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Speaker 1: This is Chris.

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Speaker 2: Go ahead, make my day by listening to the Shirley

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You Can't Be Serious Podcast as Jason and d make

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your day digging deep into classic movies and albums from

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the eighties and nineties. Hello everybody, and welcome back to

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the Shirley You Can't Be Serious Podcast today, as we

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dive into an album of nineteen eighty nine that was

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so big and so cool, the Cult's Sonic Temple. Today

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we've got James Buckley on drums, We've got d Graves

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with his pick held in the air high, and I,

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of course am wearing my furry stetson with the skull

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and crossbones on it. We are ready to discuss the

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Cult Sonic Temple.

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Speaker 1: James, how you doing, man?

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Speaker 3: Wonderful hot day in Louisiana, but that's pretty much every

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day in the summer.

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Speaker 1: How you doing? Yeah? Amen? Over here in Oklahoma, it's

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hot up here too.

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Speaker 3: You guys have put me in a tough position. After

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a great white last week, I went back and listened

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to that album over again, and I've been listening to

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Sonic Temple a lot. This is a tough call, man.

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Oh I don't put losers, It's right we don't think

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it was like vingeance for kil Welch or Salma Hayek.

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I mean, it's just where do you go?

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Speaker 4: I mean, I gotta. I have to actually give it

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up to Jason on this one. This was completely his

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idea because number one, I wasn't a huge great white guy.

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I mean I knew a little bit of their stuff,

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but I literally didn't know who the Cult was when

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he was like, we should do the Cult and I'm like,

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who's that?

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Speaker 1: I don't I didn't know him.

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Speaker 4: And so this is a genuine forty eight year old

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man virgin experience with this album that you're about to

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hear my take on. So if you've never heard this

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album four, you're not alone in the room.

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Speaker 1: I was.

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Speaker 4: I was a brand newbie when I listened to it

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for the very first time to do this podcast.

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Speaker 1: So I'm excited to talk about it.

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Speaker 2: I'm excited to hear your your reaction. So, hey, I

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did want to shout out our buddy on Twitter, Adam Mushouski.

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He said, Hey, I wasn't a big great white fan.

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I don't really even remember Twice Shy that much, but

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he said along with several other albums, you guys made

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me re listen, rethink, and reappreciate basically, so and I

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told him, I said, man, that's that's a huge compliment

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for us. If we can we can get people to

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take a second look and a second opinion, that's big

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lead compliment.

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Speaker 4: I'll take it absolutely. So all right, let's just jump

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in and start talking these tracks.

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Speaker 1: I got to tell you.

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Speaker 4: I will give you my take, you know, I will

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tell you my first experience with the album. I put

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the headphones on, I turned the volume up. I'm thinking, Okay, imagine,

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you know, imagine you're fourteen years old again and you've

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just bought this album, and I turned this song on,

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this very first song for the first time. It's the

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introduction that any album would be happy to have. And

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I was just like, holy crap, how did I miss this? So,

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song number one out of the gate, it's called some Team.

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So I can tell you this as a first time listener,

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I immediately I'm feeling doors vibes, which apparently was not.

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Speaker 1: I'm not alone in that. Then the when the first

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thing that.

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Speaker 4: He says at the beginning is this is the end, right,

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isn't that the doors?

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Speaker 1: Right?

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Speaker 3: Yeah? This is where it all ends.

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Speaker 4: Yeah, I guess he paraphrased it a little bit, yes,

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but but I mean you start with the organ, which

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is classic Doors stuff. He sounds so Jim Morrison in

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his voice, but it's a completely different style of music

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in my opinion, except for maybe one of the songs

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on here. One of the songs is very strongly Doors,

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but you just get that vibe. But his voice is

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so solid, The guitar is rocking, the drums are rocking.

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This is a beautiful intro song. Blown my mind.

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Speaker 3: The word that comes to minds when I hear this

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song is swagger, and that's just what this every pretty

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much every song on this album has it. But Iansberry

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said it was inspired by the decadence of Louis what

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the fourteenth do They call it the Sun King back

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in France.

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Speaker 2: Louis the fourteenth. That's right, We need to talk about

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that really quick. So Louis the fourteenth became known as

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the Sun King when he was fifteen years old and

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believed himself to be the absolute ruler of France. He's

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one of these guys that believed everybody beneath him.

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Speaker 1: He was like a god Ian.

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Speaker 2: Ashbury said, he was known to crap on the floor

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and just the servants would just pick up after him.

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But he left France broken, busted in bankrupt.

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Speaker 3: That's a good song title too, but there's definitely an

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element of a great interview with Ian Asbury where said

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it's very much a heat dog kind of song, and

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he said that's kind of person I am too. So

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I guess they were trying to start the album off

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with just a statement of intent that we are here

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to rock you and rock you hard.

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Speaker 2: It's a great intro song, you know. But I think

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a lot of their songs feel like intro songs because

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they have that long sort of lead in, you know,

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building rock. They're really good at that building intro you know.

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Speaker 3: Yeah, y'all mentioned last week the Great White Formula to

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some of those songs. Yeah, it's kind of on this

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album too. You'll notice there's basically two templates for songs

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on this album, but hey, they work. I mean the Ramones, AC, DC, Motorhead,

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they all released the same album over and over, but

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it worked, and I think it works here on this

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album as well.

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Speaker 4: So these guys, they came into this album with Bob

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Rock and this is one of Bob Rock's first albums

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as producer, right, I mean, and we all know him

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now because he's iconic. But the album that they had

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heard and they had just come off an album with

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Rick Ruben. This album came out in April of eighty nine.

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Speaker 2: That's right, April tenth, nineteen eighty nine, Sign Temple was

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released right.

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Speaker 4: So before this there was an album in I believe

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eighty six or eighty seven, Kingdom Come, Kingdom Come and Again,

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a band that I was not familiar with.

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Speaker 1: But this was kind of.

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Speaker 4: Bob Rock's first jump into production instead of just being

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an engineer with Bruce Fairbairn, which I mean, we've talked

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about both of them multiple times because we've covered Doctor

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Feel Good and Slippery and Slippery Went.

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Speaker 2: I mean, they're in the Black album, yeah.

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Speaker 4: And so they come in having heard Kingdom Come, Kingdom Come,

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which I listened to a little bit today on the

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way over here, and I was like, this is another

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great album that.

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Speaker 1: I got to check out.

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Speaker 4: And then it was then this one, this album was

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what inspired Lars to call up Bob Rock to do

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the Black album. And so that's kind of his stare

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stepping is he goes from Kingdom, come to Sonic Temple

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to Doctor Feel Good, to the Black Album. I mean

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it's just like Bang Bang Bang, And then I think, yeah,

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obviously Bonjovi's in there somewhere, but it is a sound

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that they were looking for that they hadn't had before,

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like the Love album. Well, I guess to start off,

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they were punk Ian. Astbury grows up in England and

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his family was poor and he felt like he never

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fit in, got harassed by teachers at school, and then

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they moved to Ontario, Canada for a little while, and

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he befriends these Native Americans there and feels like somebody's

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finally accepted me.

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Speaker 1: I finally belong, which is kind of ironic given.

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Speaker 4: What happens with his Indian persona later on with some

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of the some of the guys who talk against him.

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Speaker 1: But he eventually appears about.

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Speaker 4: This new punk scene in England sixteen by himself, goes

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back to England and starts a punk band, and then

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while he's playing with these various punk bands, they ultimately

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come up with the band Southern Death Cult.

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Speaker 3: Yeah, which was named after a group of mound building

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Native Americans that was part of an archaeological term for

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was it the Southwest Memorial Complex or something to that effect.

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So again you're already starting to see signs of Ian's

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fascination was Native American iconography culture and all that they

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were in the post punk era, which is basically where

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punk started slowing down, and hey, we can actually add

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melodies to songs, and you had one hands. You had

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bands like Joy Division, and then you had bands who

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went for a more sinister route like Fields of the Nephilum,

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and then you had guys who were like the swab

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of romantic types like Bauhaus and Southern Death Cult kind

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of fit right at the intersection of all of those guys.

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Lasted not very long. Those guys break up. Then he

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starts up another band a while later, called Just Death Cult,

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which is where I think eventually that's where he first

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met Billy Duffy, the guitar player, and.

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Speaker 4: He and Billy Duffy had toured together when he was

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still with Southern Death Cult. Billy Duffy was in Theater

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of Hate, and so they toured together those two bands

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for a while, and then Southern Death Cult ended up

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signing with Baker's Banquet, an indie label, and they put

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out a song called fat Man and it does really well,

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and so then they get then they're starting to get

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interest from the major labels, and what does Ian Aspbery do.

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He's like, Okay, I'm dumping all this, like I'm dumping

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the band. I'm dumping it all. I got my little

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grocery bag full of my possessions. And he goes and

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finds Billy Duffy and he's like, how about we start

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a band. His goal was never to be a rock star,

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which is weird since he went to Billy Duffy, whose

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only goal was to.

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Speaker 1: Be a rock star.

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Speaker 2: Yeah, their rise to fame is pretty interesting. I think

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even Sonic Temple. Ian Astbury was like, Okay, it's time

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for us to make a platinum album, like you know,

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just checking off the list right.

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Speaker 4: And apparently if you had any doubt about his leanings

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towards the Native American culture, if you happen to see

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any of the early stage performances, he would literally come

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out in Native American garb with his face painted like

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a Native warrior. Like it was there was no mistake

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about where his interest was. So James, you've already talked

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about this a little bit. You've heard more of their

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music than I have. I'm guessing probably more than Jason has.

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What do you think about the progression?

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Speaker 3: Like I said, they started off more on the gothic

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end of things. They were kind of aligned with bands

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like the Mission UK, kind of the big anthemic sounds.

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Then to the next out. First there was dream Time,

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then there was Love, where they started stripping down their

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sound a bit more. But the time they got to

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an electric in nineteen eighty seven, they were kind of

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headed to where they really perfected the sound. On Sonic Temple,

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they were stripping away out the excess, getting down to

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just rifts and drums and loud vocals, which obviously worked

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for them.

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Speaker 4: Well, speaking of rifts and drums and loud vocals, I

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think that brings us quite nicely into song number two.

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Speaker 2: Song number two is called fire Woman.

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Speaker 4: All right, And so the question that I posed to

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my co hosts today on our text chat was, Okay,

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which is the better stripper song, fire Woman from Sonic

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Temple or Mista Bone from Twice Shy.

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Speaker 3: I think mister Bone is probably the song that launched

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a thousand g strings. There's something about that really snaky,

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sinuous groove. That seems to lend itself to a stripper's ball.

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I don't know. This song feels more like a bar

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fight song.

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Speaker 2: I think they both work. I think I could see

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that happening. I'm not saying I did see anything, but

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I'm saying it could happen.

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Speaker 1: Yeah, you can imagine it.

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Speaker 2: I can, yes, Yeah.

