September 12, 2024 • 40 mins
Just like you, Kevin and Casey cannot escape Shaboozey-mania. Will the boys want to pour another shot of Tipsy, or shall this be the end of their history? Oh my, good lord.
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Speaker 1 (00:02):
Give it a chance, give it a chance, Give it
a chance. Good morning, give it a chance, Give it
a chance, Give it a chance, give it a chance.
Speaker 2 (00:09):
Good morning, Give it Ai you want to give it
a chance, give it a chance, give it a chance.
Speaker 3 (00:14):
Just give it.
Speaker 2 (00:18):
Hi, Welcome to the America. Welcome to give it a chance.
Speaker 3 (00:22):
Everybody, Welcome to the America. And what a time you've
chosen to come.
Speaker 2 (00:30):
Well, actually, that I think I unofficially segued or what
I'm losing my brain? I think unofficially, yes, yes, unintentionally,
that sounds.
Speaker 3 (00:43):
Like unintentional segue.
Speaker 2 (00:45):
Into our song, which I think some there's a lot
of quote unquote Americans that might like this tune.
Speaker 3 (00:53):
Oh okay, well.
Speaker 2 (00:55):
I think there's like a type of person that comes
along with this kind of stuff. Although I will say
that this song is kind of progressive in certain ways,
so I'm excited. It's also rare that we could ever
do something that's kind of topical of when we're recording it.
Speaker 3 (01:10):
This is dangerous territory we're veering into for the first
time as chancer primary chancers. All the listeners are chancewers too,
but we're like obviously like the primary chancers.
Speaker 2 (01:22):
Yeah, so this song is. I've been hearing it a lot.
Speaker 3 (01:27):
This is a present moment song.
Speaker 2 (01:29):
Yeah, dude, Wow.
Speaker 3 (01:30):
This is gonna be great because the odds of me
even knowing it are almost zero.
Speaker 2 (01:35):
Right, And if you do know it, I think that
I think you might have caught wind of it.
Speaker 3 (01:41):
Hmmm, and you know it followed? Wait is that a hint?
Caught wind? No?
Speaker 2 (01:47):
No, no, I wish it was. Okay, it's like I
can imagine what that song is.
Speaker 3 (01:52):
I caught wi am.
Speaker 2 (01:57):
So this this song is all kind of in the
footsteps to Old Town Road.
Speaker 3 (02:03):
I think, ah, little nas X. Yeah, see I know
that with Billy Ray. Yeah that remix.
Speaker 2 (02:11):
You know, the remix has Spilly Ray's eye.
Speaker 3 (02:13):
Oh that's not on the ridge, It's only on the remix. Okay,
do you know that?
Speaker 2 (02:17):
Edie?
Speaker 3 (02:17):
My daughter, sorry before you just just while we're on
the subject the subject when she was little, she used
to say, but she used to call Benjamin Franklin arigimen Franklin.
Speaker 2 (02:28):
Oh wow, that's a good one.
Speaker 3 (02:30):
Isn't a rigimen pretty good?
Speaker 2 (02:32):
A regimen?
Speaker 1 (02:32):
Is it?
Speaker 3 (02:33):
Yeah? It's a great name it.
Speaker 2 (02:35):
Yeah, it sounds like a some sort of character in
a in like a sci fi book, A hundred yes.
Speaker 3 (02:41):
Absolutely. My mom also recently said she can't stand it
when people say one hundred percent when they're agreeing with something,
and now I can't stop saying it, like it's I'm
just like one hundred percent. Maybe I just hondo I
say that to her. She's into that. Okay, that's enough
about my mom and my kid, Jesus, let's get back
to what matters, not them.
Speaker 2 (02:59):
Have you heard of the artist Shaboozy.
Speaker 3 (03:03):
I feel like I literally saw that artist's name for
the first time today. I don't remember the context now,
in a playlist or something, or maybe it was like
a review on a website or something, But yeah.
Speaker 2 (03:15):
I think I first heard it a month or two ago.
It's been out for a little while. I almost feel
like when I first heard it, I was like, well,
I knew there's a song that's it's sort of referencing
from a decade or plus ago. That's a hip hop song.
But I felt like I've heard a country artist do
something like this before. That's just my preamble. I think
(03:38):
we should listen to it and then discuss. I actually
like that you've never heard this song, or maybe.
Speaker 3 (03:42):
You haven't wait, is Shaboozi? Is that the name of
the artist.
Speaker 2 (03:45):
That's the name of the artist.
Speaker 3 (03:46):
Is Shaboozi a country artist? Well, well we'll see, let's see, okay, Yeah,
so what's the name of the I love that this
exposes me as being like nine hundred years old.
Speaker 2 (03:57):
Yeah, the song is called a bar song and in
parentheses tipsy.
Speaker 3 (04:04):
Oh, I just it comes up right away. Do I
want to listen to the explicit version or the clean version?
Speaker 2 (04:09):
I think go explss go explics.
Speaker 3 (04:12):
You tell me when all.
Speaker 2 (04:13):
Right, hit a girl on the dole shots.
Speaker 3 (04:22):
All right, all right, initial thoughts, I mean, look, my
initial thought was it's funny. At the bottom of the
app I was using to listen and read along it
says report a concern that was, like, that's funny, Like
what would one.
Speaker 2 (04:40):
Say, like like it's worried for Shaboozy.
Speaker 3 (04:44):
You have to yeah, like it sounds like shaboozy they
may have a true problematic relationship with alcohol. I'm concerned
about that. Yeah. Yeah, I mean that's so infectious, undeniable,
inoffensive song that I could depletely see. I'm sure people
are like, especially I'm imagining he's talking about that I
(05:06):
don't know shaboozi. I don't want to miss pronoun with
the shaboozi. They are talking about Fifth Street. This has
got to be a Nashville thing right there, Nashville people.
I'm sure this shit is just like lighting up every
fucking bar down there at some point in the night.
I'm sure people are two step into it. I'm sure
it's And the other thing is, I mean, I could
(05:27):
actually go all in in a variety of directions right now,
because I don't even know which to pick. I do
have a series of this is like an immaculately constructed
representation of the moment in pop music in which we live.
The thing that most I kind of both, which I
(05:47):
think is like the spirit of our show. I was like,
oh do I hate this? And then I was like,
that's kind of clever. The fact that there's like a
low level burbling like auto tune, which I think is
meant to be metaphoric about like being a little drunk,
being a little like that sound that sort of sounds
(06:08):
like a little Warsaly, a little yeah. And I think
that there was something about that that at first I
was like, My initial reaction was like, oh is that cheesy,
and then I was like, actually, that's like intentional and clever,
and there's like something layered to that. It's kind of cool.
It's also a cool use of that. I feel like
also because you know, as my brother noted, the basketball
(06:30):
writer Dan Devine pointed out, always finding a way to
bring this back to one of three or four major concerns.
You know, maybe you don't. The first thought I had
with you know me and Jack Daniels got a history,
the first lyric of Oscar nominated song by Elliott Smith
I'll fake it through the day with some help from
(06:51):
Johnny Walker Red, And I was like, oh, it's last.
I kind of the first thing I thought of was like, actually,
something about like you know, me and Jack Daniels got
a history, Like, well, I know you and Elliott got
a history, and maybe this song's gonna be a big
deal for Shaboozy, just like it was for the recently Departed.
And I was like twenty.
Speaker 2 (07:08):
Years so yeah, I completely agree. So when I first
heard this song, it's always sometimes the context of like
where you hear a song too. When I first heard
the song, I was sort of like, oh, this is
the worst of two worlds. Right, it's borrowing from like
Jae Kwan's song called Tipsy, where it literally just rips
up the chorus. Right, it's like, yes, it comes to one, right, it's.
Speaker 3 (07:34):
Yeah yeah yeah.
Speaker 2 (07:35):
So it's it's taking that and it's taking sort of that.
It's actually it's marrying two world those two worlds and
showing that they're the same, right, like pop countries sort
of like bling. Actually they don't say bling, but like
the Bravados, the.
Speaker 3 (07:52):
Bragga, the Braggado. Yeah yeah, Bravado. Yeah, I like that
Bravado up. That's good.
Speaker 2 (08:01):
So but it takes that they both do that, right,
like that era of that era of hip hop and
that and this era of pop country, and it's kind
of marrying both. And I both love it for that
reason and I hate it for that reason because I think,
no doubt, you can't say something new, say two things
that have happened before. Right, It's like right, I think
(08:22):
I think like you're just doing You're doing both of
those two genres in a new way. So I feel
the same as you do. I could go in multiple directions.
I think that if I were in Nashville and I
was with a group of people and that came on,
it was.
Speaker 3 (08:39):
Like Shaboozi's niece.
Speaker 2 (08:40):
Maybe I'm with Shaboozi's niece yea, yeah, I am oft yeah,
And I think it's probably it's the same thing for me,
like this is don't stop believing for this new generation.
Speaker 3 (08:51):
Yeah, it's like well said, yes, it's.
