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<v Speaker 1>It's Josh Freaky with a couple of dump shits.

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<v Speaker 2>Hello, Primates.

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<v Speaker 1>That greeting has a particular significance today. Anyway, you found

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<v Speaker 1>Primus Tracks. Congratulations, I am feeling pretty bubbly. I'm doctor

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<v Speaker 1>Josh Bald, one of the hosts of Primus Tracks. He

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<v Speaker 1>is bursting with excitement today from the thirty ninth floor

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<v Speaker 1>of Primus Tracks Towers is Encyclopedia. Frankie Beresteine, Hey, Josh, Frankie,

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<v Speaker 1>it's a big day here at Primus Tracks, where it's

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<v Speaker 1>the end of the record. We're getting close to the

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<v Speaker 1>end of the Monolith of Phobos, and we are celebrating

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<v Speaker 1>the release of the Great Paradox and the Golden Egg

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<v Speaker 1>of Empathy.

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<v Speaker 2>So when one thing finishes, another begins.

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<v Speaker 1>Is in life a circle? That's right, just circular like

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<v Speaker 1>the face of a chimpanzee. It's true. We are talking

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<v Speaker 1>about bubbles Burst today. What do you want to say

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<v Speaker 1>about the new Claypool Lendon Delirium record Quick capsule review Frankie.

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<v Speaker 2>Okay, Well, I'm super excited about it. It does have

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<v Speaker 2>a lot of replay value for me, and I've been

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<v Speaker 2>playing it once or twice per day since he was released,

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<v Speaker 2>and I'm still I'm still getting acquainted with it. I'm

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<v Speaker 2>still discovering things here and there. I do have my

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<v Speaker 2>favorites pretty well established, but I'm still discovering things in

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<v Speaker 2>all the other tracks. And what I particularly enjoy about

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<v Speaker 2>it is that it works as a concept piece when

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<v Speaker 2>you play it back to back, but the songs stand

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<v Speaker 2>on their own and you can also enjoy them as

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<v Speaker 2>individual pieces. Troll b It is already one of my

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<v Speaker 2>all time favorite Clippo. Then on the lyric tracks, that

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<v Speaker 2>song is just fantastic. We'll go deeper into it in

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<v Speaker 2>a couple of years, but.

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<v Speaker 1>Whatever we could do it.

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<v Speaker 2>Yeah, I think Rich made a really fantastic companion piece

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<v Speaker 2>with the with the comic book and what I do.

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<v Speaker 2>What I appreciate the most about this record is that

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<v Speaker 2>it feels rewarding for physical media enthusiasts like myself in

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<v Speaker 2>a day and age where everything is streamed and then forgotten.

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<v Speaker 2>I think it's a really great thing that they put

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<v Speaker 2>out a record that goes beyond the liner notes and

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<v Speaker 2>actually offers you something to dig into and enjoy. I

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<v Speaker 2>did spend a lot of a long time gazing at

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<v Speaker 2>those illustrations taking the story and what can I say?

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<v Speaker 2>What a fantastic release. What's your early take on the record.

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<v Speaker 1>I've only had time to get through it twice and

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<v Speaker 1>I have not much to say about it yet, which

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<v Speaker 1>I suppose allows me to save it for the individual episodes.

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<v Speaker 1>But there are some things that have caught my ears.

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<v Speaker 1>There's plenty that has caught my eye thanks to Rich Ragsdale.

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<v Speaker 1>And if you haven't listened to our episode with Rich

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<v Speaker 1>Ragsdale for crying out loud, go do it right now.

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<v Speaker 1>Press pause on this one. Okay, you're back. You've listened

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<v Speaker 1>to the Rich raged episode. Great, and we may continue

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<v Speaker 1>talking about bubbles Burst. It is track ten on your

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<v Speaker 1>Monolith of Phobos record. It checks in at four minutes

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<v Speaker 1>and ten seconds. Credits are as follows. Music Sean Lennon

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<v Speaker 1>and Less Claypool, lyrics Sean Lennon, Less Claypool vocals and bass,

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<v Speaker 1>Lennon vocals, guitar, melotron and drums. And on your vinyl edition,

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<v Speaker 1>Frankie Less is credited with lead vocals on this track.

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<v Speaker 1>That seems in error. Yeah, so something happened there. I

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<v Speaker 1>guess that makes your vinyl Collector's item.

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<v Speaker 2>Now, do not forget. We need to talk about the

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<v Speaker 2>music video.

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<v Speaker 1>Certainly there's a music video. There's even a demo version

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<v Speaker 1>of this tune. This there's a lot around bubbles Burst, and.

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<v Speaker 2>Because it was it was the gateway to the Delirium.

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<v Speaker 2>It was the first thing they ever put out, so

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<v Speaker 2>I think they wanted to make a big show about it.

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<v Speaker 1>I'm sure you can address all of that and more

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<v Speaker 1>right now.

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<v Speaker 2>Well, no, actually, I think Cricket was the introduction to

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<v Speaker 2>the Delirium. Yes, you're right, Yeah, that was the lead single, Yes, yes,

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<v Speaker 2>But Bubbles was the first track to receive a music

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<v Speaker 2>video and the only track so far which we've been

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<v Speaker 2>able to hear in demo format from the Delirium catalog.

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<v Speaker 2>So I think that while well, Cricket was the gateway

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<v Speaker 2>to Delyrium, I think Bubbles garnered a bit more of

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<v Speaker 2>attention because of its subject matter. And we'll go into

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<v Speaker 2>that in a moment. Let's just review some statistics. Bubbles

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<v Speaker 2>Burst was performed heavily during the twenty sixteen portion of

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<v Speaker 2>the promotion of the record, when it was brand new,

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<v Speaker 2>when it was fresh. And the thing is that while

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<v Speaker 2>all the other tracks were dobro pieces, which were accommodated

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<v Speaker 2>to PACYDRM on the second leg. Bubbles Burst was performed

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<v Speaker 2>on Packyrm since the very beginning, it was always a

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<v Speaker 2>PACKYDRM song. Interesting, Yes, and the song was performed for

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<v Speaker 2>the last time to date at that back to back

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<v Speaker 2>show in the Boulder Theater in Colorado. It has not

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<v Speaker 2>been performed again since in any delirium cons Curiously, the

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<v Speaker 2>song was mentioned by Sean Lennon during the recent Golden

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<v Speaker 2>Egg of Empathy listening party. I don't know if you

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<v Speaker 2>if you caught that part in the in the chat,

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<v Speaker 2>I didn't. I think someone might have brought up the

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<v Speaker 2>track And then Sean said that they used to perform

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<v Speaker 2>it at the beginning, but they dropped it because he

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<v Speaker 2>I'm paraphrasing, but he said something like people just weren't

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<v Speaker 2>into it that much. So it was perceived as kind

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<v Speaker 2>of a downer. She was removed from from the setlists.

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<v Speaker 1>And I assume by downer you mean it's so down

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<v Speaker 1>tempo that it's not engaging the crowd as much as

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<v Speaker 1>something a bit more upbeat.

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<v Speaker 2>With and well, and it's sad. I mean lyrically, it's

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<v Speaker 2>a very sad song.

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<v Speaker 1>Yeah, I it's something you're playing to fifteen hundred people,

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<v Speaker 1>and then you remind them of the the insanity of

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<v Speaker 1>Michael Jackson. You're gonna they're gonna get lost in thought.

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<v Speaker 3>And it's and this is something that was highlighted that

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<v Speaker 3>the Bullboard when the album had just come out ten

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<v Speaker 3>years ago, lots of people made the same observation that

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<v Speaker 3>the song was really sad, that it kind of ended

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<v Speaker 3>the record on a very sad note.

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<v Speaker 1>It is, I agree, it is. The musicality of it.

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<v Speaker 1>The musicianship is all fantastic, but it is so I'm

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<v Speaker 1>struggling for a word. It's not depressing, but it certainly

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<v Speaker 1>is not a joyful tune. And then the lyrics on

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<v Speaker 1>top of it, it's it's bizarre. It is a bizarre

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<v Speaker 1>tune and I really like it.

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<v Speaker 2>And I think it perfectly. It perfectly highlights what Liz

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<v Speaker 2>saith about how jarring and how drastic the differences in

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<v Speaker 2>their lives are when they started to get to know

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<v Speaker 2>each other, and Less said, well, I come from a

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<v Speaker 2>long line of mechanics, so he couldn't believe some of

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<v Speaker 2>the things Sewn just casually threw out right, like being

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<v Speaker 2>getting picked up at school by David Bowie and being

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<v Speaker 2>helped by him to do the homework, being babysat by

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<v Speaker 2>Carrie Fisher, and then hanging out with Michael Jackson's pet Chimpinzee.

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<v Speaker 1>Yeah, there was. In the interstitials on that Boston Live performance,

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<v Speaker 1>they have those interviews in between some of the tunes,

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<v Speaker 1>and Less tongue in cheeks says, yeah, Sean had a

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<v Speaker 1>really normal upbringing, no different than anybody else. I'm paraphrasing,

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<v Speaker 1>but something like that, and yeah, what a childhood. So

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<v Speaker 1>what's interesting is that this He says he's resisted writing

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<v Speaker 1>songs about his life experiences, had up to that point

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<v Speaker 1>for quite some time, but in talking with Less, he

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<v Speaker 1>was convinced to just write about bubbles and that experience.

