WEBVTT 00:00:06.629 --> 00:00:09.650 Welcome to the Album Nerds Podcast with your 00:00:09.650 --> 00:00:13.890 hosts, Andy, Don, and Dude. Welcome to the party, 00:00:13.929 --> 00:00:16.550 pal. It's the Album Nerds Podcast. I'm Dude. 00:00:16.629 --> 00:00:18.829 I got Andy and Don with me. Andy, how the hell 00:00:18.829 --> 00:00:21.129 are you doing today? You ready to go back in 00:00:21.129 --> 00:00:24.050 time? Yeah, man. You know I am. I got some cool 00:00:24.050 --> 00:00:28.170 ranch Doritos over here and watching some Golden 00:00:28.170 --> 00:00:32.590 Girls. Nice. I'm there. I'm there. I bought you, 00:00:32.609 --> 00:00:34.590 Don. How you doing? I'm ready to just do it. 00:00:35.579 --> 00:00:38.359 I'm sure you are, Don. I'm sure you are. This 00:00:38.359 --> 00:00:41.159 is the Album Nerds Podcast. We love albums and 00:00:41.159 --> 00:00:43.340 the album format, and we take any opportunity 00:00:43.340 --> 00:00:45.939 to sit down and talk about some records. We've 00:00:45.939 --> 00:00:47.960 got a great show for you today. We'll each be 00:00:47.960 --> 00:00:51.479 talking about an album released in the year 1988. 00:00:52.039 --> 00:00:55.340 Don's going to ask us a deep question. We'll 00:00:55.340 --> 00:00:57.320 have some shout -outs to some other albums or 00:00:57.320 --> 00:00:59.159 album -related items we're digging, and then 00:00:59.159 --> 00:01:01.719 we'll spin that beautiful wheel of musical discovery 00:01:01.719 --> 00:01:03.479 to find out what we'll talk about on the next 00:01:03.479 --> 00:01:09.609 one. This week, it's all about 1988. That's what 00:01:09.609 --> 00:01:13.680 I'm talking about! In 1988, the cultural landscape 00:01:13.680 --> 00:01:16.299 buzzed with excitement, marked by the release 00:01:16.299 --> 00:01:18.900 of blockbuster films like Die Hard and Rain Man, 00:01:19.040 --> 00:01:21.659 and the premieres of beloved TV shows such as 00:01:21.659 --> 00:01:24.400 The Wonder Years and Murphy Brown. Nike's iconic 00:01:24.400 --> 00:01:26.939 Just Do It campaign also launched that year, 00:01:27.000 --> 00:01:29.280 capturing the spirit of ambition and innovation 00:01:29.280 --> 00:01:32.000 that defined the era. Against this dynamic backdrop, 00:01:32.420 --> 00:01:35.500 albums released in 1988 both mirrored and influenced 00:01:35.500 --> 00:01:38.000 the rapidly evolving tastes and trends of the 00:01:38.000 --> 00:01:40.310 time. Today, each of us will present an album 00:01:40.310 --> 00:01:45.370 released in 1988. So 1988, big year for me. Made 00:01:45.370 --> 00:01:48.709 a big cross -country move from the Midwest to 00:01:48.709 --> 00:01:51.329 the East Coast. Big change. Now I'm back in the 00:01:51.329 --> 00:01:55.569 Midwest where I belong. But albums, yeah. We've 00:01:55.569 --> 00:01:59.290 covered a lot of albums from 1988 already on 00:01:59.290 --> 00:02:05.730 the show. Particularly the best ones. Some good 00:02:05.730 --> 00:02:09.909 ones, for sure. Yeah, we left it open. So all 00:02:09.909 --> 00:02:12.569 genres, nothing was out of bounds as long as 00:02:12.569 --> 00:02:15.490 it was released in 1988. What other albums did 00:02:15.490 --> 00:02:17.629 you guys consider for this one before making 00:02:17.629 --> 00:02:19.569 your final choice? Well, there's a pretty good 00:02:19.569 --> 00:02:22.550 one that I almost went with. Tracy Chapman's 00:02:22.550 --> 00:02:25.270 debut record is from 1988, but you're in a fast 00:02:25.270 --> 00:02:28.370 car and talking about a revolution. It's a really 00:02:28.370 --> 00:02:30.370 good record. I think it does deserve some time 00:02:30.370 --> 00:02:33.969 on the show. And it's kind of had new relevance 00:02:33.969 --> 00:02:37.110 because of the Luke Combs cover. I think Tracy 00:02:37.110 --> 00:02:39.949 Chapman's kind of back in the spotlight. So I 00:02:39.949 --> 00:02:43.849 was tempted as well. Is she still around? Yeah. 00:02:44.770 --> 00:02:47.370 Yeah, yeah. I mean, she was around. I don't think 00:02:47.370 --> 00:02:51.469 she's recording or touring, but she did perform 00:02:51.469 --> 00:02:53.629 with Luke Combs on the Grammys doing Fast Car, 00:02:53.789 --> 00:02:56.150 I believe, a little while back. So that's something. 00:02:56.370 --> 00:02:58.409 You just have to give her one reason to perform. 00:03:00.490 --> 00:03:05.840 Sorry. What have you done? Well, I just wanted 00:03:05.840 --> 00:03:08.960 to actually mention a bunch of hip hop records 00:03:08.960 --> 00:03:11.180 that we've already covered. I think it is important 00:03:11.180 --> 00:03:13.719 to note that, you know, I mean, hip hop was really, 00:03:13.780 --> 00:03:16.379 you know, rising to the, you know, the top of 00:03:16.379 --> 00:03:19.879 the mainstream in 1988. So we had done Boogie 00:03:19.879 --> 00:03:22.460 Down Productions, By All Means Necessary, Eric 00:03:22.460 --> 00:03:25.580 B and Rakim, Follow the Leader, NWA, Straight 00:03:25.580 --> 00:03:29.099 Outta Compton, and Ultra Magnetic MC's Critical 00:03:29.099 --> 00:03:32.310 Beatdown. Lots of good hip hop that year, but 00:03:32.310 --> 00:03:36.689 unfortunately we've covered much of it. How about 00:03:36.689 --> 00:03:41.009 you, dude? So I considered Cinderella, Long Cold 00:03:41.009 --> 00:03:44.090 Winter. That was their second studio album. They're 00:03:44.090 --> 00:03:47.289 kind of a glam metal band. They had big success 00:03:47.289 --> 00:03:50.550 on their debut album, Night Songs. But this one 00:03:50.550 --> 00:03:53.569 kind of breaks away a little bit from the glam 00:03:53.569 --> 00:03:57.259 metal thing and leans more into the blues. Rolling 00:03:57.259 --> 00:04:00.840 Stones, Aerosmith kind of vibes, ACDC thrown 00:04:00.840 --> 00:04:04.840 in with that raspy, high -pitched voice. Dude, 00:04:04.840 --> 00:04:08.319 no! Nope, shit. Okay. It doesn't sound like that, 00:04:08.360 --> 00:04:11.639 so I still recommend checking out Cinderella's 00:04:11.639 --> 00:04:13.539 Long Cold Winter if you haven't heard it. It's 00:04:13.539 --> 00:04:15.460 a little more mature, blues -rooted approach 00:04:15.460 --> 00:04:18.899 to heavy metal at the time. All right, so enough 00:04:18.899 --> 00:04:23.980 about those we didn't chose, and on to our choices. 00:04:25.930 --> 00:04:34.910 Chew, chew, chews me? Alright, for my 1988 selection, 00:04:35.089 --> 00:04:37.470 I'm talking about Jane's Addiction and their 00:04:37.470 --> 00:04:42.529 debut studio album, Nothing Shocking. It's like 00:04:42.529 --> 00:04:44.930 a Joy Buzzer for George. So, Jane's Addiction, 00:04:45.069 --> 00:04:47.569 Perry Farrell on vocals, Dave Navarro on guitars, 00:04:48.110 --> 00:04:50.689 Eric Avery on bass, and Stephen Perkins on drums. 00:04:51.149 --> 00:04:53.439 This record, I think... You could say without 00:04:53.439 --> 00:04:55.600 too much controversy, it's largely thought about 00:04:55.600 --> 00:04:59.339 as kind of ushering in the alternative rock. 00:04:59.560 --> 00:05:01.420 Perhaps not to the mainstream, but at least kind 00:05:01.420 --> 00:05:03.800 of getting the foot in the door. Let's jump in 00:05:03.800 --> 00:05:06.560 and play the big cut, the first single. This 00:05:06.560 --> 00:05:19.300 is Jane Sets. So yeah, that song was obviously 00:05:19.300 --> 00:05:22.180 pretty impactful on the radio back in this era, 00:05:22.240 --> 00:05:24.000 and I think throughout most of the 90s. It's 00:05:24.000 --> 00:05:25.879 a sad song, I think. I don't know, for some reason 00:05:25.879 --> 00:05:28.100 this time around, listening to it and reading 00:05:28.100 --> 00:05:30.720 the lyrics, it really made me sad. Yeah, the 00:05:30.720 --> 00:05:33.600 song is all about Pharrell's housemate at the 00:05:33.600 --> 00:05:36.300 time, Jane, who I guess the band is also named 00:05:36.300 --> 00:05:38.759 after as well. Yeah, she's a drug addict and 00:05:38.759 --> 00:05:40.199 kind of just trying to get her life together. 