Welcome back everyone. My name is Amanda and you are listening to cover story. Cover. Story is a podcast dedicated to music in our first season. We have been exploring some cover songs. We really dig. If you've missed any episodes, you can find all of our archive episodes over on Itunes, spotify, or on our website that cover story podcast.com. As always, I am joined in our porch studio by my cohost and producer Filler, Aka the bone, Aka Bona Reno fillers, lovely wife Jenny Aka Mrs. Bone is also here with us keeping things archived and on the rails as much as possible. We have a really cool episode to share with you tonight and we hope you enjoy it. Before we dive in, I do have a favor to ask if that vape is that picking up on my back. I do have a favorite filler and I really enjoy creating this podcast. When we first hit record back in November. We only plan on doing seven or eight episodes and well here we are in August. Recording our 20th episode pretty fucking awesome, right? Who, if you haven't yet filler, and I would love it if you could write us a review over on itunes. Apparently the more glowing reviews we have, the easier our podcast is to find thanks to everyone who is already written a review and reached out to us with some awesome feedback and kind words the fact that anyone other than my mom or fillers, mom actually listens to this podcast is pretty astounding. It seems fitting that for our 20th episode, we are once again featuring some incredible Bob Dylan covers performed by three seminal artists before coming over to the porch tonight. I had a moment to look at some of my favorite books on the shelf, looking for just the right inspiration. I came across this quote and for some reason sounds like a great place to start. In August. There are a few days somewhere about the middle of the month when suddenly there's a foretaste of fault. It's cool. There's a landman soft illuminous quality to the light as though it came not from just today, but from back in the old classic times. It might have funds and satyrs and the gods and from Greece, from Olympus in it somewhere. It lasts for just a day or two. Then it's gone. The title reminded me of that time illuminosity older than our Christian civilization. William Faulkner describing the title choice for light in August. The three artists we are featuring in tonight's episode are quite like the luminosity of August described in Faulkner's book, George Harrison, Waylon Jennings, and Van Morrison, three singer songwriters I have loved for as long as I've been alive. Thanks to my dad's huge musical influence on me. Not for you. Don't think twice. It's all right and it's all over. Now. Baby blue are heavy hitting songs in Dylan's arsenal and each of tonight's featured artists knock it out of the park with their versions. Okay. I think my preamble has gone on long enough. Thanks to this delicious cocktail. So without further ado, filler, can you do you dance in the shower? Do you write stories in your head, in the shower? If you said yes to one or both of these questions, chances are we may have taken a shower together. Nah, not really. I'm just fucking around, but I was taking a shower the other day and enjoyed some much needed hydrotherapy. I definition hydrotherapy or water therapy is the use of water to relieve discomfort and promote physical wellbeing for me, especially during my last six years of motherhood. My showers have become simultaneously therapeutic and productive. I do most of my writing in the shower. In fact, I wrote tonight's podcast in the shower. It's where I do most of my thinking and writing. In a recent hydrotherapy session, I made the wise choice to keep myself company with a George Harrison album. All things must pass. I've always had a huge fondness for George Harrison, but hadn't listened to this album quite some time. I got to tell you, if you're looking for a nearly perfect album to listen to in the shower, look no further. I think I found it for you. Let me take you through some of my hydrotherapy highlights. I'd have you anytime. The opening track rock on George Harrison's first post Beatles album. All things must pass is a rare songwriting collaboration with Bob Dylan. The song is a low key opening track that Harrison road with Dylan at his home in woodstock in 1968 following the completion of the Beatles white album. George Harrison flew to the US and spent much of his time in the company of Dylan and the band in an interview for Billboard magazine. Harrison explains, I liked I'd have you anytime because of Bob Dylan. I was with Bob and he had gone through his broken neck period and was being very quiet and he didn't have much confidence. That's the feeling I got with him in Woodstock. He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was a really nice time with all his kids around and we were just playing. It was near Thanksgiving. He sang that song and he was very nervous and shy and he said, what do you think about this song? And I had felt strongly about Bob when I had been in India years before. The only record I took with