Formative Walmart - Moby vs Johnny Cash

[00:00:01] Speaker A: Well, hey, bro. [00:00:02] Speaker B: Hey. Hey. Cheers. [00:00:04] Speaker A: Cheers. Hey, cheers. Hey, Blink, what you got there? [00:00:20] Speaker B: What do you. Ah, you beat me to it. So I'm drinking a. A beer made by a local brewery here in San Marcos, Texas. It's called Aqua Brew. And this is their blonde ale. It's very good, if I may say so myself. [00:00:37] Speaker A: Aqua Brew, Blonde. All right, sounds good. [00:00:41] Speaker B: I'm a sucker for a really interesting looking can of liquid and You're a. [00:00:50] Speaker A: Sucker for a interesting looking can of liquid. [00:00:52] Speaker B: I know because I was gonna say I'm a sucker. I'm a sucker for like a. Like a nice pair of cans. See, you can't say that. [00:01:01] Speaker A: No, that's a whole different thing. I hope I know you enough to mean, like, you probably meant headphones, but. But that's just because I know you so well. Yeah, it can be misinterpreted. [00:01:12] Speaker B: I love a Nice Pair of Cans is so good episode title. [00:01:17] Speaker A: All right. [00:01:17] Speaker B: Yeah. Nice pair of cans. What about you? [00:01:23] Speaker A: I've got a Fire Eagle. It's one of my. One of my go to's. You just mentioned off Mike. You're not an IPA guy these days, but. And I got back into it. I don't know, I think it was just the cold weather. Yeah, I'm like, ah, beer sounds pretty good right now, but it's warm today, baby. [00:01:40] Speaker B: You were rocking the ranch waters for a while. [00:01:43] Speaker A: I've got a few of those in the fridge too. What's new, man? What's been new? What have you been up to? [00:01:50] Speaker B: Things have been really exciting since. Since we last met to talk about. Noted out and I'm drawing a blank, but I'm too excited. [00:01:58] Speaker A: Air. [00:01:59] Speaker B: Air. Thank you. You know, a lot's happened since we last met to talk about no Doubt and air. See, our previous episode, we actually just got back from Disney World. My wife and I went, and it was a total blast. [00:02:18] Speaker A: Excellent. You were there for six days, you. [00:02:20] Speaker B: Said we were there for six days. We did all four parks. And the original plan was to do like, Universal, the Harry Potter World, the last day. And at the end of that fourth day, we tallied our. How many steps we walked. We walked like five, 45 miles. [00:02:40] Speaker A: Oh, yeah, yeah, yeah, yeah. [00:02:45] Speaker B: So I look great. No. And so we were just kind of like, hey, so you just want to, like, go souvenir shopping and drink margaritas by the pool? [00:02:56] Speaker A: Because it's. [00:02:57] Speaker B: Of course it's Florida, so it's really nice weather. And although it was freezing back home, so we. We took advantage of that and just had A really nice, relaxing fifth day. But it was. It was awesome. We did that Star wars, that rise of resistance. [00:03:14] Speaker A: How was the Star wars thing, man? Oh, my God. How was it? [00:03:17] Speaker B: It was everything. [00:03:20] Speaker A: Did you fly, did you fly the Millennium Falcon? Dude? [00:03:24] Speaker B: I did and I got crazy motion sickness. [00:03:27] Speaker A: Oh, no. How does Han do this? [00:03:30] Speaker B: Yeah, the. The smugglers run was really cool. Even though we were with. We were riding with this like family. A mom, dad, and like, like a maybe five year old. [00:03:42] Speaker A: Five year old. This is the Million Falcon one where you kind of have like a use of team. [00:03:47] Speaker B: Yeah, yeah. [00:03:48] Speaker A: Like one of you is like a gunner and one of you is like the whatever engineer. All right. [00:03:53] Speaker B: And they say like, and then the two pilots. So me and, Me and the wife were the pilots. And yeah, and like the guy's like, all right, we're. We're working with Chewbacca and we've got to go get this all for the Resistance, you know, And. And he's just cut left, cut right and I'm there just like, you know, basically I got really bad motion sickness doing it with my eyes closed a lot of the time. And. [00:04:21] Speaker A: Oh no. [00:04:23] Speaker B: And the, the little girl, poor thing, she was the. She was the gunner and, and yeah, and they were like, fire. And I was like, I was like, hit those droids. Come on. [00:04:34] Speaker A: Punch it, Chewy. [00:04:35] Speaker B: Yeah, but the one that was really cool was the rise of the Resistance. It was. It was like a total like immersive experience. It puts you in the movie. It's hard. That's like the best way for me to describe it. [00:04:51] Speaker A: Is this the one where you like walk by a bunch of stormtroopers or whatever? Like, what, What. What is it? What is it? [00:04:57] Speaker B: So, so you walk. You walk in and like, not even kidding you, a hologram of Rey pops up and she's. It's like a. Like a legit hologram and she's just like, you've just joined the resistance. Good luck. Or whatever, you know. And Ray. [00:05:16] Speaker A: Who? [00:05:16] Speaker B: Oh, Rey. Rey Skywalker. [00:05:21] Speaker A: Controversial. [00:05:22] Speaker B: Formerly Ray Palpatine. Yeah, I guess, you know, I watched. I watched that ride or the Last Jedi on the flight home. [00:05:33] Speaker A: Okay. You didn't get enough Star wars in? [00:05:36] Speaker B: No, I. I was like, I was like hungry for more. I know we've talked about it because Rian Johnson is a. You said that he's not a contrarian, but he's like. [00:05:49] Speaker A: He does what everyone. [00:05:53] Speaker B: The opposite of what everyone expects. [00:05:55] Speaker A: He likes to Mex. He likes to mess with your expectations. [00:05:59] Speaker B: That's it. [00:06:00] Speaker A: That. [00:06:00] Speaker B: And I hadn't seen it. I don't think I'd seen it all the way through since we saw it in the theaters. [00:06:05] Speaker A: This is not going to go the way you think. It's in the trailer. It's this whole thing. [00:06:11] Speaker B: I don't know. Maybe you could do like a side. A sideshow on. Oh, gosh, six years later, the Last Jedi. [00:06:20] Speaker A: I think it's aged quite well, especially after Rise. Kind of. I don't want to say the bed, but if I did, it would go. [00:06:27] Speaker B: A little something like that somehow. [00:06:30] Speaker A: Ryan Johnson. Yeah. The dead speak like, oh, my God. Off camera. [00:06:36] Speaker B: Okay. [00:06:36] Speaker A: But Rian Johnson, like, subverts expectations even in the spelling of his first name. Ryan, with an I. Come on. [00:06:44] Speaker B: Oh. Oh, yeah. [00:06:45] Speaker A: Oh. [00:06:45] Speaker B: Because I couldn't get it. We were talking about at length. [00:06:49] Speaker A: Yeah. [00:06:50] Speaker B: And I kept. I kept on with the rion. [00:06:53] Speaker A: Yeah. It's Ryan. [00:06:56] Speaker B: It's Ryan. [00:06:57] Speaker A: Is this subverting your expectations about that? Why? It's an. I didn't see that coming. Did you? That's my impression of Rian Johnson. [00:07:05] Speaker B: So it was awesome. Like, you. I think so. Then you go into this, like, star Cruiser because you're part of the resistance. And then all of a sudden, Gleason jumps on the screen. Is it Dom Hall? [00:07:17] Speaker A: Domnal. [00:07:18] Speaker B: Domhnall. [00:07:19] Speaker A: Another ridiculous named person. [00:07:21] Speaker B: Yeah. And he's just like, rebel scum or resistance scum, Blah, blah, blah, blah, blah. We're pulling you in our tractor beam. And so, like, the little room you're in starts shaking and the door opens and you're on a freaking Star Destroyer. [00:07:37] Speaker A: Wow. [00:07:38] Speaker B: There's. They've made it look movie accurate. It was crazy. [00:07:42] Speaker A: Wow. [00:07:43] Speaker B: And then you go into this room and all the kudos to the Disney World, you know, at the Hollywood Studios cast. Because they were. They were in character and they were just like. [00:07:54] Speaker A: Yeah. [00:07:55] Speaker B: And they found a way to give you all the instructions for the ride, but also make it feel like they were interrogating you. [00:08:02] Speaker A: Whoa. [00:08:03] Speaker B: They were like, you will be transported to. You know, to the prison block. And you will keep your bag in the compartment that we will provide you. If you do not, we will take it and blast you. [00:08:16] Speaker A: You rebel scum will keep your arms inside the vehicle at all times. [00:08:19] Speaker B: No, exactly. And we were just like, okay. And so we're in this room. [00:08:26] Speaker A: No, no flash photography. Yeah, yeah. [00:08:30] Speaker B: And so you're in this room, and all of a sudden a hole appears in the wall. And two. Two more cast. Cast members come in and they're like, we're part of the resistance. We're here to break you out. Come on. And so we're going in and they sit you in these, these like little car things and they're like, we gotta hurry, blah, blah, blah, blah. And my wife was like, I'm kind of scared. And bless their hearts, the one resistance member was like, she looked at, she looked at her and she was like, don't worry, you're gonna be okay. It's a lot of fun. You're cool. [00:09:02] Speaker A: Oh, that's very sweet. [00:09:04] Speaker B: And you know, Lane was like, okay, cool. And then it takes you. You're riding through this like Star Destroyer and you're being chased by Kylo Ren. And he's like, awesome. It's a combo of like, combo of like he's on screen. And then there's like animatronics too. Really, really cool experience. Like, we walked out of there and we're just like, what just happened? Like, it was. Wow. It was really cool. [00:09:36] Speaker A: Friend of the show, Kylo Ren, friend of the show. [00:09:39] Speaker B: Hey, Kylo Ren. [00:09:43] Speaker A: Did you go to the cantina? I heard it's like all immersive too, and like, they never break character. [00:09:47] Speaker B: We did. Yeah, we, we. So we went to Ola's Cantina, which looked very much like the like Mos Eisley Cantina. [00:09:58] Speaker A: Yeah. [00:09:59] Speaker B: And there was like a robot DJing, you know, awesome. And we're looking at the drinks and I thought it, I felt bad. I, I thought it was like a sit down dinner place. It was just like a cantina. And so I was looking and all the drinks have like fun, like Star wars adjacent names. [00:10:17] Speaker A: Blue milk. I imagine blue. [00:10:19] Speaker B: I did try blue milk. [00:10:21] Speaker A: It was delicious. [00:10:22] Speaker B: It was like, it was like coconut. Coconut. And so we get there and I ordered like the, the bloody. Oh, shoot. What was it like? Not the, not the bloody Banta. The big monster in Jabba the Hut's lair in return. [00:10:40] Speaker A: Ah, I don't, I don't remember. [00:10:41] Speaker B: Rancor. [00:10:43] Speaker A: Rancor. [00:10:44] Speaker B: Yeah, I, I never would have got it. So I, I went in there and I was like, a bloody, A bloody rancor bone or something like that. [00:10:53] Speaker A: Nice. [00:10:54] Speaker B: And it's kind of like to sound like a Bloody Mary. And. And so I was like, I was like, oh, can I, can I have, can I have one of those? And the bartender was really cool. He was just like. He goes, is it your first time here? And I was like. I was like, it is. And he goes, okay, let me just be real with you. There's better things on the list that you want to have for your first time, like, okay, that's a, that's a fine drink, but if it's your first time here, they're better things to get. [00:11:26] Speaker A: I like it when people do that. Yeah, like, yeah, they know. They know what they're talking. Like, you should really try these before that one or whatever. I love that. [00:11:36] Speaker B: It was, it was really cool. So I ended up getting. I ended up getting the Jedi mind trick. [00:11:43] Speaker A: Okay. [00:11:44] Speaker B: And Delaney got the bespin fizz. It was like, they were really good, you know, and it was, it was a great time. Definitely got misty eyed at a couple parts just because. [00:11:59] Speaker A: Oh, wow. [00:12:00] Speaker B: Because you just. I don't know, like, it's, it just meant a lot being there with her. And I swear, like, the fireworks at Magic Kingdom, like, it's. They played, you know, they play Disney songs and they play like audio clips of Walt and the movies and stuff like that. And at the very end, like, I'm not even kidding with you, at the very end you hear Mickey Mouse and he's just like, you are the magic, you know, And I was just like. And then like fireworks going crazy. I was just there. Like. [00:12:36] Speaker A: I need, I