0:00

Hello, I'm Hal Lublin. And I'm Mark Gagliardi.

0:03

Since the dawn of humanity, one issue

0:06

has gone unsettled. With the fate

0:08

of the world in the balance, we're here

0:10

to settle once and for all. Best

0:14

love song. That's

0:18

right, don't worry everyone.

0:20

We got this. Podcasts should have a theme

0:22

song. Podcasts should not have a theme song.

0:24

Yes, they should. No, they shouldn't. They sound good. Yeah,

0:26

but people are just going to skip

0:29

past it. You

0:30

know what?

0:31

You're right. We

0:34

got this. Well,

0:37

Hal, I've poured myself a glass

0:39

of Sauvignon Blanc. I'm sitting

0:41

in this bathtub, hoping that the water

0:44

doesn't ruin this microphone.

0:46

And we are about to talk love songs.

0:50

This collection of love songs will have you reaching

0:53

for a candle. That's right. Grab

0:55

your candle while we scroll a bunch of titles

0:58

of songs. One of them will be in yellow.

1:00

That's the one you're listening to. Just

1:03

in case you turned your volume down. You're

1:06

curious. Maybe you don't use closed captions.

1:08

Maybe you're talking to someone. Why are you even

1:10

paying attention to us? We should stop talking.

1:13

Matt Gorley is here. Welcome, Matt. Matt Gorley! Hello,

1:17

speaking of love songs. Hello, my lovers.

1:19

Oh, you're gorgeous. And we're excited

1:22

to have you, friend. I truly do love

1:24

the both of you. I'm happy to be here.

1:26

So great to see you. I know I haven't seen

1:28

you in person in a while, but I see you on

1:30

TikTok now so much. What?

1:33

In all the Conan video. All the Conan

1:35

stuff. I don't even have TikToks. You know,

1:37

it's like moments from the podcast. I was

1:40

like, oh, there's Matt. And it makes me smile.

1:42

Oh, that's nice. I didn't even know I

1:45

had a TikTok life going on. Oh, turns

1:47

out you're a dancer on there. Yeah.

1:49

Oh my God. I'm a

1:51

dancer here, too. That's

1:53

right. Last time I saw you in person, I believe,

1:55

was at the Townland Show, which

1:57

you have another Townland Show coming up.

1:59

Farewell show for town land coming

2:02

up. Yeah, at least into deep, deep hibernation

2:05

maybe even like a cryo sleep as two

2:07

of our members are moving to Texas but hopefully

2:09

it's not the end but you know who knows so come

2:12

out and see it. Tickets are almost gone. We're

2:14

opening with a live mall walking

2:16

podcast which normally

2:19

takes place in a mall but this time will take place

2:21

in a theater. How will they date something? Good sitting. Yeah,

2:23

yes. Yeah, I'm excited to see it. Hunting on

2:26

the Hi-Fi is I have it on vinyl.

2:28

It is in deep rotation my friend.

2:31

Oh, thank you. Yeah, it's such a great

2:33

album and listening to town land over the

2:35

years is so fun and speaking of listening

2:37

to you, you've got the new podcast

2:40

that I'm so excited about. Before

2:42

we jump into love songs, tell everybody about this

2:44

delightful podcast

2:47

that harkens back to when you and I met. That's

2:49

right. It's a podcast called Keys to the Kingdom

2:51

and it's an eight episode docuseries

2:54

about working at theme parks

2:56

and all the hot gossip and dish and

2:58

dirt that goes on there. The good and the bad.

3:00

Mark, you yourself are a guest on it as

3:03

well. I am. Yeah, in the Halloween

3:06

episode talking about the

3:08

culture of Universal Studios and working there

3:10

for Halloween. It's out now and

3:13

we talked to some amazing people, Mark, yourself

3:15

included and check it out. It's

3:18

available anywhere you get podcasts. It's

3:20

great because it's one of those things that if you work in a park,

3:22

you get asked about

3:24

constantly. So this feels

3:27

like now everybody that ever gets asked about

3:29

anything to be like, just go listen to Keys to the Kingdom.

3:31

That will give you a good slice

3:34

of that world. Yeah, the theme park truly,

3:37

whether you're a guest or a

3:39

worker has its own subculture if

3:41

you choose to live among

3:44

it and many people do and so we

3:46

take a deep look at it. Well, it's very exciting.

3:48

But we're not here to talk about theme parks today.

3:51

We're here to talk about love

3:53

songs. We are here to determine once and for

3:56

all the greatest love song of all

3:58

time. But before we jump into that. I

4:00

want to talk a little bit about how we are

4:03

approaching this particular episode.

4:05

Anytime we have something super wide ranging

4:07

like this, of late, we have determined that

4:09

one of the easy ways to really get into

4:12

it is to just bring our own candidates

4:15

to the table as opposed to try and,

4:17

you know, when we're settling a binary thing, there's really only

4:19

a couple of things to talk about. Last time you were on, we talked about

4:21

James Bond, and so there's a finite number.

4:24

This is wide open. So

4:26

we're each bringing in our own

4:29

versions of what we think

4:31

is the best love song, which means

4:33

by its very nature, as opposed

4:35

to when we have a binary choice or a limited choice,

4:38

we determine the criteria at the beginning of the episode.

4:40

In this case, we did it ourselves. So

4:43

I'm curious, what were the criteria

4:45

that you guys were looking at in determining

4:48

what you think is the best

4:51

love song? Matt, I'll start with you. It's

4:53

absolutely 100% scientifically

4:56

pure subjectivity. Choosing

5:01

a love song is like, how do you control who

5:03

you fall in love with? You fall in love with

5:05

certain melodies and certain lyrics

5:07

and certain performances because they speak to you

5:09

personally. So when we get down to it, the number

5:11

one I'm going to argue for is so

5:14

incredibly subjective that I expect

5:16

to alienate 90% of the listeners.

5:19

Not that it's a bad song. It just means

5:21

so much to me that there's just no way it could possibly

5:25

mean that much to a large majority

5:27

of people. But other than that, I think anything

5:29

with a beautiful melody to the point

5:32

of even sort of trickily

5:34

to me, just on the edge, just

5:36

enough to whatever that vibration is

5:39

of a certain melody that drops a

5:41

tear or gives you chills, it's

5:43

different for everybody. But that's what a great

5:45

love song is to me. And then coupled with good lyrics,

5:48

then you're really talking. I think

5:50

that thing you mentioned, the bordering on trickily

5:53

is a big part of it because I think

5:55

that we all put that line

5:57

at a different place. And there are

5:59

going to be some songs that are popular

6:02

love songs that are clearly on the other

6:04

side of that line unapologetically. There

6:06

are songs that dance on that line.

6:09

But yeah, I think that's going to be a fun thing to determine the relative

6:13

position on that line of

6:15

each of the songs. How?

