports to Me Live. This episode is brought to you by Anchor.FM and Mt. Orab Sports Complex. Thanks in advance for you listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

In this episode of "Talk Sports to Me" Live we talk with former Australian basketball Association All Star Kyle Miller. In this episode Kyle will tell us how his tough mindset, refuse to lose attitude and never settle approach instilled in him by his grandmother propelled him to achieving his immeasurable dream of being a professional basketball player. In this episode Miller will talk about the amount of hard work dedication, commitment and sacrifice it takes to realize a dream. He will give sound advice to the youth on how to not be afraid to make the unpopular choice when pushing toward accomplishing goals. All this and much, much more on Episode 22 of "Talk Sports to Me" live part 3 of our 5 part series on "Small town Sports, Big City Dreams (10 ways to separate yourself in a world of competitive athletics.) This episode is brought to you by Anchor.FM and Mt. Orab Sports Complex and your host the "Sports Guru" --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

On Episode 21 of "Talk Sports to Me" Live we will be joined by Euroleague rookie sensation Beau Justice. Beau will provide detailed information about how he learned of the Covid-19 and how the virus put a screeching halt to his rookie season. He will also give inside information on how he can from the "Small town" of Peebles, Ohio to emerge as one of the state of Ohio's most prolific and all time leading scorers. In this episode you will hear what it takes to become a successful basketball start from a rural community in Southern Ohio. All this and much, much more on Episode 21 of "Talk Sports to Me" Live. "Small town Sports, Big City Dreams (10 ways to separate yourself in a competitive sports world). This Episode 21 is brought to you by Mt. Orab Sports Complex, Anchor.FM and host Jason Thompson the "Sports Guru". Thanks in advance for your listen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talk-sports-to-me/support

Legendary singer/songwriter John Prine passed on Tuesday from complications caused by the Coronavirus. We discussed his hospitalization a couple episodes back; hoping, without much conviction, but hoping nonetheless that he would find his way through this, this…have we found the words yet to describe whatever this is? A 21st century plague; a mutation that thrives when we come together, only to suffocate and exhaust when it has us alone; this scourge of isolation. As with so many others, surviving was not in the cards for Mr. Prine & he will be missed, dearly.Jay has always known John Prine’s music and, rather than wait another week, we all decided we should have this conversation now. So, with all that said, we bring you a weekend special: ”The Five Sides of John Prine”Songs:That's the Way the World Goes RoundFar from Me (Live from the House of Strombo)Dear AbbyLake MarieOnomatopoeiaAll the BestIllegal Smile (performed by Jay Rossman & his family)

