Latest / Conspiracy! The Show / An Honest Review of the Charles Manson Album

Transcript

An Honest Review of the Charles Manson Album · Conspiracy! The Show

• 0:06
  Speaker 1: Sliver Winter Insurance. True, I'm a chestnut with insurance get action.
• 0:15
  Speaker 1: That is.
• 0:31
  Speaker 2: Hey, everybody, welcome to Conspiracy the Show. I'm your host,
• 0:35
  Speaker 2: Stadam Todd Brown joining me as co host this week
• 0:38
  Speaker 2: Condom E speddens here.
• 0:40
  Speaker 3: It's always great to be on Conspiracy show. On Manson Week,
• 0:44
  Speaker 3: it's kind of the Shark Week of conspiracies.
• 0:46
  Speaker 2: Yeah. I just watched the Netflix documentary which is called
• 0:51
  Speaker 2: uh is that also called Chaos. It's based on a
• 0:54
  Speaker 2: book called Chaos about the Manson family and their ties
• 0:57
  Speaker 2: to MK Ultra. But it's also and Errol Morris documentary,
• 1:03
  Speaker 2: which makes it prestige television. I tell you, yeah.
• 1:08
  Speaker 3: It's called It's called Chaos, the Manson Murders.
• 1:10
  Speaker 2: Yeah, and fun sidebar. I don't know how many television
• 1:14
  Speaker 2: commercials people are taking in these days, but this documentary
• 1:19
  Speaker 2: is the point in history where I realized that all
• 1:23
  Speaker 2: of those Chipotle commercials that are airing right now, where
• 1:26
  Speaker 2: there's just some guy off camera Pepper and employees with
• 1:29
  Speaker 2: questions like you really don't have freezers? You make guacamole
• 1:33
  Speaker 2: fresh every day? That is fucking esteemed documentarian Errol Morris
• 1:38
  Speaker 2: in those Chipotle commercials.
• 1:40
  Speaker 3: Well, he would be the guy doing the hard hitting
• 1:42
  Speaker 3: investigative journalism. I'm asking these kinds of questions.
• 1:45
  Speaker 2: Yeah, and it those commercials are kind of like his documentaries,
• 1:49
  Speaker 2: because that's one of his things, is just like asking
• 1:53
  Speaker 2: questions off camera where you actually hear them ask the questions,
• 1:56
  Speaker 2: which doesn't happen a lot in documentaries.
• 1:58
  Speaker 3: I kind of love when they leave and the person
• 2:01
  Speaker 3: asking the question. Yeah, it's like the room tone of documentary,
• 2:06
  Speaker 3: you know. Like so I was.
• 2:08
  Speaker 2: Thinking, well, what if we covered that documentary? And sure,
• 2:11
  Speaker 2: maybe we will at some point, maybe we'll cover the
• 2:14
  Speaker 2: whole entire book. But a big part of that theory
• 2:18
  Speaker 2: presented in that documentary and in that book, and just
• 2:21
  Speaker 2: a big part of Charles Manson's lore in general was
• 2:25
  Speaker 2: his music. And that got me to think, and well,
• 2:29
  Speaker 2: what if we were to do a track by track
• 2:31
  Speaker 2: review of Charles Manson's first and only album technically because
• 2:36
  Speaker 2: he's got another called The Family Jams, But those are
• 2:42
  Speaker 2: songs written by Charles Manson and performed by members of
• 2:46
  Speaker 2: the Manson family.
• 2:48
  Speaker 3: Oh so this is you know what this sounds like
• 2:49
  Speaker 3: to me? I was gonna make a joke, but it's
• 2:51
  Speaker 3: like it actually literally lines up with the albums is
• 2:54
  Speaker 3: like this is never Mind the Bullocks, and that is
• 2:56
  Speaker 3: like the great rock and roll swindle fake second album, Yeah,
• 3:00
  Speaker 3: that they made with like all the leftover scraps of
• 3:03
  Speaker 3: sex Pistol recordings they had pretty much. Yeah, okay, yeah,
• 3:07
  Speaker 3: that's hilarious.
• 3:08
  Speaker 2: Or when The Doors put out that album.
• 3:10
  Speaker 3: Of Jim moos fan material poetry called yes what is
• 3:15
  Speaker 3: it called? Like other Voices or Waiting Another. I think
• 3:18
  Speaker 3: that's the one really good other people in there.
• 3:20
  Speaker 2: Other Voices is the one with just the three of
• 3:22
  Speaker 2: them without Jim Morrison. I think it's called American Prayer. Weird.
• 3:26
  Speaker 3: I think you're right enough. Yeah, which, why why I
• 3:29
  Speaker 3: read that guy? The drummer John Densmore's book is really
• 3:32
  Speaker 3: good if you like The Doors. Yeah, it's a really
• 3:35
  Speaker 3: good book. But he talked a little bit about doing
• 3:38
  Speaker 3: those albums and you kind of like have to like, Okay, John,
• 3:41
  Speaker 3: I'm glad, I'm glad you guys had fun.
• 3:43
  Speaker 2: Yeah. I do like The Doors a lot, though over hated. Yeah,
• 3:47
  Speaker 2: I agree, just because Jim Morrison was probably a fed.
• 3:50
  Speaker 2: It's a FED that wrote good.
• 3:51
  Speaker 3: Music, probably a FED and definitely a douche.
• 3:54
  Speaker 2: Oh yeah, oh yeah, big, big asshole. So we're gonna
• 3:58
  Speaker 2: talk about a record called Lie The Love and Terror Cult,
• 4:03
  Speaker 2: which is the debut studio album from Charles Manson. He
• 4:07
  Speaker 2: did not pick that name. The album cover is a
• 4:12
  Speaker 2: parody of a Life magazine cover that Charles Manson was
• 4:16
  Speaker 2: on and they just took f out of Life to
• 4:19
  Speaker 2: make it Lie and then The Love and Terror Cult,
• 4:23
  Speaker 2: which was also printed on the cover of that magazine.
• 4:26
  Speaker 2: The album was released by a notorious music manager named
• 4:31
  Speaker 2: Phil Kaufman. I don't know how familiar people are with
• 4:34
  Speaker 2: the Graham Parsons story that he was a alt country
• 4:39
  Speaker 2: Ish singer songwriter in the sixties and seventies. When he died,
• 4:43
  Speaker 2: he asked that his body be cremated at Joshua Tree
• 4:47
  Speaker 2: and his family didn't want that. So a couple of
• 4:50
  Speaker 2: his friends, one of them being Phil Kaufman, the same
• 4:54
  Speaker 2: manager who released the Charles Manson album, stole his body
• 4:58
  Speaker 2: from Lax and took it to Joshua Treat and tried
• 5:03
  Speaker 2: and failed to cremate it. There is a whole movie
• 5:06
  Speaker 2: about that starring Johnny Knoxville.
• 5:08
  Speaker 3: How about a failed cremation? Yeah, Johnny Knoxville gets up
• 5:12
  Speaker 3: to a lot when your back is turned. If you
• 5:13
  Speaker 3: don't pay, if you don't pay attention to Johnny Knoxville
• 5:16
  Speaker 3: for two or three years, you come back and he's
• 5:18
  Speaker 3: made a whole nother weird movie, just got another screw
• 5:21
  Speaker 3: in his leg.
• 5:21
  Speaker 2: Yeah, I don't. I feel like I've maybe seen this
• 5:25
  Speaker 2: movie because it is an interesting story that two people, like,
• 5:28
  Speaker 2: how do they even steal a body from lax? That's
• 5:31
  Speaker 2: crazy in and of itself. But same guy, this Phil Kaufman.
• 5:36
  Speaker 2: He met Manson when the two were both serving time
• 5:39
  Speaker 2: at Terminal Island Prison, which is literally minutes from where
• 5:43
  Speaker 2: I'm at right now. It's in between San Pedro and
• 5:47
  Speaker 2: Long Beach, And I did not know Charles Manson served
• 5:50
  Speaker 2: time there. Cool?
• 5:52
  Speaker 3: Can we go visit a cell in a let of candle?