Speaker 2 (08:54):
Like that song's going to crush in a bar and
it's the same for both. And it's ever you kind
of need those songs like you need It's it's the
same reason like you kind of need a space for
a Disney movie or you need a space for a
war movie. Like it's it's just there that there, that
space is going to be brought in by a new
(09:14):
artist every time, So why not be Shaboozi.
Speaker 3 (09:17):
Yeah, there's like a perpetual opening for those jobs, and
so why not Yeah? Yeah, And I mean also I
feel like it's interesting this has come up on our
our podcast before the like kind of like homogenization of
all things and how that touches you could make it
there could be there are smarter conversations to have about that,
about a variety of things outside of pop music. But
(09:40):
I do think when something is true in totality it
touches everything, and so pop music is subject to this
as well. And what has happened is like everything sort
of like funnels inward to this arrowhead. And yeah, like pop,
hip hop, country, radio, rock, I don't know if they
ever sounded more like one another in some ways than
(10:04):
they do now, And I do think in a lot
of ways it's it's the it's the influence of hip
hop actually on those other genres. Like I feel like
it's some like you know, we've done some time with
the imagine dragons or something like that, like that kind
of like propulsive, but you know that kind of like
and and the huge like like inside of volcano drums
(10:27):
or something that's meant to be like a kind of
swagger kind of like and and the country thing. It's funny,
you really nailed it. It's just like at some point
it became a They might not use bling, but it's
like a different kind of like flossing flexing about like
the hallmarks of a well lived country life.
Speaker 2 (10:51):
They both brag about the lows and the highs, you know,
Like it's it's like rap has always kind of talked
about the struggle and the victories, and I think country
does that too. Countries, like you know, like it's sometimes
you have these sometimes great sometimes not so great songs
about you know, like it's dirt road and like you know,
(11:12):
like a oh yeah, job right. There's those things, and
then there's also the the you know, the ce celebrating
your lifestyle.
Speaker 3 (11:20):
Totally yes, well, and I think that indicates too, like
as far away from the roots of these things as
we may be now in a country, it's like, well,
I guess you could say in hip hop too, because
you're you're really you're just in both. You're going back
and back and back and back to like folk and blues,
and but I feel like, you know, this was ultimately
(11:41):
both things. Hip hop and country music were like working
people's music, you know. It was like what can you
grab and make noise with that is around you? And
I think a lot of what was being sung about,
like Hank Williams like that shit's the best, and it's
all just like I'm too drunk to be a good friend,
(12:03):
I'm too drunk to keep a job, I'm too drunk
to be nice to my dog, I'm too drunk to
be a good husband. I'm too drunk, you like, and
they were funny songs, but then they were also like heartbreaking,
like I'm so lonesome I could cry and uh, And
that music came from being like, you know, guy with
not a lot of money and with some demons, you know,
and access to this thing. And I think a lot
(12:26):
of hip hop, obviously early, even party hip hop early
was about like the places this stuff was coming from.
And you're right, and then at some point, and maybe
there's more examples. I don't know enough about country music
after a certain time to know about the like excesses
and celebrations. I know what, I know how it appears
on stage. I know how that excess, excess and celebration
(12:47):
has become a part of the like gaudiness and presentation
or whatever. But yeah, I think obviously hip hop part
of it's almost like it's in it's literalized. It's like
said in the song. In songs, I'm thinking of two
particular lines, like jay Z and Biggie lines that are
literally about like if you grew up with nothing, of
course you'd be like bragging about winning. It's like you
(13:09):
you were never supposed to win. So there's something about
I don't know the ex but that's more like what's
the word that's more cultural, and like that's something more
like in the soil or like osmotic or something. I
don't know how much of that's going on in this song.
Speaker 2 (13:24):
The thing about this that's my ant chancy too, that's
my anties too, is that there are stories that are
better than this story, Like.
Speaker 3 (13:31):
What is this story?
Speaker 1 (13:38):
There's a party downtown, your fish, everybody had bargains.
Speaker 2 (13:45):
This story is like, you know, it sounds like it's
here's a snapshot of my life. And the thing I
look forward to is hanging out with friends and getting
tips and getting tipsy and then waking up and doing
it again.
Speaker 3 (14:01):
Right now.
Speaker 2 (14:02):
That's the line that I kind of think is the
thesis statement here. I think you're and then it's like
bring another round. And I think that this person might
be like if it's finny to like have like a
psychologial psychologist like break down these lyrics. I wonder if
they're like this person has a serious problem, right.
Speaker 3 (14:17):
I definitely think that as a person who has had
somebody at some point that was a mental health professional. Uh.
In my family, we have there's a record early in
my career caled make the clocks move and someone in
my family who you know, early on just circulating it.
(14:39):
Two people in my family, and one of them was like,
my cousin was like, this is really beautiful and I
love it, and also like are you all right? You know,
And I think like if you're listening for it, and
you can tuck things in songs because it's like meant
to be exaggerative or expressive in a particular way, especially
the hallmarks of particular genre, things like this is a
(15:01):
party song, and also this is maybe getting way out
into the weeds. But you started it, Casey, when you
started talking about topicality and connection to the present moments,
moment MoMA. What I want to say is I feel
like one of the things that's interesting to me about
(15:22):
the preponderance and popularity you talked about this is like
a job that's perpetually open, this kind of song. It's
basically because so many of us want relief from the
like pummeling nature, some of the pummeling natures of reality
where life's a lot of things. There's beautiful stuff too,
but a lot of what we all have to do
(15:42):
every day between work, between the things that we have
to do to survive and the fear of losing those things,
so that you become even more precariously positioned. What's available
to us, well, not all of us can like go
to you know, live in the South of France or
going on vacations for you know, So what is available,
like go to the bar with your friends and get
(16:02):
fucked up and then get up at ten o'clock in
the morning and do it again. It's the closest you
get to like a rocket ride out of reality.
Speaker 2 (16:09):
I think. So, I think people are like this nine
to five, which she mentions it sucks anyway. So like,
if I'm hungover, it's gonna suck either way. So at
least if I'm hungover, it means maybe the night before
I had a good time. So I I you know,
I get that a lot of people feel that way.
Yeah know, as an older man now with a kid,
I do seventy one seventy five, and I do kind
(16:32):
of worry that it's so funny. I can't believe I'm
saying this because it feels hypocritical, like the rest of
my life.
Speaker 3 (16:38):
Yeah, but you're a fucking hypocrite, dude, so just let
it be.
Speaker 2 (16:41):
Yeah, baby, rip it. But it's like there's everyone's drinking
too much, and alcohol is so like prevalent in every
everything that happens now, and it's always been there, but
it feels more than ever. It's like they market it
like candy, and it's like there's high noons and there's
like there's these things that look like straight up candy
for kids. Yeah, like even edibles now are like it's
(17:04):
it is just weed, is just candy. It's a literal candy.
Speaker 3 (17:08):
In my neighborhood, there's a which is crazy. There are
multiple shops in my neighborhood, but there's one that's really
funny because it's like on a side street. It's so weird.
It's like in where I live in Brooklyn is not
like there's there are commercial avenues, but it's pretty pretty residential.
So there's like in between some like uh you know,
(17:30):
several family whatever they call like brownstone apartment buildings. There's
like a cupcake shop. And I was like walking by
one day and I have a kid who's presently eight,
and I was like, oh, I should, uh you know,
go in and see what's up there. We were walking
together and as we got to the door, I was like,
those are expensive cupcakes, and then I'm like looking at
I'm like oh, And she was like, why can't we
(17:53):
go in? And for that was actually a problem because
she thought she was about to get like a cupcake
or a brownie or a cookie or something. And I
was like, yeah, we can't go in there, and she's
like why. I was like uh. And then it was
an opportunity to be like, well, because it's a weird shop.
She's like, what's that mean. I was like, well, you know,
like she knows, like drunk alcohol. She was like, what
that is. It's kind of like that. It's like a
thing people use to for a number of reasons, but
(18:16):
one reason is to feel a little different and it
changes their behavior and their experience, in her experience, and
by that point she was just like, can we go
actually get a brownie somewhere or you know whatever. But
and then what I did, which is cool and I
want to confess it here for the first time, for
the chances, I did go in and I did give
my eight year old brownie and she's still fucked up
(18:37):
now an hour come on in no.
Speaker 2 (18:43):
As a to explain to some people that might not
pick up on that sarcasm, Kevin did not do that.
Speaker 3 (18:49):
No, I did not. But if you want me tow
chances you email me.
Speaker 2 (18:53):
Yeah, don't get Eatie fuck up.
Speaker 3 (18:59):
Get Eatie fucked up at email dot now get any email.
Speaker 2 (19:05):
No, so I I that's circling back, Like I I
I fight with myself over how I feel about like
having a song that's about over overdoing it, you know
what I mean, like and with with the youth listening
to it or something. I understand that that's not in
my life. Recently, I've been I've been saying this out loud.
(19:26):
It's like the world is not me. In fact, I
did want to sort of switch gears a little bit.
There's this song that I came into my rotation. I
don't believe it's good enough for a full episode, but
I want to talk about it because at first I
didn't like it.