6:16

What do you think? Yeah, I think you're both right. So much of

6:19

it is sort of the feeling that it evokes and

6:22

music is

6:25

such a time machine. If you listen

6:27

to a song that is tied to a specific point in your

6:29

life, then anytime you listen

6:31

to it, it takes you back. When I listened to the song

6:34

Jesus Land by Ben Folds, I think

6:36

back to when Jennifer and I were first dating because that

6:38

was when that album came out and that track.

6:41

Ben Akker sort of turned me on to the album and

6:43

I was listening to it nonstop. So when I hear

6:46

that song, like I am transported

6:48

to 18 years ago instantly. And

6:51

I think, you know, even if these songs

6:53

don't necessarily transform me, it is like

6:55

the message, it is the music, it

6:58

is how it works together. A lot of it is these

7:00

songs sort of set a mood. Some of the ones

7:02

I have are just sort of universally like, yes,

7:05

this is if you were to look in a

7:07

dictionary for the definition of a love song,

7:09

this might be there because it's so ubiquitous

7:13

with

7:14

either romance in a movie or just, you

7:16

know, it was the theme of a million proms,

7:18

like that kind of stuff. I love that. Interesting

7:21

too. I was thinking about it as you said that and it's

7:23

like something from your past and

7:26

I am remarking at how many of mine

7:28

are from the 70s which I

7:31

was born in the 70s. So if I was in the 70s,

7:33

I was a small kid. I wasn't falling in love

7:35

but there is something baked in where then

7:37

I recycled them later. But I also

7:40

trying to be as objective as possible feel

7:42

like there were two golden ages

7:44

of love songs and that was like the

7:46

Cole Porter, you know, 30s and

7:49

40s. And

7:51

then the 70s, the soft rock 70s

7:53

where a lot of men

7:55

just

7:56

got acoustic and

7:58

bore their hearts. in

8:00

almost too much at times,

8:03

but in a way that gave us a just batch

8:05

of love songs that are so sweet

8:07

that I don't think has been matched ever

8:09

since. I really don't. There's too much edge

8:12

to it now, I think. I like the lyrics.

8:15

You mentioned something before about the lyrics

8:17

being a big part of it. That unapologetic

8:21

1970s, let's get close

8:23

to that line lyrics. That for me was

8:25

the biggest part of this is

8:28

I love a great

8:30

melody and some of the ones that I have on my list have

8:32

great melodies, but for me it was all

8:34

about the sentiment expressed in the

8:37

lyrics. I don't know, maybe it's because

8:39

I've been in therapy lately, the healthiest

8:42

version of love. Because listening to love songs

8:44

over the past few days, I've been like, wow, that

8:46

doesn't sound like a love song.

8:50

Every step you take, I'll be watching

8:52

you. That doesn't sound like a healthy love

8:54

song. There's a lot

8:56

of unhealthy love songs out there.

8:59

But there is a point though of

9:02

just openness and bearing

9:05

and there's some things that I think can be forgiven,

9:07

some sentiment. Then like you said,

9:09

looking back at the Cole Porter tunes and

9:12

the Tin Pan Alley songs of

9:14

just delightful wordplay

9:18

based on the concepts of

9:20

love or a song that, and let me ask you

9:22

guys this, there are some songs that pick one

9:24

thing and hook into it. I'll look at

9:26

a song like I say a little prayer for you. It basically

9:29

is here is what my day consists

9:32

of. And while I'm doing all these things

9:34

I do in a day, here is I'm thinking

9:36

about you while I do it. A very simple sentiment

9:39

repeated over and over again, as opposed

9:42

to, and I'm now I'm just launching into a couple

9:44

of things on my list, but I don't mean to be doing that a

9:47

song like the power of love, which is

9:50

deep, long lyrics that

9:52

cover every aspect of

9:54

what love means to a person

9:57

at this moment. Do you guys air on

9:59

the side of simple. simplicity or complexity

10:01

with the lyrics to your love songs? And

10:03

are those as important as the melody and

10:05

the feeling of the music to you? I

10:07

think I definitely err on the side of simplicity,

10:10

but not as a rule. It just speaks to me

10:12

more. And yes, the

10:14

melody has to be there for me. Because

10:19

that's just like the thing you don't need language for.

10:22

It's like a kind of

10:24

meta language. And then if that strong

10:26

melody has strong love lyrics, you're

10:29

in such good shape. There's a lot of songs I was

10:31

thinking about including, but then when I really thought about

10:34

the lyrics, they weren't that loving

10:36

even though the melody made me feel that

10:39

way. So there's enough out there with

10:41

good melodies and good lyrics that in

10:43

fact I just thought about another one when you were talking.

10:46

So I'm up to seven now. Yeah. Like

10:48

I said before, we start. I have a bajillion on this list.

10:51

So I get it. It's hard. It's

10:53

so weird looking at some of the ones I have. Some

10:56

of them are very third person. Power of

10:58

Love is a very third person song.

11:00

Here's what love is. Here's what it feels like to be in

11:03

love. I'm talking about Celine Dion's by

11:05

the way and not Huey Lewis. I think you're talking

11:07

about Huey Lewis. I heard Huey Lewis

11:09

is in a story yesterday. Really?

11:12

Yeah. Look, that album is amazing. If

11:15

Hal will have any chance to throw some

11:17

Back to the Future in

11:18

there, we will get it in there

11:20

in whatever form. Alright. But

11:23

there are also other songs that are various stages. Some

11:25

that are asking to be loved. Some

11:27

that are a new love. Some that have

11:30

been in a relationship for a long time. One I have

11:32

in here that I don't think is a finalist for me is

11:35

Ray Charles' cover of Careless Love

11:37

from Modern Sounds in Country in Western Music,

11:39

which is third person. But

11:41

it's also about him being in love. So

11:43

he's speaking generally and also specific.

11:46

I think the ones that are speaking to me the most looking

11:48

at it are about people who are

11:50

in a relationship. It's either

11:52

about a specific person I'm

11:54

singing to you or I'm

11:57

singing about them, but you know

11:59

it's one specific person.

11:59

specific person from cases.

12:02

One of mine is very famously about

12:04

someone specific.

12:05

No. It's about Dave Coulier

12:07

in the theater? It's about Dave Coulier

12:09

in the theater. Is it Ray Stevens's It's

12:11

Me Again Margaret? Is

12:15

it Judy Blooms Are You There? It's God

12:17

It's Me Margaret? It is. It is the

12:19

musical version. It's actually just the entire

12:21

novel sung. Ooh. It

12:23

was an Andy Kaufman bit. Yes. By

12:27

Paul Lynn. Yeah. It was really

12:29

good. It's me, Margaret. He's

12:32

a way better singer than you would think

12:34

because he basically

12:35

like talk things

12:37

like, you know, the fairgrounds are a veritable

12:39

smorgasbord over smorgasbord. It's like almost kind

12:41

of a patter song. But this is like full

12:43

melody. It's beautiful. Yeah. Paul Lynn

12:45

neither sings nor talks, but somehow

12:47

does both. Yeah. He

12:51

vibrates between planes. Yeah, he does.