• 5:55
  Speaker 2: Yeah? I was, I do wonder? Can I go like tour?
• 5:58
  Speaker 2: Can I go check out Terminal Island? It's very close,
• 6:00
  Speaker 2: like very close, I could walk.
• 6:02
  Speaker 3: Well, they have a face painter that'll do a little
• 6:04
  Speaker 3: swastikat on my forehead.
• 6:06
  Speaker 2: Probably they actually carve it in though it's kind of brutal.
• 6:09
  Speaker 3: Well, you know, that's why, that's why it costs fifteen
• 6:12
  Speaker 3: packets of ramen Adam.
• 6:14
  Speaker 2: That's currency in prison. So Kaufman lived with a Manson
• 6:19
  Speaker 2: family for a while after he got out of prison
• 6:21
  Speaker 2: and has bragged that he's quote had sex with more
• 6:24
  Speaker 2: murderers than anyone else in show business end quote. I
• 6:28
  Speaker 2: bet that's not true.
• 6:29
  Speaker 3: Yeah, I mean there's whole like aspects of show business
• 6:33
  Speaker 3: predicated on bragging about how much of a criminal you are,
• 6:36
  Speaker 3: and those people are all probably fucking each other as
• 6:39
  Speaker 3: much as any other social group.
• 6:41
  Speaker 2: Yeah, yeah, that was my thinking too. There's there's a
• 6:43
  Speaker 2: whole genre that's just about not just about violence, but
• 6:47
  Speaker 2: a lot of violence involved, and I bet they're putting
• 6:49
  Speaker 2: up better numbers than Phil Kaufman.
• 6:51
  Speaker 3: So what I love about hip hop is there's a
• 6:53
  Speaker 3: lot of songs about deep spiritual wisdom and a lot
• 6:56
  Speaker 3: of songs about meaningless violence and lust.
• 7:00
  Speaker 2: Yes, and get rich or die.
• 7:02
  Speaker 3: Trying the duality of man, sir.
• 7:06
  Speaker 2: So eventually he left the Manson family before all the
• 7:10
  Speaker 2: murders jumped off, but like just before not a comfortable distance.
• 7:15
  Speaker 3: Well you know, good timing though.
• 7:17
  Speaker 2: Yeah, better than leaven right after then it's too late.
• 7:20
  Speaker 3: Yeah, I mean, you got to respect people that know
• 7:22
  Speaker 3: when to jump ship from a brand.
• 7:25
  Speaker 2: Yeah, he tried releasing this album after the fact, when
• 7:31
  Speaker 2: Manson was at the height of his notoriety March sixth,
• 7:35
  Speaker 2: nineteen seventy, so less than a year after the murders.
• 7:38
  Speaker 2: Not a commercial success on account of how most record
• 7:41
  Speaker 2: stores connor refused to stock it.
• 7:43
  Speaker 3: Can you believe that fucked up?
• 7:45
  Speaker 2: Oh man? We got now that we're onto this because
• 7:48
  Speaker 2: when I texted you about this.
• 7:50
  Speaker 3: We went just because when you listen to the album,
• 7:52
  Speaker 3: that objectively is trying to turn you into a murder
• 7:55
  Speaker 3: drone Yeah, big deal, just because there's very transparent secret
• 8:01
  Speaker 3: messages being uh drone hummed into the stereo mix of
• 8:05
  Speaker 3: the record.
• 8:07
  Speaker 2: Well, it sounds like that's a parenting problem and not
• 8:10
  Speaker 2: so much a record store problem. You gotta keep your
• 8:13
  Speaker 2: kids away from the secret messages. Yeah, when I texted
• 8:16
  Speaker 2: you about doing this episode, we texted back and forth.
• 8:20
  Speaker 2: A few other examples we could cover. I just thought
• 8:22
  Speaker 2: about another one. Doctor Kavorkian has a pretty great jazz
• 8:26
  Speaker 2: album out there. What you didn't know that?
• 8:29
  Speaker 3: No? Yeah, doctor, what's he play?
• 8:33
  Speaker 2: He was a talented guy.
• 8:35
  Speaker 3: What was his instrument?
• 8:37
  Speaker 2: Uh, I don't know, I'm getting I think like the
• 8:40
  Speaker 2: fucking French horn.
• 8:41
  Speaker 3: Or something something as a French horn.
• 8:44
  Speaker 2: Okay, yeah, I don't know, I don't know, but yeah,
• 8:47
  Speaker 2: he's got a pretty mellow jazz album out there, and
• 8:50
  Speaker 2: a whole collection of wonderful art, terrifying all.
• 8:53
  Speaker 3: The it's called a very still life. Oh it's the flute.
• 8:58
  Speaker 2: Oh, the flute. Even better. He's a floutist.
• 9:02
  Speaker 3: That's a good word, flautest.
• 9:04
  Speaker 2: Yeah. I only know that word because I worked with
• 9:06
  Speaker 2: a girl who played the flute once.
• 9:09
  Speaker 3: Oh yeah, they'll tell you yeah, yeah, she wanted to
• 9:12
  Speaker 3: let you know.
• 9:13
  Speaker 2: Yeah, she wasn't afraid to call herself a floutest, that's
• 9:15
  Speaker 2: for sure.
• 9:16
  Speaker 3: You know, the most the heaviest instrument to play in
• 9:19
  Speaker 3: a marching band. You might think it's like a tubel
• 9:21
  Speaker 3: or a saxophone or something big and heavy. It's actually
• 9:23
  Speaker 3: the flute because you got to hold that shit up
• 9:25
  Speaker 3: all high and shit, you know, gets it's tiring.
• 9:28
  Speaker 2: Yeah, that's an awkward position to have to hold it in.
• 9:30
  Speaker 3: So it's actually not gay, mom.
• 9:34
  Speaker 2: So this album that we are about to listen to
• 9:37
  Speaker 2: in its entirety, it's only thirty minutes long. Don't Worry,
• 9:40
  Speaker 2: was recorded mostly at gold Star Studios in Hollywood on
• 9:44
  Speaker 2: August eighth, nineteen sixty eight. I wonder if they got
• 9:47
  Speaker 2: that hanging in the lobby, like all the pictures of
• 9:49
  Speaker 2: the greats who recorded there, and then Manson's crazy ass
• 9:53
  Speaker 2: just strumming a guitar in the studio.
• 9:55
  Speaker 3: I hope that studio was founded by a gay guy
• 9:57
  Speaker 3: who'd only ever had sex with men.
• 10:00
  Speaker 2: I love this line from the Wikipedia page about the
• 10:04
  Speaker 2: album quote. Retrospective reviews of the album have been largely positive,
• 10:10
  Speaker 2: though critics have noted the difficulty of separating Manson's music
• 10:13
  Speaker 2: from his subsequent crimes. Oh yeah, is this is this
• 10:16
  Speaker 2: one of those hard ones where it's what's hard to
• 10:18
  Speaker 2: separate the artist from the art. I don't know, so
• 10:21
  Speaker 2: much time has passed, you know.
• 10:23
  Speaker 3: I was about to say this is one of the
• 10:25
  Speaker 3: easiest ones.
• 10:27
  Speaker 2: Not everyone he killed was pregnant.
• 10:30
  Speaker 3: Yeah, And it's just it's like you said, it's you know,
• 10:34
  Speaker 3: what can you ask of someone besides ironic detachment at
• 10:38
  Speaker 3: a certain point. It's like my cousin Spencer doesn't remember
• 10:40
  Speaker 3: nine to eleven. He understands that we were all very
• 10:43
  Speaker 3: in a tizzy about it.
• 10:45
  Speaker 2: Yeah, Like, yeah, there's been I mean, once upon a
• 10:49
  Speaker 2: time in Hollywood has happened. We've already made like fantasy
• 10:52
  Speaker 2: movies out of the Manson Family.
• 10:55
  Speaker 3: Yeah, yeah, no shit, which, Oh.
• 10:57
  Speaker 2: Man, what a great ending. God damn it. I love
• 10:59
  Speaker 2: that movie.