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Speaker 4: Well, it was definitely the imagining of it and fire

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Woman that inspired me to ask the question in the

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first place. Because in nineteen eighty nine, if you wanted

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to have platinum album, you wanted to check that box

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had to have a stripper song, and to me, this

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is that one on this album.

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Speaker 3: Yeah.

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Speaker 2: This is the first single released March thirteenth, nineteen eighty nine.

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This reaches number forty six on the Hot one hundred,

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which is not nearly high enough, especially in that time,

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but it did reach number two on the Modern Rock charts.

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Speaker 4: So I can't spike the football with one song, but

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I will spike the football with these two first songs

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and say these are the two best songs on the album.

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Speaker 3: Woh, it's a Mike Tyson one to two combination. Man,

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it really is same formula. You start off with the

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kind of dynamic vaguely ominous intro. It builds and builds

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and builds and then just explodes into a killer riff vocals.

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I mean it's a great formula. Whant to fix what's

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not broken?

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Speaker 2: Okay, let me ask you, because the drummers here are

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really interesting and you're our resident drummer expert. So Eric

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Singer of Kiss plays drums on the demos for this album.

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Speaker 1: One of the demos. One of the demos.

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Speaker 4: Yeah, you had Chris. You've got two demos. You got

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Eric Singer on one and Chris Taylor on the other one.

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Chris Taylor of Pola. Is that what they were, the

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Bob Rock Band?

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Speaker 2: Yeah, okay, Mickey Curry of the Brian Abs Band and

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Hallan Oates and Hallan oates and plays drums on the album. Yeah,

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And then on tour it's Matt Sore.

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Speaker 3: They had their pick of the elites back at that time.

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I mean, Mickey was all over the place. If you

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rocked out to eighties rock radio at some point you

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were rocking out to Mickey Curry and Matt came on

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there at the end for the tour. Actually, I don't

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think Matt ever recorded with him, but he definitely did

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several tours with him, so and he's a powerhouse himself.

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Speaker 4: I saw Matt sum talking about being a part of

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the band and he said, these guys had made a decision.

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Speaker 1: They had a drummer.

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Speaker 4: I don't remember who the drummer was that they had

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that was a bad heroin addict. But basically when they

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started touring with this album, they've got Matt Sorem on

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and they had made one rule, no drugs. Now they

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were drinking like fish, but no drugs, right, and the

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drinking was to say it was out of hand is

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a bit of an understatement. But everybody told Matt Sorem listen,

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Ian is the worst and if he comes knocking on

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your door in the middle of the night, don't answer

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the door. And Matt Sorrem was like, but I wanted

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to be friends with him. And so in the middle

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of the night he came knocking on my door and

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so I was like, okay, I'll open it for him.

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I'll be okay, opens the door and Ian Astbury, in

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a drunken psychotic episode, comes in and smashes lamps, pictures,

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furniture and then pulls down his pants to do something

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and before.

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Speaker 1: He too whatever it is that he's going to do.

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Speaker 4: Matt Sorm runs into the hallway, rakes the break in

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case of emergency, Glass pulls out the fire extinguisher, comes

294
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back in and hoses Ian Asbury down with a fire

295
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extinguisher before he can start or finish the deed as

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it is.

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Speaker 2: A Matt Sorm had front row tickets to the craziest

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lead singer bs in the late eighties early nineties because

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he goes on to hang out with the Guns and

300
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Roses guys and it's Axl Rose all over the place,

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you know.

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Speaker 3: So yeah, and then he has Scott Wiland for a while.

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Speaker 2: That's right, he does have Skott Willer, that's right.

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Speaker 4: He went on to play drums with like staying after this, right,

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I mean, he's one of those guys that's just everywhere.

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Speaker 2: I love this. Bob Rock told Mickey Curry to play

307
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drums like Keith must I thought that was a great quote.

308
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Speaker 3: Oh the big drum breakdown in the middle of Firewoman.

309
00:16:20,399 --> 00:16:23,399
That's total Keith communion, just toms and cymbals everywhere. I

310
00:16:23,440 --> 00:16:25,399
love it. I've tried to duplicate it with a band

311
00:16:25,399 --> 00:16:27,320
I played in a few years ago, and I can

312
00:16:27,360 --> 00:16:30,360
come close. But man, there's a reason people like nik

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Here on so many albums. They take everything up a level.

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Speaker 2: Yeah, Bob Rock actually talked about making Curious, said he

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made the band better.

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Speaker 1: And Bob Rock says, you know.

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Speaker 2: When I hear Firewoman on the radio, I think to myself,

318
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that song's good.

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Speaker 3: Quick story about this song. This was my first real

320
00:16:45,240 --> 00:16:47,799
exposure to the Cult. It was nineteen eighty nine. I

321
00:16:47,879 --> 00:16:49,759
was a freshman in college. I was working in a

322
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Walmart store. We closed one night and all the customers

323
00:16:53,120 --> 00:16:55,840
were out, and the assistant manager was a guy named Ross,

324
00:16:55,879 --> 00:16:57,519
who's such a couple of years younger than me. He

325
00:16:57,559 --> 00:16:59,279
goes to the back. We don't see Ross for a

326
00:16:59,320 --> 00:17:02,559
few minutes, and then this song just starts pouring over

327
00:17:02,600 --> 00:17:05,880
the loud speakers. He went back and put the a single, Yes,

328
00:17:06,000 --> 00:17:09,200
thek a single for fire Woman. A nice cloud speaker.

329
00:17:09,720 --> 00:17:12,200
You know. I may have heardard Love Removal Machine earlier

330
00:17:12,279 --> 00:17:14,559
on the local rock stations that it never really clicked

331
00:17:14,559 --> 00:17:16,799
with me. As soon as this song kicked in. I

332
00:17:16,880 --> 00:17:18,000
was a Sonic Temple fan.

333
00:17:18,119 --> 00:17:20,440
Speaker 2: That's right, me too. Actually, this is the first time

334
00:17:20,480 --> 00:17:22,480
I heard the Cult. They were played this song on

335
00:17:22,599 --> 00:17:25,720
MTV all over the place. By the way, quick recap

336
00:17:25,759 --> 00:17:28,480
of nineteen eighty nine the Modern Rock yearly chart. This

337
00:17:28,640 --> 00:17:31,319
finished number twenty nine for the year, and the song

338
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right in front of it Sewing the Seeds of Love.

339
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Speaker 4: Oh nice, here's for two Fears to throw back. Check

340
00:17:38,119 --> 00:17:40,279
out that episode earlier this season, sorright.

341
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Speaker 2: My only complain about this song is the video. Okay,

342
00:17:43,400 --> 00:17:45,319
so I don't know if you guys seen the video lately.

343
00:17:45,640 --> 00:17:48,279
You do have the kick butt rock, You've got the

344
00:17:48,279 --> 00:17:50,559
skull hat, you know, the cowboy hat with the skull

345
00:17:50,599 --> 00:17:53,359
and crossbones. You got Billy Duffy going crazy, but there

346
00:17:53,519 --> 00:17:56,720
is no fire woman in the video. Seems like that

347
00:17:56,759 --> 00:18:00,519
would be a perfect place to put stripper something you

348
00:18:00,559 --> 00:18:03,359
know eighties mixen for us to enjoy. I can't say

349
00:18:03,440 --> 00:18:05,599
enough about this song. I love it. I think it's fantastic.

350
00:18:05,680 --> 00:18:06,960
It may be the best song.

351
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Speaker 3: On either album, all time classic.

352
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Speaker 2: Next song on the album is called American Horse. That

353
00:18:39,720 --> 00:18:41,680
is another killer song.

354
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Speaker 3: This is another one of the you know I talked

355
00:18:43,519 --> 00:18:45,599
about the templates they used for this album. This is

356
00:18:45,640 --> 00:18:48,359
the one which the slower grinding the reof and I

357
00:18:48,440 --> 00:18:52,319
love it. This was Ian Astbury's Fascinations Native Americans coming

358
00:18:52,359 --> 00:18:53,920
through again. I read somewhere he said he had a

359
00:18:54,000 --> 00:18:57,000
dream about a black horse with an American flag over

360
00:18:57,039 --> 00:18:59,759
its back being whipped by some mysterious dark figure, and

361
00:18:59,839 --> 00:19:02,039
he assumed they had something to do with the treatment

362
00:19:02,039 --> 00:19:04,720
of Native Americans over here. And yes, later served as

363
00:19:04,720 --> 00:19:06,039
the basis for the song.

364
00:19:16,920 --> 00:19:23,480
Speaker 2: Hell Definitely. We talked about how he was fascinated with

365
00:19:23,480 --> 00:19:26,079
the Native of American culture, said he spent some time

366
00:19:26,119 --> 00:19:31,160
on a reservation in Canada. You know, the cover of Ceremony,

367
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which came out in ninety one, which was the fall

368
00:19:33,319 --> 00:19:37,319
up to Sonic Temple, had the picture of a young

369
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Native American boy.

370
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Speaker 1: I don't know if you guys know this, but they were.

371
00:19:40,279 --> 00:19:44,920
Speaker 2: Sued for sixty one million dollars for that photo. It

372
00:19:44,960 --> 00:19:47,599
actually delayed the release of the album, and by that

373
00:19:47,720 --> 00:19:51,039
time grunge had kind of moved in and taken hold

374
00:19:51,119 --> 00:19:54,480
and cost them a ton of time and effort and money.

375
00:19:54,559 --> 00:19:58,200
The case was dismissed in February of ninety seven, and

376
00:19:58,240 --> 00:20:03,359
they're like, this was we purchased it. We're not exploiting anybody.

377
00:20:03,440 --> 00:20:05,599
But it took several years for them to clear that,

378
00:20:05,680 --> 00:20:07,839
and by that time the music landscape had changed.

379
00:20:08,440 --> 00:20:10,880
Speaker 3: This was a very transitional period. I mean this year

380
00:20:11,079 --> 00:20:13,400
when eighty nine, when this came out, you had bands

381
00:20:13,440 --> 00:20:16,240
like skid Row and Motley Crue releasing classics, but you

382
00:20:16,279 --> 00:20:18,759
also had faith No Moore's the real Thing. You had

383
00:20:18,759 --> 00:20:22,200
the first Nirvana album coming out, sound Garden Sound to

384
00:20:22,240 --> 00:20:24,960
a major label. So the whole music industry was about

385
00:20:25,000 --> 00:20:27,440
to undergo a massive change, and I guess the Cult

386
00:20:27,559 --> 00:20:30,279
managed to balance themselves perfectly between the two eras.