me along with all my Indian records, was blonde on blonde. I somehow got very close to him, you know, because he was so great, so heavy and so observant about everything and yet to find him later, very nervous and with no confidence, but the thing he said on blonde on blonde, about what price you have to pay to get out of going through all these things twice. Oh Mama, can this really be the end and I thought isn't a great because I know people are going to think shit, what's Dylan doing? But as far as I was concerned, it was great for him to realize his own piece and it meant something. You know? He had always been so hard and I thought a lot of people are not going to like this, but I think it's fantastic because Bob has obviously had the experience choosing to open all things must pass with the mid tempo. I'd have you anytime may have been inspired by the bands. Music from the big pink, which began with a similarly stately tears of rage. Previously it had been a convention in the music industry. That pop and rock albums should begin with an upbeat cut to catch the listener's attention. Harrison goes onto say, it just seemed like a good thing to do and maybe subconsciously I needed a bit of support. I had eric playing the solo and Bob had helped write it so it could have been something to do with that. Lyrically I'd have you anytime was a far cry from Dylan's wildly inventive earlier wordplay or Harrison, social satire and loads of love seemingly composed of words chosen for their sound and Ryman qualities rather than their emotional weight. I'd have you anytime nonetheless reflected a mood of carefree optimism that Harrison felt both in Dylan's company and during the recording of all things must pass. In the same billboard magazine article, Harrison goes onto explain his recording sessions with Dylan. I was saying to him, you write incredible lyrics, and he was saying, how do you write those tunes? So I was just showing him cores like crazy and I was saying, come on, write me some words, and he was scribbling words down and it just killed me because he had been doing all these sensational lyrics. And he wrote, all I have is yours, all you see is mine and I'm glad to hold you in my arms. I'd have you anytime. The idea of dylan writing something like so very simple was amazing to me. Harrison and dylan went on to form a strong friendship towards the end of the 19 sixties and in 1970, Harrison attended some of the sessions for Dylan's album new morning, if not for you as the opening song on that album, a language early version featuring Harrison on guitar was recorded in May of 1970 in New York and is thought to be Harrison's first recorded instance of slide guitar. Dylan rerecorded, the song in August without Harrison, and this version was released on new morning in October 1970 the month before. All things must pass. The earlier recording was eventually released in 1991 and the Dylan bucks at the bootleg series. Harrison evidently liked the song enough to record his own interpretation based on the early Dylan version, whereas Dylan's was upbeat, rough, and ready with a spontaneity which characterize his preferred working methods. During this time, Harrison's was slower, more carefully performed, and with gleaming production placed on the album after a cluster of songs which showcase Phil Spector wall of sound to the full my sweet Lord, Wawa. Isn't it a pity and what is life if not for you, served as the perfect breakpoint, a contrast
Speaker 2:from the densely packed productions and emotional outpourings of frustration and veneration. Hinting at a simpler side to George Harrison. Man, it ain't no. You sit in one of. I've been well, it ain't no use to sit and wonder why they don't know by now and it ain't no use to sit and wonder why baby. It'll never do somehow. When you're a rooster crews at the break of Dawn, look out your window and I'll be gone. You're the reason I'm a traveling on it. Don't think twice. It's all right. It ain't no use in turning out your light bulb. The light I never know and it ain't no use and turning on your light bape among the dark side of the road. But I wish there was something you would do or say to try to make me change my mind and stay. But we never did too much talking anyway. But don't think twice. It's all right Bob Dylan. Performance. Don't think twice. It's all right. For the first time at the cast like cafe in October, 19, 62. Susie Rotolo, his girlfriend at the time had already been taking classes at the University of Toledo for four months. The acute pain of Dylan, separation from Rotolo is heard throughout freewill. And in this song you seem surprisingly bitter and disillusioned, but still in love with this beautiful girl. So it ain't no use in calling out my name now like you've never done before and it ain't no use in calling out my name. Go. I can't hear you anymore. I'm a thinking and wandering. Walking down the road at once. Loved a woman, a child. I'm told I gave her my heart. She wanted my soul. But don't think twice. It's all right honey. Babe. Where I'm bound. I can't