Episode Transcript
[00:00:06] Speaker A: Welcome to what I listened to this week. It's the last episode of 2025.
We're going to kind of move a little quickly here because it's very windy in Boulder county at the moment and stop lights aren't working, and Sergio might have to run to go rescue something being recorded tonight, and who knows if we'll have power. So we'll do a quick round of what's New and Good before we get into the first song. And I know Eric already has something loaded and ready to go. So, Eric, what's New and Good?
[00:00:36] Speaker B: What's good is this year is almost over.
It's been a very challenging year for me for LPM for the country.
I need a spiritual and metaphysical reset.
And Pat McAny is going to be in Boulder next spring.
[00:01:01] Speaker C: Oh.
[00:01:02] Speaker A: Oh, yeah, I got an email about that. Yeah, it was on one of my ticket alerts.
[00:01:05] Speaker B: Yeah. So, yeah, looking forward to that.
[00:01:08] Speaker A: That's fun. I played a song, Pat Metheny song when I was in college in, like, one of the jazz groups I was in. And it.
I'm blanking on the name right now, but I remember the rehearsals for it were very intense because, like, we could not quite get the right sound.
But that's Pat Metheny. He's very unique.
[00:01:28] Speaker B: So I want to say happy New Year to everybody. Merry Christmas, happy Holidays, whatever you celebrate. But I'm tired. I'm ready for this fucking year to be over.
[00:01:39] Speaker A: Yeah, I second that.
[00:01:41] Speaker C: I third of that.
[00:01:43] Speaker A: Yeah. No, I agree.
Sergio, anything new and good other than the year ending?
[00:01:50] Speaker C: No. I'm excited to take a little bit of time off. We're gonna go to Chicago and eat some good food, go to a Second City show, celebrate Christmas.
So.
[00:02:00] Speaker B: Yeah.
[00:02:01] Speaker A: Hot dogs and improv.
[00:02:02] Speaker C: Yeah, it's the best. Best combo. Best combo.
[00:02:05] Speaker A: Yeah. And you're taking the train. We're taking the amateur train from last episode.
[00:02:10] Speaker B: Taking the train. Yeah. Eat a real Italian beef.
[00:02:14] Speaker C: Yeah.
[00:02:14] Speaker B: When you're there. Sure. Because the ones you get out here are just not the same.
[00:02:18] Speaker A: Hot garbage.
[00:02:18] Speaker C: Yeah.
[00:02:19] Speaker B: Yeah, yeah.
[00:02:21] Speaker C: Do you have a favorite or which one you recommend?
[00:02:23] Speaker B: Mr. Beef.
[00:02:24] Speaker C: Mr.
[00:02:24] Speaker B: Beef. Yeah.
Just. Yeah, and do it.
[00:02:28] Speaker C: Yeah, I will.
[00:02:29] Speaker A: Yeah. I can't wait to hear about all the great things you're going to eat.
[00:02:34] Speaker B: What about you?
[00:02:34] Speaker C: What's doing good?
[00:02:37] Speaker A: Yeah. I'm kind of in the same boat as Eric. I think just what's new and good is that I'm just excited in a couple of days to not. Not have work for a couple weeks and to just relax and Be cozy and not have to stress about what's going on professionally and just get things done around the house and not have a set schedule for, like, basically two full weeks, which I'm very excited about.
So, yeah, that's what's new and good for me. I also feel like I need a reset.
I'm looking forward to, like, just completely. Yeah. Shutting down and then hopefully restarting and feeling better.
[00:03:13] Speaker B: Total reboot?
[00:03:14] Speaker A: Yeah, total reboot. Like, you've unplugged it, you've rebooted it.
You've maybe, like, flipped the breaker a couple times.
Yeah, I feel like that's what we need.
All right, well, let's get right into the music.
We're going to have Sergio go first tonight in case he has to skedaddle.
So, Sergio, your song is this.