387
00:20:30,440 --> 00:20:32,440
Speaker 4: From what I understand, this album is kind of the

388
00:20:32,680 --> 00:20:36,440
was kind of the wedge that was really driven in

389
00:20:36,480 --> 00:20:41,519
between ian Asberry and Billy Duffy. Billy had really wanted

390
00:20:41,519 --> 00:20:44,640
a more commercial rock sound. You know, they had come

391
00:20:44,720 --> 00:20:47,039
with Electric, they had come out with with what's arguably

392
00:20:47,039 --> 00:20:49,880
a metal album after having been their post punk stuff,

393
00:20:49,960 --> 00:20:52,640
but this one was more of a pop metal album,

394
00:20:53,319 --> 00:20:58,160
and Ian Astbury was very unhappy with not only the sound,

395
00:20:58,240 --> 00:21:00,359
but the fame that came along with it because it

396
00:21:00,359 --> 00:21:03,119
was such a success. It's kind of interesting that this

397
00:21:03,240 --> 00:21:07,200
happens because hatt Ian Astbury had his way on the

398
00:21:07,240 --> 00:21:09,519
following albums and had more of the I mean, he

399
00:21:10,000 --> 00:21:12,039
did the Native American thing because he's more into the

400
00:21:12,039 --> 00:21:14,720
spiritual stuff and more into the deep side of things

401
00:21:14,720 --> 00:21:17,759
and doesn't care about this commercial success, which is right

402
00:21:17,839 --> 00:21:20,279
in line with what all of the grunge guys were doing.

403
00:21:20,480 --> 00:21:23,519
You know, they could have had an Allison Chained trend

404
00:21:23,599 --> 00:21:27,759
where they moved from metal into alt rock very successfully.

405
00:21:28,240 --> 00:21:31,200
But then ironically, the thing that keeps them from making

406
00:21:31,200 --> 00:21:34,079
that smooth transition is the use of this native American

407
00:21:34,160 --> 00:21:36,920
kid's photo that calls him into question of you know,

408
00:21:36,960 --> 00:21:39,400
what do you guys, what are you white English guys

409
00:21:39,440 --> 00:21:42,799
doing with this stuff, which of course is hugely upsetting

410
00:21:42,799 --> 00:21:44,599
to the guy who's so devoted to that culture.

411
00:21:44,799 --> 00:21:47,440
Speaker 3: Yeah, speaking of Billy Duffie briefly, don't think we've said

412
00:21:47,519 --> 00:21:49,480
enough about him so far. This is this song. I

413
00:21:49,640 --> 00:21:52,359
love that riff and the solo he plays, particularly during

414
00:21:52,400 --> 00:21:55,519
the fade out. If the guy was a shredder, absolutely.

415
00:21:55,039 --> 00:21:58,319
Speaker 2: Yeah, he's a beast quick cut note about the nineteen

416
00:21:58,319 --> 00:22:01,519
eighty seven album Electric So they got they talked Rick

417
00:22:01,599 --> 00:22:04,680
Rubin into producing that album. Rick Rubin, of course known

418
00:22:04,759 --> 00:22:09,119
for Run dmc Beastie Boys. But Ian Astbury heard Cookie

419
00:22:09,200 --> 00:22:13,480
Puss and was like, now that song is really awesome.

420
00:22:13,680 --> 00:22:15,039
Cookie Puss. We talked about that.

421
00:22:15,079 --> 00:22:17,200
Speaker 1: On our Beasty Boys episode.

422
00:22:17,279 --> 00:22:19,480
Speaker 2: But from that nineteen eighty seven album you get love

423
00:22:19,519 --> 00:22:32,640
Removal Machine, which I learned from guitar hero. I love

424
00:22:32,680 --> 00:22:35,519
what Rick Rubin told them when they sat down and said, Okay,

425
00:22:35,599 --> 00:22:37,799
what are we going to do here? Is this gonna

426
00:22:37,799 --> 00:22:39,680
be goth? Is this gonna be rock? Is this going

427
00:22:39,720 --> 00:22:40,319
to be commercial?

428
00:22:40,359 --> 00:22:40,920
Speaker 1: What are we doing?

429
00:22:41,599 --> 00:22:43,720
Speaker 2: And so Rick Rubin says, do you want to play

430
00:22:43,759 --> 00:22:46,720
pusty English music or do you want to rock? And

431
00:22:46,759 --> 00:22:49,039
they said we want to rock, and so here we go.

432
00:22:49,400 --> 00:22:50,880
Speaker 3: I don't know if you ever ever heard their cover

433
00:22:50,960 --> 00:22:54,400
of Born to Be Wild off Electric, if you haven't

434
00:22:54,440 --> 00:22:57,759
turnonmous or anything, it's truly not a good cover.

435
00:22:57,920 --> 00:23:01,039
Speaker 1: Well now we have to listen right, let's hear it

436
00:23:01,119 --> 00:23:27,160
right here, An shut His voice does not belong on

437
00:23:27,200 --> 00:23:29,880
that song. Nope. I love his voice, and it does

438
00:23:30,000 --> 00:23:31,079
not belong on that song.

439
00:23:31,599 --> 00:23:34,319
Speaker 3: I mean, it's a got this perfect wolf like hal

440
00:23:34,400 --> 00:23:36,400
And you mentioned the Jim Morrison stuff. I think in

441
00:23:36,440 --> 00:23:39,880
the early two thousands, ray Man, Zurich and Dinsmore whoever,

442
00:23:39,920 --> 00:23:42,400
they started the Doors. I don't know what you call it,

443
00:23:42,440 --> 00:23:44,839
but Ian sang for a while for him, so he

444
00:23:44,920 --> 00:23:47,119
definitely lived up to the Morrison comparisons.

445
00:23:47,400 --> 00:23:50,000
Speaker 2: See that's fascinating to me. So he almost got the

446
00:23:50,119 --> 00:23:53,039
lead role in the Oliver Stone movie The Doors. He

447
00:23:53,079 --> 00:23:55,680
actually turned down the role that eventually went to Val Kilmer.

448
00:23:56,240 --> 00:23:59,119
The reason why he turned it down is because he

449
00:23:59,160 --> 00:24:01,960
did not like the way Jim Morrison was portrayed. So

450
00:24:02,079 --> 00:24:04,920
think about I mean, Val Kilmer comes in and absolutely

451
00:24:05,000 --> 00:24:07,200
kills it. Which I heard that when Val Kilmer is

452
00:24:07,200 --> 00:24:09,680
trying to convince Oliver Stone that he was right for

453
00:24:09,720 --> 00:24:12,640
the part. You played him three songs and he said

454
00:24:12,640 --> 00:24:15,279
which was me and which was Jim Morrison and Oliver

455
00:24:15,319 --> 00:24:17,480
Stone couldn't tell the difference, and that's how he got

456
00:24:17,480 --> 00:24:21,279
the role. But Ian Askedberry. The guys from The Doors

457
00:24:21,359 --> 00:24:23,480
took notice that he was almost hired for that role.

458
00:24:23,599 --> 00:24:25,119
They called him up later and said, hey, do you

459
00:24:25,160 --> 00:24:26,880
want to sing with us as we do the Doors?

460
00:24:26,880 --> 00:24:29,160
They became the Doors of the twenty first century and

461
00:24:29,839 --> 00:24:33,000
performed a lot, except without their original drummer, so Stuart

462
00:24:33,000 --> 00:24:33,839
Copeland helped out.

463
00:24:34,279 --> 00:24:36,920
Speaker 3: Pretty cool, OHI always bend the knee at the mention

464
00:24:37,000 --> 00:24:37,880
of Stuart Copeland.

465
00:24:38,480 --> 00:25:02,039
Speaker 2: Next song on the album is called Edie Chow Baby, that's.

466
00:25:01,839 --> 00:25:15,279
Speaker 3: You know that I love this song, man, I really did.

467
00:25:15,680 --> 00:25:18,359
Speaker 4: So we come in with this beautiful twelve string guitar

468
00:25:18,720 --> 00:25:21,720
that was an absolute fad that I absolutely bought into

469
00:25:21,759 --> 00:25:24,960
one in nineteen eighty nine. We talked about it on

470
00:25:25,000 --> 00:25:28,039
the Twice Shy album. She Only starts off like that,

471
00:25:28,440 --> 00:25:30,480
which was still the kind of even throwback to their

472
00:25:30,720 --> 00:25:33,880
Savior Love, which I again spiking football the best great

473
00:25:33,880 --> 00:25:35,200
White song of all times.

474
00:25:34,960 --> 00:25:36,640
Speaker 1: And they do a beautiful job with this.

475
00:25:36,839 --> 00:25:40,279
Speaker 4: It is a different His voice is a different sound

476
00:25:40,359 --> 00:25:43,359
for this twelve string guitar though, and as much as

477
00:25:43,400 --> 00:25:47,400
I like this sound, I think I prefer Jack Russell's

478
00:25:47,680 --> 00:25:50,039
voice with a twelve string guitar. I still like this,

479
00:25:50,160 --> 00:25:52,240
but I think Jack Russell does a better, better job

480
00:25:52,519 --> 00:25:55,039
specifically with you know Babe, I'm Gonna leave you and

481
00:25:55,079 --> 00:25:55,680
save your love.

482
00:25:55,839 --> 00:25:59,200
Speaker 2: They're both incredible vocalists. I think Ian Astbury's voice is

483
00:25:59,240 --> 00:26:02,480
so different, it's almost like his brand. It's comparable. I

484
00:26:02,480 --> 00:26:05,400
think only to like Axel Rose. Like you hear that,

485
00:26:05,480 --> 00:26:08,640
you know exactly who that is, and nobody can really

486
00:26:08,799 --> 00:26:11,160
fill those shoes, I would say. But yeah, this is

487
00:26:11,200 --> 00:26:15,039
a beautiful song. I find it fascinating on who this

488
00:26:15,240 --> 00:26:18,359
was written about, you know the story behind this. So

489
00:26:18,480 --> 00:26:22,240
this was written about Edie Sedgwick, who was this actress

490
00:26:22,319 --> 00:26:26,039
and model and socialite from the sixties. She was one

491
00:26:26,079 --> 00:26:29,079
of these stable girls for Andy Warhol. She was actually

492
00:26:29,079 --> 00:26:31,880
in a movie called Chow Manhattan. That's kind of where

493
00:26:31,880 --> 00:26:34,640
he gets the Chow Baby. Ian Astbury became fascinated with

494
00:26:34,680 --> 00:26:37,759
her while he was living in New York recording the

495
00:26:38,200 --> 00:26:42,039
Electric album. And this is a girl who she was

496
00:26:42,920 --> 00:26:45,359
very rich, but she was kind of the it girl.

497
00:26:45,599 --> 00:26:48,359
And so I think maybe the best comparison to her

498
00:26:48,440 --> 00:26:53,000
would be like Kim Kardassian or Paris Hilton or somebody

499
00:26:53,039 --> 00:26:56,319
like maybe Paris Hilton be the best comparison. So she's rich,

500
00:26:56,359 --> 00:26:59,759
she's famous, she's pretty, she's in movies. She had mental

501
00:26:59,759 --> 00:27:03,000
health issues and eventually died of a drug overdose in

502
00:27:03,039 --> 00:27:05,480
nineteen seventy one at age twenty eight. I think a

503
00:27:05,480 --> 00:27:08,480
lot of people suspect that it might be suicide. So

504
00:27:08,519 --> 00:27:12,160
it's just kind of sad story about success and drug

505
00:27:12,200 --> 00:27:30,359
abuse and mental health. She was actually played by Cianna

506
00:27:30,440 --> 00:27:33,119
Miller in the two thousand and six movie called Factory Girl.