tell goodbyes to good a word they. So I'll just say fare thee. Well, I ain't saying you treated me unkind, you could have done better, but I don't mind. You just kinda wasted my precious time. It don't think twice. It's all right. The songs ubiquitous. Empathy provides for a subjective listening experience. It is neither optimistic, pessimistic. It's Dylan himself, put it. It's a statement that maybe you can say to make yourself feel better as if you were talking to yourself. So much humor, so much brightness, so much rebellion, and a keen sense of self awareness. If anyone performer personified the outlaw country movement of the 19 seventies. It was waylon jennings, though he had been a professional musician since the late fifties. It wasn't until the seventies that waylon with imposing baritone and stripped down updated Honky Tonk, became a superstar. Jennings rejected the conventions of Nashville refusing to record with the industry's legions of studio musicians and insisting that his music never resembled a string laden pop inflected sounds that were coming out of Nashville in the 19 sixties and 19 seventies. Many artists, including Willie Nelson and Kris Kristofferson, followed wayland's, Anti Nash feel stance, and eventually the whole outlaw movement so named because of the artist's ragged maverick image in their independence from Nashville came one of the most significant country forces of the 19 seventies helping the genre adhere to it's hardcore honky tonk roots. Jennings didn't write many songs, but his music which combined the grittiest aspects of hockey talk with a rock and roll rhythm and attitude, making the music spare, direct and edgy defined hardcore country, and it influenced countless musicians including members of the new traditionalist and alternative country sub genres of the 19 eighties. Don't think twice is a 1970 album by waylon jennings, released on a and m records. It consists of previously issued singles and a few unreleased songs from his days at a and m. The title track as well as I don't believe you are covers of Bob Dylan songs. Several other songs on the album are standards. Whaling makes the cover rugged and gritty like the man himself. The song translates as if it's his own, but the meaning fields different. Dylan's feels like a gentle look into his heart or a humorous looking to assault and wayland's feels like a lone wolf anthem, a country man destined to be alone, hardened by the road. True example of the gray line that straddles American folk music and American country music in a beautifully written song that mold seamlessly around the delivery of each unique performance. Folk music and country music, same bones, different facade perhaps
Speaker 3:once loved a woman, a child. I'm told I gave her my card, but she won't go
Speaker 1:and now are reading from the New York Times. September 29th, 19, 60 1:20 year old singer is bright new face at courteous club by Robert Shelton. A bright new face in folk music is appearing at Gurney's folk city, although only 20 years old. Bob Dylan is one of the most distinctive stylists to play Manhattan cabaret in months resembling across between a choir boy and a beatnik Mr. Dillon has a Cherubim and a mop. Have tussled hair. He partly covers with the huck finn black quarter, right cap. His clothes may need a bit of tailoring, but when he works his guitar, harmonica or piano and composes new songs faster than you can remember them, there is no doubt that he is bursting at the seams with talent. Mr Dylan's voice is anything that pretty. He's consciously trying to recapture the rude beauty of a southern field hand I'm using in melody on his porch. All the Husk and Barker left on his notes and a searing intensity pervades his songs. Slow motion mood. Mr Dillon is both comedian and tread gdn like a Vaudeville act or on the rural circuit. He offers a variety of droll musical monologues, talking bear mountain lampoons, the overcrowding of an excursion boat talking New York satirizes, his troubles in gaining recognition and talk and Hava Nagila or less the folk music craze and the singer himself. In his serious vein, Mr Dylan seems to be performing in a slow motion. Film. Elasticized phrases are drawn out until you think they may snap. He rocks his head and body closes his eyes and reverie and seems to be groping for a word or a mood. Then resolves the tension benevolently by finding the word and the mood. He may mumble the text of house of the rising sun in a scarcely understandable growl or sub or clearly enunciate the poetic poignancy of a blind lemon. Jefferson Blues. One kind favor I ask of you. See, the microwave is kept clean. Mr Dylan's highly personalized approach toward folk is still evolving. He has been sopping up influences like a sponge at times that drama he aims at is off target, melodrama and a stylization threatens to topple over as a manner to excess, but if not for every taste, his music making has the mark of originality and inspiration. All the more noteworthy for his youth. Mr Dillon is vague about his antecedents and birthplace, but