00:05:40.740 --> 00:05:42.579 I saw a kind of interesting interview with this 00:05:42.579 --> 00:05:45.060 person in the story about... The Jane, the real 00:05:45.060 --> 00:05:48.879 Jane, in 2001, who confirmed that she did kick 00:05:48.879 --> 00:05:51.160 her drug habit, and she did finally get to go 00:05:51.160 --> 00:05:53.639 to Spain. Okay, that's good. A bit of a silver 00:05:53.639 --> 00:05:57.860 lining. Happy ending. Yeah. My clickbait headline 00:05:57.860 --> 00:06:01.360 for James Dixon's Nothing Shocking is, The most 00:06:01.360 --> 00:06:03.639 shocking thing about Nothing Shocking is how 00:06:03.639 --> 00:06:06.100 well this album has held up. Yeah, I was really 00:06:06.100 --> 00:06:07.879 kind of impressed coming back to this after all 00:06:07.879 --> 00:06:10.079 these years. Not having heard it in a little 00:06:10.079 --> 00:06:14.370 while, it still sounds inventive. Modern, even, 00:06:14.470 --> 00:06:17.389 I would say, by today's standards. It's just 00:06:17.389 --> 00:06:18.850 like one of those bursts of creativity albums 00:06:18.850 --> 00:06:20.970 for me, or just kind of, where did this come 00:06:20.970 --> 00:06:24.509 from? Out of nowhere. It seems very influential, 00:06:24.670 --> 00:06:27.129 obviously. I mean, lots of elements of their 00:06:27.129 --> 00:06:29.310 sound has been copied throughout the 90s, but 00:06:29.310 --> 00:06:31.569 I don't know if anyone really ever created albums 00:06:31.569 --> 00:06:33.889 that sounded like this. The way they're composed 00:06:33.889 --> 00:06:37.529 is so odd in comparison to most, or just unconventional, 00:06:37.589 --> 00:06:41.000 I guess, compared to most rock at the time. It 00:06:41.000 --> 00:06:43.560 feels pretty unique, so I appreciate that quite 00:06:43.560 --> 00:06:46.240 a bit. It truly was alternative at the time. 00:06:46.339 --> 00:06:49.899 Yeah. Yeah. As vague as that term is, it definitely 00:06:49.899 --> 00:06:52.000 was. All right, let's jump in here and play another 00:06:52.000 --> 00:06:54.399 cut from the record. This is track four, Ted 00:06:54.399 --> 00:07:04.319 Just Admit It. I wonder if the bass line there 00:07:04.319 --> 00:07:07.959 had anything to do with Don's choice. That's 00:07:07.959 --> 00:07:09.779 often a part of it. I also like when they sneak 00:07:09.779 --> 00:07:12.519 the album title into the lyrics. That's always 00:07:12.519 --> 00:07:16.480 fun. That's fun for fans. So Ted Just Admit It 00:07:16.480 --> 00:07:19.500 is the seven and a half minute song, kind of 00:07:19.500 --> 00:07:22.500 an epic, sort of cinematic, but it deals with 00:07:22.500 --> 00:07:26.009 themes of media desensitization, violence. uh, 00:07:26.110 --> 00:07:29.149 hypocrisy kind of psychedelic. They've thrown 00:07:29.149 --> 00:07:31.569 in some spoken word vocals. There's some audio 00:07:31.569 --> 00:07:34.810 samples, um, including, uh, an excerpt from Ted 00:07:34.810 --> 00:07:37.589 Bundy's final interview where he's like still 00:07:37.589 --> 00:07:40.970 denying his, his crimes. So that's the Ted, but 00:07:40.970 --> 00:07:43.230 yeah, you know, I kind of reminds me of like 00:07:43.230 --> 00:07:45.589 the, remember the movie natural born killers, 00:07:45.670 --> 00:07:48.790 which was sort of a comment on the media's portrayal 00:07:48.790 --> 00:07:51.209 of violence and sex. That was a rough watch. 00:07:51.389 --> 00:07:54.100 Yeah. But you know, this song, i i think kind 00:07:54.100 --> 00:07:57.300 of has that that same that same theme um also 00:07:57.300 --> 00:07:59.379 the like the cultural fascination with violent 00:07:59.379 --> 00:08:02.579 criminals they repeat the refrain sex is violent 00:08:02.579 --> 00:08:05.120 uh which i guess apparently the band members 00:08:05.120 --> 00:08:07.800 you know they were debating whether to include 00:08:07.800 --> 00:08:10.540 that lyric because they didn't want to be perceived 00:08:10.540 --> 00:08:15.579 as glorifying violence or sex as a violent act 00:08:15.579 --> 00:08:18.399 i was kind of misunderstood though honestly for 00:08:18.399 --> 00:08:20.930 the first 20 years listening to the album. I 00:08:20.930 --> 00:08:23.389 was like, what are they promoting here exactly? 00:08:23.569 --> 00:08:25.410 But again, it's a, you know, it's a comment, 00:08:25.509 --> 00:08:28.920 I guess, on how the media sort of. covers sex 00:08:28.920 --> 00:08:32.720 and violence in a similar way. Anyway, so, you 00:08:32.720 --> 00:08:35.419 know, pretty heavy song, you know, in terms of 00:08:35.419 --> 00:08:38.480 themes, but definitely an interesting track. 00:08:38.500 --> 00:08:40.460 You know, like I said, kind of psychedelic. You've 00:08:40.460 --> 00:08:43.279 got that swirling guitar from Navarro, you know, 00:08:43.279 --> 00:08:46.559 which is, I guess, created by FX Pedals. I guess 00:08:46.559 --> 00:08:49.019 they made sure that Perkins drums were kind of 00:08:49.019 --> 00:08:51.220 free from overdubs. You know, they were trying 00:08:51.220 --> 00:08:54.500 to maintain that organic live feel, which I think, 00:08:54.500 --> 00:08:57.110 you know, is... All over the record. Even though 00:08:57.110 --> 00:08:58.990 there's a lot going on, it does kind of maintain, 00:08:59.110 --> 00:09:01.870 I think, a live and somewhat spontaneous feel. 00:09:02.090 --> 00:09:04.809 All right. Well, my clickbait headline for Nothing 00:09:04.809 --> 00:09:09.429 Shocking is Don says Donnie Likey. Donnie Likey. 00:09:09.649 --> 00:09:13.929 Nice and simple. But yeah, I've grown to love. 00:09:14.330 --> 00:09:17.490 Both of those Jane's Addiction albums from that 00:09:17.490 --> 00:09:21.129 time. This and Ritual de Lobitual or De Lobitual, 00:09:21.129 --> 00:09:23.169 whatever it was called. I think they changed 00:09:23.169 --> 00:09:27.009 Ritual de Lobitual to be more hip. And with it 00:09:27.009 --> 00:09:31.460 now, it's Rish Da Bish. Oh, really? That's very 00:09:31.460 --> 00:09:34.679 modern of them. I mean, they're so important, 00:09:34.799 --> 00:09:38.320 I think, at that time, sort of taking us out 00:09:38.320 --> 00:09:42.240 of that glam hair metal that was so prominent, 00:09:42.399 --> 00:09:44.820 which I also have gone back to appreciate as 00:09:44.820 --> 00:09:49.059 well. Well, that's called getting older and waxing 00:09:49.059 --> 00:09:50.840 nostalgic. All of a sudden, it's like, oh, I 00:09:50.840 --> 00:09:53.120 appreciate it. No, you just miss being young. 00:09:53.919 --> 00:09:57.980 Yeah. There's probably some truth to that. I 00:09:57.980 --> 00:10:00.700 think Perry Farrell's vocals, I don't hear people 00:10:00.700 --> 00:10:03.320 talk about this too much, but his raspy kind 00:10:03.320 --> 00:10:05.759 of high -pitched sound could have easily, and 00:10:05.759 --> 00:10:08.460 probably was early in his years as a musician, 00:10:08.679 --> 00:10:13.399 been used in the glam metal space. I mean, in 00:10:13.399 --> 00:10:15.950 1988, that's what you would expect. I remember 00:10:15.950 --> 00:10:18.389 thinking that at the time, being like, he sounds 00:10:18.389 --> 00:10:21.889 like ACDC guy, but... Yeah, he's in that register, 00:10:22.090 --> 00:10:24.590 but yeah, totally different use of it. Yeah, 00:10:24.629 --> 00:10:27.570 I feel like he's more informed by maybe punk 00:10:27.570 --> 00:10:30.350 and hardcore or something. I think that's part 00:10:30.350 --> 00:10:33.409 of what was probably shocking about the sound 00:10:33.409 --> 00:10:36.049 of this band at the time was, what's this guy 00:10:36.049 --> 00:10:39.429 doing? You know, I think there are parallels 00:10:39.429 --> 00:10:42.549 to the Pixies. I mean, they were doing sort of 00:10:42.549 --> 00:10:45.389 similar things, a lot of loud and soft. Even 00:10:45.389 --> 00:10:48.830 though this music can be somewhat wild and goofy, 00:10:49.049 --> 00:10:52.789 it does feel more serious than the Pixies. The 00:10:52.789 --> 00:10:54.730 Pixies, it all seems kind of tongue -in -cheek. 00:10:54.789 --> 00:10:56.750 There's like some inside joke that you're not 00:10:56.750 --> 00:11:01.570 completely in on with the Pixies. And this is 00:11:01.570 --> 00:11:05.950 not that. This is kind of heavier, artier stuff. 