needed to hear that. [00:12:38] Speaker B: I needed to hear that. Thank you, Mickey. [00:12:40] Speaker A: I haven't been to any of those parks in such a long time, but I imagine the nostalgia of it all and like the. I would revert to being a kid again and like, yeah, why ignore those feelings? And yeah, I would be all into it. I'll get there with the kid eventually, you know, like, we'll have to take her there someday. But, you know, I'll. Maybe I'll just let her run around and I'll hang out at that cantina all day with my, with my Jedi bathrobe on. Like, I'm in character too, man. [00:13:10] Speaker B: So we're like walking around and. There you go, dude. One, One situation where I got misty eyed was we turned the corner and there's the Millennium Falcon. Just like. [00:13:21] Speaker A: Yeah, parked. Yeah. [00:13:23] Speaker B: It was like, wow. [00:13:25] Speaker A: You know, I mean, I would lose my mind. [00:13:29] Speaker B: And you look down and there's two stormtroopers walking around patrolling. And they're. And they're like, their whole stick is, you know, they like, they just essentially just like mess with people. [00:13:41] Speaker A: Yeah, they like kind of roast you and stuff. Right? That's fun as hell, dude. [00:13:45] Speaker B: And so we're, we're standing there and they come up to, to Delaney and I and they're like, you know, whoever they have playing, these guys, they're like tall, you know, very broad shouldered, scary. Which makes Thinking about Star Wars. Even scarier to think, like, they're a. [00:14:03] Speaker A: Bit more formidable in person, I imagine. Like, and there's like the line, aren't you a bit short to be a stormtrooper? Like, I. [00:14:10] Speaker B: So we're standing there and they come up to. They come up to us and they're like, what are you doing? Do you have access to be here? What are your credentials? I was like. I was like, I think I. I think I can be here. You know, I just turned 34 last year and I'm, like, stuttering to these, like, stormtroopers. [00:14:26] Speaker A: Like, I've got a fast pass. Yeah, you said I was allowed to hear. You got. You got Mickey ears on. You're like, oh, you're still crying from the fireworks the night before. [00:14:38] Speaker B: And they're just like. They're like, what are you here for? And I was like, I was like, my wife's birthday because. Oh, because I had a pin on and said, like, I'm celebrating. And on it I wrote like, my wife's birthday. They're like, is it your birthday? And I said, no, it's my wife's birthday. And they look at. They look at the lady and they go, good job. And just, like, walked away like, nice. It was. It was a lot of fun. We were really, really fortunate to have, you know, been able. We planned it. We planned it for summer 2020 originally, and life had other plans. So. Sure. We're really lucky to. To be able to do it. And if it totally. You have the opportunity. Ride that Rise of Resistance ride. Because it's not. [00:15:31] Speaker A: Absolutely. I mean, I'm all over that. [00:15:33] Speaker B: And then last week was an exciting one. I feel like I'm talking a lot. I apologize. [00:15:39] Speaker A: Go on, man. This is your. This is your show. [00:15:42] Speaker B: It's our show. [00:15:43] Speaker A: Yeah. But I don't know. Oh, I saw Ant Man 3 Flying the Millennium Falcon, my movie night. I don't know. I don't give a. [00:15:54] Speaker B: Well, last week we saw 90s icon, you know, 2000s icon, 2010's icon, Adam Sandler do stand up here in Austin. [00:16:05] Speaker A: He was doing stand up or like one of these big old arena shows that he does. [00:16:10] Speaker B: It was like a. It was like a combo, like, stand up. And he played music. Yeah. And like, told stories and stuff like that. I cried then, too. Just a big ball of emotions lately. [00:16:21] Speaker A: He's got like a Chris Farley tune that knocks everyone's socks off. [00:16:25] Speaker B: Dude, knock me out. Because they show. They show pictures of them on. On snl, of course. And yeah, they're both so young and, you know, and he, you can, you can just tell that he just like, loves and misses, you know, that guy. So many people do. And. And then he ends the night by singing grow old with you. And he's like, this is a song I sing to my wife. And it's like girl with you from Wedding Singer. [00:16:56] Speaker A: Oh. Oh, wow. [00:16:58] Speaker B: I want to make you smile Whenever you're sad Carry around when your arthritis gets bad it would be so nice Grow old with you. But he's changed the lyrics around to kind of like be more personal with like, their relationship and then. [00:17:14] Speaker A: How sweet. [00:17:16] Speaker B: And then at the end of the song, he goes, he goes, and this part's for all of you. And he goes, thank you for growing old with me. You know, and then like, and then like, it, like on the screen it shows like pictures of his whole life and like when he was young, all his movies, like. [00:17:37] Speaker A: Yeah. [00:17:37] Speaker B: And it was just like a very, like, moving, like just a real, like, special experience. [00:17:43] Speaker A: Oh, my goodness gracious. You've had a. You've had a lot of intense experiences. I know. [00:17:49] Speaker B: Just like. Golly. And then Rob Schneider opened, like, what, Deuce Bigelow? [00:17:56] Speaker A: What did Schneider do? [00:17:58] Speaker B: Well, he's kind of like, you know, he's. These days he's become kind of like a. Kind of like a, like a right, kind of right leaning comedian. So he kind of, he. But he kind of touched on that. But wasn't like very like in your face about it. Like, he wasn't like very. It wasn't, it didn't make you feel uncomfortable. He was kind of like, oh, gosh. But he was funny. He talked about. [00:18:23] Speaker A: No, he moved. Right. That's okay. [00:18:25] Speaker B: Yeah, I think, yeah. He's, he's, you know, said some things and. Which is, you know, whatever. [00:18:32] Speaker A: His, his prerogative. [00:18:34] Speaker B: Yeah. I, I've laughed a lot at Rob Schneider movies over the years and things. [00:18:39] Speaker A: Sure. [00:18:40] Speaker B: He's been in, so I have no ill will. [00:18:44] Speaker A: Yeah. Yeah. Like, he always got kind of a raw deal, like, because he ended up in a bunch of silly movies. But they were all in silly movies, man. So I don't know. Well, everyone kind of seems to pick on him out of that squad, you know. [00:18:55] Speaker B: Yeah. So it was, it was really cool. I mean, Schneider not as big as, like, Farley or, or Sandler. Part of, you know, my, you know, formative years in. As a comedy guy. Sure. As a fan of comedy, but I mean, he certainly played a part and so it was cool to see him for sure. Wow. [00:19:16] Speaker A: Excellent. [00:19:17] Speaker B: And then. [00:19:18] Speaker A: Oh, my God, this just keeps going. [00:19:20] Speaker B: And then last Thursday, we got to see Bruce Springsteen. [00:19:24] Speaker A: Is this an episode of Jake has More fun than Elliot? Because I'm starting to. Oh, I got a flat tire. Yeah. When you were seeing Springsteen, great. How was Springsteen? Dude. [00:19:41] Speaker B: Dude. It was. It was nuts. It was. It was nuts. He paid for, like, he played for 2 hours and 47. 2 hours, 47 minutes, non stop. He sang the whole time. It was like. It was like watching a masterwork. [00:20:00] Speaker A: Yeah, I imagine so. [00:20:02] Speaker B: It was just like. It was really awe inspiring. For sure. [00:20:07] Speaker A: Yeah. [00:20:08] Speaker B: And we were really worried because little Stephen. Stephen Van Zant. Bruce is like, you know, best friend. He's been with the band the entire time. [00:20:18] Speaker A: Right hand man, right? [00:20:20] Speaker B: Yeah. He. He had Covid. And so he missed a couple dates, but he was back. And he came out wearing, like, I'm not even lying, like, Dustin Hoffman's Captain Hook hat. And. And he was. And, you know, with, you know, really found like a. Like a renewed love of the Sopranos, as you know. And he famously plays Silvio on the Sopranos. Oh, yeah. And so Silvio is like James Gandolfini's right hand man. His, like, consigliere kind of deal. And so we were just. Seeing him was like, oh, my God. You know, and like, so a lot of the concert, we were just like Sylvia or, oh, my own, you know, stuff like that. [00:21:17] Speaker A: And was Mac. Was Max Weinberg on the drums. [00:21:22] Speaker B: Oh, yeah, that guy's so solid. And his kid is just like. I think it's just like one Tom floor, Tom snare, and like a high. [00:21:32] Speaker A: Hat in 2 cents. That's all he needs, baby. [00:21:35] Speaker B: He was incredible. [00:21:36] Speaker A: Nice. Oh, that's great. Oh, wow, wow, wow. This is at the Moody Amphitheater or whatever. The big, big old boy. [00:21:42] Speaker B: Yeah. So the Moody Theater. [00:21:44] Speaker A: We. [00:21:44] Speaker B: We were. We were like, where's the Moody Amphitheater? We. It turns out we, like, we drove by it like, three times and didn't even realize it was there. [00:21:53] Speaker A: Wait, where? You saw Elton, right? [00:21:57] Speaker B: That was Alamo Dome in San Antonio. [00:21:59] Speaker A: Oh, okay. [00:22:01] Speaker B: Yeah. [00:22:02] Speaker A: Okay. [00:22:03] Speaker B: So it was. It was really cool. It was. It was really cool. [00:22:09] Speaker A: All right, man. So Antman and the Wasp, Quantum Mania was all right. [00:22:14] Speaker B: Yeah. But tell me about this movie. Have you heard about this? You've seen this? You tell me about it. [00:22:22] Speaker A: No Michael Pena, you should know that going in. I know. What are they doing? What are they doing? Maybe he would. Maybe he was working on something else. Cool. But no Pena, The Small chin is in it. Our beloved Polka Dot Man. Polka Dot Man. [00:22:38] Speaker B: Oh, okay. [00:22:39] Speaker A: Or he's one. He's like the Russian dude in, like, the first two. [00:22:44] Speaker B: I don't know anything. [00:22:47] Speaker A: Yeah, but he doesn't play that character. He plays, like, a weird, like, single celled organism in the quantum realm. So they, like, recast him. I don't know, dude. No, Pena. Because, like, the running gag is, like, every movie. Pena gets those cool recap thing. Montages. [00:23:04] Speaker B: Yeah. [00:23:04] Speaker A: Which is like. So it's like the best part of the movie. I was, like, waiting for it, like a. No, no, it never happened. This guy, right, this purple guy, he comes out from space and he snaps his fingers. Right. Like, I wanted that to happen so bad, but it did not. So that was a bummer. Bill Murray shows up. That's kind of fun. [00:23:22] Speaker B: Okay, is Loki required viewing before ANT Man? [00:23:31] Speaker A: It's not required, but it's, you know, a nice preface if you want to watch all Loki or just that last episode because it reveals what King is or who he is. We haven't seen Kang since then, and now it's like, okay, shit's about to go down. Phase five or whatever. I don't know. It's a bit of Marvel fatigue these days. Honestly, it's just a bummer to. For me to say that because I'm a big old fanboy, but. Yeah, I mean, C plus, B minus. [00:24:04] Speaker B: I. I was talking to friend of the show, Robert Wilson, about this. [00:24:09] Speaker A: What's up? [00:24:12] Speaker B: About how, like, they released the poster for the Marvels or the. [00:24:17] Speaker A: Yeah. [00:24:18] Speaker B: And I. And I just, like, was just, like, you know, more content. You know, like, it's just. [00:24:26] Speaker A: I feel nothing. [00:24:27] Speaker B: Yeah, Yeah. I didn't feel excited. I didn't feel. I was just kind of like, you know, that's cool. You know, like, you know, I like. I like the Ram Monarchs. The Rambo character. [00:24:38] Speaker A: Yeah. Photon or whatever the hell. [00:24:43] Speaker B: Yeah, yeah, yeah, yeah. [00:24:46] Speaker A: I don't know. I'm psyched for Deadpool 3. I'm gonna check out Guardians 3 for sure. But, like, the. So with opening night to Quantumania and I. I think I sat next to, like, a movie reviewer because he was, like, leaning over and like, is that so? And so. Oh, Modoc is in the movie. Which is kind of fun, but it's just, like, a huge joke, but. Because MODOK is kind of a silly character. [00:25:14] Speaker B: Was it like in. In High Fidelity, when he's like. He talks about. He's talking about, like, the. How he dated the movie reviewer and he's like. Yeah. Every time we went to a Movie. She had a flashlight pen and would just take notes the entire time. [00:25:28] Speaker A: Yeah, she's like. She reviews movies, which is infinitely cool, but she