507
00:27:33,279 --> 00:27:35,359
Speaker 4: Okay, so I caught a little bit of the video

508
00:27:35,519 --> 00:27:39,319
on this and apparently the girl that's in this video

509
00:27:39,480 --> 00:27:45,400
playing the edy part is or was Ian Astberry's actual girlfriend,

510
00:27:45,920 --> 00:27:48,200
and from listening to it, she was kind of the

511
00:27:48,480 --> 00:27:51,400
Yoko Ono of the band. It was like he stopped

512
00:27:51,440 --> 00:27:54,720
spending time with the band and spent only time with her.

513
00:27:55,359 --> 00:27:57,839
She's a beautiful girl and sounded like she was an

514
00:27:57,839 --> 00:28:01,359
intelligent person as well. But he kind of infatuated with her,

515
00:28:01,519 --> 00:28:04,240
and that just added to the rift that was going

516
00:28:04,279 --> 00:28:07,240
on with this different desires of where to go and

517
00:28:07,279 --> 00:28:08,960
what to do with the music that was happening between

518
00:28:09,000 --> 00:28:10,640
Billy Duffy and Ian.

519
00:28:10,799 --> 00:28:12,599
Speaker 2: You know in the video you talk about the video

520
00:28:12,799 --> 00:28:15,440
she looks like Edie Sedgwick and maybe that's the reason

521
00:28:15,480 --> 00:28:18,440
why he was so into her at that moment. Also

522
00:28:18,839 --> 00:28:21,079
in this music video, they have this it's shot in

523
00:28:21,079 --> 00:28:24,759
New York City. Clearly they have the eight cellists sitting

524
00:28:24,799 --> 00:28:26,720
at the corner of a major intersection.

525
00:28:26,839 --> 00:28:28,079
Speaker 1: They're playing the cello.

526
00:28:28,119 --> 00:28:30,640
Speaker 2: They're all playing the cello, which that was Bob Rock's

527
00:28:30,680 --> 00:28:32,960
idea to bring in the strings and it works. It's

528
00:28:33,000 --> 00:28:36,960
so cool. But there is a gigantic billboard that has

529
00:28:37,000 --> 00:28:40,599
the batman symbol and I'm like that was shot in

530
00:28:40,640 --> 00:28:43,000
the summer of nineteen eighty nine, without a doubt.

531
00:28:43,160 --> 00:28:44,160
Speaker 1: Yeah, fun part.

532
00:28:44,200 --> 00:28:48,039
Speaker 3: The composer was a Canadian named Bob Buckley, sadly no relation.

533
00:28:48,240 --> 00:28:51,319
The guy came up strings and cello port but he

534
00:28:51,400 --> 00:28:52,680
did an excellent job with that.

535
00:28:52,960 --> 00:28:55,839
Speaker 2: This was the second single released June twenty sixth, nineteen

536
00:28:55,880 --> 00:28:58,519
eighty nine. I thought this was really cool. Bob Rock

537
00:28:58,720 --> 00:29:01,720
was approached by Little Steve Even of the East Street band.

538
00:29:01,880 --> 00:29:04,839
Bob Rock's like, this guy's my hero. He doesn't even

539
00:29:05,079 --> 00:29:07,519
really care about me or know who I am. Came over,

540
00:29:07,680 --> 00:29:09,200
put his hand on his shoulder and said, I just

541
00:29:09,200 --> 00:29:12,039
want to let you know. My favorite string arrangement of

542
00:29:12,200 --> 00:29:15,720
all time is what you guys did on Edie. And

543
00:29:15,759 --> 00:29:19,119
he said, my favorite ballad of all time is Eadie.

544
00:29:19,279 --> 00:29:19,759
Speaker 1: Wow.

545
00:29:19,960 --> 00:29:21,440
Speaker 2: Bob Rock said his jaw hit the floor.

546
00:29:21,519 --> 00:29:23,680
Speaker 1: Sometimes you can't meet your heroes. I guess yep, there

547
00:29:23,720 --> 00:29:23,960
you go.

548
00:29:24,559 --> 00:29:27,599
Speaker 2: By the way, I just I watched some videos, I

549
00:29:27,640 --> 00:29:31,359
listed some interviews. Ian Astbury was sort of similar to

550
00:29:31,440 --> 00:29:34,799
Nikky six that he would take journals, like tons of journaling,

551
00:29:34,880 --> 00:29:37,440
right down his thoughts, right down his feelings, write down

552
00:29:37,480 --> 00:29:39,559
what was going on. And Bob Rock said that that

553
00:29:39,720 --> 00:29:42,960
even rubbed off on him, and so that actually became

554
00:29:43,039 --> 00:29:46,480
a habit of Bob Rock's because of Ian Ashbery. He

555
00:29:46,519 --> 00:29:49,359
really says he changed his life. Pretty fascinating.

556
00:29:49,799 --> 00:29:51,720
Speaker 1: Okay, next song on the album.

557
00:29:52,119 --> 00:30:20,319
Speaker 2: Next song on the album is Sweet Soul. Sista barely

558
00:30:20,359 --> 00:30:21,519
say that without singing it.

559
00:30:21,680 --> 00:30:23,200
Speaker 1: Dang, the song is freaking good.

560
00:30:23,319 --> 00:30:25,160
Speaker 4: So I mentioned earlier there was one song on this

561
00:30:25,200 --> 00:30:29,200
album that was particularly doors Ish, and that to me

562
00:30:29,359 --> 00:30:32,480
is this song you come in with that organ. I

563
00:30:32,480 --> 00:30:34,759
mean it's a different sound organ, but it's still an

564
00:30:34,839 --> 00:30:36,000
organ and still got.

565
00:30:35,839 --> 00:30:37,440
Speaker 1: That style of the Doors.

566
00:30:38,119 --> 00:30:40,640
Speaker 4: I don't know, I do not have documentation of this,

567
00:30:41,079 --> 00:30:43,519
but I know that John Webster, who is like a

568
00:30:43,559 --> 00:30:47,480
go to keyboardist for Bob Rock, is on this album.

569
00:30:47,680 --> 00:30:50,400
My guess is this intro to this song is where

570
00:30:50,440 --> 00:30:53,279
he comes in. And then when you got Sweet Soul's sister,

571
00:30:53,400 --> 00:30:55,759
I mean that chorus is screaming.

572
00:30:55,880 --> 00:30:56,440
Speaker 1: Jim Morrison.

573
00:30:56,599 --> 00:30:59,960
Speaker 3: Yeah, that's the very definition of anthemic. It's very power,

574
00:31:00,000 --> 00:31:13,400
wonderful chorus.

575
00:31:21,000 --> 00:31:23,039
Speaker 2: I love this song. This was the fourth single released

576
00:31:23,079 --> 00:31:25,920
February of nineteen ninety. Buddy on my baseball team had

577
00:31:25,920 --> 00:31:29,640
this because single and we used to thump it when

578
00:31:29,680 --> 00:31:32,680
you drove from the school to the baseball Diamond, and.

579
00:31:32,839 --> 00:31:35,039
Speaker 1: So you had to be waving at the girls when

580
00:31:35,039 --> 00:31:35,839
you were doing this.

581
00:31:36,400 --> 00:31:38,240
Speaker 2: Sweet Soul's Sister.

582
00:31:38,119 --> 00:31:41,240
Speaker 4: Hop down, turn it up, waving at the girls. It's

583
00:31:41,240 --> 00:31:43,240
the Sweet Soul Sister chimes.

584
00:31:43,319 --> 00:31:46,160
Speaker 2: That's it, Andy Milrett, You and me brother. So I

585
00:31:46,160 --> 00:31:48,839
want to talk just briefly about the bassist in the Cult.

586
00:31:49,079 --> 00:31:50,960
His name was Jamie Stewart, kind of a guy in

587
00:31:51,000 --> 00:31:53,480
the background. A rock gave him a lot of credit

588
00:31:53,559 --> 00:31:55,720
for kind of being a bridge guy. But I heard

589
00:31:55,759 --> 00:31:58,079
a story where he was They were sitting in and

590
00:31:58,200 --> 00:32:00,279
Jamie Stewart's like, Hey, I got this baseline and I

591
00:32:00,319 --> 00:32:02,400
want to play you guys, maybe we can do something

592
00:32:02,400 --> 00:32:04,240
with it. So he plays this baseline. He says, what

593
00:32:04,279 --> 00:32:07,000
do you guys think about this? And Billy Duffy looked

594
00:32:07,079 --> 00:32:09,400
him dead in the eye and said, Ian and I

595
00:32:09,480 --> 00:32:10,319
write the songs.

596
00:32:11,000 --> 00:32:13,079
Speaker 1: And that's why this was the last album that he

597
00:32:13,160 --> 00:32:13,319
was on.

598
00:32:13,440 --> 00:32:16,160
Speaker 2: Jami series like, see you guys, I'm out of here.

599
00:32:17,400 --> 00:32:20,559
So he actually quit after the tour, and Matt Soorm

600
00:32:20,599 --> 00:32:23,799
of course was standing over there too. Matt Soorm he

601
00:32:23,960 --> 00:32:27,839
was standing backstage when the tour manager for Aerosmith was

602
00:32:27,920 --> 00:32:31,000
telling Ian Aspberry kind of the rules for their show

603
00:32:31,039 --> 00:32:34,119
as they opened for Aerosmith. Now Aerosmith in eighty nine

604
00:32:34,160 --> 00:32:36,759
and ninety had re emerged from the dead and we're

605
00:32:36,799 --> 00:32:38,640
really one of the biggest bands in the world. And

606
00:32:38,680 --> 00:32:41,559
the tour manager for the Airsmith guy said, all right, listen,

607
00:32:42,160 --> 00:32:44,960
my only rule is don't go down this ramp. That's

608
00:32:44,960 --> 00:32:48,839
Steven Tyler's ramp and there's this sort of whatever special

609
00:32:48,839 --> 00:32:50,519
effect at the end of it. It don't want you

610
00:32:50,559 --> 00:32:53,480
to go through that, So don't touch the ramp, okay,

611
00:32:54,079 --> 00:32:56,079
And I guess there was like a hand at the

612
00:32:56,160 --> 00:32:59,440
end of it, So here we go. Show starts. Of course,

613
00:32:59,480 --> 00:33:02,480
Ian asked. Berry's like, oh yeah, we'll watch this runs

614
00:33:02,519 --> 00:33:05,720
down the ramp and like it's like stomping and kicking

615
00:33:05,759 --> 00:33:08,079
the whatever item it was the hand. And as soon

616
00:33:08,079 --> 00:33:11,400
as they got done, the tour manager was super pissed

617
00:33:12,079 --> 00:33:14,839
and they were like, you're fired. We don't We're not

618
00:33:14,880 --> 00:33:16,799
taking any more of this crap. We can get anybody

619
00:33:16,799 --> 00:33:19,799
to come on with Aerosmith with us. You guys are fired.