On this week's episode of Stay Tuned, "Humor in the Time of Corona," Preet answers listener questions about: The impact of COVID-19 on the 2020 Census (and how to fill it out online!) Whether Trump’s suggestion that he would not provide emergency assistance to “unappreciative” governors could be criminal conduct  If cable news networks should stop broadcasting Trump’s press conferences on COVID-19 Changing the name of the podcast to something more topical Then, he’s joined by Mike Birbiglia, who is a comedian, writer, director, and an actor. Birbiglia does not shy away from the tough topics in his work and he shares how comedy has been a tool to help him work through personal struggles with health complications. In this sad and stressful time, Birbiglia reveals how the process of crafting and sharing jokes can be healing and cathartic. His most recent one-man show, The New One, is about the turbulent, and ultimately heartwarming, experience of becoming a parent. [Parental discretion for language and content is advised for this episode.]    To listen to Stay Tuned bonus content, become a member of CAFE Insider. And if you haven’t already, listen to this week’s full episode of the CAFE Insider podcast for free. Sign up to receive a link to the episode at cafe.com/preet. As always, tweet your questions to @PreetBharara with hashtag #askpreet, email us at staytuned@cafe.com, or call 669-247-7338 to leave a voicemail.    REFERENCES & SUPPLEMENTAL MATERIALS THE Q&A Fill out the 2020 census online here 2020 Census Operational Adjustments Due to COVID-19 “Why Does the Census Matter?,” Council on Foreign Relations, 12/16/19 “Trump: Federal Government Doing ‘Hell Of A Job’ And ‘Governors Should Appreciate It,’” Real Clear Politics, 3/27/20   THE INTERVIEW Get updates from Mike at Birgbigs.com Tip Your Waitstaff   BIRBIGLIA SPECIALS & MOVIES “The New One,” Netflix (2019), and the upcoming book in May 2020 “Thank God For Jokes,” Netflix (2017)   Don’t Think Twice, Netflix (2016) Sleepwalk With Me, Amazon Prime Video (2012) “Sleepwalk with Me Live,” Spotify (2011) “What I Should Have Said Was Nothing,” Netflix (2008)   JOKES & JOKESTERS “Humor in Hard Times,” New York Times, 9/19/09 Watch: “Jon Stewart on Comedy in Times of Tragedy,” Bill Moyers Journal (2007) “Where does canned laughter come from – and where did it go?,” BBC, 9/26/16 “Please Chuckle Here, New York Magazine, 11/23/11   Steven Wright: Watch: “Comic Relief ‘Steven Wright’ Stand Up Comedy 1987” Stephen Wright, Spotify “The Mosaic View Of Comedian Steven Wright,” Wisconsin Public Radio, 3/7/20 “Headwaters for a River of Stand-Up,” New York Times, 4/30/14   Mitch Hedberg: Mitch Hedberg: “Strategic Grill Locations,” Spotify (2003) “Mitch Hedberg: The Best Pre-Twitter Twitter Comedian,” GQ, 6/4/13 “Mitch Hedberg, a Comedian Who Performed Surreal Routines, Dies at 37,” New York Times, 4/1/05   Jerry Seinfeld: Jerry Seinfeld’s Comedian, Netflix (2002) Watch: “Seinfeld - Night Guy”   Roy Wood Jr: Roy Wood Jr.: “Father Figure,” Amazon Prime Video (2017)   LOCKDOWN ENTERTAINMENT RECOMMENDATIONS The Money Pit, Netflix (1986) The Larry Sanders Show, HBO (1992) The Zen Diaries of Garry Shandling, HBO (2018) Extras, Netflix (2006)

Trigger Warning: In this episode, we cover topics related to eating disorders, alcohol, drugs and other mental health challenges. While we do talk about issues relating to food and body, some episodes may be more emotionally challenging or difficult and may make you uncomfortable. If the podcast feels triggering in any way, please turn it off and get the appropriate help. Remember, I am not a doctor, but an eating recovery coach. Enjoy the episode! Like so many people, Lisa’s struggles with food and her body started at a young age. She remembers growing up and how a well-intentioned comment caused her to begin the cycles of restricting food. In this episode, Jessi and Lisa discuss Lisa’s experience with navigating through this from late childhood, into her teen years, through college and beyond. They talk about how she fell into using drugs like Adderall to give herself more control over restricting food, her struggle with Anorexia and the cycles of binging and restricting. Lisa shares how her life and relationships were impacted by this and how she found Jessi and the FFM. She tells her experience of joining the course, how her body image has shifted and how her relationship with food and her body has changed for the better.  In this episode: What prompted her struggles with food and body  Finding herself slowly gaining weight Starting the cycle of attempting to restrict her eating Realizing that food was way more than a physical sensation for her and feeling controlled by food Trying to find herself in college and dealing with an eating disorder Using Adderall to help herself restrict food The cycles of binging and restricting from food How connecting to faith helped her to get on a better path The reality of how what she was doing was affecting her health Knowing that something had to change  Not letting her husband in on her struggles How she found the FFM and her fears about joining The impact of the community aspect in the course What happened in her relationship with food after joining the FFM How her breakthroughs have come incrementally through the course Where Lisa sees herself going from here and how she feels about her body image Why she decided to commit to the Rise with Me Live event What mountain top living means to Lisa   Links: Rise With Me Live Morning Routine Challenge Rise With Me Live 2020 Event Rise With Me Live Facebook Group   Join me for The Food Freedom Breakthrough Masterclass. This class is for those who know they want to improve their relationship with food and their body, but are afraid of spiraling out-of-control and want a proven, step-by-step system to go from feeling crazy around food to normal again! You can either live your life at war with your mind or learn to work in sync with it. If you’re ready to work in sync with your mind and evolve your life, welcome to The Dear Body Podcast! Our mission is to help driven women have an easy and effortless relationship with food and unshakeable self-confidence in their own body. Make sure to subscribe so you never miss an episode & learn more about us here!

