WEBVTT 1 00:00:00.080 --> 00:00:02.960 It's Josh freaky. What a couple of dump shits. 2 00:00:17.239 --> 00:00:21.320 Hello Primates, you've found Primus Tracks. Congratulations. There are so 3 00:00:21.320 --> 00:00:24.239 many places to find Primus Tracks, including at Primus Tracks, 4 00:00:24.280 --> 00:00:28.280 on Instagram and threads. There's a Facebook page appropriately titled 5 00:00:28.480 --> 00:00:32.280 Primus Tracks, and the email address if you wish to 6 00:00:32.320 --> 00:00:36.640 contact Primus Tracks is Primus Tracks pod at gmail dot com. 7 00:00:37.079 --> 00:00:39.359 I'm doctor Josh bald, one of the hosts of Primus Tracks. 8 00:00:39.359 --> 00:00:41.240 He is coming to you for the thirty ninth floor 9 00:00:41.320 --> 00:00:45.000 of Primus Tracks Towers in Mexico City. It's Encyclopedia Frankie Bearstein. 10 00:00:45.640 --> 00:00:49.159 Hello guys, and thank you very much for six thousand 11 00:00:49.200 --> 00:00:51.560 follows on Primus Tracks Facebook. 12 00:00:51.640 --> 00:00:56.079 Six thousand. All right, it seems like yesterday you were 13 00:00:56.439 --> 00:00:59.200 banging on the door of one thousand and you were 14 00:00:59.479 --> 00:01:02.200 You were for people to like and follow so they 15 00:01:02.200 --> 00:01:07.000 would both surpass on Wow, six thousand to what do 16 00:01:07.079 --> 00:01:11.120 you attribute your recent success and popularity. 17 00:01:11.159 --> 00:01:24.040 Both pictures, Yeah, informative posts, cool footage, commemorative reminders, very nice, 18 00:01:23.799 --> 00:01:26.599 such and such was released on a day like these. 19 00:01:27.319 --> 00:01:29.760 So you're essentially doing the exact opposite of what I'm 20 00:01:29.799 --> 00:01:30.840 doing on the Instagram. 21 00:01:31.239 --> 00:01:34.040 Well, we gotta go. We gotta make it interesting for 22 00:01:34.079 --> 00:01:37.000 the followers, so there's unique content on each account. 23 00:01:37.239 --> 00:01:42.560 Yes, I'm providing worthless information. So you're what you're doing 24 00:01:42.640 --> 00:01:47.640 seems to be working very well. Yes, thank you all 25 00:01:47.680 --> 00:01:51.640 for following those socials. We put out as much relevant 26 00:01:51.680 --> 00:01:56.359 information as we possibly can. Well Today, Frankie, we are 27 00:01:56.359 --> 00:01:59.959 talking about Oxy Content Girl. We are near the end 28 00:02:00.200 --> 00:02:05.840 of our Monolith of Phobos journey. Oxyconton Girl is track 29 00:02:05.920 --> 00:02:08.479 nine on your Monolith of Phobos record. It is five 30 00:02:08.520 --> 00:02:11.800 minutes and three seconds long. Music by Claypool and Lenin 31 00:02:12.039 --> 00:02:16.919 lyrics by Claypool. Here are your credits, Frankie Less, Claypool vocals, bass, 32 00:02:17.039 --> 00:02:20.599 mellotron and drums. In fact, this is the only track 33 00:02:20.599 --> 00:02:25.639 of which Less plays drums on the record. Sean Lennon vocals, guitar, 34 00:02:26.199 --> 00:02:29.800 auto harp. Frankie, are you familiar with the auto harp? 35 00:02:30.479 --> 00:02:31.039 What is that? 36 00:02:31.520 --> 00:02:34.120 I have seen some folk bands using it. A lot 37 00:02:34.120 --> 00:02:38.360 of people across musical genres use it. It looks like 38 00:02:38.479 --> 00:02:42.319 a miniature harp, but there are these buttons that you 39 00:02:42.400 --> 00:02:45.479 press and when you depress the button, it sends a 40 00:02:45.520 --> 00:02:50.800 bar down across the numerous strings to formulate chords for you, 41 00:02:51.719 --> 00:02:55.159 so you can strum strum the chords while holding down 42 00:02:55.280 --> 00:02:58.039 simply a button as opposed to fretting a guitar neck. 43 00:02:58.479 --> 00:02:59.599 So here's the auto harp. 44 00:03:00.840 --> 00:03:01.560 Interesting. 45 00:03:01.800 --> 00:03:05.159 So the guy's left hand is covering a bar, this 46 00:03:05.199 --> 00:03:07.680 wood bar here that has the buttons on it. As 47 00:03:07.719 --> 00:03:10.199 you can see, it kind of looks like a miniature harp, 48 00:03:10.400 --> 00:03:13.360 but it's actually a member of the zither family. And 49 00:03:13.400 --> 00:03:16.240 so he's strumming with his right hand. Here's a taste 50 00:03:16.280 --> 00:03:32.840 of the sound. Pretty cool sound, and of course you 51 00:03:32.879 --> 00:03:37.719 hear it on Oxy Cotton Girl as well. Now the 52 00:03:37.840 --> 00:03:40.960 question is Frankie who brought the autoharp to Rancho Relaxo. 