it matters less where he has been than where he is going and that would seem to be straight up the Belfast bend them featuring van Morrison recorded a cover of. It's all over now. Baby blue on their album them again in January of 1966. Van Morrison recalled his first encounter with Dylan's music in an interview in 2000. I think I heard the freewill and Bob Dylan in a record shop on Smith Street and I just thought it was incredible that this guy's not singing about moon in June and he's getting away with it. The subject matter wasn't pop songs, you know, and I thought this kind of opens the whole thing up. Morrison's record producer at the time, Bert Berns encourage him to find models for his songs. So he bought Dylan's bringing it all back home. In March 19, 65, one of the songs on the album held a unique fascination for morrison any soon started performing. It's all over now. Baby blue and small clubs and pubs as a solo artist without his band them the song feature one of Morrison's most expressive vocals and included subtle changes to Dylan's lyrics. Instead of singing, forget the dead. You've left. Morrison alters the line to forget the debts you left Greil. Marcus stated in the 1969 in rolling stone review that only on Dylan's. It's all over. Now, Baby Blue Does van truly shatter all the limits on a special powers. Each note stands out as a special creation. The centuries of emotion that go into a musician's choice from one note to the next is a phrase that describes the startling depth of this recording played very fast. Van's voice virtually fighting for control over the band baby blue emerges is music that is both dramatic and terrifying in recent years. Author Clinton, Halan has noted that them's 1966. Recording of the song is that genuine rarity of a dylan cover to match the original
Speaker 4:all. Let's do this banter. Let's shoot this shit. This shit. This shit. So we did something a little different. We front loaded the, uh, the readings. We did it that my,
Speaker 5:we did, we front loaded the readings and they're pretty interesting. There's a lot of stuff you wrote about that I didn't know.
Speaker 4:Well, let's break it down to the bone again. Should we start in? Um, did we do it in chronological order? If not for you. And then we'll go wherever we go. Wherever we want. Well, you said what I think is interesting is that before we started, before we were on Air Filler, made the bold statement that out of the three songs that if not for you, don't think twice. It's all right and it's all over now. His favorite of all these three. Don't think twice. It's all right. Dillon version. Yes. So let's start there. The bone tone.
Speaker 5:Yeah. Well, I mean, look, I'm not the dylan fan you guys are, but um, although it might take, it's like every couple of years I, I liked chisel away at like trying to become a bigger fan and I get it a little bit more, a little bit more, a little bit more at some point in my life. All of a sudden it will just happen. I am, however, have a pretty solid waylon jennings. Like the guy's a fucking legend. And his voice is amazing and his delivery is amazing and you know, he's just like this American treasure. He has an American treasure. And so it was Bob Dylan, but uh, but when it comes down to these two tracks, like, and it's subjective, you know, it's my taste. I just like Dylan's version a lot, lot better, like waylon jennings version, like, you know, is amazing and it's what you would expect and it's almost like they were, you know, everybody's like, don't you just do this song, do it, do it the way you do it, and it'll work. And that's exactly what happened. And it works. It's exactly what you would expect a waylon jennings doing this song, the sound, however, you know, Dylan, Bob Dylan's version, um, is like maybe like a whole step up keywise and it's brighter and it's deliveries just like brighter and more optimistic. It's just like, it's just more attractive on the ears. That's interesting. The way it's delivered, the way it's recorded, like it's really, it's just more attractive on my ears. It's really an attractive.
Speaker 4:And I also think I agree with all of that. Um, I feel like you, you feel the lyrics more with Dylan's version. Um, it's, I hear the vocals first and then the music in the background, whereas with now I don't know anything about production, you know, but with Wayland's version I hear his singing in tandem with the music. So it's Kinda like that's interesting. Like that's just me a layman,
Speaker 5:what I hear in a more. And you're absolutely right. What I hear more of an abstract way is when Bob Dylan sings it, I can tell he's talking about one woman when like Waylon Jennings sings it. Like he, it sounds like he's talking about like the many women he's been with on the road or something like that. It sounds less intimate and that is a function of also the fact that like the arrangements bigger and the waylon jennings version, it's a full band. You're saying like you can hear his voice more moral than even with the band and everything like that.