has this, like, pen light, which is really annoying. Yeah, I remember that. You rewatch that. [00:25:36] Speaker B: Same here. I was thinking about. I. There's that back to spring scene. There's that great cameo he has in it, and. [00:25:42] Speaker A: Yeah, I saw you post something. Yeah. Thanks, Boss. [00:25:46] Speaker B: Thanks, Boss. So good. [00:25:49] Speaker A: Do you have a favorite, favorite Springsteen. [00:25:51] Speaker B: Tune, Downbound Train off of Born in the USA Okay. Did I ever say about the time I met Bruce Springsteen? [00:26:02] Speaker A: I. I think you have, but why don't you tell the listeners? [00:26:06] Speaker B: So he. He put out a fantastic autobiography called Born to Run, and he did, like, a book, a meet and greet book tour where he went to a bunch of, like, read bookstores around the country, and he came to book people in Austin. And if you're ever in Austin, check out book people. They're. They're. They're killer. So, anywho, my sister got me a ticket for Christmas, and so I went. And, you know, I. I practiced all week. I was like, okay, I'm gonna tell them Downbound Train is my favorite song, but Nebraska is my favorite album. I, like. I sound silly, but, like, I practice saying that, you know, in the mirror and stuff. In the mirror? Yeah. Okay. Okay, sure. So I get into the room, and it was real quick, you know, because the line literally wrapped around the block. [00:27:05] Speaker A: Wow. [00:27:06] Speaker B: So it was real quick. You get up there, and there he is. He's just. He's wearing a leather jacket and black jeans and boots. And I'm looking at the picture right now. It's on my wall. And. And I walk up, and he goes, hey, how you doing? How you doing? And I was like, hi. And he goes, hey, thank you so much for being here. Let's do. He, you know, put his arm around me, and you can tell in the picture, I'm like. My eyes are, like, glossy, and I've, like, just, like, done look on my face. And he goes, I thank you so much. Thanks for the support. You know, like, he, like, that was it. And I was like, okay. [00:27:49] Speaker A: Wow. [00:27:51] Speaker B: On the drive home, I was like, demo is my favorite song and the best of my favorite album. [00:27:57] Speaker A: It's like, it was a stormtrooper or something. And you guys like, oh, this is weirdly more intimidating. Oh. [00:28:06] Speaker B: But now I'd like to. Yeah, I. I'm really excited to see Ant Man. We. We. We did a rewatch of those. They're really. They're really great. And I'm, like, really excited to see, you know, Jonathan Majors King. I didn't realize this, but he spent some time in the Austin area. [00:28:27] Speaker A: Majors, huh? [00:28:30] Speaker B: I think he grew up in Georgetown. [00:28:35] Speaker A: Cool. [00:28:36] Speaker B: Yeah. So I'm really excited. But I saw this one thing. It made me laugh. It was like, Marvel. It was like on Instagram or something. It was like, Marvel. If you want us to stop. If you wanted to start taking your villains seriously, stop making them so damn hot. You know? Like, had a picture of Johnny Majors. Cate Blanchett. Hella thank Thanos. Like, not even Josh Brolin. Just, like, Thanos. [00:29:03] Speaker A: Like, yeah, people. People had a thing for Thanos for a bit there. Yeah. It was odd. Like, he's got ass. [00:29:11] Speaker B: Yeah. They're like, oh, yeah. [00:29:14] Speaker A: I don't know. I never found him, you know, quite that attractive, but all right. I. Hella. For sure. Oh, yeah, yeah. Oh, yeah. [00:29:26] Speaker B: Oh, yeah. [00:29:27] Speaker A: Oh, yeah. Have you been listening to anything lately? Like, or anything new? Anything modern? [00:29:33] Speaker B: Anything? I've. I went to good old Andy Manir. [00:29:40] Speaker A: Yep. [00:29:41] Speaker B: And they were playing this band out of Houston called Narrowhead. Um, really blue. Blew my socks off. Um, kind of like shoegazy, kind of like emo, kind of hardcore. It was fantastic. [00:29:58] Speaker A: The new. There's new Skrillex. [00:30:02] Speaker B: Oh, yeah. Randomly, right? [00:30:05] Speaker A: Yeah, real randomly. Actually. Actually, like, I guess he, like, just secretly dropped a second album, too, after this big Madison Square Garden show. And there's some stuff, you know, I listened to. I found it. Is next level good. It's like, wildly, wildly good. Really? Yes. I'm, like, blown away by it. Are you familiar with any of Skrillex's stuff? [00:30:26] Speaker B: Yeah, so mostly his stuff before he became Skrillex. He, like. He's saying he was, like, the, you know, front man. So he's saying for this, like, post hardcore band called from first to Last. And so I. I listened to them a ton in high school. They were like. They're very, very, very emo and intense. Like, their. Their. Their debut album was called. Was titled Dear Diary. My teenage angst has a body count. [00:31:07] Speaker A: Oh, my God. I didn't know he was in a. Like, an evil man. Okay. [00:31:11] Speaker B: Yeah, he. I got to see them once, and Wes Borland, the guitar player for Limp Bizkit, was playing bass for them. [00:31:23] Speaker A: What the hell? [00:31:25] Speaker B: Yeah, it was. It was wild. That was, gosh, 2005, maybe 2006. West Borland. I've never seen someone like that, like, larger than life, play, like, a small stage because they played at the White Rabbit in San Antonio. But you Know, West Borland, you know, Limp Bizkit was huge. You know, like, he just, like, he stalked the stage and course he was in, like, full body makeup and. [00:31:55] Speaker A: Yeah, it was crazy. [00:31:57] Speaker B: Like, it was crazy and kind of, like, distracting in some good ways. Yeah, but, yeah, but yeah, I. I really. I really, really like that. Like, that first of your equinox when that dropped and bangering was a really. Was another really cool one. What's this new. What's this new sound? Is it. [00:32:19] Speaker A: It. It is. It is far away from the bro step they would call it, you know, when. When the dubstep thing was real big. And it's just like some, like, Just some next level, you know, bass music tech house hybrid thing. It's. Look up Xena, I think X E N A. Like off the new thing. The new album. River is far out, but he just. He just played this show with this new up and coming guy, Fred. Again. It might be. It might not be as new as I. I'm familiar with, but, you know, I'm not up with the modern, modern stuff. And he's like a great, like, hand percussionist. Like, it's like rocks these NPC pads, you know, it's really amazing at it. And then. And forte. So the three of them, like. [00:33:07] Speaker B: Oh, I love quartet. [00:33:09] Speaker A: Yeah, really? Okay. Awesome. Well, I mean, we'll have to. I think. I think for test, like, one of my favorite electronic guys of the last few years. [00:33:18] Speaker B: Yeah, I heard them at End of an Ear. Good old and of an Earth. Go to record stores, folks. You'll never know what you'll hear. [00:33:25] Speaker A: Yeah, go to record stores. I caught Forte here in Austin at. What's it called? The outdoorsy one on Red River. [00:33:35] Speaker B: Oh, Stubbs. [00:33:36] Speaker A: No, the one across the street from Stubbs. [00:33:39] Speaker B: Oh. Oh, good. Charlie's. [00:33:42] Speaker A: Not sure of Charlie's, but, like, next door to Chip Charlie's. [00:33:45] Speaker B: Oh, Mohawk. [00:33:46] Speaker A: Mohawk. Thank you. Wow. We had to. [00:33:49] Speaker B: We just went. We just gave like, an audio tour of all the major venues on Red River. [00:33:54] Speaker A: Yeah, we zeroed in on that. Like a satellite. Like a military satellite. Like. Oh, that's the one. I got it, got it, got it. If not this, then that. Okay. But yeah, I caught Forte there. That was rad. But they just did this, like, crazy impromptu. Impromptu show at Madison Square Garden. I don't know how you do an impromptu show at Madison Square Garden. Like, announced the show two nights before it happened, and, like, tickets go on sale and it sells out in, like, 20 minutes, thanks to a lot of bots and all that, but Like, I remember, like, the. The FOMO anxiety of living out there on that city on the east coast that I try not to mention that too much. Like. Like, oh, the. That's where the party is at. And, like, whose dick do I have to do stuff to. To get there? Like, yeah, unreal. [00:34:39] Speaker B: So Madison Square Garden, is that kind of, like. I mean, because it's an arena, and sometimes, like, some folks are like, oh, you know, there's, like, an aversion to going to an arena show. You know, like, the. They want that intimacy that you get at a small club, which I understand, but I feel like with Madison Square Garden, it's different. Like, it's the world's most intimate arena. Is that. Am I. Am I in the ballpark or am. [00:35:05] Speaker A: I. Yeah, there's not a lot of bad seats in it. You know, it's like a big, you know, bowl, and it's just so, like, legendary. And it's very. It's very cool to go to a show there. You know, I went to a few, but some bands aren't big enough for it. I saw Interpol there. I'm like, this band is not big enough for Madison Square Garden. But I saw Muse there. I saw Prince there. And like, now we're talking. Like, this is anarchy. And it's just the coolest, craziest shit ever. This is a giant room. [00:35:39] Speaker B: I never knew you saw Prince. [00:35:42] Speaker A: I'm just slowly releasing these reveals to you about shows that I've been to. [00:35:47] Speaker B: First, you hung out with Gwen Stefani in Grand Rapids. [00:35:51] Speaker A: I didn't hang out with her. [00:35:53] Speaker B: Might as well had. [00:35:55] Speaker A: Yeah, okay. We hung out a little bit. We had dinner and then coffee the next morning. God, I was 15. [00:36:08] Speaker B: Whenever you were at Madison Square Gardens, did any of these shows ever make your body rock? [00:36:14] Speaker A: Is that it? Is that the. [00:36:16] Speaker B: Is Madison Square Garden on the south side of Manhattan? [00:36:21] Speaker A: It's, like, right in the middle, perfectly, somehow. [00:36:24] Speaker B: Is that when you. When you miss the show there, would you ask, why does my heart feel so bad? Would you? [00:36:32] Speaker A: No. But when I did use the restrooms, I pissed off a lot of porcelain. [00:36:39] Speaker B: Are we ready? [00:36:40] Speaker A: Yeah, Here we go. [00:37:35] Speaker B: You know, being at Disney World, they. I saw a clip of Peter Pan, like, from the 40s or the 50s. I forget. And there's a. There's a part where Peter Japan, when he's taken off the fly, he yells, here we go. [00:37:51] Speaker A: Oh, really? [00:37:52] Speaker B: And I looked at my wife and said, decent's got a lawsuit on their hands, baby. [00:37:57] Speaker A: Yeah, let's take down that mouse that Rat. No way. [00:38:02] Speaker B: That's our thing. [00:38:04] Speaker A: Yeah. No one else says that. [00:38:08] Speaker B: Every time. Every time I hear someone, like, on the show, they say, here we go. I'm just like, they listen to our show. [00:38:13] Speaker A: Yeah, they do. [00:38:15] Speaker B: 1953, so they beat us by a couple. [00:38:20] Speaker A: Couple years. [00:38:22] Speaker B: All right, so Elliot's album this week is one that needs, you know, no. [00:38:30] Speaker A: Introduction, but a lot's been said about it. [00:38:34] Speaker B: Yeah, let's give it one. Anyways, Elliot, tell me about Sir Moby Play. [00:38:40] Speaker A: All right, so in 1999, Moby was pretty down on his luck. We. We previously. And I listened back to it, talked about Everything Is Wrong, his album from, like, what is it, like, 95 or whatever. [00:38:54] Speaker B: Very. A very disjointed listening experience. [00:38:56] Speaker A: Disjointed? Yeah, sequenced album. It's really odd, you know, it had his, like, thrash metal stuff. It had, like, super speed disco in it. And it had, like, crazy, like, atmospheric ambient piano stuff and, like, no message, seemingly. And the liner notes are full of his, like, essays on veganism and, like. So I was like, what is this piece of work? After that, he followed it up with all speed metal album called Animal Rights. And he was just written off completely. Who does that? He's like, I know what the best part of that last album that didn't do too well was. It was this. This. This speed metal, thrash metal that I make on my keyboards. Like, no, bro. No, it's not. Whatever. [00:39:45] Speaker B: Want to see? [00:39:48] Speaker A: It's like. [00:39:49] Speaker B: It's like that great Simpsons where Principal Skinner is like, yes, yes, yes. He's like, you like, should I change? He goes, no, it's