00:11:05.960 --> 00:11:08.399 duff yeah i would say maybe a little bit earlier 00:11:08.399 --> 00:11:11.019 because some of these songs i think do require 00:11:11.019 --> 00:11:13.100 a bit of a dissection to really get to the bottom 00:11:13.100 --> 00:11:15.539 of and there's a lot of a lot of just odd creative 00:11:15.539 --> 00:11:17.200 choices that i think happen throughout the record 00:11:17.200 --> 00:11:19.700 that can't help but feel a bit artistic let's 00:11:19.700 --> 00:11:21.940 jump in here and play i think this was the second 00:11:21.940 --> 00:11:32.480 single off the album this is mountain song and 00:11:32.480 --> 00:11:36.159 that drumming is so integral to their sound it's 00:11:36.159 --> 00:11:41.379 so organic and raw and driving but not there's 00:11:41.379 --> 00:11:43.659 not a lot of flourish which i think we were used 00:11:43.659 --> 00:11:46.440 to at the time it just drives the song forward 00:11:46.440 --> 00:11:49.299 in this case downward down the slope of the mountain 00:11:49.299 --> 00:11:53.259 kind of in this case coming down from being high 00:11:53.259 --> 00:11:56.590 and that emotional descent as you As you're coming 00:11:56.590 --> 00:11:59.789 down the mountain. So, yeah, I mean, dark lifestyle 00:11:59.789 --> 00:12:03.370 choices and addiction being a common thread throughout 00:12:03.370 --> 00:12:06.750 the majority of their discography, really. Not 00:12:06.750 --> 00:12:09.309 just this album. My clickbait headline to describe 00:12:09.309 --> 00:12:12.549 the album? Nothing shocking, buddy. This album 00:12:12.549 --> 00:12:15.970 tried real hard to prove you wrong. They're very 00:12:15.970 --> 00:12:18.929 intentionally being weirdos to some degree. It's 00:12:18.929 --> 00:12:22.049 not just performative. It's like, look at this 00:12:22.049 --> 00:12:24.470 album cover. I made this art piece. It's clearly 00:12:24.470 --> 00:12:28.539 going to cause... Yeah. It's like controversy 00:12:28.539 --> 00:12:30.759 for the sake of controversy. Yes, that was part 00:12:30.759 --> 00:12:33.519 of their vibe. That was Perry Farrell's thing, 00:12:33.600 --> 00:12:37.779 kind of. It feels like he's antagonistic, probably 00:12:37.779 --> 00:12:41.399 as a human as well. This is very antagonistic. 00:12:41.399 --> 00:12:44.580 It's very, I dare you to say something. I dare 00:12:44.580 --> 00:12:48.240 you to judge me. A lot of angry young man boiling 00:12:48.240 --> 00:12:51.539 over here. That's often what's behind great art. 00:12:51.659 --> 00:12:56.879 Yeah, sometimes just being a brat. I think that's 00:12:56.879 --> 00:12:59.480 a pretty fair criticism. Look, I've got dreads 00:12:59.480 --> 00:13:01.460 and I wear weird outfits. Like, it's all been 00:13:01.460 --> 00:13:04.799 done before, Pear. Yeah. Everyone was kind of 00:13:04.799 --> 00:13:07.080 telling him that he was hot shit at this time. 00:13:07.100 --> 00:13:10.080 I think he did have a little bit of an ego. You 00:13:10.080 --> 00:13:11.639 know, everybody's like, you're the next best 00:13:11.639 --> 00:13:15.460 thing in rock, so. It gets so intentionally dark 00:13:15.460 --> 00:13:18.820 and, you know, the Ted Bundy thing and Had a 00:13:18.820 --> 00:13:21.720 Dad and Pigs in Zen, like the incest, the drug 00:13:21.720 --> 00:13:24.830 addiction, urban madness. questioning authority 00:13:24.830 --> 00:13:28.730 and just, you know, vulgar humor. And like I 00:13:28.730 --> 00:13:32.490 said, I mean, the title was chosen specifically, 00:13:32.610 --> 00:13:35.330 you know, nothing shocking, huh? Check this out. 00:13:35.389 --> 00:13:39.220 Prepare to be shocked. And I think even as you 00:13:39.220 --> 00:13:43.340 said earlier that this holds up, it still could 00:13:43.340 --> 00:13:46.200 be shocking. If a young person were listening 00:13:46.200 --> 00:13:49.279 to this, it's still shocking. And if their parents 00:13:49.279 --> 00:13:51.440 were unfamiliar and heard it, they would not 00:13:51.440 --> 00:13:53.840 want their kid to listen to it, I think. So that's 00:13:53.840 --> 00:13:57.559 the spirit. That's what was enticing about rock 00:13:57.559 --> 00:13:59.539 and roll when it was at its peak. We're saying 00:13:59.539 --> 00:14:01.679 stuff that your parents don't want to hear. We're 00:14:01.679 --> 00:14:04.399 a new generation. We're going to shake things 00:14:04.399 --> 00:14:07.460 up. I mean, that's rock and roll, man. That's 00:14:07.460 --> 00:14:09.120 what it's all about. Yeah, well, in many ways, 00:14:09.139 --> 00:14:10.799 this was kind of the voice of a generation, or 00:14:10.799 --> 00:14:13.419 at least the sign of a new generation kind of 00:14:13.419 --> 00:14:18.240 taking hold as the 90s were approaching. So I'm 00:14:18.240 --> 00:14:20.860 going to do it, guys. I think this is a landmark 00:14:20.860 --> 00:14:23.419 album, and I do think it holds up really well, 00:14:23.500 --> 00:14:25.559 which, after all these years of saying something, 00:14:25.700 --> 00:14:27.700 so I'm going to nominate Jane's Addiction. Nothing 00:14:27.700 --> 00:14:33.789 shocking for the Albinerds Hall of Fame. What 00:14:33.789 --> 00:14:36.610 do you guys think? Yeah, it really is original, 00:14:36.870 --> 00:14:41.129 I think. I mean, obviously it derives from, you 00:14:41.129 --> 00:14:43.710 know, punk and metal and that kind of thing. 00:14:43.789 --> 00:14:46.370 But it really doesn't, it didn't sound like anything 00:14:46.370 --> 00:14:49.210 else at the time. And even now, you know, it 00:14:49.210 --> 00:14:51.269 still doesn't really sound like anything else. 00:14:51.450 --> 00:14:54.370 And it really did kind of push rock into the 00:14:54.370 --> 00:14:57.929 90s. So I'll vote yes. As I said, I never quite 00:14:57.929 --> 00:15:02.529 bought in, but this album's impact on music and 00:15:02.529 --> 00:15:05.309 the music I love, the albums, the artists I love 00:15:05.309 --> 00:15:08.370 from the late 80s, early 90s, probably wouldn't 00:15:08.370 --> 00:15:10.169 have made it to my ears if it hadn't been for 00:15:10.169 --> 00:15:12.330 these guys. breaking down some walls, so I'm 00:15:12.330 --> 00:15:16.250 going to say yes as well. All right, well, congratulations 00:15:16.250 --> 00:15:20.850 to Jane's Addiction. Maybe this will prompt them 00:15:20.850 --> 00:15:22.470 to get back together one more time. Oh, yeah, 00:15:22.549 --> 00:15:24.769 this will be the inspiration. Hopefully they 00:15:24.769 --> 00:15:26.750 won't try stabbing each other on stage again 00:15:26.750 --> 00:15:30.409 or whatever was happening there. All right, so 00:15:30.409 --> 00:15:33.009 once again, the album is Nothing Shocking by 00:15:33.009 --> 00:15:35.730 Jane's Addiction, another great album from the 00:15:35.730 --> 00:15:42.919 year 1988. Before we continue reminiscing about 00:15:42.919 --> 00:15:45.379 the year 1988, let's hear a little bit about 00:15:45.379 --> 00:15:48.139 our friends over at the Can I Pod with Madness. 00:15:48.490 --> 00:15:51.149 podcast yeah so the latest episode of can i pod 00:15:51.149 --> 00:15:53.889 with madness uh continues their exploration of 00:15:53.889 --> 00:15:56.870 vintage rock magazines this time they're they're 00:15:56.870 --> 00:15:59.169 looking at the fourth issue of raw which was 00:15:59.169 --> 00:16:02.549 rock action worldwide magazine um an issue from 00:16:02.549 --> 00:16:05.049 october 1988 i don't think i ever read raw no 00:16:05.049 --> 00:16:08.610 i would have i probably would have misconstrued 00:16:08.610 --> 00:16:13.389 what it was about the issue featured discussions 00:16:13.389 --> 00:16:16.049 of artists like bon jovi kiss alice cooper mr 00:16:16.049 --> 00:16:19.009 big and ozzy osbourne On the podcast, they also 00:16:19.009 --> 00:16:22.649 sneak in some conversations about cats and sandworms. 00:16:22.649 --> 00:16:26.990 Okay. So it's a wild ride. So if you're interested 00:16:26.990 --> 00:16:30.230 in 80s and early 90s rock, Can I Pod With Madness 00:16:30.230 --> 00:16:33.269 offers humorous reviews of vintage metal magazines. 00:16:33.370 --> 00:16:36.350 It's a mix of music history and pop culture. 