On this week’s Definitely Dylan Live, we are discussing some very fine live performances from different points of Bob Dylan’s career, ranging from the confident folk troubadour to the Never Ending Tour. I’d love to know - when did you last listen to Live at Budokan? Do you agree with us that it’s better or at least more interesting than people give it credit for? And what do you think of the year 1994 in terms of Dylan’s live performances? If you have some shows in mind that we should check out, please leave us a comment.Lastly, I mentioned that I uploaded Ren Harvieu’s performance of Just Like A Woman to youtube, so if you’d like to listen to that again, you can do that here, while Romeo’s Dylan anecdote can be found here. I’ll be uploading Romeo’s video of Most Of The Time as well, I just haven’t finished it yet.Playlist:Wade In The Water (Minnesota Hotel Tape)She Belongs to Me (Live at the Savoy Hotel, London, UK, 8 May, 1965)To Ramona (Live at the Isle of Wight Festival, 31 August, 1969)Oh Sister (Live at Budokan)Shelter From The Storm (Live at the Roseland Ballroom, NYC, Oct 19, 1994)Cocaine Blues (Live, August 24, 1997, Vienna, VA)

This episode of BTR originally aired worldwide on Sunday, February 9th. I hope you enjoy it and consider sponsoring the podcast through Anchor.fm Cheers! Biggdaddy Ray Blues Therapy Radio #757 2-09-20 Screamin’ John & TD Lind…”Gonna Drag Ya”…(Mr. Little Big Man) Screamin’ John & TD Lind…”Reaper’s Knockin’”…(Mr. Little Big Man) Tinsley Ellis…”Foolin’ Yourself”…(Ice Cream in Hell) Tinsley Ellis…”Sit Tight Mama”…(Ice Cream in Hell) Chris “Bad News” Barnes…”Going Down”…(Live) Chris “Bad News” Barnes…”What’s Coming Next”…(Live) Johnny Burgin…”Late Night Date Night”…(Live) Johnny Burgin…”Daddy’s Got the Personal Touch”…(Live) Troy Gonyea…”Georgia Slop”…(Click Click Spark) Troy Gonyea…”Jumping at Shadows”…(Click Click Spark) Teresa James & the Rhythm Kings…”Put the Squeeze on Me”…(Live!) Teresa James & the Rhythm Kings…”The Day the Blues Came to Call”…(Live!) Doug Duffy and Badd…”The Things We Used to Do”…(Play the Blues) Doug Duffy and Badd…”Evil”…(Play the Blues) Steve Marriner…”How in the Devil”…(Don’t Pass Me By) Watermelon Slim/Dennis Gruenling…”Who’s Been Cheatin’ Who”…(Don’t Pass Me By) Eric Clapton with Keith Richards…”Key to the Highway”…(2013 Crossroads Guitar Fest) Eric Clapton …”Sunshine of Your Love”…(2013 Crossroads Guitar Fest) Johnny Rawls…” I Miss Otis Clay”…(I Miss Otis Clay) Johnny Rawls…”California Shaking Again”…(I Miss Otis Clay) Sister Lucille…”Won’t Give it”…(Alive) Sister Lucille…”See My Baby”…(Alive) Randy McAllister…”The Loudest Chicken!”…(Spitball, Shatter and Patch) Randy McAllister…”My Drawl Caused it All”…(Spitball, Shatter and Patch) Randy McAllister…”The Song that Writes itself”…(Spitball, Shatter and Patch) Chris “Bad News” Barnes…”Boom Boom (Out Go the Lights)”…(Live) Blues Therapy Radio is hosted by official Blues Hall of Fame broadcaster Biggdaddy Ray Hansen. This weekly radio program is heard on FM radio in multiple cities as well as via online audio stream. Each show is rebroadcast twice a week on KCOR (www.kconlineradio.com) (Kansas City, KS) and every Sunday on Radio Paradijs (Amsterdam. Netherlands). Podcasts can be heard on multiple services by following this gateway https://anchor.fm/ray-l-hansen Sponsorships of this podcast are appreciated. We report our original playlist to Radio Direct, Roots Music Report and to Living Blues. Blues Therapy Radio is a 14-time finalist for Best Blues Radio Show (Spokane IEBS Awards). We accept all submissions for consideration --- Support this podcast: https://anchor.fm/ray-l-hansen/support

