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0:36

Ladies and gentlemen, welcome to The Right

0:38

Time! A wave sports

0:40

and entertainment original presented by Prizepix.

0:44

My name is Bob Monty Jones. Thanks for

0:46

listening wherever you get your podcasts. Thanks for

0:48

watching us on YouTube. Subscribe, like, rate us,

0:50

review us, give us five stars. You only

0:52

give us four stars. I'm inclined to believe

0:54

you are a hater. It is that time

0:56

of week where we have a guest join

0:58

us coming to us live from an undisclosed

1:01

location because it do kind of look like

1:03

he hired for somebody. The

1:05

best college football writer in America. Check him out

1:07

at channel six. Spencer Hall was going off. Oh,

1:10

nothing much. Yes. Undisclosed location somewhere

1:12

in the American Southwest. It

1:14

could be anywhere. By the way, some stuff

1:17

still closed, but the nation doesn't cooperate. If

1:19

you come out here, they're like, nah, eight feet

1:21

of snow. Sorry, go back in a month. You're

1:24

like, what do you mean eight feet of snow? Y'all do that here. Yeah,

1:27

no, they do that. That's a real thing. It was April

1:29

1st last night, Bo and my Atlanta,

1:31

Georgia dwelling ass walked out and there were

1:33

snow flurries and I was like, no,

1:36

April Fools

1:39

brought to you by the cosmos.

1:42

April Fools. Me. All right. So for

1:44

people who don't know this, I tell

1:46

people this all the time. We may

1:48

even be using it for some of

1:50

our promotional material for this episode. One

1:52

of my favorite pictures of all

1:54

time is me and Spencer at South by Southwest. And

1:56

I got a t-shirt on with a black fist with

1:58

a red, black and green. wristband on and Spencer

2:01

next to me with a Dolly Parton t-shirt

2:03

on and I like tweaked it up on

2:05

Instagram and it looks really striking in a

2:07

portrait of what America could be if we

2:09

would stop tripping but it is part of

2:11

the reason why we are doing this here

2:13

episode because Beyonce put out an album that

2:15

at least we thought was gonna be a

2:17

country music album and I said to myself

2:19

the only way I'm gonna talk about this

2:21

is with Spencer because there's so much to

2:23

try to do the very difficult task not

2:25

to mention the fact it's crazy people we

2:28

are be set on all sides by crazy

2:30

people on this time in part because like

2:32

Beyonce got her crazy people but then it's

2:34

gonna be some crazy white people just because

2:36

because we're kind of dabbling and going in

2:39

lane and I just I got

2:41

you like you got me you know what I'm saying like

2:43

we in this we in this together to try to have

2:45

a emotional yet intellectual

2:48

yet fun-loving yet critical discussion of

2:50

what was at least before it

2:52

came out one of the most

2:54

fascinating records I could ever conceive

2:57

of they told us Beyonce was putting

2:59

out a country music album and then she

3:01

said it wasn't a country album it was

3:03

a Beyonce album I'm like what the fuck

3:05

does that mean Kobe Bryant like like what

3:07

are we getting here you know and then

3:09

we got this album and I don't

3:11

even know how to start a where to go but I feel like

3:13

I'm gonna let you go first so

3:15

when this came out I thought

3:17

okay we're actually going to get what

3:20

what are we gonna get are you gonna get

3:22

somebody who's going to try to make a

3:24

country album all right you're gonna do a

3:27

country album the classic example of this

3:30

is Ray Charles modern sounds

3:32

and country and Western I

3:34

think I have the title right there this is an album

3:36

where Ray was like I'm gonna do a country album better

3:38

than a country art and Ray

3:40

did it is a classic album in

3:43

American music it's a monster that's

3:46

not what she did all right cuz I didn't

3:49

think she was gonna aim I don't think we

3:51

were gonna get daddy lessons right cuz daddy lessons

3:53

is like the first sort of peak at Beyonce

3:55

doing this okay and an idea that in it

3:57

and by the way demonstration that she could do

3:59

it okay yes Daddy Lesson, fine. It's

4:01

also like most great Beyonce songs. It's

4:03

got stomp. Like that's, that's to

4:05

me, if you can stomp on the two

4:07

and the four, that to me is like the definition of

4:09

a Beyonce song. It was proof of concept that

4:11

she could do it. And then she said, it's a

4:14

Beyonce album. So, but

4:16

what I want to ask is this. What

4:18

is this? What is it? Cause

4:21

I have like nine answers on what it

4:23

ended up being and they include, and I

4:25

will just throw out. Cause

4:28

again, you got me and I got you. All

4:30

of these, I'm going to tell you all of these are insane

4:32

answers. There

4:37

is a country album in here. Yeah. You'd have

4:39

to skinny cut it. Cause this is what 27

4:41

tracks total. 27

4:44

is 27 tracks, which by the way, if you release an

4:46

album and there are 27 tracks, do you know what I

4:49

think? Ah, this is the

4:51

second Wu Tang album. Ah, this is the white album.

4:54

Right. And you give me 27 tracks and I'm going to go.

4:57

We got a little high on our own supply. Did we, we

5:00

spent a little too long in the studio.

5:02

Cause we had all that money we

5:06

had. And by the way, it all

5:08

sounds real expensive. It

5:11

does. I love that. It's good

5:13

to my ears, if not to my brain sometimes,

5:15

but I think it's that. I

5:18

think it's got the sprawl and the confusion of

5:20

like the white album. I think that's definitely there

5:23

when I go, Oh, Beyonce,

5:25

if you want a testament to her

5:27

genius, okay. Is this. Live

5:29

things on this album don't work, but she managed

5:31

to have a four way personality

5:33

split in a band with creative differences

5:36

when she's just one person. Yes. That's

5:38

not a fucking album where she's having

5:40

creative differences with herself. All

5:42

right. Which is again, I think it's a backhanded

5:44

compliment when you go, you're so good. You can

5:46

argue with yourself. You didn't even know

5:49

what the like three or four geniuses in your head were

5:51

doing. I

5:53

agree. I, I

5:56

go from where you start to where

5:58

I go here with. I'm

6:00

not exactly sure where we ended up,

6:03

but I have a theory on how we

6:05

got here. Okay, I could be

6:07

wrong I'm not operating from information here because

6:09

quite honestly Nobody's going to risk

6:11

their lives to tell us what the fuck is

6:14

going on with the Beyonce record I can only

6:16

imagine what that NDA look like. I just feel

6:18

like it has maybe the words Draco Shari'em

6:20

like something like that, you know what I'm

6:22

saying? It don't sound like it sounds like

6:24

it sounds like her versus Jolene Yes,

6:28

you know, it's not like consequences of repercussions Like

6:30

like this is like this is the opposite of us

6:32

with the terms of services where we just click it

6:34

and be like Oh, well, whatever we'll just take what

6:36

you get on that I think people just click

6:39

the term of services on hers and no I

6:41

better not say anything to anybody at all Like

6:43

that's that's the safest thing the safest play that

6:45

I could make right? So you're

6:47

not going to convince me That

6:50

an album called cowboy

6:52

Carter Where

6:54

all the imagery that you gave me

6:56

was of her on a horse With

6:59

that long that long wig blonde

7:02

going down her back Right

7:04

and the Stetson hat and the

7:06

American flag you're not going

7:09

to tell me for a second with the first two

7:11

singles of the Texas Hold'em joint and The

7:14

16 carriages, okay? You're

7:17

not going to tell me for a

7:19

moment that the original plan here was

7:21

not to make a country music album

7:23

You're just you're not gonna make me

7:26

believe that because otherwise that shit doesn't

7:28

make any sense Right

7:30

like to say that it is this album with

7:32

some country elements of it If your imaging is

7:34

going to be so over the top country then

7:37

now we're at a disjointed place right and I

7:39

do believe because of the Amazing

7:41

way she nailed it the last three

7:43

times out with the execution of concepts

7:45

that You know you do

7:48

have to answer for the imaging that you put out on

7:50

this record because we gave you all the credit for The

7:52

imagery on all the other stuff right you you do you

7:54

do have to take some credit And honestly that

7:56

imagery does not match this album because I

7:58

think they got it in there and started

8:01

working on that country music album and that shit was

8:03

a lot harder than they thought it was going to

8:05

be. Right? Like Texas

8:07

Hold'em is a country song. You're not going to like,

8:10

hit boy may have been the one that did the beat,

8:12

but come on man. That's the country record. By

8:14

the way, good

8:16

job hit boy. Like respect. Well

8:20

done. Well done. Right. Well done. It was

8:22

a country record. It just

8:24

didn't work out that way. Right? I think another thing

8:26

happened, which you just pointed out, you guys might've had

8:28

a little bit too much time. They said they started

8:31

working on this like five years ago, right? And what's

8:33

going to happen invariably with five

8:35

years to make a record, you're going

8:37

to take too long and somehow not

8:39

have enough time. Because I'm going

8:41

to tell you something that I don't think you

8:43

know yet. I got my copy of

8:45

Cowboy Carter on vinyl in the

8:47

mail. Okay. And one of

8:50

the great things about getting an out

8:52

physical album is you get all

8:54

the materials, you get liner notes, you get

8:56

everything else. Right? Yeah. Uh-uh.

9:00

Not this time. Now

9:02

the only writing I recall seeing on that

9:04

record, I almost want to get up and

9:06

bring it back was on the back where

9:08

it says executive producer Beyonce, Giselle, Knowles Carter.