53 00:03:42.400 --> 00:03:46.520 It's really fascinating to this cover Dead. There's pretty much 54 00:03:46.520 --> 00:03:49.520 a unique instrument on almost every single track. 55 00:03:50.439 --> 00:03:54.400 The cosmic rain drum, the melotron shows up quite a bit, 56 00:03:54.719 --> 00:04:00.439 there's some interesting percussive elements throughout, and then this autoharp 57 00:04:00.759 --> 00:04:04.360 appears out of nowhere. I don't know if Wiley Woods 58 00:04:04.479 --> 00:04:08.599 left it behind after hanging around one day, or if 59 00:04:08.599 --> 00:04:14.400 this was another infamous Less Claypool craigslist pick up. Not sure. 60 00:04:14.639 --> 00:04:17.720 I have seen a handful of people use it in 61 00:04:17.759 --> 00:04:20.079 a variety of settings, and it's got a really neat 62 00:04:20.160 --> 00:04:23.079 sound to it, and just by virtue of pressing a 63 00:04:23.120 --> 00:04:27.000 button to get your cord, because when you depressed the button, 64 00:04:27.399 --> 00:04:30.519 it mutes the strings that are not necessary for forming 65 00:04:30.519 --> 00:04:34.519 the chord. So it really is an instrument that a 66 00:04:34.560 --> 00:04:38.399 beginner can pick up and strum some chords. So it 67 00:04:38.920 --> 00:04:39.720 sounds great. 68 00:04:40.319 --> 00:04:41.959 Did you see it a Renaissance fair? 69 00:04:44.000 --> 00:04:46.040 I have been to a ren fair. I don't recall 70 00:04:46.040 --> 00:04:49.199 if I ever saw this auto harp there. I think 71 00:04:49.240 --> 00:04:53.000 the autoharp was invented or patented in the late nineteenth 72 00:04:53.000 --> 00:04:57.800 century in the United States, but it's certainly inspired by 73 00:04:58.160 --> 00:05:03.279 instruments such as zithers. In true American fashion, somebody thought 74 00:05:03.279 --> 00:05:06.360 to shortcut it by adding a button that bars the 75 00:05:06.399 --> 00:05:13.199 chord for you. Thanks technology, all right, So Oxycutt and 76 00:05:13.240 --> 00:05:14.600 girl Frankie, what do you have on this one? 77 00:05:15.839 --> 00:05:22.519 Oxy is another one of those relatively rare tracks because 78 00:05:23.439 --> 00:05:27.160 it was It has been performed only twenty times to date. 79 00:05:28.000 --> 00:05:33.120 It was kind of prevalent during the twenty sixteen tour. 80 00:05:33.240 --> 00:05:37.560 It was not performed at every show, of course, and 81 00:05:37.600 --> 00:05:43.040 the last performance to date was that Boulder, Colorado show 82 00:05:43.120 --> 00:05:46.240 in twenty seventeen, where they did the full album back 83 00:05:46.279 --> 00:05:52.519 to back has not been performed again since. So Oxy 84 00:05:52.920 --> 00:06:02.959 America Lariot, They've been left behind. Yeah, I do have 85 00:06:03.000 --> 00:06:07.920 a quote about the song Oh Please. While the album's 86 00:06:08.000 --> 00:06:11.519 lyrics are so real, is Oxy Counting Girl at topical 87 00:06:11.639 --> 00:06:15.920 meditation on the opio with Crisis, to which Les replied, 88 00:06:16.160 --> 00:06:19.519 it definitely is. I have friends that were junkies, and 89 00:06:19.600 --> 00:06:23.000 I grew up around substance abuse and alcoholism. I have 90 00:06:23.079 --> 00:06:25.959 teenagers and I am concerned about what's going on with 91 00:06:26.079 --> 00:06:29.680 opiate abuse. My friend's daughter is deep in heroin world 92 00:06:29.759 --> 00:06:33.000 because she started off on oxy. Now she doesn't even 93 00:06:33.079 --> 00:06:36.160 know where she is. Lyrically, Oxy Counting Girl is a 94 00:06:36.279 --> 00:06:39.800 dark tune, but it's my way of voicing my concern 95 00:06:39.879 --> 00:06:44.120 and exercising some of those demons through a character. And 96 00:06:44.160 --> 00:06:48.199 then Lennon said, there's definitely an anti big pharma theme 97 00:06:48.240 --> 00:06:51.279 on the record. You have oxy content, but also Cricket, 98 00:06:51.600 --> 00:06:54.079 which is about a kid that gets hooked on prescription 99 00:06:54.240 --> 00:06:56.959 drugs legally and it ruins his