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<v Speaker 1>In fact, Frankie, we can let Sean Lennon do all

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<v Speaker 1>the talking today if you like. He was on All

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<v Speaker 1>Songs Considered on NPR back in June of twenty sixteen,

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<v Speaker 1>had a nice conversation with the host of that program

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<v Speaker 1>and answered a lot of questions that you and I

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<v Speaker 1>probably would have lobbed his way as well.

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<v Speaker 4>But there's also a new video for the song that

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<v Speaker 4>makes it all seem a lot more unsettling. Newell Fielding

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<v Speaker 4>of the UK show The Mighty Boosh portrays Jackson, and

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<v Speaker 4>he does it in such a wildly exaggerated way that

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<v Speaker 4>he makes Jackson seem almost grotesque or demented, like he's

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<v Speaker 4>completely insane. As the video unfolds, he tries to convince

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<v Speaker 4>Bubbles to take a bath with him, to be his friend,

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<v Speaker 4>and to share candy together.

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<v Speaker 1>So I wanted to play that part first because the

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<v Speaker 1>host seems incredulous at the portrayal of Michael Jackson and

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<v Speaker 1>the Bubbles first video, which if you have not seen

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<v Speaker 1>that video, he's spot on the Noel Fielding portrayal and

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<v Speaker 1>the direction and by Less. By the way, Less directed

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<v Speaker 1>the live action portions of the video, with of course

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<v Speaker 1>animation by our friend Webster cold Cord. Near the end,

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<v Speaker 1>Less is using a lot of close ups and upshots,

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<v Speaker 1>and so Nol Fielding and as Michael Jackson makeup and

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<v Speaker 1>costuming is right in your face and he's above you.

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<v Speaker 1>So it's disconcerting, it's it's brilliant in that regard.

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<v Speaker 2>I think Charlotte also had a hand in the video, right.

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<v Speaker 1>Sean and Charlotte are credited as producers, along with Age

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<v Speaker 1>and Oh Yeah, Cool Yeah, everybody was on deck for

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<v Speaker 1>this one. So the video itself is certainly I actually

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<v Speaker 1>I really like the video because I like some of this,

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<v Speaker 1>you know, I like freak out stuff. Why not?

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<v Speaker 2>And I urge you listeners to check out our classic

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<v Speaker 2>Webster Cold Court episode which we're recorded way way back,

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<v Speaker 2>because he goes into great detail about the claimation portion

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<v Speaker 2>of these video.

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<v Speaker 1>Right and as far as the live action goes, Nolan

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<v Speaker 1>Mike Fielding do wonderful work as Michael and Bubbles uh

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<v Speaker 1>those you probably know those names from the Mighty Boosh

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<v Speaker 1>uh and Noel if I recall correctly, Frankie is an

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<v Speaker 1>outspoken Primus and Less Claypool fan, so I think that

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<v Speaker 1>connection was ready, it.

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<v Speaker 2>Goes, It goes both ways. I think Less he's a

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<v Speaker 2>huge fan as well.

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<v Speaker 1>Oh one hundred percent. Yes, uh. Less is noted for

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<v Speaker 1>his affinity for British and UK comedies.

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<v Speaker 2>Especially he's got those paintings hanging that popularm station.

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<v Speaker 1>Oh that's right, yes, so he's those those two guys

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<v Speaker 1>certainly have a connection. So those close ups of Noel

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<v Speaker 1>Fielding's face as Michael Jackson are just excellent. They really

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<v Speaker 1>they really portray just this uh, this feeling of being

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<v Speaker 1>kind of love bombed in a way like he's so

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<v Speaker 1>he's so doting on Bubbles in this representation in the video,

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<v Speaker 1>but he's above you, you know, because the camera's below

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<v Speaker 1>his face, and so he's almost smothering you. And I

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<v Speaker 1>think that's really good direction and camera work coming from

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<v Speaker 1>from Less who wrote and directed the video. It's it's bizarre.

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<v Speaker 1>I'm a big fan of it. So let's return to

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<v Speaker 1>the conversation from All Songs Considered with Sean Lennon about

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<v Speaker 1>the purpose of the video.

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<v Speaker 5>For me, I think it's important that even if people

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<v Speaker 5>don't believe me or are angry about the way Michael's

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<v Speaker 5>portrayed in the video, that the truth is my intention

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<v Speaker 5>is very sincere and harmless, and I'm just making a song.

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<v Speaker 5>I'm not like trying to take him out or anything

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<v Speaker 5>or put him down. It was just kind of like

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<v Speaker 5>having fun and trying to talk about an odd situation

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<v Speaker 5>in a way that makes it art. The idea of

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<v Speaker 5>like Childhood's inn in Bubbles Burst was using the metaphor

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<v Speaker 5>of a chimne who's fun when he's a toy, but

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<v Speaker 5>then when he gets old, like things get too real.

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<v Speaker 5>Using that as a metaphor for my life and specifically,

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<v Speaker 5>you know, a feeling that was hovering around when I

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<v Speaker 5>was hanging out with Michael.

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<v Speaker 1>Yeah. Well, he also goes on Frankie to explain why

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<v Speaker 1>this track was included on Monolith Phobos.

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<v Speaker 5>Well, I was telling you less about it, he's and

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<v Speaker 5>we were talking about song topics, and it just seemed

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<v Speaker 5>like it fit in with the theme of kind of

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<v Speaker 5>a trippy narrative that our record has, and you know,

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<v Speaker 5>I thought it would be interesting to write about something

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<v Speaker 5>that actually happened. I don't know, it just felt right.

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<v Speaker 5>I think I sort of resisted much of my life

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<v Speaker 5>talking about those kinds of stories because they just seemed

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<v Speaker 5>so hard for me to figure out how to translate

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<v Speaker 5>them or relate them. Yea, Yeah, And I just thought

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<v Speaker 5>it was an interesting metaphor for kind of what happened

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<v Speaker 5>to a lot of Michael's friends who were my age.

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<v Speaker 5>You know, it felt like there was something odd going on,

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<v Speaker 5>and I didn't I still don't know what it's. You know,

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<v Speaker 5>nothing ever weird happened to me in an illegal way,

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<v Speaker 5>but it's just the whole place seemed like I was

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<v Speaker 5>in some sort of Peter Pan fantasy land, and there

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<v Speaker 5>was a sense that when Bubbles got too old, he

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<v Speaker 5>had to be gotten rid of, you know, because chimpanzees

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<v Speaker 5>turned into angry adults.

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<v Speaker 1>That's really interesting that he's getting into this the metaphor

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<v Speaker 1>of the bubble and the bubble bursting. Yes, and so

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<v Speaker 1>the childhood being that bubble. He also, I don't know

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<v Speaker 1>if I've played it yet. He also describes Michael's life

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<v Speaker 1>as a bubble and before there was a lot of

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<v Speaker 1>media and even law enforcement scrutiny of his actions.

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<v Speaker 2>That's certainly what it sounds like. Yeah.

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<v Speaker 1>Sean also gets into an explanation of these lyrics.

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<v Speaker 4>The line you say, there's a in the song where

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<v Speaker 4>you say we didn't understand dancing with Peter pan I

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<v Speaker 4>assume you mean Michael.

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<v Speaker 1>What would be the result?

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<v Speaker 4>What would what would be the result when we turned

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<v Speaker 4>into young adults?

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<v Speaker 5>Yeah, because he didn't realize that it was neither nor

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<v Speaker 5>bubbles nor eye realized, you know, that getting older was

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<v Speaker 5>going to make it make us less viable playmates, you know. Yeah,

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<v Speaker 5>And there was something kind of sad about that. So

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<v Speaker 5>I don't know, I wasn't trying to judge the situation

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<v Speaker 5>in a positive or negative sense. I just was trying

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<v Speaker 5>to explain, like what it felt like.

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<v Speaker 1>And I think that's a great point because he's not

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<v Speaker 1>trying to pass judgment. We know michaels as.

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<v Speaker 2>They were our facts, Yeah, and we know Michael surrounded

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<v Speaker 2>himself with particular kind of company.

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<v Speaker 1>Yeah, we know that Michael had some issues. I'm glad

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<v Speaker 1>nothing happened to Sean, obviously, but it's certain beyond the

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<v Speaker 1>realm of the ordinary, what Michael was doing, and the

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<v Speaker 1>fact that he had friends that were decades younger than him, yes,

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<v Speaker 1>speaks to some things that can get see me unseemly.

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<v Speaker 2>They can, and you can understand perfectly why. But at

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<v Speaker 2>the same time, I mean, I'm not like a Michael

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<v Speaker 2>Jackson advocator. I do admire his work. I'm not invested

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<v Speaker 2>in defending his public image. But I think that having

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<v Speaker 2>seen the Living with Michael Jackson documentary a couple of times,

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<v Speaker 2>you do get a very interesting glimpse into his persona

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<v Speaker 2>and it does, I mean, at least for me, it

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<v Speaker 2>did lessen the impression or the doubt about whether he

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<v Speaker 2>ever did something malicious, because in that documentary you kind

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<v Speaker 2>of see behind the scenes Michael Jackson he's not on stage,

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<v Speaker 2>he's not performing, he's just doing his regular activities. And

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<v Speaker 2>you do notice quite a few things in the documentary.