9:11

Okay. There are no liner notes on the

9:13

inside, no lyrics, nothing like that. There is

9:15

a QR code. And when you put

9:17

the QR code in, it takes you to

9:19

beyonce.com and it's only got credits for Texas

9:22

holding the 16 caratas. That's it. The

9:24

vinyl copy does not have any of

9:26

the Linda Martell songs, right? Anything that

9:29

had Linda Martell's voice on it is

9:31

not on the vinyl copy and Yaya

9:33

is not on there, which to me

9:36

grave error, except I don't think it's an error. Those

9:38

things seem to have been done late. Like

9:40

it sounds like they got all the way to

9:42

the end of this and they were still going

9:44

and they couldn't figure out what exactly it was

9:46

that they had. So then I feel like press

9:49

release comes out or whether Beyonce release comes out and

9:51

ain't a country album. It's a Beyonce album. Cause we

9:53

got to figure out what to call it is now,

9:55

right? I don't think they had like some good stuff,

9:57

but they didn't quite have enough country, but they think.

10:00

figured out how to put all this stuff together and

10:02

it is all over the place. Like the

10:04

white album is a great comparison, but it's

10:06

almost like the stuff is a little too

10:09

similar. You know what I'm saying? Like to

10:11

be the sprawling disjointed record, it's almost just

10:13

a little too similar. But I

10:15

can't think of any time anybody ever put out 80 minutes

10:18

worth of music and didn't call it

10:20

a double album. That's how I

10:23

know that by the time they got to the

10:25

end, they were just like, yeah, okay, cool. Just,

10:27

just go ahead and do that. And it all

10:29

stands. But that's a separate discussion from we have

10:32

songs, right? Cause most people are probably not going to

10:34

think about the record in the way that I think

10:36

about it in that like, and somebody, I think you

10:38

and I both look at it as, Hey, we're kind

10:40

of nerds about this, but also people who create things

10:43

and you know what it is to try to execute

10:45

everything on the creation. And we're looking at that

10:47

like, Oh, that was a little shaky.

10:49

This thing go like it would. You

10:51

could tell it like, for instance, if you

10:53

want to know listener, viewer, what

10:55

one of these is. Okay. Bunch

10:58

of stuff. Sprawl. Big

11:00

ass concept. Not really sure where all the

11:02

paragraphs are going. Like an essay that you

11:04

had to write in school where you go

11:07

paragraph nine was written by an entirely different person.

11:09

I don't know who put this on paper, but

11:11

it has nothing to do with paragraph one. There

11:14

are two framing songs that either end of the

11:16

album, which lets me know that we got through

11:18

this AP English exam and we got to the

11:20

end of the essay and we went, Oh

11:22

no, I don't know. So

11:25

I'm just going to put two bookends in here and squish

11:27

it. Listen, from

11:30

one exam hustler to another Beyonce.

11:32

Well done. Okay. Cause one, I

11:34

don't think they fit, but two,

11:36

you know, they're professional. They're well

11:38

executed. They sound great. They

11:40

don't mean much. I don't get an overarching theme

11:42

cause I don't think there was one. I just

11:44

think at the end she's like, no, no, I'll

11:46

just put these between two slices of bread and

11:48

college sandwich. Yeah. But I mean, it started with

11:51

a theme. If that ain't, if that ain't country,

11:53

I don't know what is. That's how I know

11:55

you're not going to tell me that you did

11:57

not plan to make a country record, but at

11:59

another point. And the words of the

12:01

great philosopher take off, he went back to racking

12:03

that cute shit wouldn't work. It just

12:06

wasn't quite curling over what they

12:08

thought it would. I can also

12:10

say this going back to your

12:12

point that the branding to me and not just the

12:14

branding, okay. Cause we could say that like, Oh, it's

12:16

the Beyonce album. She wins that

12:19

argument. The actual personnel listed here

12:21

on call outs. You do not enlist

12:23

the services of one Willie Nelson

12:25

and one Dolly Parton. If one is not

12:27

aiming at a certain target. Okay.

12:30

Yes. And by the

12:32

way, Willie, not those two, not those two

12:34

felt it was so calculating, right? Like calculating

12:36

it away from like, Oh no, no, we're

12:38

not going to do this. Where Willie Nelson

12:40

being like, sometimes you just need somebody to

12:43

trust to tell you it's some cool shit.

12:45

Like, Oh, no, you gave

12:47

the game away. You just gave the game away

12:49

right here. You gave the game away with the

12:51

dollies. Like, no, we don't need to get his

12:53

game away. We didn't need that. Just roll with

12:55

it. Yeah. It's not clear. If I was going

12:58

to say that, okay, for anyone listening to this

13:00

is like, hi, son fair, or I love Beyonce

13:02

and you're pissing me off. Let me tell you,

13:05

I like Beyonce too. I don't

13:07

think it's real focus. And I think anyone listening

13:09

to it would have to agree. And

13:11

if you have one big argument, I go 27 tracks,

13:13

27 tracks. If

13:16

you had managed to maintain a singular focus

13:18

over 27 tracks the entire time,

13:20

you would achieve something that like no one

13:22

else was done. No one, I don't care.

13:25

It like it's so long and it's so

13:27

diffused. And it's very interesting to me because

13:29

there is a country album. If you skinny

13:31

cut it, like this is now the entertainment. And

13:33

this is by the way, how I know that

13:35

it's an unfocused thing where they, I think they

13:37

missed whatever mark they were aiming at because there

13:40

is a country album. If you start cutting it,

13:42

we're going to have these playful edits where we

13:44

go through and go, okay, the actual cowboy Carter

13:46

album is these seven tracks, right? Or these eight

13:48

tracks. Uh, and then there's this other stuff

13:50

that's like, I think she does something very interesting. We can

13:52

talk about this. I think she does something very interesting toward

13:54

the second half of the record, where I think she hit

13:56

on something. And for like three or

13:58

four songs and they just ran out. of time. By

14:00

the way, why you run out of time when you're a

14:02

Beyonce? This. You're an industrial complex all

14:04

by yourself. The Beyonce industrial complex

14:07

moves with a lot of money, a lot

14:09

of weight, and at one point the Me

14:11

project becomes a We project, and that's when

14:13

you start running out of time because you

14:15

go, oh, there's a record company attached, and

14:17

there's so many producers attached, and

14:19

so many musicians, and so much crediting. I

14:22

think that's why the credits and everything got

14:24

rushed because at the end they did run

14:26

out of time because producing an album like

14:28

this, 27 tracks. You didn't do this on

14:31

a MacBook somewhere in a cabin in northern

14:33

Wisconsin, like your Bon Iver, right?

14:38

You did it in the factory, and the factory

14:40

requires workers, and at one point the quarter lease

14:42

come up and they go, hey, we got a

14:44

due date. Y'all need to get ass moving. Yes,

14:47

but I tell you this, it's got jams. I

14:49

will go through what I say, oh, we got

14:51

jams here, right? I think the 16 carriages joint

14:55

is a different kind of jam, obviously, but I

14:57

think that one is really good, right? I

15:00

think that one's the bodyguard joint. I don't

15:02

fully know how I feel about it in

15:04

every way, and I am assuming that that's

15:06

Rafael Sadiq on the bass based on what

15:08

I can glean from the credits because it's

15:11

a million names on it. It's produced by

15:13

Rafael Sadiq, and I'm assuming that Rafael Sadiq

15:15

is playing the bass or whatever it is

15:17

that he produces, and he kills it, and

15:19

that's the one track that the vinyl version

15:21

I felt gave me a much different feel

15:24

than the digital version because the vocals

15:26

didn't come in as hot, I felt

15:28

like on the vinyl as it did

15:30

on the digital, and they're fucking perfect.

15:33

Perfect. The whole vibe on it, and she

15:35

wants you to know, by the way, I

15:37

went through and looked at credits from the

15:39

last three albums, she wants you to know

15:41

that she does her own vocal production because

15:43

she is listed as the vocal producer on

15:45

every song on all those albums. She wants

15:47

you to know, ain't nobody telling her how

15:50

to jump on these tracks, and she jumped

15:52

on that one. Perfect. Yes, perfect. So

15:54

yeah, let's just get the blanket compliment to

15:56

the entire record. The vocal arrangements are nuts.