12:55

Oh, God. Well, shall we jump

12:57

into our round robin then? Do we feel we have

13:00

enough of both an understanding of

13:02

our differences and our similarities as far as

13:04

our criteria go for these? I

13:06

think so. All right. Matt, as

13:08

our guest, we offer it to you to

13:11

throw the first one out there. Okay. So

13:13

can I just throw out a few honorable mentions

13:15

before I get to my official? We're going like five,

13:18

four, three, two, one. Well, no, no, no, no, no, no, no, we're

13:20

not necessarily in order. This is just out

13:22

there. We're all going to determine at the

13:25

end. So let me start with the strong ones. If you

13:27

want, save those for the end. Mark,

13:29

you write them down. Will you be the official?

13:32

I will write them down as the official. Secretary,

13:34

I guess. Okay. The secretary

13:37

of love. I'm going

13:39

to throw out a sort of like couplet

13:41

of honorable mentions. Now,

13:44

this is a this is a flaw of mine. I think

13:46

these are perfect love songs and

13:48

they kind of work within the realm

13:51

of the 70s unabashed. Wear

13:53

your heart on your sleeve thing, but because they are

13:56

either like they're from the 2000s,

13:58

there's.

13:59

feels like a little bit of almost

14:02

like I have a little bit of hesitance

14:04

of am I allowed to be vulnerable with these

14:06

things? You know what I mean? There's something about them

14:08

being out of era which I think makes them

14:11

stronger songs and I salute them for that but

14:13

it's something about me and it's

14:15

Death Cab for Cuties Follow You Into

14:17

the Dark and Ben Folds the Luckiest.

14:20

They are weepy, weepy songs.

14:24

But they're almost too good for their time. Does

14:26

that make sense? You know what I mean? Yes.

14:29

I'm not familiar with the Death Cab for Cuties song

14:32

but the luckiest is in heavy

14:36

rotation for me as love songs go. It does

14:38

have that simplicity to it. Yeah.

14:40

I think. And they both have beautiful

14:43

melodies and they're just straight up

14:45

like basically I love

14:47

you, we're going to die but

14:50

please let us be together. It's

14:52

kind of the both have a similar sentiment

14:54

to them. That sort of tragic Romeo

14:56

and Juliet love. Yeah. Yeah.

15:00

The luckiest

15:03

was the first dance song at my wedding. Oh

15:05

my God. And a friend of ours

15:07

had a Super 8 camera and filmed

15:09

like a bunch of our ceremony and us doing

15:12

the recessional afterwards and

15:14

then cut it together to that song and gave it to me,

15:16

actually uploaded it on YouTube. It's like the one

15:19

public video by YouTube channel. Oh my

15:21

God. I don't know why I made it public. Oh I want

15:23

to see that. But that song makes me cry not only because of the

15:25

story of such a beautiful song. It made me cry

15:27

like when we picked it but it's so

15:30

heavily associated with my wedding.

15:32

Oh that's amazing. It is a great

15:34

song. I had it on my list but it was not

15:36

one of my finalists I think because I felt

15:39

too close to it. I see but we

15:41

have our wedding dance song on here as

15:43

well as the walking down the aisle song

15:45

as well as what was playing when we got engaged.

15:48

I'm just realizing that. Wow. Look

15:51

it's hard to be objective in a love

15:53

songs episode. I get it but

15:55

we'll do our damnedest gentlemen. So those were

15:57

a couple of honorable mentions. Do you want to give

15:59

out? your first of your top five

16:02

yes i do

16:05

but i want to do one more honorable vegetable

16:09

what area are you know room is it it's it's been

16:11

in this i guys lately it's long

16:13

long time by linda ronstadt and town

16:15

and does it cover of this by i only mention that because

16:17

we do it because i loved the song so much

16:19

snow and when we've been

16:21

playing that for years and then when it came out on

16:24

the last of us i just felt like

16:27

the world opened up and i'd i don't

16:29

know how many people had that

16:31

song top of mind and i was so glad

16:33

to just here everybody loving the song and finally

16:36

kind of going likes yes it's so

16:38

sad and so beautiful is

16:40

just a to perfect song from

16:42

and so as her voice her voice

16:45

truly perfect i think they've even said like scientists

16:47

have said she has one of the most

16:50

perfect it's like can hold a note

16:52

perfectly oh yeah something like

16:54

that yes i make sense there that celerity

16:56

and a simplicity to that yeah

16:59

i look at so that it note the final

17:01

of the honorable mention you know as

17:03

rats that's what i'm going to make my number size

17:05

of how that age as linda ronstadt

17:08

long long time i'm in a moose lost

17:11

in love by air supply and honorable

17:13

men and a half

17:17

of our ears replied

17:19

oh man i moved air supply

17:21

and of my honorable mentions to i feel

17:24

bad for the wrong guy and i

17:26

was i was my mom growing up had

17:28

that air supply greatest hits it's just a hot

17:30

air balloon with the pale background the oh

17:32

yeah so was lost in love

17:35

it was every once in awhile like for

17:37

some reason the song i whistle most often when

17:39

i'm with annoying as or that's really got cut

17:41

out how do you cannot on our that running presume

17:43

has a a blast and love filter

17:45

the i the song of the that he said

17:47

that i hum the most often when

17:50

i am just of noodling around melodies

17:52

in my head and i think the first the melody thing goes

17:55

does it want to get stuck in my head most often is arena

17:59

Making

18:03

love out of nothing at all, man. Air supply.

18:06

A big honorable mention to air supply.

18:09

In general. Jack of all songs,

18:11

master of none though apparently for this list. Too

18:13

much. I guess. Yeah,

18:15

Lost in Love, it has that part where the guy who

18:17

sings goes high at the end. He's

18:20

normally singing like, Lost in Love,

18:23

but then at the end he goes up like an octave or something.

18:25

Lost in Love. Oh my God. Oh

18:28

my God. Anyway, that played instrumental

18:30

version of that played during

18:32

Amanda walking down the aisle and I'd

18:35

like to apologize. You don't love your wife enough

18:37

to put that one on the list though, huh? I've got two

18:40

others that were instrumental.

18:42

So yeah. Alright. Okay.

18:45

Hal, what's yours? What's your first one? Well, as we all

18:48

know, I am a lover of tan foods. We've had a meal together, but

18:50

I'm sure whatever I ate was like

18:52

a leather belt of food. Wait,

18:55

how is, where is this heading for a love song though?

18:58

I feel like I picked a lot of like straight down

19:00

the shoot and I think it's weird. It would be weird

19:02

for me.

19:03

I'm just gonna lead off with maybe the

19:06

most obvious one, which is Peter Gabriel's In

19:08

Your Eyes, which

19:11

those who are too young to

19:13

have seen say anything, the famous

19:15

Lloyd Dobler holding the boombox that is playing

19:17

that as his way of serendating Ione Skai's

19:20

character whose name I do not remember and don't

19:22

care to. I

19:24

just think it's a beautiful, like just from the start

19:26

of it, it sort of sets a mood and it

19:29

sort of captures the, what

19:31

it is to be loved, which

19:33

is I think a really interesting sort of

19:35

take on it rather than I love you. This

19:38

is how it feels

19:39

when somebody loves you.