Speaker 4:Yeah. So know that I feel very intentional kind of stuff. I guess very intentional. I feel like Dylan's is more, not bitter, but you can definitely feel like, to your point about it being one woman and perhaps in your reading, you did reference Sue's Rotolo right, susie or whatever, however you say that. Um, you know, it, it's really pointed. His remarks are pointed. I gave her my heart, but she wanted my soul. I mean, I think personally, you know, I wrote this whole paper empire. Yeah. I, I just feel like that line I gave her my heart. But you wanted my soul is just like one of the most brilliant lines of, of all the love songs, like unrequited love songs that are out there. I love that
Speaker 5:you just also like one thing I noticed more and more about him and I'm talking from the point of view of somebody who's working for a lifetime. Uh, one thing that I'm starting to notice more and more about him, which may be obvious to everybody else that's a fan, is that I feel like, um, there's a lot of dark humor throughout, throughout his music. And the more that I noticed that the more I like, um, and I feel like there's like some dark sort of self deprecating humor throughout this song. Like he's, he's definitely heartbroken, but he's taking it in stride.
Speaker 4:I think you'd also appreciate there are three albums where he, his songs are
Speaker 1:sort of the last track on each album is sort of like, I don't want to say like a fuck you to, to whatever. But it's definitely a statement like he ends. Um, um, it ain't me, Dave, the last track on one album is it ain't, it ain't me babe, which is like a reference to how everyone's sort of making them out to be this sort of folk hero. And he's sort of like, I don't really want to be that. And then, um, uh, the same with, it's all over now. Baby blue when this is like the theory behind that song, which there are so many different, you know, dylan scholars out there writing stuff that you could, you could hypothesize about what the meaning of that song is. But a lot of people say it's has to do with him sort of switching from acoustic, the folks onto more electric and it's all over now. So that's the last track on one album. And then the other last track is, um, don't think twice. It's all right. Which I just think it's t he saves that last track on several albums to be like, kind of like a, a major statement.
Speaker 5:It's kind of funny because like, are the most interesting thing is the mythology that's built up around him and it doesn't even really matter if it's genuinely true or not that he was going to write a song. Like, it ain't me babe, like as a sort of like a something of him like lecturing his fans or whatever. He may have literally just written a song about like a woman. And um, because of like this mythology around him, uh, because he's such, he, he's just, he's a hero. Um, people like this mystique is just, is there and he doesn't share a lot. He doesn't share a lot what he shares, everything in his songs, but he doesn't share a lot in interviews or anything like that. And so it just, that makes them like the mystique even more
Speaker 1:powerful. Yeah.
Speaker 5:Whether he even intended to or not, this might just be the person he is, that he's a very private and, and sort of a reclusive a except in performance. You can show it all
Speaker 1:to. He doesn't want, he doesn't feel the need to have to give himself away. He wants to save some of that for, for himself, you know, but, but that's, I think why I love that George Harrison interview that I quoted in billboard about his time up there and woodstock where he's saying, oh, it was great time. You know, Dylan and his kids were running around with music. He was shy. He just come out of that, you know. So you're hearing this from George Harrison who himself is a fucking fucking fucking beetle. And also, by the way, the nicest beetle. I know you said you like him the best. He's your favorite, but you're speaking more musically. But I feel like I like if my boys grow up, grow up, I'm going to say, you know, just be the nice beetle,
Speaker 5:you know, I think George Harrison, George Harrison, like there probably wasn't any room for him to be like egotistical. But you never heard any weird like ego shit about like George.
Speaker 1:No. But who's, what was Eric Clapton? Who, who?