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<v Speaker 2>First of all, how incredibly lonely he was. There's a

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<v Speaker 2>part in the documentary where he's just writing a golf

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<v Speaker 2>cart around the hotel, which was fully booked for him

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<v Speaker 2>and as such it's only inhabited by his crew at

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<v Speaker 2>the moment, and he's just driving that golf cart around

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<v Speaker 2>in the middle of the night because he's got no

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<v Speaker 2>one to talk to, he's got nothing to do. He

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<v Speaker 2>probably couldn't sleep, and I mean, it just shows that

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<v Speaker 2>he never really had a friend or someone at hand

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<v Speaker 2>to combat that or to lessen that loneliness. There's also

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<v Speaker 2>a part where he's leaving a mall and a fan

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<v Speaker 2>attempt to approach him and the fences. I know all

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<v Speaker 2>your songs on guitar. I love playing your songs on guitar,

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<v Speaker 2>and Michael seems genuinely interested in having a conversation with him,

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<v Speaker 2>but then he's whiskered away by security, and you can

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<v Speaker 2>see the disappointment in Michael's face. And there's another part

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<v Speaker 2>where he's confronted by Martin Bashir, who was by the way.

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<v Speaker 2>He was very heavily criticized by when this documentary came

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<v Speaker 2>out because of his approach, which was kind of it

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<v Speaker 2>had kind of an ambush quality to it. So he

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<v Speaker 2>confronted Michael near the end of the documentary and he said, well,

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<v Speaker 2>you're you're sleeping with underage boys in your bath. You

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<v Speaker 2>have sleepovers with boys, you don't you see how that

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<v Speaker 2>can be perceived the wrong way? And you can see

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<v Speaker 2>just how brutally honest Michael is in his replies. He says, no, nothing,

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<v Speaker 2>nothing malicious is going on. We just sleep. We just

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<v Speaker 2>sleep together. And that doesn't make it right, but it

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<v Speaker 2>does keep you in pro ession that Michael was a

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<v Speaker 2>kid in his mind. He perceived himself just like the

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<v Speaker 2>rest of the boys. I don't think in his mind

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<v Speaker 2>he was an adult doing something creepy with children. In

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<v Speaker 2>his mind, I think he was genuinely having a sleepover

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<v Speaker 2>with his friends. And that is reinforced by a portion

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<v Speaker 2>of the documentary where they are exploring Neverland and Michael

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<v Speaker 2>is walking around with a group of kids and then

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<v Speaker 2>this guy comes out with an ice cream cart and

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<v Speaker 2>he says, who would like to have the first scoop?

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<v Speaker 2>And you can see Michael pushing back the children and

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<v Speaker 2>saying saying me, I mean that does paint a picture

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<v Speaker 2>of a guy that thought of himself as a child.

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<v Speaker 1>I think he either never grew up or never had

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<v Speaker 1>a childhood.

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<v Speaker 2>I think his childhood was stolen. Definitely.

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<v Speaker 1>Oh, certainly he was. You know, he was on stage

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<v Speaker 1>at such an early age. Didn't have a normal childhood either.

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<v Speaker 1>So I don't suppose you we're here to psycho analyze

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<v Speaker 1>Michael Jackson.

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<v Speaker 2>So just just sharing some facts. But if you, by

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<v Speaker 2>the way, if you enjoyed Noel Fielding's performance in the

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<v Speaker 2>Bubbles Verst video, you got to check him out and

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<v Speaker 2>black Ding Paler by Casabian where he performs the part

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<v Speaker 2>of Blad Dame Paler.

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<v Speaker 1>I haven't seen that one. I will check that out.

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<v Speaker 2>He's dressed up as as Blad and he's walking around

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<v Speaker 2>carrying a huge pine pine tree.

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<v Speaker 1>I wonder if he can replicate Vladi in Paler's sweet

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<v Speaker 1>moves much like he did Michael's.

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<v Speaker 2>And yeah, I think he nails I think he nailed those.

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<v Speaker 1>I do want to play one more clip from the

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<v Speaker 1>All Songs Considered about.

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<v Speaker 2>Oh, then I'll take my quote with you after that.

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<v Speaker 1>One, please.

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<v Speaker 2>Yes.

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<v Speaker 1>So this is in particular about Noel's portrayal.

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<v Speaker 4>Well, so you've got a guy portraying Michael Jackson in

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<v Speaker 4>the video, and I don't think it's a stretch to

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<v Speaker 4>say that it's not a terribly flattering portrayal.

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<v Speaker 5>Yeah, I mean yeah, I mean I don't think that

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<v Speaker 5>creepiness is insulting. I just think it's more fun. And

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<v Speaker 5>I think the video is like a it's a parallel dimension,

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<v Speaker 5>and it's a dark kind of comedic manifestation of something

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<v Speaker 5>that comes more out of the song and not out

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<v Speaker 5>of real life. So it's like a reflection of a reflection.

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<v Speaker 5>But of course the whole story has a darkness to it.

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<v Speaker 1>You know.

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<v Speaker 5>I don't feel like the representation of him isn't I mean,

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<v Speaker 5>as a visual poem, I think it kind of represents

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<v Speaker 5>something real. You know. He was very lonely, and he

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<v Speaker 5>was weird, and he had weird interests, and he was

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<v Speaker 5>in this kind of you know, Peter Pan universe that

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<v Speaker 5>he created a bubble for himself, you know, and there's

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<v Speaker 5>something dark about that there.

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<v Speaker 1>You go, Wow, what's your what's the quote?

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<v Speaker 2>You have?

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<v Speaker 1>Dogment?

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<v Speaker 2>I think it's just one of many stories I have

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<v Speaker 2>that are interesting from having a different kind of childhood.

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<v Speaker 2>But it's a song about being friends with Bubble, Michael

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<v Speaker 2>Jackson's chimpanzee, and spending time at Michael's house in California

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<v Speaker 2>with Bubbles and a Boa Constrictor and a bunch of

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<v Speaker 2>other animals. I think that was a super strange time,

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<v Speaker 2>but not in a dark way, in an odd way,

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<v Speaker 2>a unique way. It was odd because Bubbles was older,

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<v Speaker 2>stop in Dandie the Outfits, and we were all running

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<v Speaker 2>around playing video games with a chimpanzee. It was a

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<v Speaker 2>surreal scene. It was kind of part Charlie and the

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<v Speaker 2>Chocolate Factory, part Doctor Dolittle, and part you know, more

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<v Speaker 2>Town's greatest hits. It was a conversience conversions of a

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<v Speaker 2>lot of desperated universes that merged for a while. And

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<v Speaker 2>that was a strange scene, but it was also really fun.

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<v Speaker 2>I mean, it was amazing to hang out with all

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<v Speaker 2>those animals, but there was also something very eccentric about it.

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<v Speaker 2>He was the coolest dude I've met, for sure. Referring

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<v Speaker 2>to Michael, he says, I mean people, they have a

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<v Speaker 2>lot of opinions about him, and like anything else, my

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<v Speaker 2>opinions can only be based on my experience. He was

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<v Speaker 2>super fun to hang out with. I mean, he was

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<v Speaker 2>a big keith, you know. The time that I got

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<v Speaker 2>to spend with him was like Disneyland all day long.

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<v Speaker 2>He'd set up water balloon fights and pie fights and

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<v Speaker 2>basketball courts, just really fun stuff where he'd invite all

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<v Speaker 2>his friends over and there'd be two teams and everyone

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<v Speaker 2>would dress in garbage bags and throw pies at each other.

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<v Speaker 2>It was a super high level fun orchestrated insanity. I mean,

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<v Speaker 2>whatever happened with him and anyone else, I have no

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<v Speaker 2>opinion about it because I wasn't there. But when I

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<v Speaker 2>talk about it in Bubbles Burst, I wasn't trying to

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<v Speaker 2>be critical. I was simply trying to document the truth

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<v Speaker 2>this happened, That's all I will say. I think a

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<v Speaker 2>lot of people thought I was criticizing him, or not

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<v Speaker 2>criticizing him enough, or whatever, But it wasn't about that.

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<v Speaker 2>The song was really just documenting a strange time in

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<v Speaker 2>my life, a surreal moment of my life that is

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<v Speaker 2>very memorable.

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<v Speaker 1>I think that stands in support of what we heard

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<v Speaker 1>from him earlier and what we said, which is this

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<v Speaker 1>is Sean telling his lived experience. He can't speak to

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<v Speaker 1>anything else and won't, but I do appreciate the metaphor

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<v Speaker 1>of childhood's and the bubble bursting. Childhood does feel like

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<v Speaker 1>a really comfortable bubble that you're in. Transitioning to adulthood

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<v Speaker 1>bursts that bubble and then you are saddled with all

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<v Speaker 1>the responsibilities of being an adult, or you know, in

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<v Speaker 1>Sean's case, he aged out of being Michael's friend and

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<v Speaker 1>the bubble burst for him. I don't think too many

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<v Speaker 1>people have had similar childhood experiences, so I'm glad he

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<v Speaker 1>told the story, you know, with him telling the story

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<v Speaker 1>of the lyrics for us, we don't really have to

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<v Speaker 1>say much other than I really love the line feasting

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<v Speaker 1>on candy and dressed like a dandy.

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<v Speaker 2>We do need to highlight how the video I mean,

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<v Speaker 2>because it's a laypole and on the Delrium track. It's

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<v Speaker 2>kind of a cult thing. It's not that much in

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<v Speaker 2>the mainstream, but it did generate some backlash, and I

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<v Speaker 2>think it did garner attention from people whom otherwise would

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<v Speaker 2>never have felt the need to attack less Claypoole on YouTube,

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<v Speaker 2>and I think it's understandable. I mean, there were quite

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<v Speaker 2>a few negative comments when the video came out all

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<v Speaker 2>over on YouTube, read it and elsewhere. And while I

420
00:25:37.640 --> 00:25:40.880
<v Speaker 2>don't agree with the comments, I do understand where they

421
00:25:40.920 --> 00:25:47.119
<v Speaker 2>come from. Michael Jackson fans are very protective of his

422
00:25:47.640 --> 00:25:51.680
<v Speaker 2>image and his life, and I understand why they would

423
00:25:51.720 --> 00:25:56.400
<v Speaker 2>react in such way to the video, which to them

424
00:25:56.599 --> 00:26:01.319
<v Speaker 2>might come across as a parody, as a hard critique

425
00:26:01.599 --> 00:26:05.000
<v Speaker 2>right because of the exaggerated way in which he was portrayed.