19:41

That's so good. Yeah.

19:43

I love that. And I

19:45

love that it's, regardless, it's an ask. You know what I mean?

19:48

I love that. My first one that

19:50

I'm going to throw out is

19:52

also from a 1980s film. And

19:56

again, it's

19:58

not Back to the Future's the Power. of love in this

20:00

particular. Is it Axl S? You

20:03

know what? I am in love with Harold Faltermeyer

20:05

personally. If you don't know who

20:08

that is, people of the world, go back and listen to our

20:10

best Harold Faltermeyer song episode.

20:12

For real? Yeah. Oh

20:14

yeah. We did it. We

20:16

dug in. Was

20:17

it Beverly Hills Cop or Fletch? I think it was Beverly Hills Cop. I think

20:19

it was Beverly Hills Cop. I know you did. It's

20:22

so good. So good. So no, this

20:24

is another 80s movie song. And

20:26

for me, there is something sort of magical

20:29

about the partnership

20:31

of love. And maybe we'll just talk about love throughout

20:34

this episode. But one of the important elements of

20:36

love to me is the partnership inherent

20:38

in it, regardless of what is going

20:41

on in the world. You know what? I

20:44

don't, it doesn't matter. It's just you and me. Let

20:46

them say we're crazy. I don't care about that. Put

20:48

your hand in my hand, baby. Don't ever look back.

20:50

Let the world around us just fall

20:52

apart.

20:53

Maybe we can make it if we're heart to heart.

20:57

Yeah, that's right. I'm going to the movie

20:59

Mannequin and I'm going to Starships. Nothing's

21:02

going to stop us now. I

21:05

think that lyrically is beautiful. I think

21:07

the song is so fun. The

21:09

melody is a lot of fun. You know what that is?

21:11

There are certain songs that are slow dances and

21:14

there are certain songs that are two people running

21:16

at each other in an airport. Celebrating.

21:19

Yeah. And that's what this song is. And

21:21

I, yeah, I love that one. So that's

21:24

my first entry. Okay.

21:26

Matt, what's next for you? Next, it wouldn't

21:28

be me if I didn't involve James

21:31

Bond somehow. Sure. Sure.

21:34

I'm just realizing this was played at my wedding as well but with

21:36

my dance with my mom. Aww. This

21:39

is Louis Anderson's We Have All the Time

21:41

in the World.

21:44

And it's the last song he ever recorded.

21:47

Louis Anderson. Did I say Louis Anderson?

21:50

Yeah. Yeah. Oh

21:52

my God. This is the last song I've

21:54

ever recorded. I hope you enjoy it. I

21:57

told you. You can keep it in. Because I've,

21:59

I... I'm so depleted

22:01

and sick that I think I want to celebrate

22:03

that I said Louis Anderson. I

22:06

met Roseanne Bars, we have all

22:08

the time in the world. Sam Kinneens.

22:12

Sorry, Louis Armstrong. Jesus. Oh

22:15

my God. I love it. Keep it

22:17

in. Again, this is

22:19

another

22:20

song I don't know. You

22:22

were introducing me to new songs. Oh,

22:24

it's just this sweet little ballad

22:27

that's just, we have all the time in the world. It's

22:30

from Honor Magicity Secret Service and

22:32

spoiler for that, but it's the one where

22:34

he gets married and then that doesn't end

22:36

so well. Then they reuse

22:39

it in no time to die quite a bit. It's

22:42

also integrated throughout the John Barry theme

22:45

in both movies and then the Hans Zimmer theme

22:47

in the second one. It's just a

22:49

simple,

22:50

simple, beautiful song with his kind of like,

22:52

it's very mellow Louis Armstrong.

22:55

He's not kind of like doing his belting very

22:57

much and

22:59

he was near death when he recorded it. So

23:01

there's kind of a melancholy to it, but also

23:03

like a sweet, simple beauty. Got a

23:06

little trumpet solo. It's just a throwback.

23:09

It's beautiful. I'm

23:11

looking at the lyrics to this right now and

23:13

it's just a beautiful sentiment.

23:16

Very straightforward, yeah. It's very straightforward

23:19

and it's very trusting. You know, many

23:21

songs, Will You Still Love Me Tomorrow? There are

23:23

songs that are about the fleeting nature of love. Yeah.

23:27

This is permanent. We

23:29

can both relax and we can both trust this

23:31

in the lyrics. We have all the love in the world.

23:34

We have all the time in the world. Just for love, nothing

23:36

more, nothing less. Only love. Yeah,

23:39

I like that.

23:40

Beautiful. Hal,

23:41

what you got? So funny

23:43

you brought up a song from a film in the 60s

23:45

because I almost put the, I can't

23:47

even remember the name of it, the theme from Franco

23:50

Zeffirelli's Romeo and Juliet. Oh yeah.

23:53

A rose will bloom. And

23:55

then will fade. Yeah.

23:59

Yeah. I think

24:02

I'm gonna... But I think I have to go back to the 80s and

24:05

um, axe the left. I'm gonna

24:07

throw it in there. Yeah,

24:11

I actually do want to go back to the 80s. I

24:14

do one that I think is beautiful.

24:16

There are two Cyndi Lauper songs I have. One

24:19

is Time After Time, the other is True Colors. I

24:22

think that True Colors is the one I have to pick

24:25

because it's just, again, it's like being

24:27

seen by someone and it's just beautiful.

24:29

They're both so beautiful. Oh man, I

24:31

do love Time After Time. I know, Time After Time.

24:33

No, damn it. In fact, when

24:36

you said that I went, why didn't I put that? Ooh,

24:38

yeah. You know what? I'm gonna do Time After Time.

24:40

I can't... Which I think was the one

24:42

co-written with, what's the name from the Hooters?

24:45

Yeah, was it her boyfriend at the time? I think,

24:47

yeah, I think they were dating but he wrote... I think

24:49

that was the one he co-wrote because I think that's him

24:51

harmonizing with her. Yeah,

24:54

when you order the lyrics, when you call...

24:56

If you love me, you're lonely, you'll go find me at

24:59

Time After Time. Oh

25:01

god, and it's so simple, the chords, it's such

25:03

a simple, simple song in melody

25:05

and it's perfect. Yeah, and there are

25:08

other songs like, I was looking at some Celine

25:10

Dion where it's like, here is what you do

25:12

for me. There's a lot of that,

25:14

you know what I mean? There's a lot of love songs that are

25:17

self-looking. I don't want to say selfish

25:19

because that feels... Like because you love me? Like

25:21

that kind of stuff? Yeah, the songs

25:23

that are about, you know, here's

25:25

about how you treat me. This is about how I'm

25:28

treating you. Right. So I love that

25:30

the lyrics move in that direction. Also,

25:32

I'm curious because I have a couple on my list, do

25:34

you think that the best love song of all

25:36

time necessarily needs to be about

25:40

love aimed in the direction

25:42

of a significant other? Because I

25:44

would argue that True Colors is about loving

25:46

yourself. The greatest love of all is,

25:49

you know, I believe that children are in our future. There's so many different

25:51

versions of a love song that

25:53

are looking at things other than a significant other.