15:58

Like I haven't. really I

16:01

haven't thought about this in a non-beyoncing

16:03

context since listening to like a Janet Jackson record

16:05

where you go how many tracks did you put

16:07

down how did you put this

16:09

together like vocally it's an

16:11

incredible record and the can't

16:14

sing her ass off allegations cannot be

16:16

denied no yeah great the

16:18

spaghetti joint I don't like rapping Beyonce personally

16:20

that joint bangs bangs I tell you bangs

16:22

and it's not on the vinyl because it's

16:24

one of the Linda Martell joints the

16:26

the Miley Cyrus one yeah

16:28

how okay how do you feel about how

16:31

do you feel about Miley Beyonce together I

16:33

say how do we feel here's my question

16:35

because Beyonce did the Vulcan production how

16:38

but what role did ego play

16:40

in the vocal production on doing

16:42

the song with Miley Cyrus because I'm gonna

16:45

tell you right now if Beyonce is playing

16:47

with I'm gonna get my here and go

16:49

toe-to-toe with Miley Cyrus my question there would

16:51

be what is plan B because plan A

16:54

might not be the plan and look Miley

16:56

Cyrus is an idea to me right I

16:58

watch done that Nickelodeon stuff or whatever

17:01

I never listened to her music I

17:03

knew who she was like partying USA

17:05

whatever man at the 40th I

17:07

think 40th anniversary the Saturday Night Live they

17:10

had her perform and I think she was

17:12

doing his covers album and she got up

17:14

there and she sang Paul Simon's 50 ways

17:16

to leave your lover and I was like

17:19

oh my you're like

17:21

I'm in trouble yeah you are the wind when she

17:23

opens her

17:26

mouth you're like oh we're in trouble like

17:28

she's gonna do whatever she wants to do with

17:30

us because she's been doing this longer than I

17:32

know and better than

17:35

I know Miley against her

17:37

it's interesting because on a country song

17:40

you can't smoke more cigarettes than Miley Cyrus

17:42

like you can't sound like she's 31 and

17:44

she sounds like she's 50 which I

17:47

love the Greg Allman effect where you go how is

17:49

this young person sound like they have been through so

17:52

much and

17:54

in Miley's case I think that's because she

17:56

has but additionally it's because she

17:58

has been singing For as

18:00

long as Beyonce it may be longer and

18:02

definitely in this genre longer and there's a

18:04

video if you want to go look at

18:07

it go just my lisa is jolene go

18:09

look at it okay she's a teen and

18:11

she's doing jolene and it sounds like she's

18:13

had her heart broken so putting yourself up

18:15

against her in this context. Is

18:17

bold i don't think there's a one or

18:19

lost thing the most interesting thing to be

18:21

is this their voices aren't that far off

18:23

i was talking with with holly about this

18:25

their voices aren't that far off in terms

18:27

of timber. And yet they play together

18:29

it's a it's a wonderful song i

18:31

think it's one of the better songs on the

18:34

album i think it

18:36

was indicative of what this album could have

18:38

been if they had steered straight into okay.

18:41

We're aiming at this target and we're absolutely going

18:43

to hit it rather than trying to either reinvent

18:45

the genre or do something entirely different. Yeah like

18:48

it was delightful right yeah i

18:50

was enjoyable and i felt like me

18:53

and my man was talking about this that

18:55

a lot of this album rather than feeling

18:57

intentional feels calculated and you can kind of

18:59

imagine the video here of them holding hands

19:01

or you can imagine the award show performance.

19:03

Where they do this together and it's done

19:05

in such a way that is like bringing

19:07

in the crew right like hey it's my

19:09

it's my lead it's beyond say oh it

19:11

ain't like each other i kind of would

19:13

like to see a little a little bad

19:15

so right like a little back and forth

19:17

like. This could have turned out like michael

19:20

jack's vision of bad i can't remember if

19:22

i talked about this here or somewhere else but

19:24

you ever heard press tell the story about him

19:26

telling mike that they weren't gonna do bad together.

19:29

No so people don't realize that

19:31

the video with wesley's nights in the bad

19:33

video it was supposed to be prince and

19:35

it was basically going to be them going

19:37

back and forth like i'm bad no i'm

19:39

bad now of course. Whoever thought

19:41

that this was the idea that prince would go

19:43

with i don't think they had been paying very

19:45

much attention he wouldn't even say we are the

19:47

world with you motherfuckers i have no one no

19:50

idea if you. I don't

19:52

know why why do i think i'm

19:54

more special than the world right he's

19:56

like he wasn't coming over there for

19:59

this star beneath the. Would be if we

20:01

probably would go but overhear just as you

20:03

got a lead single right and it's so

20:05

pretty well at the the goods right? So

20:07

to uproot the gop, break the law the

20:09

have any better go do to solve as

20:11

far as lot is your but his mind

20:14

and apply Ccc zz be a problem that

20:16

that's where we got a proud of one

20:18

who rebels go via google be sing in

20:20

his life because I'm that thing in his

20:22

you a you are definitely not thinking that

20:24

to me for her face group of out

20:27

of luck. On. That note

20:29

of that know. Let's. Go ahead now.

20:31

when I say these things about country

20:33

as a has to be under tell

20:35

you there are trends. And. It's and because

20:37

country music like any genre can be a little

20:39

formulaic, we were aiming for the country. Think there

20:41

are two kinds of do what you can do.

20:44

Okay, between two women between to him, one

20:46

of them I think would have been uncomfortable.

20:49

For. The current framing of Be Unsafe Character and

20:51

Song which is. The. Boys my A

20:53

does he love you. Okay,

20:55

smoke, that is about a third

20:57

the repo. My second wind up

20:59

martin can ever heard of that

21:01

song. You. Add don't

21:03

think she was gonna do one of

21:06

those songs of there's already a little

21:08

bit of that on the album. okay

21:10

he has already quite a bit of

21:12

that's and if you want to go

21:14

back a couple album is definitely a

21:16

lot of lot of it. so we

21:18

weren't gonna do a better song with

21:20

Miley Cyrus. okay that was it was

21:22

all I had not thought it is

21:24

bad as that do wet it's somehow

21:26

make a bit people is that it

21:29

was over Jay Z O bad that

21:31

video right away or oh bet. right?

21:34

That's to me that that's almost a better

21:36

wrestling level move of let's to steer this

21:38

didn't have a tear jerker uma to make,

21:40

this was just make this work to shoot.

21:42

Yes, I don't think they were gonna do

21:44

that right so it's a lovely variation. I

21:46

think they chose a nice little like as

21:49

you're cool now you're caught like that. That's.

21:51

great that's great it's also fascinating to me

21:53

and i think like a nice note you

21:56

are nice note here okay it's nice about

21:58

these lies the so here They

22:00

were both like like because a good bit of

22:02

the actually affecting stuff on this is Beyonce talking

22:04

about when she's unhappy which by the way is

22:07

when country does things best country's not great when

22:09

it's happy it's not it could be good all

22:11

right when you could be grateful right but um

22:14

is anyone who's listened to i don't know

22:16

Sturgill is anyone who's listened to i think

22:19

even Casey Musgraves on a more like recent note

22:21

Casey when she's happy i listen to Casey Musgraves

22:23

new album and it's great it's fine do you

22:25

know how many times i'm going to re-listen to

22:27

it not a lot because you know what Casey

22:30

Musgraves has done she's figured things out she's happy

22:32

she's got a nice skin routine everything's going well

22:34

and you know how interesting i find that yeah

22:36

it's marginally interesting that interesting but when she's like

22:39

high as hell and and

22:41

things aren't like things either she's like thunderstruck

22:43

and love or heartbroken yeah that's really interesting

22:45

and unfortunately for me that's what i find

22:47

really interesting in the song and

22:49

i think that that both of

22:51

them when Beyonce sings with

22:53

actual affect on this album when i think she actually

22:55

gets to the hardest thing and then

22:58

moves me which by the way i will tell

23:00

you this album made me cry like like like

23:02

twice the first time i listed maybe tear up a

23:04

little bit once that i'll take back

23:06

and once that i won't and and

23:08

it's when she's thinking about you know like she

23:11

was basically the breadwinner what 16 yeah

23:14

for the family 15 or 16 you

23:16

know and and Miley Cyrus to a lesser

23:18

extent in her own family but individually i

23:21

think also had a juvenile work

23:23

situation that was not ideal just nice they're both

23:25

here it's nice they're both here and thriving it's

23:27

a great point like it's a it's a good

23:29

song it's an interesting song it is again like

23:31

to me a bit of a calculation but it

23:34

counts to me as not that's a winner like

23:36

like i see i see where i wish i

23:38

wish this album just had a few more slappers

23:40

because my next jam is that yaya is a

23:42

slapper dog not to

23:45

be confused with a snapper but it is a

23:47

slapper it is and

23:49

can i go ahead and just plant one little earworm

23:51

that's ruined uh a couple of

23:53

days already but i'm gonna go ahead and tell you this i

23:56

want you to hit beat for yaya and then

23:58

hear this right about now The

24:00

Funk Soul Brother, check it out now.

24:02

The Funk Soul Brother. It sounds like

24:04

Rockefeller's Gang. And I don't think that

24:07

is an insult. It's almost a compliment.

24:09

It is a, I don't

24:12

know, Juke Joint, surf music influence jam.

24:14

I think people think that's a sample.

24:16

That's not. I believe that's Gary Clark

24:18

Jr. playing guitar on there, right? It's one of my favorite

24:20

things is when you play something to make it sound like

24:22

a sample, right? It's live. Yaya

24:25

is great. And it's also, I think, a

24:27

great... It's what this album, I think, could

24:29

have been at its best, which is a

24:31

combination of an existing thing, a

24:33

little bit of an Americana homage, and then something

24:35

Beyonce does better than anyone else, which is the

24:37

call and response giving orders song. If Beyonce is

24:40

telling me what to do in a song or

24:42

making suggestions with a call and response, that's it.

24:44

There is none better. She's the best at that.

24:46

Let me tell you what Yaya was my reminder

24:48

of, okay? To put Beyonce

24:50

in the same sentence with Tina Turner

24:53

is an insult to Beyonce, not

24:55

to Tina Turner. That's

24:57

how cold Beyonce. That sort of song, when

25:00

I hear that, I'm like, oh yeah, that's what we

25:02

worked. To me, that is. It's cool

25:04

when you get to all the deep artistic stuff,

25:06

but Renaissance bangs so hard to me because it

25:08

banged, right? I put her in a place where

25:10

the reason is that this is supposed to slap.