• 11:00
  Speaker 3: Yeah. Maybe I think I think it's I think maybe
• 11:01
  Speaker 3: if I saw it twice in the years, I think
• 11:04
  Speaker 3: if I maybe saw a third time, I might like
• 11:06
  Speaker 3: it the third time.
• 11:07
  Speaker 2: Oh you didn't like it.
• 11:08
  Speaker 3: I didn't hate it.
• 11:11
  Speaker 2: I was a fan, I really. I mostly just like
• 11:14
  Speaker 2: the ending.
• 11:15
  Speaker 3: I liked it more the second time when I wasn't
• 11:17
  Speaker 3: kind of like expecting more shit to happen.
• 11:19
  Speaker 2: The scene where Brad Pitt throws Bruce Lee into the
• 11:22
  Speaker 2: car is one of my favorite scenes in any movie.
• 11:26
  Speaker 3: Have you ever seen him explain like how that how
• 11:29
  Speaker 3: he reckons that actually would go down like that, like
• 11:32
  Speaker 3: he'd actually get those points on Bruce Lee quin but
• 11:35
  Speaker 3: he's like he breaks down the fight and something. A
• 11:38
  Speaker 3: YouTube clip is pretty interesting.
• 11:40
  Speaker 2: Yeah, but I would watch that.
• 11:41
  Speaker 3: It's a trick. I don't remember exactly.
• 11:43
  Speaker 2: But so should we listen to this album?
• 11:46
  Speaker 3: I think we should. It's actually it's actually pretty fucking good.
• 11:49
  Speaker 2: Yeah, that's the thing we did that Unibomber Manifesto episode
• 11:53
  Speaker 2: and talked about how for years we heard people say, oh,
• 11:56
  Speaker 2: it's better than you think, and it's bad. It's not
• 11:58
  Speaker 2: good at all. I've heard that about the Manson album,
• 12:01
  Speaker 2: and people are fucking right. The man snap is pretty
• 12:04
  Speaker 2: fucking good.
• 12:05
  Speaker 3: Yep, here we go.
• 12:09
  Speaker 2: Can you hear that?
• 12:10
  Speaker 3: Yep?
• 12:11
  Speaker 2: Okay. This first song is called look at Your Game Girl,
• 12:17
  Speaker 2: and this sounds like something like fucking Wayne Newton could
• 12:22
  Speaker 2: have recorded in the sixties or something.
• 12:26
  Speaker 3: Yeah. Once you get to that chorus, yeah, I'm already
• 12:32
  Speaker 3: ready to check this guy's dick and do whatever he says.
• 12:37
  Speaker 2: This one blew me away.
• 12:40
  Speaker 3: Yeah. When when this was track one, side one irustration,
• 12:44
  Speaker 3: I was like, okay, okay, and it's got this. It's
• 12:48
  Speaker 3: got this stigm where it never really like clicks into
• 12:51
  Speaker 3: a conventional song groove, Yeah, but it like flirts with one,
• 12:56
  Speaker 3: and it gives it this really like kind of off
• 12:58
  Speaker 3: filter exciting quality, like you're falling in love and you're like,
• 13:01
  Speaker 3: holy shit, Trills Manson, you're taking me on a fucking ride.
• 13:05
  Speaker 2: Yeah. He is significantly more talented than I expected. I
• 13:11
  Speaker 2: thought this album would be good in like a weird,
• 13:15
  Speaker 2: macabre sort of way.
• 13:18
  Speaker 3: But it's just as a curio. Yeah, it's just regular good.
• 13:21
  Speaker 2: Yeah.
• 13:22
  Speaker 3: Like if Beck did this, we'd be like, well, hey, yeah,
• 13:24
  Speaker 3: thanks man.
• 13:25
  Speaker 2: Yeah. I wish there was a better quality version of
• 13:30
  Speaker 2: this because this was apparently recorded in a studio, but
• 13:33
  Speaker 2: it still sort of sounds like shit, yeah.
• 13:35
  Speaker 3: It sounds a little uh, it sounds a little garbled,
• 13:38
  Speaker 3: like maybe the chord is like something like it sounded
• 13:41
  Speaker 3: better a second ago, like.
• 13:44
  Speaker 2: Well, yeah. Part of the issue is this was never
• 13:49
  Speaker 2: released any way except for on vinyl, so what was
• 13:54
  Speaker 2: just yeah, so what we're listening to is someone having
• 13:58
  Speaker 2: ripped it from vinyl. You can even hear the popping
• 14:01
  Speaker 2: in the background.
• 14:03
  Speaker 3: Interesting, these songs are all very short. That's the other thing.
• 14:08
  Speaker 3: He knows his work. It doesn't overstay. Its welcome.
• 14:13
  Speaker 2: And now, whereas the first song on the album, I
• 14:16
  Speaker 2: would argue is not what you're expecting when you dive
• 14:20
  Speaker 2: into a Charles Manson album, the front, I would say,
• 14:23
  Speaker 2: track number two ego is what you're expecting when you.
• 14:27
  Speaker 3: Die, exactly what you're expecting. They put it back and
• 14:34
  Speaker 3: then the bottom is the front. In the front, it
• 14:37
  Speaker 3: would never went down for a pack of smokes and
• 14:39
  Speaker 3: never came back, but the back was back on left,
• 14:42
  Speaker 3: left right to the front back.
• 14:44
  Speaker 2: Back this, I mean, you have it in the notes,
• 14:50
  Speaker 2: but I agree, I wouldn't be surprised if this was
• 14:54
  Speaker 2: like a Beatles outtake, Like this sounds like when they
• 14:57
  Speaker 2: were fucking around with the Star.
• 14:59
  Speaker 3: Yeah. Yeah, it was like like it's like it's they're
• 15:02
  Speaker 3: doing like Tomorrow never knows, but they didn't try that hard. Yeah,
• 15:08
  Speaker 3: you'll think. And the lyrics are not that bad either,
• 15:12
  Speaker 3: like He'll make you lie, make you cheat. You see
• 15:14
  Speaker 3: what if you beat then like you get on that
• 15:16
  Speaker 3: out of site, you get it, You're gonna you get afraid.
• 15:19
  Speaker 3: You can act like a clown, you get mad when
• 15:21
  Speaker 3: somebody puts you down. It's like that's that's the ego,
• 15:24
  Speaker 3: you know. I mean this detected Charlie.
• 15:29
  Speaker 2: This also sounds a lot like Bob Dylan of this era,
• 15:34
  Speaker 2: like especially the Bringing It All Back Home album, Like
• 15:37
  Speaker 2: I could I could feel this.
• 15:39
  Speaker 3: Beam on that very very shades of Bob Dylan.
• 15:44
  Speaker 2: Yeah, And that's the thing, it's not like a lot
• 15:48
  Speaker 2: of people that were mimicking Dylan back in the day.
• 15:52
  Speaker 2: That's all they sound is like that, that's all their
• 15:54
  Speaker 2: songs were. And that's not the case for Charles Manson,
• 15:58
  Speaker 2: So it's gonna get very different next song.
• 16:01
  Speaker 3: In fact, yeah, he's got a pretty good range. He's
• 16:05
  Speaker 3: he doesn't some people like only know how to write
• 16:07
  Speaker 3: one kind of song.
• 16:08
  Speaker 2: Yeah, and Yeah. One of the things they speculate in
• 16:14
  Speaker 2: the documentary is that him not getting a music career
• 16:19
  Speaker 2: is the reason all these murders happened. I don't know
• 16:25
  Speaker 2: if I believe that, because it was this. He recorded
• 16:28
  Speaker 2: this a year prior to the murders, Like how fast
• 16:30
  Speaker 2: did he think it was gonna happen?
• 16:32
  Speaker 3: Well? And also they called it lie the Love and
• 16:34
  Speaker 3: Terror Cult? He did he did he think it was
• 16:36
  Speaker 3: going to number one? Like I am a mechanical man,
• 16:41
  Speaker 3: And seems like they were sort of trying to be
• 16:43
  Speaker 3: punk rock about it a little bit in the first place.
• 16:45
  Speaker 2: Yeah, And I do the.
• 16:46
  Speaker 3: Best I can because I have my family.
• 16:50
  Speaker 2: This is a very strange song I am.