426
00:26:05.519 --> 00:26:11.000
<v Speaker 2>But I think this also steems from the way they

427
00:26:11.039 --> 00:26:15.920
<v Speaker 2>perceived Michael to have kind of a fragility to him,

428
00:26:16.279 --> 00:26:20.599
<v Speaker 2>a vulnerability, I guess, and an example of that would

429
00:26:20.599 --> 00:26:25.799
<v Speaker 2>be the Jeffersons from South Park. We know that over

430
00:26:25.920 --> 00:26:29.599
<v Speaker 2>the time some celebrities have actually been vocal about their

431
00:26:29.640 --> 00:26:33.880
<v Speaker 2>disapproval of their portrayals in South Park, one high profile

432
00:26:33.960 --> 00:26:37.759
<v Speaker 2>case being Barbara Streisand, whom is known to have hated

433
00:26:39.279 --> 00:26:42.279
<v Speaker 2>the mecha Strisand episode, and the case of Michael, he

434
00:26:42.400 --> 00:26:46.200
<v Speaker 2>never he never went on a record publicly to express

435
00:26:46.559 --> 00:26:51.000
<v Speaker 2>an opinion about the episode, but I've read that people

436
00:26:51.119 --> 00:26:54.359
<v Speaker 2>close to him said that he was deeply hurt by

437
00:26:54.400 --> 00:26:55.039
<v Speaker 2>the episode.

438
00:26:56.480 --> 00:26:59.559
<v Speaker 1>Yeah, I remember hearing about that. There's all these layers,

439
00:26:59.680 --> 00:27:03.000
<v Speaker 1>you know, celebrity, being a pop star, what you miss

440
00:27:03.039 --> 00:27:05.000
<v Speaker 1>when you don't have, you know, what we would call

441
00:27:05.079 --> 00:27:07.880
<v Speaker 1>a modern childhood, being an adult trying to get that

442
00:27:07.960 --> 00:27:11.559
<v Speaker 1>back some way, and just what that does to your

443
00:27:12.119 --> 00:27:15.720
<v Speaker 1>emotional state. And that's just the beginning. There's there's so

444
00:27:15.839 --> 00:27:19.640
<v Speaker 1>much more to it. It's and then of course, yeah,

445
00:27:19.640 --> 00:27:21.440
<v Speaker 1>and then of course what people say about you in

446
00:27:21.480 --> 00:27:24.440
<v Speaker 1>the public sphere, because you're a public figure and there's

447
00:27:24.440 --> 00:27:28.160
<v Speaker 1>always somebody trying to score points off you. I would

448
00:27:28.200 --> 00:27:31.799
<v Speaker 1>say in general, Michael didn't do himself any favors.

449
00:27:32.759 --> 00:27:37.440
<v Speaker 2>And Sean used a key word in his quote. He said, insanity,

450
00:27:37.680 --> 00:27:42.039
<v Speaker 2>And yeah, that is precisely what I think these was.

451
00:27:42.319 --> 00:27:45.880
<v Speaker 2>I mean, having a pit chimpanzee. It cannot be described

452
00:27:45.920 --> 00:27:49.319
<v Speaker 2>in any other way other than insane. But you know,

453
00:27:49.400 --> 00:27:55.400
<v Speaker 2>it's interesting because, as as I mentioned previously, I don't

454
00:27:55.400 --> 00:27:58.759
<v Speaker 2>think there was any malicious intent. People can be very

455
00:27:58.759 --> 00:28:05.039
<v Speaker 2>critical about chimpanzee pets, and one high profile example being

456
00:28:05.759 --> 00:28:09.880
<v Speaker 2>Charlen Nash who have her face, nose, eyelids, and hands

457
00:28:10.599 --> 00:28:14.559
<v Speaker 2>tore off by a chimpanzee who was the pet chimp

458
00:28:15.119 --> 00:28:18.599
<v Speaker 2>from her friend Wow. And that that chimpanzee was called Travis,

459
00:28:18.759 --> 00:28:21.160
<v Speaker 2>and that was a high profile case from two thousand

460
00:28:21.200 --> 00:28:24.799
<v Speaker 2>and nine. And I mean if people have been very

461
00:28:24.799 --> 00:28:27.640
<v Speaker 2>critical about that, of course they would be hyper critical

462
00:28:27.759 --> 00:28:31.559
<v Speaker 2>about a pop star having a pet chimpanzee, which could

463
00:28:31.559 --> 00:28:35.880
<v Speaker 2>be perceived as something really frivolous. Again, I don't think

464
00:28:36.160 --> 00:28:43.519
<v Speaker 2>Michael understood the ramifications of what having a pet chimpanzee involved.

465
00:28:44.119 --> 00:28:49.680
<v Speaker 2>There were actually some observations from people close to him

466
00:28:49.839 --> 00:28:55.759
<v Speaker 2>whom expressed their disapproval about it. Housekeepers included they were

467
00:28:55.759 --> 00:28:58.319
<v Speaker 2>not third, They were not thrilled about having to wipe

468
00:28:58.359 --> 00:29:01.319
<v Speaker 2>off feces from the wall on a daily basis.

469
00:29:01.400 --> 00:29:04.279
<v Speaker 1>If you were going to pull anybody in that organization

470
00:29:04.440 --> 00:29:06.880
<v Speaker 1>may be the first one to stand up and say no.

471
00:29:07.079 --> 00:29:11.720
<v Speaker 2>Yesh Rashida Jones also went on record to say that

472
00:29:11.759 --> 00:29:13.839
<v Speaker 2>she was bitten by Bubbles once.

473
00:29:14.119 --> 00:29:14.839
<v Speaker 1>Oh I didn't know.

474
00:29:14.880 --> 00:29:18.680
<v Speaker 2>She tried to discipline him because he was being ruth

475
00:29:19.160 --> 00:29:20.680
<v Speaker 2>and he beat her hand.

476
00:29:20.839 --> 00:29:21.079
<v Speaker 1>Wow.

477
00:29:21.920 --> 00:29:28.440
<v Speaker 2>Yeah, So by two thousand and three, when Bubbles had

478
00:29:28.480 --> 00:29:33.920
<v Speaker 2>become more aggressive and dangerous, no pun intended. I think

479
00:29:33.960 --> 00:29:37.880
<v Speaker 2>that Michael was not aware of what having a pitt

480
00:29:37.960 --> 00:29:42.440
<v Speaker 2>chimpanzee involved until two thousand and five, when he was

481
00:29:42.759 --> 00:29:47.400
<v Speaker 2>taken away. Right now, as of the present, Bubbles is

482
00:29:47.440 --> 00:29:52.839
<v Speaker 2>still alive. He hates being photographed, he likes throwing water

483
00:29:53.240 --> 00:29:56.880
<v Speaker 2>and sand at people, and he enjoys the companies of

484
00:29:56.960 --> 00:30:00.279
<v Speaker 2>other chimps. I believe he's at a sanctuary and the

485
00:30:00.920 --> 00:30:05.640
<v Speaker 2>Michael Jackson State still covers all of his expenses to

486
00:30:05.640 --> 00:30:06.079
<v Speaker 2>this day.

487
00:30:06.359 --> 00:30:09.279
<v Speaker 1>Wow, I was unaware Bubbles was still around, So that's fast.

488
00:30:09.319 --> 00:30:14.079
<v Speaker 2>He's still around, But he looks nothing like that adorable

489
00:30:14.200 --> 00:30:16.880
<v Speaker 2>chimp that Michael used to carry around in his arms.

490
00:30:17.119 --> 00:30:21.640
<v Speaker 2>His features changed quite a bit, and as Allan do,

491
00:30:22.319 --> 00:30:26.880
<v Speaker 2>his current takers describe him as very shy, but with

492
00:30:26.920 --> 00:30:32.319
<v Speaker 2>a sweet temper, and known to have an inclination towards

493
00:30:32.359 --> 00:30:36.599
<v Speaker 2>the arts. He enjoys painting and in listening to music.

494
00:30:36.880 --> 00:30:40.759
<v Speaker 1>Now, now do we know his attitude towards Michael Fielding's

495
00:30:40.759 --> 00:30:41.920
<v Speaker 1>portrayal of him in the video.

496
00:30:42.599 --> 00:30:44.319
<v Speaker 2>That's a that's a great question.

497
00:30:44.720 --> 00:30:46.720
<v Speaker 1>I guess you could look at it as when a

498
00:30:46.799 --> 00:30:50.440
<v Speaker 1>kid says I want a pet chimp, you say, oh,

499
00:30:50.440 --> 00:30:52.839
<v Speaker 1>that's cute. You know they're they're a kid, they want

500
00:30:52.880 --> 00:30:57.160
<v Speaker 1>a chimp. They don't understand. It's unfeasible when an adult

501
00:30:57.599 --> 00:30:59.640
<v Speaker 1>millionaire says I want a chimp, and they go out

502
00:30:59.680 --> 00:31:03.519
<v Speaker 1>and get one. All right, something's something's up anyhow.

