The Black Crowes' "Remedy"

What's going on, One Song Nation? Luxury here. And I'm Diallo, and we are so excited to share that we will be taping a live episode of our show at On Air Fest this November. We could not imagine One Song Live without you, our fans. So please join us on Wednesday, November 12th at KCRW in Santa Monica. For more information, please visit onairpresents.com or go to the link in our bios. Can't wait to see y'all there. ♪ Can I have some remedy? ♪ ♪ All I want is a remedy. ♪ What a minch. I love freaking Chris Robinson. So Luxury, today we're diving into one of my favorite songs of the 1990s, and I don't say that lightly. It almost made me make my peace with Southern rock. Cool. It's saying a lot. Almost, but not quite. We didn't quite get there. Still got some issues. That's right, Diallo. And with its classic rock bravado, this song stood out against the trends of the era, ruling the Billboard rock charts for 11 straight weeks, making the span impossible to ignore. Get out your bourbon and your barbecue because we're talking one song, and that song is Remedy by the Black Crows. Low energy, unfocused, foggy? You might be dehydrated. Whether it's hot yoga, over 100 degree weather, or too much sun, Gatorlite, with a specialized blend of five electrolytes, was scientifically designed to help move fluids into the body faster for rapid rehydration. Shop now at retailers nationwide. Gatorlite, hydrates faster than water. Is it in you? Symptoms noted are signs of mild to moderate dehydration. Consult a healthcare professional if symptoms persist. When you shop Kroger Delivery, you can expect the savings you love and fresh groceries delivered right to your door. Our refrigerated trucks keep your items cool, while our associates are committed to getting every detail right. Carefully selecting and packing your order with care. Because bringing you fresh, quality groceries is what we do best. Right now, enjoy free delivery on orders of $50 or more with your digital coupon. Restrictions apply. See site for details. Kroger, fresh for everyone. I'm actor, writer, director, and sometimes DJ, Diallo Riddle. And I'm producer, DJ, songwriter, and musicologist, luxury, a.k.a. the guy who whispers Interpolation. And this is one song. The show where we break down the stems and stories behind iconic songs across genres, telling you why they deserve one more listen. You, me, and you will hear these songs like you've never heard them before. And you can watch one song on YouTube and Spotify. While you're there, please like and subscribe. All right, Diallo, when did the Black Crows first come across your radar? Yeah, listen, so first off, let me just say right off the bat, like, Southern rock, it has a little bit of a hurdle to get to me because I grew up in the South, and usually when you see, the adjective Southern, it's not followed by something that I want. Yeah, I mean, the legacy of the Leonard Skinner and the Confederate flags, all that stuff. Listen, I grew up in Atlanta. Anytime Leonard Skinner came to town, you'd just see all these trucks with the Confederate flag. And I knew what that meant. I wasn't dumb, you know? Like, it's just, it's a complicated relationship with the musical legacy of the South. But what's ironic is so much of the musical legacy of the South owes its sound and its vibe and what makes it good to Black music and gospel and blues. Unquestionably, right. And I do remember being a teenager in the 90s and hearing Remedy by the Black Crows and loving something about this song that I did not love necessarily about other songs like it. It was bluesy. It felt organic. You could hear the piano being played, like, and not necessarily even the best piano, but just whatever piano that restaurant had. Right, I love that. You know what I mean? Like a bunch of guys playing instruments, like a band jamming on stage, maybe loosely. Yes, it's an upright piano. It ain't no grand piano. You know, the guitars sound good. The drums. Are like driving. Yeah. And it sounded like what I thought good, organic, guitar-driven music could sound like, should sound like. Right. It's so interesting you keep saying the word organic because that's like, that is a very, like, subjective wording. Yeah, I, of course, understand what you mean. It sounds very, like, authentic. It's authentic. Another tricky word to, like, narrow down and define. Sure. But I get it. I get what you're saying. Listen, this is a time when MTV is shoving a certain processed, it's like, almost like a processed food. And I like certain hair metal bands. Yeah. But it's like processed food. This felt like a rich meal prepared by your grandmother. Right. This is 1989 when that first record comes out. Like, to your point. Yeah, so shake your money maker. You're right to point out that this is a kind of rock music that's a bit of an antidote to maybe what's become this. Yes. Heavy metal is on the radio. It's White Snake. It's Motley Crue. Some bands of whom we like, but it's a different type of rock and roll. It is a different type of rock and roll. It's very visually oriented. It's kind of coming off the glam rock. It's very, like, maybe fake sounding. Well, I was going to even take it a little further and say, we're all kind of products of when we were born because right at the peak of hair metal, Oliver Stone releases his movie, The Doors. And that was sort of the first time I was like, oh, there was, like, rock music from 20 years ago that might be a little bit more to my liking. I didn't like The Doors until I saw that movie either. There was something about that movie that kind of resonated with me. See, I don't think I knew The Doors until I saw that movie, but it was such hero worship that I was like, oh, I think I like The Doors. And then fast forward just a few years later, Shake Your Money Maker comes out with that amazing cover of Otis Redding. And I remember thinking, I wasn't even the only black kid in my school who liked that song. Like, hard to handle. There's a lot going on in that song that I really, really like. Not the least of which is how the drums go boom. And then he's got, like, three or four bars of just him singing. I mean, that's up there with Jay-Z, like, allow me to reintroduce myself. My name is Ho. Like, anytime you can drop out, all the music and the singer just holds your attention. Yeah. And then they bring back in the drums in a strong way. That's exciting. That shit works. Tension and release. It works. We love it. Shake Your Money Maker was a huge success as debut albums go. And there was a lot of pressure on the group to come back with something on their second album. To hear them say it. They delivered an album where the label didn't hear it. They didn't hear any hits. But that's okay, because the label didn't hear any hits the first time. They had previously worked on their debut album with Rick Rubin. And Rick Rubin had so little faith in their, in the album that they turned in, that he actually didn't have his name on the first press. That's so crazy. And he later went back and sold, I think, half a million copies. He went back and put his name on. Also, one of the things I liked about this group as a kid was that it seemed like they had Black people all around. And it just seemed like, even in their Remedy video, there are two Black women in, you know, in the video, singing background on this song. So they just, they seem like they could be cool white guys. That's where I came in. How about you? When did you first come across the Black girls? Listen, let me just say that that answer is so interesting to me, especially what you're saying about their, what in my mind might have been a little bit like heavy-handed associations. Like, I think when I first heard Hard to Handle, first of all, I didn't know that it was Otis Redding. I didn't either. I knew that it was old. It had that sound. It sounded like an older song because of just the chord changes and the structure of it. But also sonically, and it's important that we both saw videos of these guys first as an impression. Yeah. Because what they look like really mattered. You have to remember, in 1989, the idea of 70s retro was really new. Lenny Kravitz was one of the first. Give him credit for that. But these guys came in with a similar idea of like bell-bottoms and sort of Robert Plant flowy, frilly. Totally. Stevie Nicks stuff. We really hadn't seen that since it happened the first time. And my reaction to seeing it was a little bit like, that happened