• 16:53
  Speaker 3: Yeah, you're a connection here, I thought is really strong.
• 16:58
  Speaker 3: I thought this one sort of reminded me of a
• 17:01
  Speaker 3: like early Devo when they were more of a confrontational
• 17:04
  Speaker 3: art project that hitsof grows than a band, Yeah a
• 17:07
  Speaker 3: little bit, and that it's it's like another one of
• 17:11
  Speaker 3: these sort of like college drum circle kind of songs.
• 17:14
  Speaker 4: Yeah, it feels a little bit like the weird collage
• 17:20
  Speaker 4: type stuff John Lennon did on like the white album
• 17:25
  Speaker 4: Revolution nine.
• 17:27
  Speaker 2: Yeah, it's an interesting song. If I'm not mistaken, I
• 17:35
  Speaker 2: think Marilyn Manson sampled this song on one of his albums,
• 17:41
  Speaker 2: which that sounds like some Marilyn Manson shit, I have.
• 17:46
  Speaker 3: A little money and your brood. Well, I mean, and
• 17:52
  Speaker 3: you know it's a speculation of a Charles Nates and
• 17:54
  Speaker 3: an m fielt like you said, like he would be
• 17:57
  Speaker 3: a mechanical man.
• 17:59
  Speaker 2: Yeah. Have you seen the documentary.
• 18:02
  Speaker 3: On Netflix, Chaos, No, you should check it out.
• 18:06
  Speaker 2: His the amount of time he spent around confirmed mk
• 18:12
  Speaker 2: ultra doctors and mk ultra clinics is alignment. And I'm
• 18:21
  Speaker 2: always suspicious when this is a detail about anyone. He
• 18:27
  Speaker 2: in the years leading up to those murders was breaking
• 18:32
  Speaker 2: the law and getting caught all the time and never
• 18:36
  Speaker 2: going to jail for it.
• 18:37
  Speaker 3: Yet he was he was slippery, Charlie. He got away
• 18:40
  Speaker 3: every time.
• 18:41
  Speaker 2: And that always when I hear that, I'm like, Okay,
• 18:45
  Speaker 2: he's an infirment or something alone goes Leah.
• 18:49
  Speaker 3: It's like when the guy like when Big Pussy gets
• 18:51
  Speaker 3: right out of jail lefter, he's trying to, you know,
• 18:53
  Speaker 3: escape from theod crops on the Sopranos, It's like, what's
• 18:56
  Speaker 3: because he's flipped. He's he's fucking working for the Feds. Like, yeah,
• 19:00
  Speaker 3: this is a Charles Manson works just like this. Apparently
• 19:04
  Speaker 3: that's what I'm saying.
• 19:12
  Speaker 2: This is a compelling song, but it's not my favorite.
• 19:15
  Speaker 2: It's it's a little wild for my taste.
• 19:21
  Speaker 3: Yeah, it's one of these. There's a lot of moments
• 19:23
  Speaker 3: on the album that are kind of like strange and experimental,
• 19:27
  Speaker 3: and you're kind of like, this isn't like bad, but
• 19:29
  Speaker 3: I wouldn't necessarily like throw it onto the car, but
• 19:32
  Speaker 3: it's certainly earned. You know, You're like, Okay, I heard
• 19:36
  Speaker 3: a mechanical mechanical man blah blah blah, get the eeego.
• 19:42
  Speaker 3: It's not like a shallow album in any way. There's
• 19:46
  Speaker 3: not He doesn't have like song like a song called
• 19:48
  Speaker 3: Oranges and Sunshine.
• 19:50
  Speaker 2: Yeah, and even the one song that is kind of
• 19:54
  Speaker 2: like childlike and a little playful is actually sort of
• 20:00
  Speaker 2: a deep commentary on food, waste and poverty and class.
• 20:06
  Speaker 2: I'm talking about the garbage stuff song.
• 20:09
  Speaker 3: Do they see? I gotta confess I didn't even get
• 20:13
  Speaker 3: that the first time I listened to it until I
• 20:15
  Speaker 3: saw that you wrote that in the notes. I thought
• 20:17
  Speaker 3: it was just like a goofy like the Cramp song
• 20:22
  Speaker 3: I'm a garbage man, you know, like.
• 20:32
  Speaker 2: And that is the mark of a good song. Sometimes.
• 20:39
  Speaker 3: Yeah, it could be both just a party banger that's
• 20:43
  Speaker 3: fun and whatever. But if you listen close to you're like, damn,
• 20:45
  Speaker 3: Andre three thousand is getting a divorced dude. Yeah you
• 20:51
  Speaker 3: don't do they think you should? Do?
• 20:54
  Speaker 5: You them?
• 20:57
  Speaker 2: This song is called people say I'm no good.
• 21:01
  Speaker 3: This is a fucking banger.
• 21:06
  Speaker 2: Yeah, this is one of the better songs on the album.
• 21:10
  Speaker 3: This, this song should I think be in movies. This
• 21:12
  Speaker 3: is like no matter when you listen to this song,
• 21:15
  Speaker 3: it's like it's this sun is coming up after a
• 21:17
  Speaker 3: left for a bender and then you're in the desert.
• 21:20
  Speaker 3: You know, it is stolen convertible, Like it's just a
• 21:23
  Speaker 3: what are these songs? It's like very cinematic and yeah,
• 21:26
  Speaker 3: you could.
• 21:27
  Speaker 2: Throw this on a playlist with like sixties blues stuff,
• 21:32
  Speaker 2: fifties sixties.
• 21:33
  Speaker 3: Blues link or whatever.
• 21:36
  Speaker 2: And just let someone hear it. And be like, Okay,
• 21:39
  Speaker 2: I will give you a thousand guesses as to who
• 21:42
  Speaker 2: is singing this song. Yeah, and no one's gonna land
• 21:45
  Speaker 2: on fucking Charles Manson.
• 21:47
  Speaker 3: Guess every like outlaw country Guy or when you know,
• 21:52
  Speaker 3: is that Kenny Rogers.
• 21:53
  Speaker 2: That's Kenny Rogers right when he was weird doing the
• 21:56
  Speaker 2: fucking song from.
• 21:58
  Speaker 3: Big Kenny Rogers Weird.
• 22:01
  Speaker 2: Have you heard the song at the end of The
• 22:03
  Speaker 2: Big Lebowski.
• 22:05
  Speaker 3: Yeah, but I mean that.
• 22:07
  Speaker 2: Was so Kenny Rogers weird then, Yeah, I just dropped
• 22:12
  Speaker 2: in to see what condition my condition is in. I
• 22:16
  Speaker 2: think it's called Yeah, it's fucking Kenny Rogers.
• 22:20
  Speaker 3: I thought that was Strawberry Alarm clock.
• 22:24
  Speaker 2: It's a weird band name. Let me look at a
• 22:34
  Speaker 2: Kenny Rogers in the first edition. You want ause who
• 22:38
  Speaker 2: was saying that song?
• 22:38
  Speaker 3: Damn, that's a pretty that's a pretty good eighties like
• 22:42
  Speaker 3: band name.
• 22:43
  Speaker 2: Yeah, show what.
• 22:49
  Speaker 3: There's still one hundred and fifty six Kenny Rogers roasters
• 22:52
  Speaker 3: open worldwide.
• 22:54
  Speaker 2: That many.
• 22:55
  Speaker 3: That's an insane number.
• 22:56
  Speaker 2: And there's none in the United States, I don't think
• 22:58
  Speaker 2: because I looked recently.
• 23:00
  Speaker 3: Well, at this point, their headquarters is in Malaysia. That's true.
• 23:02
  Speaker 2: It's mostly in Asia. Kenny Rogers Roasters. I used to
• 23:07
  Speaker 2: eat there all the time. I've never had the chicken.
• 23:10
  Speaker 2: They had such good sides, and you could get a
• 23:13
  Speaker 2: combo meal that was just your choice of three sides,
• 23:16
  Speaker 2: and I would get that every time.
• 23:18
  Speaker 3: And it was great. Damn Okay, that sounds pretty good.
• 23:22
  Speaker 2: Home is where you're happy. This is another fucking banger.