620
00:33:19,920 --> 00:33:22,880
And Matt Sorm went to him and he knew Steven

621
00:33:22,920 --> 00:33:26,000
Tyler personally, but he went to the tour manager and said, listen, listen,

622
00:33:26,400 --> 00:33:27,920
let me just talk to Steven see if I can

623
00:33:27,960 --> 00:33:30,519
smooth this thing over. Matt Sorem went to Steven Tyler

624
00:33:30,559 --> 00:33:34,079
and said, listen, Ian's English. He doesn't know what a

625
00:33:34,160 --> 00:33:38,359
ramp is. And so Steven Tyler's like, oh yeah, okay.

626
00:33:38,759 --> 00:33:41,559
So he got him to stay because he convinced them

627
00:33:41,599 --> 00:33:43,279
that Ian didn't know what a ramp was.

628
00:33:54,880 --> 00:33:54,920
Speaker 5: It.

629
00:33:56,480 --> 00:33:59,599
Speaker 2: Yes, I love this song. Ian Astbury said he wrote

630
00:33:59,640 --> 00:34:03,039
this about the americanization of the European culture.

631
00:34:03,160 --> 00:34:05,640
Speaker 4: Before you leave, Jamie Stewart, I have to know the

632
00:34:05,640 --> 00:34:08,800
Coult stuck together despite the fact that they were, you know,

633
00:34:09,119 --> 00:34:13,039
falling apart of the Steams until nineteen ninety five. But

634
00:34:13,079 --> 00:34:16,679
by that time Jamie Stewart had retired from the music industry,

635
00:34:17,159 --> 00:34:20,800
went back to the UK and worked as a software

636
00:34:20,840 --> 00:34:25,559
and user interface designer and lives in Oxfordshire with his family.

637
00:34:25,880 --> 00:34:28,559
He went from being the bassist in the cult to

638
00:34:29,159 --> 00:34:29,960
software designs.

639
00:34:30,679 --> 00:34:33,559
Speaker 2: Good for him, man, good for him. I bet nobody

640
00:34:33,599 --> 00:34:35,599
looks at him in the eye and says, I do

641
00:34:35,760 --> 00:34:37,599
the computer designs around here?

642
00:34:39,000 --> 00:34:39,360
Speaker 1: All right?

643
00:34:39,960 --> 00:34:42,440
Speaker 2: Hit stop on your tape player, kick it out, flip

644
00:34:42,480 --> 00:34:46,000
it over for side two. We start off this side

645
00:34:46,039 --> 00:35:10,519
with the song sol Asylum.

646
00:35:08,960 --> 00:35:13,079
Speaker 1: I would describe this song as pulsing.

647
00:35:13,639 --> 00:35:16,000
Speaker 3: It's a return to their goth roots. I feel like

648
00:35:16,039 --> 00:35:18,000
a lot of the riff feels like something has been

649
00:35:18,119 --> 00:35:20,559
at home and one of those bands from that era.

650
00:35:21,079 --> 00:35:24,199
Speaker 2: Yeah, this is a slow pounding headbanger. Like in concert,

651
00:35:24,239 --> 00:35:26,960
I could see people like really getting into This is

652
00:35:27,000 --> 00:35:30,039
Bob Rock's favorite song and Billy Duffy's favorite song.

653
00:35:30,880 --> 00:35:33,559
Speaker 3: A dark Horse contended for my favorite on this album

654
00:35:33,599 --> 00:35:34,039
as well.

655
00:35:34,199 --> 00:35:34,719
Speaker 1: It's great.

656
00:35:35,079 --> 00:35:37,840
Speaker 4: I love this and I love the slow pulse build.

657
00:35:38,440 --> 00:35:40,239
This is a getting dirty song.

658
00:35:40,880 --> 00:35:42,119
Speaker 2: It's seven minutes long.

659
00:35:42,280 --> 00:35:43,920
Speaker 1: Yeah, and it's not I was gonna say, it's not

660
00:35:43,920 --> 00:35:45,400
that I don't know it's on the Makeout List.

661
00:35:45,440 --> 00:35:49,039
Speaker 4: It's like upgrade from the Makeout List's third base list.

662
00:35:49,159 --> 00:35:50,760
Speaker 1: I don't know what you call it. That's what this

663
00:35:50,800 --> 00:35:51,719
song belongs on.

664
00:35:52,320 --> 00:35:53,559
Speaker 2: The third Bass Playlist.

665
00:35:53,679 --> 00:35:55,719
Speaker 3: I love the line who could break a Butterfly on

666
00:35:55,760 --> 00:35:58,440
a Wheel? And I think that there's another goth band

667
00:35:58,519 --> 00:36:00,960
called The Mission UK who's been next year would release

668
00:36:01,000 --> 00:36:03,800
a song called Butterfly on a Wheel, which I have

669
00:36:03,880 --> 00:36:07,079
to think was maybe inspired a little bit by this one.

670
00:36:07,559 --> 00:36:21,360
Speaker 5: So many times, so many times.

671
00:36:21,960 --> 00:36:24,400
Speaker 2: I've got a great story for you though, involving our

672
00:36:24,440 --> 00:36:25,400
man Dave Grohl.

673
00:36:25,679 --> 00:36:26,039
Speaker 1: Okay.

674
00:36:26,440 --> 00:36:29,559
Speaker 2: Apparently Dave Grol and the Cult had a feud.

675
00:36:29,840 --> 00:36:31,480
Speaker 1: Do you know about this? Okay?

676
00:36:31,719 --> 00:36:34,880
Speaker 2: So in two thousand and one, the Cult was recording

677
00:36:34,880 --> 00:36:37,840
their album Beyond Good and Evil, but they toyed with

678
00:36:37,960 --> 00:36:40,719
actually calling that album bring Me the Head of Dave Grohl.

679
00:36:41,119 --> 00:36:41,519
Speaker 1: Okay.

680
00:36:41,760 --> 00:36:44,840
Speaker 2: So all this came from comments that Dave made in

681
00:36:45,119 --> 00:36:47,239
a rock magazine where he said he went to a

682
00:36:47,280 --> 00:36:50,719
Cult show and wanted to put a gun to his head. Okay,

683
00:36:51,639 --> 00:36:54,519
And of course the guys from the Cult, who their

684
00:36:54,599 --> 00:36:58,199
popularity was waning in large part due to the success

685
00:36:58,239 --> 00:37:01,360
of Nirvana and bands like them, really took that personal

686
00:37:01,559 --> 00:37:05,920
and had a real grudge against Dave. Well, twenty seventeen

687
00:37:06,039 --> 00:37:10,039
rolls around and they're playing They're headlining the same music festival,

688
00:37:10,079 --> 00:37:12,239
so it's finally time the guy's to be kind of

689
00:37:12,239 --> 00:37:14,639
in the same room together, and Dave, to his credit,

690
00:37:14,760 --> 00:37:17,400
walked in and said, Hi, I've never met you before.

691
00:37:17,480 --> 00:37:20,079
My name's Dave Grohl, shook his hand and said, I'm

692
00:37:20,119 --> 00:37:22,360
sorry for everything I said. Can we just put this

693
00:37:22,440 --> 00:37:25,199
in the past, And they were gracious and said, yeah,

694
00:37:25,280 --> 00:37:25,840
let's do that.

695
00:37:25,960 --> 00:37:29,760
Speaker 4: I'm glad that you at least I understand somewhat at

696
00:37:29,760 --> 00:37:32,400
this position, because, as I said, no experience with this

697
00:37:32,480 --> 00:37:34,039
band except for this album and this.

698
00:37:34,480 --> 00:37:36,519
Speaker 1: I mean, they're awesome. They sound so good.

699
00:37:36,519 --> 00:37:37,000
Speaker 2: They're awesome.

700
00:37:37,000 --> 00:37:40,000
Speaker 4: I mean Ian Astbury his voice isn't just a voice,

701
00:37:40,039 --> 00:37:41,440
it's a musical instrument.

702
00:37:42,039 --> 00:37:42,519
Speaker 1: Bye yea.

703
00:37:42,719 --> 00:37:45,480
Speaker 4: I mean he doesn't just say fire, he says by yea.

704
00:37:45,920 --> 00:37:48,679
I mean he brings it with his voice right to

705
00:37:48,760 --> 00:37:49,719
one word chorus.

706
00:37:49,800 --> 00:37:50,079
Speaker 1: I know.

707
00:37:50,360 --> 00:37:54,760
Speaker 4: And I talked to Kevin Davis about this band, our

708
00:37:54,800 --> 00:37:59,079
Patreon good friend, Kevin Davis, and he was like, love

709
00:37:59,599 --> 00:38:02,719
love love. Listen to the album, saw them live twice.

710
00:38:03,760 --> 00:38:04,440
Speaker 1: They're terrible.

711
00:38:04,960 --> 00:38:05,320
Speaker 3: Oh.

712
00:38:05,360 --> 00:38:07,360
Speaker 4: I was like, what he's like. I don't know what's

713
00:38:07,400 --> 00:38:09,239
going on with their singer. I think he must be

714
00:38:09,360 --> 00:38:12,880
just a studio guy or whatever. But he wouldn't sing

715
00:38:12,960 --> 00:38:15,199
half of the time. The other half of the time,

716
00:38:15,239 --> 00:38:18,360
he got the lyrics only half right. It didn't sound

717
00:38:18,519 --> 00:38:20,840
like him. It just wasn't It wasn't good.

718
00:38:21,519 --> 00:38:22,480
Speaker 1: And I mean it.

719
00:38:22,440 --> 00:38:24,360
Speaker 4: Could be that he's it could be that he is

720
00:38:24,440 --> 00:38:26,159
just better in the studio than he is live.

721
00:38:26,199 --> 00:38:29,480
Speaker 1: That's possibility. I've seen several folks like that, of course.

722
00:38:29,199 --> 00:38:31,639
Speaker 4: And it could also be that he's got a distaste

723
00:38:31,719 --> 00:38:33,719
for a lot of the music that is their most

724
00:38:33,760 --> 00:38:36,760
popular music, and so he's not really into it, doing

725
00:38:36,800 --> 00:38:39,480
his groovy kind of voice thing, which I think if

726
00:38:39,519 --> 00:38:41,239
I was a fan of the album and then I

727
00:38:41,280 --> 00:38:43,840
got there and listened to him kind of begrudgingly half

728
00:38:43,880 --> 00:38:47,360
built out these songs, I'd be disinterested as well. But

729
00:38:47,679 --> 00:38:49,719
of course, right after I texted you guys and asked

730
00:38:49,760 --> 00:38:51,559
which would be the better stripper song, I posed the

731
00:38:51,559 --> 00:38:55,480
same question to Kevin Davis and his response was, good question.