the first time kind of recently. I don't think I need it again yet. I'm glad you bring up Lenny Kravitz because I definitely think there was a point in the early 90s where it was like a lot of groups were wearing their influences on their sleeves. So like Lenny Kravitz was the new Jimi Hendrix and this group could have been considered maybe the new Rolling Stones. The new Stones, yeah. But I will say, in addition to the retroness of it all, there was one other thing that I think was going on here, which is I don't think I knew this group was from Atlanta but maybe subconsciously they were relaying it to me because there was something authentically Southern and specifically like cool white Southern about this group. These didn't seem like the guys who were like being obnoxious, you know. They seemed like the kind of guys who you might run into in Five Points Atlanta or like. What is Five Points? Five Points, for those who don't know, is like sort of like the cool area around Emory University. It's like where you would go and like you'd go shopping for. Like the college town area. Yeah, it's like a little. It's like. It's Inman Park and it's little Five Points and these are places where like, for the lack of a better word, cool white kids would hang out. But these are communities are integrating and working like together. Yeah, you'd go. Hanging out together. You'd go record shopping at Wax and Facts. This is fascinating to me because you picked up on signifiers, I picked up on signifiers. To you, the signifiers, in other words, the sound, the recordings, you know, outside of what the songs were maybe, you were picking up on signifiers at the back of your car. The band was sending out on purpose what they wore, what they sound like and so was I. But my reaction to it was the opposite of yours. To me, I was like, this feels appropriaty but not just like black music appropriaty. That's in the mix. Don't get me wrong. But it felt like, you know, Led Zeppelin appropriaty. It felt Rolling Stones and I wasn't hearing enough in it that sounded new and original and interesting. And you're picking up on similar signifiers that tell you that these guys are actually from this area and they're vouching. They might be cool. I'll tell you, the big. that comes across in this video the big co-sign are the two black women in the video we're going to talk about them later but i think that that had a huge impact on my willingness to be like oh so those guys who did hard to handle mama mama as we called it uh now they got two black women in the video in fact let's play a little bit of that part of the song these uh background singers their names are barbara mitchell and taj artis give them their flowers taj artist i'm not sure how you pronounce your last name taj but let's see that part of the video because this was very important to me uh as a young youth uh watching this video check this part out to someone's credit maybe it's chris maybe it's probably them like they didn't tell these black women to dress up like 1950s uh i'm going to church in mississippi clothes like no they look like they literally walked off the street you you know in atlanta like they look like 1991 they look like the moms of the kids in my high school let's rip the band-aid off as you would say they also didn't do the late 80s whitewashing thing where you would have martha wash singing it they didn't put a skinny black singer replacing the actual singer there's that they were the actual singers yeah they they looked like real people and there was something that made the whole thing feel authentic so again it just i wasn't worried about these guys being the wrong guys to sort of let into the party and one last thing i'll say it didn't bother me that white guys were playing bluesy music like honestly it's 1991 as a kid like i didn't even know that the blues brothers quite honestly were referencing sam and dave like not even kidding no i think the black culture by that point it was just dan akroyd john malushi 1979 i thought i thought that they were like weirdly dressed white guys in black suits hanging out with james brown and aretha franklin and ray charles and ray charles but that's the thing is that like you know to be a teenager at any point is to have a you know to be a teenager at any point is to have a you know to be a teenager at any point is to have a usually a pretty limited view of what came out 30 and 40 years you only know what's in front of you and then later you find out what came before absolutely yeah so it was just like if you went to a blues bar in atlanta in 1991 chances are it was like all white dudes you know on instruments and so like to me i mean if we were having a conversation about cultural appropriation it was probably about the white rappers at that time like we were talking about oh you know vanilla ice is fake but third base they're cool that makes sense because you're also you're growing up in that moment where you're growing up in that moment musical phenomenon you see it today you see today just right now um hayley williams was on a podcast and she was you know talking about how racist morgan wallen was and i couldn't believe it but in the comments all like the all the uh gen z and i guess young millennials who grew up with her were just like oh you know hayley's always been invited to the barbecue she's always gotten it like it's funny how whether it's hayley for that generation or maybe somebody like chris robinson for my generation there's always like a couple of like white musicians who you're like oh that they see it the way we see it you know i mean like they for whatever reason they're able to tap into like viewing the world through someone else's eyes and they're like oh i get it yeah i kind of understand what that is so so god bless the chris robinson the hayley williams is i guess i'd say so just to be clear i did have a come to the crows moment it was in 1992 was when this record came out i was in living in paris i went to the virgin megastore where you can sample records i missed the megastore and i put on i think it was the single i'm not sure why i chose this because it's song number four but song number four the first sound of this song hooked me immediately let me just play it let's talk about it okay this is sometime salvation oh i love this freaking love this song and it changed my view of the band right here that silence yeah and then the imperfections and then you hear this and this time he plays the ride it's so good this drummer there's like some weird witchcraft in this weird witchcraft yeah because like even watching your reactions to this like i had never really thought about the fact that he comes back to the ride once uh chris starts singing yeah but yeah that's pretty sweet oh it's so good and it just got my it got its hooks in me it's got its claws in me i freaking love this tune and that was my moment you just said the word silence yeah like they use they use silence as a weapon i love that just like in hard to handle we have that like two bar break they know how to use they know how to use silence and it's so you're sort of like floating for a minute yes and it makes all the sounds that come before and after it more you know more powerful there's some wonderful which are coming up and i again just i love the fact that the black crows give so much credit to uh black music be it for the black crows but i love the fact that the black from atlanta black crows singer chris robinson is quick to cite sly and the family stone johnny guitar watson prince bo diddly these are just a few of their touch points and inspirations i think i think that witchcraft that we're talking about we're hearing that but there are also other influences going on maybe not so much in their music but in their musical personality if that makes sense what can you tell us about that no it's perfectly played and we've had a bunch of episodes in a row now where we are just really delving into what genre means yeah and really separating out because it's a misuse of the genre and it's a misuse of the genre and it's a misuse of it's a misused word it's a misunderstood word it means different things to different people but we really think on this show that it's easier to understand it if you separate the musical content the sound of it in other words from the lyrical content and that from who made it and who listens to it like those four pieces are you can kind of mix and match and suddenly it changes what what the words all mean right