503
00:31:03.640 --> 00:31:07.240
<v Speaker 2>There's a parallel there with Prince, and I think it

504
00:31:07.519 --> 00:31:12.960
<v Speaker 2>illustrates it illustrates very well the mentality of people like

505
00:31:13.000 --> 00:31:16.960
<v Speaker 2>Michael Jackson acquiring pet chimpanzees. There was a Q and

506
00:31:17.039 --> 00:31:20.319
<v Speaker 2>A with Kevin Smith quite a few years ago where

507
00:31:20.359 --> 00:31:24.599
<v Speaker 2>somebody asked about his experience working with Prince, and Kevin

508
00:31:24.680 --> 00:31:28.960
<v Speaker 2>goes into this thirty minute plus tangent to answer the question,

509
00:31:29.119 --> 00:31:33.200
<v Speaker 2>describing in detail all his experience. Long story short. There

510
00:31:33.359 --> 00:31:37.599
<v Speaker 2>was one one day at Paisley Park where Kevin had

511
00:31:37.720 --> 00:31:42.200
<v Speaker 2>just had about enough and he was having a conversation

512
00:31:42.400 --> 00:31:49.960
<v Speaker 2>with Prince's assistant and Kevin just casually asked, is he

513
00:31:50.079 --> 00:31:56.920
<v Speaker 2>always such an asshole? And the assistant told him, he's

514
00:31:57.000 --> 00:32:01.640
<v Speaker 2>not aware that he's being an asshole. She said, for instance,

515
00:32:02.119 --> 00:32:06.480
<v Speaker 2>the last week, Prince called me at two am and

516
00:32:06.559 --> 00:32:09.759
<v Speaker 2>he told me that he wanted me to secure a

517
00:32:09.759 --> 00:32:14.599
<v Speaker 2>camel for him. And Kevin asked, why did he want

518
00:32:14.640 --> 00:32:17.400
<v Speaker 2>a camel? She said, I've stopped asking those kinds of

519
00:32:17.480 --> 00:32:20.119
<v Speaker 2>questions a long time ago. I don't know why he

520
00:32:20.160 --> 00:32:22.559
<v Speaker 2>wanted a camel at two in the morning in Minneapolis.

521
00:32:22.880 --> 00:32:25.000
<v Speaker 2>But I had to tell him that it was not

522
00:32:25.640 --> 00:32:29.240
<v Speaker 2>feasible for me to produce a camel at that time

523
00:32:29.480 --> 00:32:32.440
<v Speaker 2>or ever. And she said, but he was not trying

524
00:32:32.440 --> 00:32:35.079
<v Speaker 2>to be an asshole. He just couldn't understand why it

525
00:32:35.119 --> 00:32:37.799
<v Speaker 2>wasn't possible, because in his mind it was a perfectly

526
00:32:37.799 --> 00:32:42.240
<v Speaker 2>feasible request. And I think that perfectly illustrates what happened

527
00:32:42.279 --> 00:32:45.440
<v Speaker 2>with Bubbles. I think Michael didn't think there was anything

528
00:32:45.480 --> 00:32:51.680
<v Speaker 2>wrong with securing a pet chimpanzee and having him playing

529
00:32:51.720 --> 00:32:55.079
<v Speaker 2>around with other children. I think another example would be

530
00:32:55.119 --> 00:33:01.960
<v Speaker 2>Michael's attempt to purchase Joseph Merrick's skeleton. About that. Yeah,

531
00:33:02.039 --> 00:33:04.039
<v Speaker 2>you could look at it from the angle of well,

532
00:33:05.240 --> 00:33:09.599
<v Speaker 2>does these guys seriously believe that he's entitled to something

533
00:33:09.640 --> 00:33:11.599
<v Speaker 2>like that? But I think you have to approach it

534
00:33:11.640 --> 00:33:14.519
<v Speaker 2>from the perspective that in his mind, he was not

535
00:33:14.599 --> 00:33:17.519
<v Speaker 2>doing anything wrong by asking. So.

536
00:33:17.720 --> 00:33:20.000
<v Speaker 1>Yeah, so the mind of a child in the mind

537
00:33:20.000 --> 00:33:22.799
<v Speaker 1>of a deranged millionaire. The only difference is one of

538
00:33:22.799 --> 00:33:26.480
<v Speaker 1>them has the means exactly. All Right, we were through

539
00:33:26.519 --> 00:33:30.079
<v Speaker 1>the looking glass. Now we've done it. Let's sample some

540
00:33:30.119 --> 00:33:33.680
<v Speaker 1>of the music here. I actually want to play the

541
00:33:33.720 --> 00:33:35.640
<v Speaker 1>demo first, and I don't know if I'm blowing your

542
00:33:35.640 --> 00:33:38.160
<v Speaker 1>mind by telling you, Frankie, I prefer the demo version

543
00:33:38.160 --> 00:33:38.680
<v Speaker 1>of this song.

544
00:33:39.279 --> 00:33:41.599
<v Speaker 2>You said that before. I think it's quite interesting.

545
00:33:42.119 --> 00:33:45.720
<v Speaker 1>I think it's very fitting because this is such an

546
00:33:45.759 --> 00:33:51.599
<v Speaker 1>introspective tune. To hear the demo, which is Sean solo acoustic. Essentially,

547
00:33:52.440 --> 00:33:55.880
<v Speaker 1>he's just sitting on his porch and playing this chord

548
00:33:55.880 --> 00:33:58.799
<v Speaker 1>progression and singing his song. For those of you who

549
00:33:58.839 --> 00:34:02.440
<v Speaker 1>have not heard the Bubbles demo, it was a bonus

550
00:34:02.440 --> 00:34:06.559
<v Speaker 1>track on the Japanese edition of Monolithiphobos. I looked for

551
00:34:06.640 --> 00:34:08.519
<v Speaker 1>it on YouTube, Frankie, because I had lost my MP

552
00:34:08.599 --> 00:34:11.559
<v Speaker 1>three copy of it. I think it's pretty hard to find.

553
00:34:13.480 --> 00:34:17.519
<v Speaker 2>I think so. Yeah, and I'm amazed that was included

554
00:34:17.599 --> 00:34:20.559
<v Speaker 2>in the Japanese pressing in the first place. Yeah.

555
00:34:20.599 --> 00:34:22.840
<v Speaker 1>I love getting a demo, and of course it's for

556
00:34:22.880 --> 00:34:27.400
<v Speaker 1>a Sean song, not a less song. Let's hear a

557
00:34:27.599 --> 00:34:28.519
<v Speaker 1>Let's hear a titch of that.

558
00:34:42.519 --> 00:34:45.320
<v Speaker 6>In eighty three.

559
00:34:46.920 --> 00:34:53.519
<v Speaker 2>Texas FIR seventy, he was just a few months song.

560
00:34:56.280 --> 00:34:57.599
<v Speaker 1>Taling he'd been.

561
00:34:57.639 --> 00:35:02.320
<v Speaker 2>So name, fun name.

562
00:35:03.320 --> 00:35:05.840
<v Speaker 1>You know, it doesn't really sound like a demo because

563
00:35:05.840 --> 00:35:08.719
<v Speaker 1>of the quality. But in twenty sixteen. A demo can

564
00:35:08.760 --> 00:35:11.920
<v Speaker 1>sound like a polished studio recording. But yes, the guitars

565
00:35:11.920 --> 00:35:16.679
<v Speaker 1>sound fantastic. I like the pacing. It just sounds like

566
00:35:16.679 --> 00:35:20.119
<v Speaker 1>a like a singer songwriter rendition, kind of a stripped

567
00:35:20.119 --> 00:35:23.960
<v Speaker 1>down version of it. I would imagine you remember our

568
00:35:23.960 --> 00:35:27.920
<v Speaker 1>pal Matt Weiniger said he heard Sean Strumman this tune

569
00:35:29.159 --> 00:35:33.800
<v Speaker 1>at Rancho Alaxo and said that's good. You better record it.

570
00:35:33.840 --> 00:35:37.280
<v Speaker 1>And Sean said, I did, I got it. You know,

571
00:35:39.360 --> 00:35:41.679
<v Speaker 1>if Matt Winerger tells you what's good, you better record it.

572
00:35:41.920 --> 00:35:44.599
<v Speaker 2>And I want to point out that the lyrics are

573
00:35:44.679 --> 00:35:48.840
<v Speaker 2>factually correct. Bubbles was born at a research facility in

574
00:35:48.880 --> 00:35:52.480
<v Speaker 2>nineteen eighty three, a facility which bread chimpanzees with the

575
00:35:52.519 --> 00:35:57.559
<v Speaker 2>purpose of conducting research. Michael acquired him when he was

576
00:35:57.599 --> 00:36:01.000
<v Speaker 2>eight months old, and the purchase was looked by Bob

577
00:36:01.159 --> 00:36:02.960
<v Speaker 2>Dun animal experts.

578
00:36:03.239 --> 00:36:06.480
<v Speaker 1>Wow, a chimpanzee in a facility in nineteen eighty three

579
00:36:06.559 --> 00:36:08.599
<v Speaker 1>sounds like the beginning of Stranger Things.

580
00:36:10.559 --> 00:36:11.400
<v Speaker 2>Right very close.

581
00:36:12.840 --> 00:36:16.000
<v Speaker 1>So that's that's just a sample of the demo. It's

582
00:36:16.559 --> 00:36:20.679
<v Speaker 1>very satisfying for me, although Frankie had to send me

583
00:36:20.760 --> 00:36:23.639
<v Speaker 1>his copy of it, and I take umbrage Frankie because

584
00:36:23.679 --> 00:36:25.920
<v Speaker 1>in the metadata you have the artist's Primus.