[00:03:38] Speaker C: Yep. By Rosalia is the main artist. And then Bjork.
[00:03:43] Speaker A: Yeah, Bjork's on it.
[00:03:45] Speaker C: I forgot the last Eve something.
[00:03:47] Speaker A: Eve. Two more.
[00:03:48] Speaker B: Yeah.
[00:03:49] Speaker A: Cool. Well, this is exciting.
Let's dive in.
[00:04:03] Speaker D: Sa.
Samurai.
The only way to save us is through de fighting devention See only.
If I integr I'll fuck you till.
[00:06:21] Speaker B: You love me I fuck you till you love me I'll fuck you till.
[00:06:25] Speaker D: You love me Till you love me.
[00:06:29] Speaker B: Till you love me Till you love.
[00:06:32] Speaker D: Me Till you love me Till you.
[00:06:35] Speaker B: Love me.
[00:06:39] Speaker D: Love me I love you till you love me I love you.
[00:06:46] Speaker B: Till you love me Love me, love me, love.
Wow.
[00:06:56] Speaker C: Yeah. That's bergain.
[00:06:57] Speaker A: That was so intense.
[00:07:00] Speaker B: It was like, wow.
An opera that you'd see under the influence of really bad drugs.
[00:07:12] Speaker A: It was like a condensed opera. Like, it had acts or movements even. I kept thinking about it, like, oh, well, there's movement one, pause, now movement two. And now for something completely different.
[00:07:24] Speaker B: Yeah, it was very.
Not only operatic, but cinematic.
You could see something going on, but it would have flames and demons.
[00:07:34] Speaker A: Yeah. Actually, I thought of Molly. I was like, man, I bet she would appreciate this from a cinematic or maybe like, video game point of view or something.
Yeah. I mean, it was the operatic part at the beginning.
Was she singing? She wasn't. So is she singing English?
[00:07:52] Speaker C: No, it was German.
[00:07:54] Speaker A: German. Okay.
It was kind of hard to understand what she was saying, but, yeah, it was interesting. Especially the part where Bjork comes in because they start layering vocals and it's. It's very. It's like a orchestra kind of. But then it's that kind of, I don't know, coupling with the orchestra. You've got like, the different layers of the orchestra. But then you have the different layers of the voice, too.
But, yeah, it was, like, very intense the whole time. Like, from the second you hit play, it was just like, this is in your face.
[00:08:29] Speaker B: Yeah.
Yeah, it was.
I don't know if I listened to it again, frankly, unless I had something to do that required me to hide a body.
[00:08:44] Speaker A: It does feel very intense. I feel like if I wasn't in a stable enough emotional space, I might not appreciate it as much.
[00:08:57] Speaker B: That was weird. Certainly.
Wow.
[00:09:01] Speaker C: I didn't anticipate that, actually.
[00:09:03] Speaker B: Oh, okay.
[00:09:04] Speaker A: Well, yeah. I mean, I think the other thing, too, I will say, is that I was surprised how short it was, given how intense it was. But it's probably for the best.
But I was kind of expecting this to be some big operatic production that was gonna go on for, like, eight minutes.
[00:09:20] Speaker B: Thank goodness it wasn't.
[00:09:21] Speaker A: Yeah.
Anyway. Yeah. What's the story with this. With this song?
[00:09:28] Speaker C: Yeah. So this is from.
Do you guys know Rosalia at all?
So this is from Rosalia's new album named Lux, which actually came out last month, late October, early November. I was gonna bring this song last month, and I've been listening to this album, their new album in particular, since then.
I think you have to listen to the full album from beginning to end.
So her background, she's from Catalonia. Catalan.
[00:09:59] Speaker B: Catalonia.
[00:10:02] Speaker C: And her first two albums were flamenco, so she kind of brought flamenco to the mainstream.
And then she had a third album, which I think was called Moto Mami, I think, which was kind of popish. And then this one has now kind of blown up.
I think it was on NPR's best album of the year.