so in this case what surprised me in doing my deep dive for this episode was like that there's a really strong la hardcore and punk connection yeah that chris robinson in particular talks about being a huge influence on him and i was like i didn't get it at first until i realized oh it's about the punk attitude and lyrics it's about yeah there's a little bit of the music it's like you know when i think of the gun club and x and the blasters there's all these like la punk bands and and a little bit the cramps because they ended up moving to la there's a real kind of southern swampy bluesy vibe to it and most of punk rock outside of that isn't very bluesy but this particular la strain was and chris robinson cites that as being an influence and it took me a minute to kind of place it all together because i was so hearing the stones i was so hearing the 70s british blues and the guess who and all that that it kind of clicked for me when i heard that those two things were what the black crows were really a marriage up this is the gun club this is mother of earth from their second record this is from miami yeah the gun club are great that's jeffrey lee they made five or six records he passed away very young in the mid 90s but really eclectic catalog there's one record that's super underrated like johnny cash total it's punk rock but with all these other influences and from song to song and album to album it's extremely eclectic what's interesting is chris's chris robinson's father was was in a rockabilly group of some kind so it makes sense that something like that would be on his radar since you mentioned it should we hear it this is stan robinson this is boom a dip dip from 1959 which was a bill board 83 number 83 i mean you know to hear chris say of like his father's like this troubadour who's making cool songs like that his mom is a stewardess on eastern airlines and she's like you know waiting on dr martin luther king and cool parents he's got cool parents he's got the kind of parents who seem like open-minded you know musicians and you know willing to look at other people who don't look like you and see the human behind the behind the eyes i i love this family and it makes so much sense that chris has the you know music that he's produced with his brother rich that we'll get into but can i also say you know because again i said i didn't know that they were from atlanta but i thought that maybe they might be telegraphing some atlanta like i said that they reminded me of parts of atlanta like inman park piedmont park uh that have like these cool white kids go back and listen to our little johnny episode little john used to work at a skateboard shop right by piedmont park yeah i feel like they i feel like chris robinson and little john ironically we're both digesting a lot of the same stuff and little five points has to be there because that was sort of like the hub of the punk community in atlanta at the time all of that stuff was in atlanta that that that punk was like making its way from la and and from england and from new york and it was making its way to atlanta in really weird ways and little john literally said that on the episode he talked about it was the energy and the attitude of punk yeah maybe not literally the right guitars and drums because he did something different with his music but he took some of the attitude and he took some of what he wanted you to feel as a listener right from punk crunk came from punk as we talk about on that episode right to hear chris talk about like the record labels they said no to when they were like really the hot buzzy band in atlanta is to hear somebody who's like these suits don't get it yeah but we get it and we're just gonna push back anytime anytime they try and get us anytime they try and get us to sell out and be commercial we're just not gonna do it and we're not gonna give you an album that you expect it's that same punk attitude even if not that punk sound so luxury is there somebody who comes along and helps chris find his voice so to speak absolutely deal as a matter of fact there is there's an and one of a few unsung heroes of this episode is producer george triculius who is george triculius who bc boy fans know because he's famously mentioned in this song this is from b-boy booyah bays on paul's boutique set a course for my man i'm reading ld r.e.o riding the train down from the l bar Now, who's George Draculius that he's getting these shout outs from the Beastie Boys and playing this key role? This is what we wondered all these years. So George Draculius, when I first heard his name, I was like, who the hell is George Draculius? But then later I started seeing his name on the credits of Deaf American Records. So he met Rick Rubin at NYU and Def Jam Records comes out of Rick Rubin's dorm room famously. But then he has this offshoot called Deaf American for Not Hip Hop. And I remember I used to work at this radio station, KUSF, in high school. And I used to see these Deaf American promos come in. I'm like, this is a cool label. They got Slayer. They had Masters of Reality. And then they had Black Crows. And George Draculius actually signed Black Crows, is credited for discovering them and signing them. He was the A&R for Deaf American Records. So Chris credits George Draculius for helping him find this other voice that he, I think, had in him with his Southern roots and background in Atlanta. Yeah. Which was, in addition to all the. All the punk rock and Susie and the Banshees that he was loving, he also, to your point, grew up listening to Prince and the S.O.S. band and Sam and Dave and Sam Cooke and all this Black music and Stax Volt and just all the stuff that he had been listening to. He hadn't connected the dots necessarily that he, too, could sing like that. And to George's credit, he brought that out. It was already in Chris Robinson, but he hadn't necessarily tried it yet. Yeah. And he found his voice. He found the bluesy singer that he had turned out to be. And that authenticity. That he clearly was in him, to your point. Something happened in his Atlanta upbringing that made it not sound unnatural when he started singing that way. Something clicked. What was one of the songs that George played for Chris that he thought could be influential? So this is The Faces featuring Rod Stewart on vocals and Ronnie Wood on guitar. The song, Miss Judy's Farm, 1971. Miss Judy, she was moody, but she never ever got her own way. Rod Stewart is great. He's great. Rod. Rod, Rod's got an amazing voice. Rod is amazing. I mean, it's easy to forget because, like, later in life, in the 80s, he changes the sound and he starts to do standards. This man has a voice. Fight me. Infatuation is an amazing song. Oh, I love that song. Young Hearts. Young Turks is the song. Young Hearts, Breathe Free Tonight, Time is on Your Side. That song gets me. Okay. But I love his voice. I love this music. I forget sometimes that I love The Faces. That you love Rod Stewart. The Faces. By the way, I still get them confused with The Small Faces. That's just me. They are connected. I will say I never really drew the line between Rod Stewart specifically and the way Chris uses his voice. I can totally see it. Wow, Rick Rubin rears his head again. You know, he's been a part of so many of the stories of artists that I love, and yet he's so problematic for me personally. Like, I don't know, stop me if you've heard the story, but originally the group was called Mr. Crow's Garden. Okay. I don't know the story. Apparently, Rick wanted them to change their name. I mean, he did want them. We know this. He wanted them to change their name. That's how they went from being Mr. Crow's Garden to the Black Crows, but he originally wanted them to be named after Cobb County, which is C-O-B-B, like a Cobb salad. But he wanted them to spell it with a K, so they'd be the Cobb County Crows with a K. No, he didn't. K-K-K. That's insane. Rick, what the hell, bro? That's really not okay. Like, you. Wait, are you kidding me? That's insane. Rick, come on the show. Let's talk. Yeah. I think you need to talk. Yeah, he wanted them to be the Cobb County Crows. Bad idea. I'm really glad that they didn't. And I will even say, as a black kid growing up in Georgia who was so, you know, had his black consciousness well intact, even the name the Black Crows was a little sus. You know, like, it was a little suspicious. I was going to ask you about that, by the way. You know, because they're singing blues music. Rare Rabbit