585
00:36:26.400 --> 00:36:29.199
<v Speaker 2>Yes, because all my stuff is under Primus.

586
00:36:29.440 --> 00:36:31.320
<v Speaker 1>How could you do this? Even though I don't like

587
00:36:31.800 --> 00:36:34.079
<v Speaker 1>I don't like your bowie, that's all under Primis too.

588
00:36:34.119 --> 00:36:37.119
<v Speaker 2>I don't like to be clicking around like going through

589
00:36:37.559 --> 00:36:43.480
<v Speaker 2>Claypool Delirium Primos. Now, just everything under Primus and life

590
00:36:43.519 --> 00:36:44.239
<v Speaker 2>is much easier.

591
00:36:44.320 --> 00:36:48.000
<v Speaker 1>But this, but that's your digital collection digital, yes, of course, Okay,

592
00:36:48.000 --> 00:36:50.480
<v Speaker 1>you don't do that with your records and tapes and CDs.

593
00:36:51.239 --> 00:36:52.440
<v Speaker 2>Everything is chronological.

594
00:36:53.199 --> 00:36:54.480
<v Speaker 1>We had that discussion with Sam.

595
00:36:54.559 --> 00:36:55.239
<v Speaker 5>So Yeah.

596
00:36:56.119 --> 00:36:58.599
<v Speaker 1>Note to any visitors to Primus tracks towers, if you're

597
00:36:58.599 --> 00:37:01.760
<v Speaker 1>able to breach security and get into Frankie's record collection,

598
00:37:02.400 --> 00:37:06.440
<v Speaker 1>just move one of them, just one, and and on

599
00:37:06.480 --> 00:37:09.320
<v Speaker 1>your way out as you're escorted out by security, Uh,

600
00:37:09.639 --> 00:37:12.199
<v Speaker 1>tell him you moved just one and see how long

601
00:37:12.239 --> 00:37:15.719
<v Speaker 1>it takes him to find it, how many how many

602
00:37:16.039 --> 00:37:18.360
<v Speaker 1>wigs into pays he goes through as he grips his

603
00:37:18.400 --> 00:37:24.760
<v Speaker 1>hair out. Uh So the studio cut that we're all

604
00:37:25.239 --> 00:37:29.039
<v Speaker 1>familiar with has a lot more instrumentation to it. It's

605
00:37:29.079 --> 00:37:33.159
<v Speaker 1>got a lot going on. I would never be Yeah,

606
00:37:33.159 --> 00:37:36.360
<v Speaker 1>the bass is pretty cool. I would never yeah, and

607
00:37:36.400 --> 00:37:38.920
<v Speaker 1>I would never say a track by the Claypool Lenon

608
00:37:38.960 --> 00:37:41.800
<v Speaker 1>Delirium is overproduced. And what I mean by that is

609
00:37:42.280 --> 00:37:48.920
<v Speaker 1>it's still bass, drums, guitar, melotron, vocals. Yes, but they

610
00:37:48.960 --> 00:37:51.119
<v Speaker 1>do put it all together, even though this is down

611
00:37:51.159 --> 00:37:55.119
<v Speaker 1>tempo and probably didn't translate live, which is why we

612
00:37:55.199 --> 00:37:59.039
<v Speaker 1>haven't heard of it for almost a decade. I think

613
00:37:59.159 --> 00:38:02.039
<v Speaker 1>I think it all comes together very nicely.

614
00:38:02.320 --> 00:38:05.960
<v Speaker 2>And and it's it's very interesting because Less has said.

615
00:38:05.960 --> 00:38:06.440
<v Speaker 1>How.

616
00:38:09.400 --> 00:38:13.559
<v Speaker 2>Sorry, I didn't that was that was the shut of music, right,

617
00:38:14.440 --> 00:38:14.760
<v Speaker 2>I was.

618
00:38:14.719 --> 00:38:17.960
<v Speaker 1>Playing you off? No, I just turned it all the

619
00:38:17.960 --> 00:38:19.440
<v Speaker 1>way down because I was going to try to queue

620
00:38:19.480 --> 00:38:20.159
<v Speaker 1>up apart go ahead.

621
00:38:20.199 --> 00:38:24.960
<v Speaker 2>Sorry, Well, how Less and Sean have said that they

622
00:38:25.119 --> 00:38:29.800
<v Speaker 2>push each other artistically, like Les pushes Sean to be

623
00:38:29.920 --> 00:38:34.840
<v Speaker 2>more technically proficient, and Sean pushes Less to explore melody

624
00:38:35.480 --> 00:38:39.400
<v Speaker 2>in a way which he otherwise wouldn't with the rest

625
00:38:39.400 --> 00:38:42.840
<v Speaker 2>of his of his work, and not only vocally, because

626
00:38:42.880 --> 00:38:46.800
<v Speaker 2>I mean you do get Less uh doing vocal harmonies,

627
00:38:47.000 --> 00:38:50.760
<v Speaker 2>which is not something common in his discography, but in

628
00:38:50.840 --> 00:38:53.199
<v Speaker 2>this track, but in this trick, but I mean not

629
00:38:53.199 --> 00:38:55.880
<v Speaker 2>not in in the way that he does it with

630
00:38:55.880 --> 00:38:59.880
<v Speaker 2>with delirium, but with this track in particular, I think

631
00:39:00.280 --> 00:39:03.920
<v Speaker 2>that goes beyond the vocal harmonies. And it's also prevalent

632
00:39:04.960 --> 00:39:10.639
<v Speaker 2>in the way he played the bassline. It's so melancholic

633
00:39:10.840 --> 00:39:16.159
<v Speaker 2>and evocative in a way that I hadn't heard him

634
00:39:16.159 --> 00:39:19.400
<v Speaker 2>play like that before. Prior to this track, I had

635
00:39:19.440 --> 00:39:23.159
<v Speaker 2>never heard a less Colleople baseline and thought, oh wow,

636
00:39:23.239 --> 00:39:26.880
<v Speaker 2>that's that's really sad. That had never happened before until

637
00:39:26.920 --> 00:39:27.320
<v Speaker 2>this song.

638
00:39:27.880 --> 00:39:31.039
<v Speaker 1>Yeah, I think the closest we come to this kind

639
00:39:31.079 --> 00:39:35.280
<v Speaker 1>of melodic, almost pretty playing as Mary Day ice Cube

640
00:39:35.679 --> 00:39:38.880
<v Speaker 1>and that, And I'm not saying it's similar at all

641
00:39:39.000 --> 00:39:42.960
<v Speaker 1>other than in that spirit. I think because this is yeah,

642
00:39:42.960 --> 00:39:45.840
<v Speaker 1>this is pretty, yes, but.

643
00:39:47.840 --> 00:39:51.280
<v Speaker 2>It's also very enjoyable because it's not flat. I mean,

644
00:39:51.280 --> 00:39:54.400
<v Speaker 2>it doesn't stay the same through the It actually has

645
00:39:55.559 --> 00:39:59.840
<v Speaker 2>very clear different sections. And my favorite, of course, as

646
00:39:59.840 --> 00:40:02.119
<v Speaker 2>you know that you know that I'm a very cathartic person,

647
00:40:02.199 --> 00:40:04.960
<v Speaker 2>So my favorite part is the catharis of the track

648
00:40:05.239 --> 00:40:07.880
<v Speaker 2>at the end, which is also which is very reminiscent

649
00:40:07.920 --> 00:40:10.360
<v Speaker 2>of the on Boomerang Baby.

650
00:40:10.440 --> 00:40:15.639
<v Speaker 1>By the way, Yeah, it's related. I think that catharsis

651
00:40:15.800 --> 00:40:20.280
<v Speaker 1>is emblematic of the instrumentation you know, reaching reaching a

652
00:40:20.360 --> 00:40:27.119
<v Speaker 1>higher level after all the melodic beauty, uh and or

653
00:40:27.159 --> 00:40:30.320
<v Speaker 1>I guess melancholic beauty as you as you termed it.

654
00:40:31.480 --> 00:40:34.000
<v Speaker 1>And then we get a nice guitar solo that leads

655
00:40:34.000 --> 00:40:37.159
<v Speaker 1>into a pretty sass, pretty satisfying conclusion here.

656
00:41:09.440 --> 00:41:15.079
<v Speaker 2>That's pretty satisfying, and it goes so well with the

657
00:41:15.199 --> 00:41:16.679
<v Speaker 2>animation done by Webster.

658
00:41:17.880 --> 00:41:24.599
<v Speaker 1>Yes that as Michael escapes with this is animated, Michael

659
00:41:24.760 --> 00:41:26.159
<v Speaker 1>escapes and.

660
00:41:25.719 --> 00:41:28.199
<v Speaker 2>He transforms into a metallic version.

661
00:41:28.000 --> 00:41:31.000
<v Speaker 1>Of l Yeah, which reminded me of the cover of

662
00:41:31.360 --> 00:41:32.119
<v Speaker 1>Is It History?

663
00:41:32.920 --> 00:41:36.159
<v Speaker 2>Yeah, Yeah, it's like the Greatest Hits Packatch or something.

664
00:41:36.199 --> 00:41:38.719
<v Speaker 1>Yes, that's the one. And then he and Bubbles go

665
00:41:39.159 --> 00:41:42.719
<v Speaker 1>into a bathtub in space, yeah, where they live happily

666
00:41:42.760 --> 00:41:43.320
<v Speaker 1>ever after.