25:12

You all need to show me what a great

25:14

art... Nah, yeah, yeah, yeah, yeah, whatever it is,

25:16

man. I'm here for slappers. That joint is a

25:18

slapper. The Desert Eagle joint, the me and you

25:20

are still waiting to find out who produced it.

25:23

That one with that Larry Graham,

25:25

whoo, whoo, whoo, whoo, whoo, that's

25:27

a slapper. It's not long enough.

25:29

It's not long enough. It's not long

25:32

enough. It's not. That's what I'm trying to

25:34

figure out who after a minute 30 of that was like, nah,

25:36

nah, nah, we out of there. Boy, let me tell you.

25:39

It's nasty. Soft kisses on

25:41

some fat lips, buzz it open and

25:43

eat your breakfast. We're

25:46

not playing on this one. No, no, no. This

25:49

is another thing that she's great at,

25:51

which is Hornet Beyonce. It's also

25:53

like very, very strong. There's like four or five

25:55

songs on here where you just go, mr. Carter.

26:02

Yeah, well, what I want to

26:04

know is who writes those, right?

26:07

And I say that because I can't really

26:09

tell from the credits all the time, but

26:11

like, is it a man who writes those?

26:14

Is it a woman who writes those? Which

26:16

is to say, like, is

26:19

there some dude who gets the pleasure of, I'm

26:22

going to write this song about how Beyonce

26:24

wants to give it to me? Yeah.

26:28

Like, that's a great job. That's a

26:30

fantastic job. And it's something that

26:32

she nails. Just

26:35

in terms of like, you know, there's just

26:37

different things that people, that vocalists say that

26:39

just come across with more conviction. And

26:42

she is, again, as good

26:44

or better at that than anyone else.

26:46

I wanted to point out one thing about

26:49

Desert Eagle. I suspect Alchemist was a consultant

26:52

on that because Alchemist is the only person I

26:54

know who will put a minute to a minute

26:56

and a half of the hottest beat you've ever

26:58

heard and go, enough. You're like,

27:00

oh, how unfortunate is that? You just made

27:02

the best beat anyone's ever made. And he's

27:04

like, nah, you get 45 seconds. Just

27:07

a touch. Just a taste. Like,

27:10

that was the last song of the

27:12

vinyl on that side. I'm

27:14

just like, why? Why? Okay. This,

27:18

this, okay. You're going to do that to us. That's fine. I

27:20

think for me, like, I don't love the Riverdance

27:22

joint. Like, I like from yah-yah till the end

27:24

of the record. I like it a lot. Like

27:26

I think there's a dope, like my brother said, it's

27:28

like three or four EP. I think there's a dope

27:31

EP from that end, which is about 20, 30

27:33

minutes, right? That's why it feels

27:35

like a couple albums got jammed together in some

27:37

ways. Okay. So we're

27:39

going to get to Spencer's Grand Theory of this album,

27:41

part two, which is one, there is the part one

27:43

is that there's like a seven or eight song country

27:46

album of quality in there, right? And that, that if

27:48

you'd given it a little more room to breathe and

27:50

focused it a little bit more, I think you would

27:52

have ended up with a great country album. The second

27:54

is this, that there is something that she is doing

27:57

on those last five to six songs. That

27:59

sounds like her making. her own weird country

28:01

influence, Kid A, right? Because there are

28:03

parts, like I was, once you take

28:05

that turn into Two Hands to Heaven

28:08

and Riverdance, there's parts that sound like Tom York

28:10

making an album in a closet in 2005, right?

28:14

I got a little drum machine, I got a

28:16

weird synth, and I'm just gonna make it hot.

28:19

There's a little bit of that there, which is

28:21

why, like, I will ride for Tyrant because I

28:23

think Tyrant is something different. I think it took

28:25

her 20 songs to

28:27

warm up and then over, like, the

28:30

last, like, five tracks, she made something

28:32

which was her own. So

28:34

I think there's two albums there, and I think one

28:36

is this, like, mutant sort of techno

28:38

country album that she could have made, country influence

28:40

album. That is the Beyonce album that I think

28:43

she's talking about. And then there's this kind of,

28:45

like, more traditional country album on the side. And

28:47

I think by sort of hitting both of those,

28:49

you ended up missing the target. You aim for

28:51

two things or three things, and you end up

28:53

missing the one thing. Yeah, it's not I got

28:55

two quarterbacks, you got none sort of situation. Tried

28:57

to do everything in the end, kind of in

28:59

a way, didn't did nothing. Like, I like the

29:01

way Tyrant sounds, I didn't think it was, like,

29:03

spectacularly written, but I like how it sounds. You

29:06

know, we got some Dolly vocals early in it,

29:08

and so we can get to that. But we're gonna stop,

29:10

we're gonna sell some stuff, we're gonna come right back, talk

29:12

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32:59

That's it. There's a kind

33:01

of sweet, dumb, willfully dumb country

33:03

song where you say things like, I

33:05

wish I was a pocket on your

33:07

jeans. There

33:10

is, especially in duets, that's present.

33:12

And I thought that's actually like, yes, it

33:14

is too on the nose. It's

33:16

also really well executed. So I don't

33:19

feel great about it being posed alone for some

33:21

reason. But by the way, I don't know

33:23

why I'm supposed to be mad at them. I just am. That's one

33:25

of those things where people go, oh, I'm posing alone sucks. And I'm like, yeah, it does. But

33:27

I got to think about it. I go, I'm

33:30

not real sure why I'm like, I think I know why.

33:32

And I think you're about to say it. Well,

33:34

I mean, my thing about him always is, man,

33:36

he just did the thing. And

33:39

I'll always give him an credit for this because

33:41

he never did the thing. And the thing is,

33:43

when any of these white rappers finally get to

33:45

a point and then somebody comes

33:47

down from the mountain on high and they

33:49

hand them that acoustic guitar and they say,

33:51

now it's time for you to achieve your

33:53

destiny, right? Like, I don't know if they

33:55

gave an acoustic guitar to Machine Gun Kelly,

33:57

but he did the same thing. Everlast, made.

34:00

that move Justin Timberlake in his own way tried

34:02

to do it except I guess his lineups have

34:04

been too fresh before and it was rejected when

34:06

he tried to take his ass out to the

34:08

woods or whatever it is but like I found

34:10

Post Malone to be so unremarkable as a rapper

34:13

and then I guess I

34:15

mean he's doing this thing my problem

34:17

with him being here is this

34:19

to me goes into not just

34:21

the brand of Beyonce but the legend

34:23

of Beyonce the mythos of Beyonce that

34:25

she is absolutely built and to

34:29

and we'll talk more about Blackbird in a second

34:31

but to take all like those young black country

34:33

singers or those black female country singers and to

34:35

put them all on the same track that didn't

34:37

even a country track but you're gonna come out

34:39

here and do a whole duet with Post Malone

34:41

it just feels very calculating and I don't I

34:44

it does not for me it runs counter

34:46

to what we have seen from her for

34:48

the last 10 years does that make sense

34:51

yeah you got all that money by the way you could

34:53

have had three or four guys in there to do that track

34:55

right you could have feeling and this yeah

34:57

you can't tell me Post Malone's got the best vocal

34:59

on there you can't all right I

35:01

would have liked to see her do something like

35:03

I mean not for that song per se but

35:05

like call George Drake call like you know

35:09

what's Chris Stapleton where we're good people

35:12

yes yes where was the

35:14

person I know you could take across the tracks right

35:17

you know how much black people love Chris Stapleton you

35:20

know if you play Tennessee whiskey at a bar that

35:22

is entirely black people do you know what you get

35:24

a sing-along a great

35:26

one no we're busy and let

35:28

me tell you what that would have got

35:30

you stacks and stacks of Grammys it

35:33

would have gotten you all the Grammys like I

35:35

know you're not gonna call my guy right I

35:37

know my guy's schedule is not the one to

35:39

call though goddamn I would have loved to have

35:42

heard it right I know I love you I

35:44

love you Sergil you're too damn weird okay you

35:46

admit it listen you know when Sergil is out

35:48

certain when Sergil like on a record open to

35:51

record by being like yeah I do hallucinogens CMA's

35:53

we're never calling you just never the man's it

35:55

and for Beyonce demands that three bluegrass albums In

35:57

a row like this. Dying

36:01

to take this as a

36:03

eighty two or three of

36:05

them both wants and needs to

36:08

Minutes and twenty seconds to make

36:10

you weep. Okay, It's you

36:12

have it in years and seated call

36:14

him to was a call him sit

36:16

and talk she didn't call what I

36:19

would call the Costco circles which is

36:21

Chris Stapleton know best of goes great

36:23

with of they put their for the

36:25

masses them for the people architect Stapleton

36:27

places that circle can't go and you

36:29

didn't cause you didn't call George Strait

36:31

right dangling either where they all busy

36:33

for five years I'm just sitting here

36:35

to fantasy series of my head going.

36:38

Blimey Go super basic. you didn't

36:40

call like like Luke Combs. Ray.

36:43

I didn't call you didn't call least like. Like.

36:46

That that to me is like who is that? That's why

36:48

I'm like I don't know if you had to be this

36:50

calculator. I don't know if you know like what was. What?

36:52

Was the hurt? Was this the best option? It's still

36:54

a good song and it's to me I think one of

36:57

the better When you go things that sit in country

36:59

okay, that's what you're aiming for and I think you and

37:01

I both agree that's what you were aiming for and

37:03

then you can have missed and we had to refrain. If

37:05

that's what you were aiming for, there is a great.