Speaker 4:Yeah, Eric Clapton took George Harrison's wife. You see? And Erin and her a lot. But I. So a couple like to talk about George Harrison, if I can keep my train of thought that by the way the string off the record district is very good. This is like a, it's like a, it's like if like this is gonna sound disgusting, but like if beef stew or a drink because like basically like you kind of threw a bunch of shit in here. Same beef stew. No, but that's what people do is do your leftover shit. See what I mean? At any rate, it's also tough thing. The tough thing is that flavor. Just like any sort of flavored seltzers like yes. Hard to. Unless it's like an order socialist. Not a beef, no, but it's something that episode segments flavored Seltzer sponsored by the crappiest beef stew and I'll know. It's a great wegmans. We'll. Have you ever actually been to the Wegmans in Rochester or where did like the Mecca. My problem with our Wegmans is that they don't have a real butcher official. This is true. That's my problem with buying my beef or my pescado there. No, fuck. Now I go elsewhere. Weight and I had a point about George Harrison rocket. That's rock that point. No, I was like my drink on August. Say Beef. Do One more time. I'm going to be studio. That's funny because remember we were going to have the gin squirts. I was planning to make this cocktail. Gin squirt until you said the jeans squirt. Squirt in any sense, but when you think about, think about. Think about like an appropriate context, like for using the word squirt, squirt, squirt, squirt, squirt some somebody's sidekick, like squirt, like Barbie skipper, squirt, squirt, squirt, squirt. There's just no way to use a gun. Joey, go get your squirt gun. Jared, to. Where was I by George Harrison? We were saying what was the, what were talking about before the what we were talking about, George Harrison being a nice guy. Oh yes. And we're talking about Eric Clapton. What I was saying is that on all things must pass. There's so many people on there. So I was saying to Jenny when I was doing my beautiful dance moves with tambourine that Ringo Star's doing the tambourine on, on all things must pass Phil Collins playing the guitar along with Eric Clapton. Phil Collins also doing percussion.
Speaker 5:No Shit. Ringo Starr also doing percussion. I know it's pretty cool. Phil Collins, Eric Clapton, George Harrison. Well that's pretty cool. It's like you want to play on wonder what Phil Collins, his thinking and he must have been young, but everybody's like Yale, but genesis genesis really like had hit a stride as these modern musicians. 80 we decided right? This is 1970. All things must pass is 70 and I feel like that genesis shit we talking about with genesis started getting bigger in the early to mid seventies, but yet actually that's. But that was prefilled. He must have been a baby. No, Phil Collins, Phil Collins was an original member of Phil. Fill in, what's his name? Peter Gabriel. And Phil and Peter Gabriel. We're coast songwriters. And Phil took over, took over as the lead singer after Peter Gabriel left. Um, nonetheless, that's really interesting about Phil Collins. Your writing must have been very, very young, a
Speaker 4:very, very young. I'm really unexpected. Mrs. Mrs. Mrs Bowen. So back to our, um, Jenny, you're supposed to be keeping us on the rails here. Um, okay. So the other thing that I thought was interesting about this, all things must pass. I Dunno, have you seen spectrum on Hbo? I was a little late to the party on that, but oh my God, I haven't seen like crazy. It's, I want to say Al Pachino plays Phil Spector. Okay, wait a minute. Now the Helen Mirren plays the lawyer and it's about how he's accused of killing. But Phil Spector, obviously the legendary music producer, he produced all things must pass. And so yeah, the wall of sound. And so I was researching for this, um, and I came across a letter, uh, that Phil Spector sent to George Harrison in London. He's finished. Very interesting. So there are 18 tracks and all things must pass and Phil Spector wrote this letter and he was really funny. He was like, self deprecating because he goes, I know this seems like the below it looks like a book to you, but it's all, it's only because there's so many good tracks and I have so many great thoughts about it. But to read his meticulous notes and feedback about the production and track, okay George, I really like how you're singing this track, but you know, I think we should produce it here in this studio because you're going to have better vocal like backing sounds and whatever. It's really fascinating. And I thought about incorporating it somehow into my reading, but I was like, it's just going to be too to kind of wordy and, and, and dance. But for our listeners out there, it is worth googling a Phil Spector notes about all things must pass because it was wonderful. It was cool. And it was like a real letter that he wrote it, he typed it if somebody else typed it, but whatever at. Anyway. So I thought that was interesting. Um, what else did I want it to look about?