00:16:36.789 --> 00:16:39.669 And it's a genuine appreciation of the era's 00:16:39.669 --> 00:16:42.789 bands and trends. Sounds nice. Go check it out, 00:16:42.789 --> 00:16:50.889 everybody. So my pick from 1988 is Anita Baker's 00:16:50.889 --> 00:16:54.070 Giving You the Best that I Got. I need a candlestick 00:16:54.070 --> 00:16:57.750 maker. I was going to say, Anita Baker, I'm in 00:16:57.750 --> 00:17:03.149 the mood for cupcakes. Sorry. I bet she'd never 00:17:03.149 --> 00:17:07.509 heard that before. Great job, guys. We suck. 00:17:08.220 --> 00:17:10.359 So Giving You the Best That I Got is the third 00:17:10.359 --> 00:17:13.660 album by the R &B singer who was born in Toledo, 00:17:13.680 --> 00:17:17.400 Ohio in 1958. She was originally in a funk group 00:17:17.400 --> 00:17:21.579 called Chapter 8, also with her producer, Michael 00:17:21.579 --> 00:17:24.279 J. Powell. And this is the follow -up to her 00:17:24.279 --> 00:17:27.119 commercial and critical breakthrough, Rapture, 00:17:27.200 --> 00:17:29.880 from 1986, which I believe you guys talked about 00:17:29.880 --> 00:17:33.380 at one time. Yeah, that's a good one. Well, here 00:17:33.380 --> 00:17:36.299 is the title track, Giving You the Best That 00:17:36.299 --> 00:17:48.009 I Got. Such a smooth way of saying it's okay 00:17:48.009 --> 00:17:51.769 if you're mean to me. I'll still bring you your 00:17:51.769 --> 00:17:57.599 dinner. So giving you the best that I got, it 00:17:57.599 --> 00:18:00.279 was written by Baker, Skip Scarborough and Randy 00:18:00.279 --> 00:18:03.119 Holland. Supposedly Scarborough gave her the 00:18:03.119 --> 00:18:06.440 demo and she ended up rewriting a lot of the 00:18:06.440 --> 00:18:10.059 lyrics and transitioning it from what was a conventional 00:18:10.059 --> 00:18:13.099 love ballad into something that was more an exploration 00:18:13.099 --> 00:18:15.960 of like marital commitment. And that's actually 00:18:15.960 --> 00:18:19.059 if you look at the lyrics for most of these songs, 00:18:19.180 --> 00:18:22.880 it is. It's long -term relationships and that 00:18:22.880 --> 00:18:24.940 kind of thing. It's like marriage counseling, 00:18:25.180 --> 00:18:27.579 jazzy marriage counseling, essentially. Yeah. 00:18:28.099 --> 00:18:32.180 So her vocals kind of jump between the whispered 00:18:32.180 --> 00:18:35.339 intimacy in the verses to those powerful belting 00:18:35.339 --> 00:18:39.279 choruses. I think she's a contralto. Yeah. Karen 00:18:39.279 --> 00:18:42.319 Carpenter is a contralto as well. That's right. 00:18:42.420 --> 00:18:44.740 But she has a three -octave range. And there 00:18:44.740 --> 00:18:47.980 are a lot of renowned musicians on this whole 00:18:47.980 --> 00:18:50.940 album. On this track, you've got drumming by 00:18:50.940 --> 00:18:54.799 Omar Hakeem. I'm sorry. So rather than like a 00:18:54.799 --> 00:18:57.640 straightforward backbeat, there's more like subtle 00:18:57.640 --> 00:19:01.480 syncopation. So it's a more interesting groove, 00:19:01.640 --> 00:19:04.240 kind of jazzy. Yeah. And it's not a jazz record, 00:19:04.339 --> 00:19:07.859 but there's definitely jazzy stuff going on. 00:19:08.039 --> 00:19:13.430 Not to be too technical, but... I know, man. 00:19:13.490 --> 00:19:17.690 You're over everyone's heads again. Fun fact 00:19:17.690 --> 00:19:20.289 about this song, apparently Michael Jordan used 00:19:20.289 --> 00:19:23.450 to use it as like smack talk on his opponents. 00:19:23.710 --> 00:19:28.829 Okay. You would sing him a Nita Baker song? Yeah, 00:19:29.029 --> 00:19:30.490 he's giving them the best that I know. Yeah, 00:19:30.490 --> 00:19:32.990 probably just saying it, not lighting candles 00:19:32.990 --> 00:19:37.769 and singing it. All right. Well, my clickbait 00:19:37.769 --> 00:19:40.069 headline for giving you the best that I got is 00:19:40.069 --> 00:19:43.430 forecast calls for a lifetime of quiet storms. 00:19:44.009 --> 00:19:47.869 Yeah. In fact, I think we've had lots of queens 00:19:47.869 --> 00:19:50.890 of whatever on this show, but she's been called 00:19:50.890 --> 00:19:54.890 the queen of quiet storm. Okay. Yeah. But it's 00:19:54.890 --> 00:19:57.470 a lifetime forecast, right? Because, again, the 00:19:57.470 --> 00:20:01.470 themes of this album are about long -term, enduring 00:20:01.470 --> 00:20:05.750 relationships, trust, and that kind of thing. 00:20:05.869 --> 00:20:09.250 Which is not that typical, particularly in R 00:20:09.250 --> 00:20:13.109 &B. A lot of R &B is about seduction. Hit it 00:20:13.109 --> 00:20:16.700 and quit it. Yeah. Or it's... Or just a lot of 00:20:16.700 --> 00:20:18.920 pop music in general is about like the thunderbolt 00:20:18.920 --> 00:20:22.119 of like initial love and attraction. And so this 00:20:22.119 --> 00:20:24.880 is about the, you know, the enduring. You're 00:20:24.880 --> 00:20:27.119 farting bed every night, but I still love you. 00:20:28.319 --> 00:20:33.779 Exactly. Yeah. So it has a very adult vibe, right? 00:20:33.859 --> 00:20:36.789 Especially. When you compare it to other aspects 00:20:36.789 --> 00:20:39.369 of R &B, we start moving in that new jack swing 00:20:39.369 --> 00:20:41.930 direction. It's just very grown up. It was too 00:20:41.930 --> 00:20:44.690 grown up for me at the time. It was not something 00:20:44.690 --> 00:20:48.509 that was on my radar. For me, it was too grown 00:20:48.509 --> 00:20:51.470 up, but when I'd hear her songs, it'd make me 00:20:51.470 --> 00:20:54.309 want to be grown up so that I could experience 00:20:54.309 --> 00:20:57.390 adult things. Eyebrow, eyebrow. Hubba hubba. 00:20:59.269 --> 00:21:01.109 You know what I'm saying? Like mowing the lawn. 00:21:01.490 --> 00:21:03.170 Yeah, not that. That was the stuff I got tricked 00:21:03.170 --> 00:21:07.140 into early. All right. Well, let's hear another 00:21:07.140 --> 00:21:18.599 cut. Here's Just Because. As Don was kind of 00:21:18.599 --> 00:21:22.500 hinting at, this is sort of a later part of a 00:21:22.500 --> 00:21:24.619 relationship where you just love each other. 00:21:25.460 --> 00:21:30.220 It's a mature love. Yes. It's like the album. 00:21:33.390 --> 00:21:35.230 You know, this is very characteristic of her 00:21:35.230 --> 00:21:37.789 Quiet Storm style, written by Michael O 'Hara, 00:21:37.930 --> 00:21:40.269 Sammy McKinney, and Alex Brown, produced by Michael 00:21:40.269 --> 00:21:43.170 J. Powell, of course, and it emphasizes that 00:21:43.170 --> 00:21:46.210 unconditional love, affection without specific 00:21:46.210 --> 00:21:49.710 reasons. Peaked at number 14 on the Billboard 00:21:49.710 --> 00:21:52.750 Hot 100, so it did cross over from Quiet Storm 00:21:52.750 --> 00:21:56.150 into pop radio. My clickbait headline to describe 00:21:56.150 --> 00:21:58.630 the album, before autotune, there was Anita. 00:21:59.240 --> 00:22:01.099 Giving you the best that I got showed us how 00:22:01.099 --> 00:22:04.140 to Netflix and chill long before Netflix was 00:22:04.140 --> 00:22:09.690 a thing. I think she's underrated as far as mainstream 00:22:09.690 --> 00:22:13.069 success goes. Perhaps too tame for the MTV generation. 00:22:13.509 --> 00:22:18.269 She wasn't doing dance routines and trying to 00:22:18.269 --> 00:22:21.890 impact that side of R &B. I think she just stuck 00:22:21.890 --> 00:22:25.769 with her style and there was success regardless. 00:22:26.190 --> 00:22:29.390 And she kept it classy. That adds to the romanticism 00:22:29.390 --> 00:22:34.039 of it all. love and romance but it's not crass 00:22:34.039 --> 00:22:37.559 it's not overtly sexual it's just reminds you 00:22:37.559 --> 00:22:42.420 of love that's all you gotta say sweet love all 00:22:42.420 --> 00:22:46.140 right well that's good enough for me so let's 00:22:46.140 --> 00:22:48.559 uh let's hear another another track here's uh 00:22:48.559 --> 00:23:00.660 here's good enough Probably the most jazzy track 00:23:00.660 --> 00:23:03.099 on the album there. Breaks down to a really nice 00:23:03.099 --> 00:23:05.839 instrumental in the last couple of minutes there. 00:23:05.960 --> 00:23:08.000 Yeah, Baker actually does a little scatting on 00:23:08.000 --> 00:23:11.839 that track. Kind of surprising. That little samba 00:23:11.839 --> 00:23:15.579 vibe. Yeah, that's kind of a Latin feel to that 00:23:15.579 --> 00:23:18.119 track. I appreciate that. As John said earlier, 00:23:18.279 --> 00:23:20.319 there are some jazz flourishes throughout this 00:23:20.319 --> 00:23:21.680 album that kind of does make it feel a little 00:23:21.680 --> 00:23:25.059 bit more adult, a little more... You know, serious. 