• 23:29
  Speaker 3: This one I could see, like, you know, you play
• 23:32
  Speaker 3: it this one and you're like, and you're happy with me? Right?
• 23:34
  Speaker 3: Impressionab little young teenage girls.
• 23:37
  Speaker 2: Yeah, this has this has heavy cult vibes. At one point,
• 23:44
  Speaker 2: he just starts singing, burn all your bridges. It's like, oh,
• 23:48
  Speaker 2: you're trying to separate these girls from the family. Huh.
• 23:51
  Speaker 3: He says, leave leave your old life behind. Yeah you can,
• 24:00
  Speaker 3: cause you're strong in your mind. Suck my dip in
• 24:05
  Speaker 3: the barn.
• 24:10
  Speaker 2: I can imagine a crowd of impressionable young teens, all
• 24:14
  Speaker 2: fucking hopped up on acid and this guy's singing inspirational
• 24:19
  Speaker 2: tunes your direction, and they're like, yeah, he fucking gets it.
• 24:25
  Speaker 3: A couple of scary deep ones too, you know, like, yeah, damn, dude,
• 24:30
  Speaker 3: I am a mechanical man. Go off.
• 24:33
  Speaker 2: This next song, it's called Arkansas. This might be Charlie
• 24:37
  Speaker 2: Manson's Opus here.
• 24:39
  Speaker 3: This is a great one.
• 24:40
  Speaker 2: Yeah, it's a weird song. It starts with some girls talking.
• 24:43
  Speaker 2: I'm sure they are some of the girls.
• 24:46
  Speaker 3: I'm sure they never got into anything the farious. I
• 24:48
  Speaker 3: don't know what you're talking about, but it's I said.
• 24:54
  Speaker 3: It sort of reminds me of like the talking in
• 24:56
  Speaker 3: between the tracks. I sure for Rosa the Picchies album
• 25:00
  Speaker 3: Fucking Groundbreaker.
• 25:03
  Speaker 5: Far down Arkansas, there lived Quater with a stubborn job.
• 25:14
  Speaker 3: This one's got some great lyrics. Uh. He says, I
• 25:17
  Speaker 3: got to go to school and learn to be a
• 25:18
  Speaker 3: gosh durned fool. That's that's just that's just good times.
• 25:22
  Speaker 2: Yeah, yeah, that's that's just facts right. There also some
• 25:27
  Speaker 2: really interesting guitar work on this.
• 25:30
  Speaker 5: Yeah, can't traveler down a road?
• 25:34
  Speaker 2: It gets like Delta Blue ship.
• 25:36
  Speaker 3: Happening, can I Yeah, he really rips off a wide
• 25:45
  Speaker 3: range of people. Yeah, from doing like doing like almost
• 25:49
  Speaker 3: like a proto David Bowie thing to Brian Lemon Jefferson
• 25:54
  Speaker 3: Delta Blues.
• 25:55
  Speaker 2: Yeah, yeah, he runs the gamut.
• 26:00
  Speaker 3: He showed them I got to go to school.
• 26:05
  Speaker 2: God, there's fourteen songs on this albums a lot.
• 26:08
  Speaker 3: But it's got none of not one over three minutes though.
• 26:12
  Speaker 2: Yeah, and that was kind of just a consistent thing
• 26:18
  Speaker 2: back in the day when stuff like this was coming out.
• 26:23
  Speaker 2: Like if you listen to a lot of those Beatles albums,
• 26:26
  Speaker 2: most of those songs aren't even over three minutes, but
• 26:29
  Speaker 2: there's so much happening that it seems like they're longer
• 26:33
  Speaker 2: than they.
• 26:33
  Speaker 3: All water well. Yeah, and the and they none of
• 26:36
  Speaker 3: they don't oversee, they're welcome and like they're bag of tricks,
• 26:39
  Speaker 3: doesn't get worn out.
• 26:40
  Speaker 2: Yeah, that's I.
• 26:41
  Speaker 3: Think that's why we like those songs just because they're short. Yeah,
• 26:46
  Speaker 3: if the White Album was, like if the White Album
• 26:48
  Speaker 3: was thirty three and a half minute songs, we'd be like, look,
• 26:52
  Speaker 3: there's a few through longer ones and then like some
• 26:54
  Speaker 3: of that are just like the shit, it's your birthday.
• 27:00
  Speaker 2: That is legitimately why I've never been able to get
• 27:02
  Speaker 2: into bands like Tool. I don't have time in my
• 27:07
  Speaker 2: day for a ten or eleven minute song like that's work,
• 27:12
  Speaker 2: that's it's a lie.
• 27:14
  Speaker 3: Yeah, that's like a whole episode of SpongeBob.
• 27:17
  Speaker 2: Yeah, fun fun. I could get through the entire skibbty
• 27:21
  Speaker 2: toilet series.
• 27:24
  Speaker 3: At your drooping job, look at your job, smile. I
• 27:35
  Speaker 3: have no idea what this song is about, this Arkansas song,
• 27:39
  Speaker 3: but this, oh yeah, this is the one. I want
• 27:44
  Speaker 3: Kanye to like go uncrazy for just like a month
• 27:47
  Speaker 3: so he can sample this song.
• 27:49
  Speaker 2: Yeah, this is called I'll Never Say Never to Always.
• 27:57
  Speaker 2: And you're right, it absolutely sounds like something Kanye would say.
• 28:10
  Speaker 2: Everyone send me and Connor ten thousand dollars just in
• 28:14
  Speaker 2: case that song has some kind of magical properties that.
• 28:19
  Speaker 6: Yeah, here we go garbage dun't.
• 28:23
  Speaker 3: I thought it was like it was like a socialist garbage,
• 28:26
  Speaker 3: like a socialist Daniel Johnston. And this was just like
• 28:28
  Speaker 3: a weird abstract thing, like, you know, romanticizing a garbage dump.
• 28:34
  Speaker 2: Wow, you he's really getting into some like classism stuff here.
• 28:40
  Speaker 3: And you knew he was into upcycling dump.
• 28:45
  Speaker 5: You could feed the well with my garbage dump.
• 28:49
  Speaker 3: You could feed the well with my garbage dump.
• 28:54
  Speaker 2: It's a fun song.
• 28:59
  Speaker 3: I like the range of messages on the album music.
• 29:02
  Speaker 3: We are all just like puppets, mechanical men, manipulated by
• 29:06
  Speaker 3: our based desires.
• 29:08
  Speaker 2: You should need more trash, Yeah, buck, Arkansas, Stop her
• 29:13
  Speaker 2: on your pizza, cross the way, start Carver guars, dumb
• 29:19
  Speaker 2: my Gary.
• 29:20
  Speaker 3: He's talking about getting stuff from the dump for free. Yeah,
• 29:23
  Speaker 3: this is like this is like the Charles Manson version
• 29:25
  Speaker 3: of the song Thrift Thrift shot by Mac Lamar. You
• 29:30
  Speaker 3: ready for the joke. That's that's what I call a
• 29:32
  Speaker 3: cult classic.
• 29:35
  Speaker 2: He got him.
• 29:38
  Speaker 3: There's a market basket and amp bake down here a
• 29:43
  Speaker 3: stand in me. I don't even care who wins the wall.
• 29:48
  Speaker 5: I'll be in cans behind my favorite store.
• 29:53
  Speaker 2: I don't care who wins the war. I'll be I'll
• 29:55
  Speaker 2: be in them cans behind my favorite store. Wo heavy,
• 30:00
  Speaker 2: dumb fucking heavy.
• 30:05
  Speaker 3: I can also see that, Like you know this this
• 30:08
  Speaker 3: album is like a collect like all these songs in
• 30:11
  Speaker 3: some sense probably just serve the larger purpose of like
• 30:15
  Speaker 3: getting teenage bros to fuck you and kill people for you. Yeah,
• 30:21
  Speaker 3: there's there's there's the one we're like, oh yeah, home
• 30:23
  Speaker 3: is wherever you're happy? Aren't you happy here with me?
• 30:25
  Speaker 3: Charlie Manson? And then it's like a few songs later,
• 30:28
  Speaker 3: it's like just see out of the trash, bitch, Come on,
• 30:30
  Speaker 3: what do you mean so boogie.