Take it how you will. I. I think the whole album is a experience. Like a whole art piece.
[00:10:35] Speaker A: Yeah, it definitely felt like a. Yeah, like this is an exhibition in a modern art museum.
[00:10:40] Speaker C: Yeah, actually, yeah. I wish we could listen to the whole album from beginning to end.
Throughout the whole album, I think she speaks 14 different languages.
[00:10:50] Speaker B: Wow.
[00:10:51] Speaker C: In this one in particular, there were three.
German, Spanish, English.
The first part I have it pulled up translates to, his fear is my fear. His rage is my rage. His love is my love. His blood is my blood.
[00:11:07] Speaker B: Is this about vampires?
[00:11:09] Speaker A: Is it like a concept album?
[00:11:12] Speaker C: I mean, you could maybe say it is. I mean, I've never heard of anything like it. It's, like, so many different genres.
[00:11:20] Speaker B: And. What's the name of it again?
Lux. Lux, yeah.
[00:11:23] Speaker C: L, U, X.
[00:11:24] Speaker B: Okay. I'm gonna put it on my list to listen to.
[00:11:26] Speaker A: Yeah. And now I'm, like, very Intrigued about listening to the whole thing. Now that I know that this is like. And it makes sense that it's so, like, intensely jarring if it's part of, like, a larger story. Because probably taken out of context, it's like, whoa, what the hell is this? But then, like, put in the context of the whole album, it might make a lot more sense and feel less like.
[00:11:47] Speaker B: Yeah. Where is this in the sequence?
[00:11:49] Speaker C: This is like the fifth. Fifth or sixth song in out of how many?
I think, like 12.
[00:11:58] Speaker B: Okay.
[00:12:00] Speaker C: Yeah. It starts off with, like, Spanish, a little bit of English. She sings Portuguese, there's some Japanese. I mean, wow. And the symphony of this song is the London Symphony.
[00:12:13] Speaker A: Wow.
[00:12:15] Speaker C: Anyway, yeah, I just thought the operatic aspect with Bjork's kind of.
You know, I think they slowed down her. Her vocals some.
Anyway, I don't know. People seem to think it's about, like.
Like abusive relationships or something or. I don't know. I haven't gone into, like, the true meaning of it.
[00:12:41] Speaker A: I mean, it kind of sounds like it based on the translation and then that ending part.
[00:12:45] Speaker C: Yes, yes.
[00:12:46] Speaker A: Makes sense.
[00:12:46] Speaker B: Okay, I'm gonna listen to the whole thing.
[00:12:48] Speaker C: I think you should.
[00:12:48] Speaker A: Yeah.
[00:12:49] Speaker C: Yeah. I highly recommend listening to the whole thing.
[00:12:51] Speaker A: My interest is int.
[00:12:53] Speaker B: Yeah.
[00:12:54] Speaker A: Cause like, what. What about it? Did you not, like, just like, how jarring it was or. Yeah, yeah, yeah.
[00:13:01] Speaker B: Really intense for something so small. Yeah.
[00:13:03] Speaker A: When you're emotionally fragile. I'm not saying you are, but if. If one person was emotionally fragile and then it was like, listen to this. It's like, oh, my God.
[00:13:11] Speaker B: Yeah. Just kind of unexpected. Yeah. Which in a way is good.
It was solely unexpected.
[00:13:19] Speaker A: Yeah.
[00:13:19] Speaker C: And she's not an opera singer. I mean, by any means. That's why it's like she kind of does these different genres throughout this album. And it's like, whoa.
[00:13:29] Speaker A: Anyway, interesting.
[00:13:32] Speaker C: On that note, I'm just gonna piece out. Cause I have not heard from John.
[00:13:36] Speaker A: All right.
[00:13:36] Speaker C: I'm just gonna go.
[00:13:37] Speaker A: Well, you can come back if you want to. And then it'll just be the Me and Eric show.
