WEBVTT

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Welcome to My Weekly Mixtape, a podcast that

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takes the classic mixtape approach to building

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a modern playlist. I'm your host, Brian Colburn.

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Joining me tonight as guest curator is Ben Montgomery,

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host of the Records Revisited podcast. Ben, thank

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you so much for joining me, man. What's going

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on, Brian? Long time no see. I know, it's been

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way too long. We haven't podcasted in, God, it

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feels like well over a year, and that's just

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a crying shame. Well, you've been a little busy.

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building this new podcast up and you know we're

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always busy with ours so i get i get it i'm glad

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that our paths have crossed again amen to that

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and now i get to ask you the first time guest

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question okay what does the word mixtape mean

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to you uh it means the 1980s and early 90s that's

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what it means I think we perfected the art of

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mixtapes. I had a lot of different mixtapes back

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in the day, and I'm sure there's a few still

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out there from people that I made tapes for.

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I will say this. I had several mixtapes that

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actually were broadcast in the Middle East and

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also in the Persian Gulf. So one of my friends

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served in the Navy and we would make him these

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mixtapes where Wayne and I were DJs, for instance.

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And it was the call letters were K -R -A -P.

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It was crap radio. And we would throw on stuff

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that he, of course, would not be able to get

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in the Persian Gulf. And he would have opportunities

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to play DJ. for the boat. And so sometimes he

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would just grab our mixtapes, throw it in. And

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so we were broadcast over, over the, the naval

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ships there in the Persian Gulf. So yeah, there

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we go. I was going to say, that's definitely

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one of the more interesting tales I've heard

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with mixtapes on the show. So that is amazing.

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Tonight. Our topic is spellbinding songs. I had

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written something on social media and you replied

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and you said, by the way, If you're going to

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do this for an episode, I want in. And here we

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are a short time later recording this. If someone

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were to ask you what a spellbinding song is to

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you, how would you describe that? These are the

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songs that when you are driving home from work

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and you drive into your driveway and one of these

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songs is on, you don't get out of your car until

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it's completely done. That's the definition of

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a spellbinding song for me. The other, since

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I don't commute to work, I work from home now.

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It is now replaced by if I'm working and I have

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these songs going on in the background and one

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of these songs comes on, there's not a whole

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lot of work that's happening. during that song

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because i will either be singing along to it

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or i will be just soaking it all in so that is

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the definition of a spellbinding song for me

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i agree with both those scenarios for me it's

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one of those songs where if you're driving in

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the car with the family and the song comes on

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okay inevitably at some point you get a tap on

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the shoulder with the words are you even listening

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to me from somebody in the car, right? Because

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you just get lost in the fact that the song is

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playing and the whole world just stops and you're

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just lost in the music. Yeah. It takes you over.

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Totally agree with that. Yep. Well, now that

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we've defined it, let's get down to business.

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As I mentioned at the top of the show, Ben and

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I will be curating the ultimate spellbinding

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mixtape. And we're going to use the old cassette

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deck approach that Ben used at KRAP. Ben, as

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my special guest, will begin side A with his

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first song choice. And then I'll add a song that

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I feel best follows up that choice. We'll then

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flip -flop choosing songs until we've mapped

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out 10 tracks for side A. We'll then give our

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mixtape a proverbial flip and we'll map out side

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B. Only this time, I'll kick things off with

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Ben choosing second. Our overall goal for the

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episode is to craft the best spellbinding mixtape

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possible through only 20 songs. At the end of

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the show, you can take our conversation to the

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next level by visiting the episode page at myweeklymixtape

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.com to give our final mixtape a listen via the

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embedded playlist. And if you like what you're

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hearing on the show, you can help me out by either

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telling a friend, leaving the show a five -star

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review wherever you're tuning in, or becoming

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a Patreon mixtaper at patreon .com forward slash

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myweeklymixtape. And a few of the Patreon mixtapers

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chimed in with songs they would use to kick off

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things for tonight. And I want to give a quick

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shout out to a few of those. Cactus Pete chimed

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in saying, not sure if this fits because it's

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more a part of a song, but Van Halen's Dreams,

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the second guitar solo, then where Sammy hits

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the high note, and in the end, you know the part

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I'm talking about. I'm not going to try to hit

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that note right now. To the end of the synth

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on the song, that whole part gives me goosebumps

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every time. If this song comes on, I can't turn

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it off until it's done. Now, if you're a fan

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of Van Halen and you want to hear more gushing

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about that, check out episode 46, The Ultimate

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Van Halen Playlist, which features Cactus Pete,

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along with friend of the show, Eric Senich of

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the Van Halen News Desk. Other chime -ins, Chad

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LaMassa chimed in saying, the first bully song

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I ever heard was Feel the Same. I was mesmerized

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and instantly fell in love with her. She quickly

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became one of my favorites. She's great. Seeker

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chimed in saying the opening few bars of Remedy

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by the Black Crows always gives me chills and

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the whole song lifts my heart. It has regularly

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been the opening track of my old mixtapes, CDs,

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or playlists. David Owens chimed in saying the

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Eagles Hotel California saying the song sucks

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you in from the moment you hear the opening guitar

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riff. And Philip Bergman chimed in saying, the

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first time I heard a thousand stars by Kathy

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Young and the Innocents come on the oldie station

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in my car, I just stared at the radio, possibly

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not even blinking, just listening to it. I wouldn't

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leave the parking lot until the song was done.

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I just had to listen. Awesome picks. Ben, just

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like you were saying, you're in the car. You

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can't get out of it. We've got the Patreon mixtapers

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musical food for thought in the atmosphere. So

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I'm going to press the record button on our mixtape

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and turn the floor over to you. What song did

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you choose to kick off side A? So if you're a

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listener of my podcast, you know that we talk

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about opening album tracks. And I have just one

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criteria for. opening tracks it needs to punch

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me in the face you need to set the groundwork

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for what i'm going to hear for the rest of the

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album one of the greatest albums of all time

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is who's next by the who and bob o'reilly kicks

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it off and from the moment that you hear that

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synthesizer coming in it's just it's magical

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i will say this when i heard this when i was

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i don't know 11 or 12 on the classic rock station

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this was like a game changer for me and i will

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say this yes for the longest time i thought it

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was teenage wasteland because i did i did record

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this off of kisw in seattle onto a mixtape until

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i found out years later that it was actually

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baba o'reilly but this fits the criteria of punch

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me in the face this is how you start a mixtape

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of the spellbounding proportions. Well, if I

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was ever to do a My Weekly Mixtape episode on

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mistaken song titles, this would easily be a

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side A track one as well. Because more times

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than not, I've heard people call this the incorrect

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title over the actual correct title. It actually

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shocks me when people come up and say Bob O 'Reilly.

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Correct. Now, having talked about this song before

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on Playlist Wars and TuneStyles, I know that

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it appears in Time Magazine's all -time 100 songs

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list and Rolling Stone's list of the 500 greatest

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songs of all time. It was also featured by the

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Rock and Roll Hall of Fame as one of the 500

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songs that shaped rock and roll deservedly so.

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This track is the epitome of what rock and roll

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is. You know, I'm a big fan of cover songs. And

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when a punk band like the Dropkick Murphys covers

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the song like they did on the vinyl version of

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2007's The Meanest of Times. And then you've

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got Pearl Jam, who has countless live versions

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of this song. Right. I was just going to bring

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up Pearl Jam because I did get a chance. One

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of the times that I've seen Pearl Jam live, they

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did play Bob O 'Reilly in the encore. And it's

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epic. It was pretty badass. Unbelievable way

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to kick off the evening. Now, since you're in

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the classic rock mode here. Let's hear it. The

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opening riff of Baba O 'Reilly grabs your attention.

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But what's cool about following Baba O 'Reilly

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up is the fact that you can kind of take it in

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any direction because of the way the song ends.

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It keeps speeding up and speeding up and speeding

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up, and then it just stops. So I think as soon

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as the stop hits at the end of Baba O 'Reilly.

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The beautiful acoustic guitar from 1969's Led

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Zeppelin II, Ramble On, starts. Good. Believe

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it or not, this was never a single in the US,

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which blows my mind because it's not only my

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favorite song on Led Zeppelin II, it very well

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may be my favorite Led Zeppelin song of all time.

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Wow. Okay. The way the track weaves from this.

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folk inspired ballad to this bluesy hard rocker

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so seamlessly it's absolute perfection and then

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as a bass player and i know you're one as well

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how can you not love the magic that john paul

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jones is bringing to this song it's a musical

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adventure that he's taking you on if you just

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try to tune the rest of the song out you just

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listen to his bass it's mesmerizing So if you

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were to do a playlist or mixtape of most underrated

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and underappreciated musicians of all time, I

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think John Paul Jones would be on that list.

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100%. He is the secret ingredient for that band.

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I know that everybody loves Bonham. I know everybody

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loves Plant and Page. But man, I'm a John guy.

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I love that dude. What he brings to the band,

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he is the secret ingredient to that mix. Could

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not agree more. And since I mentioned cover songs

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with Baba, there is one cover of Ramble On that

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I'll throw in here. Uh -oh. Believe it or not,

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it's Train. They have two versions of the song.

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They put out an entire cover of Led Zeppelin

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2 called Train Does Led Zeppelin 2. Not an exciting

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name. And they don't take any liberties. They

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just play it as it was written. Now, even though

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Pat Monahan does a ridiculous Robert Plant, there's

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a version that was on the 20th. anniversary edition

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of drops of Jupiter, as well as on a CD single

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in the nineties. And it's an acoustic version

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and they really bring their own flair to the

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song. And if you're a fan of cover songs, I think

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you'll be shocked. If the only train you're familiar

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with is, Hey soul sister and play that song.

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I think you're going to be blown away by what

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Pat Monahan brings to Zeppelin. So anyway, coming

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out of Bob O 'Reilly ramble on. Love it. You

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can't go wrong with Zeppelin. I was just listening

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to Houses of the Holy earlier today. So I get

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it. Yeah, it's good stuff. Well, now we're back

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to you to follow that up for track three. Yeah,

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let's go. Since we're doing some rock to get

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started on this, why don't we go? to how about

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can't hardly wait from the replacements oh okay

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this is one of my all -time go -to songs you

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know and you talk about the opening guitar riffs

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the opening guitar riff for can't hardly wait

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immediately sucks me in and pleased to meet me

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was a game changer album for me came out in 87

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That was an interesting year for music. I have

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said this multiple times that I think that 87

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might be the best year of music ever. Don't at

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me about that. But this was a game changer album

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for me. And yeah, I just love this song so much.