Podcast listeners, this Sunday you get a light-hearted episode with tons of energy. Bob Menery invited me onto his podcast and we talk everything from Jets games, making money on sports cards, and the future of sports betting. Tons of laughs and banter. Tweet me @garyvee with an industry you're interested in right now and a moment that catches that your attention. Topics From Today’s Episode: 00:45 | Do I sleep? 1:45 | When we first met? 3:30 | Fear and judgement 8:00 | Me Live at Jets games 14:00 | Sports betting 15:00 | Pitching the prop network 17:30 | My relationship with time 21:00 | My vice 24:00 | Cashing in on nostalgic brands 27:00 | How I respond to “Trolls” 32:00 | Sports Card talk

Dinner with Schmucks - Episode 71 “Stay True” with Stephen Faubel - Artist Interview Series - No. 2 This Week’s Cast: Chris & Steve Welcome to the second Artist Interview Series episode featuring Stephen Faubel! Steve sits down with Chris on this early morning podcast to talk about the new album he’s working on. He also talks about some of his current performance projects, and gives us the 411 on Songbird Studios in Narrowsburg New York. Steve also performed a couple of tunes from his upcoming album, which doesn’t have a release date scheduled as of now. Enjoy the episode, and check out our YouTube Channel for some performances, as well as the video version of this episode. https://www.youtube.com/channel/UC7GOelVZsWllV6y_RK6Q7wQ/ Song List: 1) Pretty Girl (Studio Recording) - Upcoming Album 2) Give Thanks (Demo) 3) Come with Me - Live on the Dinner with Schmucks Podcast 4) Stay True - Live on the Dinner with Schmucks Podcast 5) Come with Me (Studio Recording) - Upcoming Album As always, thanks for listening, and enjoy the episode. Just remember, we will be your best friends if you leave us a 5 Star rating and review on Apple Podcasts! Wanna rock some Dinner with Schmucks SWAG??? You know you do! dinnerwithschmucks.threadless.com is the official Dinner with Schmucks shop! Check out our website www.dinnerwithschmucks.com. Listen to past episodes on our SoundCloud player, watch some One Hitters & Nuggets on our video page, or hit up our blog page to get episode rundowns, and other interesting posts from the minds of Dinner with Schmucks. Keep up with Steve, Songbird Studios & The Village Idiots on Facebook facebook.com/profile.php?id=1553876241 facebook.com/stephenfaubel facebook.com/idiotsmusiq Check out High Stick Creative on Facebook & Instagram facebook.com/highstickcreative instagram.com/high_stick_creative Check out our Facebook, Instagram & Twitter feeds www.facebook.com/dinnerwithschmucks www.twitter.com/dwspodcast www.instagram.com/dinnerwithschmucks #dinnerwithschmucks #electriccity #ParisOfTheNorthEast

Backyard Classic Hockey Tournament, 26th Annual Advance Auto Parts Cavalcade of Cars, Mardi Gras Party, Shamrock Run 2019, SHE is ME: LIVE!, Disturbed, HEAL BFLO Yoga Retreat and Festival, 2019 Buffalo Bloody Mary Fest

Fotograaf Claude Vanheye is deze keer te gast in de serie Spotlight. Hij vertelt uitgebreid over zijn ontmoetingen met o.a. The Jackson Five, Pink Floyd, Jimi Hendrix en John Lennon & Yoko Ono. Playlist: T-REX - Get It On Boudewijn de Groot - Een Meisje van 16 Dave Berry - Strange Effect Cream - I Feel Free Pink Floyd - See Emily Play Rolling Stones - Little Red Rooster Jimi Hendrix Experience - Hey Joe Byrds - Mr. Spaceman Dr. John & Johnny Winter - A Right Place At The Wrong Time (Live, IN SESSION 1983) Frank Zappa & The Mothers Of Invention & John Lennon & Yoko Ono & Plastic Ono Band - Well (Baby, Please Don't Go) (Live) John Lennon - Jealous Guy Frank Zappa & The Mothers Of Invention - Let’s Make The Water Turn Black Fleetwood Mac - Need Your Love So Bad David Bowie - DJ Faithless - God Is A DJ Michael Jackson - Man In The Mirror Todd Rundgren - Hello, It’s Me (Live at Paradiso Amsterdam, 2012) Kate Bush - The Man With The Child In His Eyes Kijk voor meer info op https://www.nporadio2.nl/soulenjazz.