Speaker 3 (19:42):
And wow, a little capsule inside the EP casey is evolving. Yeah.
Speaker 2 (19:48):
So there's this artist named Jax. It's a it's a
young person who has this song that's like Victoria's Secret
is that Victoria's Secret was made, was created by a dude, right, and.
Speaker 3 (20:01):
That's what the song's about.
Speaker 2 (20:02):
Yes, Victoria's Secret is it was started by a dude
and it did very well and a lot of people
really like it. And at first I was like, oh, man,
this is a good song for Chancey because that's I
think that's such a stupid thing. And then a friend
of mine flipped my entire perspective and said, well, for you,
that's like a really but this might be the good
gateway of younger because it's for younger people like this
(20:25):
this artist, Like, it's a good gateway of younger people
to start questioning things and to start looking at things
with a what's the word for it, to to put
things under a microscope or or like you know, find
It's not like a conspiracy obviously, it's but sort of
be skeptical.
Speaker 3 (20:44):
Yeah, like like like I interrogate things, look deeper into things.
Yeah yeah, and.
Speaker 2 (20:49):
And think about that right And and I was like, oh, yeah,
the world's not me and that and I think that
was a great I was shout out to my friend
Josh did it and she said she was like, well,
that's this probably not for you anyway, but it's especially
probably better for a younger person who for the first
(21:10):
time is now going to put things under that microscope
or maybe question more, and I think it's a great
gateway into that and because there's some people need a gateway,
Like there are things that were my gateway that I
don't even remember and now it's so trivial or lame
or something, and I was like, Oh, that's so, that's
so true.
Speaker 3 (21:29):
I think being able to have the sort of presence
of mind to confront yourself with the world is not
me is actually something that I think it's like, at
least I don't know what it's like in other cultures,
and I don't know what it was like, you know,
seven hundred years ago or something. But in the in
the where we live and how we live and when
(21:51):
we live, it seems to me like it's an inevitability.
It's like, what's it called, Like it's an inevitability, and
it's it's just absolutely unavoidable that you know, there's some
amount of like no one thinks they're old until they're old.
No one thinks they're not representing the like even Actually
I have a friend who's like seventy five, and he
(22:11):
said to me once, every time I walk by the mirror,
I think, who the fuck is that old guy? Because
he's like in my brain I'm like twenty three or something,
and then I'm like, oh, no, you're not, you know,
and I I understood what he meant. And I bring
that up to say, with respect to pop culture this
song Jack's whatever, you know. I feel like part of
what is what the boomers get so shit on, and
(22:33):
I think fairly is this notion that like they would
stand to benefit from asking themselves And of course there
are some that do, but writ large with greater interrogation
and frequency, is the world still me? And or you know?
The world? And maybe to arrive at the world is
not me? And to like loosen their grip on a
(22:54):
bunch of things to enable the people for whom the
world is the world now.
Speaker 2 (23:01):
Even the bigger exercises the world. Does nobody just want one?
Speaker 3 (23:04):
That's right, that's right.
Speaker 2 (23:06):
And I bet I agree that those people actually have
still have the grip on the world, which is that's
kind of.
Speaker 3 (23:11):
But you're right. The actual philosophical point is that the
world nobody is the world, even the people who think
they are running. Yes, I believe that that is the
greater reality. I love that we're going here in this podcast.
That's great. But what I will say in specific about
what you just brought up that pertains to both the
Jacks thing and your friend Jocelyn's point and this song
I just did this tribute concert for which sorry to
(23:35):
bring him up twice in one episode, but it just
happened for Elliot Smith. This is whenever this goes up.
But there was a celebration of his music on what
would have been his fifty fifth birthday, and it was
a benefit for a studio he opened before he passed away,
called New Monkey Studios, to help keep that open. Anyway,
his band from the Figure eight tour was the house band,
and a bunch of people got up and sang his
songs with that band. It was really really special, beautiful night,
(23:58):
and I was honored legit to be invited to participate
in it. Why I say all that I'm forty four.
There were people on that show that were sixty, and
there were people on that show that were nineteen, which
speaks to his body of work and its influence on
generations of people. But there were people on that show
that were legit, like you know, nineteen twenty twenty, and
(24:23):
like their angle at which they fell with his body
of work and with any body of work and there
that that existed like from when you and I were
kind of like cutting our teeth. I'm a little older
than you, but it's generally the same range. Like one
could either be like, I don't know, like possessive what's
(24:44):
the word, like like uh, you don't know what you're talking?
Or yeah, like like kind of like critical of how
they approached or arrived.
Speaker 2 (24:52):
At or when the yeah, the better experience.
Speaker 3 (24:55):
Yeah. And then also the other side or like or
prietary is the word I was looking for, Like I
know like that the people who were like around then
understood something about it that these But the other side
of that is like these kids understand something about it
and connect to something about it that I don't. That
it's instructive, like we're all kind of like learning from
(25:16):
one another. And I think that everyone needs a gateway
drug and a sort of skeleton key into whatever it
is that continues their development of personality, right and interest.
And I think it's actually really cool to realize the
world is not me and to be like, what can
I learn from these kids that are like half my
age just getting into a thing I've spent twenty five
(25:38):
years like studying, if that makes sense.
Speaker 2 (25:41):
And now I also want to point out counter, not
not full counter, but like there's still times to poke,
you know, and to be like on a taste level,
here are my issues, right, oh yeah, especially with like
but we were. Hopefully you do that for any genre,
even some of your favorite artists, to be like I
(26:02):
love Page on the Line, and there's this song I
don't love and like, you know you should do that
because it helps you develop what you like. But this
song I have an issue with.
Speaker 3 (26:12):
I want to go back. Yeah, yeah, let's let's go.
Let's circle a little piss what's this person's name? Little piss?
Speaker 2 (26:19):
Youa boozy share boozy?
Speaker 4 (26:20):
Yeah? Yeah.
Speaker 2 (26:32):
It says there's this bridge.
Speaker 3 (26:34):
There's no bridge, right.
Speaker 2 (26:36):
I actually looked up the chords and it's the same
chords as the as the U, both the chorus and
also the verse, Like, yeah, do you well, how do
you feel as like a I think of a prolific songwriter, Like,
how do you feel when when when something says it's
the bridge but it's the exact same chords.
Speaker 3 (26:55):
I am of two minds. I can and all and again.
I feel like I say this once an episode about something,
but I feel like it's important to say, deeply subjective
one person's perspective and opinion, So there is no rule,
there is no right. I don't think a song that
has the same chord progression and over and over again,
(27:17):
and melody over and over again, which this one differs
a little bit here and there, and they do a
thing where they like throw a slight curveball with a
lyric change here and there. But I think it's pretty
much like this to me is a verse pre chorus chorus,
verse pre chorus chorus, And what they're calling the bridge
is just a down verse now that can serve as
(27:39):
the fun that can functionally serve as the bridge. But
I think it's more like there's just no bridge in
this song. And I do think arrangement wise, production wise,
the decision what you are doing in deciding to make
that down verse a thing is you are you here?
It's the song person sunk was coming a cab especially,
(28:05):
But no, I think that it's it's you're effectively I
would look for me, I think that's a cheat to
call it a bridge, but I think it's fine if
you just you know. But but I do.
Speaker 2 (28:17):
Also right, that's right, hey, when we drop out the
drums drums there, and like when you know the bridge,
it's like, okay, that's that's.
Speaker 3 (28:25):
The thing in making that arrangement decision. They have functionally
made that the bridge. And the other part of me
is like the more sort of like you know, open
minded child like part is like, don't there's no rules anyway,
Like if you want to say, like the bridge is
the fucking third verse because you like changed a lyric
(28:47):
or something or you well, great, but then when it
comes to discernment taste, what you like what you don't.
I found that to be a little bit of a
cheat personally. And I do think the song is plenty
like pulsive. What's the word like, it's like it's there's
like a caffeinated kind of like it's it's easy to
light on its terms. It's it's very like you know,
(29:11):
it's it's got it's it's propulsive, it's caffeinated. It's it's
got energy and it's uh, it's it's like it's infectious. Yeah.
Speaker 2 (29:19):
The first I heard it, I was in my friend
Jess's car and we were going on we were on
a scout for the show I work on, and Becker's like.
Speaker 3 (29:28):
What Becker that's the show you work one.
Speaker 2 (29:31):
No monk a month?
Speaker 3 (29:35):
Coach Yeah, coach wow, wow, rest and kiss. No, he's
he's alive. I think, yeah, he's dead. Please rest in peace,
Craig t do not haunt.
Speaker 2 (29:50):
Me anything else.
Speaker 3 (29:53):
No.
Speaker 2 (29:55):
We and she put it on. She was like have
you heard this? And she put it on. It's like
it's just come out, I think, and I was like,
oh no, and I immediately wrote it off. I was like,
I was like, this is not my style. I was
like I can't believe that this but this, I was like,
this is very you just and meaning it like she's
a good friend of mine when I was making fun
of her. And then I just started hearing it everywhere everywhere, everywhere,
(30:15):
Like I go to like we were eating luncheon like
a sort of like a bar, and it like went
on and I was like watching people tapping and singing
along and I was like, whoa, this song is like
it's happening.