[00:13:42] Speaker C: I'm gonna miss. I'm gonna miss it. I'm gonna listen. I'll listen to the songs later on my drive home.
[00:13:46] Speaker A: Throw it in slack.
[00:13:48] Speaker C: Tell us what you think you can dub me in.
[00:13:50] Speaker A: Okay, sounds good. Bye, Sergio.
And we're back.
[00:13:57] Speaker B: We're so good at this.
[00:13:57] Speaker A: Yeah, we're so good.
And now it's DJ Melanie.
So, Eric, why don't. Now it's just the two of us, which is. Okay. That's Fine. We can have a good combo.
Let's go to your song, which is the movie critic. Is that right?
[00:14:14] Speaker B: Yes.
[00:14:15] Speaker A: Anything you want to preface this with before we listen?
[00:14:17] Speaker B: It's part of the new jazz coming out of Europe. This is a classic post bop quintet, and it's good.
[00:14:29] Speaker A: Okay. All right, well, I'm excited. Let's.
Let's give it a listen.
It.
[00:16:44] Speaker D: Sam.
[00:17:11] Speaker A: It.
[00:17:37] Speaker D: Sam.
[00:18:22] Speaker A: All right.
That was awesome. I really like that a lot.
[00:18:26] Speaker B: So tell me what you think. Tell me your impression.
[00:18:30] Speaker A: Yeah, I mean, you call it. You say new bop.
Is that what you.
[00:18:35] Speaker B: It's classic post bop, but it's modern.
[00:18:38] Speaker A: Modern post bop.
[00:18:39] Speaker B: Yeah.
[00:18:40] Speaker A: Yeah.
It's funny because I last week and weirdly, did not bring this music, but I was listening last week to a lot of old, like, first album, West Montgomery, which is like, old. Old bop. Yeah, early bop.
So it's just kind of funny because I was all last, like. I would say last Thursday, Friday. I was like, in that headspace.
So it's kind of funny that you brought this because it's very reminiscent of some of that, but clearly with, like, a modern twist. I think what I love about it is that it mixes that old and new, right? Like, you've got the classic sounds. You've got, like, a classic bass line. You've got some classic percussion in there.
Sometimes the horns were sort of classic sounding, but then sometimes they would put, like, a modulation on it or put it through a filter. They'd have, like, an echo. And then sort of towards the end, they kind of had, like, a synthesizer come through.
And I really like that mix of old and new.
That was really.
That was really cool. And I think the. Just the movement of.
Had really, really great movement. But what was interesting is that it didn't really have like a.
And have, like, an apex, right. It was just kind of going the whole time. And it was interesting.
It didn't really feel like it needed that apex. It was, like, interesting in and of itself because at every, you know, every couple of bars, some. Something different would come in. Like, they'd put the modulation on the horns or they would put a filter on whatever it might be, which is kind of cool.
But, yeah, it's like old while sounding new and new while sounding old, sort of a thing, which is kind of neat.
[00:20:28] Speaker B: It sounded to me like Post Bitches Brew, Miles Davis a little bit, but sort of harkens back to some earlier groups.
And like you said, it's got the modulation on the horns, but it also had. I mean, it starts out with that nice drum beat and then that bass line going in, it's like, okay, this is strong.
[00:20:54] Speaker A: Yeah, I like it.
[00:20:55] Speaker B: So I found out about these guys. It was in the algorithm and sometimes the robots. Yeah. I do pay attention to what the algorithm says because every once in a while it'll come up with something good. But it's my contention that the best jazz right now, the most interesting stuff is all coming out of Europe and groups like Kokoro and Chewbacca and Florian Pessier and a lot of stuff coming out of Norway.
And Norway has sort of an interesting history because that's where ECM Records is from and they did a lot of expanding on jazz in the 70s, 60s, 70s and 80s.
So this whole album is really good.
[00:21:44] Speaker A: Yeah.
[00:21:45] Speaker B: So if you want to listen to some nice post pop, sort of reminiscent of Miles, a little bit of Bill Evans in there.