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What a great pick. It features Alex Chilton from

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the Box Tops and Big Star on guitar. So it's

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not just a clever coincidence that there's the

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single. The song. No. Alex Chilton. He plays

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on Can't Hardly Wait. Probably my favorite song

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from The Replacements. And it might be for one

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line of lyric. When I think of iconic lyrics,

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Jesus rides beside me. Never buys any smokes.

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Unbelievable, right? Yeah, yeah, yeah. Might

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be my all -time favorite Paul Westerberg lyric

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right there. I just love that line. And there's

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so many great Paul Westerberg lyrics to choose

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from as well. So, yeah. One of the greatest songwriters

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of our generation that not enough people probably

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know about. I would say I would put him on the

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same underrated list as you put John Paul Jones.

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If you're a 90s movie fan, the name of the song

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might ring a bell with you for good reason. That's

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true. Because there's the movie Can't Hardly

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Wait, which was... Based on the song title and

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the song is featured in the closing credits.

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So. Correct. Correct. Yeah. Well, we've had three

00:14:53.840 --> 00:14:57.120
upbeat songs so far. You're going to switch it

00:14:57.120 --> 00:14:58.940
up? I think I'm going to switch it up a little

00:14:58.940 --> 00:15:01.980
bit. I'm going to bring the tempo down and I'm

00:15:01.980 --> 00:15:05.500
going to go with what I feel is probably one

00:15:05.500 --> 00:15:09.039
of the most beautiful pop rock songs ever written.

00:15:09.460 --> 00:15:13.139
And I'm going to go off of. 1970s moon dance

00:15:13.139 --> 00:15:15.120
and i'm going to go with van morrison's into

00:15:15.120 --> 00:15:19.620
the mystic this song was originally titled into

00:15:19.620 --> 00:15:23.740
the misty but after he wrote the song he said

00:15:23.740 --> 00:15:26.580
the ethereal feeling that the song put out made

00:15:26.580 --> 00:15:28.820
him change the name to mystic i'm so glad he

00:15:28.820 --> 00:15:30.879
did i don't know if i would take the song as

00:15:30.879 --> 00:15:33.519
seriously if he called it into the misty but

00:15:33.519 --> 00:15:37.419
moon dance as a whole in my opinion is Probably

00:15:37.419 --> 00:15:40.100
Van Morrison's finest hour. I mean, he's got

00:15:40.100 --> 00:15:42.259
a lot of it between Astro Week. I mean, his whole

00:15:42.259 --> 00:15:46.100
70s output is amazing, but Moondance just is

00:15:46.100 --> 00:15:48.700
a step above all of it. And for the song itself,

00:15:48.899 --> 00:15:53.139
lyrically, it's stunning in the fact that it's

00:15:53.139 --> 00:15:57.580
so well written lyrically, as well as so well

00:15:57.580 --> 00:16:01.120
performed. Just as for an example, the section

00:16:01.120 --> 00:16:04.320
of I want to rock your gypsy soul, just like

00:16:04.320 --> 00:16:07.370
in the days of old. And magnificently we will

00:16:07.370 --> 00:16:10.350
fold into the mystic. Like I get goosebumps just

00:16:10.350 --> 00:16:14.929
saying the lyrics. When Van sings it, it just

00:16:14.929 --> 00:16:18.590
completely takes me over. And like Bob O 'Reilly,

00:16:18.730 --> 00:16:22.769
this song made Rolling Stone's list of 500 greatest

00:16:22.769 --> 00:16:24.769
songs of all time. They do get it right sometimes.

00:16:25.610 --> 00:16:28.090
I'm glad that you picked a Van Morrison tune

00:16:28.090 --> 00:16:33.110
because one song that didn't make my list was

00:16:33.110 --> 00:16:37.049
I'll Be Your Lover Too. OK. And that's from his

00:16:37.049 --> 00:16:41.970
his band in the street choir album. I mean, I

00:16:41.970 --> 00:16:43.830
can't remember if you and I have talked about

00:16:43.830 --> 00:16:48.009
this, but during the 90s, I was all in on Van

00:16:48.009 --> 00:16:51.669
Morrison before I really knew kind of what an

00:16:51.669 --> 00:16:56.230
asshole he is. So while everybody was listening

00:16:56.230 --> 00:17:02.129
to a lot of the early 90s stuff. I was digging

00:17:02.129 --> 00:17:05.269
through the Van Morrison catalog. I bought Tupelo

00:17:05.269 --> 00:17:08.490
Honey. That was a game changer for me. Another

00:17:08.490 --> 00:17:12.269
masterpiece. That album is just fantastic. So

00:17:12.269 --> 00:17:14.549
here's what's funny. Everybody talks about how

00:17:14.549 --> 00:17:17.670
great Moondance is. That may have been the fourth

00:17:17.670 --> 00:17:20.009
or the fifth Van Morrison album that I bought.

00:17:20.349 --> 00:17:24.650
Really? Yeah. So I bought Enlightenment, which

00:17:24.650 --> 00:17:28.490
was from early 90s. I bought that album next.

00:17:29.420 --> 00:17:31.579
I bought Astral Weeks because everybody told

00:17:31.579 --> 00:17:34.799
me how great it was. They're not wrong. Honestly,

00:17:35.019 --> 00:17:37.380
I feel like it's a little overrated, though.

00:17:37.559 --> 00:17:41.480
Oh, wow. Okay. Okay. Like, I will take St. Dominic's

00:17:41.480 --> 00:17:44.920
preview over that album any day. That's interesting.

00:17:45.119 --> 00:17:48.220
Okay. Yeah. Yeah. So, anyways, if you ever do

00:17:48.220 --> 00:17:51.920
a Van Morrison mixtape, invite me back. We'll

00:17:51.920 --> 00:17:54.940
go deep. Well, what are you going to follow up

00:17:54.940 --> 00:18:00.680
Into the Mystic with? How can you follow up into

00:18:00.680 --> 00:18:05.099
the mystic? How about, how about we go with another

00:18:05.099 --> 00:18:09.640
game changer for me? Let's go. Alison from Elvis

00:18:09.640 --> 00:18:13.559
Costello. Yes. Okay. I mean, you can't go wrong

00:18:13.559 --> 00:18:17.579
with early Elvis Costello. He's hit or miss for

00:18:17.579 --> 00:18:21.640
me since the eighties. Most of his albums will

00:18:21.640 --> 00:18:25.599
have like four or five absolute gems. And then

00:18:25.599 --> 00:18:29.630
the rest are there. Okay. kind of how i feel

00:18:29.630 --> 00:18:33.029
about neil young albums probably how i feel also

00:18:33.029 --> 00:18:37.650
about van morrison albums since the mid 90s as

00:18:37.650 --> 00:18:41.589
well but this song you just have to sing along

00:18:41.589 --> 00:18:46.309
to this it's so good my co -host wayne he says

00:18:46.309 --> 00:18:50.289
that elvis costello is the greatest living songwriter

00:18:50.289 --> 00:18:54.650
and i'm not sure if i totally disagree with him

00:18:54.650 --> 00:18:58.059
on that so there you go allison And if there

00:18:58.059 --> 00:19:01.240
was ever a case to be made for why. Right there.

00:19:01.240 --> 00:19:03.900
This is one of the ones. My aim is true. A line

00:19:03.900 --> 00:19:06.960
from the song being the title of the album. Shocking

00:19:06.960 --> 00:19:10.579
that this song never charted for him as it's

00:19:10.579 --> 00:19:13.220
easily one of his most beloved. I know it charted

00:19:13.220 --> 00:19:16.759
for Linda Ronstadt. And when she covers your

00:19:16.759 --> 00:19:19.920
song, does it really need any more stamp of approval

00:19:19.920 --> 00:19:23.279
than that? No, no. Well, put a pin on that because

00:19:23.279 --> 00:19:25.640
we're going to talk about Linda here. Spoiler

00:19:25.640 --> 00:19:29.740
alert. All right. All right. Well, following

00:19:29.740 --> 00:19:33.900
up Elvis Costello, I think I'm going to stick

00:19:33.900 --> 00:19:36.700
with the alternative aspect that he brings to

00:19:36.700 --> 00:19:40.599
music, but bring it up a couple of decades. And

00:19:40.599 --> 00:19:43.420
I think the song that I posted about that kind

00:19:43.420 --> 00:19:48.960
of spawned this episode idea is where I want

00:19:48.960 --> 00:19:51.660
to go next. And I'm going to go off of one of

00:19:51.660 --> 00:19:54.220
my. favorite albums of the 90s and maybe one

00:19:54.220 --> 00:19:57.099
of my favorite albums of all time counting crows

00:19:57.099 --> 00:20:00.559
august and everything after and i know where

00:20:00.559 --> 00:20:04.099
you're going i bet you do but while the whole

00:20:04.099 --> 00:20:07.940
album is perfect as far as i'm concerned there's

00:20:07.940 --> 00:20:11.460
one song that resonates with me more than any

00:20:11.460 --> 00:20:14.880
other song on the album and that is sullivan

00:20:14.880 --> 00:20:18.759
street the song progression -wise, chord progression

00:20:18.759 --> 00:20:23.380
-wise, actually gives me nuances of a ballad

00:20:23.380 --> 00:20:27.619
form of Baba O 'Reilly. Okay. I don't hear the

00:20:27.619 --> 00:20:30.559
song, but it gives me the vibe of that three

00:20:30.559 --> 00:20:34.019
-chord progression, only definitely done in much

00:20:34.019 --> 00:20:37.720
more Adam Duritz style. And Maria McKee's background

00:20:37.720 --> 00:20:43.339
vocals on that song are just hauntingly undeniable.