37:07

Tradition. In country of having these like

37:10

goofy songs and they hit it real well.

37:12

Another thing by the way that I bet

37:14

I thought would have fit real wealth is

37:16

that when you talk about heartbreaker and you

37:18

talk about how you really feel, country has

37:20

this great counterintuitive thing where you are saying

37:22

one thing that you've very obviously mean the

37:24

other thing walk in after midnight There was

37:26

a walk after midnight. Happy go lucky skipping

37:28

song. I go out walk and after night

37:30

searching for you. right? And

37:32

I feel I start to see a weeping

37:34

willow current on his pillow. Maybe is crying

37:37

for me. Hello Walls by Willie Nelson. Where

37:39

you go where your life sucks right? You

37:41

got nobody, You been drinking, he broke right?

37:43

You wake up know? Hello Wall. And.

37:45

The walls sing back to you hello like that

37:47

that. A lot of that kind of humor as

37:50

she has a little bit of that by the

37:52

by the intro to ya Larry Yeah country. I

37:54

like. Great. By feel like we

37:56

miss these kind of things that like. They.

37:58

Almost hit on on that post. The Law Track which

38:00

is again still pretty good. He is or

38:03

bad is is like this of by

38:05

boggling visited the are like after ten

38:07

years of nail and get all the

38:09

solo I was right were every decision

38:11

was perfect every A and are call

38:14

was perfect Every video you decide do

38:16

everything was perfect. their remove the just

38:18

made me be like. Whose.

38:20

Idea was this blend bird away as

38:22

we talk about that, they they're expensive.

38:24

You got a blackbird cover, you have

38:27

a Interpol. They should have good vibrations

38:29

which is kind of unnecessary, but I

38:31

assure you. costs a lot of money.

38:33

The lot of things that cop a

38:35

lot of money. but. To. Possess.

38:38

Do a version of Blackbird like as as a

38:40

version they don't me like I didn't I didn't

38:42

think that there was any. I. Didn't

38:44

see where the push was on it like at as

38:47

about was a good of the very interesting call that

38:49

I don't think I would have made. I'm

38:52

not. I. Will tell you the i'm

38:54

not the person asked about this because I generally

38:56

think covers are ways to time. Okay,

38:58

really A do I think oh yeah I don't

39:00

really know at this person and I say this

39:02

because of the most people do a whole lot

39:04

with them. right? I don't think

39:06

most people push them. I don't think

39:09

most people if you just wanna do

39:11

blackbird which by the way they did

39:13

perfectly you cannot do a better knock

39:15

on. note for not blackbird by arrangement

39:17

by execution are and it by the

39:19

way by calculation because it is a

39:21

beautiful statement. When you take you know

39:23

what it is in aggregate on our side right?

39:26

Bad. Well I've got a buddy. minutes add a

39:28

bit. He did not believe that he believed the

39:30

Paul Bacardi does cable with his interpretations of this

39:32

is a solid dedicated Black women. He does not

39:34

believe it when I do. However, Do our job

39:36

Rocket! That's right here. It is bad for

39:38

your image and I will go back and

39:40

have a daughter to Paul about of you said

39:43

it, beggars Sixty eight or whatever he's like. I'd

39:45

never heard this. it fills up so I

39:47

sort of of so boat if if you

39:49

do something. And somebody comes up to goes.

39:52

would you think it's about this much larger

39:54

more important thing that the song or essay

39:56

you wrote would tie and beautifully are you

39:58

saying no was no you know Yep. I

40:01

did that. What I meant to do.

40:03

Somebody left a really large wad of cash in

40:06

one of the baskets. I knew it

40:08

was you. That's

40:10

right. Right. You guys enjoy it. Enjoy it.

40:14

You're not gonna say no. Right?

40:17

Because I know Paul McCartney's writing songs about whatever

40:19

he woke up and had for breakfast that day.

40:21

Right? He's like, what? I'm gonna write a song

40:23

about my sheep dog. Literally writes a song about

40:25

a sheep dog. Right? What are you gonna do?

40:27

I just heard a funny phrase

40:29

called Obla Dee. But listen, Obla Dee Obla Duh.

40:32

I'll write a whole song called that. Maybe it'll

40:34

come. Yeah. Yeah. I don't

40:36

know if it was that intentional. But if I listen

40:38

to it, and I go, Oh, yeah, that's Blackbird's a

40:40

great song. That's not good for

40:42

your cover version. Because you didn't take it

40:44

anywhere. Right? Right. Like I'm not huge on

40:46

covers, just because I think a lot of

40:48

the time, but if you want to play

40:50

a cover at a concert, that's great. But

40:52

if you're doing it for an album, you

40:54

better take it someplace has never been moved

40:57

to a different sort of level

40:59

of either I guess production or interpretate. Yeah,

41:02

I don't I don't generally get them. And

41:04

that was one of the actual like sort

41:06

of warning signs for me about

41:08

this album. When I saw two covers, I was like,

41:10

Oh, two covers. That's not two covers

41:12

is not a good indicator that you knew what you

41:15

were doing or that you were super focused. Well, for

41:17

one, I wish that we were still in the era

41:19

of current covers of contemporary music. Like I do love

41:21

the idea of basically bad you

41:23

I had to join you had to join right this

41:25

everybody pass it around. Like I got it right. I

41:27

did that right. Like some people blow rain. Some people

41:29

say smoke up the nose. Like it's just very interesting

41:31

to see the different ways that people do things. But

41:33

I agree with you, especially getting to

41:36

this point where those

41:38

were low hanging fruit covers, right?

41:40

Like, they were very obvious, except

41:42

with Jolene not. Okay,

41:45

so it starts with Dolly Parton explaining it,

41:47

which seemed to be a bit

41:49

also got to say, I Understand

41:51

that y'all love Dolly now and by y'all are specifically

41:54

talking about black Woman. For whatever reason, she has become

41:56

the white lady that y'all want to be friends with.

41:58

I'm telling you, I don't know. where all the Carfax

42:00

go? They go to some great places you love to

42:03

help kids read as be careful with that will. But

42:05

anyway, I. Don't want to hear that why

42:07

lady talk about nobody good hear ya lane or

42:09

less that's that not allow you don't have they

42:11

had like actually believed to be as they let

42:13

it slide use you know say be awfully has

42:16

been like be as a kid give the past

42:18

their no doubt old are you can be like

42:20

yo dhabi say something about that one girl but

42:22

good no no no out even know about saudi

42:24

know da the understand what the hell you does

42:26

water into but any. Domain.

42:29

Is an American classic, right? Like I think it's

42:32

one of those. We could go so far to

42:34

say a standard is been covered enough that we

42:36

could go in college Standard. No. One.

42:39

Ever. My. Mom. Got.

42:41

Up. And. Said that would totally

42:44

need it was rewrite. nobody has.

42:46

It's arrogant enough to believe that

42:48

what we needed to do with

42:50

Elite isn't that just to rewrite

42:52

it. But. To rewrite it is

42:54

such a way that seeks out everything

42:56

that makes it interesting. Because.

42:59

The thing that makes Julian interesting

43:02

as vulnerability? yes, and fear. Us.

43:05

With thing that makes a noise. If

43:07

it's it's it's she's begging. And

43:09

that's the end. In this is this is Dolly Parton

43:11

begging Who of course and everyone on the in it

43:13

is are done This bitch. Go. Who's make it. Your

43:16

workers. Because you back. Seat. Or

43:18

hard to. nineteen seventy one right right as

43:20

this that that is one of my childhood

43:23

icons with of like femininity and and your

43:25

threatened. This. Is so many terrible,

43:27

awful moving things about human existence all

43:29

at once and it takes that out

43:31

of it. Which is I think when

43:33

you go what club do not have

43:36

in your bag. right? That

43:38

is one thing that I don't necessarily think beyond.

43:40

they had in her back this album she's had

43:42

it before that are but they this album see

43:44

I don't know for it. If you've got go

43:46

Do It No more is like somebody told me

43:48

about the good Times travesty ago it on the

43:51

internet like you might have been able to get

43:53

away with this you to deniers call a good

43:55

top like if you were Go Do It is

43:57

but started in this Joe Lean have a make

43:59

that. Mean if that really like

44:01

that's nice that's that's ever see that

44:03

was he gave us jolie hopefully that

44:06

blaze it was he said this is

44:08

that says not. That. That would

44:10

that solve good? I guess this is was a

44:12

whole I. If you were gonna do it you

44:15

just let it's what a bizarre say that It's

44:17

strange to see it. It's. With

44:19

a little bit like for me of the it

44:21

would be like doing saving Private Ryan is the

44:23

story about how you were built different and you

44:25

wouldn't be scared. Get

44:27

ready Or Florida these men. But.

44:30

I wouldn't have been scared of all of this

44:32

and I just would have shot those nazis. If

44:34

not, I think the most is it takes the

44:36

existing framework I'm sorry doesn't do much with it

44:38

other than other than oh I'm sorry I'm I'm

44:40

built much different of what a beat your ass

44:43

that's It is not even funny because there is

44:45

by the way a parody version of this. You.