• 30:31
  Speaker 2: For Yeah, what do you need? You to give you
• 30:32
  Speaker 2: food for Let's go find it.
• 30:35
  Speaker 3: I'll never say never always and I'll always kill all
• 30:38
  Speaker 3: your foes.
• 30:39
  Speaker 2: But then we're coming up on a very ironic title
• 30:44
  Speaker 2: with this next song, which I would argue is another
• 30:48
  Speaker 2: standout on the album. The song is called Don't Do
• 30:50
  Speaker 2: Anything Illegal.
• 30:54
  Speaker 3: Yeah, this one to me is very like like try
• 30:58
  Speaker 3: to be Jim Morrison much.
• 31:00
  Speaker 5: Yeah, don't do anything illegal.
• 31:09
  Speaker 3: Beware of the Eagle, beware okay, in the middle of
• 31:13
  Speaker 3: your back, don't be Illgal the Eagle of the desert,
• 31:24
  Speaker 3: the king Snake, and when the pocupine rides in the
• 31:30
  Speaker 3: sky we will see the baye.
• 31:34
  Speaker 5: Don't do anything, beware of the ego. This got you
• 31:39
  Speaker 5: no fire, Nick, don't do anything.
• 31:44
  Speaker 2: This one also though it sounds a lot like Dylan, like.
• 31:51
  Speaker 3: The but I feel like if you had chat GPT
• 31:54
  Speaker 3: write the lyrics. What if you had chat GPT write
• 31:58
  Speaker 3: the lyrics.
• 31:59
  Speaker 2: Yeah, yeah, I think just in his delivery and kind
• 32:04
  Speaker 2: of the tone of voice is using. But yeah, he's
• 32:09
  Speaker 2: not Bob Diggan. Bob Dylan killed way more people.
• 32:13
  Speaker 3: I want Chuck GPT that just that spits out Charles
• 32:16
  Speaker 3: Manson's best.
• 32:22
  Speaker 2: Chat GPT make me a K pop song in the
• 32:25
  Speaker 2: style of Charles Manson. I would listen to that. Remember
• 32:32
  Speaker 2: when was it BTS that sampled a bunch of Jim
• 32:35
  Speaker 2: Jones recordings on one of their albums.
• 32:39
  Speaker 3: I think it was that's insane.
• 32:42
  Speaker 2: Well, I think it was Jim Jones like saying some
• 32:44
  Speaker 2: civil rights shit, and so they're just like, Oh, this
• 32:48
  Speaker 2: white guy's cool, he's saying the right things.
• 32:53
  Speaker 3: I love that that they just like, We're like, oh, yeah,
• 32:55
  Speaker 3: he's a socialist Elvis, he's got some good ideas on
• 33:05
  Speaker 3: this song, go do anything illegal you can very clearly
• 33:08
  Speaker 3: hear one of the drones singing chanters like interpolate him
• 33:12
  Speaker 3: talking about the man who killed at a minute and
• 33:15
  Speaker 3: eight seconds. So there's very obvious secret messages being put
• 33:19
  Speaker 3: in this album, and it can make you evil or something.
• 33:25
  Speaker 2: Yeah, it definitely feels like these songs some of them
• 33:29
  Speaker 2: had a purpose for sure, and I think you're right
• 33:33
  Speaker 2: that purpose was blow me and go kill some people.
• 33:37
  Speaker 3: Please, yeah, please, That's what I'm getting from the setlist.
• 33:45
  Speaker 2: Slick City is it.
• 33:46
  Speaker 3: Slick City or six City?
• 33:50
  Speaker 2: It says slick oh, but he just said sick.
• 33:56
  Speaker 3: Yeah, that's what I was excuse.
• 33:57
  Speaker 2: Yeah, maybe it's six City. That makes more sense. This
• 34:02
  Speaker 2: is the line as a Charles Manson song title six City.
• 34:06
  Speaker 3: You just said he is talking when I sick. The
• 34:09
  Speaker 3: city is watch TV and it's another it's another party
• 34:15
  Speaker 3: where it's like, well, you know, Charlie, we do we
• 34:17
  Speaker 3: do be doing that. I'm not saying you're the most
• 34:20
  Speaker 3: profound guy in the world, but yeah.
• 34:23
  Speaker 5: Nobody.
• 34:25
  Speaker 3: Rests. Also like you're talking about the city so sick.
• 34:29
  Speaker 3: It's like, well, it's like the Joker saying, oh my god,
• 34:31
  Speaker 3: there goes the neighborhood with them.
• 34:34
  Speaker 7: Yeah, this is another one. This sounds like a specific
• 34:42
  Speaker 7: Dylan song, which is uh, fucking.
• 34:49
  Speaker 2: I think it's it's all right, I'm only dying. Is
• 34:53
  Speaker 2: that the name of a Dylan.
• 34:54
  Speaker 3: SI maybe be too late. You phone me to say goodbye,
• 34:58
  Speaker 3: and it may be too late. WHOA. The two thousand
• 35:03
  Speaker 3: and six esp CD bonus tracks have a song called
• 35:06
  Speaker 3: devil Man and a track called swamp Girl. Oh shit,
• 35:12
  Speaker 3: sounds like I gotta listen to that.
• 35:14
  Speaker 2: Yeah, how are you leaving the outtakes off of this?
• 35:17
  Speaker 2: You know? Yeah, this is a very very important song
• 35:22
  Speaker 2: in a historical sense, because this is the song that
• 35:28
  Speaker 2: the Beach Boys recorded and eventually released on an album
• 35:34
  Speaker 2: called twenty twenty, but they added a lot more instrumentation,
• 35:40
  Speaker 2: they altered the lyrics and changed the title to never
• 35:44
  Speaker 2: Learn Not to Love.
• 35:46
  Speaker 3: They really took the teeth out of the whole thing.
• 35:48
  Speaker 3: If you didn't, if you couldn't have just expected that already. Yeah,
• 35:54
  Speaker 3: they sort of stripped of a lot of it's really
• 35:57
  Speaker 3: charming Charles Manson.
• 35:58
  Speaker 2: This, Yeah, it sounds like a Beach Boys song once
• 36:03
  Speaker 2: they're done with.
• 36:04
  Speaker 3: It, not the caterwauling ramblings of a horny sociopath.
• 36:10
  Speaker 2: And they make one really important change that he apparently
• 36:17
  Speaker 2: was very upset about. He didn't care that they added
• 36:20
  Speaker 2: all the extra instruments to the song. What bothered him
• 36:25
  Speaker 2: was that they changed There's a line where he says
• 36:28
  Speaker 2: submission is a gift, give it to your brother, and
• 36:32
  Speaker 2: the Beach Boys changed it to submission as a gift,
• 36:35
  Speaker 2: give it to your lover. There it goes, and Charles Manson.
• 36:41
  Speaker 3: Hated that interesting. I feel like if I was Charles
• 36:48
  Speaker 3: kmens and I'd probably get pretty but heard about my lyrics,
• 36:53
  Speaker 3: I think this is like not the I think like,
• 36:57
  Speaker 3: look at your game, girl, is such a word beachy
• 37:01
  Speaker 3: Boisey song. I feel like the last track, Eyes of
• 37:06
  Speaker 3: a Dreamer, is a more beach boisey song. This is
• 37:08
  Speaker 3: just such a weird one to steal to me.
• 37:11
  Speaker 2: Yeah, this is a weird choice for the Beach Boys.
• 37:13
  Speaker 3: It's like, I'm gonna go steal Octopus's garden so Ringo
• 37:17
  Speaker 3: can't write it.
• 37:19
  Speaker 2: Yeah, he's got better songs on this album for sure.
• 37:22
  Speaker 3: He's kind of doing his Bob Dylan more like Bob killing.
• 37:27
  Speaker 2: I don't get it.
• 37:29
  Speaker 3: Yes, you too.
• 37:32
  Speaker 2: Big Iron Door is what this called.