667
00:41:44.360 --> 00:41:52.800
<v Speaker 2>Can we just discuss for a moment how mind blowing

668
00:41:52.960 --> 00:41:55.920
<v Speaker 2>it is for someone to keep a chimpanzee as a pit.

669
00:41:57.679 --> 00:42:00.719
<v Speaker 1>It is. I could not conceive of doing that in

670
00:42:00.760 --> 00:42:02.119
<v Speaker 1>any effective way myself.

671
00:42:02.760 --> 00:42:07.440
<v Speaker 2>Yes, I mean speaking about primates, you know, there is something,

672
00:42:07.920 --> 00:42:13.119
<v Speaker 2>there's something very peculiar about chimpanzees, and well, what sets

673
00:42:13.119 --> 00:42:16.599
<v Speaker 2>them apart from other primates is that, for instance, you

674
00:42:16.679 --> 00:42:22.719
<v Speaker 2>have orangutans, which are incredibly strong, but incredibly gentle. There

675
00:42:22.719 --> 00:42:26.960
<v Speaker 2>are no recordive attacks in history of an orangul tant

676
00:42:27.039 --> 00:42:32.280
<v Speaker 2>killing a person. They are simply not violent by nature.

677
00:42:32.480 --> 00:42:35.639
<v Speaker 2>I mean, if you were to they are very solitary,

678
00:42:35.679 --> 00:42:37.800
<v Speaker 2>but if you were to run into one in the wild,

679
00:42:38.480 --> 00:42:41.559
<v Speaker 2>they will most likely move away from you as quickly

680
00:42:41.599 --> 00:42:46.840
<v Speaker 2>as possible. And gorillas can be more defensive. They are

681
00:42:46.840 --> 00:42:50.840
<v Speaker 2>more territorial, but they would rather just to scare you

682
00:42:50.920 --> 00:42:56.119
<v Speaker 2>off or mock charge you before actually killing you, whereas

683
00:42:56.639 --> 00:43:01.639
<v Speaker 2>chimpanzees will kill you no matter what, and they are vicious.

684
00:43:01.880 --> 00:43:06.800
<v Speaker 2>A gorilla might just punch you until you lay on

685
00:43:06.840 --> 00:43:09.800
<v Speaker 2>the ground with all your bones broken, but then he'll

686
00:43:09.800 --> 00:43:13.760
<v Speaker 2>go away. Yeah, but a chimpanzee will not stop. A

687
00:43:13.840 --> 00:43:16.880
<v Speaker 2>chimpanzee will turn your face off, he will rip your

688
00:43:17.000 --> 00:43:19.679
<v Speaker 2>arms off, and he will rip your genitals off as well.

689
00:43:20.119 --> 00:43:22.840
<v Speaker 2>It's the only primate that will do that. They will

690
00:43:22.880 --> 00:43:27.079
<v Speaker 2>not stop until they have completely disfigured you, because that's

691
00:43:27.119 --> 00:43:31.119
<v Speaker 2>how vicious they are, and there's nothing you can do

692
00:43:31.199 --> 00:43:33.679
<v Speaker 2>about it. I mean, if you ran into a chimpanzee

693
00:43:33.719 --> 00:43:36.800
<v Speaker 2>in the wild, that are strategies which might work with

694
00:43:36.840 --> 00:43:40.239
<v Speaker 2>other primates in order to assert that you're not a threat.

695
00:43:41.000 --> 00:43:43.519
<v Speaker 2>Nothing will work with a chimpanzee. They will chase you

696
00:43:43.599 --> 00:43:46.679
<v Speaker 2>down and they will kill you. Yeah.

697
00:43:46.679 --> 00:43:49.079
<v Speaker 1>So a gorilla will send a message like a mobster

698
00:43:49.360 --> 00:43:53.599
<v Speaker 1>by breaking your bones, but the chimp just wants you dead.

699
00:43:54.400 --> 00:43:58.880
<v Speaker 2>The chimp wants to rip your genitals off.

700
00:43:59.239 --> 00:44:01.360
<v Speaker 1>Next time, might take a bunch of kids to the zoo.

701
00:44:01.400 --> 00:44:02.800
<v Speaker 1>That's gonna be my warning to them.

702
00:44:02.920 --> 00:44:09.639
<v Speaker 2>Remember kids, now, now, after hearing that information, just picture

703
00:44:10.320 --> 00:44:17.920
<v Speaker 2>a chimpanzee dressed up with with human clothes, yes, dancing

704
00:44:17.960 --> 00:44:21.800
<v Speaker 2>around a mansion. Yeah.

705
00:44:22.480 --> 00:44:30.639
<v Speaker 1>Speaking of primates, Frankie, that beautiful song about primates can

706
00:44:30.719 --> 00:44:32.880
<v Speaker 1>only mean one thing. It's time for Primemates takes. If

707
00:44:32.880 --> 00:44:35.599
<v Speaker 1>you want your takes about the song of for discussion

708
00:44:35.639 --> 00:44:37.280
<v Speaker 1>read right here on the podcast. All you have to

709
00:44:37.280 --> 00:44:40.320
<v Speaker 1>do is go to patreon dot com Forward slash Primus

710
00:44:41.400 --> 00:44:44.360
<v Speaker 1>Tracks And you know what I think, Frankie is going

711
00:44:44.440 --> 00:44:48.280
<v Speaker 1>to have more chimp facts for us on the Patreon.

712
00:44:48.440 --> 00:44:52.920
<v Speaker 1>So if you really like learning about animals, Patreon dot com,

713
00:44:52.960 --> 00:44:57.840
<v Speaker 1>Ford slash Primus tracks. Our Primates takes this week about

714
00:44:57.840 --> 00:45:01.440
<v Speaker 1>bubbles Burst come from first Zach Heard, who says there's

715
00:45:01.480 --> 00:45:05.159
<v Speaker 1>only two things guaranteed in this life, childhood's end and

716
00:45:05.199 --> 00:45:08.199
<v Speaker 1>bubbles Burst. This is one of my favorites on the record.

717
00:45:08.679 --> 00:45:10.960
<v Speaker 1>The tones of the instruments, the lyrics and the story

718
00:45:11.000 --> 00:45:13.800
<v Speaker 1>they tell, and especially the nostalgia fills me with even

719
00:45:13.800 --> 00:45:19.719
<v Speaker 1>though it's about someone else's experiences. Absolutely beautiful track. Our

720
00:45:19.760 --> 00:45:23.559
<v Speaker 1>resident Fish expert Jordan Kahn says I find this track

721
00:45:23.719 --> 00:45:27.960
<v Speaker 1>very Pink Floydian. The line Childhood's End was an early

722
00:45:28.000 --> 00:45:32.159
<v Speaker 1>seventies single, and Sean's outro solo is quite Gilmour esque.

723
00:45:32.519 --> 00:45:35.920
<v Speaker 2>Yeah, Childhood's End was released by Pink Floyd in nineteen

724
00:45:35.960 --> 00:45:36.519
<v Speaker 2>seventy two.

725
00:45:37.199 --> 00:45:39.960
<v Speaker 1>Oh very good, So it reminds him of that one.

726
00:45:40.320 --> 00:45:45.400
<v Speaker 1>Eric in Australia says, somnolent and ethereal oh Man. Eric's

727
00:45:45.480 --> 00:45:49.400
<v Speaker 1>been handling the thesaurus at his library. Eric also says

728
00:45:49.440 --> 00:45:53.519
<v Speaker 1>I love the soaring guitar solo. Finally, our landed Gentry

729
00:45:53.679 --> 00:45:56.960
<v Speaker 1>Edwin Allen Richards Fourth says I love this song and

730
00:45:57.000 --> 00:45:59.280
<v Speaker 1>as a huge fan of the Mighty Boosh, it was

731
00:45:59.320 --> 00:46:01.519
<v Speaker 1>so cool seeing two of my favorite worlds collide in

732
00:46:01.559 --> 00:46:02.280
<v Speaker 1>the music video.

733
00:46:02.960 --> 00:46:03.719
<v Speaker 2>I love that song.

734
00:46:03.840 --> 00:46:07.840
<v Speaker 1>Dot Com, Frankie, are you a Mighty Bush fan?

735
00:46:09.320 --> 00:46:11.000
<v Speaker 2>I've seen I've seen the bit and yeah, I do

736
00:46:11.119 --> 00:46:15.599
<v Speaker 2>enjoy it. I've seen I've seen noil In in other

737
00:46:15.639 --> 00:46:17.840
<v Speaker 2>films and they were hilarious.

738
00:46:18.039 --> 00:46:21.199
<v Speaker 1>Yes, I first saw him in the It Crowd uh,

739
00:46:21.320 --> 00:46:26.360
<v Speaker 1>and then many years later finally watched Mighty Boosh and

740
00:46:26.440 --> 00:46:30.639
<v Speaker 1>I love just how surreal and bizarre it is. Both

741
00:46:30.679 --> 00:46:33.960
<v Speaker 1>he and his brother Mike are great in it. Yes,

742
00:46:34.880 --> 00:46:36.679
<v Speaker 1>thank you Primates, by the way for your take.

743
00:46:37.079 --> 00:46:38.880
<v Speaker 2>Brooks did not take our jobs today.

744
00:46:39.119 --> 00:46:43.840
<v Speaker 1>No, we still are gainfully employed. Brooks spared us.

745
00:46:43.840 --> 00:46:46.039
<v Speaker 2>We still still have a roof for now.