Speaker 5:Well, so jenny actually, when we first met, when I was 22, 23 years old, this is what Johnny listened to, like George Harrison and Bob Dylan. Yeah. But, uh, so we used to. So when I started hanging out and meeting her family and her brother lived up in the catskills, still does. We would like drive up there some weekends and like listened to all things must pass, like, you know, driving through the mountains and shit. And that's pretty much like what that music is made for in the cat. Being in the catskills summer. Right. Or get in the shower by the beach. Yeah, I mean it's good porch music. Look, it's good music for most things.
Speaker 4:Yeah. So for being in the club except for being in the club. But I have to say that that song, what is life? That's what makes me so happy. It makes you want to dance with my boys. It makes me want to dance with my boys and just like, be like, you guys fucking. What is life without you?
Speaker 5:Yeah, I mean that's his first solo record. All things must pass. It's. Yeah, yeah. Posts, Beatles. Um, so is that, this may be a ridiculous question. Is that just a reference? So like all things must pass, like I now moving on from the beetle,
Speaker 4:but he just got my life. He just got back from India and he was doing like a lot of like Buddhist work and working
Speaker 5:planes had been blatantly all over all over the, the album and it's like a very, like joyful, but it's still melancholy. It's like every, it's just, it's exactly what the men needed to be doing at that time.
Speaker 4:And what I love about that statement is that it takes something that could be sad and sort of, you know, downtrodden and just makes it so matter of fact like all things must pass. Like it's okay. And it's interesting because that's, I mean it's not void of emotion, but it's neutral. It's, yeah. It's very sort of, not, not nonchalant but very matter of fact, and it, it just takes away the sting of somebody dying or somebody because it's like, oh, look, everything, all things,
Speaker 5:the whole, the whole, um, has like this, like this, like sort of a mystical, like rebirth, kind of feel comforting. It's extremely confident. Yeah. That's great. And it's great that it's not long winded and it's a comfort, like it's still the work of a master song and it has its own sound. So van Morrison,
Speaker 4:so I figured, okay, well I actually, I heard I first, I first heard this cover, um, but it was, it, it's a, it's all over now. Baby blue in the song, which I feel like was like a nineties film, you know, about the artist. And I was like, oh, this is so interesting. But van Morrison, what I want to talk about, Ben Morrison is that as a kid my dad was always playing van Morrison and I absolutely either lied, love and Morrison moondance was one of my first tapes. Um, I, I, yeah, moondance moondance. Yeah. And what's funny about that, I always feel like your gateway drug to somebody really cool, like the gateway drug song for Van Morrison. So that was my gateway drug to Van Morrison and now I'm like that song.
Speaker 5:I mean I don't like you gotta be like wearing them. I don't know. I think it's supposed to be wearing a wig or something. Who is Mr[inaudible] wife on three's company. You've got to be that woman, that lady. You know what I'm talking about? What's her name? I don't know. Like it's. Yeah, it's the one that you always hear. Well at least we always heard on the radio. I don't know why I said I like that. I don't dislike it. I don't seek it out. If it comes on, you know, I might like snap my fingers for a minute. I'm like hitting them. It's real jazzy. He's got so many real jazzy. It's Jazzy Alec Baldwin on Third Party. It's a marvelous night for a bone dance. So let's get back on the rails with this. With this van Morrison Guy. Yes. Let's get on the van Morrison. No. So what, what? What's his first name is the van, his van, and then his last name is Morrison. Really? So it's not his last name is Ben Van Dutch or Joe Van Morris? No, no. I always thought it was like Robert Van Morrison
Speaker 4:probably used to Eddie van Halen.