00:23:25.160 --> 00:23:27.680 He didn't say it that well, but yes, that was 00:23:27.680 --> 00:23:31.680 what he was alluding to. My headline for Anita's 00:23:31.680 --> 00:23:34.680 Baker giving me the best that I got is it might 00:23:34.680 --> 00:23:36.980 not be Baker's best, but it's still better than 00:23:36.980 --> 00:23:39.779 most. I hear that. They're not the best brownies, 00:23:39.799 --> 00:23:44.180 but they're still brownies. I say this record 00:23:44.180 --> 00:23:46.799 is a little bit less sexy than Rapture. Yes. 00:23:46.940 --> 00:23:49.839 But I still think that is maybe Baker's strength, 00:23:49.960 --> 00:23:53.150 at least for me. alluding to that sexiness without 00:23:53.150 --> 00:23:55.529 actually being explicit yeah i think she's really 00:23:55.529 --> 00:23:57.410 good at that and those are my favorite moments 00:23:57.410 --> 00:23:59.650 on here i think are the you know the moments 00:23:59.650 --> 00:24:01.289 that are a little bit more sultry a little bit 00:24:01.289 --> 00:24:05.829 more that sort of uh quiet storm vein it's when 00:24:05.829 --> 00:24:11.349 they stay in a hotel without the kids yep when 00:24:11.349 --> 00:24:15.779 the magic returns I read an interesting review 00:24:15.779 --> 00:24:19.880 from Alex Henderson at allmusic .com who suggested 00:24:19.880 --> 00:24:21.960 that maybe Baker would have been a great jazz 00:24:21.960 --> 00:24:25.119 vocalist, but she never really pursued that line 00:24:25.119 --> 00:24:27.240 of music. And this album kind of hints at it 00:24:27.240 --> 00:24:30.220 a little bit. And yeah, I had similar questions 00:24:30.220 --> 00:24:31.740 like, man, I wonder what that would have been 00:24:31.740 --> 00:24:34.180 like if she really worked with a jazz quartet 00:24:34.180 --> 00:24:35.839 or something and how that would have sounded. 00:24:36.640 --> 00:24:38.539 But for my money, I think this is a pretty good 00:24:38.539 --> 00:24:41.400 record and definitely we're heading shoulders 00:24:41.400 --> 00:24:46.559 above what was going on in R &B Very synth -heavy 00:24:46.559 --> 00:24:48.940 80s. I think you meant head and shoulder pads 00:24:48.940 --> 00:24:52.140 above. Because, man, they were huge back then, 00:24:52.160 --> 00:24:55.039 man. Yeah, well, speaking of the album right 00:24:55.039 --> 00:24:57.200 here, I mean, she's definitely rocking some good 00:24:57.200 --> 00:25:01.559 pads on that. Yeah. Looks like she's going to 00:25:01.559 --> 00:25:05.819 hit the football field after. All right. Well, 00:25:05.900 --> 00:25:08.279 giving you the best that I got remains a definitive 00:25:08.279 --> 00:25:11.500 example of sophisticated soul, which showcases 00:25:11.500 --> 00:25:17.440 Anita Baker's unique vocals. Check it out. Excuse 00:25:17.440 --> 00:25:23.440 me. I'd like to ask you a few questions. It's 00:25:23.440 --> 00:25:28.640 time again for Deep Questions by Don. So shopping 00:25:28.640 --> 00:25:31.779 malls were reaching their peak as cultural hubs 00:25:31.779 --> 00:25:35.960 in 1988. What do you remember about shopping 00:25:35.960 --> 00:25:40.380 malls? In 1988, not a whole lot, but a couple 00:25:40.380 --> 00:25:43.319 of years after that, I did make my debut on the 00:25:43.319 --> 00:25:46.420 shopping mall scene with my ragtag group of friends. 00:25:47.849 --> 00:25:50.869 And it caused a lot of trouble. The big thing 00:25:50.869 --> 00:25:53.410 to do when I was growing up, there were two malls 00:25:53.410 --> 00:25:55.430 that were kind of situated fairly close to each 00:25:55.430 --> 00:25:58.089 other in the same parking lot, essentially. That 00:25:58.089 --> 00:25:59.930 was maybe like a 10 -minute walk between them. 00:26:00.069 --> 00:26:02.170 So we would tell our parents we were going to 00:26:02.170 --> 00:26:05.950 the safer, family -friendly mall, and then we 00:26:05.950 --> 00:26:08.210 would sneak out the back. To the dirty mall. 00:26:08.809 --> 00:26:11.809 Yeah, the adult mall. The adult mall. It was 00:26:11.809 --> 00:26:14.269 just the same mall. It was the same stores, but 00:26:14.269 --> 00:26:17.319 it was... It seemed cooler because we weren't 00:26:17.319 --> 00:26:19.380 supposed to be there. So what did you do at the 00:26:19.380 --> 00:26:22.759 dirty mall? I don't even remember. We didn't 00:26:22.759 --> 00:26:25.220 buy anything. We were just loitering. A little 00:26:25.220 --> 00:26:27.880 five -finger discount? No, never again. That's 00:26:27.880 --> 00:26:31.559 a shame. You haven't lived until you felt that 00:26:31.559 --> 00:26:36.720 thrill. I've heard it's exciting. Did you guys 00:26:36.720 --> 00:26:40.480 see that? Here and there. I don't know what the 00:26:40.480 --> 00:26:43.079 statute of limitations is. Well, there weren't 00:26:43.079 --> 00:26:47.240 cameras. It was a different time. Even if you 00:26:47.240 --> 00:26:49.140 got caught, you could deny. There's no denying 00:26:49.140 --> 00:26:52.759 now. So don't do it, kids. Don't do it. No stealing. 00:26:53.299 --> 00:26:55.880 How about you, dude? For me, what I think about 00:26:55.880 --> 00:26:58.380 most with the malls at that time was Taco Bell, 00:26:58.559 --> 00:27:01.480 eating so much Taco Bell. Every time I'd go there 00:27:01.480 --> 00:27:04.859 with friends, whatever. If I was there to go 00:27:04.859 --> 00:27:07.359 to Caldor to buy underwear, I'd still go to Taco 00:27:07.359 --> 00:27:11.490 Bell. And eat five or six tacos. It was just 00:27:11.490 --> 00:27:15.009 a given. Was it just the novelty or the proximity 00:27:15.009 --> 00:27:19.109 or what was the draw? The price. Like, they were 00:27:19.109 --> 00:27:22.769 so cheap then for tacos and I could eat. I was 00:27:22.769 --> 00:27:26.069 just constantly hungry as a teenager. Yeah. I 00:27:26.069 --> 00:27:27.430 mean, you could get tacos for like, were they 00:27:27.430 --> 00:27:29.230 like 30 or 40 cents each? Something like that. 00:27:29.329 --> 00:27:31.769 They were cheap. Yeah. I feel like the regular 00:27:31.769 --> 00:27:35.170 was 65 cents and the Supreme was 75 or something. 00:27:35.250 --> 00:27:38.549 Yeah, for an extra 10 cents. Yeah, I would just 00:27:38.549 --> 00:27:40.789 house those things, man. But yeah, so I stuffed 00:27:40.789 --> 00:27:44.170 myself with tacos and then go over to the Chess 00:27:44.170 --> 00:27:47.430 King, which was the cool clothed shop where you 00:27:47.430 --> 00:27:51.309 could get like Z Cavaricci pants. And I was a 00:27:51.309 --> 00:27:53.490 little out of my price range, but they always 00:27:53.490 --> 00:27:57.799 had the most captivating. employees working there 00:27:57.799 --> 00:28:03.319 okay lots of women working okay so yeah they're 00:28:03.319 --> 00:28:06.519 always dudes just hanging around outside of chess 00:28:06.519 --> 00:28:10.680 king it was kind of creepy if you had a mullet 00:28:10.680 --> 00:28:13.099 and a crusty mustache that was your place to 00:28:13.099 --> 00:28:17.160 shop how about you donald uh well it was a different 00:28:17.160 --> 00:28:20.119 era so you know my mom would be shopping for 00:28:20.119 --> 00:28:22.640 something and i would just go off on my own right 00:28:22.640 --> 00:28:23.960 you know it's like to the other end of the mall 00:28:23.960 --> 00:28:27.819 to to kb toys and i would just you know sit there 00:28:27.819 --> 00:28:31.019 and stare at toys or whatever by 88 it was probably 00:28:31.019 --> 00:28:33.539 more like video games that i was like just staring 00:28:33.539 --> 00:28:36.519 at hoping that you were the one trying to abduct 00:28:36.519 --> 00:28:40.700 adults from the toy store hey mister would you 00:28:40.700 --> 00:28:47.240 like a lollipop Yeah. And I also remember randomly, 00:28:47.339 --> 00:28:50.400 I just remember like an organ store, you know, 00:28:50.400 --> 00:28:52.420 like the musical instrument organs, like the 00:28:52.420 --> 00:28:54.380 old fashioned ones that would kind of play on 00:28:54.380 --> 00:28:56.259 their own and stuff. Thank you for clarifying. 00:28:57.019 --> 00:28:58.720 Yeah. But they would have them out like sometimes 00:28:58.720 --> 00:29:00.599 in the middle of the mall and you could like 00:29:00.599 --> 00:29:02.900 play with them and stuff. They'd have the little 00:29:02.900 --> 00:29:05.059 drum machine under it and stuff. They always 00:29:05.059 --> 00:29:09.420 had those pre -programmed songs playing. Yeah. 00:29:11.240 --> 00:29:13.480 Yeah. All right. Well, what do you remember from 00:29:13.480 --> 00:29:15.740 the glory days of shopping malls? Let us know 00:29:15.740 --> 00:29:17.740 on Instagram and Facebook or leave a comment 00:29:17.740 --> 00:29:23.960 on our website, albumnerds .com. You didn't think 00:29:23.960 --> 00:29:27.559 we'd get through 1988 without some metal, did 00:29:27.559 --> 00:29:32.019 you? Iron Maiden. I think you promised that in 00:29:32.019 --> 00:29:34.319 the last episode. Pretty much did. Glad you delivered. 