life. One of the 100 00:06:57.000 --> 00:07:00.759 biggest evils in America is the contradiction between big pharmacy 101 00:07:00.839 --> 00:07:04.439 pushing legal drug dealing on kids and adults, while there's 102 00:07:04.480 --> 00:07:07.519 a war on criminalized drugs that is ruining a whole 103 00:07:07.560 --> 00:07:12.120 other subsection of society. Have either of you had personal 104 00:07:12.160 --> 00:07:15.439 experience with addiction? Lennon said, I'm lucky that I don't 105 00:07:15.480 --> 00:07:18.759 have an overtly addictive personality. I know a lot of 106 00:07:18.800 --> 00:07:22.120 people that just can't be around certain substances. I've never 107 00:07:22.160 --> 00:07:25.639 really had that severe problem with anything. And then let's 108 00:07:25.720 --> 00:07:28.600 said I was a pothead for many years. I grew 109 00:07:28.680 --> 00:07:31.759 up around addicts. My uncle was a tweaker for thirty 110 00:07:31.839 --> 00:07:35.439 years and died at fifty. My grandparents were also alcoholics. 111 00:07:35.639 --> 00:07:38.120 Since I was a little kid, I was always reinforced. 112 00:07:38.360 --> 00:07:40.800 It was always reinforced in me by my parents that 113 00:07:40.839 --> 00:07:43.360 we had an addiction issues in our family and to 114 00:07:43.399 --> 00:07:46.160 be very careful. Because of that, I've always been a 115 00:07:46.199 --> 00:07:50.519 moderate guy. I've tiptoed around the volcano, but only tip toe. 116 00:07:50.720 --> 00:07:53.759 I never jumped in ever. Since my kids were very young, 117 00:07:53.920 --> 00:07:56.360 I've told them stories of friends of mine that went 118 00:07:56.439 --> 00:07:59.759 too far. My body stole a nitrous tank from the dentist, 119 00:08:00.120 --> 00:08:03.000 filled up a garbage back and ended up passing out 120 00:08:03.040 --> 00:08:10.120 inside and he's suffocated. Mike Keiths no visas stories who heavy. 121 00:08:10.319 --> 00:08:15.279 Yeah, and certainly this is familiar lyrical territory, which we'll 122 00:08:15.279 --> 00:08:19.959 talk about the lyrics. But certainly that interview reveals just 123 00:08:20.079 --> 00:08:22.959 that that this is based on some kind of personal 124 00:08:23.040 --> 00:08:29.600 experience for somebody who's close to less the lyrical the 125 00:08:29.600 --> 00:08:34.399 composer of the lyrics here. And it's not an unfamiliar topic. Certainly, 126 00:08:34.519 --> 00:08:37.840 we've it's been addressed many a time. But Sean noted 127 00:08:38.080 --> 00:08:41.159 that this is the second track on the record that 128 00:08:41.279 --> 00:08:46.799 takes on the U. Yeah, the legal drug epidemic. I 129 00:08:46.840 --> 00:08:50.360 don't know if I mentioned Demon Copperhead less time Frankie 130 00:08:50.360 --> 00:08:52.240 when we talked to Cricket and the Genie. But that 131 00:08:52.480 --> 00:08:56.879 book by Barbara Kingsolver, as far as a fictional account 132 00:08:56.919 --> 00:09:00.360 of the opioid crisis, is about as good as it 133 00:09:00.399 --> 00:09:05.080 gets for describing how awful it was for a certain 134 00:09:05.120 --> 00:09:09.480 segment of the population. And I cannot recommend that book enough. 135 00:09:09.759 --> 00:09:14.279 It is enthralling, it is frustrating, it's beautiful, but it's 136 00:09:14.039 --> 00:09:18.639 it is so representative. I think of of what the 137 00:09:18.639 --> 00:09:24.600 opioid crisis did to essentially especially to rural America, and 138 00:09:25.039 --> 00:09:31.360 the numerous lousy outcomes from that crisis, which you know, 139 00:09:31.399 --> 00:09:35.600 we I think we tend to leave it behind in 140 00:09:35.639 --> 00:09:37.799 the in the in the pre COVID years, but it's 141 00:09:37.840 --> 00:09:41.200 still happening. It's still a huge problem because you have 142 00:09:41.720 --> 00:09:45.200 you have people in schools carrying narcan around, Like teachers 143 00:09:45.240 --> 00:09:49.159 have a narcan in their desks, right. I I know 144 00:09:49.519 --> 00:09:53.679 of an educational assistant at a at a high school 145 00:09:53.720 --> 00:09:58.240 in my area who was handing narcan to kids. Now 146 00:09:58.279 --> 00:10:00.399 this this was a this was a controversial thing, but 147 00:10:00.440 --> 00:10:04.919 this assistant was handing narcanda to students and saying, if 148 00:10:04.919 --> 00:10:08.120 you ever see one of your classmates odeing, hit them 149 00:10:08.159 --> 00:10:10.919 with this. So like people are carrying it around like 150 00:10:10.960 --> 00:10:14.759 that tells you how how badly these drugs are being abused. 