00:20:43.640 --> 00:20:45.900
Well, you know all the songs are about Maria,

00:20:46.079 --> 00:20:49.380
right? Yes. But the big question is, she the

00:20:49.380 --> 00:20:53.079
Maria? She may be one of the Marias. I was going

00:20:53.079 --> 00:20:55.519
to say, how meta would that be to have her sing

00:20:55.519 --> 00:20:58.140
on a song that's about the Maria? Right, right,

00:20:58.160 --> 00:21:02.140
right. Exactly. But, I mean, Adam came out and

00:21:02.140 --> 00:21:04.160
said on Song Facts, I'm going to read a quote

00:21:04.160 --> 00:21:07.029
about this one. My last girlfriend, for the first

00:21:07.029 --> 00:21:08.910
month and a half that we were going out, her

00:21:08.910 --> 00:21:10.910
mother was living with her, and her mother's

00:21:10.910 --> 00:21:13.710
very Catholic. We couldn't spend the night together,

00:21:14.009 --> 00:21:16.670
so I was constantly making these drives in the

00:21:16.670 --> 00:21:19.430
middle of the night. Very surreal, four in the

00:21:19.430 --> 00:21:22.230
morning, falling asleep. I really believed in

00:21:22.230 --> 00:21:24.630
the relationship, but when I was writing this

00:21:24.630 --> 00:21:27.549
song, the lyrics came out, pretty soon I won't

00:21:27.549 --> 00:21:30.829
come around. It wasn't what I wanted. I didn't

00:21:30.829 --> 00:21:34.130
want it to end, but there it was. It's about

00:21:34.130 --> 00:21:37.230
the inevitability of leaving. And I think he

00:21:37.230 --> 00:21:40.430
summed that up perfectly in that tune. Is that

00:21:40.430 --> 00:21:44.450
quote from the live recording they did? That

00:21:44.450 --> 00:21:47.930
was from an interview posted on Song Facts. Was

00:21:47.930 --> 00:21:50.490
it? About the track, yeah. Yeah, because if you

00:21:50.490 --> 00:21:53.750
go to that live album that they did for August

00:21:53.750 --> 00:21:57.890
and everything after, he also talks about this

00:21:57.890 --> 00:22:03.039
relationship that he knew was... Not going to

00:22:03.039 --> 00:22:07.019
go the distance. Yeah. Along with the CD, there's

00:22:07.019 --> 00:22:10.200
a Blu -ray of that entire concert. Highly recommend

00:22:10.200 --> 00:22:12.839
if you have not seen that yet to get a copy and

00:22:12.839 --> 00:22:15.500
give it a watch. It's amazing. Highly recommend

00:22:15.500 --> 00:22:19.240
it. Yeah. Good stuff. All right. You're up next.

00:22:20.140 --> 00:22:22.880
All right. How do you follow Sullivan Street?

00:22:22.980 --> 00:22:27.170
I'm going to go. Since we're talking about hypnotic

00:22:27.170 --> 00:22:30.430
songs, let's go Dancing Barefoot from Patti Smith.

00:22:30.609 --> 00:22:34.630
I guess it would be actually Patti Smith Roop

00:22:34.630 --> 00:22:39.890
because it comes off of the Wave album from 1979.

00:22:40.670 --> 00:22:45.309
People may recognize it more because it was the

00:22:45.309 --> 00:22:49.210
theme song for the miniseries Daisy Jones and

00:22:49.210 --> 00:22:53.150
the Six that came out last year on Amazon Prime.

00:22:54.140 --> 00:22:58.539
This song is just hypnotic. And since I'm also

00:22:58.539 --> 00:23:04.480
unabashed 80s U2 fan, they have a really great

00:23:04.480 --> 00:23:08.460
cover of it. It was B -side for When Love Comes

00:23:08.460 --> 00:23:11.740
to Town. And they do a pretty awesome job at

00:23:11.740 --> 00:23:14.779
that as well. I'm trying to remember who else

00:23:14.779 --> 00:23:18.480
covered it. I think Jeanette Napolitano from

00:23:18.480 --> 00:23:22.000
Concrete Blonde also covered this. I don't love

00:23:22.000 --> 00:23:26.000
it as much as... Bono's version or the original

00:23:26.000 --> 00:23:30.440
version. But this song, man, this one punches

00:23:30.440 --> 00:23:33.940
me in the face. I just love it so much. And you

00:23:33.940 --> 00:23:37.059
know my feeling about U2 from that infamous Playlist

00:23:37.059 --> 00:23:41.180
Wars episode. I do. Rattle and Hum might be one

00:23:41.180 --> 00:23:44.660
of my favorite U2 albums, believe it or not.

00:23:44.839 --> 00:23:47.480
I love Desire when love comes to town. And that's

00:23:47.480 --> 00:23:50.400
such a perfect B -side. Shocked me that it didn't

00:23:50.400 --> 00:23:52.299
make the actual album because it would have fit.

00:23:53.019 --> 00:23:55.539
perfectly on rattle and hum would have totally

00:23:55.539 --> 00:23:59.039
fit yeah there were so many good b signs from

00:23:59.039 --> 00:24:02.240
that era their version of unchained melody is

00:24:02.240 --> 00:24:05.119
pretty great as well painted black they did a

00:24:05.119 --> 00:24:07.279
good yeah they did a good cover of painted black

00:24:07.279 --> 00:24:10.779
as well um i'm trying to remember all the all

00:24:10.779 --> 00:24:13.279
the good ones anyways i'm not focused on youtube

00:24:13.279 --> 00:24:16.640
right now so yeah patty smith again you mentioned

00:24:16.640 --> 00:24:19.319
daisy jones in the six i think a lot of people

00:24:19.319 --> 00:24:23.359
discovered At least a lot of younger people discovered

00:24:23.359 --> 00:24:25.839
the brilliance of Patti Smith through that show.

00:24:25.940 --> 00:24:28.299
And that's why I love when shows pull these older

00:24:28.299 --> 00:24:31.539
songs and kind of pick them out of obscurity

00:24:31.539 --> 00:24:33.359
and give them their moment, which is amazing.

00:24:33.539 --> 00:24:37.119
And once again, a song featured on Rolling Stone's

00:24:37.119 --> 00:24:39.599
list of the 500 greatest songs of all time. I

00:24:39.599 --> 00:24:42.680
believe it's like in the 300s. But yeah, yeah,

00:24:42.759 --> 00:24:47.160
it's there. So following that up, Patti Smith

00:24:47.160 --> 00:24:50.250
is an interesting voice to follow up. I'm going

00:24:50.250 --> 00:24:53.329
to lean into it and go to one of my cover songs

00:24:53.329 --> 00:24:56.329
because I'm a big fan of cover songs. And when

00:24:56.329 --> 00:24:59.549
you cover a band as iconic as the Rolling Stones,

00:24:59.789 --> 00:25:04.849
you better bring something to it to make it special.

00:25:05.009 --> 00:25:07.450
We just talked about U2's version of Paint It

00:25:07.450 --> 00:25:10.130
Black, and that's good. It's good. It's definitely

00:25:10.130 --> 00:25:15.009
good. However, the Sunday's cover of Wild Horses

00:25:15.009 --> 00:25:22.069
from 1992's Blind is. One of my favorite voices

00:25:22.069 --> 00:25:26.049
of all time is Harriet Wheeler. She has such

00:25:26.049 --> 00:25:31.210
a unique, innocent voice. It's just so perfect.

00:25:31.329 --> 00:25:34.730
And I'll just go ahead and say it. Wild Horses

00:25:34.730 --> 00:25:38.009
by the Sundays is one of those covers that I

00:25:38.009 --> 00:25:40.289
love more than the original. And don't get me

00:25:40.289 --> 00:25:44.190
wrong. I love the Rolling Stones version. Yeah.

00:25:44.269 --> 00:25:47.410
But the version from the Sundays is just on another

00:25:47.410 --> 00:25:52.710
level. Four years later, the whole world realized

00:25:52.710 --> 00:25:55.509
its brilliance when it was used in the movie

00:25:55.509 --> 00:25:59.230
Fear with Mark Wahlberg and Reese Witherspoon.

00:25:59.430 --> 00:26:02.339
I've never seen that. I mean, it's by no means

00:26:02.339 --> 00:26:04.619
a masterpiece of cinema, but I remember in the

00:26:04.619 --> 00:26:07.160
90s it had its moment in the sun and everybody

00:26:07.160 --> 00:26:09.619
was talking about it. And once the movie was

00:26:09.619 --> 00:26:12.539
out there, they started talking about the Sunday's

00:26:12.539 --> 00:26:15.559
cover of Wild Horses within the movie. And then

00:26:15.559 --> 00:26:18.240
everyone started seeking this song out. And I'm

00:26:18.240 --> 00:26:22.220
going, where have you been? Yeah. So Wild Horses

00:26:22.220 --> 00:26:25.079
following up Dancing Barefoot. Okay. Well, I

00:26:25.079 --> 00:26:29.279
was contemplating using the Sunday's Here's Where

00:26:29.279 --> 00:26:32.539
the Story Ends in the playlist, but we won't

00:26:32.539 --> 00:26:35.940
do a repeat of artists, so I'll find something

00:26:35.940 --> 00:26:39.259
else in its place. Since we're talking females

00:26:39.259 --> 00:26:44.480
covering great songs, let's go with one of my

00:26:44.480 --> 00:26:47.400
favorite singers of all time, Linda Ronstad.

00:26:47.680 --> 00:26:50.799
How about we switch it up and make it a little

00:26:50.799 --> 00:26:55.269
bit happier, I guess? Her cover of Little Feet's

00:26:55.269 --> 00:26:59.690
Willen. Yeah. So you just talked about how Harriet

00:26:59.690 --> 00:27:06.289
owns that song, Wild Horses. Linda owns so many

00:27:06.289 --> 00:27:10.170
of the songs that she has covered. I was just

00:27:10.170 --> 00:27:14.349
listening earlier today to Blue Bayou. That's

00:27:14.349 --> 00:27:18.180
her song. Tumbling Dice. tumbling dice talking

00:27:18.180 --> 00:27:21.420
about rolling stones two women owning the stones

00:27:21.420 --> 00:27:24.660
oh absolutely and this will get some vitriol

00:27:24.660 --> 00:27:28.740
i like linda's version of tumbling dice way more

00:27:28.740 --> 00:27:31.380
than i like the rolling stones version mine's

00:27:31.380 --> 00:27:33.980
not way more but it's definitely more way more

00:27:33.980 --> 00:27:37.539
wow okay yeah and of course i'm a big zevon fan

00:27:37.539 --> 00:27:42.140
so anytime that linda has covered any zevon songs

00:27:43.160 --> 00:27:46.980
I won't say that I love her versions more. Like

00:27:46.980 --> 00:27:49.359
she takes some liberties on the lyrics for like

00:27:49.359 --> 00:27:52.539
poor, poor, pitiful me, which I want to hear

00:27:52.539 --> 00:27:56.220
Zvon's original lyrics for that. But Linda's

00:27:56.220 --> 00:28:01.200
the best. And I have a feeling, Brian, that because

00:28:01.200 --> 00:28:03.799
of us making this mixtape, I'm probably going

00:28:03.799 --> 00:28:07.000
to go on a Linda Ronstadt deep dive again. That's

00:28:07.000 --> 00:28:09.059
not a bad thing. There's nothing wrong with that

00:28:09.059 --> 00:28:13.809
decision. One of the best. voices of that generation