00:29:34.619 --> 00:29:37.099 Except this has a fold sound. It doesn't have 00:29:37.099 --> 00:29:39.799 that tinny production that Andy is so fond of. 00:29:39.880 --> 00:29:43.720 So I went with the 1988 Iron Maiden album, Seventh 00:29:43.720 --> 00:29:47.779 Son of a Seventh Son. Iron Maiden emerged from 00:29:47.779 --> 00:29:49.960 London's New Wave of British Heavy Metal scene 00:29:49.960 --> 00:29:52.779 in the late 70s, powered by Bruce Dickinson on 00:29:52.779 --> 00:29:55.420 vocals, Dave Murray on guitar, Adrian Smith on 00:29:55.420 --> 00:29:57.880 guitar synthesizer, Steve Harris on bass and 00:29:57.880 --> 00:30:01.019 string synthesizer, and Nico McBrain on drums. 00:30:01.380 --> 00:30:04.240 Galloping rhythms, literary lyrics, fearsome 00:30:04.240 --> 00:30:06.740 mascot Eddie, very important to the whole vibe. 00:30:06.900 --> 00:30:10.099 They became metal gods through a series of increasingly 00:30:10.099 --> 00:30:13.980 ambitious albums. By 1988, they got super ambitious 00:30:13.980 --> 00:30:16.630 with this one. The seventh son of the seventh 00:30:16.630 --> 00:30:19.170 son is their seventh studio album, son. So... 00:30:19.170 --> 00:30:24.150 There's a whole theme, a concept through it. 00:30:24.549 --> 00:30:28.250 We can kind of delve into that. It's loose. It's 00:30:28.250 --> 00:30:32.009 more of a guideline for the subjects of these 00:30:32.009 --> 00:30:35.849 songs. Tied to a folk tale about if you're the 00:30:35.849 --> 00:30:38.990 seventh in the line of your family, and it's 00:30:38.990 --> 00:30:41.609 all sons, and then that guy does the same thing, 00:30:41.650 --> 00:30:44.650 has all sons, and its seventh son then has these... 00:30:45.480 --> 00:30:48.619 magical, clairvoyant powers and a whole bunch 00:30:48.619 --> 00:30:51.059 of different folklore around it. But that's the 00:30:51.059 --> 00:30:53.579 foundation for this. Let's play a little bit 00:30:53.579 --> 00:30:56.859 of the titular track, Seven Son of a Seven Son. 00:31:01.140 --> 00:31:08.380 Now, we really haven't covered it yet, but the 00:31:08.380 --> 00:31:11.900 album's called Seven Son of a Seven Son. So, 00:31:12.619 --> 00:31:16.019 you know, This song in the whole album, it's 00:31:16.019 --> 00:31:19.119 a progressive metal epic blending traditional 00:31:19.119 --> 00:31:21.079 heavy metal, you know, that kind of traditional 00:31:21.079 --> 00:31:23.880 Iron Maiden sound with full -on synthesizers 00:31:23.880 --> 00:31:26.779 and complex song structures and taking kind of 00:31:26.779 --> 00:31:30.000 a departure. It's even more theatrical somehow 00:31:30.000 --> 00:31:32.619 than what they had been doing. But I think the 00:31:32.619 --> 00:31:35.559 time was right. I mean, this is 1988. They had 00:31:35.559 --> 00:31:37.440 been together for quite a while, many albums 00:31:37.440 --> 00:31:40.140 under their belt, and music was changing. I mean, 00:31:40.140 --> 00:31:43.000 look at what was happening with Jane's Addiction. 00:31:43.400 --> 00:31:47.259 right so where is a band to go like iron maiden 00:31:47.259 --> 00:31:49.920 you know so they kind of found their second wind 00:31:49.920 --> 00:31:53.299 or third wind and created probably one of their 00:31:53.299 --> 00:31:55.079 you know one of their top three greatest albums 00:31:55.079 --> 00:31:58.480 i i believe opened the floodgates for progressive 00:31:58.480 --> 00:32:02.519 metal to maybe hit more of a mainstream audience 00:32:02.519 --> 00:32:05.740 my clickbait headline to describe the album mysticism 00:32:05.740 --> 00:32:08.519 prophecies and a whole lot of shredding seventh 00:32:08.519 --> 00:32:11.660 son is iron maiden at its most weirdly epic it's 00:32:11.660 --> 00:32:14.259 huge It's big. It's over the top. It's kind of 00:32:14.259 --> 00:32:16.920 the polar opposite of what Guns N' Roses was 00:32:16.920 --> 00:32:20.740 doing as they were on their rise in that metal 00:32:20.740 --> 00:32:24.460 space. So I really learned to appreciate this 00:32:24.460 --> 00:32:28.640 album with seven full listens every seventh hour 00:32:28.640 --> 00:32:32.319 of every seventh day. So yeah, I really enjoyed 00:32:32.319 --> 00:32:35.299 it. And I think all the songs hold up really 00:32:35.299 --> 00:32:37.319 well. So why don't we check out another one? 00:32:37.440 --> 00:32:49.819 This one is The Evil That Men Do. He's talking 00:32:49.819 --> 00:32:53.099 to my inner Jack Black there. Evil That Men Do 00:32:53.099 --> 00:32:55.700 is loosely adapted from Shakespeare's Julius 00:32:55.700 --> 00:32:59.559 Caesar, which I believe is a line from that play. 00:32:59.980 --> 00:33:02.299 I think it works really well in the context of 00:33:02.299 --> 00:33:05.500 the loose story that's being told here. Probably 00:33:05.500 --> 00:33:07.880 my favorite track off the album. My clickbait 00:33:07.880 --> 00:33:12.339 headline for Seventh Son of a Seventh Son. Maiden 00:33:12.339 --> 00:33:15.240 expertly walks the razor's edge between sci -fi 00:33:15.240 --> 00:33:19.089 camp and prog rock excess. This is right around 00:33:19.089 --> 00:33:21.529 the edge for me in terms of going too far down 00:33:21.529 --> 00:33:23.829 that campy road with some of the storytelling 00:33:23.829 --> 00:33:27.430 and imagery here. But I think they have this 00:33:27.430 --> 00:33:30.009 great musical component and really interesting 00:33:30.009 --> 00:33:32.829 prog rock style infused into this metal here 00:33:32.829 --> 00:33:35.289 that kind of keeps pulling me back. It keeps 00:33:35.289 --> 00:33:38.609 pulling me back to reality. And I think overall 00:33:38.609 --> 00:33:42.970 it kept me on the light side here in the sun. 00:33:43.049 --> 00:33:45.690 So I appreciated this one. Quite a bit. I think 00:33:45.690 --> 00:33:47.710 they're really, I mean, they're obviously a great 00:33:47.710 --> 00:33:50.390 metal band. And I think the guitar work on here 00:33:50.390 --> 00:33:54.710 is just awesome. And some great grooves. The 00:33:54.710 --> 00:33:57.369 synth usage, you know, there is that element 00:33:57.369 --> 00:33:59.009 here, which I think was a little more prevalent 00:33:59.009 --> 00:34:01.130 than maybe it has been in the past with them. 00:34:01.589 --> 00:34:04.230 But I really thought it was tastefully used, 00:34:04.410 --> 00:34:06.730 which is often not the case in this time period. 00:34:07.230 --> 00:34:09.250 But I think they did a good job with it. It's 00:34:09.250 --> 00:34:11.269 kind of dark. It's occasional. It doesn't really 00:34:11.269 --> 00:34:13.750 throw things off too much for me. Yeah, I think 00:34:13.750 --> 00:34:15.849 this is a really, really solid Iron Maiden record 00:34:15.849 --> 00:34:19.010 for my money. They were also smart to, into this 00:34:19.010 --> 00:34:23.030 loose story, they tied in the devil and apocalyptic 00:34:23.030 --> 00:34:26.429 stuff. Not super clearly, but they definitely 00:34:26.429 --> 00:34:30.369 hint at it, that the seventh son is potentially 00:34:30.369 --> 00:34:33.070 the Antichrist and things, which is what people 00:34:33.070 --> 00:34:35.329 expected from Iron Maiden. So they got that little 00:34:35.329 --> 00:34:39.090 devil -y stuff in there, and then this story 00:34:39.090 --> 00:34:41.730 based on folklore as well as a series of books 00:34:41.730 --> 00:34:45.570 that's... I guess, was popular at the time. Seems 00:34:45.570 --> 00:34:48.809 like it's about prophesying the future or being 00:34:48.809 --> 00:34:51.630 able to see into the future. Yeah. Which I appreciate 00:34:51.630 --> 00:34:54.010 that kind of aspect to it. I love that Eddie 00:34:54.010 --> 00:34:57.349 on the cover there is kind of like, he's carrying 00:34:57.349 --> 00:34:59.309 his wounds from previous albums. I never really 00:34:59.309 --> 00:35:02.130 picked up on that before, but apparently it's... 00:35:02.130 --> 00:35:04.829 The damage done. Yeah, the damage done to Eddie 00:35:04.829 --> 00:35:08.030 over the course of his time as the Maiden mascot. 00:35:09.179 --> 00:35:11.260 We're ready. Yeah, more bands being mascots. 