151 00:10:16.480 --> 00:10:18.440 This tracks are real pick me up, isn't it, Frankie. 152 00:10:18.440 --> 00:10:23.200 I guess that's why this track that's it's very deep 153 00:10:23.240 --> 00:10:25.759 on the record, so because if they led with this, 154 00:10:25.840 --> 00:10:29.360 I think it'd be a huge downer for everybody. So 155 00:10:29.440 --> 00:10:32.519 let's get into the track itself. I want to play 156 00:10:32.559 --> 00:10:35.120 a handful of parts from it, Frankie, because I'm once 157 00:10:35.120 --> 00:10:38.720 again coming back to this record after a long absence, 158 00:10:39.080 --> 00:10:41.519 especially the second half here, Frankie, I haven't heard these 159 00:10:41.559 --> 00:10:44.559 tunes in quite some time. I had forgotten that there 160 00:10:44.559 --> 00:10:48.440 were a couple distinct parts to Oxy Conton Girl that 161 00:10:48.559 --> 00:10:53.799 have quite a bit of charm to them and listen ability. 162 00:10:54.279 --> 00:10:56.360 But I wanted to start at the beginning because I 163 00:10:56.360 --> 00:11:00.480 want to play this bass intro because it reminded me 164 00:11:00.519 --> 00:11:21.200 of something Gladie came glad some Champagne. 165 00:11:23.639 --> 00:11:26.320 I had forgotten how complex that intro was. 166 00:11:27.320 --> 00:11:29.600 I think he's just sliding up one step, but he's 167 00:11:29.960 --> 00:11:35.159 doing a fun picking pattern for sure, and that is 168 00:11:35.240 --> 00:11:39.960 always stuck with me. Once this main lick kicks in, Frankie, 169 00:11:40.039 --> 00:11:43.120 this to me sounds somewhat of a default twenty first 170 00:11:43.120 --> 00:11:47.919 century Claypool's strumming pattern. It's it's kind of bouncy, but 171 00:11:48.039 --> 00:11:50.960 it's it's something that we are familiar with. 172 00:11:51.000 --> 00:12:03.440 But he takes it in a different direction here, and. 173 00:12:03.480 --> 00:12:08.279 Certainly when the vocals kick it so. 174 00:12:15.279 --> 00:12:18.759 She loves coon and rowin the world. 175 00:12:19.360 --> 00:12:25.960 She didn't know what to do. That's so blue, so catchy. Yeah, 176 00:12:26.039 --> 00:12:30.519 by the way, uh, that's that's an earworm, just two words. 177 00:12:30.840 --> 00:12:36.000 But the delivery is the payoff there, so we get 178 00:12:36.080 --> 00:12:38.919 that pattern through much of the tune. I wanted a 179 00:12:39.000 --> 00:12:42.960 forward to about a minute eighteen seconds because right here 180 00:12:43.120 --> 00:12:46.480 the bass and the melotron and the rest of the 181 00:12:46.559 --> 00:12:49.519 instrumentation builds a nice wall of sound and and it 182 00:12:49.600 --> 00:12:52.000 returns near the end of the tune. There's a lot 183 00:12:52.080 --> 00:12:57.240 of tension in the instrumentation here to name the stage 184 00:13:05.960 --> 00:13:09.879 building and then and then we get that transition to 185 00:13:10.000 --> 00:13:12.720 this bullet mic part that I really really like. 186 00:13:14.240 --> 00:13:14.679 Anyone. 187 00:13:27.039 --> 00:13:30.679 That descending driver to the eer is is great. The 188 00:13:31.200 --> 00:13:33.600 melotron and bass aer and lockstep during the verse, but 189 00:13:33.639 --> 00:13:37.000 then when they go to that bridge, the melotron is 190 00:13:37.080 --> 00:13:40.720 off making sounds. The baseline changes, so there's a bit 191 00:13:40.759 --> 00:13:43.600 of a release there, uh, and more dynamics. But I 192 00:13:43.720 --> 00:13:46.960 love the contrast of building that wallow sound with a 193 00:13:47.080 --> 00:13:51.000 Unison riff and then letting it drop out for that 194 00:13:51.120 --> 00:13:54.000 bullet mic part so that you know it's this is 195 00:13:54.080 --> 00:13:56.120 not an all a tune. There's a lot of different 196 00:13:56.879 --> 00:13:57.639 fun to break down. 197 00:13:57.679 --> 00:14:02.759 These my favorite parts for sure. Oh that breakdown, huge 198 00:14:02.960 --> 00:14:04.960 shift sample breakdown. 