25:56

And I would argue that's a True Colors. I'm not taking True

25:58

Colors. Right. But I'm curious...

27:59

I had it on my list. I had it on my list.

28:02

Oh, I took one off your list for you. Well, I'm sort of

28:04

going on the fly. I didn't know if it was gonna be one of the five.

28:07

I'm just sort of like, I'm going by feel

28:09

here because

28:10

it feels like this is evolving, which I love. Yeah.

28:13

There we go. All right, Matt, what have you

28:15

got? Well, I think I'm gonna just start

28:17

getting more into obscurity here, but

28:20

Waylon Jennings has a song called

28:22

The Wurlitzer Prize. Do

28:24

you guys know this song? I don't. It's

28:26

a sweet little country ballad. Basically

28:30

the meaning of the song is like the Wurlitzer jukebox

28:33

and he keeps throwing silver down the jukebox

28:35

and he should get a prize for how many songs

28:38

he's played thinking of his love.

28:43

It's so good. It's just this perfect, sweet,

28:45

simple little melody with kind of just

28:48

a slightly clever premise

28:51

but enough of a lyrical hook to

28:53

kind of separate it from the rest. And then

28:55

you got Waylon Jennings' kind of sad little baritone.

28:59

Yeah, it's a short song. I think

29:01

it was written by someone named Chips Momen.

29:04

Chips Momen, that's right. I'm looking at it right

29:06

now. Is that right? Mm-hmm. Yeah.

29:10

Chips Momen wrote the song. The lyrics are beautiful

29:12

and there's one that in looking at

29:14

it, and that's one thing I love about this is sometimes

29:17

there's just one lyric that

29:19

can suck you in and that's all

29:21

it takes. That sort of Hemingway,

29:24

six-word story, economy of words,

29:26

and I think this song has a great version of it.

29:29

A fresh roll of quarters, same

29:32

old song, missing you through

29:34

and through. And then it ends, each

29:36

refrain ends with, I don't want to get over

29:38

you. So it's not even like this person thinks they're

29:41

going to get back together. He

29:43

doesn't even want to move on. He wants to be

29:45

in his misery. I

29:47

get that I don't get to have you, but I

29:49

still don't want to be over you. I

29:52

don't even want to be happy without you. So

29:54

heartbreaking. Yeah. I'd

29:56

rather us have a relationship that's just

29:59

me wanting you. than me have a relationship

30:01

with anyone else. Yeah. I mean,

30:03

it's really, what's the Jim Carrey,

30:05

Kate Winslet movie, Eternal Sunshine

30:08

of the Spilers Mind before that

30:10

ever came along?

30:11

I mean, I'm reaching there, but... There's

30:14

a good parallel for it.

30:15

There's also a duet version of that song

30:17

with Nora Jones and Whitney Nelson. Yeah,

30:20

and then there's a solo Nora Jones one

30:22

too that's just as good. She's

30:24

so great. It's really good. She's fantastic.

30:27

All right. Hal, you're up. I

30:29

think it's a good one, but I want to make everybody wait

30:31

until after the break. We're going to take a quick break

30:33

right now. Everybody

30:35

wait. You're going to wonder what's going on in Lublin's

30:38

noodle. You'll find out right after this.

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30:51

No, Justin, that is absolutely not true. However,

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32:10

All right, are we back? We're back.

32:12

All right. How? You

32:15

kept it in suspense for so long. What's

32:17

the next love song on your list? I think this

32:19

song is great because number one, it kind

32:22

of makes you feel like it's sexy time but

32:24

also it is about – I feel

32:26

like it's a little bit about like the realities of

32:28

a relationship and sometimes it's not that

32:30

easy but you have to

32:33

implore the other person and say let's say together,

32:35

Reverend Al Green. Yeah.

32:38

Oh.

32:39

Which is so like our number one, it's

32:41

Al Green. So again, like among

32:43

all these people, it just has one of the most

32:45

pure beautiful voices and

32:47

the song has so much feeling to it but

32:50

it also has this sort of like mellow vibe

32:52

to it at the same time. It's so

32:54

like smooth. I

32:56

just love it. I think it's a very

32:58

mature kind of love song. Yeah.

33:01

Yeah because I love that we're picking love songs that kind

33:03

of fit in their own stages of a relationship.

33:05

It's almost like we're playing out the timeline

33:08

of a relationship. We could do a Broadway jukebox

33:11

musical with all these songs and tell a story

33:13

of a relationship. Yeah.

33:15

This is – I was – you know what

33:17

I had that one on my list as well Hal for

33:20

that very reason that it feels like a mature

33:22

version of love. Maybe the lyrics

33:24

are let's stay together whether

33:26

times are good or bad or happy

33:28

or sad.

33:30

I'm so in love with you, let's stay together.

33:33

And also why do people break up and go ahead

33:35

and make up like just again

33:37

like these relationship

33:39

cycles like that might not be the healthiest relationship.

33:42

Yeah. And yet there's something there. Yeah.

33:45

You have to stay together. That reminds me of another

33:47

honorable mention

33:48

which is crowded houses

33:51

don't dream it's over.

33:52

Oh yeah. Oh

33:55

God. Hey now. Hey now. In

33:57

the war between us. Oh so good.

33:59

Yeah i'm throwing out another

34:02

one you mentioned matt you mentioned

34:04

doing a broadway jukebox musical people

34:07

of the world know that i'm a big broadway fan and

34:09

i got to get one.

34:12

Musical theater song on to my

34:14

list please and i had three

34:16

that were at the top of it too from the same show

34:19

i'm not gonna give them what i will give honorable mentions

34:22

to you from lame is the

34:24

most heartbreaking song of longing

34:27

and pining for an unrequited love that i've heard

34:29

on my own song by epony also

34:31

a little fall of rain slightly later in the

34:33

show as she is dying and he

34:35

is holding her in his arms marius

34:38

is holding her and as she dies i'm

34:40

here that's all you need to know is

34:43

a beautiful lyric between an

34:45

unrequited love best friend and the

34:47

one who wants to see her off into the next life

34:50

with love i think both of those are beautiful but

34:52

i am going back to our

34:55

home of disney land specifically

34:57

the high period theater and allen

34:59

mankin's immortal both

35:02

broadway and disney film classic.