00:35:11.360 --> 00:35:13.360 All right, why don't we jump into another track? 00:35:13.619 --> 00:35:24.420 This one's called The Clairvoyant. Like have 00:35:24.420 --> 00:35:27.079 a sing -off between Dio and Dickinson, kind of 00:35:27.079 --> 00:35:29.559 fun. Yeah, it's in that same way. There's not 00:35:29.559 --> 00:35:32.860 really metal screaming, but there's that sort 00:35:32.860 --> 00:35:36.500 of operatic vocal thing that they could go back 00:35:36.500 --> 00:35:38.940 and forth on, see whose is more powerful, like 00:35:38.940 --> 00:35:44.420 two beams against each other. So the Clairvoyant 00:35:44.420 --> 00:35:46.340 was actually the first track written for the 00:35:46.340 --> 00:35:49.019 album. It's written by bassist Steve Harris. 00:35:49.849 --> 00:35:52.909 It's his baseline, you know, at the beginning, 00:35:53.130 --> 00:35:56.230 of course. You've got the guitar solo on this 00:35:56.230 --> 00:35:59.750 track is done by Dave Murray. And, you know, 00:35:59.750 --> 00:36:01.869 like the rest of the album, there's some heavy 00:36:01.869 --> 00:36:04.510 synths thrown in there. According to Harris, 00:36:04.750 --> 00:36:07.369 the song was directly inspired by the death of 00:36:07.369 --> 00:36:10.309 British psychic Doris Stokes, which prompted 00:36:10.309 --> 00:36:13.289 him to wonder whether she could foresee her own 00:36:13.289 --> 00:36:17.039 death. And so that question kind of led him to 00:36:17.039 --> 00:36:20.400 go down this territory for the whole concept 00:36:20.400 --> 00:36:24.409 of the album. So at this point in the story, 00:36:24.730 --> 00:36:26.949 the seventh son of the seventh son, you know, 00:36:26.949 --> 00:36:30.309 is now a developed, fully fledged seer with control 00:36:30.309 --> 00:36:33.210 over his prophetic visions. They become overwhelming, 00:36:33.429 --> 00:36:36.610 causing him to confuse what he sees with his 00:36:36.610 --> 00:36:38.789 eyes versus what he sees with his mind's eye. 00:36:38.909 --> 00:36:41.349 This is heavy stuff, you know? It's dangerous. 00:36:41.590 --> 00:36:43.889 Yeah, death is ultimately the only way to escape, 00:36:44.090 --> 00:36:47.400 you know, sort of this burden. I believe he dies, 00:36:47.460 --> 00:36:51.340 spoiler alert. Yeah, it's all up for debate on 00:36:51.340 --> 00:36:53.820 the whole thing, you know? Yeah, and is it a 00:36:53.820 --> 00:36:57.599 suicide or is he put to death somehow? Or is 00:36:57.599 --> 00:37:01.519 it a sacrifice for the many? But yeah, I mean, 00:37:01.519 --> 00:37:04.920 it's really hard to say. I don't truly have an 00:37:04.920 --> 00:37:07.659 answer for you, Don. you know throughout the 00:37:07.659 --> 00:37:10.400 arc of the story we cover things like the birth 00:37:10.400 --> 00:37:12.519 and realization of his powers through moon child 00:37:12.519 --> 00:37:14.840 and infinite dreams the struggle with purpose 00:37:14.840 --> 00:37:17.519 and isolation through the songs can i play with 00:37:17.519 --> 00:37:20.050 madness and the evil that men do There's that 00:37:20.050 --> 00:37:23.429 climactic prophecy and breakdown with Seventh 00:37:23.429 --> 00:37:26.230 Son of a Seventh Son leading into the prophecy 00:37:26.230 --> 00:37:29.190 and the clairvoyant here. And then the album 00:37:29.190 --> 00:37:32.889 ending with only the good die young, moving into 00:37:32.889 --> 00:37:35.030 dissent and disillusionment. I mean, it's all 00:37:35.030 --> 00:37:37.349 kind of up for debate. It's up for interpretation 00:37:37.349 --> 00:37:40.809 by the listener. So, you know, there's a lot 00:37:40.809 --> 00:37:43.710 of opinions out there. I just recommend listening 00:37:43.710 --> 00:37:46.150 to the record and trying to piece it together 00:37:46.150 --> 00:37:49.239 yourself for the most satisfying story. Sorry, 00:37:49.239 --> 00:37:54.420 son, that's all I have. So my clickbait headline 00:37:54.420 --> 00:37:57.159 for Seventh Son of the Seventh Son is Seventh 00:37:57.159 --> 00:38:00.599 Times the Charm, Maiden Delivers Prog Metal Prophecy. 00:38:01.079 --> 00:38:04.440 Yeah, I don't know the Iron Maiden catalog all 00:38:04.440 --> 00:38:07.019 that well, although I know, I've definitely heard 00:38:07.019 --> 00:38:10.800 a lot of it. I imagine this is... Probably one 00:38:10.800 --> 00:38:13.400 of their best albums. You know, I think they 00:38:13.400 --> 00:38:15.760 really, maybe they hit their stride here. Maybe 00:38:15.760 --> 00:38:19.719 it's the right blend of metal and prog rock. 00:38:20.039 --> 00:38:22.840 And fantasy. Yeah. I mean, you do have a lot 00:38:22.840 --> 00:38:25.179 of, you know, talented musicians in this group. 00:38:25.179 --> 00:38:27.820 And, you know, it works together. I mean, Dickinson 00:38:27.820 --> 00:38:30.860 is a pretty compelling, you know, metal vocalist. 00:38:30.940 --> 00:38:33.739 I mean, the guitar work is, you know, you've 00:38:33.739 --> 00:38:35.820 got the dueling guitars and the guitar harmony. 00:38:36.539 --> 00:38:40.900 It's pretty good. Not to get too technical. All 00:38:40.900 --> 00:38:43.980 right. So this is a career highlight of a band 00:38:43.980 --> 00:38:46.539 full of career highlights, but I think it's one 00:38:46.539 --> 00:38:48.159 of their crowning achievements. So I'm going 00:38:48.159 --> 00:38:50.159 to nominate this one for the Elm Nerds Hall of 00:38:50.159 --> 00:38:55.139 Fame. A band unafraid of change and adjustment 00:38:55.139 --> 00:38:57.800 in their sound. I think that's a big deal for 00:38:57.800 --> 00:39:00.480 someone so established. And I think this is a 00:39:00.480 --> 00:39:03.219 crowning achievement of all of the best parts 00:39:03.219 --> 00:39:07.039 of what Iron Maiden was capable of. So what do 00:39:07.039 --> 00:39:09.059 you guys think? Yeah, if it was instrumental, 00:39:09.280 --> 00:39:13.440 I would say for sure, shoo -in. But since we 00:39:13.440 --> 00:39:17.619 do have the lyrical component, I guess it's pretty 00:39:17.619 --> 00:39:20.159 cool. I do enjoy it quite a bit, so I will say 00:39:20.159 --> 00:39:24.619 yes as well. Yes, I'll vote yes. I think this 00:39:24.619 --> 00:39:27.250 is... This is Iron Maiden. You know, this is, 00:39:27.269 --> 00:39:29.409 they are a thing. You know, it's kind of like 00:39:29.409 --> 00:39:32.230 a signature sound. You know, I mean, there's 00:39:32.230 --> 00:39:34.750 other groups that have a similar sound, but Iron 00:39:34.750 --> 00:39:37.369 Maiden is like its own category, I think. And 00:39:37.369 --> 00:39:40.289 so because of that, they belong. They do belong. 00:39:40.690 --> 00:39:43.969 Okay, so if you haven't heard the seventh album, 00:39:44.190 --> 00:39:48.469 Seventh Son of a Seventh Son, I strongly encourage 00:39:48.469 --> 00:39:53.010 you to do so. Can you dig it? Can you dig it? 00:39:58.960 --> 00:40:01.679 All right, so on your journey back from 1988, 00:40:02.039 --> 00:40:06.539 did you happen to dig anything? Uh, yeah, obviously. 00:40:08.780 --> 00:40:11.719 Sha, was that a saying back in the day? Sha, 00:40:12.280 --> 00:40:16.400 you're right. Yeah, first one for me is from 00:40:16.400 --> 00:40:20.280 Dublin, Ireland. Talk about the murder capital. 00:40:20.400 --> 00:40:23.159 They have a new studio album, their third just 00:40:23.159 --> 00:40:25.860 came out called Blindness. Let's play track seven, 00:40:25.940 --> 00:40:32.000 The Fall. The Fall. I like it. It didn't take 00:40:32.000 --> 00:40:35.699 much. Yeah, it's a hard rock record, I would 00:40:35.699 --> 00:40:37.139 say, but there's definitely some experimental 00:40:37.139 --> 00:40:39.699 elements to it. Keeps you guessing, keeps you 00:40:39.699 --> 00:40:41.940 on your toes. Very enjoyable. Another one from 00:40:41.940 --> 00:40:45.159 Ireland. We seem to be an Ireland group the last 00:40:45.159 --> 00:40:47.599 six months here for us on the show. Last one 00:40:47.599 --> 00:40:51.239 for me is from Nottingham, England. Talk about 00:40:51.239 --> 00:40:55.340 now. She has a new album out. This is the singer 00:40:55.340 --> 00:40:58.159 -songwriter. She's usually in more of the R &B 00:40:58.159 --> 00:41:01.099 soul space. Oh, now's the name of the artist. 