199 00:14:05.639 --> 00:14:26.039 Get your horns ready, move up one step. There it 200 00:14:26.200 --> 00:14:31.080 is again, it's a very sabbath like rift to me. 201 00:14:32.840 --> 00:14:35.519 Love love the part very. 202 00:14:35.519 --> 00:14:39.759 Much, so so that drops to halftime on the drums 203 00:14:40.039 --> 00:14:45.080 really cool riff there uh, and Less's Drummonds sounds pretty 204 00:14:45.120 --> 00:14:48.279 good in that part. And man, yeah, I like that 205 00:14:48.399 --> 00:14:50.240 riff a lot. And and they just give it to 206 00:14:50.360 --> 00:14:52.279 us for that one part. They don't come back to it. 207 00:14:52.480 --> 00:14:55.000 So you have to you have to savor it while 208 00:14:55.039 --> 00:14:58.559 you get it, which is what kind of makes this 209 00:14:59.240 --> 00:15:01.919 you know, as we've been talking about this album, it's psychedelic, 210 00:15:02.519 --> 00:15:05.720 it's progy uh. And so to just give us that 211 00:15:05.840 --> 00:15:08.559 one part, or to give us that once and then 212 00:15:08.639 --> 00:15:11.639 move on from it is very progy uh to me. 213 00:15:12.399 --> 00:15:18.759 So I love that idea. And you know, Sabbath really 214 00:15:19.000 --> 00:15:21.759 experimented with a lot of psychedelia too in there in 215 00:15:22.120 --> 00:15:26.440 in their records, whether it's those interstitial tracks or something 216 00:15:26.519 --> 00:15:29.879 like Planet Caravan. They're certain they certainly weren't averse to it. 217 00:15:29.960 --> 00:15:32.159 So that, yeah, to me, that's that sounds very Sabbath like, 218 00:15:34.799 --> 00:15:37.679 really satisfying part. Then we come back to the standard 219 00:15:37.720 --> 00:15:39.360 parts of the tune, and then I want to play 220 00:15:40.200 --> 00:15:42.720 near the end here because the autoharp is doing some 221 00:15:42.879 --> 00:15:46.080 really cool stuff as we make our way out of 222 00:15:46.120 --> 00:15:46.559 this tune. 223 00:16:14.919 --> 00:16:17.879 Very catchy melody on the other harp certainly. 224 00:16:18.000 --> 00:16:23.159 Yeah, it's it's very jaunty. It's it's very it's cheerful almost, 225 00:16:24.480 --> 00:16:27.960 uh and and it has that just because I know 226 00:16:28.480 --> 00:16:30.000 what it looks like and what it sounds like and 227 00:16:30.039 --> 00:16:32.840 how it's employed. It almost does sound like a medieval 228 00:16:32.919 --> 00:16:35.919 dance there. Yeah, although you know, I don't know how 229 00:16:36.399 --> 00:16:39.720 how good fuzz pedals were in the fourteen hundreds for 230 00:16:39.840 --> 00:16:43.000 that guitar part, but it sounds it sounds almost medieval. 231 00:16:43.039 --> 00:16:47.399 It's very interesting. So this one moves, This is a 232 00:16:47.720 --> 00:16:50.559 This was a nice surprise. I don't think we've ever 233 00:16:51.480 --> 00:16:54.000 come upon a track on any of these records that 234 00:16:54.080 --> 00:16:57.440 we would label filler, And anybody who would call Space 235 00:16:57.519 --> 00:17:01.960 Farm filler hit your head checked, all right. It's one 236 00:17:02.000 --> 00:17:05.359 of the most brilliant compositions of the twentieth century. So 237 00:17:06.200 --> 00:17:08.720 there really is no so far, I haven't heard a 238 00:17:08.799 --> 00:17:13.000 track on this record that I would say they just 239 00:17:13.079 --> 00:17:14.839 threw it on there. I think each of these is 240 00:17:14.920 --> 00:17:18.359 fairly inspired. So what are you what do you what 241 00:17:18.440 --> 00:17:21.119 do you get from this tune instrumentally, Frankie, what are 242 00:17:21.160 --> 00:17:25.160 you focusing in on instrument wise when you're listening to it? 243 00:17:26.000 --> 00:17:30.799 Definitely all the layers that are to it, because it's 244 00:17:30.839 --> 00:17:36.480 got that pretty intricate intro and then the galloping baseline, 245 00:17:36.519 --> 00:17:39.079 but then it changes, and then you got the breakdown, 246 00:17:39.160 --> 00:17:43.240 and you got the the autoharp. It's just the melotron. 247 00:17:43.279 --> 00:17:45.799 It is just so full of details. It's very rich 248 00:17:46.119 --> 00:17:47.400 in layers and sounds. 