the children who are wrong. [00:39:59] Speaker A: Yeah, yeah, yeah. No, it couldn't be. It's the children who are wrong. That seemed to be where Mommy was at. He's like, ah. And he, like, toured for animal rights and, like, the album. Thirty people would show up to his shows and eight were at. There at the. When the lights came up because people are just like, boy. So he was like. He, like, like, dropped from labels and like, no one was really paying a lot of attention. He released where he released, like, his, like, I Like to Score album, which is a bunch of, like, him on his synths and stuff, like, you know, writing scores for movies that don't exist and, like, who wants to pop that on? I don't know. And then 1999, oh, boy. He's like, I sure do. Like all these old blues and, like, Americana roots records that, like, a friend of mine just, like, dug up, restored and, like, even recorded by like traveling all over America. And he like starts sort of sampling them and adding his piano. And then the piano then informs his like synth pads. And he makes this album, like 18 tracks and he calls it Play. He's like, this will be my last album, you know, all. I'll put it out on a friend's label and then I'm gonna move back to Connecticut because I can't afford my Manhattan place anymore. And I'll just end up. I'll just end up teaching like science or something like that at that at community college. And then Play comes out, this album, and it's the craziest shit ever because it blows everyone away. They weren't sure how to market it, so they sold the rights to every single song on the album to commercials, movies, everything. And then it becomes this machine because people started hearing the songs in commercials and movies and stuff like that. They find out who like this the song is by. They love it. It's deeply moving and kind of beautiful and designed to be so. And it becomes this giganto hit and a huge money maker for everyone involved. There are absolute slammy jammies on this one, you know. We will open with Honey the. The track Porcelain, which is, you know, great. In the Beach. Why does my heart feel so bad? Of course Southside. I think I heard Body Rock first and I was like, this is dope. Because it's like a dance tune and like there's like kind of like a big beat album. Even though the drums are quite low in the bits compared to the Chemical Brothers or product or anything like that. The drums are an afterthought, kind of. It's mostly about his piano, his strings and his weird vocals that are mostly mumbled into a microphone in a closet or screamed as loud as he can. Natural blues. Unbelievable. And then the album kind of like keeps going and has a. These beautiful synth pads and pianos. And it's deeply emotive of emotional music. And because it was so easy to adapt into marketing campaigns for cars or coffee or anything, Matt Damon movies, it became this massive gazillion dollar money making machine. And Moby was on top for the first time and ever. Jake, what did you think about Moby's play? [00:43:30] Speaker B: Oh man, this one, this was. This was a big album in our household in the late 90s. So much so while I was talking to my sister right before we jumped on, I said, yeah, we're recording. Recording episode tonight on Moby's play. And she automatically goes, oh, that's a good one. You know this one, this Album was. Was huge. I. I think I first heard Body Rock. I think I've talked before about how I was really big on, like, like, compilations and CDs that they put out. Like, okay, like. Like now. Like, that's where I discovered Blink and. And there was one. I always loved that song. What is Love? By Hadaway from the night at the Roxbury movies. [00:44:25] Speaker A: Yes. Yes. [00:44:27] Speaker B: Probably one of my favorite songs of all time. Wow. I. I love that song. [00:44:35] Speaker A: But. [00:44:35] Speaker B: So I'll never forget, we were at. We were at the Walmart on Jones Maltzburger in San Antonio. Shout out Walmart. And Jones Maltzburger in San Antonio. [00:44:43] Speaker A: Shout. Shout out Walmart. Yeah, we'll tag him in our. We'll tag them in our Instagram post. [00:44:49] Speaker B: It was a very formative Walmart for me. [00:44:52] Speaker A: Formative Walmart. [00:44:54] Speaker B: Formative Walmart. That's the episode title. [00:44:57] Speaker A: That's not bad. Okay. Writing that one down. [00:45:01] Speaker B: And it was one of the. Do you remember those CD kiosks that they had at, like, stores a lot of times they were for, like, like, nature sounds or, like, you know, the ambient sounds of. [00:45:13] Speaker A: Oh, I do know what you're talking about. We could, like, push a square and then we'd play. [00:45:16] Speaker B: Yeah, you would push a square. Well, they had one of those at. At this. At this Walmart. And it was Ultimate Dance Hits, Volume one. [00:45:26] Speaker A: Sure. [00:45:26] Speaker B: And I saw they had what Is Love? I'm like, oh, awesome. Mom, mom, can we please get this. I would. [00:45:32] Speaker A: Please. [00:45:33] Speaker B: It has what Is Love on there was like. Okay. And so I had a bunch of like, really, like, had songs by, like. This is the rhythm of the night. [00:45:43] Speaker A: Rhythm. [00:45:43] Speaker B: The Night show by Corona, I think is. That's what they're called. But also Body Rock is on there. [00:45:50] Speaker A: Snap. I've got the power. Oh, Body Rock was on this one. Yeah, it came out late enough. Wow. Okay. And because those are early. Those are early 90s jams that you've mentioned before. And then Body Rock is decidedly late night. [00:46:04] Speaker B: Yeah. And. And I remember noticing that that song stood out because it had an electric guitar on there. And I was like, yes. Oh, that's cool. And didn't know it was Moby. And then the second time was. Do you remember that movie the beach with Leonardo DiCaprio? [00:46:26] Speaker A: Sure do. It's directed by Danny Boyle. [00:46:29] Speaker B: Oh, yeah, yeah, that's right. [00:46:31] Speaker A: Apparently they destroyed a mile of beach in Thailand to make it. It's a really weird movie, but I remember being oddly drawn to it as a kid too, and loving the soundtrack And Porcelain is. Is on there. Yeah. [00:46:43] Speaker B: Yeah. And that's the. That's the second time. And I remember being like, whoa. And by that time, I think my mom had bought play because my mom is a really big fan of, like, the. Out. You know, those Alan Lomax field recordings. You know, that, like, that folk blues, that. A lot of it's featured. You know, a lot of the samples are featured featured here. Like, Lead Belly was the big one. That's where. I think that's where they discovered, like, Man's Lipscomb from Nacogdoches, Texas. I think Muddy Waters was discovered in this project. They were just. This guy was just. Alan Lomax was paid to essentially travel the south and record these, like, folk musicians that sing songs. And because of this project, like, we, you know, we were able to preserve this, like, beautiful art form. [00:47:36] Speaker A: This is. This is the. The Lomax recordings are what Moby pulled from, I believe, Foreplay. [00:47:43] Speaker B: Yeah, I saw his name on. I saw his name on the track because he gets, like. I guess Lomax got writing credits for. [00:47:49] Speaker A: Those songs or maybe a recording credit of the. The. Yeah, yeah. Alan Lomax. Far out. [00:47:55] Speaker B: Also from Austin, weirdly enough. [00:47:58] Speaker A: No. [00:48:00] Speaker B: And so, yeah, so my mom was really drawn to play because of the presence of that. Those, you know, the African American folk songs that we hear throughout the album. She loved that. I. I think I was too young to appreciate it. I was more drawn to the body rock guitar. And then these, like, weird sounds, like the. [00:48:28] Speaker A: His synth pads that, like, are kind of the same on every song. Like, he's using his synth. His synthesis synth pad that he designed. But it's kind of ever present throughout the album. Like. Like, oh, he's just using the string thing that he'd made on almost every song but this. And. But also the Lou Reed inspired slide guitar is way back. We touched about that on that a little bit with Everything Is Wrong. He loves liberty like he wishes. He really wants to be a rock star, but he's not. He's not quite a rock star, but, like. But he. [00:49:01] Speaker B: He. [00:49:01] Speaker A: He slams in that. That steely sliding guitar anytime he can. And it sounds good. It sounds great. [00:49:07] Speaker B: Yeah. Especially on Honey, the one that. The album opener, like, that song is mixed so well. I think it's Honey. No, no, I'm sorry. Find My Baby features. [00:49:18] Speaker A: Wanna find my Baby Yeah. [00:49:23] Speaker B: I. I first heard Find my Baby in a Colin Farrell movie called American Outlaws from 2001. [00:49:35] Speaker A: It's not the one with, like, Johnny Depp in it, is it? [00:49:38] Speaker B: No, it's Scott Khan and Ali. Larger. [00:49:43] Speaker A: Okay, I missed that one. [00:49:45] Speaker B: Yeah, but it played during the. It played during the, the credits and I was just like, badass. Who is that? You know, and this was, this was during that time. Like I talked about it before where I didn't. I don't think I understood that one person was producing this sound. So I thought like. And I didn't. I didn't understand sampling at all. So I thought this was just a band singing like My baby. [00:50:15] Speaker A: Yeah. [00:50:15] Speaker B: Just blew my mind. [00:50:17] Speaker A: So all these samples he found and Doug and then he wrote music to accompany them or vice versa. It is a weird thing where he. It's actually a quite minimal production style, especially compared to other stuff in 99, 98, 97 that was coming out. We've talked a lot about like 97 as this boom and electronic music and the like the high tech gear these guys had. The drums are so equalized and perfect in the mix. And this is way more bare bones. It's just. You get the idea. This is the feeling. It's borderline a demo, like. And that's. That feels maybe sacrilegious as to this album's success. But. But like, he purposefully, like, didn't clean up the samples. There's a lot of pops and cracks of the vinyl. Or, or. And like the samples are just placed into the song and they're not like tapered. They didn't like, lower the volume at the end of the sample. So he just. You hear it, you hear it pop and end and it just adds reverb on top of it and it kind of echoes and it adds a certain, like, scribbly, sketchy, pentimenti nature to the sampling and it works so well. [00:51:34] Speaker B: It's an establishment only. Great sounding album. [00:51:39] Speaker A: Yeah. [00:51:39] Speaker B: I, I had so much fun going back and, and, and listening to this, listening to this one. It was great hearing our girl Gwen Stefani on Southside. I know you're not a terribly big fan of her version. [00:51:58] Speaker A: Well, she's not on the album properly. I watched a video. Did you? [00:52:04] Speaker B: Yeah. [00:52:05] Speaker A: Okay. Something about it just like, irks me. Like, I get. So again, like Bumby was about done when he was putting this out and he says that Stefani hit him up and asked to sing on this one and he recorded it with her and he said like, I couldn't make it work. So I just put out my version of Southside. Hot take. Here's my hot take on this album Play, which does mean a lot to me. And I've listened to it hundreds of Times hundreds and hundreds of times. Southside is the worst track on the album. The version with Stefani is worse than the album version. [00:52:49] Speaker B: See, I always like Southside. I like. I remember the. You know, like, watching the music video. Like, it's like they're dancing and being silly and, like, that. That, like, appealed to me. And, like, they're looking at, like, the camera, and their eyes are, like. It must be, like, a ring light of some. Of some kind. I don't know. It's like. It was very cartoony, but I don't know, it worked for me. And, like, I like the way the. I like the way the. The synth and maybe guitar. Guitar is even mixed in. It sounds kind of big to me. Yeah, I like. I like Southside. [00:53:24] Speaker A: Just that the way it's not a duet and they're both singing the same song in that version. It seems to be. Maybe they switch off verses or whatever, but, like, hit Moby's voice is in the Gwen Stefani version, and they're so opposite. [00:53:42] Speaker B: Yeah. [00:53:43] Speaker A: Like, I. He's like, here we are now, going to this outside, you know, he's