00:41:01.340 --> 00:41:03.559 He said, we're talking about now. I'm like, okay. 00:41:05.840 --> 00:41:09.159 No, that's her name. N -A -O. Let's play track 00:41:09.159 --> 00:41:16.090 three. This is called Happy People. I want to 00:41:16.090 --> 00:41:21.110 say hard pass, but I'll give it a shot. That's 00:41:21.110 --> 00:41:23.570 okay. It was definitely a more poppier affair 00:41:23.570 --> 00:41:26.429 than she has in the past. A little less soul, 00:41:26.489 --> 00:41:28.929 a little more pop. But I found it pretty catchy. 00:41:29.730 --> 00:41:33.000 What you been digging on, Don? Well, Brian Eno 00:41:33.000 --> 00:41:36.579 and another English artist named B .D. Wolf, 00:41:36.860 --> 00:41:39.539 they are collaborating together, and they've 00:41:39.539 --> 00:41:42.480 actually created two albums, all going to be 00:41:42.480 --> 00:41:45.960 released on the same day, Luminal and Lateral. 00:41:46.019 --> 00:41:49.699 Apparently, one is dream music and one is space 00:41:49.699 --> 00:41:52.880 music. Oh. But actually, it's more poppy than 00:41:52.880 --> 00:41:55.059 you would think. Here's a track called Suddenly. 00:41:55.320 --> 00:42:00.449 The world up again. Betty Wolf is the vocalist? 00:42:00.550 --> 00:42:03.610 I think it's Beattie. That wolf could not blow 00:42:03.610 --> 00:42:08.289 a house down, man. Yeesh. I'm sure it'll be interesting, 00:42:08.530 --> 00:42:10.170 man. You always count on Eno for something a 00:42:10.170 --> 00:42:13.329 little bit outside the box. So another thing, 00:42:13.409 --> 00:42:15.920 I'm going to try to get out and see it. pink 00:42:15.920 --> 00:42:18.619 floyd live at pompeii was a movie made in in 00:42:18.619 --> 00:42:22.380 1972 capturing their performance uh you guys 00:42:22.380 --> 00:42:24.920 know pompeii where like mount vesuvius you know 00:42:24.920 --> 00:42:28.940 erupted and you know uh in the coliseum of pompeii 00:42:28.940 --> 00:42:32.610 pink floyd performed with nobody around. It was 00:42:32.610 --> 00:42:35.929 an interesting cinematic concept right before 00:42:35.929 --> 00:42:38.349 Dark Side of the Moon came out. But anyway, so 00:42:38.349 --> 00:42:41.369 that just got a 4K restoration, and it's going 00:42:41.369 --> 00:42:44.210 to be in IMAX theaters in the upcoming weeks, 00:42:44.250 --> 00:42:46.570 so I'm hoping to check that out. Here's a cut 00:42:46.570 --> 00:42:53.429 from that. This is a performance of Echoes. I 00:42:53.429 --> 00:42:54.849 think I've seen clips from those performances. 00:42:55.130 --> 00:42:59.039 Yeah. It's really cool. Yeah. Hard pass. It's 00:42:59.039 --> 00:43:04.239 kind of a... It's sort of the... It kind of marks 00:43:04.239 --> 00:43:07.420 the end of that psychedelic era of Pink Floyd 00:43:07.420 --> 00:43:09.460 before they kind of moved on to Dark Side and 00:43:09.460 --> 00:43:11.780 Wish You Were Here. All right. What are you digging, 00:43:11.880 --> 00:43:14.719 dude? Well, I couldn't get Seventh Son with Seventh 00:43:14.719 --> 00:43:18.440 Son out of my head, see? So I went with an EP 00:43:18.440 --> 00:43:23.199 I missed in 2024 from a band called One Bad Son. 00:43:23.719 --> 00:43:27.920 The EP is called OBS, The New Stuff, S -H asterisk 00:43:27.920 --> 00:43:29.699 T, because they're Canadian, they want to get 00:43:29.699 --> 00:43:32.619 too dirty. It's the new shit. Oh my gosh. Yeah, 00:43:32.659 --> 00:43:35.239 so their last album was 2017. They kind of had 00:43:35.239 --> 00:43:37.300 taken a long break. Let's listen to a little 00:43:37.300 --> 00:43:44.760 bit of Sister Renegade. I was really a big fan 00:43:44.760 --> 00:43:47.179 of theirs a few years ago. They kind of blended 00:43:47.179 --> 00:43:51.820 alt -rock and 80s metal into this nice amalgamation. 00:43:52.889 --> 00:43:55.469 Two of the remaining members, the vocalist Shane 00:43:55.469 --> 00:43:58.269 Volk and Kurt Dahl on drums, but otherwise they've 00:43:58.269 --> 00:44:01.530 replaced some band members since the last album. 00:44:01.789 --> 00:44:09.409 Hard pass. Fair enough. I can take it. All right. 00:44:09.429 --> 00:44:12.929 And then from my vinyl collection, I also have 00:44:12.929 --> 00:44:18.170 this on CD, The Rival Sons. Their second full 00:44:18.170 --> 00:44:21.409 -length album, Pressure and Time from 2011. They're 00:44:21.409 --> 00:44:23.739 a blues rock. Band from Long Beach, California. 00:44:24.199 --> 00:44:27.019 Jay Buchanan's voice is awesome. Scott Holliday's 00:44:27.019 --> 00:44:29.780 fuzz -heavy guitar riffs really help them stand 00:44:29.780 --> 00:44:31.860 out in the crowd. Let's listen to a little bit 00:44:31.860 --> 00:44:40.980 of the title track, Pressure and Time. It's a 00:44:40.980 --> 00:44:44.440 quick album. The songs are focused, minimal overdubs. 00:44:44.989 --> 00:44:47.889 Live in the room feel, of course, produced by 00:44:47.889 --> 00:44:51.010 the great Dave Cobb. So definitely worth checking 00:44:51.010 --> 00:44:53.250 out. What are you digging? Let us know. Join 00:44:53.250 --> 00:44:55.429 us on the socials, Facebook, Instagram, and threads. 00:44:55.530 --> 00:45:01.869 Also on our website, albumnerds .com. It will 00:45:01.869 --> 00:45:08.449 be a discovery of extraordinary value. Well, 00:45:08.570 --> 00:45:10.289 it's about that time on the show, and I'm reminded 00:45:10.289 --> 00:45:13.329 of former American president George W. Bush. 00:45:13.880 --> 00:45:17.099 who said during his 1988 RNC acceptance speech, 00:45:17.440 --> 00:45:19.659 We're a nation of community, of thousands and 00:45:19.659 --> 00:45:21.760 tens of thousands of ethnic, religious, social, 00:45:21.980 --> 00:45:24.039 business, labor union, neighborhood, regional, 00:45:24.099 --> 00:45:26.300 and other organizations, all of them varied, 00:45:26.480 --> 00:45:28.900 voluntary, and unique. A brilliant diversity 00:45:28.900 --> 00:45:31.219 spread like stars, like a thousand points of 00:45:31.219 --> 00:45:33.440 light in a broad and peaceful sky. A thousand 00:45:33.440 --> 00:45:35.639 points of light. Then he said, I got that. I 00:45:35.639 --> 00:45:43.280 got that. It's bad. Read my lips. All right. 00:45:43.400 --> 00:45:45.239 With that in mind, let's bring out my phone in 00:45:45.239 --> 00:45:46.800 yours, Wadbot, and see what we'll be talking 00:45:46.800 --> 00:45:56.639 about on next week's episode. When bands hit 00:45:56.639 --> 00:45:59.139 their commercial peak, the results are legendary. 00:45:59.460 --> 00:46:02.159 Next time, you'll step into the ring to put two 00:46:02.159 --> 00:46:04.619 albums toe -to -toe, throwing down with records 00:46:04.619 --> 00:46:06.739 that captured bands at their commercial peak, 00:46:06.920 --> 00:46:09.219 where the stakes were high and the hits just 00:46:09.219 --> 00:46:11.820 kept coming. well it is just going to be the 00:46:11.820 --> 00:46:15.179 two of us me and don so facing off we'll we'll 00:46:15.179 --> 00:46:18.840 be in the squared circle fighting it out a squared 00:46:18.840 --> 00:46:21.719 circle yeah that's the ring man the boxing ring 00:46:21.719 --> 00:46:23.940 so does that mean only one of you is gonna make 00:46:23.940 --> 00:46:28.380 it back from i barely survive any of these man 00:46:28.380 --> 00:46:31.440 so we'll see it should be a good one we both 00:46:31.440 --> 00:46:36.139 what you gonna do brother can you smell what 00:46:36.139 --> 00:46:39.239 the dude is cooking What was your favorite album 00:46:39.239 --> 00:46:41.880 from 1988? What else are you listening to? Email 00:46:41.880 --> 00:46:45.019 us at podcast at albumnerds .com. Follow us on 00:46:45.019 --> 00:46:47.380 Facebook, Instagram, Threads, and Blue Sky at 00:46:47.380 --> 00:46:50.260 Album Nerds. Also, visit albumnerds .com to suggest 00:46:50.260 --> 00:46:52.460 topics for the show, peruse the Hall of Fame, 00:46:52.460 --> 00:46:55.659 and listen to all 288 episodes. And the best 00:46:55.659 --> 00:46:58.159 way to support the show is to share it. Please 00:46:58.159 --> 00:47:00.119 subscribe, rate, and review on your favorite 00:47:00.119 --> 00:47:02.619 podcast app. Thank you, as always, for joining 00:47:02.619 --> 00:47:04.300 us here on the Album Nerds Podcast. We'll catch 00:47:04.300 --> 00:47:06.360 you next week, but we'll be ready to rumble. 00:47:06.780 --> 00:47:08.769 That's what's up. tonight, buddy. Catch you later. 00:47:09.110 --> 00:47:14.789 Oh, yeah. Snap into a Slim Jim.