00:28:13.809 --> 00:28:17.869
and maybe ever ever i mean she's incredible the

00:28:17.869 --> 00:28:21.730
definitive version of will and hard stop there's

00:28:21.730 --> 00:28:24.049
no arguing that one and and i love little feet

00:28:24.049 --> 00:28:26.970
nothing against little feet but linda just takes

00:28:26.970 --> 00:28:29.730
the song and says i'm sorry i'm not covering

00:28:29.730 --> 00:28:33.710
this i'm taking it it's becoming mine yep it's

00:28:33.710 --> 00:28:37.430
hers it's unbelievable movie buffs it was featured

00:28:37.430 --> 00:28:42.500
in you know i don't know The Abyss, 1989, James

00:28:42.500 --> 00:28:45.380
Cameron movie. Oh, I haven't seen that since

00:28:45.380 --> 00:28:50.539
1989, so I have no idea. This was pre -Terminator

00:28:50.539 --> 00:28:53.200
2, James Cameron. Yeah. That was still a big

00:28:53.200 --> 00:28:54.859
movie, though. I definitely remember that being

00:28:54.859 --> 00:28:57.759
big for that year. Yeah, it was. It was a good

00:28:57.759 --> 00:29:02.000
movie. Well, there's no way I'm topping the last

00:29:02.000 --> 00:29:05.200
three female voices we've put into this fold

00:29:05.200 --> 00:29:08.539
here. Okay. So ending aside of songs that leave

00:29:08.539 --> 00:29:11.940
you spellbound. Anybody that knows me already

00:29:11.940 --> 00:29:15.259
knows what song I'm putting here. Oh, no. There's

00:29:15.259 --> 00:29:19.700
no question what song will close my side A of

00:29:19.700 --> 00:29:22.279
a spellbinding playlist. And it's my favorite

00:29:22.279 --> 00:29:26.980
song of all time. Paul Williams as sung by Kermit

00:29:26.980 --> 00:29:31.059
the Frog, Rainbow Connection from 1979's The

00:29:31.059 --> 00:29:34.200
Muppet Movie soundtrack. This is one of the first

00:29:34.200 --> 00:29:38.079
albums I ever owned. My father worked multiple

00:29:38.079 --> 00:29:41.339
jobs when I was really young and my mom would

00:29:41.339 --> 00:29:43.519
always sit with me on the floor in the living

00:29:43.519 --> 00:29:45.400
room where we'd put on music and listen to albums.

00:29:45.539 --> 00:29:47.900
And I always wanted to put this one on. And I,

00:29:47.980 --> 00:29:53.660
one of my first actual memories of life is sitting

00:29:53.660 --> 00:29:57.480
in her arm, listening to this song. This song

00:29:57.480 --> 00:30:01.579
means more to me than I could ever explain. I

00:30:01.579 --> 00:30:05.119
have two sealed copies of the Muppet movie album.

00:30:05.940 --> 00:30:09.059
hiding and waiting for each of my daughters to

00:30:09.059 --> 00:30:11.099
get married one day because they will be receiving

00:30:11.099 --> 00:30:14.519
the album on their wedding day because that is

00:30:14.519 --> 00:30:17.339
the song we are dancing to because it is the

00:30:17.339 --> 00:30:22.000
song I danced with my mom to at my wedding. And

00:30:22.000 --> 00:30:25.900
she made me promise. She's like, whatever you

00:30:25.900 --> 00:30:28.880
do, I don't think I could handle Kermit. And

00:30:28.880 --> 00:30:31.960
I said, I promise you, we won't start dancing

00:30:31.960 --> 00:30:34.990
to Kermit. I think it was my exact words. And

00:30:34.990 --> 00:30:37.549
we didn't. We started dancing to Kenny Loggins

00:30:37.549 --> 00:30:40.869
version of the Rainbow Connection. However, I'm

00:30:40.869 --> 00:30:44.130
an audio editor. Yes. So at the end of the first

00:30:44.130 --> 00:30:47.329
verse, I cross faded the two songs. And as soon

00:30:47.329 --> 00:30:51.450
as she heard the banjo, it was water. And everybody

00:30:51.450 --> 00:30:54.970
in the room knew what was about to happen. And

00:30:54.970 --> 00:30:57.930
I just love this song so much. It puts such a

00:30:57.930 --> 00:31:00.789
smile on my face every time I hear it. I'm almost

00:31:00.789 --> 00:31:03.289
welling up just talking about it. So it's just

00:31:03.289 --> 00:31:06.970
such a timeless song. And Paul Williams is such

00:31:06.970 --> 00:31:09.349
an amazing songwriter. So I feel like that fits

00:31:09.349 --> 00:31:12.730
in with this side more than the voice of Kermit.

00:31:12.910 --> 00:31:15.329
It's the brilliance of Paul Williams songwriting.

00:31:15.470 --> 00:31:18.910
Yeah. And Paul, if you're listening, I'm pretty

00:31:18.910 --> 00:31:22.430
sure Brian wants you on his podcast. I'd say

00:31:22.430 --> 00:31:25.029
that's a pretty heavy given. Yeah. Yeah, definitely.

00:31:25.190 --> 00:31:28.200
Yeah. Well, there you have it, folks. Side A

00:31:28.200 --> 00:31:32.000
of our ultimate spellbinding songs mixtape, which

00:31:32.000 --> 00:31:34.640
kicked off with The Who's Baba O 'Reilly, Led

00:31:34.640 --> 00:31:37.519
Zeppelin's Ramblin', The Replacements' Can't

00:31:37.519 --> 00:31:40.319
Hardly Wait, Van Morrison's Into the Mystic,

00:31:40.460 --> 00:31:44.019
Elvis Costello's Allison, Counting Crows' Sullivan

00:31:44.019 --> 00:31:47.059
Street, Patti Smith Group's Dancing Barefoot,

00:31:47.480 --> 00:31:51.079
Sunday's Wild Horses, Linda Ronstadt's Willin',

00:31:51.079 --> 00:31:54.890
and Paul Williams' A .K .A. Or not AKA in this

00:31:54.890 --> 00:31:59.930
one, but as sung by ASA, Kermit the Frog, Rainbow

00:31:59.930 --> 00:32:02.930
Connection. Head over to myweeklymixtape .com

00:32:02.930 --> 00:32:05.089
to hear all the songs we've discussed in this

00:32:05.089 --> 00:32:08.549
mix through the playlist embedded on the episode

00:32:08.549 --> 00:32:11.789
page. Now, Ben, before we flip things over to

00:32:11.789 --> 00:32:13.549
Side B, why don't you let the listeners know

00:32:13.549 --> 00:32:16.589
a little bit more about Records Revisited? Yeah,

00:32:16.670 --> 00:32:20.250
Records Revisited podcast. Just go out and do

00:32:20.250 --> 00:32:24.220
all the socials. Usually I'm responding to Brian's

00:32:24.220 --> 00:32:28.839
bad takes on the socials and bad takes and vice

00:32:28.839 --> 00:32:32.579
versa and vice versa. So, yeah, we've been doing

00:32:32.579 --> 00:32:35.140
this for five years. I do this with my co -host

00:32:35.140 --> 00:32:40.559
and lifelong friend, Wayne Fugate. So there you

00:32:40.559 --> 00:32:43.940
go. I'm so terrible at promoting myself these

00:32:43.940 --> 00:32:46.500
days. You've probably said the spiel so many

00:32:46.500 --> 00:32:49.519
times. So many times. I'm just like, whatever.

00:32:51.079 --> 00:32:53.779
Well, then let's just move right along. Another

00:32:53.779 --> 00:32:55.859
Muppet reference there. Thank you. Yeah, good.

00:32:56.000 --> 00:32:58.140
To side B, and I'm going to kick things off.

00:32:58.200 --> 00:33:01.640
I ended side A with my favorite song of all time.

00:33:01.960 --> 00:33:05.480
I'm going to start side B with my favorite artist

00:33:05.480 --> 00:33:07.299
of all time. And this is something that you and

00:33:07.299 --> 00:33:10.279
I have talked about many, many times across both

00:33:10.279 --> 00:33:12.880
of our collective shows. Right. And I purposely

00:33:12.880 --> 00:33:17.359
didn't have in my arsenal any of this guy's.

00:33:17.759 --> 00:33:20.240
songs because i knew you were going to pick something

00:33:20.240 --> 00:33:22.519
yeah there's just no way i was getting through

00:33:22.519 --> 00:33:25.220
this episode without it okay tell us what your

00:33:25.220 --> 00:33:27.440
pick all right well i think i should start by

00:33:27.440 --> 00:33:29.980
saying who this artist is because there might

00:33:29.980 --> 00:33:32.339
be some people out there that don't know and

00:33:32.339 --> 00:33:35.160
that artist is tom petty and i'm going to go

00:33:35.160 --> 00:33:40.339
off of the 2009 live anthology box set i normally

00:33:40.339 --> 00:33:45.880
don't do live versions but When he recorded learning

00:33:45.880 --> 00:33:49.700
to fly with Stevie Nicks in a acoustic ballad

00:33:49.700 --> 00:33:54.440
version at the 2006 Bonnaroo music and arts festival,

00:33:54.519 --> 00:33:59.140
it blew my frigging mind. The original is one

00:33:59.140 --> 00:34:02.660
of my top 10 all time favorite petty songs, but

00:34:02.660 --> 00:34:06.599
this live version stripping it down to its core

00:34:06.599 --> 00:34:11.219
and. Just this beautiful Ben Montench piano throughout

00:34:11.219 --> 00:34:14.239
the song. And then just a stunning solo. Stevie

00:34:14.239 --> 00:34:18.300
Nicks harmonizing background vocals. You've got

00:34:18.300 --> 00:34:21.900
this beautiful picking that Mike Campbell's doing

00:34:21.900 --> 00:34:25.280
over Petty's acoustic guitar. The vocal harmonies.

00:34:25.800 --> 00:34:30.380
It brings the song down to its core. And at its

00:34:30.380 --> 00:34:35.340
core, it's just an amazing Petty song. And at

00:34:35.340 --> 00:34:37.579
the end of the song, the whole crowd is just

00:34:37.579 --> 00:34:40.219
singing the chorus over and over again. And Tom

00:34:40.219 --> 00:34:47.940
is almost doing this preacher sermon over the

00:34:47.940 --> 00:34:50.019
song. It's just such a beautiful moment. There's

00:34:50.019 --> 00:34:53.639
actually a video that I'm going to embed at the

00:34:53.639 --> 00:34:58.579
episode page at myweeklymixtape .com of the Bonnaroo

00:34:58.579 --> 00:35:01.480
live feed performance. Bonnaroo has it up on

00:35:01.480 --> 00:35:04.920
their YouTube site. A beautiful, amazing performance.