just very Moby. He's very five, four, in his apartment, you know, bathroom, trying to record this thing. And she's like, here we are now, you know, like, doing her no dad thing. Like, oh, this doesn't. This doesn't match up at all. [00:54:03] Speaker B: Like. [00:54:03] Speaker A: And so they have to, like, match the. They have to compress the vocals at the same volume, and it just clashes so hard for me. It just doesn't make sense to me. But that. Yeah, that's my hot take. That's my hot, hot take. That's hot. That's. That's smoke. It's hot. Oh, it's smoking hot. Yeah. Alma says smoking hot. As Moby is himself. What a slab of beef dope. [00:54:29] Speaker B: He's not a slab of non. [00:54:32] Speaker A: Oh, right. Slab of tofu. Slab of Tofu. [00:54:36] Speaker B: Slaba Tofu. That's a cool name. Episode title, Slava Tofu. [00:54:43] Speaker A: Yeah, but of course, like, when this album came out, it blew me away. And it was ever present in, you know, the car on mixtapes for girls I was into. Like, I fell in deep, deep love with this one. And, like, just listen to it alone and bed at night, like, cry. Like, the album Closer, My weakness shakes me to my core. It's the one with the little children choir thing. It was also featured in an episode of X Files because every song on here was featured in something else. And that's how they figured out how to do this, this is like before the OC happened. Remember that show when they like, oh, every episode is going to have some cool hit, kind of indie hit. We're going to blow some band up because this show is so popular. Like, this is like reverse engineered to become a popular, like multi platinum album. Is it multi platinum? I don't even know. This is probably one of, of the albums I've submitted to the show, probably the most successful, at least finance, at least financially, you know. [00:55:51] Speaker B: Yeah, yeah. This one in Fat of the Land were the one. The two. [00:55:55] Speaker A: Yeah, yeah, I would say so. Yeah. [00:55:57] Speaker B: Probably very. The ones I was most familiar with. Yeah, I mean like, you got like, besides the ones we talked, the, you know, the ones we've talked about. Natural Blues. [00:56:10] Speaker A: That's the one with Riichi in the video, right? [00:56:12] Speaker B: Yeah, sure. I really like the way throughout these songs, Moby like, sprinkles in little like tinkling like pianos, like. [00:56:24] Speaker A: Yeah, he's a, he's a, he's a very good piano. [00:56:27] Speaker B: He knows just the right amount of instrumentation to put in there to, to make things their most effective, you know. [00:56:39] Speaker A: That's, I think that's a astute review. Yeah. [00:56:44] Speaker B: I remember another album standout for me. I remember hearing this one, you know, in 99, 2000 ever loving and yeah. [00:56:58] Speaker A: It could, it could be a Johnny Cash tune. [00:57:00] Speaker B: Yeah, absolutely. [00:57:01] Speaker A: Imagine Johnny over that one. It would be wild. [00:57:05] Speaker B: I listening back to it today, I was like, oh, man. Like this, this sounds like Johnny Cash could have sung on this one had he, you know, how do you have the chance here? And it would have sounded great. It would have sounded amazing. [00:57:17] Speaker A: Yeah. One of my other faves is guitar, flute and string. [00:57:20] Speaker B: Oh, yeah, yeah. I had forgotten about that one. [00:57:23] Speaker A: Yeah, I had forgotten about it too. And then, you know, relisting to this because like, I, I, I know this one backwards and forwards. I'm like, oh, yeah. Guitar, flute and string. I'm like, this could be on the Never Ending Story soundtrack. It's got like some like, like, real, like, you know, cinematic qualities of. No, duh. They licensed the out of this album and they got. Did you listen to that B side Flower Dude? [00:57:45] Speaker B: I'd never heard that song before, but it was amazing. [00:57:47] Speaker A: You've never seen gone in 60 seconds with Nick Cage. [00:57:50] Speaker B: I've never. That's like the, that's a huge Nick Cage blind spot for me, man. I've never seen it. [00:57:56] Speaker A: Don't worry about it. I promise I'll save you the two hours. It's not good. But I mentioned before I have bumped into Moby a couple times. Like, I let it show on the last Moby episode. Like. Like, once I was in Miami with my friends for the winter music conference, and Moby was headlining this festival called Ultra. We were walking down the Strip and Moby just walks by with, like, his hood up and all this, like, trying to be incarnated. And I. But I spot him and I just go, hey, Moby. He goes, hi. He keeps walking. And my friends were like, what did you just say? I said. I said hey to Moby. They're like, what do you mean? Like, I just. I'm like, I just saw Moby walk by. And they're like, are you serious? Like, I don't know if they chased after him. Like, what are you talking about? I'm like, yeah, baby. And another time, I was in an east coast city that I used to live in, and me and my friend Becky were at a. We're at Studio B, which is a fun club to go to. Moby was DJing, and my friend almost like, knocked. Knocked him the fuck over, like, bumping into him, like, trying to get a drink at the bar. I'm like, sorry, Moby, it's fine. So he's just like, you know. On the Everything Is Wrong episode of Sipping Mimosa, I was like, moby's a dick. Like, by all accounts, is a dick. Then I watched a bunch of interviews with him around this era. Like, where was his headspace in 99? In a word, humbled. I think, like, the 90s had not been good to him in this. In this long term. And he was very grateful for the attention that play got and it saved his complete career. He was about to retire, but after this, he keeps following it up. But in all his follow ups, he can't help but put him in the forefront of everything, himself in the forefront. He keeps, like, some of the, you know, you know, roots and blue samples and Americana stuff, but he's always on the track. He's always singing something. He's always. He's always got his guitar. There's less and less room for, like, cool deep cut gems because he wants to be. He wants opportunity to be like a hit. And. And I think there is a conversation to be had. Maybe you don't have to do this here, but, like, is he. Is he respecting these artists that originally recorded this stuff? Is he giving them the credit that they deserve? Is he, you know, appropriating this? And there's seems to be. In the reviews and stuff, there seems to be Two opinions. Like one, one like, oh, this guy is culturally appropriating black music and making it digestible for Starbucks? Or is he shining, shining a light on these awesome artists that no one's ever heard of by like kind of remixing their tunes and making it something new. It's, it's not Moby featuring, you know, this guy, that guy and the other guy. It's, it is the song by Moby. He wouldn't even let Gwen Stefani on the album. So it's just, you know, there's something to be had. But, but he does, he always has had this like. I want this music to feel like something, I want the listener to feel something to it and it, and it, it works, man. This is a, this is a successful album. [01:01:19] Speaker B: Absolutely. As I've gotten older, you know, I've really started to maybe like be a little bit more aware of, of great art of all kinds to the tendency for that to have an array of effects on, on its viewer or its listener. And that's something that I never like really was aware of as a kid. I remember growing up, like, to me like art was a painting, you know, that, that looked like the thing it was supposed to look like. [01:02:00] Speaker A: Oh, I see. [01:02:02] Speaker B: But I think it was like being a grown up and watching the Chicago Museum of Art scene in Ferris Bueller where, you know, Cameron's staring at the, the point. Yeah. The pointillism, you know, and he's just like staring at it and. [01:02:19] Speaker A: Thanks Art school. [01:02:21] Speaker B: Yeah, thanks, thanks. Art History 1301. [01:02:26] Speaker A: Yeah. [01:02:29] Speaker B: You know, and he's, he's moved by it, you know, but I don't think he's moved by like the image. Something is like stirring in him, you know, And I think being an adult, you know, I'm aware of that, you know, and I maybe like I'm allowed myself to, to, to be affected by art in a lot of different ways. [01:02:52] Speaker A: You're in touch with yourself. [01:02:54] Speaker B: Yeah, you know, I, I, I, I, I like to think, I like to think so more so than I was and I was, you know, 15, you know, and just thought like, oh, this sounds rad, you know. [01:03:03] Speaker A: Yeah, of course, of course, of course. But yeah, you don't know when you're 15 and you're full of hormones and like feeling things as like the Enemy. [01:03:12] Speaker B: Mountain Dew, you know. [01:03:14] Speaker A: Yeah, sure. [01:03:16] Speaker B: But like, and it's, this is gonna sound kind of like cheesy, but this, this, this Listen through, listen back of play. I tried to allow myself to be a blank slate, a blank canvas and I tried to let this music wash over me and just to take it all in and move me in ways that maybe I was feeling self consciously, maybe the ways that maybe Moby was trying to make his listener feel. And I must say it was a profoundly enlightening listening experience this time around. I had, I hadn't listened to this one in a long time, but it, it, this one was very, it was a very stirring listen. [01:04:01] Speaker A: It was stirring. [01:04:03] Speaker B: Yes, it was, it was, it was wild. I hope I got my message that I've learned to appreciate art. Long story short, I've learned to appreciate the effective nature of art. And it took me 20 years to do so. It was very moving. It was a very like, wild experience. [01:04:22] Speaker A: Yeah. Do you think it's aged well? [01:04:25] Speaker B: Oh yeah. [01:04:26] Speaker A: Oh yeah. [01:04:27] Speaker B: It sounds awesome. [01:04:28] Speaker A: Like it, it does sound awesome. I think it still has the Moby of it all problem from an electronica standpoint where it's like, oh, this guy is so front and center and he's. He can be just kind of annoying or whatever. Like, and he. But he was like early kind of beta male character on that scene before like that became accepted and like as part of a thing. So listening back, I, I'm like, yeah, I remember all this stuff. It's great. And like, I'm like, this album still kicks some extremely beautiful sonic ass. [01:05:08] Speaker B: And that's the episode title. Extremely Beautiful Sonic Ass. [01:05:13] Speaker A: I won't be able to fit the whole thing and. Okay, all right, well, I'll write that one down too. But okay. [01:05:17] Speaker B: EB saa. That's. We just. Oh, that's our. That we just invented a new genre of music. Beautiful Sonic Ass. [01:05:24] Speaker A: I thought to myself, like, what would this sound like if the drums were better? You know, what would it sound like if those samples were tapered if it was pristine? And I realized, oh, we have a version of that. Did you listen to the Rob Dugan remix of Porcelain? [01:05:39] Speaker B: I did get around to that one. [01:05:42] Speaker A: So Rob Dugan did, did Clubs to Death from the Matrix soundtrack. You know, like the, the really cool, intense like Woman in Red scene and he remixes Porcelain and it's awesome, but it's like an eight minute long dramatic piece which is exactly not what movie was going for. It's like, no, no, no. Everything's under five minutes. It's got to be digestible and it's gotta sell trucks. [01:06:09] Speaker B: Mission accomplished. [01:06:11] Speaker A: So I think like, that's a cool ass remix. It's like a, like one of my favorites. But he wasn't. Moby didn't really want to do that. He wanted the drums quieter. He wanted, you know, the, the piano and strings and these samples front and center along with his wacky slide guitar. But I. I don't know if it's like the nostalgia or looking back or my cynicism as I'm, you know, approaching death. But like, it does, it does. It is so deeply melodramatic. It is melodramatic and like, I don't want to say cheesy, but if I did, it would go a little something like this. It's a little cheesy. There, I said it. So. But, but all, all in all, I think it's a masterful album and it's been in my like top 10 albums of all time for, you know, since, I guess since 99. Like it was a. Ever present in. In my car on road trips and you know, I said mix CDs before and so like I guess that. Yeah, that's it. [01:07:11] Speaker B: No, this was great. This was a