Speaker 1 (30:25):
Yeah, And where was I I was yesterday? Yeah, yeah,
yesterday when my friend who I would would never I
would never imagine listen to it had it stuck in
his head. And I was like, wow, So this that's
why today I was like, we have to do this song.
Speaker 2 (30:39):
It's it's like, when do we get a chance to
do something, especially something that like off the bat I
didn't think either of us would really.
Speaker 3 (30:45):
Like or I also appreciative that you did it because
I feel like maybe our listeners will be too that
you you and thank god you have dragged us more
into the present moment. And certainly it's something I was
I literally saw this person's name. It's no joke this morning,
and so it's kind of nice to actually spend some
time with the music today. I think there are more
(31:06):
egregious offenders out there than sheboygan. But I also think that,
like it's it's not hard to give a song like
this a chance, because this song is designed to be
pretty easy to approach. But I do think there's a
lot to be said which would be like a different
of this is like a maybe not the platform for
(31:26):
it or at that such great length. There is a
lot to be said about what you were talking about about,
like as you age, concerns about entertainments that are like
totally glorifying this kind of like hedonistic and not from
a place of like puritanical prudish, but for more of
a place of like life experience informs some sense of
(31:48):
like okay, you know. And also and for me it
does also connect to some of the things we were
talking about that are a little bit more like structural
in nature about like life in society, where I'm just like, man,
I kind of want bigger dreams for us than just
like life sucks. Let me get fucked up to not
(32:10):
feel it. And maybe my particular passage through this exact
thing is through a series of songs and songwriters who
were not reveling. It was the opposite. It was like
that dark charisma, dark attraction that was more about like
this is disastrous, but I'm choosing it anyway. And some
of the people died, and so it was a little
easier to be like, oh, maybe that's like really bad
(32:33):
than like.
Speaker 2 (32:34):
That's so interesting, right, because it's it's like, yeah, like
even even like I think our first episode, like Nickelback,
it's like to the bottom of every bottles.
Speaker 3 (32:42):
Which he sings about to or they sing about too, yeah, yeah,
the bottle you'll lost in the bottom of bottle or something. Yeah,
but this.
Speaker 2 (32:49):
One has and that sometimes is a little bit of
like R and I so deep, right, There's there's there's
this moment of like of like I get said and
I drink.
Speaker 3 (32:59):
I know I'm away yeah yeah, yeah, way yeah.
Speaker 2 (33:04):
You know, no woman convicts me. Yeah try, that's right,
you are trying to say that. But then this song
is like celebrating there's it's fair. It's rare to find
the song. That's just like I had one drink at
dinner and I came home, like no one wants to
hear it, and no one wants to write it. It's
it's like it's moderation is never really.
Speaker 3 (33:25):
Not super sexy. I do love There's there's one of
the best. Uh, it's still exemplifies what we're talking about.
But there's a Will Oldham song, and this, to me
speaks more to the realities of this life and these choices.
I feel like it says something like the only words
I said today were beer and thanks, like sat at
(33:48):
a bar and and that's kind of boring, right, kind
of sad, not in a sexy way, kind of just
more like oh yeah, like that's kind of more mundane
and a little bit like that's kind of kind of
not dark cool, but dark like and funny a little
bit too, like a.
Speaker 2 (34:08):
Guys, can I ask you a question? So no, you
have a great all.
Speaker 3 (34:13):
Right, see you guys podcast over.
Speaker 2 (34:16):
All right, you have this wonderful song called day drunk, right,
and it's a tongue in cheek day drunk is what
I want to be, you know, and it's do people
ever think that that's from a place of like day drunk?
Speaker 3 (34:30):
Right? And that's and look, that's saw that happens. Especially
the way we arranged that song, we kind of made
it like a guided by voicesy like power pop thing.
I it, yeah, well, thank you that that's a little
bit like that was a little bit like that thing
where like a trojan horse or whatever, like I we
kind of wanted to make I definitely wanted to make
it like sugary anthemic in the context of my music anyway,
(34:55):
kind of like up energetically and immediate, but also like
the second verse of that song is about like being
a twenty five year old in Bay Ridge day drinking
with retired bus drivers and like like dudes that were
like and like you know, locking myself in bathrooms doing cocaine,
being afraid some guy was going to come in and
(35:17):
like you know, you know, get me out. Of the
stall or whatever like that. Look, if you hear that
and you think that that sounds cool, I have some
places I might want to direct you to because I
promise you like that's that was not the point of
putting that in that song was to be like I'm
a badass. It's more to be like, how scary from
from the present moment the thought of engaging in that
(35:39):
reality of that reality today has become for me and
the idea of like, oh yeah, well totally. But some
listeners also think Born in the USA is like a
pro Reagan, pro Trump or whatever.
Speaker 2 (35:52):
Yeah, yeah, but that's my And even my friend Jess
was like, didn't really listen to the lyrics at all
and admitted like I do. I'm not really a lyric person.
I'm a beat person, but like she gets choruses sometimes.
So has anyone ever come up to you and been like, yeah,
oh that's not rock dude, like casual, oh.
Speaker 3 (36:07):
One hundred dude, people come up. We have another song
that's in my again in context and to scale in
my little corner of the playground. One of our best
known songs, which is called Ballgame, which was like a
twenty three year old very much in it sort of
like wrestling with the nature of being in it in
(36:27):
a very uncoded linguistic way. It's one of the most
direct songs I've probably it's very straightforward, and there are
people who've literally been like, yeah, like I remember show
in Boston, was this dude being like baw gap and
like he was like shit faced. Like well like some
like fatom our friend, like Fatim who runs these pizza
restaurants in Brooklyn. He'll he'll sometimes just say to me,
(36:50):
he's like super dry. There was a guy who was
like blackout drunk who was just kept going during the show.
Anytime it was quiet, He's like, that's ballgame. And then
like some people would like put like tall boys at
my feet while I was like playing the show, and
I'm like, yo, this song is about a person who
like is like am I an alcoholic?
Speaker 2 (37:11):
And you're like, yeah, got you Broyea exactly exactly. See,
That's that's that's what I was hoping for.
Speaker 3 (37:18):
I mean, I.
Speaker 2 (37:20):
Was like, I was like, it has to happen, like
and Born in the USA is the is the greatest
version of it.
Speaker 3 (37:25):
It's the best.
Speaker 2 (37:26):
It's such a good like so still to this day,
people completely missed the context of it, and all like
that must happen all the time. I want to make
it like a playlist of all the songs that people
get wrong for that reason.
Speaker 3 (37:39):
That would be a fun, little chancey side project we
could put together. Side quest, Well, what do you think
case you've chanced this appropriately.
Speaker 2 (37:50):
Yes, I and I want to just encourage people to
listen to your songs because now they're stuck in my head.
You're the shaboozy of my life.
Speaker 3 (37:56):
I'm the shaboozie of your life. And that's the kind
of thing that he says to me on camera and
off camera, onke and.
Speaker 2 (38:03):
Off on the streets and in the sheets.
Speaker 3 (38:06):
If you're listening right now, eighty is still high. Well
all right. So the end of the result is like
this song's fine, and also like we're a little worried
about the youth of today, but also like the world
is not us.
Speaker 2 (38:21):
And going back to the bridge, you know, the thing is,
I don't expect a great bridge from hip hop sometimes,
but I do expect a great bridge from country music.
Good country.
Speaker 3 (38:30):
That's a great way of tying this room together. These
are the perils, perhaps of this kind of homogenization of
all things country music, sometimes the bridge is the best part.
And I hip hop, I don't even care if there's
a bridge. Most of the time, it's not something that
it's not like built in the same way structurally. I
feel like it's a different animal.
Speaker 2 (38:51):
But uh, if they do it and they're very aware,
they're literally like, take it to the bridge. Yeah yeah,
they literally say that. Timblands like, no, it comes the bridge.
Speaker 3 (39:02):
Yeah yeah, yeah, yeah. I always wanted with that and
then we can stop. But is that was that him
like cueuing someone like that in that song noted hip
hop artist Justin Timberlake. Was that him cueing him like
vocally like, yo, now's the bridge?
Speaker 2 (39:18):
Or is that him being I think it's a it's
it sort of probably started with a band leader like
a James Brown.
Speaker 3 (39:24):
A hundred yes, I keep doing it. My mom is right,
I keep saying one hundred percent. I really have to
work on this. Yeah, one thousand p A million percentage points, dude.
Speaker 2 (39:35):
A mill So I actually I kind of I don't
remember what song, but I think that there was a
tune that a person said take it to the chorus
or ticket to like, and I think it was he
was almost referencing that, borrowing it, sampling it. And but
I think it started with sort of an R and
B or or like a James Brown type that I
think that's calling his band out for it.
Speaker 3 (39:56):
I think that's right, that makes sense, And.
Speaker 2 (39:58):
Like when Sublime would be like, you know.
Speaker 3 (40:01):
I don't practice santoria. Yah, Daddy's got a new body.