and kind of like Southern. Rare Rabbit and all that stuff. I think that the. I think they made it past all that because they were so cool and they seemed like they were so chill. And they were smart enough to not listen to Rick Rubin. Right. Yeah. And his terrible ideas. There's something on the nose about, like, even the White Stripes and the Black Keys. Like, what is it about, like, we keep diving into the. We keep diving into the same well, musically and nomically. The Black Keys are still on notice. That is way too close. It's like, oh, who are you going to go see tonight? The Black Keys. Oh. What? I never thought about that. Oh, you never thought about that? No, I never thought about that. I thought about the first time I saw that name. I was like. That's not okay. So their first album, Shake Your Money Maker, blows up. She Talks to Angels was like a staple on rock radio. Which, by the way, Rich Robinson wrote when he was 15, apparently, which is crazy. Yeah. And it propels them to this huge level of success. They're opening for Aerosmith. They're opening for ZZ Top. I love the story about how Miller Lite is the official sponsor of this ZZ Top tour. Right. And so every night he gets out there and he says, this is brought to you commercial free. And Miller Lite hates this. Yeah, as they would. As they would. And ZZ Top's managers, like, beg him to stop. But he wouldn't. He wouldn't. And he said every time he got out there and said, something that sort of called out the corporate nature of this rock tour, he sold more records. And he has this great quote. He says, quote, As a young person, I was arrogant and angry and all that stuff. I'll gladly accept those things because it was my right as a 24-year-old rock star who's making these adult business people millions and millions of dollars, dot, dot, dot, fucking A. Fair point. Fucking A. I mean, this is a band. They're touring so much. And to hear Chris say it, one of the reasons they wanted to tour is because they knew that, like, musicianship-wise, they weren't quite as good as their ideas. Oh, totally. And this is one of these situations where that's their first album. Yeah. And they didn't have lots of touring and live experience behind them. No, not at all. But after the record came out, it was a hit. They go and play for 18 months, 350 shows. 350 shows in 18 months. And they get tight. Or tighter, I should say. A lot tighter. Because they still keep a lot of that, like, Rolling Stones. And they changed their lineup a little bit. They got rid of one guitarist and brought in another one who they thought was better. We'll be talking about that in a minute. But they do get tighter and they do rotate. They do test a lot of the material that they're about to work on. And they go in the studio in January 1992. Atlanta's Southern Track Studio to start work on what would become the Southern Harmony and Musical Companion, the second record. Yeah. Which is named, by the way, after a post-Civil War Southern hymnal. We like post-Civil War. Right, post-Civil War. Big fans of post-Civil War. Exactly. So they banged out this record. They recorded the whole thing in only eight days. In no small part because of this road testing. Yeah, which I love. And they actually made a joke. They said, like, bands like Def Leppard will take, like, three years between albums. Just on the snare sound. We're not doing that. They're like, we're going to do it the old-fashioned way, like the 1960s way of, like, we're going to come up with an album, we're going to tour it, and then we're going to come home and we're going to immediately go into that next album. That's a great point, too. You're right. This is in absolute opposition to the prevailing trend of going to Mutt Lang to have, like, you know, your rock and roll record be a pop record, a perfect pop record, which we also like. We like the I Like Mutt Lang crew. But this is a different kind of rock and roll that we hadn't been hearing in a while. Right. So we're going to take a quick break. But when we get back, we're going to listen to the, nicely, the stems of this rich and rocking track and reveal the origin of that iconic riff. Even Chris Robinson might want to stick around for this. Don't go anywhere. Gatorade Zero powders have been scientifically designed to help improve hydration balance in the body. With a clinically proven electrolyte blend and no artificial colors or flavors, great tasting hydration, no matter where you're going. Shop now online or at retailers nationwide. Gatorade hydrates better than water. Is it in you? Consult a health care professional if symptoms persist. Now at Kroger, your points add up to more ways to save every trip. Use them your way to take dollars off groceries at checkout or save at the pump. You can even save up to $35 on your next fill up. Same points, more choices. And with low prices, on fresh quality food, plus digital and personalized offers tailored to how you shop, your dollar goes further. Redeem your points online or in the app. Restrictions apply. See site or store for details. Welcome back to One Song. Let's get into the stems, luxury. Let's start with the drums. All right. One thing we love about Steve Gorman is that he's such the outlier in this band. The guy with the short hair, he looks like he's like an accountant, the way he's dressed. The rest of them are like full 70s regalia but this guy's a monster drummer. So here's what Steve Gorman plays at the top of the song. You'll recognize the riff in the drums. Listen for it. You'll hear it. And it hits hard and it's so dry. I don't care if he looks like an accountant. I will get my taxes done there every year. That's it. That man can play the drums like that. It sounds so good. It sounds so good. I have a theory. Maybe, maybe what we've messed up is I've always thought that hip hop and dance music sounds good because it has electronic drums. Okay. But maybe rock is just better to my ears when it's a human playing it. Because I'll say like, I'm sorry, I'll piss some people off. Like groups like Imagine Dragons, like today's rock bands, like often they're using the same drum equipment that hip hop and dance is using. And I'm missing, you know, we talked a little bit about this on the Oasis episode. I'm missing that sort of, you know, like I kind of need that. You need the size or what is it? Is it too precise? Is that part of what you're doing? Yes, I think we talked about that. It's gridded out, it's pro-tooled within an inch of its life. A human is not quantized. And like, so you feel the drums. And I think something like rock, actually, you've got to feel those drums. We talked a little bit about this on the Sylvester episode as well. There's a BPM fluctuation that definitely happens on this song. This song is roughly 80 to 81 BPM. - Yeah, but it changes. - Because Steve Gorman's kind of playing the drums in real time and feeling it out well i'll even argue like when the riff comes in the boom boom boom like as it goes into the verse it kind of speeds up a little bit but whenever it gets to that to the uh to the fills i guess you'd have to call them like it does seem to slow down a little bit just to punch through there's something super interesting that you're referring to so as i was going through this and breaking it down one of the things is that even counting this off was challenging to me in my mind i was like this song does it start as a pickup in other words one and two and three four one two three let's count it together tell me where you think the one is okay where's the one i love this okay i'm gonna play the where's the one we're gonna take a moment we're gonna pause from the stems find the one in the actual song here we go there we go three four one two one two one two three i think it's four but that means that this is two four one two so that pickup that pickup comes in like halfway it's like it's out it's on the three i think so it starts on the three but even with that when you're in the four the duration between the end of the four and the beginning of the one feels endless oh it changed by the way it changed because there's no because there's no downbeat there's no kick on the down right right and also that might be another example of them not putting something in there that doesn't need to be there once again weaponizing the silence weaponizing the silence weaponizing let's listen again and then we're going to do the next one weaponizing let's listen again and notice how there's no downbeat on the one i