• 37:37
  Speaker 3: It's another one where it's he's not big on subtlety necessarily,
• 37:43
  Speaker 3: which I respect. I don't. I don't. I don't love
• 37:45
  Speaker 3: someone who makes me dig through a million metaphors to
• 37:48
  Speaker 3: get to the meaning of their song.
• 37:49
  Speaker 2: Yeah.
• 37:50
  Speaker 3: Yeah, come out with it with.
• 37:55
  Speaker 2: This sunny drink a black coffee with that noise in
• 37:59
  Speaker 2: my mind.
• 38:00
  Speaker 3: Ahead, I do like I like this part of the song. Yeah,
• 38:05
  Speaker 3: but Carly just is like crang bang kronk, crean cring
• 38:09
  Speaker 3: krank boom in pong boom king kong dung tune, just
• 38:14
  Speaker 3: making metallic sounds.
• 38:15
  Speaker 2: Yeah, noise, and this is kind of a cool song.
• 38:23
  Speaker 3: It's a cool song, especially if I feel like if
• 38:25
  Speaker 3: I'd been arrested, I would I would totally vibe with it.
• 38:27
  Speaker 2: I see, I could see him having legitimately been a songwriter,
• 38:33
  Speaker 2: if nothing else, because I could picture Johnny Cash having
• 38:37
  Speaker 2: recorded Big Iron Door. So that is absolutely the kind
• 38:40
  Speaker 2: of ship he would record.
• 38:42
  Speaker 3: I wanted as I put that note just out and
• 38:45
  Speaker 3: that in that fulsome set.
• 38:47
  Speaker 7: Yeah, yeah, absolutely that could be a Johnny Cash song.
• 38:51
  Speaker 2: Yeah, I didn't see you put that in the notes.
• 38:53
  Speaker 2: I once knew a man. The penultimate song, this is
• 39:01
  Speaker 2: very culty to me.
• 39:07
  Speaker 3: I just want to I want to note that whoever's
• 39:09
  Speaker 3: playing drums on this song is actually he's there, please
• 39:12
  Speaker 3: playing a completely different song.
• 39:14
  Speaker 2: Yeah, he's not even listening to the same song.
• 39:19
  Speaker 3: I thought this one was pretty overstated. It's welcome. Yeah,
• 39:24
  Speaker 3: bull up its own ass.
• 39:28
  Speaker 2: Well, because we're almost done with the album. So this
• 39:31
  Speaker 2: is the part where he's like, all right, you'll put
• 39:33
  Speaker 2: up with anything for me, right, how about this song?
• 39:36
  Speaker 2: We're like, yeah, I guess.
• 39:39
  Speaker 3: But he does. Save he does because if he had
• 39:42
  Speaker 3: another song like this quality after this, this is not
• 39:45
  Speaker 3: that good of an album. But he has he has
• 39:46
  Speaker 3: one bang or left in the chamber.
• 39:48
  Speaker 2: Yeah, he ends it strong to bring it home, that's
• 39:52
  Speaker 2: for sure. But yeah, this is.
• 40:00
  Speaker 4: This is sort.
• 40:03
  Speaker 2: Of like when the Beatles would experiment with stuff and
• 40:06
  Speaker 2: miss like they have a few that, like, I don't
• 40:10
  Speaker 2: like within, within You, without You, which is on Yeah,
• 40:15
  Speaker 2: it's just too busy. It's too fucking busy. This reminds
• 40:18
  Speaker 2: me of that a little bit.
• 40:22
  Speaker 3: Yeah, I can hear that.
• 40:26
  Speaker 2: In it. You can tell it's a bad song because
• 40:36
  Speaker 2: I was. I just like did a time check because
• 40:40
  Speaker 2: I was like, oh, this has to be one of
• 40:41
  Speaker 2: the longer songs because it's really wearing me out. Two
• 40:45
  Speaker 2: minutes and thirty four seconds it is how long? Its
• 40:48
  Speaker 2: so not long at all.
• 40:50
  Speaker 3: Feels longer. Yeah, good Charlie. But this is you know what,
• 40:54
  Speaker 3: This is the only song so far to me that's
• 40:56
  Speaker 3: an outright cut, even some of the other ones that
• 40:58
  Speaker 3: have like some weird moments, like the ego song Mechanical Man.
• 41:02
  Speaker 3: I'm like, ah, those are fine, you leave those, you know,
• 41:05
  Speaker 3: That's right.
• 41:06
  Speaker 2: That's I think that one is more cult like than
• 41:08
  Speaker 2: others because it's like not good, So it's kind of
• 41:11
  Speaker 2: a purpose.
• 41:12
  Speaker 6: Oh, this song, Eyes of a Dream, it's a banger.
• 41:30
  Speaker 2: This is gonna be controversial. But I kind of wish
• 41:32
  Speaker 2: this guy just stuck the music and didn't like order
• 41:37
  Speaker 2: people to murder pregnant actors.
• 41:40
  Speaker 3: Yeah. This, this is like if Hitler's paintings were good,
• 41:43
  Speaker 3: Like if you're like, fuck, bro, you really had something here.
• 41:47
  Speaker 2: Yeah. We're doing a Q and a episode of you
• 41:52
  Speaker 2: Don't even like this show later today, And I saw
• 41:55
  Speaker 2: the answers for the questions already, and someone asked if
• 41:59
  Speaker 2: there's like a work out there where I still enjoy
• 42:05
  Speaker 2: it even if I can't separate the artists from the
• 42:07
  Speaker 2: art I'm just.
• 42:09
  Speaker 3: Gonna say this just yeah, this is the answer. Now.
• 42:13
  Speaker 2: Yeah, this will always be there because here's the thing.
• 42:16
  Speaker 2: He didn't kill him.
• 42:19
  Speaker 3: He didn't.
• 42:21
  Speaker 2: Oh wait did he the second time? I don't think so.
• 42:25
  Speaker 2: I don't think the second night idea.
• 42:34
  Speaker 3: This this song reminds me of like, you have this
• 42:36
  Speaker 3: like bleak, challenging album and then at the end there's
• 42:41
  Speaker 3: this like weird optimistic song. It reminds me of reason
• 42:43
  Speaker 3: to believe at the end of Bruce Bringsteen's Nebraska. Oh yeah,
• 42:48
  Speaker 3: which is I would say that this album is kind
• 42:50
  Speaker 3: of like the crazy person's version of that album.
• 42:53
  Speaker 2: Yeah, yeah, this does have Nebraska vibes for sure. Crazy
• 42:57
  Speaker 2: Nebraska guy in his bedroom alone with the guitar, you
• 43:01
  Speaker 2: call it Arkansas. Yeah. You know they're making a movie
• 43:06
  Speaker 2: about the Nebraska album No Ship. Yeah, Jeremy Allen White
• 43:10
  Speaker 2: is going to play Springsteen.
• 43:12
  Speaker 8: Oh yeah, things because there's an electric version of Nebraska
• 43:18
  Speaker 8: that exists, and people are hoping he releases it when
• 43:22
  Speaker 8: that movie comes out.
• 43:24
  Speaker 3: I've heard about that for you for years, Electric Nebraska,
• 43:27
  Speaker 3: but they never, like I guess from what I've read
• 43:30
  Speaker 3: I've they're they're kind of like it's they don't think
• 43:33
  Speaker 3: it's that good.
• 43:34
  Speaker 2: Yeah. Well, I mean that's why he shelved it. But
• 43:36
  Speaker 2: I still want to hear Electric Atlantic City. Come on.
• 43:40
  Speaker 3: I one time was looking at Dick Cheney's Wikipedia article
• 43:45
  Speaker 3: while Nebraska was playing, and I noticed there's like a
• 43:48
  Speaker 3: series of insane coincidences. It's like through the bad Lands
• 43:53
  Speaker 3: of Wyoming he was a senator, like I'll kill everything
• 43:56
  Speaker 3: in my path, you know, Like he's from Lincoln, Nebraska.
• 44:00
  Speaker 3: It's like all this. Yeah, he's born in Lincoln, Nebraska.
• 44:03
  Speaker 2: Yikes.
• 44:04
  Speaker 3: Oh yeah, it's crazy.