Speaker 2 (40:08):
Far all that. Thanks for giving us a chance. See
your next crime, Just give it
Give it a chance, give it a chance, Give it
a chance. Good morning, give it a chance, Give it
a chance, Give it a chance, give it a chance.
Speaker 2 (00:09):
Good morning, Give it Ai you want to give it
a chance, give it a chance, give it a chance.
Speaker 3 (00:14):
Just give it.
Speaker 2 (00:18):
Hi, Welcome to the America. Welcome to give it a chance.
Speaker 3 (00:22):
Everybody, Welcome to the America. And what a time you've
chosen to come.
Speaker 2 (00:30):
Well, actually, that I think I unofficially segued or what
I'm losing my brain? I think unofficially, yes, yes, unintentionally,
that sounds.
Speaker 3 (00:43):
Like unintentional segue.
Speaker 2 (00:45):
Into our song, which I think some there's a lot
of quote unquote Americans that might like this tune.
Speaker 3 (00:53):
Oh okay, well.
Speaker 2 (00:55):
I think there's like a type of person that comes
along with this kind of stuff. Although I will say
that this song is kind of progressive in certain ways,
so I'm excited. It's also rare that we could ever
do something that's kind of topical of when we're recording it.
Speaker 3 (01:10):
This is dangerous territory we're veering into for the first
time as chancer primary chancers. All the listeners are chancewers too,
but we're like obviously like the primary chancers.
Speaker 2 (01:22):
Yeah, so this song is. I've been hearing it a lot.
Speaker 3 (01:27):
This is a present moment song.
Speaker 2 (01:29):
Yeah, dude, Wow.
Speaker 3 (01:30):
This is gonna be great because the odds of me
even knowing it are almost zero.
Speaker 2 (01:35):
Right, And if you do know it, I think that
I think you might have caught wind of it.
Speaker 3 (01:41):
Hmmm, and you know it followed? Wait is that a hint?
Caught wind? No?
Speaker 2 (01:47):
No, no, I wish it was. Okay, it's like I
can imagine what that song is.
Speaker 3 (01:52):
I caught wi am.
Speaker 2 (01:57):
So this this song is all kind of in the
footsteps to Old Town Road.
Speaker 3 (02:03):
I think, ah, little nas X. Yeah, see I know
that with Billy Ray. Yeah that remix.
Speaker 2 (02:11):
You know, the remix has Spilly Ray's eye.
Speaker 3 (02:13):
Oh that's not on the ridge, It's only on the remix. Okay,
do you know that?
Speaker 2 (02:17):
Edie?
Speaker 3 (02:17):
My daughter, sorry before you just just while we're on
the subject the subject when she was little, she used
to say, but she used to call Benjamin Franklin arigimen Franklin.
Speaker 2 (02:28):
Oh wow, that's a good one.
Speaker 3 (02:30):
Isn't a rigimen pretty good?
Speaker 2 (02:32):
A regimen?
Speaker 1 (02:32):
Is it?
Speaker 3 (02:33):
Yeah? It's a great name it.
Speaker 2 (02:35):
Yeah, it sounds like a some sort of character in
a in like a sci fi book, A hundred yes.
Speaker 3 (02:41):
Absolutely. My mom also recently said she can't stand it
when people say one hundred percent when they're agreeing with something,
and now I can't stop saying it, like it's I'm
just like one hundred percent. Maybe I just hondo I
say that to her. She's into that. Okay, that's enough
about my mom and my kid, Jesus, let's get back
to what matters, not them.
Speaker 2 (02:59):
Have you heard of the artist Shaboozy.
Speaker 3 (03:03):
I feel like I literally saw that artist's name for
the first time today. I don't remember the context now,
in a playlist or something, or maybe it was like
a review on a website or something, But yeah.
Speaker 2 (03:15):
I think I first heard it a month or two ago.
It's been out for a little while. I almost feel
like when I first heard it, I was like, well,
I knew there's a song that's it's sort of referencing
from a decade or plus ago. That's a hip hop song.
But I felt like I've heard a country artist do
something like this before. That's just my preamble. I think
(03:38):
we should listen to it and then discuss. I actually
like that you've never heard this song, or maybe.
Speaker 3 (03:42):
You haven't wait, is Shaboozi? Is that the name of
the artist.
Speaker 2 (03:45):
That's the name of the artist.
Speaker 3 (03:46):
Is Shaboozi a country artist? Well, well we'll see, let's see, okay, Yeah,
so what's the name of the I love that this
exposes me as being like nine hundred years old.
Speaker 2 (03:57):
Yeah, the song is called a bar song and in
parentheses tipsy.
Speaker 3 (04:04):
Oh, I just it comes up right away. Do I
want to listen to the explicit version or the clean version?
Speaker 2 (04:09):
I think go explss go explics.
Speaker 3 (04:12):
You tell me when all.
Speaker 2 (04:13):
Right, hit a girl on the dole shots.
Speaker 3 (04:22):
All right, all right, initial thoughts, I mean, look, my
initial thought was it's funny. At the bottom of the
app I was using to listen and read along it
says report a concern that was, like, that's funny, Like
what would one.
Speaker 2 (04:40):
Say, like like it's worried for Shaboozy.
Speaker 3 (04:44):
You have to yeah, like it sounds like shaboozy they
may have a true problematic relationship with alcohol. I'm concerned
about that. Yeah. Yeah, I mean that's so infectious, undeniable,
inoffensive song that I could depletely see. I'm sure people
are like, especially I'm imagining he's talking about that I
(05:06):
don't know shaboozi. I don't want to miss pronoun with
the shaboozi. They are talking about Fifth Street. This has
got to be a Nashville thing right there, Nashville people.
I'm sure this shit is just like lighting up every
fucking bar down there at some point in the night.
I'm sure people are two step into it. I'm sure
it's And the other thing is, I mean, I could
(05:27):
actually go all in in a variety of directions right now,
because I don't even know which to pick. I do
have a series of this is like an immaculately constructed
representation of the moment in pop music in which we live.
The thing that most I kind of both, which I
(05:47):
think is like the spirit of our show. I was like,
oh do I hate this? And then I was like,
that's kind of clever. The fact that there's like a
low level burbling like auto tune, which I think is
meant to be metaphoric about like being a little drunk,
being a little like that sound that sort of sounds
(06:08):
like a little Warsaly, a little yeah. And I think
that there was something about that that at first I
was like, My initial reaction was like, oh is that cheesy,
and then I was like, actually, that's like intentional and clever,
and there's like something layered to that. It's kind of cool.
It's also a cool use of that. I feel like
also because you know, as my brother noted, the basketball
(06:30):
writer Dan Devine pointed out, always finding a way to
bring this back to one of three or four major concerns.
You know, maybe you don't. The first thought I had
with you know me and Jack Daniels got a history,
the first lyric of Oscar nominated song by Elliott Smith
I'll fake it through the day with some help from
(06:51):
Johnny Walker Red, And I was like, oh, it's last.
I kind of the first thing I thought of was like, actually,
something about like you know, me and Jack Daniels got
a history, Like, well, I know you and Elliott got
a history, and maybe this song's gonna be a big
deal for Shaboozy, just like it was for the recently Departed.
And I was like twenty.
Speaker 2 (07:08):
Years so yeah, I completely agree. So when I first
heard this song, it's always sometimes the context of like
where you hear a song too. When I first heard
the song, I was sort of like, oh, this is
the worst of two worlds. Right, it's borrowing from like
Jae Kwan's song called Tipsy, where it literally just rips
up the chorus. Right, it's like, yes, it comes to one, right, it's.
Speaker 3 (07:34):
Yeah yeah yeah.
Speaker 2 (07:35):
So it's it's taking that and it's taking sort of that.
It's actually it's marrying two world those two worlds and
showing that they're the same, right, like pop countries sort
of like bling. Actually they don't say bling, but like
the Bravados, the.
Speaker 3 (07:52):
Bragga, the Braggado. Yeah yeah, Bravado. Yeah, I like that
Bravado up. That's good.
Speaker 2 (08:01):
So but it takes that they both do that, right,
like that era of that era of hip hop and
that and this era of pop country, and it's kind
of marrying both. And I both love it for that
reason and I hate it for that reason because I think,
no doubt, you can't say something new, say two things
that have happened before. Right, It's like right, I think
(08:22):
I think like you're just doing You're doing both of
those two genres in a new way. So I feel
the same as you do. I could go in multiple directions.
I think that if I were in Nashville and I
was with a group of people and that came on,
it was.
Speaker 3 (08:39):
Like Shaboozi's niece.
Speaker 2 (08:40):
Maybe I'm with Shaboozi's niece yea, yeah, I am oft yeah,
And I think it's probably it's the same thing for me,
like this is don't stop believing for this new generation.
Speaker 3 (08:51):
Yeah, it's like well said, yes, it's.
Speaker 2 (08:54):
Like that song's going to crush in a bar and
it's the same for both. And it's ever you kind
of need those songs like you need It's it's the
same reason like you kind of need a space for
a Disney movie or you need a space for a
war movie. Like it's it's just there that there, that
space is going to be brought in by a new
(09:14):
artist every time, So why not be Shaboozi.