00:35:05.719 --> 00:35:08.960
There are so many Tom Petty songs that leave

00:35:08.960 --> 00:35:11.239
me speechless, but this one is just on another

00:35:11.239 --> 00:35:14.619
level. Yeah, it's good. I mean, we could talk

00:35:14.619 --> 00:35:18.559
for hours about different Petty songs. I was

00:35:18.559 --> 00:35:20.739
about to say, if you look up between our collective

00:35:20.739 --> 00:35:23.579
shows in the past, I think we have talked for

00:35:23.579 --> 00:35:26.219
collective hours about Tom Petty. We have. We

00:35:26.219 --> 00:35:30.179
have, definitely. Yeah. If I had to pick any...

00:35:30.760 --> 00:35:35.500
tom songs that leave me spellbound uh crawling

00:35:35.500 --> 00:35:39.420
back to you would be on that list wildflowers

00:35:39.420 --> 00:35:44.500
i mean wildflowers is just splendid and has all

00:35:44.500 --> 00:35:47.239
sorts of different uh songs that have left me

00:35:47.239 --> 00:35:50.500
spellbound over the years room at the top is

00:35:50.500 --> 00:35:53.019
another one of those songs that would make my

00:35:53.019 --> 00:35:56.099
list I was teetering between this live version

00:35:56.099 --> 00:35:58.880
of Learning to Fly and then throwing a curveball

00:35:58.880 --> 00:36:01.400
and doing I Forgive It All from Mud Crutch 2.

00:36:01.820 --> 00:36:04.360
Interesting. When he passed and I listened to

00:36:04.360 --> 00:36:07.039
that album again, that song just, I was frozen.

00:36:07.480 --> 00:36:10.579
It felt like a goodbye from him. It just pulled

00:36:10.579 --> 00:36:13.699
my heart out. And every time I hear it now that

00:36:13.699 --> 00:36:16.199
he's gone, it hits just so much harder. I just,

00:36:16.320 --> 00:36:18.739
God, I hope there's more in the vaults because

00:36:18.739 --> 00:36:22.760
I can never get enough petty. Yeah, me too. all

00:36:22.760 --> 00:36:26.820
right well um my pick i'm gonna go back to the

00:36:26.820 --> 00:36:29.599
80s so i'm gonna go tears for fears everybody

00:36:29.599 --> 00:36:32.420
wants to rule the world all right i know it's

00:36:32.420 --> 00:36:36.900
probably like a not a real out there type of

00:36:36.900 --> 00:36:41.460
pick but this song just gives me the feels and

00:36:41.460 --> 00:36:44.860
i've probably legit heard this song thousands

00:36:44.860 --> 00:36:49.000
of times and i still it still gives me the feels.

00:36:49.239 --> 00:36:53.659
So there you go. I don't have anything else wonderful

00:36:53.659 --> 00:36:56.780
to say other than it just gives me the feels

00:36:56.780 --> 00:36:59.059
like I'm, I'm getting goosebumps just thinking

00:36:59.059 --> 00:37:01.059
about the two different times I've seen them

00:37:01.059 --> 00:37:04.920
live and when they did this song. And it's just,

00:37:04.960 --> 00:37:08.059
it's a song that just means a lot to me. Like

00:37:08.059 --> 00:37:11.559
I remember the very first time that I heard this

00:37:11.559 --> 00:37:17.360
song on MTV and I was just. mesmerize so there

00:37:17.360 --> 00:37:20.719
you go cheers for fierce 1985 songs from the

00:37:20.719 --> 00:37:23.539
big chair i've had this vinyl for many many years

00:37:23.539 --> 00:37:26.820
i have a little bit of ptsd from this song though

00:37:26.820 --> 00:37:29.659
oh and there's a very good reason you'll understand

00:37:29.659 --> 00:37:33.480
coming from radio i worked a radio show for four

00:37:33.480 --> 00:37:36.599
years so you've heard this also thousands of

00:37:36.599 --> 00:37:39.860
times this was one of the bumper songs leading

00:37:39.860 --> 00:37:44.900
into the show that i heard once an hour Four

00:37:44.900 --> 00:37:49.019
hours a day for four years. Just the opening

00:37:49.019 --> 00:37:54.460
guitar part. And I love the song, but the first

00:37:54.460 --> 00:37:58.820
15 or 20 seconds, I'm waiting to hear a voiceover.

00:37:58.980 --> 00:38:02.260
Well, hopefully Roland and Kurt have made some

00:38:02.260 --> 00:38:06.909
money off of. lending that uh sam bite out that

00:38:06.909 --> 00:38:09.510
was way above my pay grade but i am sure it happened

00:38:09.510 --> 00:38:11.469
because there were consultants involved with

00:38:11.469 --> 00:38:14.269
the show and they were looking for the 80s demographic

00:38:14.269 --> 00:38:16.929
and when i played that song the first time they're

00:38:16.929 --> 00:38:19.130
like this is perfect and i'm like awesome i love

00:38:19.130 --> 00:38:22.670
this song two and a half years into it i'm like

00:38:22.670 --> 00:38:25.309
why did i pick this because i love the song but

00:38:25.309 --> 00:38:27.389
i have to literally fast forward over the first

00:38:27.389 --> 00:38:31.030
20 seconds and get to the vocals yeah yeah sorry

00:38:31.659 --> 00:38:34.159
No, it's not your fault. It's mine for picking

00:38:34.159 --> 00:38:37.099
it originally. But following that up, I'm going

00:38:37.099 --> 00:38:41.780
to jump 20 years, I think. And I'm going to go

00:38:41.780 --> 00:38:43.840
with another thing where the opening guitar grabs

00:38:43.840 --> 00:38:46.360
my attention. And this song also has a little

00:38:46.360 --> 00:38:49.219
bit of a story for me. But this is an artist

00:38:49.219 --> 00:38:51.179
that I think might be a little divisive with

00:38:51.179 --> 00:38:52.820
listeners, because some people, as soon as you

00:38:52.820 --> 00:38:56.159
say the name, they immediately go, oh. But hear

00:38:56.159 --> 00:39:01.079
me out, John Mayer. I actually love. his music.

00:39:01.079 --> 00:39:03.340
I love him as a songwriter and I think he's a

00:39:03.340 --> 00:39:06.079
ridiculously good guitar player. And one of the

00:39:06.079 --> 00:39:10.699
albums that made me a fan was 2005's live album,

00:39:10.800 --> 00:39:14.760
Try. Try. Yeah. With the John Mayer trio. I mean,

00:39:14.780 --> 00:39:18.139
Jesus, you're dealing with Pino Palladino and

00:39:18.139 --> 00:39:21.599
Steve frigging Jordan. Yeah. Like that trio is

00:39:21.599 --> 00:39:25.579
just bonkers. It's insane. And they bring it

00:39:25.579 --> 00:39:29.130
to the songs. And the song that I chose. was

00:39:29.130 --> 00:39:32.949
from that album, but believe it or not, a year

00:39:32.949 --> 00:39:36.369
later, a studio version was recorded for Continuum

00:39:36.369 --> 00:39:40.130
and not included on the album. It was only included

00:39:40.130 --> 00:39:43.070
as the B -side to the Waiting on the World to

00:39:43.070 --> 00:39:45.869
Change single, which was the first thing I bought

00:39:45.869 --> 00:39:48.210
when we were in North Carolina visiting friends.

00:39:48.829 --> 00:39:51.510
My wife and I got the CD and we heard Waiting

00:39:51.510 --> 00:39:54.849
for the World to Change, followed by Good Love

00:39:54.849 --> 00:39:58.639
is on the Way. And when that song ended, I knew

00:39:58.639 --> 00:40:01.199
the original from Try, but the first time I heard

00:40:01.199 --> 00:40:03.960
the studio version, we were driving up Route

00:40:03.960 --> 00:40:07.179
95 from North Carolina heading to New Jersey.

00:40:07.659 --> 00:40:11.139
I think when I played the song, I think it was

00:40:11.139 --> 00:40:14.559
when we got to double digits in a row. My wife

00:40:14.559 --> 00:40:16.780
turned to me and she said, are we going for a

00:40:16.780 --> 00:40:18.480
dozen? Is that your cutoff? I'm like, we're going

00:40:18.480 --> 00:40:21.429
for a baker's dozen. And then we pulled it out,

00:40:21.429 --> 00:40:23.570
went to something else. That recording is just

00:40:23.570 --> 00:40:27.090
so amazing. And unfortunately it's not on streaming.

00:40:27.269 --> 00:40:30.230
So I will use the version from try on the playlist,

00:40:30.230 --> 00:40:33.429
but I'll probably embed the studio version on

00:40:33.429 --> 00:40:36.690
the episode page as well, because it's just some

00:40:36.690 --> 00:40:38.969
of John's best songwriting shocked. It didn't

00:40:38.969 --> 00:40:41.570
make continuum because that would be my high

00:40:41.570 --> 00:40:45.050
score in records visited speak. Yeah. We've done

00:40:45.050 --> 00:40:47.849
an episode on try. Oh, and you also did an episode

00:40:47.849 --> 00:40:49.570
on Continuum because that was the first ever

00:40:49.570 --> 00:40:52.210
episode of Records Revisited that I heard. There

00:40:52.210 --> 00:40:55.130
you go. There you go. All right. Yeah, we've

00:40:55.130 --> 00:40:59.650
done a couple of mirror albums. He's not my favorite

00:40:59.650 --> 00:41:03.210
guy in the world, but I'm with you. I think he's

00:41:03.210 --> 00:41:06.429
a very underappreciated guitarist and a very

00:41:06.429 --> 00:41:10.070
underappreciated songwriter as well. I'll tell

00:41:10.070 --> 00:41:12.269
you right now, if Try was his first album and

00:41:12.269 --> 00:41:15.139
not... Room for squares with your bodies of Wonderland.

00:41:15.219 --> 00:41:16.820
People would have seen him a whole lot differently.

00:41:17.000 --> 00:41:19.179
I think you're right. I think you're right. Yeah.

00:41:20.559 --> 00:41:24.940
I don't know how to follow that. All right. Thanks

00:41:24.940 --> 00:41:27.039
for tuning in, everyone. Let's just do this.

00:41:27.079 --> 00:41:31.519
Since you went crazy with going from Linda Ronstad

00:41:31.519 --> 00:41:36.460
to Kermit, let's go John Mayer to the Smiths.

00:41:36.480 --> 00:41:39.860
That's a pivot. Yeah. So let's go. There is a

00:41:39.860 --> 00:41:43.230
light that never goes out. That was a game changer

00:41:43.230 --> 00:41:48.090
for me. When I first heard this on MTV in 87,

00:41:48.469 --> 00:41:52.889
I guess it was 87, 86, 87. I want to say 86.