[00:21:51] Speaker A: Yeah, you can hear Miles for sure.
[00:21:53] Speaker B: Yeah, that's it.
[00:21:55] Speaker A: Yeah. I really like it. You said they're Europe. Are they French? French, okay. I didn't want to assume because of the name, but it sounded French.
Yeah. I haven't come across these folks before, but I'm definitely going to give them a listen.
I've been in kind of a jazzy headspace, I think, this time of year, which the song I brought is also jazz, so.
But it's at least vocal jazz. I'm glad I didn't bring an instrumental because I almost did and then we would have had two of that.
But it's that time of year where I'm just sitting inside listening to records.
So I feel like jazz is so good for that because it's like you. You're just sitting inside and you're like sewing or knitting or whatever, sitting by the fire, reading a book, whatever. Yeah, it's like the right soundtrack for this time of year when you're. Well, in theory, when it's colder out, not 65 degrees like it was today.
[00:22:48] Speaker B: 3 mile per hour winds.
[00:22:49] Speaker A: Yeah.
But yeah, I really liked these guys. And you said the algorithm just served them up.
[00:22:56] Speaker B: Yeah, yeah, because I listened to a lot of different jazz and. Yep. He said, well, hey, listen to these guys.
[00:23:02] Speaker A: Yeah, well, they did. They did a good job, I guess.
[00:23:06] Speaker B: Yeah.
Cool.
[00:23:09] Speaker A: All right, well, good choice. I like that.
[00:23:12] Speaker B: So what you got, Mel?
[00:23:13] Speaker A: So I brought Billie Holiday.
So we're gonna stay. We're gonna stay in the jazz realm, this song.
So like I said, I've been listening to a lot of jazz lately and I think this one just kind of came up.
I have like A jazz playlist that I listen to, that I curate. And this is one that came up, and I just. I mean, I know the song well, but I just hadn't listened to it in a while. And.
Yeah. And so I was like, oh, yeah, this one. So that's why I brought it.
So I'm not going to say the name because I want to somewhat surprise Eric.
[00:23:57] Speaker B: So.
[00:23:58] Speaker A: All right, here we go. Billie Holiday.
[00:24:18] Speaker D: Good morning, hotties.
You old gloomy sight.
Good morning, hottie. Thought we said goodbye last night.
I turned and tossed until it seemed you had gone.
But here you are with the dawn.
Wish I forget the you but you're here to stay.
It seems I met you when my love went away.
Now every day I stop by saying to you.
Good morning, hearty, what's new?
Stop haunting me now.
Can't shake you know how.
Just leave me alone.
I've got those Monday blues.
Straight through Sunday blues.
Good night. Good morning, hottie.
Here we go again.
Good morning, hottie. You're the one who knew me well.
Might as well get used to you hanging around.
Good morning, hottie. Sit down.
Stop haunting me now.
Can't shake you no how.
Just leave me alone.
Up that those Monday blues.
Straight through Sunday blues.
Good morning, hottie.
Here we go again.
Good morning, honey.
You're the one who knew me when.
Might as well get used to you hanging around.
Good morning, Holiday.
Sit down.
[00:27:11] Speaker A: All right. There it is.
[00:27:13] Speaker B: So let me tell you about my relationship with Billie Holiday.
I love Billie Holiday.
She's a musical genius.
It's hard to imagine that she accomplished everything that she did in 45 short years.
I can't always listen to Billie Holiday because some of her music, some of her vocals are just so.
I mean, she's talking about wearing your heart in her sleeve. She wears her heart on her forehead.
It's just so emotional that I can't listen to it all the time. It just. It breaks your heart to listen to her sometimes, but this isn't one of those cases.
[00:27:57] Speaker A: Yeah, yeah, no, I agree. I agree.
[00:28:01] Speaker B: This is one great vocal, wonderful arrangement. I don't know what. What band that was.