Speaker 3 (09:17):
Yeah, there's like a perpetual opening for those jobs, and
so why not Yeah? Yeah, And I mean also I
feel like it's interesting this has come up on our
our podcast before the like kind of like homogenization of
all things and how that touches you could make it
there could be there are smarter conversations to have about that,
about a variety of things outside of pop music. But
(09:40):
I do think when something is true in totality it
touches everything, and so pop music is subject to this
as well. And what has happened is like everything sort
of like funnels inward to this arrowhead. And yeah, like pop,
hip hop, country, radio, rock, I don't know if they
ever sounded more like one another in some ways than
(10:04):
they do now, And I do think in a lot
of ways it's it's the it's the influence of hip
hop actually on those other genres. Like I feel like
it's some like you know, we've done some time with
the imagine dragons or something like that, like that kind
of like propulsive, but you know that kind of like
and and the huge like like inside of volcano drums
(10:27):
or something that's meant to be like a kind of
swagger kind of like and and the country thing. It's funny,
you really nailed it. It's just like at some point
it became a They might not use bling, but it's
like a different kind of like flossing flexing about like
the hallmarks of a well lived country life.
Speaker 2 (10:51):
They both brag about the lows and the highs, you know,
Like it's it's like rap has always kind of talked
about the struggle and the victories, and I think country
does that too. Countries, like you know, like it's sometimes
you have these sometimes great sometimes not so great songs
about you know, like it's dirt road and like you know,
(11:12):
like a oh yeah, job right. There's those things, and
then there's also the the you know, the ce celebrating
your lifestyle.
Speaker 3 (11:20):
Totally yes, well, and I think that indicates too, like
as far away from the roots of these things as
we may be now in a country, it's like, well,
I guess you could say in hip hop too, because
you're you're really you're just in both. You're going back
and back and back and back to like folk and blues,
and but I feel like, you know, this was ultimately
(11:41):
both things. Hip hop and country music were like working
people's music, you know. It was like what can you
grab and make noise with that is around you? And
I think a lot of what was being sung about,
like Hank Williams like that shit's the best, and it's
all just like I'm too drunk to be a good friend,
(12:03):
I'm too drunk to keep a job, I'm too drunk
to be nice to my dog, I'm too drunk to
be a good husband. I'm too drunk, you like, and
they were funny songs, but then they were also like heartbreaking,
like I'm so lonesome I could cry and uh, And
that music came from being like, you know, guy with
not a lot of money and with some demons, you know,
and access to this thing. And I think a lot
(12:26):
of hip hop, obviously early, even party hip hop early
was about like the places this stuff was coming from.
And you're right, and then at some point, and maybe
there's more examples. I don't know enough about country music
after a certain time to know about the like excesses
and celebrations. I know what, I know how it appears
on stage. I know how that excess, excess and celebration
(12:47):
has become a part of the like gaudiness and presentation
or whatever. But yeah, I think obviously hip hop part
of it's almost like it's in it's literalized. It's like
said in the song. In songs, I'm thinking of two
particular lines, like jay Z and Biggie lines that are
literally about like if you grew up with nothing, of
course you'd be like bragging about winning. It's like you
(13:09):
you were never supposed to win. So there's something about
I don't know the ex but that's more like what's
the word that's more cultural, and like that's something more
like in the soil or like osmotic or something. I
don't know how much of that's going on in this song.
Speaker 2 (13:24):
The thing about this that's my ant chancy too, that's
my anties too, is that there are stories that are
better than this story, Like.
Speaker 3 (13:31):
What is this story?
Speaker 1 (13:38):
There's a party downtown, your fish, everybody had bargains.
Speaker 2 (13:45):
This story is like, you know, it sounds like it's
here's a snapshot of my life. And the thing I
look forward to is hanging out with friends and getting
tips and getting tipsy and then waking up and doing
it again.
Speaker 3 (14:01):
Right now.
Speaker 2 (14:02):
That's the line that I kind of think is the
thesis statement here. I think you're and then it's like
bring another round. And I think that this person might
be like if it's finny to like have like a
psychologial psychologist like break down these lyrics. I wonder if
they're like this person has a serious problem, right.
Speaker 3 (14:17):
I definitely think that as a person who has had
somebody at some point that was a mental health professional. Uh.
In my family, we have there's a record early in
my career caled make the clocks move and someone in
my family who you know, early on just circulating it.
(14:39):
Two people in my family, and one of them was like,
my cousin was like, this is really beautiful and I
love it, and also like are you all right? You know,
And I think like if you're listening for it, and
you can tuck things in songs because it's like meant
to be exaggerative or expressive in a particular way, especially
the hallmarks of particular genre, things like this is a
(15:01):
party song, and also this is maybe getting way out
into the weeds. But you started it, Casey, when you
started talking about topicality and connection to the present moments,
moment MoMA. What I want to say is I feel
like one of the things that's interesting to me about
(15:22):
the preponderance and popularity you talked about this is like
a job that's perpetually open, this kind of song. It's
basically because so many of us want relief from the
like pummeling nature, some of the pummeling natures of reality
where life's a lot of things. There's beautiful stuff too,
but a lot of what we all have to do
(15:42):
every day between work, between the things that we have
to do to survive and the fear of losing those things,
so that you become even more precariously positioned. What's available
to us, well, not all of us can like go
to you know, live in the South of France or
going on vacations for you know, So what is available,
like go to the bar with your friends and get
(16:02):
fucked up and then get up at ten o'clock in
the morning and do it again. It's the closest you
get to like a rocket ride out of reality.
Speaker 2 (16:09):
I think. So, I think people are like this nine
to five, which she mentions it sucks anyway. So like,
if I'm hungover, it's gonna suck either way. So at
least if I'm hungover, it means maybe the night before
I had a good time. So I I you know,
I get that a lot of people feel that way.
Yeah know, as an older man now with a kid,
I do seventy one seventy five, and I do kind
(16:32):
of worry that it's so funny. I can't believe I'm
saying this because it feels hypocritical, like the rest of
my life.
Speaker 3 (16:38):
Yeah, but you're a fucking hypocrite, dude, so just let
it be.
Speaker 2 (16:41):
Yeah, baby, rip it. But it's like there's everyone's drinking
too much, and alcohol is so like prevalent in every
everything that happens now, and it's always been there, but
it feels more than ever. It's like they market it
like candy, and it's like there's high noons and there's
like there's these things that look like straight up candy
for kids. Yeah, like even edibles now are like it's
(17:04):
it is just weed, is just candy. It's a literal candy.
Speaker 3 (17:08):
In my neighborhood, there's a which is crazy. There are
multiple shops in my neighborhood, but there's one that's really
funny because it's like on a side street. It's so weird.
It's like in where I live in Brooklyn is not
like there's there are commercial avenues, but it's pretty pretty residential.
So there's like in between some like uh you know,
(17:30):
several family whatever they call like brownstone apartment buildings. There's
like a cupcake shop. And I was like walking by
one day and I have a kid who's presently eight,
and I was like, oh, I should, uh you know,
go in and see what's up there. We were walking
together and as we got to the door, I was like,
those are expensive cupcakes, and then I'm like looking at
I'm like oh, And she was like, why can't we
(17:53):
go in? And for that was actually a problem because
she thought she was about to get like a cupcake
or a brownie or a cookie or something. And I
was like, yeah, we can't go in there, and she's
like why. I was like uh. And then it was
an opportunity to be like, well, because it's a weird shop.
She's like, what's that mean. I was like, well, you know,
like she knows, like drunk alcohol. She was like, what
that is. It's kind of like that. It's like a
thing people use to for a number of reasons, but
(18:16):
one reason is to feel a little different and it
changes their behavior and their experience, in her experience, and
by that point she was just like, can we go
actually get a brownie somewhere or you know whatever. But
and then what I did, which is cool and I
want to confess it here for the first time, for
the chances, I did go in and I did give
my eight year old brownie and she's still fucked up
(18:37):
now an hour come on in no.
Speaker 2 (18:43):
As a to explain to some people that might not
pick up on that sarcasm, Kevin did not do that.
Speaker 3 (18:49):
No, I did not. But if you want me tow
chances you email me.
Speaker 2 (18:53):
Yeah, don't get Eatie fuck up.
Speaker 3 (18:59):
Get Eatie fucked up at email dot now get any email.
Speaker 2 (19:05):
No, so I I that's circling back, Like I I
I fight with myself over how I feel about like
having a song that's about over overdoing it, you know
what I mean, like and with with the youth listening
to it or something. I understand that that's not in
my life. Recently, I've been I've been saying this out loud.
(19:26):
It's like the world is not me. In fact, I
did want to sort of switch gears a little bit.
There's this song that I came into my rotation. I
don't believe it's good enough for a full episode, but
I want to talk about it because at first I
didn't like it.
Speaker 3 (19:42):
And wow, a little capsule inside the EP casey is evolving. Yeah.