746
00:46:47.239 --> 00:46:52.760
<v Speaker 1>I'm up on it again, that's for sure. Hello Primates, Josh. Here,

747
00:46:53.039 --> 00:46:55.239
<v Speaker 1>after we recorded this episode, I came upon a cover

748
00:46:55.280 --> 00:46:57.960
<v Speaker 1>of bubbles Burst posted just a couple of weeks prior

749
00:46:58.559 --> 00:47:00.639
<v Speaker 1>by a band called The screw Up, who do a

750
00:47:00.679 --> 00:47:03.960
<v Speaker 1>lovely rendition of the track. We hadn't featured any full

751
00:47:04.039 --> 00:47:08.159
<v Speaker 1>band CLD covers because they largely don't exist, but this

752
00:47:08.199 --> 00:47:08.920
<v Speaker 1>one's well done.

753
00:47:09.199 --> 00:48:15.519
<v Speaker 7>Enjoy live cutsman a jam vehicle, Live cuts for the

754
00:48:15.639 --> 00:48:18.800
<v Speaker 7>Gem vehicle, Live cutsman, what's going on here?

755
00:48:19.159 --> 00:48:21.440
<v Speaker 1>I'll tell you what's going on here. It's live cuts

756
00:48:21.480 --> 00:48:26.440
<v Speaker 1>for bubbles Burst. We have two today. We are heading

757
00:48:27.079 --> 00:48:30.719
<v Speaker 1>right back out to Columbus, Ohio and Boston. Massachusetts two

758
00:48:30.760 --> 00:48:33.719
<v Speaker 1>of Frankie's favorites, and of course they are pro shot

759
00:48:33.800 --> 00:48:37.079
<v Speaker 1>and they are available on YouTube, so why wouldn't we

760
00:48:37.440 --> 00:48:46.199
<v Speaker 1>reference them? First Up, Columba Rush.

761
00:48:44.199 --> 00:48:47.960
<v Speaker 2>Is when they performed The Bubbles live. Similarly to the

762
00:48:48.000 --> 00:48:52.440
<v Speaker 2>other tracks, it had an extended intro where sewn with

763
00:48:52.840 --> 00:48:54.199
<v Speaker 2>Noodle away on the guitar.

764
00:48:55.119 --> 00:49:05.000
<v Speaker 1>Let's hear him Noodle a bit. For those of you

765
00:49:05.159 --> 00:49:06.000
<v Speaker 1>watching along on.

766
00:49:05.960 --> 00:49:48.880
<v Speaker 6>YouTube, lessons left the stage.

767
00:49:49.519 --> 00:49:53.480
<v Speaker 1>See this sounds a lot like the demo version. It's

768
00:49:53.519 --> 00:49:54.239
<v Speaker 1>not exactly the.

769
00:49:54.199 --> 00:49:57.760
<v Speaker 6>Same, but I love the.

770
00:49:56.800 --> 00:49:58.360
<v Speaker 1>Atmosphere of this. That's great.

771
00:50:05.719 --> 00:50:18.079
<v Speaker 8>Let's hear more of this one, Toyshu.

772
00:50:41.840 --> 00:50:46.159
<v Speaker 1>We've talked about this before. With these live performances, Paulo

773
00:50:46.320 --> 00:50:54.320
<v Speaker 1>brings such confidence and smoothness. I think, yeah, he's he's

774
00:50:54.320 --> 00:50:58.679
<v Speaker 1>elevating those studio drums and we pointed that out before. Uh,

775
00:50:58.760 --> 00:51:02.599
<v Speaker 1>with this record, it really comes alive with Polo and

776
00:51:02.719 --> 00:51:08.719
<v Speaker 1>the kid. There's there's some really nice drive in his plane.

777
00:51:09.639 --> 00:51:11.840
<v Speaker 1>There's one more thing he wanted us to hear. It

778
00:51:12.039 --> 00:52:10.519
<v Speaker 1>was the outro. Now is this with some of these

779
00:52:10.559 --> 00:52:13.079
<v Speaker 1>Monoliths tracks, Frankie, do you find yourself listening to the

780
00:52:13.079 --> 00:52:15.400
<v Speaker 1>life cuts more than the studio album.

781
00:52:15.119 --> 00:52:18.679
<v Speaker 2>With the first record, Yes, with South of Reality. I mean,

782
00:52:18.800 --> 00:52:25.559
<v Speaker 2>for me, the studio cuts are just perfect. But with Monolith, yes,

783
00:52:25.599 --> 00:52:28.320
<v Speaker 2>I think I do gravitate towards the conference more.

784
00:52:29.280 --> 00:52:34.320
<v Speaker 1>I suspected as much. Let's move to Boston House of

785
00:52:34.320 --> 00:52:41.159
<v Speaker 1>Blues for some of that guitar solo goodness with Bubbles

786
00:52:41.159 --> 00:52:42.079
<v Speaker 1>in Boston.

787
00:53:39.159 --> 00:53:39.880
<v Speaker 2>Fantastic.

788
00:53:40.639 --> 00:53:46.079
<v Speaker 1>Yeah, Paulo is smooth back there, and Sean solo really shines.

789
00:53:46.440 --> 00:53:49.280
<v Speaker 1>Uh live too, It all it all comes together live

790
00:53:50.639 --> 00:53:54.079
<v Speaker 1>with these Monolith tracks. I think we're finding except for

791
00:53:54.159 --> 00:53:55.880
<v Speaker 1>no one to we're in space because they never played

792
00:53:55.880 --> 00:53:57.159
<v Speaker 1>it live. It is my understanding.

793
00:53:58.119 --> 00:54:01.440
<v Speaker 2>Uh no, it was just played over the PA at

794
00:54:01.480 --> 00:54:04.559
<v Speaker 2>the beginning of each show. There was a show introduction,

795
00:54:04.760 --> 00:54:06.320
<v Speaker 2>but I never perform his life.

796
00:54:06.400 --> 00:54:10.760
<v Speaker 1>Oh well, next week's episode is gonna be real fun. Then, well,

797
00:54:11.320 --> 00:54:14.119
<v Speaker 1>Bubble's Burst really took us on a journey, Frankie, We've

798
00:54:14.440 --> 00:54:15.760
<v Speaker 1>been all over the place with it.

799
00:54:16.719 --> 00:54:18.400
<v Speaker 2>So such an interesting subject.

800
00:54:18.760 --> 00:54:21.280
<v Speaker 1>It is an interesting subject. It's a it's a nice

801
00:54:21.360 --> 00:54:25.960
<v Speaker 1>tune and it's you know, it's great to hear, you know,

802
00:54:26.039 --> 00:54:28.920
<v Speaker 1>something from from Sean that's a little more personal, you know,

803
00:54:28.960 --> 00:54:31.159
<v Speaker 1>sharing these things because we we get a lot of

804
00:54:31.199 --> 00:54:34.679
<v Speaker 1>stories from Les Claypool as a lyricist from his life,

805
00:54:35.320 --> 00:54:39.480
<v Speaker 1>so you you get a it's parasocial, but you still

806
00:54:39.519 --> 00:54:41.800
<v Speaker 1>get a connection to the artist in a way that

807
00:54:41.840 --> 00:54:45.920
<v Speaker 1>you wouldn't normally. So this, in a way, this humanizes

808
00:54:47.239 --> 00:54:49.840
<v Speaker 1>Sean Lennon, if that makes sense, not that he was

809
00:54:49.920 --> 00:54:53.360
<v Speaker 1>inhuman before, but it allows us to get him, to

810
00:54:53.360 --> 00:54:55.639
<v Speaker 1>get to know him the person and not the name.

811
00:54:56.440 --> 00:55:00.360
<v Speaker 2>And I think this is just a glimpse, is just

812
00:55:00.400 --> 00:55:05.320
<v Speaker 2>a very very small fraction of what Michael's entire of

813
00:55:05.360 --> 00:55:08.880
<v Speaker 2>life and persona was. So I guess the lesson here

814
00:55:09.000 --> 00:55:13.800
<v Speaker 2>is that no matter how many decades pass, people will

815
00:55:13.880 --> 00:55:17.519
<v Speaker 2>never not talk about Michael Jackson.

816
00:55:20.079 --> 00:55:24.719
<v Speaker 1>Evergreen topic right there, you bet well, bubbles burst in

817
00:55:24.800 --> 00:55:27.599
<v Speaker 1>the time of chimpanzees. I was a monkey and you've

818
00:55:27.599 --> 00:55:33.360
<v Speaker 1>been tracked. Next week, Frankie, we answer the age old question, is.

819
00:55:33.360 --> 00:55:35.159
<v Speaker 2>There their bumper space?

820
00:55:36.519 --> 00:55:38.519
<v Speaker 1>I wish we had said that more in Unison, but

821
00:55:38.599 --> 00:55:44.360
<v Speaker 1>that was pretty good. We're gonna find out they're making

822
00:55:44.400 --> 00:55:47.519
<v Speaker 1>a bold claim. I think that's even more controversial than

823
00:55:47.559 --> 00:55:54.800
<v Speaker 1>this week's topic. So strap in everybody primates, primates, primates, patrons,

824
00:55:54.840 --> 00:55:59.719
<v Speaker 1>prime matrons, people of Earth, people of Phobos chimps all

825
00:55:59.760 --> 00:56:03.800
<v Speaker 1>around the world, especially in Texas facilities. Thank you for

826
00:56:03.840 --> 00:56:08.599
<v Speaker 1>listening and I'll talk to you next time later days.

827
00:56:09.480 --> 00:56:11.440
<v Speaker 2>Willa mace H