44:47

Can go Am I to find a parody vs for his

44:49

a Woman. I. Cannot remember and I'm very

44:52

sorry to this Tic Toc rapper but a

44:54

woman who was talking about I would have

44:56

shot Jolene and it's hilarious. This is hilarious

44:58

and it is produced over a five dollar

45:00

beat. Okay, by the way, I will say

45:02

this about this cover of to Leave the

45:04

Second Half with as the arrangement is phenomenal

45:07

like it is, It's phenomenal. It sounds great.

45:09

It's awesome. It's like a lot of things

45:11

in this record. Rico This sounds beautiful and

45:13

so well executed and I don't care as

45:15

much about it as I should. With.

45:17

This is a place

45:20

where I feel like

45:22

her famer. He. Is

45:24

a problem for her. Which.

45:26

Is we know too much about her? Like.

45:29

Yeah. Yeah yeah so her sing and joe lean

45:31

Now the said we i hear wondrous if is

45:34

back to like he was back when he was

45:36

dragged his as around and make it a thing

45:38

and X factor for ten thousand people are vetted

45:40

seventy five thousand people and night he does had

45:42

to take that you're not of say it like

45:45

like are we back Are we going there again.

45:48

I know there is that could be like a full house

45:50

as good with those a good receipts. Can

45:52

receive us as the money's great. Pick.

45:55

A lot to do thoughts and with like that money's good.

45:57

that would have as the is but that's the

46:00

issue Right? Like I do wonder if there's a

46:02

range of stuff that she can't do just because

46:04

she knows that we gonna think of it In

46:06

a different way. Yeah, you trapped

46:08

by are you trapped by the character

46:10

that your public persona? They branded that

46:12

marriage so strong Yeah,

46:15

yeah And then if you come across

46:17

and say anything other than this marriage is strong that

46:19

all of a sudden you're making problems for yourself That

46:21

that exists well beyond the record and correct. I don't

46:23

yeah, I don't think she wants that So what would

46:25

have been the better decision is just a bypass it

46:28

already There are tons of Dolly Parton songs you could

46:30

have covered that are less popular Right

46:32

there are by the way if you want to

46:34

go covers if you want to go interesting people

46:36

that she could have covered You know, I don't

46:38

know get a Martina McBride cover in there. Okay,

46:40

get a patty love this cover Like get

46:43

get something where you go Okay,

46:45

I'm and by the way that would have been a

46:47

political thing because you're taking okay Here's this like like

46:49

I'm not just going to I'm

46:52

going to take songs from the past that I

46:54

didn't think were recognized within the canon of country

46:56

music enough and raise them

46:58

to the level of Beyonce rather than taking

47:00

this Gigantic obvious song

47:03

and then not really doing a whole lot

47:05

with it But but we're getting real theoretical

47:07

about this. My thing is this would you

47:09

go back and replay it? I

47:11

wouldn't like like I like I think I listened to

47:13

it once and I was like, yeah enough I'm

47:16

not gonna replay that I've replayed ya ya. Oh,

47:19

yeah, cuz that's a Gotta

47:21

clean that up the stalls Yeah, I

47:23

gotta clean my kitchen if you put on ya ya

47:25

that kitchens getting clean Yeah, I

47:27

got like I got other stuff that I'll run on here

47:29

and I think that's the thing it has

47:32

good songs right and

47:34

she at the place where This

47:36

is my own personal thing, right? I

47:38

want to hear her. I don't need all this other

47:41

stuff, right? Like they feel so

47:43

big at points like even the song I

47:45

like like 16 carriages But then that's that

47:47

giant whoops snare that comes in every time

47:49

and they raises everything to make it epic

47:51

And I'm at a point with Beyonce where

47:53

I want to bring it down and I

47:55

want her to pull us in Real

47:58

close and that's kind of where the Miley Cyrus

48:00

song kind of goes in a way in Bodyguard

48:02

also is that it gets a little closer and

48:04

it's not nearly as big. You don't have nearly

48:06

as many tracks playing back there. And

48:09

she's gotten so good at selling how she feels

48:11

and it's right there and we don't need to

48:13

dress it up in everything else that

48:15

comes around and all those sorts of affectations. And

48:17

so what I feel like we

48:19

got is in a lot of ways, a

48:22

lot of really good songs and these engineers

48:24

man, I bet they going around, they other

48:26

engineer friends, they just whip it out

48:29

when they play this. They like listen to

48:31

my work, but it then

48:33

can feel sometimes like she went to Academy

48:35

and got a brand new pair of Wranglers

48:37

and a brand new shirt and some brand

48:39

new boots and ain't got no dirt in

48:41

none of it. And I would like

48:43

to hear her do a record that just feel like

48:45

Renaissance had some dirt on it. It

48:48

was very pristine, but you still kind of felt the dirt on it. I

48:50

want some little more dirt on this. Do you

48:52

know where she does that? There's a song on here where

48:54

she does that and it's a

48:56

murder ballad. There is a straight

48:59

up murder ballad on here,

49:01

daughter, and she does that. It

49:03

is unadorned. It is

49:05

confident, but it does not

49:07

try super hard. It's Beyonce telling

49:09

you about killing someone and

49:12

doing it cold. And it's

49:14

great. It's one of it. I think it might

49:16

be my favorite song on the road. That's the

49:18

rip the dress off in the bruises. Yeah.

49:21

Yeah. I accidentally started playing.

49:24

Yeah. That you actually show this one. Yes.

49:27

I don't care. I don't care. The

49:29

lawyers, sadly. Yeah. I

49:32

don't think we have the money to do that, but yeah, the

49:35

daughter is daughter is to me.

49:38

What is the best execution of certain

49:40

concepts because because

49:42

it is confident and doesn't overdo

49:46

it. It doesn't try. Right. I

49:48

think bodyguard has that same thing because you have

49:51

that rhythm section, that Fleetwood Mac style rhythm section

49:53

where you're just like, Oh yeah, we're going to

49:55

put on a nice sweater and pretend we're a

49:57

Laurel Canyon. Yeah. Right. That

50:00

doesn't try real hard. There's a yacht brt by

50:02

the way. If it is it is again another

50:04

back at Aqaba. Would you go My My greatest

50:06

complain about her that I think she tries too

50:08

hard on some of the stuff and you don't

50:11

need to because she's got the to do it

50:13

and the end of the confidence I don't. And

50:15

daughter she told me has that it's one of

50:17

those things where I was delighted because it was

50:20

that it was a genre and a fit that

50:22

I didn't think would be there and you go

50:24

oh no she's real good about isn't it about

50:26

killing somebody with it So that's a that's a

50:29

skier, her husband's death, his Cadillac support and defend

50:31

eliminate videos which he wrote at the moment that

50:33

are realize this it was off the rails are

50:35

delivered A video is we see and yellow dress

50:38

with a baseball bat and I was like whoa

50:40

whoa whoa O C O. Sea.

50:43

Or the. For what

50:46

is happening here by where she has Simon

50:48

Martin sun on guitar that's one of the

50:50

credits or at least on production their month

50:52

suspect his guitar some and Martin said is

50:55

a Scandinavian position. If you want a good

50:57

song about killing somebody besides it's. It's.

50:59

Got to get somebody from Scandinavia with

51:02

a guitar they will get a forgetting

51:04

about and it's got some state that

51:06

some sweeping descriptive songwriting right there like

51:08

every like into the details are named.

51:11

I'll go charts while really know all

51:13

that I tell you. ah but yeah

51:15

so one thing that they I know

51:17

but the production of this album. They

51:20

listen to western. When. They are there

51:22

was westerns when they were trying to do this. that

51:24

sounds like a western. By. Itself is

51:26

one thing you gotta do is you gotta let

51:28

alone like that's with other things. You got a

51:30

little little bit of a vulnerability and he's got

51:32

a little little bit of the light, uncertainty and

51:34

irony. And if you're gonna do country, it's a

51:37

hard trick. It's a hard trick because it has

51:39

to be very measured by George Strait. Towards street

51:41

is amazing. At doing things like

51:43

like com it out then I'll love you.

51:45

Not only do you know, ah yeah, I

51:47

bet the fat and you know it's Ally.

51:50

The. Minute he says it right, he goes on

51:52

when for the turn right. I got oceanfront

51:54

property in Arizona. You. Know if

51:56

you'll buy that like that? And. i

51:59

think that's something that like If that's what

52:01

we were aiming for here again, that's one thing

52:03

that that I don't think was necessarily in the

52:05

bag here And that's not just me. I think

52:07

that's on the part of the producers and things

52:09

too. Yeah. No, I think I mean It's

52:12

very clean. It's a very clean sounding record It's almost

52:14

like where your budget can get you in trouble and

52:16

the time can get you in trouble because you can

52:18

get everything Down to a level of perfection and then

52:20

you know You get to where it is and I

52:22

always worry about I talk about this because I

52:24

just find I find the construction of things So

52:27

interesting and I find talking about music so interesting

52:29

that I don't ever want to get to the

52:31

point though Where it's divorce from the way that

52:33

it makes people feel and Beyonce Yeah It's gotten

52:35

really good at the idea that look

52:38

you don't sell products you sell stories And so

52:40

there's been a story that's been sold about around

52:42

all of these records and the story that was

52:44

sold around this one Was the I didn't feel

52:47

good at the CMA part and then learning about

52:49

the music and everything else and the album is

52:51

Disconnected from the story that was sold like to

52:53

me. They don't they don't add they don't

52:55

come together But Beyonce has reached a point if

52:57

you've been to either of these last tours, especially

53:00

the last one you realize What

53:02

she mean to them people is so much

53:04

different and whatever like it's not I don't

53:06

even know how to explain Describe or whatever

53:08

it is, but she make them people feel

53:10

better about themselves And so I

53:12

can talk about this in these objective terms while also

53:14

recognize it for a lot of people who listen to

53:16

it That ain't really got nothing to do with the

53:18

here and now right like they're not yeah, they're not

53:21

there They don't care that this is I think my

53:23

man and Chris Richards in the Washington Post who wrote

53:25

an excellent review of this Even if you don't agree

53:27

you'd have to agree that this is like a fantastic

53:29

piece of music criticism But man, she out here begging

53:31

for the album of the year. That makes me sad

53:34

Right, like I feel like I feel like this is

53:36

asking for white acceptance in a way that she has

53:38

never done before and it does make me sad I

53:42

can't speak to that what I can't speak to is this I

53:44

grew up there I grew up there and Grew

53:48

up next to some of the musicians who played on

53:50

these records like next door Like

53:52

Emmy Lou Harris is bass player at one

53:54

point lived across the street from me like

53:56

this is Nashville music

53:59

wise if you Want to look for?