big one. I knew it was coming and I'm really happy to have gotten here. Elliot, let me ask you this question though. Would you consider Moby's play a fine example of an American recording? Oh, here we go. [01:07:40] Speaker A: Here we go again. Wow. We kind of. Should we take that again? No. Bad luck. Wind been blowing at my back I was born to bring trouble to wherever I'm at got the number 13 tattooed on my neck when the ink starts to itch Then the black will turn to red I was born in the. [01:08:28] Speaker B: Soul of misery My album this week is one by one of my all time favorite artists and our first country tinged A Country adjacent albums. We'll get into it, but I don't think this is a country album. It is. American Recordings by Johnny Cash released April 26, 1994. Elliot, tell me about your history with Johnny Cash. [01:09:02] Speaker A: Okay. Johnny Cash, like Springsteen and Bob Dylan, like before or after him? I should say that. Always felt like a musician that I'll get to when I'm older, you know, like running around like a little rep Scallion DJ and clutching records and stuff like that. Like ah. And like certainly being a fan of music and then like I had like my indie guys and my rock guys and certain guys like Elliot Smith and all this. There always seemed to be a wall there, a generational wall there where like I don't think I'm ready for that. And it's also quite daunting to get into a catalog this massive, you know. What's her favorite term on here? Cultural osmosis. Like, know Johnny Cash tunes. I know his deal. Ish. I saw the movie with Joaquin, but, like, never. Never really sat down and just, like, rocked out some Johnny Cash until, well, quite recently for this show. [01:10:07] Speaker B: Awesome. Yeah, it's. It's really. It's really great. You bring up cultural osmosis again. I don't remember. I think it was, like. It was the episode of the Simpsons. It always comes back to the Simpsons, where Homer eats the. He eats the chilies. Chilies grown by patients at an insane asylum in the jungle of Venezuela. So he eats these. He eats these chilies and then goes on a spiritual journey. [01:10:37] Speaker A: And is that one when he eats candle wax first? [01:10:40] Speaker B: Yeah, yeah, yeah. [01:10:42] Speaker A: Okay, okay. [01:10:44] Speaker B: And he meets this fox while on his. Like, he's. It's kind of like he's doing, like, peyote. Almost got it. Or he meets a coyote. I'm sorry. [01:10:52] Speaker A: I forgive you. [01:10:55] Speaker B: And I'll never forget, because the coyote, he's telling, homer, find your soulmate, Homer. You gotta find your soulmate. [01:11:04] Speaker A: Jake, can I pause right there? [01:11:05] Speaker B: Hit me. [01:11:06] Speaker A: That's a really good Johnny Cash. [01:11:08] Speaker B: Oh, thank you. Thank you. [01:11:10] Speaker A: I thought I was the guy with the voices, but that was a good Cash dude. [01:11:14] Speaker B: Thank you. I've, like, I've practiced my Johnny Cash for just about 20 years now in a lot of ways. Thank you. That means a lot to me. Yeah. And so I remember I have this book, like, the Simpsons. It's like, all the episodes. And in the book it says guest actor, this episode, Johnny Cash. And I remember, you know, gosh, being like, maybe 10, 11 and reading that and being like, oh, Johnny Cash. [01:11:41] Speaker A: Oh. [01:11:42] Speaker B: And first, I don't know why, but I remember very clearly thinking, oh, he hosts the TV show. Cool. Awesome. I think I was thinking of Johnny Carson. Oh. I'm like, okay, cool. And then that was that. And then the Walk the Line came out. Joaquin and Rhys. And after. And after that, I kind of, like, became obsessed with this man and his story and his mythology and his music, first and foremost. And, yeah, it's been a. It's been a pretty. Pretty big part of my life since. Was that 2004, 2005. [01:12:17] Speaker A: Like, how did you dive in? This. [01:12:20] Speaker B: Is this. [01:12:20] Speaker A: This album that we're talking about is his 81st album. [01:12:24] Speaker B: Isn't that insane? [01:12:26] Speaker A: What is happening? [01:12:28] Speaker B: Yeah. [01:12:29] Speaker A: What do. What do you. What 81st album? [01:12:33] Speaker B: A lot can be said about those. Those early 50s and 60s recordings, and not just for Johnny. You know, so many artists back then. I can't speak for, like, pop and jazz, but Like, I know a lot of the. The artists on the country and rock and roll circuits, they were booked in these grueling tours, you know, like. Or they would. They would play, you know, nine, ten, eight nights a week. Eight, Eight, you know, have eight sets a week. You know, they would. They would push themselves. And a lot of times, in order to keep up, they would. That. They would do pills, you know, they would do uppers, you know, and they. So they had these. These artists at this time, they had this just like this, like, you know, they were always up, you know, they were always. Unfortunately, you know. So when you see 81 albums, you think about, okay, like, in the 60s, you know, I can't imagine what that life was like. I don't want to. You know, it's. [01:13:36] Speaker A: Yeah. [01:13:36] Speaker B: Bad, you know, but, yeah, 81 albums, they just. They were cranking them out. And, you know, that's. Unfortunately, you know, Johnny suffered through a lot of addiction in his life because of that. And same thing happened with. With Elvis and. And so many. So many other great stars of that time. But, yeah, 80. 81 albums, that's staggering. [01:14:02] Speaker A: This wasn't his last. [01:14:04] Speaker B: No, he. I think he. After this one, he had five more. [01:14:08] Speaker A: Oh, wow. Okay. Yeah, of course, the one with Nine Inch Nails on it hurt, you know, that. That, I think. Was that his last one even, like, released post normally? [01:14:18] Speaker B: That was the one last one released while he was with us. [01:14:22] Speaker A: Oh, okay. [01:14:23] Speaker B: And then America. [01:14:23] Speaker A: Did I say. Did I say post hummusly? [01:14:27] Speaker B: Is it posthumously? [01:14:29] Speaker A: I think so. I think posthumously is like, after chickpeas. So I apologize. I shouldn't joke about that. It's a goddamn living or American legend, you know, I shouldn't joke, but. Okay, please continue. [01:14:47] Speaker B: Yeah, so after. After four, he had. He did five and six. I think six was Ain't no Grave. Like, Ain't no grave can hold Me. I think it's this song. But, yeah, so, you know, we talked about how there's so many. So many, like, similarities between play and American Recordings, and so in 1994, Johnny Cash was not in a good way. All of his, you know, rough and rowdy ways, all of his, like, days where he was, like, making cutting edge art, you know, pushing the boundaries of country music and, you know, rockabilly, they were behind him. You know, he'd kind of become. I hate to say this about the man, but he kind of did become a joke. You know, he famous. He famously recorded a song called the Chicken in Black. You know, so he was a chicken, but making fun of himself. [01:15:45] Speaker A: Got it, Got it. [01:15:46] Speaker B: You know, he was dropped by Columbia Records, you know who. You know, he released like, 50 albums or something with them. And I. I made it, like, a goal to, like, collect all 50 of those albums. And aside from the ones they haven't pressed on vinyl, I have all of them. [01:16:09] Speaker A: How many Johnny Cash albums do you have? [01:16:11] Speaker B: Oh, I'm kind of embarrassed to say. [01:16:13] Speaker A: What are you talking about? We're. We're on a music appreciation podcast. What are you saying? [01:16:18] Speaker B: Okay, okay. [01:16:19] Speaker A: Because it's too little or too, too much. [01:16:22] Speaker B: It's. It's. It's quite staggering. Let's see. Looks like almost 70. That's LPs, M45s. [01:16:39] Speaker A: That is staggering. Are the 45s considered part of these albums or 80, 81 albums. Are, like, the best of us included in that? I imagine so. [01:16:51] Speaker B: Yeah. Yeah, yeah. [01:16:53] Speaker A: So that's. [01:16:53] Speaker B: That's including the greatest hits, the compilations, stuff like that. I. There was a time when, like, I would go out every time I would. I would see a Cash record, I would be like, I need this. You know, And I would buy, like, multiple pressings from different pressing plants around the country. And so, yeah, I was kind of obsessed for a while, and then I. I had to cut myself. Cut myself off. So, yeah, even. Even before, like, really connecting to. To, you know, to Willie. Willie Nelson, of course, I was, like, very much, like, kind of obsessed with. With Cash. I've read a couple books on him and guys really meant a lot to me. [01:17:42] Speaker A: Wow. Wow was also, like, the single note I wrote down. Listening to this album, I didn't feel worthy of even taking notes on this one. I just let it kind of happen to me. I was Jake, you were the canvas. I was blown away. This is some next level shit. And, like, thank you for being my Cash Sherpa. Like, because this is the guy at the bar that's seen some shit. Telling stories in an amazing voice while playing beautiful guitar. It is like a deeply haunting but also often humorous exploration of American folklore. Emphasis on the lore. This guy is like. Like, he is telling tall tales while playing this beautiful guitar in this insane voice that he has. I was shook by it. It, like, quaked me, dude. Like, you know, from. From Delia, like, on to my favorite, the live recording of the man who Can't Cry or whatever. Yeah, like, this is nuts. [01:18:51] Speaker B: Those live recordings, like, I think the other one's Tennessee Stud, right? [01:18:56] Speaker A: Yeah. [01:18:56] Speaker B: Tennessee Stood recorded live at the Viper Room. [01:19:00] Speaker A: The Viper Room, which is a notorious bar in Los Angeles. Are you familiar with the Viper Room. [01:19:07] Speaker B: Yes. I, yeah, that's where talk about Joaquin Phoenix. We sadly lost his older brother River. Robert Hilburn's Johnny Cash the Life, which is fantastic. He writes that Johnny wanted Johnny Depp to portray him in a movie. [01:19:28] Speaker A: And Depp famously owned part of the Viper Bar. Yes, Viper Room. Viper. [01:19:32] Speaker B: Yeah, I read, I remember when Walk the Line came out that Johnny Cash, both Johnny Cash and June Carter, before their passing, they decided on Joaquin and Rhys. I remember that. I still have that People magazine somewhere. [01:19:48] Speaker A: Wow, you're like, you're, you're all in on this dude. [01:19:50] Speaker B: Oh yeah. I, I was very much into the, the mythology because that's the thing about. So I, I, I read Tony Toast, Tony Tost. I apologize if I mispronounce his really fascinating look at this album for the 33 and a third book series. One of the things he talks about is like so much of Johnny Cash's like life is this like mythology that he somehow created around himself. You know, the man in Black, you know. [01:20:23] Speaker A: Yeah. [01:20:24] Speaker B: And cultural osmosis. Like you just somehow he's just like this, like he's ever present in, in American music. He's just, he looms large over all American music. And I mean you hear the man sing, you, you see he's even a tall, he was talking, he was like 6:3. [01:20:47] Speaker A: Was he 6:3? [01:20:48] Speaker B: Yeah, he was a tall dude. [01:20:51] Speaker A: Just a big old obelisk of a man. [01:20:53] Speaker B: Absolutely. Like they have him and June Carter, his, his wife, they have a song together called a you long legged guitar picking man. Really awesome. You know, he's, he's been, he was present at some of like the biggest turning points of popular American music. I mean he recorded at Sun Records, which, you know, famous famously where Elvis recorded his, he was, you know, contemporaries with Elvis Presley. He was also darker than Elvis where Elvis had this like gorgeous, gorgeous, you know, polished, you know, polished marble of a voice. Johnny Cash had, you know, a voice just as powerful, I would argue sometimes even more powerful. But it was the most unpolished thing you didn't know. Like you street level. Yeah, exactly. Yeah. His mother, his mother called it the Gift. [01:21:55] Speaker A: Whoa, I love that. Like you can just, you can hear in his timber the, the, he's seen it's wild. To me. [01:22:04] Speaker B: He tells this great story where he was 17 years old and so, and Johnny Cash is from Dice Out, Arkansas, from a, you know, Depression era fan family. His father was a sharecropper