Fotograaf Claude Vanheye is deze keer te gast in de serie Spotlight. Hij vertelt uitgebreid over zijn ontmoetingen met o.a. The Jackson Five, Pink Floyd, Jimi Hendrix en John Lennon & Yoko Ono. Playlist: T-REX - Get It On Boudewijn de Groot - Een Meisje van 16 Dave Berry - Strange Effect Cream - I Feel Free Pink Floyd - See Emily Play Rolling Stones - Little Red Rooster Jimi Hendrix Experience - Hey Joe Byrds - Mr. Spaceman Dr. John & Johnny Winter - A Right Place At The Wrong Time (Live, IN SESSION 1983) Frank Zappa & The Mothers Of Invention & John Lennon & Yoko Ono & Plastic Ono Band - Well (Baby, Please Don't Go) (Live) John Lennon - Jealous Guy Frank Zappa & The Mothers Of Invention - Let's Make The Water Turn Black Fleetwood Mac - Need Your Love So Bad David Bowie - DJ Faithless - God Is A DJ Michael Jackson - Man In The Mirror Todd Rundgren - Hello, It's Me (Live at Paradiso Amsterdam, 2012) Kate Bush - The Man With The Child In His Eyes Kijk voor meer info op https://www.nporadio2.nl/soulenjazz.

LISTA UTWORÓW: Sarah EiDA - Blood & BoneRodeo - Tiamat (6:24)RODEO - Hegan (10:53)RODEO - Dilmun (16:29)Oak Meadow - Moving On (20:59)Oak Meadow - Afterall (28:24)Carvel - Tim and Cameron - Fading (31:44)Carvel - Asheville (39:39)Carvel - Dark Side of Me (Live on What If? Podcast) (43:40)Wysublimowani - Koniec świata (50:36)Jackets - Marker Me Darker > Make Me an Offer (58:30)Grandpa Jack - Little White Lies (1:01:27) Odnośniki do albumów, z których pochodzą utwory (w kolejności w jakiej się one pojawiły): https://saraheida.bandcamp.com/album/blood-bonehttps://rodeodesert.bandcamp.com/album/dilmunhttps://oakmeadow.bandcamp.com/album/afterallhttps://carveltheband.bandcamp.com/album/fading-ephttps://youtu.be/AOrZB7k0fl8https://jacketsmusic.bandcamp.com/album/jackets-livehttps://grandpajack.bandcamp.com/album/grandpa-jack Muzyka w tle: Chris Zabriskie - Oxygen Garden http://freemusicarchive.org/music/Chris_Zabriskie/Divider/05_-_Oxygen_Garden

William Wiley, MD, and Neda Shamie, MD, speak with Gary Wörtz, MD, about what drives them to go to meetings and which meetings they most enjoy. Listen as they discuss how big meetings compare to boutique meetings, how to use these events to make meaningful connections, and what's in store for ME Live 2018 in Austin.

William Wiley, MD, and Neda Shamie, MD, speak with Gary Wörtz, MD, about what drives them to go to meetings and which meetings they most enjoy. Listen as they discuss how big meetings compare to boutique meetings, how to use these events to make meaningful connections, and what's in store for ME Live 2018 in Austin.

William Wiley, MD, and Neda Shamie, MD, speak with Gary Wortz, MD, about what drives them to go to meetings and which meetings they most enjoy. Listen as they discuss how big meetings compare to boutique meetings, how to use these events to make meaningful connections, and what's in store for ME Live 2018 in Austin.

Ini dia band yang berasal dari Bandung dan berkonsep duo dengan genre musik yang unik Please Welcome : Curly and Me Live at One Eighty Coffee.music. Recorded March 28, 2017. Host: Cynthia Audia Audio Recording & Mixing: Philip Gondukusomo (Ultra Sound Studio) Video : Orca Video Art Director: Rikky Alik Editor: Sammy Suhendra MUSICEGO is a brand new event brought to you by Play99ers Radio. Every musician is unique through their voices and we want you to experience their music conveying various emotions. Come join with us at the live recording session every Tuesday, from 4 PM - 5 PM, at One Eighty Coffee . Music, Bandung.

Ike Ahmed, MD, recently joined Gary Wörtz, MD, for an on-stage interview at the ME Live meeting in Nashville. In this live recording, Dr. Ahmed explains how being different enabled him to think differently about glaucoma treatment. The two surgeons also share thoughts on life, MIGS, and more while fielding questions from the audience.