249 00:17:48.359 --> 00:17:52.279 Definitely, I love the inclusion of the melotron. I think 250 00:17:52.319 --> 00:17:54.799 we mentioned it already. We knew that there was melotron 251 00:17:55.119 --> 00:17:57.680 hanging out at Rancho Relaxo because Tom Wade used it 252 00:17:57.759 --> 00:18:01.279 for Coattails of a Dead Yet way back in ninety nine. 253 00:18:01.359 --> 00:18:05.279 So it's it's not a twangy song despite being performed 254 00:18:05.359 --> 00:18:06.119 on the resonator. 255 00:18:06.759 --> 00:18:08.960 Oh that's a great point. No, it doesn't sound twangy 256 00:18:09.000 --> 00:18:14.319 at all. It's it's certainly a different approach that he 257 00:18:14.480 --> 00:18:18.440 uses there. I wonder if the because we have so 258 00:18:18.599 --> 00:18:21.519 few live performances, we're gonna hear one later. I wonder 259 00:18:21.559 --> 00:18:25.039 if the packet n Base seemingly just makes it a 260 00:18:25.039 --> 00:18:27.079 little bit sharper, which is what we've been hearing with 261 00:18:27.119 --> 00:18:29.440 a lot of the other tunes that were recorded on 262 00:18:29.519 --> 00:18:32.240 the resonator. I would actually like to hear the attack 263 00:18:32.559 --> 00:18:36.839 of the packet n base on that bassline for a 264 00:18:36.880 --> 00:18:39.880 live performance of this tune, and you know, we've we've 265 00:18:39.920 --> 00:18:43.880 got a summer tour coming with CLD playing some some 266 00:18:44.200 --> 00:18:46.960 some tunes. So you never know, Frankie, you never know 267 00:18:47.480 --> 00:18:49.799 they might reach back and give us something that was, 268 00:18:50.160 --> 00:18:54.720 as you noted, left behind yep in the before times. 269 00:18:55.960 --> 00:18:57.920 I would say that I'm a fan of this song. 270 00:18:58.119 --> 00:19:00.640 I don't think it takes too long to get where 271 00:19:00.680 --> 00:19:03.599 it needs to go. That bass intro is only about 272 00:19:03.680 --> 00:19:06.799 twenty five seconds long. This one starts, it starts to 273 00:19:06.960 --> 00:19:10.160 fade right around the you know, the song runs out 274 00:19:10.240 --> 00:19:12.240 at about the four and a half minute mark, so 275 00:19:12.359 --> 00:19:17.200 you get about thirty seconds of fade noise outro, which 276 00:19:17.240 --> 00:19:19.759 is fine. So but the song itself, you know, four 277 00:19:19.839 --> 00:19:24.519 solid minutes with three distinct parts, pretty cool stuff. Let's 278 00:19:24.559 --> 00:19:30.480 talk about these depressing lyrics. Let's go I don't want 279 00:19:30.519 --> 00:19:35.079 to it makes me so sad. No, this is These 280 00:19:35.200 --> 00:19:40.039 lyrics are I wouldn't say typical Claypool lyrics, but the topic, 281 00:19:40.240 --> 00:19:45.880 as we noted, certainly is. And I like the pun 282 00:19:46.279 --> 00:19:49.599 of so blue because when when somebody says they're blue, 283 00:19:49.680 --> 00:19:51.960 that usually means they're down on the dumps. 284 00:19:52.039 --> 00:19:55.079 But it means she's literally turning blue. 285 00:19:55.720 --> 00:19:59.799 Yes, she has ceased breathing due to taking a hit 286 00:19:59.839 --> 00:20:06.200 on some some bad drugs. I I this goes right 287 00:20:06.240 --> 00:20:08.079 back to what he said in the interview that that 288 00:20:08.240 --> 00:20:10.960 first full line, she was an OxyContin girl in a 289 00:20:11.039 --> 00:20:16.480 heroin world. So she's, you know, she's she's got one addiction, 290 00:20:16.640 --> 00:20:18.559 but she's in a world where everybody else is doing 291 00:20:18.920 --> 00:20:22.680 something else, and she was, and she didn't know what 292 00:20:22.799 --> 00:20:25.319 to do when she ran out a pill. She scored 293 00:20:25.359 --> 00:20:27.039 on the street, and now her lips are turning blue. 294 00:20:27.119 --> 00:20:30.319 So she went from something that was relatively safe as 295 00:20:30.400 --> 00:20:34.680 far as not killing you, as far as it's lethality, uh, 296 00:20:34.799 --> 00:20:37.519 into taking big risks on the street because you don't 297 00:20:37.559 --> 00:20:40.920 know what's in that stuff. So I listened to a podcast, 298 00:20:41.240 --> 00:20:46.480 uh Frankie that the in which the host is really 