00:41:53.269 --> 00:41:56.050
But it blew me away. And I had already known

00:41:56.050 --> 00:41:58.449
the Smiths. I had had a copy of Meat is Murder.

00:41:59.150 --> 00:42:03.329
So it wasn't like I had no idea who Johnny Marr

00:42:03.329 --> 00:42:07.750
and Morrissey were. But this song just ramped

00:42:07.750 --> 00:42:11.199
it up another notch for me. this is one of those

00:42:11.199 --> 00:42:14.940
songs that when i got the album and brought it

00:42:14.940 --> 00:42:17.380
home from tower records and i started playing

00:42:17.380 --> 00:42:21.440
it on my record player and my co -host wayne

00:42:21.440 --> 00:42:25.920
was living with my family for a portion of our

00:42:25.920 --> 00:42:31.019
senior year in high school and he was like what

00:42:31.019 --> 00:42:35.739
is this and both of us were just spellbound So

00:42:35.739 --> 00:42:39.679
since we're talking about the definition of spellbinding,

00:42:39.900 --> 00:42:44.840
this song is spellbinding for both of us. And

00:42:44.840 --> 00:42:48.760
it's still a song that, again, going back to

00:42:48.760 --> 00:42:50.900
the Tears for Fears thing, I've probably heard

00:42:50.900 --> 00:42:54.079
a thousand times and I never get sick of it.

00:42:54.219 --> 00:42:57.980
Never. I love it so much. As do a lot of people.

00:42:58.360 --> 00:43:01.760
Once again, Rolling Stones, 500 greatest songs

00:43:01.760 --> 00:43:04.199
of all time. Another choice from that. Yeah.

00:43:04.750 --> 00:43:08.030
Maybe it's the bassist in me, but Andy Rourke's

00:43:08.030 --> 00:43:11.369
bass playing on this track has always been the

00:43:11.369 --> 00:43:15.170
driving factor to me. Andy Rourke's great. Yeah.

00:43:15.309 --> 00:43:19.429
I feel like his bass line truly elevates the

00:43:19.429 --> 00:43:22.670
song. And just saying that guts me that we lost

00:43:22.670 --> 00:43:26.869
him in 2023. Just an amazing player. In my humble

00:43:26.869 --> 00:43:28.969
opinion, you picked the pinnacle of the Smiths

00:43:28.969 --> 00:43:31.829
and Morrissey. So I love the fact that you chose

00:43:31.829 --> 00:43:34.889
this one. He just murders a great album. But

00:43:34.889 --> 00:43:38.590
this song is, it's just, yeah. Yeah. Next level.

00:43:39.110 --> 00:43:41.969
100%. And I think I'm going to bring us down

00:43:41.969 --> 00:43:45.730
now a notch. Even more than Morrissey has brought

00:43:45.730 --> 00:43:48.309
us down? I was going to say, lyrically, Morrissey

00:43:48.309 --> 00:43:50.409
brought things down. Okay. I'm going to bring

00:43:50.409 --> 00:43:55.630
us down musically, down to a piano. Okay. And

00:43:55.630 --> 00:43:58.929
lyrically, it's going to start bringing us up.

00:43:59.150 --> 00:44:00.809
Well, I'm going to bring you down then for the

00:44:00.809 --> 00:44:05.320
next song. The song that I chose is one of the

00:44:05.320 --> 00:44:08.400
most hauntingly beautiful songs I've ever heard

00:44:08.400 --> 00:44:11.960
in my entire life. Every time it comes on, I

00:44:11.960 --> 00:44:14.679
get instant goosebumps, a lump in my throat,

00:44:14.780 --> 00:44:17.900
and somebody starts cutting onions or something.

00:44:17.980 --> 00:44:20.059
I don't know what's happening that there's always

00:44:20.059 --> 00:44:22.460
onions being chopped when this song plays. But

00:44:22.460 --> 00:44:25.900
from 2019's Daylight, I'm going to go with Grace

00:44:25.900 --> 00:44:29.599
Potter and release. Okay. This song is so vulnerable,

00:44:29.780 --> 00:44:34.070
so real. And the production is so stripped back.

00:44:34.150 --> 00:44:37.030
It's literally her and a piano. It adds this

00:44:37.030 --> 00:44:40.510
element of self -reflection to the song. And

00:44:40.510 --> 00:44:42.710
this is the kind of song that you don't need

00:44:42.710 --> 00:44:46.469
a big production because her voice in the piano

00:44:46.469 --> 00:44:50.989
portray exactly what the song is meant to portray.

00:44:51.190 --> 00:44:55.289
That being, as Grace put it, letting go of grief

00:44:55.289 --> 00:44:58.690
and pain in order to forge a better way forward.

00:44:59.710 --> 00:45:03.909
which for a lot of people, me included, letting

00:45:03.909 --> 00:45:06.650
go is one of the hardest things to do. And for

00:45:06.650 --> 00:45:09.309
someone that does struggle with anxiety, she

00:45:09.309 --> 00:45:12.010
captures that struggle in this song, even though

00:45:12.010 --> 00:45:15.050
it's based lyrically, it sounds like on a relationship.

00:45:15.309 --> 00:45:17.909
You can take the lyrics and kind of put it to

00:45:17.909 --> 00:45:20.170
whatever meaning you want. And for me, her voice,

00:45:20.329 --> 00:45:24.130
the arrangement, just everything about this song

00:45:24.130 --> 00:45:27.599
is just so frigging perfect. It's the reason

00:45:27.599 --> 00:45:30.639
I love Grace Potter as a musician and as a songwriter.

00:45:31.239 --> 00:45:34.179
And anytime I talk to somebody and I'm like,

00:45:34.219 --> 00:45:36.219
I want to introduce you to Grace Potter, I go

00:45:36.219 --> 00:45:39.119
right to the song. Because if it doesn't stop

00:45:39.119 --> 00:45:41.800
them the way it stops me, Grace Potter might

00:45:41.800 --> 00:45:45.199
not be an artist for them. Yeah. So I went with

00:45:45.199 --> 00:45:49.199
release. Yeah. I'm not a big Grace Potter fan.

00:45:49.380 --> 00:45:52.699
And I don't know why. Because she's kind of in

00:45:52.699 --> 00:45:56.329
my wheelhouse. But yeah, I need to listen. to

00:45:56.329 --> 00:46:01.590
more of her i wasn't totally familiar i guess

00:46:01.590 --> 00:46:04.429
i kind of know this song there is a video for

00:46:04.429 --> 00:46:08.610
it and the videos is great but there's also some

00:46:08.610 --> 00:46:11.289
live videos again just her and a piano and i

00:46:11.289 --> 00:46:14.050
feel like the emotion in her voice in the delivery

00:46:14.050 --> 00:46:16.369
of this song if it doesn't grab you she might

00:46:16.369 --> 00:46:19.349
not be an artist for you well if you're going

00:46:19.349 --> 00:46:23.130
there then let's stay in the valley let's go

00:46:23.130 --> 00:46:27.019
with um this woman's work from kate bush okay

00:46:27.019 --> 00:46:31.760
so we're if you weren't already depressed and

00:46:31.760 --> 00:46:36.519
sad and mopey like this will get you there such

00:46:36.519 --> 00:46:39.559
a beautiful song there is a really great cover

00:46:39.559 --> 00:46:43.619
out there also by maxwell and he doesn't change

00:46:43.619 --> 00:46:47.559
the gender so it is he's singing it just like

00:46:47.559 --> 00:46:49.619
kate saying it There were two versions of that,

00:46:49.639 --> 00:46:52.380
right? He did it on MTV Unplugged in the 90s.

00:46:52.380 --> 00:46:54.679
And then in the aughts, he put it on a studio

00:46:54.679 --> 00:46:58.139
album as well. Yeah, correct. Correct. This is

00:46:58.139 --> 00:47:01.340
on the soundtrack for She's Having a Baby, which

00:47:01.340 --> 00:47:06.900
is a John Hughes movie from, what, 88? Terrible

00:47:06.900 --> 00:47:09.500
movie. Don't go see it. But the soundtrack is

00:47:09.500 --> 00:47:12.840
really great. Soundtrack's really great. And

00:47:12.840 --> 00:47:17.579
this song is just, yeah. And I am definitely

00:47:17.579 --> 00:47:22.760
an unapologetic Kate Bush fan, and I'm not even

00:47:22.760 --> 00:47:26.420
sure this is the pinnacle of Kate, but it's right

00:47:26.420 --> 00:47:29.159
up there. And again, if you wanted to be down

00:47:29.159 --> 00:47:32.039
there in the valley where Grace Potter is, the

00:47:32.039 --> 00:47:34.340
song will bring you there. These two back to

00:47:34.340 --> 00:47:37.800
back work so well together. It's ridiculous.

00:47:38.159 --> 00:47:41.559
And I know you said you're not a big. grace potter

00:47:41.559 --> 00:47:44.179
fan but once we put this episode out listen to

00:47:44.179 --> 00:47:46.480
these two songs back to back this is a punch

00:47:46.480 --> 00:47:49.900
right here i'm i'm feeling this yeah i mean and

00:47:49.900 --> 00:47:53.559
we set you up with morrissey as well right before

00:47:53.559 --> 00:47:56.940
grace potter so y 'all are gonna need a xanax

00:47:56.940 --> 00:47:59.880
or two after listening to this portion of the

00:47:59.880 --> 00:48:02.960
playlist yeah you aren't kidding man so let's

00:48:02.960 --> 00:48:04.900
try to change things up and go with a palate

00:48:04.900 --> 00:48:07.920
cleanser here all right let's hear it i'm gonna

00:48:07.920 --> 00:48:11.170
go with What I feel is one of the greatest instrumental

00:48:11.170 --> 00:48:16.389
songs ever recorded. Okay. And this is one of

00:48:16.389 --> 00:48:19.789
my favorite guitarists of all time. And I'm going

00:48:19.789 --> 00:48:22.309
to go with something we talked about on the show

00:48:22.309 --> 00:48:26.650
on episode 27, the ultimate Stevie Ray Vaughan

00:48:26.650 --> 00:48:29.329
playlist with Patreon mixtape or David Lee Smith.

00:48:30.070 --> 00:48:34.409
I got to go at Riviera Paradise. The first time

00:48:34.409 --> 00:48:37.090
I heard this song, I was driving home from college.

00:48:37.659 --> 00:48:41.460
Listening to 105 .5 WDHA at 11 o 'clock at night.

00:48:41.599 --> 00:48:45.920
And this song started. And seven minutes later.