Speaker 2 (19:48):
So there's this artist named Jax. It's a it's a
young person who has this song that's like Victoria's Secret
is that Victoria's Secret was made, was created by a dude, right, and.
Speaker 3 (20:01):
That's what the song's about.
Speaker 2 (20:02):
Yes, Victoria's Secret is it was started by a dude
and it did very well and a lot of people
really like it. And at first I was like, oh, man,
this is a good song for Chancey because that's I
think that's such a stupid thing. And then a friend
of mine flipped my entire perspective and said, well, for you,
that's like a really but this might be the good
gateway of younger because it's for younger people like this
(20:25):
this artist, Like, it's a good gateway of younger people
to start questioning things and to start looking at things
with a what's the word for it, to to put
things under a microscope or or like you know, find
It's not like a conspiracy obviously, it's but sort of
be skeptical.
Speaker 3 (20:44):
Yeah, like like like I interrogate things, look deeper into things.
Yeah yeah, and.
Speaker 2 (20:49):
And think about that right And and I was like, oh, yeah,
the world's not me and that and I think that
was a great I was shout out to my friend
Josh did it and she said she was like, well,
that's this probably not for you anyway, but it's especially
probably better for a younger person who for the first
(21:10):
time is now going to put things under that microscope
or maybe question more, and I think it's a great
gateway into that and because there's some people need a gateway,
Like there are things that were my gateway that I
don't even remember and now it's so trivial or lame
or something, and I was like, Oh, that's so, that's
so true.
Speaker 3 (21:29):
I think being able to have the sort of presence
of mind to confront yourself with the world is not
me is actually something that I think it's like, at
least I don't know what it's like in other cultures,
and I don't know what it was like, you know,
seven hundred years ago or something. But in the in
the where we live and how we live and when
(21:51):
we live, it seems to me like it's an inevitability.
It's like, what's it called, Like it's an inevitability, and
it's it's just absolutely unavoidable that you know, there's some
amount of like no one thinks they're old until they're old.
No one thinks they're not representing the like even Actually
I have a friend who's like seventy five, and he
(22:11):
said to me once, every time I walk by the mirror,
I think, who the fuck is that old guy? Because
he's like in my brain I'm like twenty three or something,
and then I'm like, oh, no, you're not, you know,
and I I understood what he meant. And I bring
that up to say, with respect to pop culture this
song Jack's whatever, you know. I feel like part of
what is what the boomers get so shit on, and
(22:33):
I think fairly is this notion that like they would
stand to benefit from asking themselves And of course there
are some that do, but writ large with greater interrogation
and frequency, is the world still me? And or you know?
The world? And maybe to arrive at the world is
not me? And to like loosen their grip on a
(22:54):
bunch of things to enable the people for whom the
world is the world now.
Speaker 2 (23:01):
Even the bigger exercises the world. Does nobody just want one?
Speaker 3 (23:04):
That's right, that's right.
Speaker 2 (23:06):
And I bet I agree that those people actually have
still have the grip on the world, which is that's
kind of.
Speaker 3 (23:11):
But you're right. The actual philosophical point is that the
world nobody is the world, even the people who think
they are running. Yes, I believe that that is the
greater reality. I love that we're going here in this podcast.
That's great. But what I will say in specific about
what you just brought up that pertains to both the
Jacks thing and your friend Jocelyn's point and this song
I just did this tribute concert for which sorry to
(23:35):
bring him up twice in one episode, but it just
happened for Elliot Smith. This is whenever this goes up.
But there was a celebration of his music on what
would have been his fifty fifth birthday, and it was
a benefit for a studio he opened before he passed away,
called New Monkey Studios, to help keep that open. Anyway,
his band from the Figure eight tour was the house band,
and a bunch of people got up and sang his
songs with that band. It was really really special, beautiful night,
(23:58):
and I was honored legit to be invited to participate
in it. Why I say all that I'm forty four.
There were people on that show that were sixty, and
there were people on that show that were nineteen, which
speaks to his body of work and its influence on
generations of people. But there were people on that show
that were legit, like you know, nineteen twenty twenty, and
(24:23):
like their angle at which they fell with his body
of work and with any body of work and there
that that existed like from when you and I were
kind of like cutting our teeth. I'm a little older
than you, but it's generally the same range. Like one
could either be like, I don't know, like possessive what's
(24:44):
the word, like like uh, you don't know what you're talking?
Or yeah, like like kind of like critical of how
they approached or arrived.
Speaker 2 (24:52):
At or when the yeah, the better experience.
Speaker 3 (24:55):
Yeah. And then also the other side or like or
prietary is the word I was looking for, Like I
know like that the people who were like around then
understood something about it that these But the other side
of that is like these kids understand something about it
and connect to something about it that I don't. That
it's instructive, like we're all kind of like learning from
(25:16):
one another. And I think that everyone needs a gateway
drug and a sort of skeleton key into whatever it
is that continues their development of personality, right and interest.
And I think it's actually really cool to realize the
world is not me and to be like, what can
I learn from these kids that are like half my
age just getting into a thing I've spent twenty five
(25:38):
years like studying, if that makes sense.
Speaker 2 (25:41):
And now I also want to point out counter, not
not full counter, but like there's still times to poke,
you know, and to be like on a taste level,
here are my issues, right, oh yeah, especially with like
but we were. Hopefully you do that for any genre,
even some of your favorite artists, to be like I
(26:02):
love Page on the Line, and there's this song I
don't love and like, you know you should do that
because it helps you develop what you like. But this
song I have an issue with.
Speaker 3 (26:12):
I want to go back. Yeah, yeah, let's let's go.
Let's circle a little piss what's this person's name? Little piss?
Speaker 2 (26:19):
Youa boozy share boozy?
Speaker 4 (26:20):
Yeah? Yeah.
Speaker 2 (26:32):
It says there's this bridge.
Speaker 3 (26:34):
There's no bridge, right.
Speaker 2 (26:36):
I actually looked up the chords and it's the same
chords as the as the U, both the chorus and
also the verse, Like, yeah, do you well, how do
you feel as like a I think of a prolific songwriter, Like,
how do you feel when when when something says it's
the bridge but it's the exact same chords.
Speaker 3 (26:55):
I am of two minds. I can and all and again.
I feel like I say this once an episode about something,
but I feel like it's important to say, deeply subjective
one person's perspective and opinion, So there is no rule,
there is no right. I don't think a song that
has the same chord progression and over and over again,
(27:17):
and melody over and over again, which this one differs
a little bit here and there, and they do a
thing where they like throw a slight curveball with a
lyric change here and there. But I think it's pretty
much like this to me is a verse pre chorus chorus,
verse pre chorus chorus, And what they're calling the bridge
is just a down verse now that can serve as
(27:39):
the fun that can functionally serve as the bridge. But
I think it's more like there's just no bridge in
this song. And I do think arrangement wise, production wise,
the decision what you are doing in deciding to make
that down verse a thing is you are you here?
It's the song person sunk was coming a cab especially,
(28:05):
But no, I think that it's it's you're effectively I
would look for me, I think that's a cheat to
call it a bridge, but I think it's fine if
you just you know. But but I do.
Speaker 2 (28:17):
Also right, that's right, hey, when we drop out the
drums drums there, and like when you know the bridge,
it's like, okay, that's that's.
Speaker 3 (28:25):
The thing in making that arrangement decision. They have functionally
made that the bridge. And the other part of me
is like the more sort of like you know, open
minded child like part is like, don't there's no rules anyway,
Like if you want to say, like the bridge is
the fucking third verse because you like changed a lyric
(28:47):
or something or you well, great, but then when it
comes to discernment taste, what you like what you don't.
I found that to be a little bit of a
cheat personally. And I do think the song is plenty
like pulsive. What's the word like, it's like it's there's
like a caffeinated kind of like it's it's easy to
light on its terms. It's it's very like you know,
(29:11):
it's it's got it's it's propulsive, it's caffeinated. It's it's
got energy and it's uh, it's it's like it's infectious. Yeah.
Speaker 2 (29:19):
The first I heard it, I was in my friend
Jess's car and we were going on we were on
a scout for the show I work on, and Becker's like.
Speaker 3 (29:28):
What Becker that's the show you work one.
Speaker 2 (29:31):
No monk a month?
Speaker 3 (29:35):
Coach Yeah, coach wow, wow, rest and kiss. No, he's
he's alive. I think, yeah, he's dead. Please rest in peace,
Craig t do not haunt.
Speaker 2 (29:50):
Me anything else.
Speaker 3 (29:53):
No.
Speaker 2 (29:55):
We and she put it on. She was like have
you heard this? And she put it on. It's like
it's just come out, I think, and I was like,
oh no, and I immediately wrote it off. I was like,
I was like, this is not my style. I was
like I can't believe that this but this, I was like,
this is very you just and meaning it like she's
a good friend of mine when I was making fun
of her. And then I just started hearing it everywhere everywhere, everywhere,
(30:15):
Like I go to like we were eating luncheon like
a sort of like a bar, and it like went
on and I was like watching people tapping and singing
along and I was like, whoa, this song is like
it's happening.