54:01

Who's. Going to produce a great album. You don't

54:03

start their. You. Don't They're going

54:06

to produce factory stuff and they have always

54:08

produce factor stuff and sometimes backrest of cranks

54:10

up great stuff. But like most big industrial

54:12

concerns which country music is, it's own sort

54:14

of cultural industrial concerned. if they makes up

54:17

the good, it's an accident. And

54:19

if you want to make something good and country. He.

54:21

General in order to break new ground. You.

54:23

Don't do it in Nashville right? You

54:25

different? You do it like some weird

54:27

guy out of Kentucky for startle. Okay,

54:29

you do it like Willy will. He

54:31

gave up on Nashville. Remember the real

54:34

Willie Nelson as famous as because he

54:36

was washed up at Forty. And.

54:38

Forty and he moved to Austin. Gave up.

54:40

And. Then he made Shotgun Willie and completely

54:43

reinvented his persona. Do you want new

54:45

country music? A new ground? A country

54:47

music? You have to go to places

54:49

like Bakersfield, California, Where. The Bakersfield

54:51

sound with Merle Haggard, Buck Owens really

54:53

change the way people you know thought

54:56

about writing songs, the way it sounded.

54:58

All of that, He never started with

55:00

National. So the idea of aiming at

55:03

National as a target. On

55:05

he's not just a interviewed you say

55:07

it's sad. I I'd say it's misbegotten.

55:09

It's not. You're missing the point there.

55:11

If you wanna do something interesting and

55:13

country, he general have to come from

55:15

the outside in those people. They'll.

55:18

Never like. You. Don't. Never approved

55:20

and without a doubt that they got of

55:22

these. He got you and I thought about

55:24

it. If they look they dislike a lot

55:26

of people, but it is if you it

55:28

a debut in a desert just like they're

55:30

owed. So. Just to give you can

55:32

I get list take every by full circle. Talk

55:34

about acceptance and Nashville Peel give the average exit.

55:37

Yeah so. See amazed at

55:39

the As Allen Jackson one year

55:41

to bite of backing track. And

55:44

to lip sync and he said no and

55:46

he got this big tussle and he came

55:48

out and he did. I.

55:51

Think it may have been summertime blues. Any with

55:53

you can see the drummer doesn't have six in

55:55

his hand because as a protest they make him

55:57

pay their like got them play without sticks. This

55:59

is dumb that I would backing track in L.

56:01

Jackson did live vocals and he hated. It. But.

56:03

He kind of rubbed it and see him a

56:06

space anyway because at the time nobody was moving

56:08

units like Alan decks. So. He

56:10

could do that. Allen Jackson is one

56:12

the people who also walked out. When.

56:14

The Dixie Chicks of the Arctic him up

56:16

on stage, right? So even the people who

56:19

are rebelling against the sort of strictures of

56:21

Nashville or at least that you know aiming

56:23

at being bad, trickle about it. They.

56:25

Wouldn't accept this. Yeah.

56:28

Like this is there. We're still started to

56:30

play outside to see Amaze! One year. He

56:34

bites. He played outside because you've never your name,

56:36

is never it like you don't understand it man.

56:38

Mike. If. You know, go to

56:40

this church and you don't use this producer

56:43

and you don't use the song writers. It

56:45

ain't happening. It's a bit the company. Is

56:48

a business as don't beg for a company's

56:50

money and certainly don't beg for their affection.

56:52

Cause. Is never coming your way. And look

56:54

maybe this is gotta get they grab yeah buddy

56:56

I can't imagine here in about that man this

56:59

be but I don't guy or gal many years

57:01

blah strong and enlist be what I do. the

57:03

my were any by deluise but indian a man

57:05

she's not going to make a bad one but

57:07

I think I said something last week that bounced

57:09

around where we could get the clip obviously. but

57:11

as as I live mad this has a chance

57:13

did not be good in decibels admirable thing about

57:15

his record and I think the part that disappointed

57:17

me was I got he was it didn't have

57:19

a chance to not be good because he didn't

57:21

swing. Like. There was they

57:23

didn't stay in, just I thought

57:25

there would be some bigger slayings

57:27

in. the biggest swaying was what

57:29

have we reimagine? Perfection. Is

57:32

so I think that they'd So it is like let's

57:34

worry about perfection and I've got a like. Ah,

57:37

I don't know. but at the same time the

57:39

fact that. Desert. Eagle fits

57:41

on the same record as.

57:44

They. A between river day and yeah yeah.

57:46

like there are some moments where some things

57:48

come together right in a little job or

57:50

is our a funny thing look I know

57:53

I didn't need that. I need you Tell

57:55

me nothing. I. Don't need you to

57:57

explain the thing. I need you to do The

57:59

thing. Yeah, you do the thing,

58:01

just get get to it. And a

58:04

there's an interesting like there's another interesting

58:06

thing here, which is this. That's that.

58:09

I. Think. That that

58:11

she does hit astride on the second half

58:13

of the album where she's doing something really

58:15

interesting that sort of does what I think

58:17

a lot of the things that she was

58:20

trying to do. it just can't be sustained

58:22

for whatever reason they ran out of time.

58:24

I also think there's this. That.

58:27

If you're talking about doing an album and

58:29

you get twenty seven tracks, let's see at

58:31

a rate. Get. Your inner

58:33

editor out of cases. She's so successful and

58:36

she so good at what she does. And

58:38

may a bunch of good stuff right? Like

58:41

if you listen to them individually like are

58:43

pretty good you put altogether go Beauty Narrator:

58:45

yeah google tell you know. right?

58:47

Right? who's he saw the first name of the back about record.

58:49

First. Name of back about record the only

58:51

name of the back of that record is

58:53

is the answer Yeah. But. Up. But

58:55

by the way, shut up. Shut out to just do. And

58:58

it did. I don't I. Just. Just

59:00

do with it. You went out there. He did it.

59:02

See. You know some was awesome saw was

59:04

not his big the have a huge and

59:07

as you know me that's my. I.

59:09

Want to get out the Michael Jackson lane? Can

59:11

use are becoming imprisoned by the largest used I

59:13

didn't imprisoned by how big it is A good

59:16

imprisoned by. I have like had getting

59:18

the best of the best at everything in that you

59:20

know and it just gets perfect You because the enemy

59:22

a good in a lot away in the to stop

59:24

feeling in the depression over in the weight in or

59:26

biggest be big but have two questions that I will

59:28

leave us with a distaste for us to ponder which

59:30

is number one. Take. A drag high

59:32

Desert Eagle with a any discussion about whether

59:34

this was a red sauce track or whether

59:36

or not this was a ah Cowboy Carter

59:39

track which is interesting because they do they

59:41

are a couple of moments you're the sound

59:43

like they could go any the directed which

59:45

is got a fascinating did they go up

59:47

I'm A and number two. As we

59:49

think about my which goes in those directions. What?

59:52

Did they make that? didn't see the light of

59:55

day like I would love to know what the

59:57

stuff sounded like that they decided to scrap ore.

59:59

like what the stuff thou did like that may

1:00:01

have been book country album before. Somebody was like

1:00:04

a. Sane. It. Saying.

1:00:06

It. Yeah. Though there have to be.

1:00:09

If they did this much, then there's bore

1:00:11

and the outtakes. The attic might be a lot

1:00:13

more interesting. Than. I think they would be

1:00:15

right because you think like oh the be awkward novels

1:00:17

know they might. They might be things that they might

1:00:20

be things that end up being like I'm super down

1:00:22

the record at all. It's a sign. Some is like

1:00:24

Ahmet. Not we had other stuff, but we

1:00:26

just didn't think it's it on the record. I'm always

1:00:28

like Silver Springs suffering those things, they just that. Would.

1:00:31

Gladly does it fit on the record at

1:00:33

all? To I don't

1:00:35

care who have ever those you don't know

1:00:38

what we're talking about Li were bag that

1:00:40

Abigail Rule Brazil eighty zillion billion Gabi All

1:00:42

of a really really good in the best

1:00:44

song is not on it Best sagas this

1:00:46

track also be spraying that Ah is beside

1:00:48

to one of them and you can find

1:00:50

to performers from the year Two Thousand A

1:00:52

Crazy Ass Stevie Nicks Steel Deep It is

1:00:54

crazy girl magic that whole saw in A

1:00:56

by the way I'm Him a ball. Thought

1:00:58

about that later but that song is what.