think that's what's causing it it's a one drop okay right like from reggae almost yeah just literally no kick drum makes you float in space listen for it here one two three four one two one there's a one there that one yeah yeah there's no there's no drum on the one you're totally right it's very vague and floaty in a really wonderful way it's fun though that they play with that and i think a lot of that's intuitive from my understanding of their songwriting process process rich and chris together are writing a lot of this song without a lot of necessarily theoretical musical knowledge we'll get into that a little bit more when we get into the guitar but it's part of i think why the song is wonderfully like unique sounding because they didn't like overly study at berkeley school of music to make no not at all yeah the brothers the siblings have a shorthand they have a shorthand for songwriting yeah so another thing to point i'm going to play for you the verse beat and one thing that's interesting you'll notice is that he reverses what's typical in that the verse is not played with a hi-hat but it's not played with a hi-hat it's the ride and then in the chorus he reverses it so the chorus is actually the hi-hat not the ride so this is the verse even though it sounds like it might be a chorus so that's where chris is singing this is just the verse and there's some fun stuff going on there we actually have some speaking of the rolling stones a little bit i got some i got some percussion that definitely gives it a little bit of a rolling stony bounce to my ears there's a little bit of a rolling stony bounce to my ears there's a little bit of a rolling stony bounce to my ears there's a little bit of a rolling stony bounce to my ears there's a little bit of a rolling stony bounce to my ears there's a little bit of a rolling stony bounce to my ears and this percussion is by chris there's a little bit of a rolling stony bounce to my ears and this percussion is by chris trujillo oh yeah i'll just isolate that so that's going through the whole song and in so that's going through the whole song and in so that's going through the whole song and in fact later on there's a little more fact later on there's a little more fact later on there's a little more percussion that gets added so the full percussion that gets added so the full percussion that gets added so the full beat is which is very incredible it's totally which is very incredible it's totally which is very incredible it's totally congas that's the right way to say i congas that's the right way to say i congas that's the right way to say i just learned today the correct just learned today the correct just learned today the correct presentation thank you melissa uh our presentation thank you melissa uh our presentation thank you melissa uh our producer this is very to my ears very producer this is very to my ears very producer this is very to my ears very incredible like bongo band sounding it incredible like bongo band sounding it incredible like bongo band sounding it has that incredible bongo band absolutely has that incredible bongo band absolutely has that incredible bongo band absolutely right like apache has this you guys know right like apache has this you guys know right like apache has this you guys know that song what's going on with the bass here johnny Colt on bass? Johnny Colt. I gotta say, having gone through some of their old interviews, Colt is a pretty funny guy. He's a very funny guy. I want to hang out with these guys in general. Dude, I'm serious. Shoot. I mean, say no more. I definitely want to go hang out with them. I think it was Topanga. We should just go over to his house. But what is Colt doing on this record? Colt's laying it down. I'm going to play you one of my favorite moments. This is coming in at the verse. So I'll play you Johnny Colt's bass, and then I'll bring in some other stuff. Okay, great. Just rhythmic. Let's bring those beats back. Laying it down. Moving to the next chord. Yeah. He's doing his job. He's doing his job. Well, you know, he also plays the riff. Like, you know, he's not crazy. This thing's fun to play. Yeah, that part's fun. Sounds good. I mean, that is a full, rich bass tone. George Triculius knows what he's doing. Brendan O'Brien, who mixed this record, we talked about him on our Jane's Addiction record. You've got some of the best of the best here, making this sound super good. And that's a nice contrast with how much fun they're having and the tempo sort of moving around. And when we get into the guitars, you'll really hear, again, the undeniable Rolling Stones parallel is really there with the interplay. But all of this to say that the bass is really locking it in. It's part of what's making it really locked in. There's a stability there that you need. To have fun with some of the rest of the stuff. All right. Now we come to the guitars. There's a lot going on with the guitars. In fact, this song has two guitars. It does have two guitar players. And the origin of that iconic riff that starts the song is actually an earlier Black Crowes song. It was a B-side. Oh, wow. And they used to play it as a sprawling 14-minute opus. But when they came in to record the second record, they're like, we like this, but we don't need all 14 minutes of it. And they ended up distilling it down to just this part. This is a live version of a song called Words You Throw Away, live in Atlanta, December 1990. Oh, wow. There it is. That's the bit they kept. I didn't even hear it. When can you miss it? There's the riff. I'll play it again. I didn't hear it. Here it comes. Those three notes. I heard it. You know, to our point when we were like, let's find the one. Yeah. Because it didn't come in like on the three. It actually comes in on the four on that one, I would argue. Like, it came in a different part of the measure. Where he end up, when he end up. Yeah. It's like, it's in that little floating zone before the one hits. It's in a weirder zone. It's like, it's not quite where it goes. It's kind of on the downbeat. A little bit. Let's listen again. Let's listen one more time. Am I crazy? Oh, you know what it is? It's a different rhythm though. You're right. It comes in on the one now as opposed to the three. And so that's what threw me completely off. That's really, I would, I'm so glad you found that. I would have never found, I would have never figured that out. Yeah. And this 14 minute sprawling song. Yeah. We're like, well, let's just take the best part of that. And it ended up being that three notes. I'm just, my, my, my time is limited. So I don't often listen to 14 minute concert live versions. Sure. But I'm so glad that you know that. Nor are you obligated to. Two guitar players, Rich Robinson and Mark Ford. We're going to start with Rich. And they're doing a little interplay, kind of like what Ronnie Wood and Keith Richards would be doing. So let's start with what Rich Robinson plays. So that's Rich. I'm just doing a little suspended. And on top of that, his cohort, Mark Ford, who joined for this record, replacing, by the way, you actually heard the previous guitar player, Jeff Cease, who got fired from the band. Yeah. But he is who we heard playing the original riff, by the way. But this is Mark Ford who replaced him. He was former guitarist for Burning Tree. And for the record, they said they only replaced Cease with Ford because they said that like, you know, Cease was maybe a little bit limited in his abilities, whereas Ford was like this guy who's going to come in and make them all better musicians. As demonstrated by what we're about to hear, which is him playing the part on top of that. And then I'll play them together. So here's, I'll put Rich back now. And it sounds like this together. Can I just say, this is going to. Rich Robinson, I want no shade. I love what you and your brother concocted, but I can hear what Mark Ford is doing. I can hear the more dialed in musicianship in there. It's very subtle, but some of the choices are slightly more next level, so to speak. Yeah, it's like confidence. It's the confidence that I had when I used to go to Six Flags and ask a girl for her number. I used to be really good at these things. Don't do it now, for many reasons. Officer, he's there. No, but seriously, I like a good confidence drum. Sure. And that's what I hear when I hear Mark Ford. No, I'm so glad you said that. I mean, part of the two guitar interplay thing, because it is a thing. You see it in the Stones with