[00:28:09] Speaker A: I looked it up earlier, and then I've already forgotten what it is.
[00:28:13] Speaker B: But the band did a great job.
[00:28:14] Speaker A: Yeah.
Yeah. You know, I feel the same, actually, about her. Like, I have to be. It's weird. She's both an artist that I can go to for comfort, but then also an artist that similar. Like, if. Depending on, like, the mood I'm in, it's not gonna help how I feel about Things.
And so you have to be kind of in the right. The right headspace.
But let's see.
Oh, Bill Stegmeyer's orchestra.
[00:28:51] Speaker B: Bill Stegmeier.
[00:28:52] Speaker A: Yeah. John Simmons on bas, Sid Catlett on drums, Tony Grimes on guitar, Joe Springer on piano, Hank Ross on sax.
[00:29:02] Speaker B: Beautiful band.
[00:29:03] Speaker A: Yeah. Great backup. Yeah. No, agree. So I think. Yeah. So this was recorded in 46. 49.
[00:29:14] Speaker B: Okay.
[00:29:15] Speaker A: I'm mixing those numbers up. So it was either 46 or 49.
[00:29:18] Speaker B: She was still sort of at the top of her game at that time.
[00:29:22] Speaker A: Yeah.
[00:29:23] Speaker B: And as she progresses and, you know, gets, unfortunately, toward her early death, the music just becomes more raw, more emotional.
[00:29:34] Speaker A: Yeah. And I think that's one reason why this one's. Probably doesn't feel quite like that, because it's a little bit earlier.
But. Yeah, I mean, I.
It's interesting, too, because I. When I was looking, when I came across the song again today when it came up and I was like, oh, I should bring this, I was kind of curious, like, what covers are out there. I like sort of poking around. There's one that I do know that Jamie Cullum does on one of his albums with. He does it with somebody. And I'm forgetting the artist that he does. It was like a duet.
And, like, that one's fine. It's pretty good.
And then there's the Diana Ross one from when she played Billy in that movie.
But there's not that many.
There's a fair amount. I think there's a newer one.
There's a newer one with forgetting his name. But he was the trumpeter for Paul Simon.
But he does, like jazz trumpet with Jill Scott singing.
[00:30:35] Speaker B: Chris Bonnie.
[00:30:36] Speaker A: Yes. Yeah. Okay. Yeah.
And, yeah, there was, like, maybe one other one, but there just wasn't as many as I. As I thought there would be, considering it's a Billie Holiday song. But it just made me think, like, I wonder if it's just, you know, I would imagine it's probably pretty intimidating to cover.
[00:30:56] Speaker B: Yeah.
[00:30:57] Speaker A: Billie Holiday song, so.
But, yeah, I think the. I mean, I love the lyrics of the song. I love, like, the personification of heartache being a person who's coming in and sitting down at your table or whatever.
[00:31:13] Speaker B: Hardy could be your cat.
[00:31:14] Speaker A: Yeah, yeah, yeah, exactly.
I don't know. I think about this song a lot of times when I'm, you know, just having one of those weeks which, like, this time of year, it's all the time where you're just, like, struggling to get out of bed in the morning. And the line, the. I've Got the Monday blues Straight through Sunday blues Sometimes it's like, yep, I feel that.
And I just. I love that line so much because it just so perfectly encapsulates, like, when you feel. When you feel like that, those weeks that you feel like that.
I think the other thing that, like, when I first heard this song, I loved it. But then the more I listened to it, the more I love hearing her interpretation of it and how she sings it. And some of the words. Some of the way she sings the words, it feels like she's kind of stumbling through the house, like, tripping over things or just kind of either in whatever.
Either sleepy or drunk or high or whatever it might be, but just kind of like, right when you're so sad and you're just. You're just kind of, like, fumbling through life.
That's what it feels like a lot of times when she sings this song.
And it just kind of feels like when you're not there in your head because you're so sad.