• 44:05
  Speaker 2: Anyway, Springsteen was trying to tell us, yeah, we should
• 44:07
  Speaker 2: do an episode about that. So that was Charles Manson's
• 44:11
  Speaker 2: debut album and kind of only album if you're looking
• 44:15
  Speaker 2: for vocals from him.
• 44:16
  Speaker 3: If you're a Manson purist like us, Yeah, yeah, and
• 44:20
  Speaker 3: you don't want to hear that. You don't want to
• 44:21
  Speaker 3: hear the fucking family milking his legacy for a Yeah
• 44:25
  Speaker 3: what could have only been the smallest residual checks of
• 44:29
  Speaker 3: all time.
• 44:30
  Speaker 2: Yeah. I wonder if that album sold. Who knows, But yeah,
• 44:33
  Speaker 2: we're going to do a couple more of these. I
• 44:35
  Speaker 2: think we should do. The Kavorkian album might be challenging
• 44:38
  Speaker 2: because it's just jazz.
• 44:39
  Speaker 3: You want lyrics to, you know, comment on. But some
• 44:43
  Speaker 3: of the John Hankley material might be uh yeah interesting.
• 44:46
  Speaker 2: John Hankley, the Jonestown band I think, has an album
• 44:50
  Speaker 2: out there.
• 44:51
  Speaker 3: Jones Stown's choir Keith Keith Carry was telling me about that.
• 44:54
  Speaker 2: Yeah. So I hope people enjoyed this one, and we'll
• 44:58
  Speaker 2: link to this album in the show notes if you
• 45:02
  Speaker 2: want to go give it a listen for yourself. It's
• 45:04
  Speaker 2: a good album. It's not the kind of thing I
• 45:06
  Speaker 2: would listen to a lot, but I respect the songwriting
• 45:09
  Speaker 2: Charles Manson.
• 45:10
  Speaker 3: If it was on Spotify, I gotta see if it's
• 45:12
  Speaker 3: on Spotify, because if it's on Spotify, I'll throw, like
• 45:15
  Speaker 3: if I'm gonna Anthony Fantana this right now, like I'll
• 45:18
  Speaker 3: throw a big iron door eyes of a Dreamer. Uh
• 45:21
  Speaker 3: you know, I'll never say never. The always Arkansas people say,
• 45:25
  Speaker 3: I'm good is it? And look at your game? Girl?
• 45:29
  Speaker 3: All throw those are might like songs.
• 45:31
  Speaker 2: I wonder if it is streaming, that would be fascinating.
• 45:34
  Speaker 3: Oh no, I wouldn't mind hearing any of those songs
• 45:36
  Speaker 3: come up on shuffle.
• 45:37
  Speaker 2: I bet. I'll tell you what I bet is more likely.
• 45:39
  Speaker 2: And for some reason, my computer is freezing when I'm
• 45:41
  Speaker 2: trying to do this. Of course, but I wonder if
• 45:45
  Speaker 2: eBay has the CD ooh, because people will like bootleg shit. Yep, yep, yep. Connor,
• 45:53
  Speaker 2: buckle up, you're getting a fucking Charles Manson CD. Because
• 45:56
  Speaker 2: here's the thing, there's one. There's an auction going right now,
• 46:00
  Speaker 2: three days left. It's up to five dollars and fifty sevens.
• 46:03
  Speaker 3: The good news the album is on Spotify. It is
• 46:07
  Speaker 3: it is yet. Oh that's I'm about to like all
• 46:09
  Speaker 3: of these songs.
• 46:10
  Speaker 2: Because what I've been doing, I've been trying to build
• 46:13
  Speaker 2: a digital music file collection.
• 46:16
  Speaker 3: I've been doing the same. I had a really bitching
• 46:18
  Speaker 3: one and I just got done reorganizing it.
• 46:20
  Speaker 2: Yeah, so I've been buying CDs and I'll just rip
• 46:23
  Speaker 2: them to my hard drive and then resell them. So
• 46:27
  Speaker 2: I'm gonna buy that fucking Manson CD and rip it
• 46:30
  Speaker 2: to my music player, then have that on my eBay sales,
• 46:35
  Speaker 2: purchase history and buying history Charles Manson.
• 46:40
  Speaker 3: After collecting Mariah Carey vinyls. That is the most Adam
• 46:43
  Speaker 3: Todd Brown music hobby, buying CDs, ripping them and then
• 46:46
  Speaker 3: reselling them.
• 46:47
  Speaker 2: Yeah, I have a pretty solid Olivia Rodrigo cassette collection. Also, I.
• 46:53
  Speaker 3: Was someone born in like two thousand and five dropping cassettes.
• 46:57
  Speaker 2: They're back. They're so much. I like collect them better
• 47:00
  Speaker 2: than albums because you can see what's inside. So if
• 47:03
  Speaker 2: you get like like if you get like different colored
• 47:06
  Speaker 2: version vinyl, you don't you have to open it to
• 47:08
  Speaker 2: see it.
• 47:09
  Speaker 3: And yeah, here I hear that. Do you listen to him?
• 47:13
  Speaker 2: Cassettes? God know, they sound like shit.
• 47:16
  Speaker 3: So it's just like a trinket or like a like
• 47:19
  Speaker 3: a curio.
• 47:19
  Speaker 2: Well, I'll probably resell them at some point, like one
• 47:23
  Speaker 2: of them one of the Olivia Rodrigo cassettes I have
• 47:26
  Speaker 2: as rare as shit. Okay, it pops up on eBay
• 47:29
  Speaker 2: once every like six months or so.
• 47:32
  Speaker 3: Oh they even get the bonus tracks on Spotify. Oh shit,
• 47:35
  Speaker 3: and an interview. I bet that's good.
• 47:38
  Speaker 2: Yeah, yeah, yeah, he's It's a shame he doesn't have.
• 47:41
  Speaker 2: Like I just bought a reissued version of Marley Marls
• 47:46
  Speaker 2: in Control Volume one, which is a classic rap CD
• 47:50
  Speaker 2: or rap album, and on this version, he in between songs,
• 47:55
  Speaker 2: does like a little thirty second like intro and just
• 47:58
  Speaker 2: tells you a little tidbit about It would have been
• 48:00
  Speaker 2: nice if Chuck Manson could have done that on this album.
• 48:03
  Speaker 2: It's a little between the song banter.
• 48:06
  Speaker 3: You know, the serial Killers never there, They never bust
• 48:09
  Speaker 3: out the skits.
• 48:10
  Speaker 2: Can you imagine seeing this guy in concert? Oh man,
• 48:13
  Speaker 2: I bet that would have been intense.
• 48:15
  Speaker 3: Charles Manson, Yeah, I think it would. I think it
• 48:17
  Speaker 3: would have been like a like a Daniel Johnston, but
• 48:19
  Speaker 3: like a menacing quality, Like yeah, you watch it Daniel
• 48:22
  Speaker 3: Johnston Show and you're like, wow, that was just amazing.
• 48:24
  Speaker 3: I'm I'm kind of worried about him. Watched Charles Matt
• 48:26
  Speaker 3: and you She's like, Wow, that was amazing, but I'm
• 48:28
  Speaker 3: kind of worried about us. What you gotta get out
• 48:30
  Speaker 3: of here?
• 48:31
  Speaker 2: Yeah, exactly, So I think that's our episode. We did it. Connor,
• 48:35
  Speaker 2: thank you so much for doing the pod. As always,
• 48:38
  Speaker 2: what do we have to plug before we get out
• 48:40
  Speaker 2: of here? I am on blue Sky Adam Todd Brown
• 48:43
  Speaker 2: dot besky dot social, go follow me there. That's all
• 48:45
  Speaker 2: I got. What do you want to plug?
• 48:47
  Speaker 3: Uh, Conor mcspaden dot behole dot social, it's my grinder.
• 48:52
  Speaker 3: Watch my comedy special Live in Tucson on YouTube. Connor
• 48:55
  Speaker 3: mcspadden live and Tucson check it out.
• 48:58
  Speaker 2: And I think that's it. Let's get the funk out
• 49:00
  Speaker 2: of here. Counters say goodbye, goodbye, goodbye everybody. We love you,