Keith and Ron. You obviously see it in Guns N' Roses with Slash and Izzy originally. And actually, at the time that Mark Ford joined the Black Crows, he was also offered a spot in Guns N' Roses. Oh, wow. But the difference was that in Guns N' Roses, he'd be replacing Izzy, which would mean that Slash is the main dude. So Slash would be playing the sort of more interesting parts. But in the Black Crows, he could get to be kind of Slash, as it were. So Mark was able to sort of be sort of more of the lead. Sure. And they both talk about this in interviews. This is no shade. But Rich is primarily songwriter and rhythm guitar. He plays solos over time. He gets better, more accomplished. In this moment, Mark is there to sort of be the more accomplished musician and to bring some of that Slash type stuff in. I don't feel so bad about my earlier comments now, because it sounds, like everybody in the group sort of knows that Mark is, he's here for a reason. And I think he earns his freaking paycheck on this song. Are they doing anything else differently? Yeah. One interesting difference between them is that Mark Ford generally uses standard tuning. And on this song, he's playing standard tuning. And by contrast, Rich Robinson is playing what's called open tuning it's an open g tuning i'll explain what that is i'll i'll even show you on the guitar here amazing so what he does is he tunes what's usually an e string the lowest string down and in fact the lowest two strings are tuned down one whole step and the top string is tuned down one whole step and the reason why that matters is when i'm about to strum it with nothing fretted my my fingers on my left hand are not holding down anything on the guitar and you just hear what's called that's an open g chord open g which means that anyone easily you can use this is helpful when you're using a even i like when you're using a complete idiot in the studio and you're like hey play open g it's like i can do that exactly and it means for slide guitar you can play slide guitar and move things up and down with a slide it's just another thing in your arsenal as a guitar player i might need a slide guitar because you were trying to teach me how to play some stuff earlier yeah and it's hard for me to keep my fingers straight so but with a slide i could just pull that thing down right and it'll always be straight absolutely right and if you at home get out your guitar if it's been in the corner gathering desk because you're not listening to the show but after that there is a subset of one song nation listeners who own guitars but don't play guitars so grab that guitar tune it down to open g and you can play this song because it's simply you put your fingers on this fret i'm on the 10th fret and you go 10th 9th 5th fret and then you go 8th 7th 3rd and that's the riff and by the way i could just picture a young rich robinson who's still he's a songwriter and his brother is older than him and the two of them are writing all these songs together this is first of all super fun to play yeah second of all not unimportantly it's what keith richards and rye cooter and a lot of his heroes are doing these open strings but i when i put this together to like get it ready for the show i lost an hour of my life just having a blast like anything you do sounds good it's super fun all right i gotta hear uh the guitar solo because i you know even though i don't play a guitar i love it can we hear a little bit of that all right so here's the solo this comes right before the final breakdown we get this wonderful solo from mark ford and rich is underneath it that solo guitar is so great it's so great it's so great it's steppenwolf that's what i heard i heard steppenwolf which i only knew because steppenwolf was very popular in commercials around this time like i feel like i like to dream and born to be wild like i feel like that level of guitar play and again back to lenny kravitz that stuff was actually getting back into the into the cultural bloodstream and this would have been like this is such a bluesy solo that is pure pentatonic scale blues well not 101 as in basic but in a sense this is a guitar solo that an early learner of guitar can play because pentatonic is the first scale that you learn is it really called pentatonic yeah because there's five notes in it and he's adding some blue notes there's technically no wonder people thought this was no wonder satanic panic because pentagons pentatonic the devil's music the black keys if you will watch it but can i just say that when that guitar solo finished yeah i immediately started like doing piano air piano oh yeah because i heard the i heard the piano coming in now what can you tell me about the piano is it a rose i need to know this is possibly my favorite part of the entire song okay oh my god i love this hope i can deliver on what it is you're teeing up you better get your facts straight what is the piano is this a rose this is another recent addition to the band eddie harsh and he is playing not a roads but it's close cousin eddie harsh what a freaking fantastic name that is he's playing the world he's playing the world sir which sounds similar to a roads it's a little harder sounding it's less watery and maybe most famous in my mind i always think of it being the super tramp instrument so when you think of any super tramp the logical song he's playing the worldly very famously love the logical song but i'll tell you what the really doing on the logical song is not what it's doing on remedy so can you please lay it down brother that solo really wonderfulness give me a little drums is that the bass you just brought in was that the bass give it to us harsh that's give it to us eddie harsh that's some boogie woogie in there i i heard i was reminded of like the charlie brown cartoons for a little bit i don't even know why like yeah it's like it's like charlie brown like grew up man because charlie brown is boogie that's boogie woogie piano on that charlie brown stuff it's so good i could just listen to that all day just like cruise around la with like the top down just like you and this is another connection to both the rolling stones who famously had ian stewart one of the founding members of the band but they kind of backburnered him because he didn't look the part unfortunately poor guy but he was in the band and he played you know he played roads and piano and all the sort of keyboard parts and also billy preston and the beatles these are kind of members of those bands that you often forget weren't in the bands officially but you hear them on so many songs on them low energy unfocused foggy you might be dehydrated gatorade zero powders have been scientifically designed to help improve hydration balance in the body with a clinically proven electrolyte blend and no artificial colors or flavors great tasting hydration no matter where you're going shop now online or at retailers nationwide gatorade hydrates better than water is it in you symptoms noted are signs of mild to moderate dehydration consult a health care professional if symptoms persist now at kroger your points add up to more ways to save every time you're dehydrated so if you're dehydrated and you're not dehydrated use them your way to take dollars off groceries at checkout or save at the pump you can even save up to 35 on your next fill up same points more choices and with low prices on fresh quality food plus digital and personalized offers tailored to how you shop your dollar goes further redeem your points online or in the app kroger fresh for everyone restrictions apply c-sider store for details chris has amazing voice i'd say you think so and i think he's got one of the best points in this video um because he's you know he's the front man doing his gestures non-stop maybe while singing in a band that sounds like the rolling stones i wonder why because to me like there's not just jagger there's there's velvet underground there's like to me he just looks like you know rock god so like let's give him his credit and he's earned it because this is an fun song to listen to from a vocal perspective great lyrics and i think it's going to be a lot can start us off with the verse baby baby why can't you sit still who killed that bird out on your windowsill look at that let's see oh you the reason that he broke his back he's just living in that blue note then we get to the chorus yeah and even though we've been calling them the background vocals they actually kind of sing the chorus right