732
00:38:56,039 --> 00:38:58,639
I think live I would prefer Miss the Bone, But

733
00:38:58,760 --> 00:39:00,400
the studio version, it's.

734
00:39:00,280 --> 00:39:01,599
Speaker 1: A toss up. Hey.

735
00:39:01,639 --> 00:39:03,880
Speaker 2: I talked to Chris Weber and he sent me a

736
00:39:03,920 --> 00:39:06,320
story on the Cult as well. He saw them live

737
00:39:06,440 --> 00:39:08,440
like in the late eighties, and he said that they

738
00:39:08,480 --> 00:39:11,239
had this band that was opening for them who was

739
00:39:11,800 --> 00:39:13,360
really good and kind of upcoming.

740
00:39:13,920 --> 00:39:16,719
Speaker 1: I guess maybe this was eighty seven, maybe eighty eight.

741
00:39:16,760 --> 00:39:20,920
Speaker 2: Anyway, it was not unusual for the opening band to

742
00:39:21,000 --> 00:39:24,599
kind of prank the headliners, and so they came out

743
00:39:24,639 --> 00:39:27,880
on stage with nothing but towels on and the Cult

744
00:39:27,880 --> 00:39:31,360
guys thought it was hilarious and sort of managed to

745
00:39:31,360 --> 00:39:33,079
get their hands on a few of the towels and

746
00:39:33,159 --> 00:39:35,400
kind of ripped them off, and so they're running around

747
00:39:35,400 --> 00:39:39,039
stage and that band was Guns N' Roses. I thought

748
00:39:39,039 --> 00:39:39,880
that was a great story.

749
00:39:40,000 --> 00:39:42,960
Speaker 1: Oh that's great. Okay, we done with this one.

750
00:39:43,400 --> 00:39:45,039
Speaker 3: Yeah, I love it, man. I think it's one of

751
00:39:45,039 --> 00:39:45,920
the best on the album.

752
00:39:46,039 --> 00:39:48,159
Speaker 1: It's a banger for sure. Okay.

753
00:39:48,440 --> 00:40:05,000
Speaker 2: Next song on the album is called New York City Rambo.

754
00:40:09,840 --> 00:40:13,039
Speaker 1: This is formula rock at its finest. Guys. I mean,

755
00:40:13,079 --> 00:40:14,199
you like it or you don't like it.

756
00:40:14,360 --> 00:40:17,039
Speaker 4: I mean it's a good song, but I can tell

757
00:40:17,079 --> 00:40:19,159
that it is a cookie cutter mold.

758
00:40:19,840 --> 00:40:22,400
Speaker 1: Okay, I like it. I think it's great. It's a bang.

759
00:40:22,760 --> 00:40:24,559
Speaker 2: I'm sure in concert this is a great song.

760
00:40:25,079 --> 00:40:27,519
Speaker 3: It's like Sarah whethers Billy Duffy said. It was inspired

761
00:40:27,559 --> 00:40:29,559
by the time they spent in New York recording the

762
00:40:29,599 --> 00:40:32,360
Electric album, just the whole general vibe of the city.

763
00:40:32,480 --> 00:40:35,239
And my favorite thing about this song is in the background,

764
00:40:35,320 --> 00:40:38,400
particularly during the little bridge, you can hear the vocals

765
00:40:38,400 --> 00:40:40,800
of the mister James Osterberg himself.

766
00:40:41,679 --> 00:40:42,119
Speaker 1: Baby.

767
00:40:42,320 --> 00:40:44,280
Speaker 2: Yeah, I was hoping to stun you with that information,

768
00:40:44,320 --> 00:40:46,119
but I see Dee've got it pulled up, you're right

769
00:40:46,360 --> 00:40:47,039
on top of it.

770
00:40:47,119 --> 00:40:50,000
Speaker 4: So James even stole my idea of saying backup on

771
00:40:50,039 --> 00:40:52,280
the song is James Newell Osterberg Juniors.

772
00:40:55,280 --> 00:40:57,239
Speaker 2: Did you hear how he got to the studio to

773
00:40:57,480 --> 00:40:58,360
sing vocals?

774
00:40:59,039 --> 00:40:59,119
Speaker 5: No?

775
00:41:00,000 --> 00:41:03,440
Speaker 2: Okay, he went straight from a gig ian Astberry went

776
00:41:03,559 --> 00:41:06,360
over to that gig, picked him up on his harley,

777
00:41:06,519 --> 00:41:09,079
drove him to the studio when he walked in, like

778
00:41:09,159 --> 00:41:11,519
other members of the band and the producer there like,

779
00:41:11,760 --> 00:41:13,280
let's say, you pop, what's he doing here?

780
00:41:14,079 --> 00:41:16,119
Speaker 1: Showed up just to seeing vocals. Awesome.

781
00:41:16,280 --> 00:41:19,159
Speaker 2: By the way, the second verse deals at least a

782
00:41:19,159 --> 00:41:22,440
little bit with the assassination of John Lennon.

783
00:41:22,559 --> 00:41:26,000
Speaker 4: Okay, so we've had seven songs so far and not

784
00:41:26,119 --> 00:41:29,000
a loser in any one of them. No skippers, no skippers,

785
00:41:29,280 --> 00:41:31,760
and most of them solid turn it up songs.

786
00:41:32,239 --> 00:41:36,920
Speaker 2: Hey, the first six are bangers, but next song is

787
00:41:36,960 --> 00:41:39,280
called automatic Blues.

788
00:41:50,039 --> 00:41:54,400
Speaker 4: So, James, I know you are not a Led Zeppelin fan.

789
00:41:54,440 --> 00:41:56,800
I'm sorry for outing you here in front of God

790
00:41:56,840 --> 00:41:59,440
and everybody. So I don't know how you feel about

791
00:41:59,440 --> 00:42:03,840
this particular song. But if this is not a straight

792
00:42:04,199 --> 00:42:06,599
theft of black Dog, I don't know what it is.

793
00:42:07,360 --> 00:42:09,679
Speaker 3: There's a port in the middle where Nicky Curry does

794
00:42:09,679 --> 00:42:12,079
his quick little flurries on his bass drum that straight

795
00:42:12,119 --> 00:42:15,159
out at good times bad times. So yeah, the zepplog

796
00:42:15,320 --> 00:42:16,239
was all over this song.

797
00:42:27,360 --> 00:42:30,039
Speaker 1: So how do you feel about it? Given that that case.

798
00:42:30,400 --> 00:42:32,840
Speaker 3: I'm not necessarily gonna skip it, but I may become

799
00:42:32,880 --> 00:42:35,440
distracted waiting for a chance to go back and listen

800
00:42:35,480 --> 00:42:39,360
to sun King again or Firewoman. It's not an automatic skipper,

801
00:42:39,400 --> 00:42:42,000
but it's not my favorite track on the album.

802
00:42:42,079 --> 00:42:44,000
Speaker 2: Jason, this is not a great song.

803
00:42:44,239 --> 00:42:46,079
Speaker 1: This one the first one that really didn't work for me.

804
00:42:46,480 --> 00:42:49,280
Speaker 4: Yeah, I feel like they are they're a little too

805
00:42:49,280 --> 00:42:51,880
on their nose with the led Zeppelin love. And his

806
00:42:51,960 --> 00:42:56,480
voice is not Robert Plant's voice. It's it's a different style.

807
00:42:56,559 --> 00:42:59,159
It's not bad. It's maybe better for a whole lot

808
00:42:59,199 --> 00:43:01,480
of songs, but he shouldn't be singing this.

809
00:43:02,400 --> 00:43:05,960
Speaker 2: You're saying Jack Russell is a better imitator of led Zeppelin, right.

810
00:43:05,840 --> 00:43:08,719
Speaker 4: I'm saying Jack Russell is a better imitator of led

811
00:43:08,760 --> 00:43:10,199
Zeppelin than Robert Plaints.

812
00:43:10,280 --> 00:43:14,400
Speaker 2: YESO nice in certain certain states, Yes, I agree.

813
00:43:14,480 --> 00:43:15,679
Speaker 1: From a certain point of view.

814
00:43:17,039 --> 00:43:20,039
Speaker 2: There's a time in nineteen ninety three where you had

815
00:43:20,079 --> 00:43:24,320
Metallica touring the Black Album and opening for them on

816
00:43:24,440 --> 00:43:28,199
certain dates, you had Alison Chains on other dates you

817
00:43:28,280 --> 00:43:31,360
had the Cult. That's a heck of a ticket right.

818
00:43:31,239 --> 00:43:31,679
Speaker 1: There, man.

819
00:43:32,079 --> 00:43:34,480
Speaker 2: Either one of those would have been awesome to see

820
00:43:34,519 --> 00:43:35,000
at that time.

821
00:43:35,119 --> 00:43:38,239
Speaker 1: As I understand it, most of the Metallica froud was

822
00:43:38,320 --> 00:43:39,440
not very happy to see the car.

823
00:43:39,559 --> 00:43:41,199
Speaker 2: They were super hard on them.

824
00:43:41,360 --> 00:43:42,320
Speaker 1: Yeah, they boot them.

825
00:43:42,320 --> 00:43:44,440
Speaker 2: I can't believe that. That seems crazy to me. I

826
00:43:44,480 --> 00:43:46,679
was going to tell you guys this, Bob Rock when

827
00:43:46,719 --> 00:43:49,880
he was gearing up to record Sonic Temple, he went

828
00:43:49,920 --> 00:43:53,519
to see the Cult open for Metallica on the Justice

829
00:43:53,519 --> 00:43:56,199
Tour and Justice for All, Justice for All. So he

830
00:43:56,320 --> 00:43:59,239
saw the Cult watch them, Yeah, I can produce their

831
00:43:59,239 --> 00:44:02,559
next album aid for Metallica, saw what they did on

832
00:44:02,599 --> 00:44:05,119
the end Justice for All tour and thought, these guys

833
00:44:05,119 --> 00:44:07,800
are really powerful. I think I can help them write

834
00:44:07,840 --> 00:44:13,000
some really great commercial songs. And that's how that partnership started.

835
00:44:13,039 --> 00:44:15,000
And basically he's been with them ever since.

836
00:44:15,320 --> 00:44:17,840
Speaker 3: I saw Metallica on that tour. Dear God, they were

837
00:44:17,880 --> 00:44:21,440
in peak form. They saw Queens Reike open for him.

838
00:44:21,440 --> 00:44:24,079
They were great, but Metallica in that time on that tour,

839
00:44:24,800 --> 00:44:26,320
they were a machine, all right.

840
00:44:26,440 --> 00:44:28,000
Speaker 2: Moving on to the next song on the album. This

841
00:44:28,039 --> 00:44:35,360
song is called Soldier Blue, So.

842
00:44:46,400 --> 00:44:53,079
Speaker 4: Again he doesn't just say yeah, he says yeah. But

843
00:44:53,559 --> 00:44:56,400
to me, this one is this one's all kinds of

844
00:44:56,480 --> 00:44:59,639
Mickey Curry. I want to know James's opinion on the

845
00:44:59,639 --> 00:45:01,880
intro drums on this one, because they're freaking fire.