35:05

I think a whole new world beautiful

35:08

love song yeah it is your

35:12

world up there to that the real

35:14

song yeah part of your world i think is

35:16

the best disney song personally

35:18

agree i agree with that wholeheartedly

35:21

yeah but i think a whole new world is

35:23

an absolutely beautiful it's

35:25

a song about new love it's

35:28

the moment when aladdin turns to jasmine and says

35:30

don't you trust me and she takes his hand

35:32

it is that moment in song form

35:35

i think the lyrics are beautiful i think it's hopeful

35:37

i think the melody is beautiful it's alan

35:40

mankin at his best with howard ashman

35:42

and it's a stunning song oh that's

35:44

a good one

35:45

yeah

35:46

yeah and the idea of keeping like the don't you dare

35:48

close your eyes is not only because of the view

35:50

around but also like really soaking

35:52

in that feeling of being love and the idea

35:55

that's going to get better yeah and isn't the

35:57

don't you dare close your eyes kind of like a little

35:59

counterpoint

35:59

interjection. It's not like the melody.

36:02

Don't you dare close your eyes. Yeah,

36:04

exactly. It's great.

36:06

It's just encouraging. He's encouraging

36:08

her. Yeah. Another

36:11

Broadway shout out I wanted to give also I think Suddenly

36:13

Seymour is another one of the great

36:15

all-time great musical theater love songs.

36:18

But that is more of a subjective choice than an objective

36:20

choice for me. Yeah. All right,

36:22

Matt, what else have you got? You've got two

36:25

more slots. So far you've got Linda, Louie,

36:27

and Waylon. Who's jumping onto that Well,

36:30

this is a duet and it's a little bit

36:32

more obscure. It was a song

36:34

written by John Doe from X and

36:37

performed with Kathleen Edwards, the

36:39

Canadian singer-songwriter who I think

36:41

is

36:42

truly one of my favorite

36:44

artists. But most of her

36:46

solo songs are a little like almost

36:48

not anti-love. They're kind of like

36:51

broken love or something. Yeah. This is a

36:53

song that is so wonderfully cynical

36:56

in that it kind of like talks about all

36:58

the tough parts of love in a way that feels

37:01

more like a love song than almost anything else because

37:03

it's being honest with itself. It's called

37:05

Golden State. And this was the

37:08

song that Amanda and I danced to at our wedding. But let

37:10

me just run you through some of the lyrics here. Although

37:13

you have to hear the song. I really urge people to

37:15

check this out. You are the hole in my

37:17

head. I am the pain in your neck. You are

37:20

the lump in my throat. I am the aching in

37:22

your heart. We are tangled. We are stolen.

37:24

We are living where things are hidden. You

37:27

are something in my eye and I

37:29

am the shiver down your spine. You are

37:31

the lick of my lips and I am the tip of your

37:33

tongue. We are tangled. We are stolen. We are

37:35

buried up to our necks in sand. We

37:38

are love. We are hate. We are the feeling

37:40

you get in the Golden State. We are love.

37:42

We are hate. We are the feeling I get when

37:44

you walk away. Walk away. Yeah.

37:49

Ah, beautiful. It is such a great.

37:51

It's like a really upbeat kind of slightly

37:54

punk rock. But it's very melodic

37:56

and we had this DJ

37:58

at our wedding that we were. kind of like got

38:01

against our wheel. It's a long story. But

38:03

he was this very sweet guy, but he truly

38:05

managed to mess everything up at every turn

38:07

where he didn't play our wedding march

38:10

song. We got out there on the

38:12

floor after he announced us to dance

38:14

and there was no music. And he just stood up from his

38:16

laptop and just went, go on without me.

38:19

And he ran away to do something.

38:21

I don't know. He had to go get

38:23

another version of the song somehow. We all stood

38:26

there. It was also freezing

38:28

cold at our wedding and we just stood there

38:30

laughing and it actually kind of like added to

38:32

the perfection of this song because the

38:35

minute you try to make something perfect, the minute

38:37

you're screwed and the more

38:39

you kind of surrender to just

38:41

the imperfection of life and

38:43

love, the happier you'll be. And

38:45

so why not celebrate it and acknowledge

38:48

how much it like sticks you in the heart,

38:50

but then that's what makes it all so worth

38:52

it anyway. I love that. And I love

38:54

that it, yeah, I don't know the

38:56

song, but looking at the lyrics of the song, the poetry

38:58

of it is in that, yeah, we're just

39:01

going to turn the idea of a love song on its head

39:03

and all of the things about love that suck and

39:05

all of the things about being human that suck,

39:07

we are going to celebrate together. Yeah.

39:10

And nothing's going to stop us now. And

39:12

these are rock and roll singers, so they're not like

39:15

perfect Broadway singers.

39:17

So their voices pair so

39:19

perfectly with it and the music's so perfect.

39:22

Yeah, I highly recommend you check it out. You're

39:24

the hole in my head, I'm the pain in your neck, you're the

39:26

lump in my throat, I'm the aching in your

39:28

heart. All right. Gives me chills,

39:31

gives me chills. Yeah, I like that.

39:33

All right, Hal, what you got next? I have a song

39:35

about the lady so nice that they

39:37

wrote hit songs about her twice.

39:39

New York, New York?

39:40

The woman is Patty Boyd. When the woman

39:43

cheers Patty Boyd Harrison, it does something.

39:48

Oh, something, yeah. Ooh, that's a goody. Something

39:50

of a solid choice. This is like the start

39:53

of, I mean, outside of it just being a beautiful

39:55

song that also I think features Eric

39:57

Claps with a guitar solo, which is it. of

40:00

things to come, but part

40:02

of what I love about it is it's

40:05

like right before the Beatles are about to break up

40:07

and George Harrison has so many songs

40:09

he's written that he puts out a double album that's

40:11

like just wall to wall bangers. But

40:14

this is one that was like it was time

40:16

and it came out and it's such

40:18

a maturely written song

40:20

and so beautiful and

40:22

just like a perfect song.

40:25

I don't know if it's the best love song, but I think it's a perfect

40:27

song. I think it was Sinatra's favorite

40:29

Beatles song. Really? Yeah,

40:32

that's what I've heard. I've heard a lot of people say it was their

40:34

favorite Beatles song, but of course if Sinatra says

40:36

it, yeah. And it's also one of those mature

40:39

love songs, whereas some of

40:41

these songs have certainty built into them.

40:44

There's something about you're asking me will my love

40:46

grow? I don't know. Yeah. Stick

40:49

around now. It may show. Like

40:51

he's 25 when he writes this? Are you kidding

40:54

me? No. He was 25 when the Beatles

40:56

broke up. He'd have done all of that

40:58

by the time the Beatles broke up. It's

41:00

unreal. I now

41:03

am not as emotionally mature as any

41:05

of the Beatles were when they were in their 20s. I

41:07

know. I know. That's

41:10

an incredible choice. Yeah, that's

41:12

really expertly done. My

41:14

next choice is look,

41:18

we are all adults here. Kids, you're

41:20

all adults too in this case. No,

41:23

leave the room kids. There is something about

41:26

love where a big part

41:28

of it is sex. And I think

41:30

there is an unapologetic

41:33

song that is about sex

41:36

that is a perfect love song.