and then chris sings backup for them arguably they are not backup singers in this arguably they're singing the chorus kind of their backup which what a minch i love freaking chris robinson let's hear the chorus he's louder though can i just say i think the difference between because i i have issues with you know a lot of rolling stones stuff you know brown sugar notorious right what i like about this is they he's like yeah he may be higher in the vocals it makes sense it's 1992 and you know we're not you know we still need to star the song as the star but it's almost like he was like hey let the black ladies go to the forefront and i'll sing backup for them this is not brown sugar you know what i mean like this is this is him letting letting atlanta and letting you know barbara and taj sing their part at the forefront barbara and taj unsung heroes man i think that they they are probably one of the things that made me connect with the song that was being played on mtv with a lot of other songs that i don't remember or don't particularly care for yeah but like this one i was like you weren't a warrant fan no white snake for you but this was good because this is like you know this is at a time when like in vogue is starting to get their songs played on mtv so for me this is just one more song with like you know black women on the chorus uh but it's got these cool white guys playing instruments you know in the background so i love it i love this song i love this energy so let's give some flowers to uh barbara and taj just so you guys can know uh these people had careers too barbara was a member of the r&b group high energy uh with her sister vanessa mitchell and they had some success with a song called you can't turn me off song peaked at number two on the r&b charts and number 12 on the u.s charts and barbara would go on to do duets with the likes of smoky robinson taj meanwhile continued to record secular and gospel music including uh with acts such as third day and And Philip Bailey from Earth, Wind & Fire. She also sang solo at the 1996 Olympics in Atlanta and performed with Michael Jackson. So these wonderful singers, thank you. Thank you. Because without you, I may not have really noticed this song in quite the same way. But it just goes to show that sometimes a good collaboration can bring more people into the musical fold. Okay, so now that we've heard the song lecture, what can you tell us about The Splits? Even Steven, my friend, but only between the brothers. 50-50, Richard S. Robinson and Christopher Mark Robinson. 50-50, it makes a lot of sense. They're not the Gallagher brothers. They're not the Davis brothers. Well, listen, to hear some of the other band members talk about it, these guys are literally throwing stuff at each other in the studio, getting into fistfights. It's a little bit in there. It's hard to be around somebody who you consider your brother in a creative space. There have definitely been some throwdowns between me and Bashir. Not physical, but emotionally jarring. Why haven't we had throwdowns? We have not had enough throwdowns. We have not had enough throwdowns, but we're not that good yet. We're just not that good yet. Let's manufacture one for clicks right now. Luxury, what do you think is the legacy of Remedy and the Black Crows? I think the Black Crows legacy, specifically with this song and this record, is they are demonstrating something that we've now gotten kind of used to, which is that when things come back, when sounds come back, when musical ideas come back a generation or so later, they transform and they're different. Not only is a new audience maybe, hearing them for the first time, right? Greta Van Fleet leaps to mind, right, with Led Zeppelin. When Greta Van Fleet came out and got lots of comparisons to Led Zeppelin, very similar to how then the Black Crows came out, they got the Rolling Stones and the Faces comparisons, right? But I think what's now easier to see is that while there are similarities when bands are influenced by a previous blues band in both cases, what they change and what's different and what their own story and their lyrics and their personal, what they bring to it is unique and different and can be transformative and reminds us all, episode to episode of the show especially, it's like nobody owns the idea of what a sound is. Nobody owns a genre. And those things are constantly evolving and in flux. I think the unique storytelling of these unique people shines through and they use as a vehicle perhaps some sounds and guitar tones and tunings we've heard before. But when the Stones did it, they were also building on something that came before them. So, the thing that you brought up very early on, which is so important, is when you're a kid or when you're in your early 20s even, when you hear music for the first time, you just hear it for what it is. And those other associations, you learn later and they're helpful, but they're not necessarily important for the music on its own. They're not the driving force. They're not the driving force for the music. Led Zeppelin had precedence before that. We go all the way back to Robert Johnson. You can go back before that. So, what the original of anything is, who's everyone's borrowing from everybody. That's the story of this show, right? I mean, come on. What about you, DL? What do you think is the legacy of the Black Crows and this song? Man, I think that for me, looking back, it really does feel like it was a perfect concoction of many things Southern. Yeah. In a way that was welcoming to all Southerners. And I think that that's something that is not easily achieved. You know, just 10 years later, you had artists like Bubba Sparks and Paul Wall, who were full-on hip-hop, you know, personalities working with, you know, some of the biggest hip-hop producers of the day to merge that sort of like all-encompassing Southern culture into one thing. But it was a lot harder in 1991 when this was recorded and 92 when it was released. So I think credit Chris and Rich and Johnny Colt and Eddie Harsh and Mark Ford for having the wherewithal to release what I think is a fantastic album, a fantastic indie rock album, alternative rock album in the Southern spirit, in the Southern vein. And I think that their choice to bring in Barbara and Taj's vocals and have them sing the chorus and we'll sing their backup. Yeah. Damn it. It just worked. I think everybody's musicianship is, is polished, but not too polished. And I think that it's just a bunch of different cultures in one great song. All right. One song nation. We got a new segment. We're calling one genre where luxury and I break down a sub genre. And sure, a record that we think is essential listening. That's right. Today we're talking about shoegaze or shoegazi as our videographer Casey apparently likes to pronounce it. Shoegaze is one of my favorite genres. Very briefly definition. Listen, the name literally comes from the idea that you have so many guitar pedals and so much hair that you're looking down on stage and not at the audience. So shoegaze, gazing at your shoes. Yeah, no, I tell you. And by the way, I've always felt like of all the genre of music, this is one of those that is very, very much made up by journalists and our execs like more and more than typical. Right? Yeah. At the time it was absolutely yes. When this was happening, the bands who were defined by that term weren't necessarily crazy about the term. Absolutely true. Yeah. I feel like even to this day, most of them, a lot of them reject the term, but you know, but it's, but it is useful for a type of alternative rock that became quite popular, sort of like very late eighties, early nineties. So late eighties, early nineties, especially in England, you've got a handful of bands, particularly my bloody Valentine. You've got slow. That's the big one. You've got slow dive, um, lush. One of my favorites, one of our shared favorites, I should say who else curve is another underrated band. And what the ride would be another one. And I'd say like a defining characteristic besides again, to your point, being journalists created in England. So there are British bands that are working in the late eighties, early nineties, but sonically speaking, a big part of their sound is there's a wash of, but mostly guitar driven, if not exclusively, not a lot of keyboards. I can't think of any keyboards actually in those bands, guitar effects. A lot of it is influenced by and linked to in no small way. Robin Guthrie