Yeah. So sorry to bring it downer.
[00:32:38] Speaker B: No, that's alarmingly enough.
Sort of happy Billie Holiday.
[00:32:44] Speaker A: Yeah. No, it's true. It's true. On the scale of Billy Holiday, it's like, not. Yeah, it's not too bad.
But. Yeah. I mean, I don't know. This time of year is hard for a lot of people, and I think that, yeah, sometimes this music just hits quite the right way, even if it doesn't necessarily make things better.
You have somebody who you can commiserate with.
But. Yeah. Anyway, Sergio, hope you liked that one on the drive home or whenever you listen to this and didn't make you too sad.
Do we want to do a bonus song?
[00:33:20] Speaker B: Yeah, why not?
[00:33:21] Speaker A: Okay. Do you have one?
[00:33:23] Speaker B: I do not have one handy.
[00:33:25] Speaker A: Okay. I have one.
I was thinking of it as, like, an alternative to bring tonight. It's also vocal jazz. Sorry.
And I know it's an off cover, covered song, but it's a cover of you're gonna make me lonesome when you Go, which is the Bob Dylan song, but it's like a jazz vocal cover.
[00:33:53] Speaker B: Okay.
[00:33:54] Speaker A: But it's one of my favorite. I don't know. I love it.
But I'm also. I will preface this by saying that I'm not the biggest Bob Dylan fan. Like, I recognize it for what it is. And I don't, like. I'm not gonna hate on anybody that, like, loves Bob Dylan, but I'm very, like, I can listen to a couple, and then I'm like, all right, but I'm not like a rabid Bob Dylan fan.
[00:34:21] Speaker B: I know people who worship Bob Dylan at the throne of Bob Dylan and love everything he's ever done.
Not there.
[00:34:29] Speaker A: Yeah. Yeah, so me neither.
And, you know, whatever. That's okay.
So when I heard this song, I was like, oh, my gosh, I love this song. It's such a nice love song or poem or whatever.
[00:34:47] Speaker B: And he has some of those.
[00:34:49] Speaker A: Yeah. And it's interesting. I was doing a lot of reading on this song. Well, maybe I'll save this for after we can listen to it. But I was doing some reading on this particular song because, of course, everybody overanalyzes literally everything Fabulous does. This is not Bob Dylan. This is Madeline Peru. Peru.
I wasn't sure how to pronounce her last name. She's American. But, yeah, she's a jazz singer.
So. Yeah. You're going to make me lonesome when you go. More jazz. It's the jazz episode.
All right.
[00:35:32] Speaker D: I've seen love go by my doors.
Never been this close before.
Never been so easy or so slow.
Been shooting in the dark too long.
When something's not right, it's wrong.
You're gonna make me lonely. Somewhere you go.
Dragon clouds all high above.
I've only known careless love.
It's always hit me from below.
This time round, it's more correct. Right on target. So direct.
You're gonna make me lonesome when you go.
[00:36:18] Speaker B: Go.
[00:36:21] Speaker D: Purple cloven, queen and lace. Crimson hair across your face.
You could make me cry if you don't know.
Can't remember what I'm thinking of. You might be spoiling me too much love. You gonna make me lonesome when you go.
OO Flowers on the hillside blooming. Crazy crickets talking back and forth in rhyme.
Blue river running slow and lazy.
Oh, I could stay with you forever. Never realize the time situations have ended. Sad relationships have all been bad. Mine have been like vales in Rambo.
There's no way I'd compare all those scenes to this affair.
You're going to make me lonesome when you go.
You gonna make me wonder what I'm doing.
Staying far behind without you youu're gonna make me wonder what I'm saying.
Gonna make me give myself a good talking, too.
I'll look for you in old Honolulu, San Francisco and Ashtabula. You're gonna have to leave me now.
[00:38:09] Speaker B: I know.
[00:38:12] Speaker D: I'll see you in the skies above. In the tall grass and the ones I love. You're gonna make me lonesome when.