846
00:45:02,599 --> 00:45:05,639
Speaker 3: Oh yeah, just that big bouncy shuffle feel. Mickey really

847
00:45:05,719 --> 00:45:06,320
kills it on that.

848
00:45:06,599 --> 00:45:10,199
Speaker 2: This is the same guy who plays Summers, not Summer

849
00:45:10,239 --> 00:45:11,039
sixty nine.

850
00:45:10,960 --> 00:45:12,199
Speaker 1: No, not Summer of sixty.

851
00:45:12,320 --> 00:45:14,840
Speaker 2: Somebody in Heaven and all those great.

852
00:45:14,800 --> 00:45:19,000
Speaker 4: Bryan Adams songs, yeah, and Private Eyes that's it, that's

853
00:45:19,039 --> 00:45:21,119
it and Eater.

854
00:45:21,559 --> 00:45:24,039
Speaker 2: Yeah, all the notes. He gets his chance to rock

855
00:45:24,079 --> 00:45:25,159
out and he takes advantage of it.

856
00:45:25,280 --> 00:45:27,559
Speaker 1: Yeah, this is a great song. I'm a fan.

857
00:45:27,840 --> 00:45:30,639
Speaker 2: Feels like they're attempting to make something a little more commercial,

858
00:45:30,719 --> 00:45:31,840
a little more mainstream.

859
00:45:32,239 --> 00:45:32,679
Speaker 1: I dig it.

860
00:45:33,199 --> 00:45:35,320
Speaker 4: This one is on the on the lower half of

861
00:45:35,360 --> 00:45:37,360
the album. For me, I like the drums and I

862
00:45:37,480 --> 00:45:39,400
like the guitar, but I just don't feel like the

863
00:45:39,719 --> 00:45:41,400
I don't feel like the lyrics on this one, and

864
00:45:41,440 --> 00:45:45,320
the melody of the song is super enticing.

865
00:45:45,880 --> 00:45:48,239
Speaker 3: No, it's not a bad song. It's not gonna it's

866
00:45:48,239 --> 00:45:50,199
not gonna rank in my top five or six. Off

867
00:45:50,199 --> 00:45:50,800
the album.

868
00:45:51,119 --> 00:45:52,599
Speaker 2: There's not a lot of room in the top five

869
00:45:52,599 --> 00:45:54,039
because the first five songs.

870
00:45:53,760 --> 00:45:54,719
Speaker 1: Are freaking amazing.

871
00:45:55,320 --> 00:45:56,119
Speaker 3: Yeah, oh yeah.

872
00:45:56,199 --> 00:45:58,719
Speaker 2: I did hear Bob Rock talk about this particular song

873
00:45:58,880 --> 00:46:02,960
and said that Ian Astbury is the same guy that

874
00:46:03,039 --> 00:46:05,760
you see on stage, that you see in the studio,

875
00:46:05,840 --> 00:46:08,679
that you see out to eat or whatever. So that

876
00:46:08,679 --> 00:46:10,320
a lot of guys that he's worked with, they've got

877
00:46:10,320 --> 00:46:12,280
their stage persona and then they got the guy who

878
00:46:12,280 --> 00:46:14,280
comes in and flip flops and shorts, you know. But

879
00:46:14,360 --> 00:46:18,280
Ian Asbury sees himself as a soldier and he has

880
00:46:18,320 --> 00:46:21,079
all these like old uniforms, like he's a collector.

881
00:46:22,119 --> 00:46:22,480
Speaker 1: All right.

882
00:46:22,559 --> 00:46:24,960
Speaker 2: Next song on the album is called wake Up Time

883
00:46:25,039 --> 00:46:40,960
for Freedom.

884
00:46:41,320 --> 00:46:44,639
Speaker 4: Okay, I think that we've finally hit what I would

885
00:46:44,639 --> 00:46:47,280
describe as the first skipper on the album.

886
00:46:47,360 --> 00:46:49,679
Speaker 2: Yeah, it's not great. It's kind of a hand clapper.

887
00:46:49,800 --> 00:46:51,920
I don't know what they're trying to do on this one.

888
00:46:52,239 --> 00:46:55,480
Speaker 4: Yeah, there's a kind of weird juxtaposition in this song

889
00:46:55,519 --> 00:46:58,000
because the chorus is about wake Up Time for Freedom,

890
00:46:58,039 --> 00:47:00,519
wake Up time to fly. But it's all so when

891
00:47:00,519 --> 00:47:03,239
I open the door, there's a law man star and

892
00:47:03,280 --> 00:47:06,039
I'm getting dragged into a waiting car. So it's like

893
00:47:06,119 --> 00:47:09,519
he's wake up time for Freedom. I'm getting arrested. I'm

894
00:47:09,559 --> 00:47:10,280
gonna die.

895
00:47:10,559 --> 00:47:10,880
Speaker 1: Well.

896
00:47:11,000 --> 00:47:13,559
Speaker 2: This song was written by En Asbury about a reoccurring

897
00:47:13,679 --> 00:47:16,000
nightmare that he had about getting arrested.

898
00:47:16,119 --> 00:47:16,719
Speaker 1: Oh there you go.

899
00:47:17,039 --> 00:47:19,360
Speaker 4: So I don't know why that's wake Up Time for

900
00:47:19,440 --> 00:47:21,440
Freedom though, how does that come into play?

901
00:47:22,199 --> 00:47:24,719
Speaker 2: I got to think that that comes from Blade Runner, honestly,

902
00:47:25,280 --> 00:47:30,519
Blade Runner, because the rudger Howard characters says, has that

903
00:47:30,599 --> 00:47:33,800
real famous quote where he says, wake up time to die.

904
00:47:34,480 --> 00:47:37,119
Speaker 4: I got you, Okay, Yeah, I still don't know where

905
00:47:37,119 --> 00:47:38,559
wake up time for Freedom is there?

906
00:47:38,719 --> 00:47:39,559
Speaker 1: Wake Up time to die?

907
00:47:39,679 --> 00:47:42,159
Speaker 4: That makes sense in the in the context of the

908
00:47:42,199 --> 00:47:44,440
song wake Up Time for Freedom.

909
00:47:44,920 --> 00:47:45,760
Speaker 1: I don't know. I don't know.

910
00:47:45,840 --> 00:47:49,039
Speaker 4: It doesn't make any sense. It's it's not a good song.

911
00:47:49,280 --> 00:47:52,119
Let's get on, sorry, yeah, let's move on. We're moving

912
00:47:52,159 --> 00:47:54,519
on trying to get back to the beginning of Sun.

913
00:47:54,400 --> 00:47:58,239
Speaker 2: King So exactly can we just go back to sun

914
00:47:58,280 --> 00:48:01,039
King Rise? So let's go to Bonus track. This was

915
00:48:01,079 --> 00:48:03,599
not on the tape. This was on the CD and vinyl,

916
00:48:03,679 --> 00:48:06,880
but not on the tape. This song is called Medicine Train.

917
00:48:33,000 --> 00:48:33,280
Speaker 1: Okay.

918
00:48:33,400 --> 00:48:37,159
Speaker 4: I I got a very bait and twitch kind of

919
00:48:37,159 --> 00:48:40,320
feeling on this one. I mean, I've got this fantastic

920
00:48:40,360 --> 00:48:43,840
blues harmonica harp coming in here, blowing me away, and

921
00:48:43,840 --> 00:48:45,719
then they just drop it and go ahead and go

922
00:48:45,760 --> 00:48:48,400
back to the just kind of standard rocking sound. I'm

923
00:48:48,440 --> 00:48:53,079
not really sure what a medicine train is, but here's

924
00:48:53,159 --> 00:48:55,280
here's some of the lyrics from the song. Says standing

925
00:48:55,320 --> 00:48:59,360
on a stage, the boy started shaking, lip curled back,

926
00:49:00,360 --> 00:49:04,280
started quaking. I'm getting a strong Elvis vibe on that one,

927
00:49:04,360 --> 00:49:07,079
Like this is this is very reminiscent of Elvis as

928
00:49:07,119 --> 00:49:10,000
a boy, but when he went to the revival and

929
00:49:10,480 --> 00:49:12,880
kind of was inspired to become a singer. And the

930
00:49:12,920 --> 00:49:15,559
lip curl that, I mean, it's just making me think Elvis.

931
00:49:16,119 --> 00:49:19,599
Elvis has got a song called Mystery Train, and medicine

932
00:49:19,599 --> 00:49:21,599
Train is a mystery So there you go. I don't know,

933
00:49:21,760 --> 00:49:23,840
it's all I could do in this one, Okay, love

934
00:49:23,880 --> 00:49:25,719
the harmonica at the beginning. The rest of the song

935
00:49:25,800 --> 00:49:27,079
is just kind of mad. I wish they would have

936
00:49:27,400 --> 00:49:29,079
kept up with the harmonica that they had.

937
00:49:29,199 --> 00:49:32,719
Speaker 2: Okay, this is not a great song, but it does

938
00:49:32,880 --> 00:49:36,719
give us this lyric shooting from the hip in the

939
00:49:36,719 --> 00:49:40,519
Sonic Temple. Oh and that's how we get the title

940
00:49:40,559 --> 00:49:41,000
of the album.

941
00:49:41,079 --> 00:49:42,760
Speaker 1: So they had to put it on. I ca'd on

942
00:49:42,800 --> 00:49:43,239
this track.

943
00:49:43,679 --> 00:49:44,000
Speaker 3: I don't.

944
00:49:44,079 --> 00:49:46,880
Speaker 4: Yeah, okay, yeah, So now good, we're back to son

945
00:49:46,960 --> 00:49:48,920
King again and I can start I can start off

946
00:49:48,960 --> 00:49:50,760
with the good music again, because once again, this is

947
00:49:50,800 --> 00:49:52,880
not a this is not one. I must stay and

948
00:49:52,920 --> 00:49:53,719
listen to the whole time.

949
00:49:53,800 --> 00:49:58,239
Speaker 2: Hey, side A killer, Yeah, side B mid.

950
00:49:58,880 --> 00:50:01,719
Speaker 4: Okay, you know, well, I think that means that we're

951
00:50:01,760 --> 00:50:04,239
I mean, we're done with the album now, yes, and

952
00:50:04,360 --> 00:50:07,239
so we've got time left. We've got to say. We've

953
00:50:07,280 --> 00:50:11,159
covered Great White. Why shy, We've covered the cult Sonic Temple.

954
00:50:11,239 --> 00:50:13,840
It's time for final judgment, Jason, what are your thoughts?

955
00:50:13,960 --> 00:50:14,280
Speaker 1: Okay?

956
00:50:14,599 --> 00:50:17,400
Speaker 2: So I love both of these albums. This matchup was

957
00:50:17,400 --> 00:50:19,960
my idea, and in the summer of nineteen eighty nine,

958
00:50:20,000 --> 00:50:21,159
I had both of these albums.