Speaker 1 (30:25):
Yeah, And where was I I was yesterday? Yeah, yeah,
yesterday when my friend who I would would never I
would never imagine listen to it had it stuck in
his head. And I was like, wow, So this that's
why today I was like, we have to do this song.
Speaker 2 (30:39):
It's it's like, when do we get a chance to
do something, especially something that like off the bat I
didn't think either of us would really.
Speaker 3 (30:45):
Like or I also appreciative that you did it because
I feel like maybe our listeners will be too that
you you and thank god you have dragged us more
into the present moment. And certainly it's something I was
I literally saw this person's name. It's no joke this morning,
and so it's kind of nice to actually spend some
time with the music today. I think there are more
(31:06):
egregious offenders out there than sheboygan. But I also think that,
like it's it's not hard to give a song like
this a chance, because this song is designed to be
pretty easy to approach. But I do think there's a
lot to be said which would be like a different
of this is like a maybe not the platform for
(31:26):
it or at that such great length. There is a
lot to be said about what you were talking about about,
like as you age, concerns about entertainments that are like
totally glorifying this kind of like hedonistic and not from
a place of like puritanical prudish, but for more of
a place of like life experience informs some sense of
(31:48):
like okay, you know. And also and for me it
does also connect to some of the things we were
talking about that are a little bit more like structural
in nature about like life in society, where I'm just like, man,
I kind of want bigger dreams for us than just
like life sucks. Let me get fucked up to not
(32:10):
feel it. And maybe my particular passage through this exact
thing is through a series of songs and songwriters who
were not reveling. It was the opposite. It was like
that dark charisma, dark attraction that was more about like
this is disastrous, but I'm choosing it anyway. And some
of the people died, and so it was a little
easier to be like, oh, maybe that's like really bad
(32:33):
than like.
Speaker 2 (32:34):
That's so interesting, right, because it's it's like, yeah, like
even even like I think our first episode, like Nickelback,
it's like to the bottom of every bottles.
Speaker 3 (32:42):
Which he sings about to or they sing about too, yeah, yeah,
the bottle you'll lost in the bottom of bottle or something. Yeah,
but this.
Speaker 2 (32:49):
One has and that sometimes is a little bit of
like R and I so deep, right, There's there's there's
this moment of like of like I get said and
I drink.
Speaker 3 (32:59):
I know I'm away yeah yeah, yeah, way yeah.
Speaker 2 (33:04):
You know, no woman convicts me. Yeah try, that's right,
you are trying to say that. But then this song
is like celebrating there's it's fair. It's rare to find
the song. That's just like I had one drink at
dinner and I came home, like no one wants to
hear it, and no one wants to write it. It's
it's like it's moderation is never really.
Speaker 3 (33:25):
Not super sexy. I do love There's there's one of
the best. Uh, it's still exemplifies what we're talking about.
But there's a Will Oldham song, and this, to me
speaks more to the realities of this life and these choices.
I feel like it says something like the only words
I said today were beer and thanks, like sat at
(33:48):
a bar and and that's kind of boring, right, kind
of sad, not in a sexy way, kind of just
more like oh yeah, like that's kind of more mundane
and a little bit like that's kind of kind of
not dark cool, but dark like and funny a little
bit too, like a.
Speaker 2 (34:08):
Guys, can I ask you a question? So no, you
have a great all.
Speaker 3 (34:13):
Right, see you guys podcast over.
Speaker 2 (34:16):
All right, you have this wonderful song called day drunk, right,
and it's a tongue in cheek day drunk is what
I want to be, you know, and it's do people
ever think that that's from a place of like day drunk?
Speaker 3 (34:30):
Right? And that's and look, that's saw that happens. Especially
the way we arranged that song, we kind of made
it like a guided by voicesy like power pop thing.
I it, yeah, well, thank you that that's a little
bit like that was a little bit like that thing
where like a trojan horse or whatever, like I we
kind of wanted to make I definitely wanted to make
it like sugary anthemic in the context of my music anyway,
(34:55):
kind of like up energetically and immediate, but also like
the second verse of that song is about like being
a twenty five year old in Bay Ridge day drinking
with retired bus drivers and like like dudes that were
like and like you know, locking myself in bathrooms doing cocaine,
being afraid some guy was going to come in and
(35:17):
like you know, you know, get me out. Of the
stall or whatever like that. Look, if you hear that
and you think that that sounds cool, I have some
places I might want to direct you to because I
promise you like that's that was not the point of
putting that in that song was to be like I'm
a badass. It's more to be like, how scary from
from the present moment the thought of engaging in that
(35:39):
reality of that reality today has become for me and
the idea of like, oh yeah, well totally. But some
listeners also think Born in the USA is like a
pro Reagan, pro Trump or whatever.
Speaker 2 (35:52):
Yeah, yeah, but that's my And even my friend Jess
was like, didn't really listen to the lyrics at all
and admitted like I do. I'm not really a lyric person.
I'm a beat person, but like she gets choruses sometimes.
So has anyone ever come up to you and been like, yeah,
oh that's not rock dude, like casual, oh.
Speaker 3 (36:07):
One hundred dude, people come up. We have another song
that's in my again in context and to scale in
my little corner of the playground. One of our best
known songs, which is called Ballgame, which was like a
twenty three year old very much in it sort of
like wrestling with the nature of being in it in
(36:27):
a very uncoded linguistic way. It's one of the most
direct songs I've probably it's very straightforward, and there are
people who've literally been like, yeah, like I remember show
in Boston, was this dude being like baw gap and
like he was like shit faced. Like well like some
like fatom our friend, like Fatim who runs these pizza
restaurants in Brooklyn. He'll he'll sometimes just say to me,
(36:50):
he's like super dry. There was a guy who was
like blackout drunk who was just kept going during the show.
Anytime it was quiet, He's like, that's ballgame. And then
like some people would like put like tall boys at
my feet while I was like playing the show, and
I'm like, yo, this song is about a person who
like is like am I an alcoholic?
Speaker 2 (37:11):
And you're like, yeah, got you Broyea exactly exactly. See,
That's that's that's what I was hoping for.
Speaker 3 (37:18):
I mean, I.
Speaker 2 (37:20):
Was like, I was like, it has to happen, like
and Born in the USA is the is the greatest
version of it.
Speaker 3 (37:25):
It's the best.
Speaker 2 (37:26):
It's such a good like so still to this day,
people completely missed the context of it, and all like
that must happen all the time. I want to make
it like a playlist of all the songs that people
get wrong for that reason.
Speaker 3 (37:39):
That would be a fun, little chancey side project we
could put together. Side quest, Well, what do you think
case you've chanced this appropriately.
Speaker 2 (37:50):
Yes, I and I want to just encourage people to
listen to your songs because now they're stuck in my head.
You're the shaboozy of my life.
Speaker 3 (37:56):
I'm the shaboozie of your life. And that's the kind
of thing that he says to me on camera and
off camera, onke and.
Speaker 2 (38:03):
Off on the streets and in the sheets.
Speaker 3 (38:06):
If you're listening right now, eighty is still high. Well
all right. So the end of the result is like
this song's fine, and also like we're a little worried
about the youth of today, but also like the world
is not us.
Speaker 2 (38:21):
And going back to the bridge, you know, the thing is,
I don't expect a great bridge from hip hop sometimes,
but I do expect a great bridge from country music.
Good country.
Speaker 3 (38:30):
That's a great way of tying this room together. These
are the perils, perhaps of this kind of homogenization of
all things country music, sometimes the bridge is the best part.
And I hip hop, I don't even care if there's
a bridge. Most of the time, it's not something that
it's not like built in the same way structurally. I
feel like it's a different animal.
Speaker 2 (38:51):
But uh, if they do it and they're very aware,
they're literally like, take it to the bridge. Yeah yeah,
they literally say that. Timblands like, no, it comes the bridge.
Speaker 3 (39:02):
Yeah yeah, yeah, yeah. I always wanted with that and
then we can stop. But is that was that him
like cueuing someone like that in that song noted hip
hop artist Justin Timberlake. Was that him cueing him like
vocally like, yo, now's the bridge?
Speaker 2 (39:18):
Or is that him being I think it's a it's
it sort of probably started with a band leader like
a James Brown.
Speaker 3 (39:24):
A hundred yes, I keep doing it. My mom is right,
I keep saying one hundred percent. I really have to
work on this. Yeah, one thousand p A million percentage points, dude.
Speaker 2 (39:35):
A mill So I actually I kind of I don't
remember what song, but I think that there was a
tune that a person said take it to the chorus
or ticket to like, and I think it was he
was almost referencing that, borrowing it, sampling it. And but
I think it started with sort of an R and
B or or like a James Brown type that I
think that's calling his band out for it.
Speaker 3 (39:56):
I think that's right, that makes sense, And.
Speaker 2 (39:58):
Like when Sublime would be like, you know.
Speaker 3 (40:01):
I don't practice santoria. Yah, Daddy's got a new body.
Speaker 2 (40:08):
Far all that. Thanks for giving us a chance. See
your next crime, Just give it
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