Speaker 5:Right. But like van, isn't it? Like that's it. That's like either. It's one of two things. The word van, it's either a style of car, a van or it's like. I'm like an article that comes before like a last night. Yes, yes, yes, yes. The Morrison van Morrison. Yes. The van fillers. It's very rarely. It's very rare that like, hold on just a minute though. It's very, very rare that I'd be like, Oh, you know, you ever meet that? Like, you know that new friend. We have a son. His name van doing. Hey van. You drive a van?
Speaker 4:Yeah, he was born George. Ivan Morrison.
Speaker 5:Producer was like some record. Exactly. What's like your van Morrison now? Or maybe maybe he was like, I'm a morrison. Ivan Drago of RSM.
Speaker 4:Yeah, Belfast fast. My Dad calls him van, the man Radio Djs. Is this like your Dad's favorite dad's favorite dude has been. Is that what he's listening to on those headphones on? Listening to? He's not listening to slayer. It's either sports, radio or van. The man, New York sports radio.
Speaker 5:I only listened to New York sports radio when I'm driving on the bqe because it makes me like get into the rhythm of. So if you're going to lose, if you're going to listen to New York sports radio like Wfan, it makes you drive on the bqe better because you get into the same rhythm that everybody else on what you do when you're on the parkway. I just open all the windows and I blast the music. I want to listen to them. I think parkway driving is like. I think that's a beautiful road as far as a busy road. As far as it being a busy road with a lot of lanes, I think it's. It's a very well balanced, delightful. The turnpike, however there you have it, folks you want to drive, that's where you go.
Speaker 4:Van Morrison was like my first cassette tape, one of my first cassette tapes and actually going to George Harrison, my mom, this is funny. So my mom, we had like a, like a big fucking video camera thing, you know, like in the eighties cam quarter. Thank you. And um, my poor dad would like have to video actually maybe my mom to maybe they swapped it out like our christmases. Okay. And they were, you know. And, and, and what was interesting about our Christmases is that everyone took turns. So like Eric opened all of our. John, I think John went first because he's the youngest, open his presence first. Then I would open my presence and then Eric would open his and my mom, then Marta, then my grandmother, then ricky, you know, and everybody got filmed, right. And my mom a few years ago put them all on DVD. So we watched these like eighties Christmas tastes. And what am I, 1997 ones. I'm like, such a, I'm such a nerd because I've got like jeopardy for Nintendo and I'm like, Oh, like going bananas about jeopardy, run into now a serious gamer with my deputy. And then also I've got George Harrison's, um, I got my mindset on Youtube and I just love that song so much. And, and it was like coincided with Van Morrison, moondance and you know, whatever. Um, but I see that jd was telling me a really funny story about, um, I got my mindset on you, like he was in a fraternity and I guess like one of the, like hazing things was like maybe this is like breaking a cardinal rule of like haven or whatever, loose lips sink ships. Um, but they, they got all the dudes down in like a basement and they had to like clean or something like that and they played one song nonstop like all day long. And it was, I got my mind set on you and then they would just stop the music and the guys will be like, oh, thank God it's over. And then like 10 seconds later they'd put impact on water torture. Yeah, it's like water Georgia, but with George Harrison. Anyway, Omega, Moos, Omega, Moos man, man.
Speaker 5:Bone is on the mic for the outro. You seem to have
Speaker 4:the.
Speaker 5:So here I am wondering, but we hope you enjoy this episode. We need you to click like we need you to tell your moms and your dads about how cooler show is. We need you to write reviews. That's all we need in your children. We need you to make us pasta and we need you to make us the Marinara. I need you to learn those things. Those are the things you're going to take forward. He may spend a lot of time on all your other things, but they're far less important than learning to make the sauce. So make the sauce. Viva la sauce. Um, and uh, we're going to let you know in just a moment what we're going to be doing next week.
Speaker 4:Just hold on just for a second.
Speaker 5:Let's pass it to Amanda.
Speaker 4:As filler said, if you figure out how to make the sauce, we hope to see you next week for episode 21 where we will take you to one of the first cover songs I ever heard, which I didn't even know it was a cover until my mom and dad told me so. And it's a little ditty performed in a mall somewhere in America called. I think we're alone now. Oh yeah. And until next week, look out streets. Here we come.