from cocktail, which actually is a precursor to these bands. So anyway, by the time we get around to the bands that we're talking about right now, uh, that sound and maybe the idea for it is as an image for the band members themselves is that they are not terribly charismatic, right? That's the idea they're on stage looking down. They're at their instruments and plugging pedals, chorus pedals and reverb. Look at the album covers that we have two albums here right now. And neither one is showcasing the group. They're showcasing sort of like a feeling. Yeah. So lush, you're just yellow showing luscious spooky, uh, their first full length album and a four 80 records. It's got the full four 80 treatment with the Vaughn Oliver graphics, abstract imagery. Basically you can't see any of the band members and I'll hold up a couple more cause I've got some of the EPS that gave me for it, which are some of my most expensive, scogs purchases. By the way, I've spent a lot of money to get their first two EPS. Um, but yeah, beautiful artwork, gorgeous for it. Classic for the label for a D classic for the genre. So for me, my bloody Valentine is just one of the greatest bands of all time. This is their first full length record. Isn't anything the classic, the one to get if you have extra money to spare, that would be loveless. I was going to be one of my picks. Oh my God. Let's have it on CD. I also have the glider and tremolo. It's such an incredible record. And Kevin shields, who's the mastermind behind the project and the guitar player who basically innovated making these guitars sound like something that weren't guitars. How would you describe the shoegaze sound of my bloody Valentine? I think the fact that those two EPS are called glider and tremolo are perfect because you have the tremolo on your guitar and Kevin shields famously has like a secret formula for how he gets his sound, but you're hearing guitars, but they do not sound like guitars. They sound like this wash of sound. It sounds like whales and water. And ocean and the past and the future. But he's doing it all with guitars and you feel like you're gliding totally. And it's a really wonderful evocative. It sounds like the future in many ways. And actually there's this great Brian, you know, famously said after hearing one of their songs that he heard the future and it's this band and it's this song. And it's to be made sense because Brian, you know, always did very cinematic, hard to like tie down to like traditional song structure type songs and very tight and very tight to sound as well. So sound is very important. And the shoegaze phenomenon. That's so funny by the way, because I almost chose my blade Valentine loveless as my selection, but I went with one that I know that you also own, which is lush. And this is an album called spooky from 1992. And I love this. So I really love this album. It, it washes over you. I think it's the best way to be shimmery. It sounds shimmery. I mean, one thing I remember about the genre in general is that like generally songs ran longer, you know, you know, cause it takes some time to sort of build up, you know, that momentum, the sonic wash also, like, can I just say there were groups that weren't even considered shoegaze, but I feel like they could have been like stereo lab early stereo lab sort of sounds a little bit like lush. Like it's not, it's not building completely different labs. Like it's, it's definitely got that sort of like, you know, chord progression quality and Jesus and Mary chain to like the idea of using sound as like a component, like it's still songs. These are songs that are right. Like with song writing, some more than others. I think like slow dive is a little less soggy to my ears. And Lush is very dive is almost like a jam band for people who don't like the jam. I used to put slow dive on to do my homework too, because I could sort of zone out to it. I wouldn't like, it would be unnoticeable in the background, but Lush was a little too noticeable. And the record, by the way, spooky is, is produced by Robin Guthrie from Cocteau twins. And it's sort of like if Cocteau twins were like a rock band, you know, with more intelligible lyrics, for example, and harmonies done by two different people. And by the way, By the way, this genre didn't just go away one day when more popular genres come in i mean like they do there is an argument that like when britpop explodes in in england all of a sudden the new groups start chasing that and they start moving away from shoegaze but i would argue that even groups like the deftones are kind of doing 10 years later a sort of shoegaze oh yeah that's a cool connection if you go back and listen to their pony album and you think about um you know change or songs like that yeah there's a shoegaze quality to how those songs wash and you're making me realize too that going back even further i mentioned jesus and mary chain they were just doing a phil specter wall of sound the wall of sound idea it really is a wall of sound but sort of modernized in a british sensibility maybe and again not tied down to like oh this song's been going on for three minutes and 20 seconds we got to end it turn it off there's no time and by the way one of my number one on discogs right now like on my wish list is gala by lush which is their compilation of all their early singles even though i have those singles on the specific eps i do kind of want gala anyway if anybody out there wants to go to my discogs wish list like you know i we can be friends we can meet each other through discogs i gotta say when i went to uh find lush i could i had a hard time locating them i feel like lush and some of these shoegaze bands have been kind of forgotten a lot of the records were out of print until recently yeah absolutely so i do feel like exactly when you're looking for something that's out of print discogs is your friend because you got to figure out okay where am i going to find this thing and in what format is going to have the song that i'm looking for so i'm glad that we were both talking about this genre that might have been overlooked by people who are maybe slightly younger than us god forbid so those are our genre picks for shoegaze let us know what you think in the comments and if you want to hear our selections please check out the one song playlist linked in our episode notes as always you can find us on instagram and tiktok you can find me on instagram at diallo d-i-a-l-l-o and on tiktok at diallo room and you can find me on instagram at l-u-x-x-u-r-y and on tiktok at luxury xx and you can follow our podcast on instagram and tiktok at at one song podcast see how that easy that is for exclusive content you can also watch full episodes of one song on youtube and spotify just search for one song podcast we'd love it if you like and subscribe also be sure to check out the one song spotify playlist for all the songs we discuss in our episodes you can find the link in our episode description and if you've made it this far you're officially part of the one song nation we know it what about it we're a nice place to live show us some love give this show five stars leave a review and send this episode to a fellow music nerd if there's two of us are we an oligarchy what are we what form of tyranny are we definitely an oligarchy seriously those reviews help keep the show going luxury help me in this thing i'm producer dj songwriter and musicologist luxury and i'm actor writer director and sometimes dj diallo riddle and this is one song we'll see you next time this episode was produced by melissa duenia as our video editor is casey simonson our associate producer is jeremy bimbo mixing by michael hardman and engineering by eric hicks production supervision by rizak boykin additional production support from z taylor the show is executive produced by kevin hart mike stein brian smiley eric eddings eric while and leslie guam when you shop kroger delivery you can expect the savings you love and fresh groceries delivered right to your door our refrigerated trucks keep your items cool while our associates will keep your items cool while our associates will keep your items cool while our associates are committed to getting every detail right carefully selecting and packing your order with care because bringing you fresh quality groceries is what we do best right now enjoy free delivery on orders of fifty dollars or more with your digital coupon restrictions apply c-site for details kroger fresh for everyone