and they were, they were working, working on their land. He was granted a piece of land from the government. They were working land. He was 17 at this time, and they were singing. And he says, I came in from the field one day, and my voice had changed, and I was. I had a bass voice, and I. My mom. My mother heard it, and she said, that's the gift right there. Like, you have the gift. Like, you know, God gave you that gift. Very, very. And you can hear in these songs very strong religious presence in much of Johnny Cash's life, which is really a lot of contradiction, too, you know, because while I have no doubt that Johnny Cash was, you know, a very devout in his faith, you have those songs where it's escaping me, but he talks about I never went to church. He talks about he never. I forget. I forget the lyric. He basically says, like, I never went to church. I never prayed, or something like that. And he's so affected that when he says it, you believe him. You know, like, you. You like, oh, did you really. Did you really mean that stuff, Johnny? Like. Like, who are you? You know. You know, like, when he. When he sings like that. He shot a man in Reno just to watch him die, you know, on. On Folsom Prison Blues, you kind of believe him. You know, you're just like, are you. Are you capable of that? You know, and that's just the magic of. Of this. Of this man, for sure. [01:23:52] Speaker A: Is he. Is he hearing these stories on the road and. And retelling them like a. Like a. Like an old comedian telling old jokes and stuff? Or is he. Is he. Is his music autobiographical? [01:24:05] Speaker B: That's a really. That's a really good question. I like to think it might be a little bit of both, probably. [01:24:11] Speaker A: Right. [01:24:12] Speaker B: He's. He's a great interpreter. Like, so many of the songs on this album are not his own. They're, you know, written by other people. Like, so you. One of the standouts for me was why Me, Lord? By Kris Kristofferson. [01:24:28] Speaker A: Yeah, A friend of his. [01:24:30] Speaker B: Yeah, yeah. One of his fellow highwaymen. [01:24:34] Speaker A: Right, right, right. [01:24:35] Speaker B: And I love his. I love interpretation. And if not mistaken, the story behind that was. Christopherson was from the movie Blade. Yes. Whistler from Blade. [01:24:49] Speaker A: Thank you for remembering. Whistler. I couldn't remember. [01:24:53] Speaker B: He. He found God and wrote this song, why Me, Lord? [01:24:59] Speaker A: And. [01:25:00] Speaker B: And Johnny interpreted it for this album in a very, you know, beautiful way. Oh, my God. His. His cover of Dan Zig's 13 just. [01:25:11] Speaker A: Come on, let's dive in. So Danzig wrote this for him? [01:25:16] Speaker B: Yeah, yeah, I saw. I read on the Wikipedia page, he wrote it in, like, 2020 minutes. [01:25:21] Speaker A: And, like, they were all hanging out at Rick Rubin's place. And Danzo's like, oh, I got one for you, Johnny. [01:25:27] Speaker B: Can you imagine? Well, I. I thank you for bringing up Rick Rubin because he's synonymous with these recordings. I mean, because he produced them and he owned the label. This guy is a guy who co founded Def Jam Records. Yeah. Produced the Beastie Boys and, yeah, I think LL Cool J, Run DMC, and then the Chili Peppers and Slayer. [01:25:54] Speaker A: You know, like, this guy's got a wild, like, rap sheet. And Rick Ruben, I mean, has a wild history. And what is he worth? Holy. But. But there's a really good Rick Rubin episode of the show, D. Dave. It's on Hulu. I. I recommend it. But, like, he has a really, by all accounts, odd way of producing these things. Or, like, you know, like, do flash cards, like, like Play Orange, you know? You know, do, you know, send this to, you know, Puerto Rico. Kind of like, like, weird to, like, instigate this creative process. But it sounds like they just hung out. It sounds like they hung out by the fireplace and just had Johnny Cash tell stories and then handed them a guitar every once in a while, which is. Isn't that exactly what you want from the guy like this? Yeah, I want to. I want to sit across the room from him, far across the room, because he might just kill me with a wink of his eye and just tell me stories. And that's essentially what this album is. And I'm just shell shocked from it, dude. I'm really fucked up by it. So it's. It's. No, it's so good. Like, I. Like I mentioned earlier, like, I'll get there when I'm older with these artists, you know, And I think I'm there, you know, I'm 40, I've got a kid, and, like, this hit me real hard. This is amazing. And I can't wait to dive into the other 90 albums that I have to listen to now to appreciate them fully. [01:27:27] Speaker B: You. You could go. You can go, like, tell me. [01:27:32] Speaker A: Tell me which of the albums I need to do after this one, because I'm lost in the wilderness with this dude. But I know I appreciate something going on here. [01:27:40] Speaker B: I would go. I would probably, if you're as moved by these, I would just do the American recordings. Like, really, like, let that those compositions kind of, like, seep into your soul. Because. Because they're like. They're just some of the finest recordings ever. And then I would work your way back. [01:28:03] Speaker A: So is this a first? Like, A series of like, stripped down later year Cash, where it's like just him and a guitar. Because I think he like, really didn't want a backing ban on any of this stuff. Seems to be. [01:28:17] Speaker B: Well, yeah, so the story was, you know, like Ruben wanted to push himself and he always felt that Johnny Cash was, you know, an artist, you know, that he wanted to work with. And, you know, he got in touch with him and, you know, Johnny Cash was skeptical. You know, June Carter Cash was very skeptical. Like, why is this. You know, I think they called him like the ultimate hippie. Why does he. He produces metal art artist. Like, why does he want to work with you? You know, and they turned out to really be just kind of like kindred spirits. You know, they would just, you know, they would sit down and Cash would tell stories and play his guitar. And I think in, In Hilburn's book, he writes, he writes, you know, there were times when we would be recording and Johnny would. He would start performing, performing the songs and he would say, can you do one a little bit more like, a little bit more authentic? And, And Johnny Cash, he knew what he was talking about. And he says that Johnny would go, okay, get off the stage, John. Get off the stage. And then he would re. [01:29:32] Speaker A: Record it in the way that you. [01:29:37] Speaker B: Hear it on the album. Have you ever listened to Johnny Cash the Life? Any of. Any of his False in prison or. [01:29:43] Speaker A: Yeah, yeah, yeah. In. In. In passing. [01:29:45] Speaker B: He's. It's very like. He's like. He was electrifying. You know, he's a very like. Like a showman, you know. And these, these songs are not that. These songs are like harrowing, deeply heavy tales. [01:30:02] Speaker A: Well, it's. It's Great grandpa at the family reunion next to the Boy Bonfire, telling us stories like. And all the kids are gathered around and like, and wrapped. Enraptured like it. By this storyteller. And. And I don't know. I, I, Yeah, I, I clearly liked it a lot, so I don't know. [01:30:19] Speaker B: That's. [01:30:20] Speaker A: I don't know what else to say, really. [01:30:21] Speaker B: I just. Wow. [01:30:22] Speaker A: You know, wow. Holy wow. [01:30:24] Speaker B: I'm. I'm. I'm really happy liked it. Like, I, These, these. These albums are like just. I just nuts. And I think it pairs so well with play because, you know, kind of like in 99 where Moby was like, you know, my, you know, my hardcore stuff kind of tanked. I'm gonna give it one more go and then I'm gonna retire, you know, in 94 or 93, you know, Johnny Cash, he was, I kind of mentioned earlier, like he was kind of a, like a joke, you know, he was performing in like Branson, Missouri, you know, in like a little like the, the, the Wayne Newton Theater. You know, he was like second to. [01:31:10] Speaker A: Wayne Newton and can you imagine? And you know, no dig on, you. [01:31:18] Speaker B: Know, his health was failing. [01:31:20] Speaker A: Yeah. [01:31:21] Speaker B: You know, he wasn't in a good way. And then, you know, like Roseanne Cash says, like Rick Rubin came along and quite literally saved his life. You know. [01:31:31] Speaker A: Wow. [01:31:32] Speaker B: Saved his professional life and perhaps even his, you know, mortal life, you know, because I don't know, he was, he felt valued again, you know, he felt he was cool again for lack of it. I mean, like in 1994, Johnny Cash performed at Glastonbury, you know, like the. [01:31:53] Speaker A: Yeah, yeah, yeah. [01:31:54] Speaker B: British festival. So here's Johnny Cash, you know, just the man in black performing to a bunch of like 20 somethings, you know. And I think it was really, it was a, it was a, A turning point for, for his career, I think for American music. It kind of like, I think Marty Stewart, a really amazing country artist, like kind of said like it just, just refreshed everything. It set everything up for the 21st century. And I completely agree. And it kind of like really shows how good of a rhythm player Johnny Cash was because that's all him. Like, that's him playing guitar. [01:32:32] Speaker A: Yeah. [01:32:33] Speaker B: And you know, live most of the time he has the guitar like slung across his back. He's not really playing it. [01:32:40] Speaker A: Was that right? [01:32:41] Speaker B: Yeah, you know, but he's actually playing it and he's, he doesn't have like the virtuosity of like Waylon or Willie, but he's like a solid like rhythm player and it really shines. And the fact that most of this album was recorded in Rick Rubin's living room kind of blows my mind. It. [01:33:00] Speaker A: And I think, I. Correct me if I'm wrong, but I think I read that he, he's playing the guitar while singing at the same time. And often listeners like the Eve, you would record those separately. But if it's just him and his guitar, he's now like performing this, this, his poetry with his music at the same time because that's the way it's meant to be performed and then therefore heard. Yeah, like he's not. There's no click track YouTube here, this is like, this is a, this is an old man who's singing a lot of telling stories while playing guitar. And it's magical, beautiful. [01:33:38] Speaker B: I mean. And then the next one that comes after this is, you know, Unchained and then Solitary man. And then my personal favorite is the Man Comes Around. That's the one with hurt. [01:33:51] Speaker A: That's the. [01:33:54] Speaker B: His voice that, that gift, as, as his mother would call it, you, you start to hear it become more weathered until you get to like, the Man Comes Around. And it's, it's. [01:34:11] Speaker A: When a man Comes Around. [01:34:14] Speaker B: Yes. It's like it's aged in the finest oak barrel. And it's amazing. I was thinking about it and was thinking about my favorite, like, American, American vocalists, maybe. Maybe the ones I feel are the most profound, even if what they stood for, I would say, you know, Billie Holiday, Aretha Franklin. [01:34:42] Speaker A: Oh, yeah. [01:34:43] Speaker B: Elvis Presley. I, I was trying to think of someone I wanted to do like, maybe like James Brown or even like Sinatra. I think after listening to, to this, because I, I, I kind of. Because Johnny Cash's story is it, it is, it is a woeful tale at times. You know, this is a man who had a, had a hard life, you know, had a hard childhood, went through a lot as an adult. Got married in San Antonio to a San Antonio woman at the same church that my grandparents got married at. [01:35:19] Speaker A: No. [01:35:20] Speaker B: Yeah. St. Anne's Church in San Antonio, Texas. [01:35:25] Speaker A: How cool is that? [01:35:27] Speaker B: Yeah, it's right there in my neighborhood. So crazy. And his first life went to the same high school as my mom. So far out, you know, this is a man who, who, who lived, Lived life to its fullest and oftentimes to its, you know, most dangerous levels. But as a result of that, we, we got some, we're very fortunate to get some really incredible art out of it for sure. And this album just like, like kind of like play. It just, it gave him, it gave him another chance to, to make his, to play his music and create art. And I don't know, it's amazing. I'm really happy you liked