299 00:20:46.599 --> 00:20:49.599 pro drug like recreational drugs, but he always says check 300 00:20:49.640 --> 00:20:53.440 your shit, like if you're gonna score street drugs, test 301 00:20:53.519 --> 00:20:57.160 at first. So I know that doesn't apply to me 302 00:20:57.240 --> 00:20:59.759 because that's not one of my hobbies, but it's it's 303 00:20:59.799 --> 00:21:03.440 good advice. The other thing I wanted to point out 304 00:21:03.519 --> 00:21:05.519 is he's telling us a story that she was daddy's 305 00:21:05.519 --> 00:21:08.240 little girl in a bubblegum world. So she she went 306 00:21:08.319 --> 00:21:12.240 from a bubblegum world to the heroin world. So she's 307 00:21:12.359 --> 00:21:16.720 certainly a child of privilege, being described as weaning off 308 00:21:16.799 --> 00:21:17.440 the silver. 309 00:21:17.319 --> 00:21:19.480 Spoon, A drama drama club kid. 310 00:21:19.759 --> 00:21:22.559 Yeah, yeah, drama club kid. All right. She goes to 311 00:21:22.680 --> 00:21:25.680 New York wants to get on stage, but before you 312 00:21:25.720 --> 00:21:30.079 knew it, she was hooked on drugs, so it didn't 313 00:21:30.279 --> 00:21:34.759 really work out for her, seemingly. And then so this 314 00:21:35.240 --> 00:21:38.319 bullet Mike part, didn't anybody tell her not to? Did 315 00:21:38.319 --> 00:21:40.880 anyone say she shouldn't go? And so this is this 316 00:21:41.039 --> 00:21:43.359 is the downside, right of following your dream. So anytime 317 00:21:43.559 --> 00:21:45.720 anytime somebody says I'm going to LA, I'm going to 318 00:21:45.799 --> 00:21:48.400 New York and I'm gonna make it big, you know 319 00:21:48.599 --> 00:21:51.839 that it's an infinitesimal chance that that's actually going to happen. 320 00:21:52.240 --> 00:21:56.119 And one of the downsides is what Less is describing here, 321 00:21:56.640 --> 00:22:01.640 that you can fall into really lousy circumstances and in 322 00:22:01.720 --> 00:22:04.920 a bad crowd for lack of a better term. So 323 00:22:05.319 --> 00:22:08.119 these questions, didn't anybody tell her not to? Did anyone 324 00:22:08.160 --> 00:22:11.599 say she shouldn't go? That's really interesting because if he 325 00:22:11.680 --> 00:22:14.400 if he's talking about like, don't go to New York, 326 00:22:14.480 --> 00:22:19.799 don't follow your dreams. That's really interesting. So who stepped 327 00:22:19.839 --> 00:22:21.440 up and said she shouldn't ought to? Who's going to 328 00:22:21.480 --> 00:22:22.960 be the one to drive her to the er? I 329 00:22:23.039 --> 00:22:27.200 love that Enjamment and the way he delivers it, so 330 00:22:27.400 --> 00:22:30.720 certainly Broken Dreams. Does this sound like a Does this 331 00:22:30.839 --> 00:22:32.559 sound like a familiar theme, Frankie? 332 00:22:33.799 --> 00:22:34.279 Definitely. 333 00:22:37.640 --> 00:22:39.880 You're a big film guy, Frankie. So I'm I'm thinking 334 00:22:39.960 --> 00:22:43.440 of a couple of movies that kind of reflect this, this, 335 00:22:43.680 --> 00:22:45.680 this Broken dream these. 336 00:22:46.599 --> 00:22:49.440 I was going to point out that this storyline and 337 00:22:49.519 --> 00:22:54.279 lyrics kind of reminded me of Try Try Try by 338 00:22:54.920 --> 00:23:00.440 Jonas Akerlund, which was actually an accompanying short film to 339 00:23:01.119 --> 00:23:03.720 the single of the same name by the Smashing Pumpkins. 340 00:23:04.519 --> 00:23:06.200 Oh, I've never seen that a company. 341 00:23:06.279 --> 00:23:11.680 Oh it's oh it's really really hard to watch. Oh boy, yep. 342 00:23:11.960 --> 00:23:14.319 Okay, so there's a parallel. I was thinking something like 343 00:23:14.799 --> 00:23:16.640 Requiem for a Dream as well. 344 00:23:18.079 --> 00:23:20.160 Yeah. Yeah, pretty good film as well. 345 00:23:20.359 --> 00:23:24.240 Oh man, a disturbing film. It really stuck with me. 346 00:23:24.319 --> 00:23:26.039 I think I saw it in college, and I haven't 347 00:23:26.039 --> 00:23:29.839 seen it since. I don't need to, Okay, So some 348 00:23:30.000 --> 00:23:33.720 of the imagery is seared into my mind forever. So 349 00:23:34.400 --> 00:23:37.000 there's a lot of media out there that that plays 350 00:23:37.079 --> 00:23:40.559 on this same