00:48:46.219 --> 00:48:48.039
I was going to say, did they play the whole dang

00:48:48.039 --> 00:48:50.059
thing? The whole song. Because it's like an eight

00:48:50.059 --> 00:48:53.659
minute song, right? Yes, in its entirety. When

00:48:53.659 --> 00:48:56.920
it was done, they played like three or four other

00:48:56.920 --> 00:49:01.460
songs that I just, I kept listening until the

00:49:01.460 --> 00:49:04.719
DJ came back and did the talk back. And the next

00:49:04.719 --> 00:49:08.300
day I went out and bought InStep. And fell in

00:49:08.300 --> 00:49:10.099
love with Stevie Ray Vaughan as an artist. I

00:49:10.099 --> 00:49:12.659
already knew the hits. I knew crossfire. I knew

00:49:12.659 --> 00:49:16.280
the house is rocking Riviera paradise was on

00:49:16.280 --> 00:49:19.619
another level back to my wedding. When they asked

00:49:19.619 --> 00:49:21.539
us, what kind of music do you want played during

00:49:21.539 --> 00:49:28.179
dinner? I said, Riviera paradise, Lenny Riviera

00:49:28.179 --> 00:49:31.980
paradise, Lenny in that order. Just keep looping

00:49:31.980 --> 00:49:34.480
it because the songs are just, they just sink

00:49:34.480 --> 00:49:38.500
in. And I, Can't say enough wonderful things

00:49:38.500 --> 00:49:41.139
about what he does in this song, the way he plays

00:49:41.139 --> 00:49:45.099
it. It's jazzy, it's rock, and it's blues all

00:49:45.099 --> 00:49:49.900
in one. And it's the last song on his last album

00:49:49.900 --> 00:49:52.719
on this earth. Count all the posthumous releases

00:49:52.719 --> 00:49:57.000
he's had. This was his musical swan song, so

00:49:57.000 --> 00:49:59.519
to speak. And what an amazing one it was. So

00:49:59.519 --> 00:50:02.840
Stevie Ray Vaughan's Riviera Paradise. I was

00:50:02.840 --> 00:50:06.280
just looking at my, I have the box set. Nice.

00:50:06.800 --> 00:50:10.460
And I was looking to see if it's on there. It's

00:50:10.460 --> 00:50:15.619
not. Ridiculous. Yeah. I mean, that's a huge

00:50:15.619 --> 00:50:19.599
omission. So since we're talking about the songs

00:50:19.599 --> 00:50:23.219
that stop you in your tracks, let me just give

00:50:23.219 --> 00:50:26.440
a little story on Stevie Ray. When I was first

00:50:26.440 --> 00:50:29.440
married, I was an assistant manager at a Sam

00:50:29.440 --> 00:50:33.880
Goody in Spokane, Washington. We opened up the

00:50:33.880 --> 00:50:37.760
store at a brand new mall. So I had we had all

00:50:37.760 --> 00:50:41.000
of these people from Minneapolis that had come

00:50:41.000 --> 00:50:45.900
to unpack the semi truck to help us get the store

00:50:45.900 --> 00:50:50.659
all set up. And we all took turns picking something

00:50:50.659 --> 00:50:54.880
on the stereo or the DVD player because we had

00:50:54.880 --> 00:50:58.340
television screens all around the store. One

00:50:58.340 --> 00:51:03.940
of the guys picked a Stevie Ray Vaughan. live

00:51:03.940 --> 00:51:06.699
recording i and i'm trying to remember which

00:51:06.699 --> 00:51:10.739
dvd it was but it would have been 96 97 when

00:51:10.739 --> 00:51:14.000
it when it came out we're all wheeling our stuff

00:51:14.000 --> 00:51:18.059
into this store and i kid you not there was like

00:51:18.059 --> 00:51:20.760
eight or nine of us who were unpacking the semi

00:51:20.760 --> 00:51:26.760
and every one of us stopped we got in the door

00:51:26.760 --> 00:51:30.420
stevie ray is going on i think it was his version

00:51:30.420 --> 00:51:33.289
of little wing which is just ridiculous amazing

00:51:33.289 --> 00:51:36.949
how do you even top jimmy hendrix stevie ray

00:51:36.949 --> 00:51:41.590
did and all of us stopped like we all got in

00:51:41.590 --> 00:51:45.369
the door and we finished watching little wing

00:51:45.369 --> 00:51:48.329
and then once it was done we all went about our

00:51:48.329 --> 00:51:51.369
business again but that's what we're talking

00:51:51.369 --> 00:51:54.909
about these are songs that stop you dead in your

00:51:54.909 --> 00:52:00.409
tracks because they're so good so all right i'll

00:52:00.409 --> 00:52:04.659
get off my soapbox Soapbox away. Now we've taken

00:52:04.659 --> 00:52:08.300
it down, and now we've had eight minutes to clear

00:52:08.300 --> 00:52:11.500
our mind from the onslaught of the Smiths, Grace

00:52:11.500 --> 00:52:13.980
Potter, and Kate Bush. How are we coming out

00:52:13.980 --> 00:52:16.480
of Riviera Paradise? Yeah, let's go a little

00:52:16.480 --> 00:52:20.139
upbeat. You know that I'm a big Gaslight Anthem

00:52:20.139 --> 00:52:24.039
fan, so I'm going to choose 45. That's my go

00:52:24.039 --> 00:52:27.809
-to Gaslight Anthem song. I think that that gets

00:52:27.809 --> 00:52:30.769
us a little bit out of our doldrums here. It's

00:52:30.769 --> 00:52:34.489
a rocker, even though it's, I guess it's a sad

00:52:34.489 --> 00:52:37.829
song. It's a breakup song. But just the play

00:52:37.829 --> 00:52:41.550
on words of, you know, flip the record over.

00:52:42.190 --> 00:52:45.809
It's just, it gets me every time. And Wayne and

00:52:45.809 --> 00:52:48.510
I had the opportunity to see Gaslight Anthem

00:52:48.510 --> 00:52:51.909
last year. This was the song that they closed

00:52:51.909 --> 00:52:54.650
out the set. And it was just, that's how you

00:52:54.650 --> 00:52:57.780
do it. You leave the people wanting more and

00:52:57.780 --> 00:53:01.739
closing your set on 45. That freaking did it.

00:53:02.139 --> 00:53:05.960
Amazing song. Anyways, Gaslight Anthem. Going

00:53:05.960 --> 00:53:08.940
back many, many years, my wife and I lived near

00:53:08.940 --> 00:53:13.579
a club in Garwood, New Jersey. Okay. Yeah. And

00:53:13.579 --> 00:53:17.480
one night I saw online Brian Fallon was playing

00:53:17.480 --> 00:53:21.679
a solo show there. Sold out within seconds. Sure.

00:53:21.739 --> 00:53:25.420
Absolutely. However. Brian came out on stage

00:53:25.420 --> 00:53:27.559
and said, yeah, it's actually not a solo show.

00:53:28.619 --> 00:53:30.420
Gaslight Anthem came out and did a whole set

00:53:30.420 --> 00:53:33.199
for this tiny little place that I've played hundreds

00:53:33.199 --> 00:53:36.460
of times over the years. Love the place. Love

00:53:36.460 --> 00:53:39.579
the venue. Crossroads, Garwood, New Jersey. They've

00:53:39.579 --> 00:53:41.860
had Frank Turner's gone through there even recently.

00:53:42.019 --> 00:53:45.380
It's just a great venue. One of the small local

00:53:45.380 --> 00:53:48.980
New Jersey venues. And they just surprised everybody

00:53:48.980 --> 00:53:51.260
and did a Gaslight Anthem show. You picked my

00:53:51.260 --> 00:53:53.880
favorite Gaslight Anthem song from my favorite

00:53:53.880 --> 00:53:57.519
Gaslight Anthem album. So major kudos to that.

00:53:57.699 --> 00:54:02.119
Brian Fallon's a poet on this track. Taking a

00:54:02.119 --> 00:54:05.179
love story and turning it into a musical metaphor.

00:54:05.460 --> 00:54:08.119
You're speaking my language, man. Like that just.

00:54:08.670 --> 00:54:12.829
hits right where it needs to be i love handwritten

00:54:12.829 --> 00:54:15.949
all the way through but i highly suggest if people

00:54:15.949 --> 00:54:18.570
go out to buy it or stream it whatever you do

00:54:18.570 --> 00:54:21.530
grab the deluxe version because there's a cool

00:54:21.530 --> 00:54:24.170
cover of tom petty's you got lucky on that one

00:54:24.170 --> 00:54:26.269
there is you knew you knew i was going to bring

00:54:26.269 --> 00:54:28.010
that oh yeah oh yeah of course you were going

00:54:28.010 --> 00:54:30.170
to bring that as if i needed a reason to like

00:54:30.170 --> 00:54:33.170
gaslight anthem more they cover tom petty and

00:54:33.170 --> 00:54:37.190
they do it well come on and his when he does

00:54:37.190 --> 00:54:40.409
the his little collaboration, The Horrible Crows,

00:54:40.409 --> 00:54:44.730
he also mixes in, and I'm trying to remember

00:54:44.730 --> 00:54:47.489
which song it was. Never Tear Us Apart by NXS.

00:54:47.949 --> 00:54:50.969
He does that as well, but he also does Pictures

00:54:50.969 --> 00:54:54.369
of You from The Cure. Really? Yeah. All right.

00:54:54.530 --> 00:54:57.090
I haven't heard The Cure one. That almost made,

00:54:57.190 --> 00:54:59.329
The Cure's version, of course, almost made my

00:54:59.329 --> 00:55:02.969
list here, but we'll save that for the next mixtape.

00:55:03.230 --> 00:55:06.809
All right. Well, you've got this punk thing going.