Ike Ahmed, MD, recently joined Gary Wörtz, MD, for an on-stage interview at the ME Live meeting in Nashville. In this live recording, Dr. Ahmed explains how being different enabled him to think differently about glaucoma treatment. The two surgeons also share thoughts on life, MIGS, and more while fielding questions from the audience.

Bob Dylan/She Belongs to Me (Live from London 5/26/66)            /The Real Royal Albert Hall 1966 Concert (Live) Caroline Doctorow/I Think It's Going to Rain Today            /Dreaming in Vinyl Zephaniah Stringfield/I Should've Never Seen Her Go/The Book Of Zephaniah Mike Lauriano/Brother Leonard (for Leonard Cohen)            /Single Beth Marlin/Holy Man Walkin'/Let Me In Daniel Koulack/Happy Tune/Frailing To Succeed The Savage Hearts/High Road            /Playing It Forward Chicago Farmer/Homework/Midwest Side Stories Dennis Caraher/To Tune A Guitar/The Kingdom Of Summer Kat Goldman/            Gypsy Girl/Gypsy Girl Bob Dylan/Just Like a Woman (Live from London 5/26/66)            /The Real Royal Albert Hall 1966 Concert (Live) Katie Dahl/In The Dark/single Ben Plotnick/K&K Waltz/Greenland Gathering Time/A Light In The Darkness/Keepsake Joey+Rory/Josephine/ His and Hers David Roth/Mary Jo, And Carol/So Far, So Good Jude Johnstone/ What Do I Do Now            /A Woman's Work Kristin Lems/Solstice Song/You, Me, And All Of The Above Ray Cardwell/New Jerusalem/Tennessee Moon Steven Gellman/Snow Day/Peaceful World Annie Lou/Weary Prodigal/Tried and True Marienne Kreitlow/Jolly Old St. Nicholas/Beautiful Illusion Michelle Lewis /Paris/The Parts Of Us That Still Remain See acast.com/privacy for privacy and opt-out information.

show#649 07.03.16 Whatta Mess....O'Blues Sorry .. PC problems continue... Beardo is MUTE !!! 1. Iron Bridge Band - Black Sheep's Son from Against The Grain 2016 (4:09) 2. Tweed Funk - Who Is This from Come Together 2016 (4:18) 3. RB Stone - Another Thief from Some Call It Freedom (3:25) 4. Big Harp George - Crazy About You Baby from Chromaticism 2014 (4:19) 5. Bert Deivert - Cypress Grove from Kid Man Blues 2011 (5:33) 6. The Bluesbones - No Good for Me (Live) from Double Live 2016 (4:29) 7. Peter Karp - The Nietzsche Lounge from The Arson's Match 2015 (5:39) 8. Mark May Band with The Soul Satyr Horns - Gulf Coast Woman from Blues Heaven 2016 (5:06) 9. Markey Blue - Be My Train from The Blues Are Knockin' (5:01) 10. Blind Lemon Pledge - Rail Road Mama from Pledge Drive (3:15) 11. Leon Bibb - Ol' Man River from Praising Peace 2006 (2:49) 12. Eric Bibb - Sinner Man from Deeper in the Well 2012 (4:53) 13. Yana Bibb - Before You Go from Afternoon In Paris 2016 (4:57) 14. Frank Zappa - Black Napkins from Philly '76 2009 (18:57) 15. Oli Brown - Speechless from Heads I Win Tails You Lose 2010 (4:30) 16. Gurf Morlix - Food, Water, Shelter & Love from Diamonds to Dust 2007 (5:11) 17. Q65 - Spoonful from Revolution 1966 (3:29) 18. The Peddlers - Horses Collar from 45 RPM Single-B Side 1968 (2:06) 19. Billy Price & Fred Chapéllier - I'll Take Care Of You from Live On Stage 2010 (8:48) 20. Fleetwood Mac - Rattlesnake Shake from BBC (7:38)