it. [01:36:13] Speaker A: Oh, I, I was shattered by it. So, yeah, I like. No, I'm gonna, like, talk about am I gonna buy the vinyl? Are you gonna pull it out right now? Yeah, there it is. I knew it. What a dope picture, too. I heard it was taken in New Zealand when he was there or something. How cool is that? [01:36:29] Speaker B: Well, and apparently Johnny really liked the. So on the front cover, if you're not familiar, it's just like a black and white image of Johnny. Is it sepia? [01:36:40] Speaker A: I think you would call it sepia. I don't know. [01:36:42] Speaker B: Is it? I can't. Oh, I guess it kind of is. [01:36:48] Speaker A: Nevermind. Well, photographers are gonna get mad at me because it's probably not proper sepia, but. [01:36:52] Speaker B: Okay, so it's this. It's Johnny. He's wearing a preacher's quote. He's got his guitar case, and there's two dogs. A black one and a white one. And the dogs originally weren't supposed to be part of the COVID image, but they. Johnny liked them there because it was like. Like good and evil, like black and white. [01:37:18] Speaker A: That's very cool. [01:37:20] Speaker B: Shot. Shot by the guy who. Who I think he took the picture for you two's Joshua Tree. [01:37:28] Speaker A: Okay, I like that. I wanted to mention, like, later on, Johnny recorded God's Gonna Cut yout Down. Oh, yeah. Same song that Moby samples on Run On, I believe. [01:37:40] Speaker B: Oh, okay. [01:37:41] Speaker A: God's gonna cut you down. Run on. Ducking and dodging. It's the same. Same song that is being sampled by the movie. Also, did you reckon I was gonna mention this? Did you recognize Danzig's thirteen from any film in recent history? [01:37:59] Speaker B: The Hangover. [01:38:00] Speaker A: It opens up the Hangover. Yeah. [01:38:02] Speaker B: Well, the beast in me is also played in the Hangover film. I think it's Hangover 2. [01:38:09] Speaker A: Okay. Yeah, yeah, yeah, yeah. I think that director is a big old fan of those guys. Yeah. Oh, and once I went to a wedding with a friend of mine as her date, and the Misfits were there, so. [01:38:23] Speaker B: What? Oh, is it in Jersey? [01:38:25] Speaker A: It was in Jersey, yeah. [01:38:27] Speaker B: Oh. Oh, man, that's so cool. [01:38:29] Speaker A: That's my misfit story. I teased you or I texted Jake earlier. I was like, I got a misfit story kinda. And possibly I think I said my friend Ashley, like, invited me. Like, hey, do you want me on my date to this wedding? I'm like, sure. So we go to Jersey, and she's like, oh, do you know the Misfits? I'm like, I know. The T shirts I see all over the place. The T shirts with that face on them. She's like, yeah, it's the one. I'm like, well, they're gonna be there at this wedding. I'm like, okay, do I need to know this? She's like, I just thought it's cool. I'm like, and it was cool. So I don't know if Danzig was there, but there were a lot of. He might have been. And there were some. I didn't know how to pick him out from a crowd or anything, but it was a wild ass wedding. [01:39:08] Speaker B: And so was it. Like, they were just like friends of the family, and they were just like, you just Looked, and there's these, like, super jacked, like, guys with crazy eye makeup and devil locks. Yes. Shut up. Are you serious? They went in full regalia. [01:39:26] Speaker A: No, there were giant dudes there with black, black, black as the night hair and. And I think it was, like, siblings or nieces and nephews getting married and. Yeah, yeah, yeah. [01:39:39] Speaker B: That's insane. [01:39:42] Speaker A: I didn't know, like, what. I couldn't, like, fanboy. I don't think. I don't really. I didn't really know their stuff or. I still don't, you know, but. Yeah. Yeah. [01:39:51] Speaker B: That's so funny because, like, you, like, the Misfits. They, like. They. You know, they're all, like, super jacked. Like, they're like. They clearly stay in shape. [01:40:00] Speaker A: And, you know, Danzig's, like, huge, right? He's, like, shredded. [01:40:03] Speaker B: Danzig is shredded. But I actually had the chance to say hi to him. It was kind of like my. My Moby. Like, your Moby story. [01:40:13] Speaker A: I mean, my mom made bump ends, literally. [01:40:15] Speaker B: Yeah. He was playing at Stubbs, and he was. He walked in. He is a tiny man, but had such an aura around him. It was crazy. [01:40:26] Speaker A: Imagine. [01:40:26] Speaker B: So I was just like, oh, shoot, that's dancing. That's crazy. I can't. I just think it's funny of, like, you just, like, sitting at this, like, wedding and looking over and, like, Jerry, only from the Misfits, is just, like, chilling with his eye makeup. That's. Was it a punk. Was it a punk rock wedding, or were they just, like, the. The crazy uncles in the band? [01:40:49] Speaker A: It got a little rowdy, but it was mostly a wedding. Wedding. [01:40:53] Speaker B: Damn. That's nuts. I. I think, you know, we've said all that one really can say about, you know, American Recordings. 1. An album that truly speaks for itself. So if you haven't. If you're not familiar, check it out and just. Just And. And. And embrace one of the greatest voices in, I'll just say, in history. Not even American history, just history. I'm really happy you liked it. [01:41:25] Speaker A: You know, I was mentioning before, you know, I. I was waiting for the right time, and then, sure enough, dear friend Jake introduces it to me. It puts it back on my plate, and I'm like, oh, I think I. You know, I was waiting, and then now. Cash, I'm like, I'm. Now. I'm not gonna. I'm gonna dive in, man, because I'm. [01:41:45] Speaker B: I'm excited. I. Keep me updated. Let me know. I'm. I'm so excited for you to start your Johnny Cash journey. It is. [01:41:53] Speaker A: Yeah. [01:41:54] Speaker B: It is one that will. That you can return to and find exciting new things, you know, after. After years. So I'm really excited for you. [01:42:05] Speaker A: Yeah. Oh, and. And. And everyone revisit play if you haven't already. And, yeah, it's a good listen. And yeah, there's some real gems on there. And, you know, there's a reason it's, you know, worth a bazillion dollars because, like, there's. Yeah, some real, real choice, choice tunes on that one. [01:42:25] Speaker B: All right, so next episode. Why did I go, like, full Keanu right there? All right, so next episode, so. Whoa, wait, what next episode? We've got some really cool things going on for the show. So if you remember from last season, we took. We got in our DeLorean, punch it to 88 miles per hour, and we went to the year 2000. Um, yeah, we did. We had a great old time doing so. So Elliot and I thought, let's push it a little further this time, and let's go to the year 2001. [01:43:02] Speaker A: Yeah, we went 89 miles an hour and got to 2001. [01:43:06] Speaker B: Yes. This is a packed year for me, radio rock wise. So it was kind of hard narrowing it down, but I got mine. [01:43:15] Speaker A: I had the same issue looking at 2001, I'm like, boy, like, there. There's some really good stu from a lot of really good people, but most of them we've covered before. So I was like, you know what? I'll go with someone we haven't done yet. So I've got mine. Mike. I've got my. We're going to the year 2001, and we're gonna. We're gonna talk about albums from that year. [01:43:39] Speaker B: For my album, it's one of my top three favorite albums of all time. [01:43:44] Speaker A: Oh, boy. [01:43:45] Speaker B: It was a huge one for me. It's one that I returned to quite quite often. So next time, we're gonna do Jimmy Eat World's Bleed American. [01:43:57] Speaker A: Wow. Framed signed copy of Jimmy Eat World. Bleed American is the album Bleed American. [01:44:04] Speaker B: This is the one with the middle. [01:44:06] Speaker A: Okay, forget it. All right. Awesome. [01:44:12] Speaker B: Banger after banger. This album is in my DNA just as much as Johnny Cash's. I'm so excited to talk about Jim Atkins and the Boys. [01:44:21] Speaker A: All right. I often feel inadequate with these comparisons and contrasts because, like, Moby Play versus Johnny Cash is like, well, Moby wishes he was this. You know, clearly. And I'm like, oh, Jimmy, we're. That's like perfect pop music. In that same year, 2001, we had daft Punk's Discovery. We had Apex Twins, Drucks. We had Basement Jack's follow up Rooty. But we've already covered those guys a little bit at least. So I'm gonna go with a. [01:44:59] Speaker B: A. [01:44:59] Speaker A: Norwegian electronic music duo named Roy Sop and their album Melody Am. [01:45:07] Speaker B: I was not expecting this one. [01:45:09] Speaker A: Of course you weren't. You never heard of these guys? [01:45:12] Speaker B: Never. I thought we were gonna go like Massive Attack or something like that. Meldy Am royxop likes Up. All right, what should I, what should the listener and I look for on this one? [01:45:32] Speaker A: You should look for pure joy. Okay. This will be, this will be a nice fun compare and contrast with Jimmy. I think like these guys are, they're, they're, they put out this album and it kind of exploded and it's, you know, there's a lot of house elements in it. You know, we haven't done a house like a proper dance record in a few episodes and it's just kind of joyful, a little bit silly. And there's some really stand up tracks and these guys kept on going and made a lot of cool, cool, cool, cool, cool stuff. So I'm excited for you to listen to it. I think you're going to really dig it. [01:46:08] Speaker B: I'm excited for that one. All right, all right. Well, I think that's going to do it for Johnny Cash and Moby. Thank you for listening. If you've recently discovered Sip and Mimos, this is. We didn't do our. We didn't do it, but this is. [01:46:25] Speaker A: We didn't. Oh shit. [01:46:28] Speaker B: Three seasons. That was the first time. We've not, we've not done it at the beginning. [01:46:32] Speaker A: All the listeners are two hours in. They have no idea what we're talking about. [01:46:37] Speaker B: This is, you know, the Internet's premiere, the Internet's premier citrus, like oftentimes citrus libation. But not always podcasts where we talk about 90s rock and electronica. [01:46:51] Speaker A: Yes. [01:46:51] Speaker B: And it's a great time and we're happy you stumbled on this episode and hope you come back for more and go back and check out our catalog. We have a lot of really cool ones like, and subscribe wherever you listen to your podcasts and follow Instagram. [01:47:08] Speaker A: Yeah, sure. And then hit us up and tell us what do you think and what albums we should cover and also try to get our boy on the show. [01:47:19] Speaker B: Oh yeah. So I've been reaching out Devon Sawa. [01:47:24] Speaker A: And you've, you've, you've, you've reached out to Devon Sawa multiple times before we started doing the show before we start. [01:47:32] Speaker B: I mean. [01:47:33] Speaker A: Yeah. [01:47:34] Speaker B: Now I'm just doing it for work. Before, it was just for fun. [01:47:38] Speaker A: Right, right, right. [01:47:39] Speaker B: We'll get him, you know. [01:47:41] Speaker A: Oh, we'll get him. [01:47:42] Speaker B: We haven't had a lot of luck. We didn't have a luck with. With Driver Campbell or Embry, but I think Devon Salazar. I think it's a good year. Yeah. [01:47:55] Speaker A: Yeah, I think it's gonna happen. He seems like a fun, silly dude. He just posts memes on his Instagram. [01:48:03] Speaker B: I would just love to get him to talk about Idle Hands with me. I would just. [01:48:07] Speaker A: What if we did a commentary with. Commentary track of Idle Hands with Devin Sawa. [01:48:13] Speaker B: Heaven. Heaven. Yeah. Dreams. [01:48:19] Speaker A: Dreams come true. Do you believe in miracles? Jake, thanks. Thank you so much for assigning this album. [01:48:30] Speaker B: I'm so happy you'll enjoy it. And thank you for. For reminding me how amazing Play is. This was a lot of fun to go back and listen to it. [01:48:37] Speaker A: Yeah, well, this. This show is a great. I was always a pleasure to record it. And you know what, Jake? You're the real magic of this kingdom. [01:48:47] Speaker B: Oh, thank you, Elliot. Yeah, that was my. That was my. I'm crying now, so. Well, Elliot. [01:48:56] Speaker A: Yeah? [01:48:57] Speaker B: Thanks for everything. Stay cool out there. [01:49:01] Speaker A: Yes. [01:49:01] Speaker B: And, Elliot, as always, as always, stay sipping. [01:49:06] Speaker A: Stay sipping. [01:49:09] Speaker B: Catch you next time. [01:49:10] Speaker A: Good night, everyone.