959
00:50:21,199 --> 00:50:22,440
Speaker 1: I listened to them both.

960
00:50:22,639 --> 00:50:25,920
Speaker 2: I love both. I love the bluesy blues of Great White.

961
00:50:26,199 --> 00:50:28,480
I'm a blues rock kind of guy. I'm not a

962
00:50:28,519 --> 00:50:32,639
big goth progressive post punk kind of guy, but this

963
00:50:32,840 --> 00:50:35,960
album really hits me because they lean into that rock.

964
00:50:36,039 --> 00:50:39,760
I think, so what is the better album? I think

965
00:50:39,800 --> 00:50:42,360
the best song on both of these albums is Firewoman.

966
00:50:42,400 --> 00:50:44,239
I can crank that up to eleven any day of

967
00:50:44,280 --> 00:50:51,480
the week. And although it's lopsided, it's very front heavy,

968
00:50:51,719 --> 00:50:55,239
Like the first six songs of Sonic Temple are amazing,

969
00:50:55,360 --> 00:50:59,400
and then it falls off pretty quickly after that. If

970
00:50:59,440 --> 00:51:02,039
I'm walking out the door and I only can grab

971
00:51:02,119 --> 00:51:05,039
one grabbing Sonic Temple by.

972
00:51:04,880 --> 00:51:07,400
Speaker 4: The cult, Okay, now we need to hear from James.

973
00:51:07,480 --> 00:51:08,519
Let's see what James is taking.

974
00:51:09,079 --> 00:51:12,239
Speaker 3: Tough call two of the top contenders of nineteen eighty nine.

975
00:51:12,280 --> 00:51:14,159
But after going back and listening to him over and

976
00:51:14,199 --> 00:51:17,440
over again, I think The Great White is the album

977
00:51:17,519 --> 00:51:19,639
I keep going back to. There are a lot of

978
00:51:19,639 --> 00:51:22,079
great moments in Sonic Temple, but some of it, you know,

979
00:51:22,239 --> 00:51:24,360
with the looking back over the years, feels a bit

980
00:51:24,840 --> 00:51:26,519
I don't know, almost like they were trying to cop

981
00:51:26,599 --> 00:51:30,000
onto the hard rock thing at the time. And so

982
00:51:30,440 --> 00:51:32,920
it's a fantastic album. I've love going back to listen

983
00:51:32,960 --> 00:51:34,719
to it, But if I had forced to choose a

984
00:51:34,880 --> 00:51:37,159
musical gunpoint, I'd have to go with Great White.

985
00:51:37,519 --> 00:51:39,400
Speaker 1: Wow, awesome man.

986
00:51:39,599 --> 00:51:43,159
Speaker 2: James is leaning twice shy. So the question, though, is

987
00:51:43,199 --> 00:51:46,000
that you know you weren't super familiar with Great White,

988
00:51:46,559 --> 00:51:49,880
you never even heard of the cult Nope. So I'm

989
00:51:49,920 --> 00:51:52,000
really anxious to hear how you come down on these

990
00:51:52,000 --> 00:51:53,559
two albums. See where are you?

991
00:51:53,639 --> 00:51:55,920
Speaker 1: I'm going to be the tiebreaker. Here you are the time.

992
00:51:56,000 --> 00:51:57,599
Speaker 4: I want to be the tye breaker. All right, Yeah,

993
00:51:57,599 --> 00:52:02,400
I'm excited about this. So I like you love the blues.

994
00:52:02,760 --> 00:52:06,760
I love the sound that Great White has. I think

995
00:52:06,880 --> 00:52:10,800
Jack Russell's voice is phenomenal. I would listen to it

996
00:52:10,840 --> 00:52:15,960
sing most any song. And Ian Astbury it's it's he

997
00:52:16,079 --> 00:52:18,880
was perfect for some songs and not right for other songs.

998
00:52:18,880 --> 00:52:20,440
And a couple of them we get on this album

999
00:52:21,000 --> 00:52:24,840
and I don't feel like on Why Shy there were

1000
00:52:24,840 --> 00:52:27,480
any skippers, Like there are songs that are less good

1001
00:52:27,480 --> 00:52:29,360
than others, but none that I would just be like

1002
00:52:29,519 --> 00:52:33,039
not skipping that song. They are all very listenable songs.

1003
00:52:33,320 --> 00:52:35,599
A House of Broken Dreams is one of the best

1004
00:52:35,599 --> 00:52:38,239
blue songs that I was completely unfamiliar with that I

1005
00:52:38,320 --> 00:52:45,119
now love but the first side of Sonic Temple is

1006
00:52:45,199 --> 00:52:48,639
so powerful and so good. I can tell you, you know,

1007
00:52:49,199 --> 00:52:51,679
there's something when you you know, when you see the

1008
00:52:51,719 --> 00:52:54,519
girl for the first time and your eyes meet and

1009
00:52:54,559 --> 00:52:57,840
the spark happens. I can tell you that that didn't

1010
00:52:57,880 --> 00:53:01,679
happen for me. On twice, Shy enjoyed it. It was fine,

1011
00:53:01,920 --> 00:53:04,079
she was cute, she was cute, and I would go

1012
00:53:04,119 --> 00:53:04,800
out with her again.

1013
00:53:05,000 --> 00:53:05,199
Speaker 1: Right.

1014
00:53:05,760 --> 00:53:08,559
Speaker 4: But when I heard sun King for the first time,

1015
00:53:08,800 --> 00:53:12,440
it was like the lights went up and the romantic

1016
00:53:12,519 --> 00:53:16,119
music started playing, and I was moving across the floor

1017
00:53:16,159 --> 00:53:20,519
to meet Sonic Temple face to face this album. I

1018
00:53:20,639 --> 00:53:23,280
was so glad that you introduced me to this album

1019
00:53:23,320 --> 00:53:27,599
because this is, without questions, Bike in the football, Sonic

1020
00:53:27,639 --> 00:53:29,480
Temple is the better.

1021
00:53:29,280 --> 00:53:31,159
Speaker 1: Album of these two albums.

1022
00:53:31,199 --> 00:53:34,199
Speaker 4: All right, yeah, fantastic, I will it is now in

1023
00:53:34,280 --> 00:53:38,519
the queue. Sun King, Firewoman, American Horse, all.

1024
00:53:38,400 --> 00:53:40,559
Speaker 1: Of them are going to be in my regular play rotation.

1025
00:53:40,800 --> 00:53:42,400
Speaker 2: I'm so glad to hear that. I'm so glad that

1026
00:53:42,440 --> 00:53:44,199
you enjoyed it. We want to hear from you, guys,

1027
00:53:44,559 --> 00:53:46,719
how did we do? Which one of these albums do

1028
00:53:46,760 --> 00:53:48,519
you like better? We want to hear from you. You

1029
00:53:48,559 --> 00:53:51,480
and I are available on email. Anybody's available to email

1030
00:53:51,559 --> 00:53:54,239
us Shirleypodcast at gmail dot com. Reach out to us.

1031
00:53:54,280 --> 00:53:55,079
Speaker 1: We'd love to hear from you.

1032
00:53:55,320 --> 00:53:57,280
Speaker 4: Yeah, we love hearing it. By the way, guys, if

1033
00:53:57,280 --> 00:53:59,360
you want to make a comment in our review, it's

1034
00:53:59,400 --> 00:54:01,719
even better. Ops us up on other people's ratings, give

1035
00:54:01,760 --> 00:54:04,039
us a little five star, give us a little take

1036
00:54:04,079 --> 00:54:06,719
on this episode and any other episodes you want to

1037
00:54:07,159 --> 00:54:07,679
chime in on.

1038
00:54:07,719 --> 00:54:08,880
Speaker 1: It helps us so much.

1039
00:54:08,880 --> 00:54:11,480
Speaker 4: It's absolutely free for you to do, so please do

1040
00:54:11,559 --> 00:54:13,639
that and also check out our Patreon page.

1041
00:54:13,679 --> 00:54:15,559
Speaker 1: We've got some secret episodes over.

1042
00:54:15,440 --> 00:54:17,599
Speaker 4: There that are some of our best where we cover

1043
00:54:17,679 --> 00:54:20,639
some one hit wonders and other novelty songs that are

1044
00:54:20,960 --> 00:54:23,519
just too fun not to listen to. So go check

1045
00:54:23,599 --> 00:54:28,159
us out on Patreon dot com slash Shirly Podcast James,

1046
00:54:28,280 --> 00:54:31,079
thanks again for coming to hang out with us.

1047
00:54:31,400 --> 00:54:32,480
Speaker 1: Loved having you here.

1048
00:54:32,760 --> 00:54:35,039
Speaker 2: Next week is fourth of July. We're gonna put out

1049
00:54:35,079 --> 00:54:37,400
one of our special edition episodes for you guys to

1050
00:54:37,559 --> 00:54:39,159
enjoy in the week of the fourth July.

1051
00:54:39,440 --> 00:54:42,480
Speaker 4: Yeah, we've got in our in our Patreon episodes. We've

1052
00:54:42,519 --> 00:54:44,280
started doing this little thing where it's like a little

1053
00:54:44,320 --> 00:54:46,760
mystery track where it's you're trying to guess what the

1054
00:54:46,800 --> 00:54:50,360
song is. I have a similar concept that I'm bringing

1055
00:54:50,360 --> 00:54:52,639
to you guys for the fourth of July Special Edition.

1056
00:54:53,119 --> 00:54:54,880
And then after that we're going to come back. What

1057
00:54:54,920 --> 00:54:55,639
do we got after that?

1058
00:54:55,719 --> 00:54:57,599
Speaker 2: We got best of nineteen seventy nine.

1059
00:54:58,239 --> 00:55:01,079
Speaker 1: Oh, that's going to be socc right, yes.

1060
00:55:01,440 --> 00:55:05,559
Speaker 2: And then after that shortly we're gonna have Lethal Weapon

1061
00:55:05,599 --> 00:55:09,400
to versus Indiana Jones and the Last Crusade. What is

1062
00:55:09,440 --> 00:55:11,760
the best sequel of the Summer.

1063
00:55:11,480 --> 00:55:13,719
Speaker 1: Of nineteen eighty nine. That's a hard choice.

1064
00:55:13,760 --> 00:55:16,239
Speaker 2: It's gonna be amazing. Yeah, we will see you guys

1065
00:55:16,280 --> 00:55:17,000
down the road.

1066
00:55:16,880 --> 00:55:18,320
Speaker 1: See you guys next week. Thank you.

1067
00:55:21,440 --> 00:55:23,039
Speaker 4: I think you'll have an easier time with your name.

1068
00:55:23,039 --> 00:55:25,519
It's name if you just call him giggy Pop. Giggy

1069
00:55:25,519 --> 00:55:29,840
Pop's gig gig give me, give me yeah, folks.

1070
00:55:30,239 --> 00:55:34,519
Speaker 2: Jeez, by the way, the second boar, sorry, I jinxed you.

1071
00:55:34,599 --> 00:55:35,719
I geez