The Degs - "Here They Come" - Here They Come Spray Paint - "Canadian Trash" - Live at WFMU on Brian Turner's Show: Oct 20, 2015 100% Chevalier - "Ghana Ghana" - EP-IC Paul Collins Beat - "Don't Wait Up for Me" - Live on WFMU's Three Chord Monte with Joe Belock: Oct 19, 2015 Mi Nave - "Feriado Puente" - Estela Mi Nave - "Matt Damon" - Estela Dungen - "Sista Festen" - Live on WFMU's Infinite Distortion: Oct 19, 2015 Inf - "Hillside Manners" - Unexpected Journey Onwards Dr. Sparkles - "Getting Down with the Count (Count Sparkula's Revenge)" - Hello, Good Evening and Yes Steve Combs - "Yes And" - Music By (or, The Empty Art of Attribution) SPCZ - "Kuma" - Elektra Simon Mathewson - "Ogopogo" - Vault Age 3 - 4-track recordings from 1989-1994 The Gateless Gate - "Shield Rock, Red Leaves, Lichen" - Cold Front Circus Marcus - "Les accouplements répétitifs" - Vous êtes quelqu'un de terriblement absent https://www.wfmu.org/playlists/shows/63471

The Degs - "Here They Come" - Here They Come Spray Paint - "Canadian Trash" - Live at WFMU on Brian Turner's Show: Oct 20, 2015 100% Chevalier - "Ghana Ghana" - EP-IC Paul Collins Beat - "Don't Wait Up for Me" - Live on WFMU's Three Chord Monte with Joe Belock: Oct 19, 2015 Mi Nave - "Feriado Puente" - Estela Mi Nave - "Matt Damon" - Estela Dungen - "Sista Festen" - Live on WFMU's Infinite Distortion: Oct 19, 2015 Inf - "Hillside Manners" - Unexpected Journey Onwards Dr. Sparkles - "Getting Down with the Count (Count Sparkula's Revenge)" - Hello, Good Evening and Yes Steve Combs - "Yes And" - Music By (or, The Empty Art of Attribution) SPCZ - "Kuma" - Elektra Simon Mathewson - "Ogopogo" - Vault Age 3 - 4-track recordings from 1989-1994 The Gateless Gate - "Shield Rock, Red Leaves, Lichen" - Cold Front Circus Marcus - "Les accouplements répétitifs" - Vous êtes quelqu'un de terriblement absent http://www.wfmu.org/playlists/shows/63471

LMG’s Soul Eclectics – “Autumn” Playlist Soft – (00:52) 1) Without You – R’Mone Entonio 2) All The Things You Are – Tony Momrelle 3) Whole Again – Marcell & The Truth 4) Every Day ft. Aaron Marcellus, Jean Baylor, & Kirk Whalum (Aiko Roh Mix) – Meeco 5) Fly Away – PJ Morton 6) Distance – Emily King 7) Out Of The Clouds – Emily King 8) Not Today – Andra Day 9) You Go To My Head – Cassandra Wilson 10) WonderLove (ft. Chris Turner) – Kris Bowers 11) Every Time I See You (ft. Gwen Bunn) – Darryl Reeves 12) I Really Don’t Care – Bilal 13) Tenderly – José James 14) You Don’t Know Me – Jon Bibbs 15) When Your Life Was Low (Live) – Lalah Hathaway 16) Left Alone (Live) – Frank McComb 17) All The Time (ft. Jarrod Lawson) – Tahirah Asha Memory Retro Soul Pop – (starts @ 01:20:06) 18) Midnight – Lianne La Havas 19) Wanderlust – The Milk 20) Yeah – Lewis Taylor 21) Money Is King – Lee Fields & The Expressions 22) Love You – Aaries 23) Hold On – Maverick Sabre 24) We Won’t Need Anything But Love – Sam Sparro 25) Hello – Adele 26) Hallelujah (ft. Charlie Sexton) – Justin Timberlake 27) Take Me To Church (ft. Morgan James) – Scott Bradlee’s Postmodern Jukebox 28) Remember – Tony Momrelle 29) Younger (Acoustic) – Seinabo Sey 30) All Of Me – Tank From These Roots – (starts @ 02:12:17) 31) Forgiven – Kwabs 32) Strange Fruit – José James 33) Walk With Me ft. George McCullum (A capella) – Rickey Payton 34) Carry You (ft. Kyla Jade, Pam Mark Hall, & Patsy Moore) – Tim Dillinger 35) Way Down in the Hole (“The Wire” Theme) – Tom Waits 36) Your Good Fortune – Mavis Staples 37) Brother – Kwabs 38) Favourite Worry – The Milk 39) Something Inside of Me – Robert Bradley 40) Summertime (Live) – Mica Paris 41) Love Reign O’er Me (Live) – Bettye LaVette 42) Ways of Light (ft. José James) – Kris Bowers