[00:38:43] Speaker A: Okay, non, non Bob Dylan fan. What do you think of that.
[00:38:48] Speaker B: First of all, I remember Madeline Peru because she had a hit.
[00:38:52] Speaker A: Oh, she did. Okay. I don't really know much by her. Oh, wait, she. What was it called?
[00:38:56] Speaker B: It was like, don't wait too long.
[00:38:58] Speaker A: Yeah, that's right. Okay.
[00:38:59] Speaker B: Yeah.
[00:39:00] Speaker A: I was reading about her today, and it was like she had this, like, big hit single off of this album. Yeah, that sounds right.
[00:39:07] Speaker B: I love that arrangement. I love the way that it layered and built up and just started with the drums and bass and guitar and piano, and then adds the organ and just adds the congas.
That was great.
She did a beautiful job with that song.
[00:39:26] Speaker A: Yeah. I kind of love how there's two points in the song where it kind of feels like she's singing up a hill and then just kind of, like, gently tumbles down the hill.
Which is cool. Yeah. I think.
Do you know the Bob Dylan. Like, the original version of this? Okay.
Yeah. I think I just go to Bob Dylany.
Yeah, it's very. Yeah, it's interesting. So I was reading about it today. Cause, like, of course, everybody's like, oh, well, you know, it was. He wrote it when he was separated from his wife, and then he wrote it for this girlfriend he was dating while he was separated from his wife. And then there's a bunch of people who think it's not even about that. It's about, like. It's like a literature reference because he was reading Nabokov while he was writing this or something like that.
It's like, all right, people.
[00:40:09] Speaker B: Bob Dylan fans have a tendency to overanalyze.
[00:40:13] Speaker A: Clearly.
But, yeah, I mean, I think when you look at the lyrics and, like, you know, you can understand most of them when she's singing anyway, it's just like such a nice love poem. And it can be happy or sad, depending on kind of how you look at it.
But, yeah, I was reading about it, and it's like, you know, this was one of the few. The Bob Dylan version was one of the few ones that he was going to record with a backing band, and they recorded it a million times. And then in the end, he was just like, no, it'll just be me and the bass player, and that's it.
[00:40:50] Speaker B: And I believe it's got harmonica on it.
[00:40:52] Speaker A: Yeah, that sounds right. Yeah.
But, yeah, I mean, again, I'm not really a huge Bob Dylan fan, and dare I say I like this version better than his version. I'll probably be hunted down for that.
But, yeah, I just feel like the lyrics are good in and of themselves, which is Bob Dylan. But then you hear this vocal interpretation of it. Just feels like it has just so much more feeling to it.
But, yeah, I really like it. Also, man, how many songs have Ashtabulah in it? That city in Ohio is just so excited, Right? Is it Ohio? Is that where Ashtabula is? I think so. Maybe.
[00:41:39] Speaker B: I don't know.
[00:41:39] Speaker A: But it's like, how many songs have that place referenced in it?
[00:41:43] Speaker B: Yeah. And that you have to squeeze in there to make the rest of the song work.
[00:41:47] Speaker A: Yeah, yeah. It's very interesting. Like, yeah, lyric for sure.
But yeah. Anyway, it's a little bit more. Slightly more upbeat, maybe.
[00:41:58] Speaker B: Yeah. And on a good note, to end on.
[00:42:01] Speaker A: Yeah, absolutely. That was the goal. Well, I'm glad I had a backup ready to go.
Alrighty. Well, thanks, everyone for tuning in to the last episode of this season, season three.
Appreciate all of our fans in Texas and beyond. Oh, wait, no. They moved, right?
[00:42:17] Speaker B: No, they're moving in the spring.
[00:42:19] Speaker A: They're moving in the spring.
Cool. Well, good luck on the move.
Yeah. If you have something you'd like us to listen to, you can always drop a comment and you can always email us. Helloongmotpublicmedia.org and until next time, bye.