41:39

And it is Boys to Men's

41:41

I'll Make Love to You. Oh, I thought you were going to say

41:43

Axle F. That's

41:46

what the F says. We know what the F says for you. Yeah,

41:48

that's right. You finally know. Foley? No,

41:51

I don't think so. Give the lyrics to

41:53

Boys to Men's I'll Make Love to You. The music

41:56

is perfect. Sex music. The lyrics

41:59

are.

42:00

Unapologetically sex lyrics

42:02

but positive and joyful

42:04

and consensual and loving

42:07

and kind

42:08

and.

42:10

Sexy

42:12

it's there's just something wonderfully

42:15

sexy about that song. Yeah

42:17

so good when i was writing

42:20

down like i hear the song i was just sort

42:22

of how many of you can i list out

42:24

the third one that i wrote down.

42:26

Oh wow yeah that's another

42:28

one that falls in its own category of a relationship

42:30

to you know we really are these all kind

42:32

of exist to each other yeah

42:35

yeah.

42:36

Alright matt what

42:37

do you got me i'm gonna show my true stripes

42:40

here alright this is this is your number one this

42:42

is your last one this is the one that you said

42:44

at the beginning this is my number one

42:47

yeah and the listener should know that you

42:49

said we should put together five songs right

42:51

before we got on i was just thinking we come with

42:53

our one and this. Definitively

42:56

my one okay i'm excited

42:59

this was playing when i proposed

43:01

to a man and not because it happened to be on

43:03

but because i made sure it was on we were in our

43:05

house and. Okay

43:08

it's danny song. By

43:12

kenny logins however the one

43:15

i'm talking about is the and mary

43:17

soft rock version of

43:19

danny song and you might

43:21

not even know the song but title but you've got

43:24

to know it by lyrics in a melody and

43:26

even though we ain't got money

43:28

i'm so in love with

43:31

you honey everything

43:33

will bring

43:33

a chain of the. Anyway

43:35

yeah it's just so pointed

43:38

and sweet and that sentiment

43:40

of even though we ain't got money i'm

43:43

so in love with you honey to me is like the single

43:45

best. Love lyric ever

43:47

of we have love so everything

43:50

else that comes along will be gravy

43:53

and then i dug into the song a little

43:55

bit more i don't know why i like the and mary version

43:58

better it's just. little bit more produced.

44:00

It has pedal steel, which to me, I'm such a sucker.

44:03

It's got that kind of 70s Canadian country

44:05

pop that I think was a sort

44:08

of sub genre of its own that just hits

44:11

me to the core and something about a woman

44:13

singing it does me better. But talking

44:15

about how George Harrison was so young when

44:17

he wrote that, Kenny Loggins was in high

44:19

school when he wrote this for his

44:22

brother who was having a child because

44:25

the song is about having a baby with the

44:27

love. And it just seems,

44:30

there's a little bit of nervousness of how are we going to pull

44:32

this off? We don't have money. How are we going to make this work? But

44:34

in the end, who would want to be anywhere else

44:37

but here? And then

44:39

there's something I really love. If you listen to the

44:41

Kenny Loggins version, and

44:43

it's great too. I've never heard

44:46

a song do this before, but the entire

44:48

song plays, they finish the last

44:50

chorus and you can see on the timeline, there's

44:52

maybe 20 seconds left. Then the bass

44:55

decides to come in.

44:56

To

44:59

me, I picture them in studio

45:03

and he's like, we've got this, we've got this. Where's Bill?

45:05

Bill will be here. Don't worry about it. Let's just

45:07

start. And Bill quietly walks in

45:09

and kind of like mouths, am I too late? And just

45:12

sets up and then in comes the bass.

45:14

I still got to get on the song even if it's the last 20 seconds.

45:18

Oh my God, it makes me so happy. There's that moment.

45:20

I'm sorry to just ramble on here for a second. I'm

45:22

sorry to say, Bill, please do. That's the whole point. I've talked

45:24

about this before, but there's the song by the super

45:27

group, The Highwayman, which is Johnny Cash, Waylon

45:29

Jennings, Chris Christofferson, and Willie Nelson called

45:31

The Highwayman. And each one of them takes

45:34

a verse about being like an old timey

45:36

working class laborer. So it starts

45:38

with Willie, I was a highwayman and

45:40

then it's Waylon, I was a damn builder

45:44

and then Chris Christofferson, I was a sailor.

45:46

And then they have a little bridge and

45:48

it gets to Johnny Cash and it feels so

45:50

unrehearsed like they said, hey, everybody come in with

45:52

your parts. We'll record it. We don't want to hear it. So

45:55

it goes, Highwayman, damn builder, sailor,

45:57

Johnny, take it. I fly a star.

45:59

and I feel

46:02

like you can walk the band,

46:04

like skip a beat where they go, wait, what?

46:08

Wait, I think you mistook what

46:10

we were going for. Oh,

46:13

and it's so great. And then I just imagine that bass

46:15

is coming in at the end of the login session, just kind

46:17

of like, well, you didn't expect me, but here I

46:19

am. Anyway, the song is so gorgeous.

46:22

It's pretty perfect. I adore it. And

46:25

if you listen closely in that login's version, you

46:27

can hear the bass unsnap

46:29

in a very faint, I'm so sorry.

46:33

Traffic was atrocious. Right

46:37

before the bass comes in, you hear that.

46:39

I can't think of that

46:41

song without thinking of what Hot American Summer, because

46:43

it's a song that Ken Marino is singing when he

46:45

comes in. Oh, really? I didn't even realize

46:47

that. But it also is, I

46:50

mean, it's, no, he's about to go make love, but

46:53

that's the song he's singing in the way. But

46:55

I'm curious, was there a specific part when

46:57

you proposed? Was there like

46:59

any kind of like timing it out a little bit? Do you remember

47:02

what part was playing? No, I was, we

47:04

were at home, so it was kind of, it was

47:06

like controlled conditions, but

47:08

I was still, all I could do was get this

47:10

song on and get up the gumption to get it right, so

47:13

I couldn't, I think,

47:16

it went on long enough where I'm sure we hit,

47:18

even though we ain't got money. Yeah,

47:21

it must have been. I don't know, but it was- Did

47:23

she know that song tip her off at all? No,

47:26

although we would kind of play

47:28

it and sing it a lot as a kind of like

47:30

sweet little, you know, notion

47:33

to each other. We had the, oh, Mark, you remember

47:35

this way. She and I met

47:37

doing improv at Universal

47:39

Studios, where it would be up on this balcony like you do as a New

47:41

Yorker, but we were in this very short-lived

47:44

British version. Yeah. And

47:46

at some point, you know, you could be like a Tweedy

47:49

posh Brit or whatever, but at some point they just kind

47:51

of like put everybody in one thing, and I

47:53

was like a Keith Richards rocker, and they gave

47:55

us a guitar, and I'd be out on that balcony with her, working

47:57

with her, and I would kind of like, like

48:00

a Rolling Stones looking rocker singing,

48:02

even though we ain't got money.