theme. So obviously Claypole is not the 351 00:23:40.640 --> 00:23:44.960 only one writing about this, but the imagery that he 352 00:23:45.160 --> 00:23:49.000 provides is is pretty stark. You know, the Oxyconton girl 353 00:23:49.119 --> 00:23:51.319 was fending for her boyfriend too. When they ran out 354 00:23:51.359 --> 00:23:53.920 of cash. He put her on the streets and then 355 00:23:53.960 --> 00:23:58.160 they called her baby Blue. This is so dark. 356 00:23:58.920 --> 00:24:02.680 The thing about this song, which makes it kind of 357 00:24:02.759 --> 00:24:07.279 different to the other Claypool songs of the same nature, 358 00:24:07.880 --> 00:24:11.319 is that in other songs, Les just puts the character 359 00:24:11.480 --> 00:24:16.519 out there and they have a tragic downfall, but there 360 00:24:16.640 --> 00:24:21.920 is no intervention from Liz in terms of an opinion. 361 00:24:22.000 --> 00:24:25.400 As a narrator, he's just putting their story out there. 362 00:24:25.799 --> 00:24:29.839 But with this one, he is actually inquiring as to 363 00:24:30.160 --> 00:24:35.240 why these have to happen. So that kind of makes 364 00:24:35.319 --> 00:24:36.039 this one different. 365 00:24:36.720 --> 00:24:39.640 And I think it's a product of it being based 366 00:24:39.680 --> 00:24:43.799 on someone he is close to that he's asking these 367 00:24:43.880 --> 00:24:47.039 questions now as opposed to, yeah, this here's this tweaker 368 00:24:47.079 --> 00:24:50.200 that did these tweaker things and we know that's bad. 369 00:24:50.519 --> 00:24:53.480 This is this is why does this happen to people? 370 00:24:53.759 --> 00:24:58.000 And I think he's doing something important here, which is 371 00:24:58.079 --> 00:25:00.440 he showing that this can happen to anyone. Right, this 372 00:25:00.599 --> 00:25:03.079 kid's from a privileged background, they're in the drama club, 373 00:25:03.160 --> 00:25:08.039 they're they're pursuing acting. Everything seems to be going to 374 00:25:08.200 --> 00:25:14.279 plan for this kid. But at any time, when when 375 00:25:14.319 --> 00:25:18.720 there's some kind of adversity or there's some kind of misfortune, 376 00:25:19.200 --> 00:25:23.279 anybody can fall into this because these these drugs are 377 00:25:23.480 --> 00:25:26.720 incredibly addictive, uh, and it's really hard to break that 378 00:25:26.759 --> 00:25:30.279 addiction once you're into them. And I think what a 379 00:25:30.319 --> 00:25:33.200 lot of us do in society, Frankie is we and 380 00:25:33.319 --> 00:25:35.880 I'm using the Royal we is we fall into defison 381 00:25:35.920 --> 00:25:39.279 thinking we think that yes, the you know, the poor 382 00:25:39.559 --> 00:25:42.559 have more of a predilection for drugs, which is not 383 00:25:42.880 --> 00:25:45.200 the case. There's a lot, there's so many variables that 384 00:25:45.319 --> 00:25:47.799 go into it. So this, you know, this idea that 385 00:25:47.920 --> 00:25:51.000 anybody can fall into it and one person is not 386 00:25:51.119 --> 00:25:54.119 more likely than the other, is uh. I think the 387 00:25:54.240 --> 00:25:55.559 right attitude to have about this. 388 00:25:56.440 --> 00:25:56.480 This. 389 00:25:56.640 --> 00:26:00.119 I think this is a great real world example that 390 00:26:00.200 --> 00:26:03.759 this can happen to anyone. Just that part that her 391 00:26:04.079 --> 00:26:06.400 boyfriend has to pimper so they can both get their 392 00:26:06.440 --> 00:26:11.720 fix is so sad. Yeah, this is such a downer 393 00:26:11.799 --> 00:26:14.359 of a tune. Lyrically, this might be one of the 394 00:26:14.440 --> 00:26:18.720 darkest sets of lyrics we've ever gotten from Claypool. Last 395 00:26:18.759 --> 00:26:21.960 part here, she never really had a clue. When she 396 00:26:22.039 --> 00:26:23.880 took a hot hit, she scored off the street, her 397 00:26:23.920 --> 00:26:27.079 lips started turning blue. Who knew what to do? And 398 00:26:27.200 --> 00:26:31.400 so then we're getting to those blue lips meaning she's dead, 399 00:26:32.119 --> 00:26:34.960 she's dying, she's dead. That just coming back to that. 400 00:26:35.000 --> 00:26:36.400 Who's going to be the one to drop her at 401 00:26:36.440 --> 00:26:38.319