00:55:07.440 --> 00:55:10.400
Okay. And I've got one song left. So I'm going

00:55:10.400 --> 00:55:13.059
to see your punk, but I'm also going to see this

00:55:13.059 --> 00:55:15.840
vibe that we've kind of put together. This is

00:55:15.840 --> 00:55:19.420
a little bit more of a reflective, little downside,

00:55:19.579 --> 00:55:22.360
little more end of the night kind of driving

00:55:22.360 --> 00:55:24.960
home music. And I'm going to take a punk song

00:55:24.960 --> 00:55:28.239
that incorporates both. Okay. I'm going to go

00:55:28.239 --> 00:55:30.960
from 2002's Drunken Lullabies. I'm going to go

00:55:30.960 --> 00:55:33.760
with Flogging Molly, If I Ever Leave This World

00:55:33.760 --> 00:55:37.389
Alive. If there's a song that's both gut -wrenchingly

00:55:37.389 --> 00:55:42.610
heartbreaking and joyful all at the same time,

00:55:42.750 --> 00:55:46.469
I get that that oxymoron makes no sense. But

00:55:46.469 --> 00:55:49.429
when you listen to the song, lyrics like wherever

00:55:49.429 --> 00:55:52.369
I am, you'll always be more than just a memory

00:55:52.369 --> 00:55:56.849
makes it seem very final. But later in the song,

00:55:56.929 --> 00:55:59.849
if I ever leave this world, hey, I may never

00:55:59.849 --> 00:56:02.789
leave this world. but if I ever leave this world

00:56:02.789 --> 00:56:06.130
alive, paints a different picture. This is coming

00:56:06.130 --> 00:56:07.929
from the guy that used to be the lead singer

00:56:07.929 --> 00:56:12.289
of fast way in the eighties. And when Dave King

00:56:12.289 --> 00:56:15.530
switched from, I guess you'd call it eighties

00:56:15.530 --> 00:56:18.909
hair metal, so to speak. And he brought this

00:56:18.909 --> 00:56:22.110
Irish punk rock band out. I was very intrigued

00:56:22.110 --> 00:56:24.690
and instantly fell in love with the band, been

00:56:24.690 --> 00:56:27.530
a big fan for many, many years. And this song

00:56:27.530 --> 00:56:30.550
always hits me when they play it live. It just,

00:56:31.039 --> 00:56:34.000
chokes me up it's just such a perfect follow

00:56:34.000 --> 00:56:37.239
-up to 45 because you bring that punk energy

00:56:37.239 --> 00:56:40.000
at the end but it comes after this really long

00:56:40.000 --> 00:56:43.619
build really reflective build and it's kind of

00:56:43.619 --> 00:56:46.760
that like encore moment and i feel like coming

00:56:46.760 --> 00:56:49.719
out of 45 it just works really really well so

00:56:49.719 --> 00:56:52.619
flogging molly's if i ever leave this world alive

00:56:52.619 --> 00:56:57.760
very good i barely know this one really Which

00:56:57.760 --> 00:57:00.300
is really kind of surprising when, when, when

00:57:00.300 --> 00:57:02.619
I tell people that I'm a big dropkick Murphy's

00:57:02.619 --> 00:57:04.960
fan, they're like, Oh, flogging Molly too. I'm

00:57:04.960 --> 00:57:09.000
like, no. Wow. And I don't even know why, dude.

00:57:09.340 --> 00:57:11.599
Yeah. Go back to my comments about Grace Potter.

00:57:11.679 --> 00:57:14.719
I don't even know why. So musical blind spot

00:57:14.719 --> 00:57:17.679
or something. Maybe, maybe send me a playlist

00:57:17.679 --> 00:57:21.059
that I need to. I need to indoctrinate myself

00:57:21.059 --> 00:57:23.519
on flogging Molly. So consider it done. I'll

00:57:23.519 --> 00:57:26.940
give you a 10 song playlist war style introduction

00:57:26.940 --> 00:57:29.780
to them. Yeah. Let's do it. Let's do it. Okay.

00:57:30.199 --> 00:57:32.340
All right. What are you going to close out the

00:57:32.340 --> 00:57:36.260
evening with? I think I'm going to bring us down

00:57:36.260 --> 00:57:39.840
again. Is that okay? By all means. It feels like

00:57:39.840 --> 00:57:42.480
if I ever leave this world alive is like the

00:57:42.480 --> 00:57:47.380
main set closer and then lead singer comes back

00:57:47.380 --> 00:57:51.289
out. with him and just a guitar. So let's go

00:57:51.289 --> 00:57:55.630
father and son from cat Stevens to close it out.

00:57:55.690 --> 00:57:59.230
Cause this is, this is a song that has taken

00:57:59.230 --> 00:58:02.989
on some different meanings for me over the years.

00:58:03.429 --> 00:58:09.050
I am a dad. I do have three sons, so I've got

00:58:09.050 --> 00:58:12.469
that. And this became even more poignant for

00:58:12.469 --> 00:58:17.909
me. I lost my dad in 2019. it's okay he was old

00:58:17.909 --> 00:58:22.690
lived a great life but still kind of hurts like

00:58:22.690 --> 00:58:26.690
father's day my dad wasn't a big talker on the

00:58:26.690 --> 00:58:29.570
phone for instance so i always looked forward

00:58:29.570 --> 00:58:33.269
to father's day you know we would talk on father's

00:58:33.269 --> 00:58:37.530
day and you know christmas day and yeah this

00:58:37.530 --> 00:58:40.610
is just one of those again it's i'm driving into

00:58:40.610 --> 00:58:45.860
my my driveway and this song comes on and Yeah,

00:58:45.880 --> 00:58:50.480
I might have to wipe my eyes a little bit. Go

00:58:50.480 --> 00:58:53.440
back to your comments about the onions. This

00:58:53.440 --> 00:58:56.300
is a judgment -free zone, man. What? I'm cutting

00:58:56.300 --> 00:58:59.179
onions in my car. What? You've never done that?

00:58:59.539 --> 00:59:02.340
Now, I'll give you this. I love the version from

00:59:02.340 --> 00:59:06.159
1970s Tea for the Tillerman, but the 2020 re

00:59:06.159 --> 00:59:09.920
-recording he did with 72 -year -old Cat Stevens

00:59:09.920 --> 00:59:15.039
mixed with 22 -year -old Cat Stevens. Yeah. Hit

00:59:15.039 --> 00:59:18.239
me on a level that was just I wasn't expecting

00:59:18.239 --> 00:59:21.860
that when his original voice came into that recording.

00:59:22.059 --> 00:59:25.059
And I'm like, oh, my God, this is him singing

00:59:25.059 --> 00:59:29.340
with himself with 50 years of hindsight. It took

00:59:29.340 --> 00:59:32.400
the song to completely different places for me.

00:59:32.500 --> 00:59:35.340
It was like he was now the father and the son

00:59:35.340 --> 00:59:37.460
singing back and forth. And the moment where

00:59:37.460 --> 00:59:41.619
the two voices come together. Yeah, I can't.

00:59:41.719 --> 00:59:45.599
Yeah, there's a few songs. That remind me of

00:59:45.599 --> 00:59:50.860
dad. And I don't know if I could listen to that

00:59:50.860 --> 00:59:53.820
version. Given what you just said, I totally

00:59:53.820 --> 00:59:57.960
understand that, man. But once again, ranked

00:59:57.960 --> 01:00:00.360
on Rolling Stone's 500 greatest songs of all

01:00:00.360 --> 01:00:01.960
time. Considering how many times I've mentioned

01:00:01.960 --> 01:00:04.360
that tonight, I think there's a future episode

01:00:04.360 --> 01:00:08.099
on the way. 20 of the best 500 Rolling Stone

01:00:08.099 --> 01:00:11.440
songs of all time. But an extremely poignant

01:00:11.440 --> 01:00:14.519
way to close outside B, man. This is a good mixtape,

01:00:14.579 --> 01:00:16.159
dude. No, I don't think we're messing around

01:00:16.159 --> 01:00:18.480
on this one. It's kind of all over the place,

01:00:18.579 --> 01:00:21.219
but this is a good mixtape. But when you're talking

01:00:21.219 --> 01:00:25.340
to two music podcasters who have completely different

01:00:25.340 --> 01:00:29.179
palettes of music that change from a lot of different

01:00:29.179 --> 01:00:32.239
genres and a lot of different styles of music,

01:00:32.340 --> 01:00:36.260
this actually has a theme to it. There's some

01:00:36.260 --> 01:00:39.690
variance. But I didn't bring any poison to this

01:00:39.690 --> 01:00:42.010
mix. I didn't bring. And there's, believe it

01:00:42.010 --> 01:00:43.650
or not, hey, something to believe it hits me.

01:00:43.710 --> 01:00:46.510
My father's a Vietnam veteran. I could have had

01:00:46.510 --> 01:00:49.449
that in my bank, but it just didn't work here.

01:00:49.610 --> 01:00:52.409
But I think there's a definite theme going on

01:00:52.409 --> 01:00:56.300
here. And Side B kicked off with. Tom Petty and

01:00:56.300 --> 01:00:58.320
the Heartbreakers, Learning to Fly, the live

01:00:58.320 --> 01:01:01.920
version from the live anthology. Tears for Fears,

01:01:01.940 --> 01:01:05.000
Everybody Wants to Rule the World. John Mayer's

01:01:05.000 --> 01:01:07.739
Good Love is on the Way. The Smiths, There's

01:01:07.739 --> 01:01:10.699
a Light That Never Goes Out. Grace Potter's Release.

01:01:11.260 --> 01:01:14.559
Kate Bush's This Woman's Work. Stevie Ray Vaughan's

01:01:14.559 --> 01:01:19.219
Riviera Paradise. The Gaslight Anthems, 45. Flogging

01:01:19.219 --> 01:01:21.960
Molly's If I Ever Leave This World Alive. And

01:01:21.960 --> 01:01:26.239
Cat Stevens. father, and son. Head over to myweeklymixtape

01:01:26.239 --> 01:01:29.039
.com to hear all the songs we've discussed in

01:01:29.039 --> 01:01:32.139
this mix through the playlist embedded on the

01:01:32.139 --> 01:01:35.559
episode page. Ben, this has been an absolute

01:01:35.559 --> 01:01:38.659
pleasure. This has been a blast, dude. This is

01:01:38.659 --> 01:01:42.280
a cool concept and I think, you know, it's resonating.

01:01:42.360 --> 01:01:44.920
People are digging this. So, yeah, thanks for

01:01:44.920 --> 01:01:47.500
having me on, man. It's always a blast. Look

01:01:47.500 --> 01:01:49.280
forward to talking music with you again very

01:01:49.280 --> 01:01:52.019
soon, man. And remember, you can find My Weekly

01:01:52.019 --> 01:01:54.360
Mixtape on almost all the social media haunts

01:01:54.360 --> 01:01:58.199
at My Weekly Mixtape. You can also head to MyWeeklyMixtape

01:01:58.199 --> 01:02:01.119
.com to check out the full catalog of My Weekly

01:02:01.119 --> 01:02:03.400
Mixtape episodes. And if you like what you're

01:02:03.400 --> 01:02:05.179
hearing on the show, you can help me out by either

01:02:05.179 --> 01:02:07.599
telling a friend, leaving the show a five -star

01:02:07.599 --> 01:02:10.099
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01:02:13.420 --> 01:02:16.449
My Weekly Mixtape. That's all for this week.

01:02:16.489 --> 01:02:18.449
Thanks again for listening. Until next time,

01:02:18.489 --> 01:02:19.590
enjoy the tunes.