1:01:00

How to proceed Crazy Girl Magic. It is

1:01:02

fantastic A and is not on the album.

1:01:05

Is is just right there, Hagan, I'll decide

1:01:07

to speaking of songs that the Us I

1:01:09

could not cover without inviting extracurricular comparisons that

1:01:11

would target for a most to deliver. Fortunately,

1:01:14

I know it's had that. That's what makes

1:01:16

the X Factor on tour so bloody. He

1:01:18

do exactly was he was do it is

1:01:20

and I get a fan. who did the

1:01:22

hallway see do the whole dad would it

1:01:24

was but speed is a bad. We talk

1:01:27

about bodyguard having ah that we will make

1:01:29

elements that it's everything from top to bottom.

1:01:31

Her vocals are both as such as Stevie

1:01:33

Nicks past each like. That would have been

1:01:35

what is he that he told me it's you guys see

1:01:37

be nice to see that's all we're her Now we'd have

1:01:40

been talking about the up the difference that would have one

1:01:42

hundred percent fit. Yeah. There

1:01:44

were two and a Laurel Canyon album which I'm fine

1:01:46

with. few I do that your eggs will again. Let's

1:01:48

let's crack out the sweaters and herbal tea. The.

1:01:50

has you know to what we do yoga and will

1:01:52

do a laurel canyon how bad the ah the audible

1:01:54

was hit the hutton they hadn't they have like outsell

1:01:56

me more like don't if you could see it is

1:01:59

that if you could If you could talk to

1:02:01

me like that, ooh buddy, there

1:02:03

might be a person for you. Probably

1:02:05

not warm, but it might. Yeah, it's

1:02:07

so warm and it's so cozy. Love it. See again,

1:02:09

we're sitting here, we just talked for an hour about

1:02:12

what a message album was. In the middle of it,

1:02:14

you're like, yeah, on a

1:02:16

cold night, I put that on. Moments. It's

1:02:19

got moments. Like that. This happens though with

1:02:21

great artists where even the ones where

1:02:23

you're like, I don't know what's going on here, we're

1:02:26

not pretending like it don't have moments, right? Once

1:02:29

you decide, once you got to that

1:02:31

space of such precision and

1:02:33

execution on these grand concepts for

1:02:36

me, it's like, oh damn, almost,

1:02:38

almost. And I just wanted a little more

1:02:40

ambition. That's all I wanted because he's never

1:02:43

been a person to truly try to expand

1:02:45

the form, but at least he could slap.

1:02:47

I just want to look just a

1:02:49

little more, a little more slap. You

1:02:52

know, hey, you know what's not on this record? Like

1:02:55

not on this record. And I think like

1:02:57

really could have been, you want to

1:02:59

talk about a cover, like just, I

1:03:01

don't plant your flag. Go ahead. 90s

1:03:03

country. Do a neon moon, right? Why

1:03:06

don't you go out there and do a boot scooting song? Like

1:03:08

a proper boot scooting song. Like you want

1:03:10

to give directions. America

1:03:12

wants Beyonce to give directions. That's

1:03:14

it. Okay. Nothing better.

1:03:17

Like a line dance, boot scooting song. You

1:03:19

know, like the last thing I will say is this. I

1:03:22

don't particularly like it that much, but, but

1:03:24

live 16 carriages are going to slap because

1:03:27

I know it's designed for lighting cues. Like it's

1:03:29

designed for lighting and stage cues, right? There'll be

1:03:31

a fan blowing and I'll be like, Oh, she's

1:03:33

done it again. I've never ever seen Beyonce alive,

1:03:35

but once the fan starts blowing and she's at the edge

1:03:37

of the stage, Oh, that's the dances

1:03:39

behind her. Always that's going to bring them to

1:03:41

tears and concert and by them I'm talking about

1:03:43

your boy. That has to look

1:03:46

like, we're being real, we're being real cool here.

1:03:48

We're like, I don't know if I feel that

1:03:50

song. She's going to play that live. They'll be

1:03:52

like, Oh yeah. I told you

1:03:54

that was that what went for me. That video

1:03:56

where her staring in the mirror and just look

1:03:58

at all kinds of contemplative. unhappy. I'm just

1:04:00

like, I really saw that. My video was

1:04:03

like, I feel

1:04:05

like we need to check in on Beyonce. Like, are we, I

1:04:08

never thought I would say that, but like,

1:04:11

I've just come away from like, after I saw that in

1:04:13

these last days, I've just come away being like, you know,

1:04:15

I just really don't know if she's happy right now. And

1:04:18

I don't give a damn about Beyonce. I don't care.

1:04:21

I really don't know if she's happy right now. Yeah.

1:04:25

This is, again, thank you for, thank

1:04:28

you for letting us talk about this because there's obviously like

1:04:30

a thousand different ways it could go. Yeah. Because

1:04:32

this is such a like, this is

1:04:34

such a pivotal fault line in music, right? Because the

1:04:36

only two genres that really sort of move, move

1:04:40

weight right now are basically country and rap. And

1:04:43

she tried to put the two of them and together in a way

1:04:45

that's like, I

1:04:48

think it's almost like a, I

1:04:51

think it's almost like, I think

1:04:53

there are ways that people have done this, that

1:04:55

are, that are done better, but this

1:04:58

is the most visible one. It's a big ticket

1:05:00

one. And it's one that I think, I

1:05:02

hope it's one of those albums that somebody goes, I heard that and

1:05:04

I did this and you listen to that thing and go, Oh, this

1:05:06

is, this is better. This is incredible. Last

1:05:09

thing. How long do you think it was

1:05:11

before cowboy Troy gave up and realized that

1:05:13

Beyonce wasn't calling him to lay down a

1:05:15

fire 16? I

1:05:18

think there's probably a few people on here

1:05:20

who wouldn't admit to it. Floyd and George

1:05:22

a lot. Hootie. Hootie.

1:05:25

Yeah. Hootie was probably like, I got a

1:05:27

phone. He rings. Look,

1:05:30

who you might be like me. I ain't got no shame

1:05:33

at this point. I call people. Hey,

1:05:35

I heard you working on this. Holl at me.

1:05:39

I know it's Nashville. Give him a, give him a call. Oh,

1:05:42

he ain't doing nothing right now. Right? He a little, he got

1:05:45

free time. I think he's got

1:05:47

a little free time. Yeah. So, you know, could,

1:05:49

could, could have called him, you know, although I

1:05:52

will tell you too, I saw the funniest thing

1:05:54

I've seen about this album was this, that, that

1:05:56

somebody said that by the description of the

1:05:58

red haired hussy in the song. And the people involved,

1:06:00

I think we all know who they're referring to and Jolene.

1:06:02

And that is noted hussy Willie

1:06:05

Nelson, which accurate. Accurate.

1:06:07

Yes. By the way, last thing, the

1:06:09

person I do wish you would have called, and I try to

1:06:11

be careful about this and talk about it before, not to criticize

1:06:14

somebody because they didn't make the album that I would have wanted

1:06:16

them to make and at the expense of the album they made,

1:06:18

but Al Green was the person to

1:06:20

call there. There absolutely should have been Al Green

1:06:23

jam on here. Ah,

1:06:25

yeah. Yeah. Is Al, is Al

1:06:27

in that business by the way? Or is Al,

1:06:29

is Al, is Al, like, does God want me

1:06:31

on that record? I'm not sure. No, I'll do

1:06:33

it. I'll do it. Okay. Although she

1:06:36

is a little, she is a little raunchy for Al.

1:06:38

Not, not, not that we mentioned this, she do kind

1:06:40

of like soft, soft,

1:06:42

soft kiss on some fat lips. Yeah.

1:06:45

It might be, we might be up too late for Al

1:06:48

at that point in the record. Nope. He's over there hanging out

1:06:50

with I love it. Yeah. Again,

1:06:54

speaking of speaking of people who are too weird to ever

1:06:57

get in the CMA. I love

1:06:59

it. I can only

1:07:01

imagine how, how loud love it felt the

1:07:03

one time he rolled up in there with

1:07:05

Julia Roberts like, yeah, I'll let you. Say

1:07:09

something now. That should say a lot about the

1:07:11

CMA is that like the only way that law

1:07:13

love it gets in there consistently is like, you

1:07:15

know, he was married. Julie Roberts once. He

1:07:19

used to be married to somebody famous famous. He's

1:07:23

not Julie Roberts. Listen,

1:07:27

you want, you want. Talk about Nashville and

1:07:29

solidarity, buddy. You close this file,

1:07:31

open another one. Got a whole 90 minutes

1:07:33

on that brother. That

1:07:36

is Spencer Hall. Check about a channel

1:07:38

six check about a big dumb football

1:07:40

available on YouTube where I occasionally drop

1:07:42

in my man. This has been an

1:07:45

outright privilege and pleasure. I appreciate you.

1:07:48

Likewise. Thank you. Yeehaw. Hey,

1:07:50

ladies and gentlemen, thanks so much for joining

1:07:52

us here on the right time. We Do

1:07:54

this three times a week. Sean, you handling

1:07:56

everything behind the scenes. Thank You, sir. Remember

1:07:58

Follow the right time. Thrive like raiders. Review

1:08:01

was give us five stars the only gives four

1:08:03

stars. I'm glad I believe you are hater it

1:08:05

without you guys that a couple a day. Say.

1:08:08

Good Easy.