48:04

And she would know. And it

48:06

was that. Oh, yeah.

48:08

That's... I remember that show. I loved that

48:10

show. I loved that version of the just

48:13

sit on the second floor and yell at people. I know.

48:15

It was a sweet version. I didn't know that that was

48:18

where you guys met was doing that. I just

48:20

assumed your paths had crossed in

48:22

the theme park world for years with... No.

48:25

...Push and Cinderella and all of that. Yeah.

48:28

And one of the first podcasts we have is kind of about is we

48:30

worked at Disney at the same time forever and

48:32

never crossed paths. And then the

48:35

first day of rehearsal at Universal

48:37

for this job, we met. And it was like

48:39

from that point on,

48:41

we both... Oh, I think. Yeah.

48:44

I love that.

48:45

All right, Hal, what have you got?

48:46

I want to throw out a couple of the honorable mentions

48:48

I have that I didn't choose. One is, again,

48:51

from the 80s, Take My Breath Away by Berlin. Yeah.

48:54

Another great song. Yeah.

48:57

Oh, man. I had God Only Knows by the

48:59

Beach Boys, which is another great one.

49:01

Oh, yeah. Sure. And

49:03

then maybe the... I

49:06

mean, there are so many. John

49:08

Legend's All of Me, which is the song he wrote

49:10

for his wife, Chrissy Teigen.

49:12

Yeah. I feel like that's a... I think

49:14

he posted a red... That has entered the American

49:17

Standard songbook canon. I don't

49:19

even know that. In the way that Kin Pan Alley songs have. Yeah.

49:22

It's the All of Me. All of Me.

49:24

All of You. Oh, I just think

49:26

of All of Me. Why

49:28

not take all of... Best

49:32

version of that song I ever heard was

49:34

On the Sea Front in Copenhagen,

49:37

a clarinet, a banjo, and a drummer

49:39

in an episode of Rick Steves Europe.

49:42

Anyway. Wow. Wow.

49:45

Yeah. I mean, oh, jeez. Just

49:47

a couple of words. Ain't No Mountain High enough I had

49:49

on my list. Sure. Didn't you

49:52

hear that? Be My Baby by the Ronettes. Mm-hmm. I

49:54

think that's just the way you are. It's won

49:55

by Billy Joel, won by Bruno Mars. Although thinking

49:57

about it, the best Billy Joel love song

49:59

might be... She's always a woman to me. That

50:01

wasn't man. So good. All

50:04

right, but I'll man I don't know many

50:06

are on your list mark, but I'm just gonna

50:08

go with what I think is timeless

50:11

like all you have to do is

50:13

hear the opening strings and Automatically

50:16

your transported and that is at

50:18

a James at last. Oh, yeah.

50:21

I just think that that is a I Don't

50:24

know that's something about this pronouncement

50:27

that you found love and what

50:29

that means And it just that

50:31

is anonymous of the perfect marriage

50:33

of not only like a perfect melody

50:35

and song and lyric But

50:37

the performance right?

50:39

Yeah the level of the craft of the others You

50:41

know because that was a song from the 40s

50:43

that she covered in 1960 Is

50:46

that really yeah, who was it? I think was

50:48

Glenn Miller Orchestra or one of

50:50

the old orchestras did it as me

50:52

It was very much like a 1940 song

50:54

and she went no, no, no, I'm giving you my Soulful

50:57

version of it and it's yeah It's

51:00

a stunner and I can connect it to back

51:02

to the future because her version her song

51:04

roll with me Henry is also A soundtrack to

51:06

that. So is that an edit James song roll with me

51:08

Henry? Yeah Henry

51:10

yeah, that's her. All right. So

51:13

your last one is at last. Yeah

51:15

All right Now I'm gonna give my honorable mentions

51:17

as well because I have a couple more I was curious and

51:19

I'm still debating or two So

51:21

yeah, yeah more more. All right, I'll throw mine

51:24

out there I'll give you my last one and then you'll get the last

51:26

two in there Yeah again, one of

51:28

my honorable mentions you just mentioned how which

51:30

was at last I also have the Beatles

51:33

all you need is love that's more of one of those agape

51:35

love songs Yeah, right. Yeah of

51:38

the like there's nothing you can do that

51:40

can't be done. All you need is love I think

51:42

is a wonderful sentiment. But if we are keeping

51:44

it to significant other romantic

51:47

love Songs I have

51:49

to go with this is tough See, this is

51:51

the problem with having a top 10 list when we're

51:53

really doing a top five each show I have

51:57

as mentioned before You

51:59

know what? I think one is better so I will just

52:01

give some love to the one I mentioned before, which is

52:03

Celine Dion's The Power of Love. Cause

52:06

I'm your lady,

52:08

you are my man. The

52:11

idea of being frightened but being ready,

52:13

I think lyrically it is a beautiful

52:15

song, but it is a more complex

52:18

song lyrically than the one

52:20

that I'm actually gonna go with here. And this

52:22

is one that has come up multiple times

52:25

on this show from a legendary

52:28

artist. He wrote the

52:30

original version and Whitney Houston covered it

52:32

to much acclaim and that is of

52:34

course Dolly Parton's ode

52:36

to Porter Wagner that she sang to

52:39

him to his face the day she wrote

52:41

it on the same day as Jolene to tell

52:43

the man that she was leaving. The idea

52:45

of I have to go but I will

52:48

always love you. Dolly Parton's

52:50

I Will Always Love You is I think a

52:53

perfect. I agree. A perfect

52:55

love song. It's incredible. It

52:58

gives me chills even to hear you say it. I was thinking

53:00

of that when we were talking about like

53:02

the I've got to go, you know, I don't

53:04

want to get over you versions of love songs.

53:07

Yeah. Long long time is the same

53:09

way too. Yeah. So many different

53:11

versions of I feel like there's so

53:13

many tentpole moments in

53:15

the arc of a love. There's

53:18

puppy love, that's endless love. I'm

53:21

just gonna fawn over you and do anything for

53:23

you. There's Al Green with

53:25

Let's Stay Together Through Thick and Thin

53:27

and then when it doesn't work out there's I

53:29

Don't Want to Get Over You with Waylon

53:32

Jennings's Whirl it Surprise and

53:34

I Will Always Love You with Dolly Parton. There are all these

53:36

different moments within a love song.

53:39

All of them very well represented in this

53:41

episode but

53:43

guys this is not

53:45

what are the best 15 love songs.

53:47

This is what is the best love song.

53:50

So here is how I'd love to do the end

53:52

here. And it's a game that we played before.

53:54

It's a game I'd like to play now. Each one

53:56

of us will select

53:59

one.

53:59

song

54:01

to move into the final

54:03

three that is not on

54:06

our own list. Oh,

54:08

I love this. So we will each select

54:10

a song from someone else's list

54:13

to be the finalist. By the way, before

54:15

we do this, what I love about I Will Always

54:18

Love You, what I think is so cool about

54:20

it is that it's not about romantic

54:22

love. Yeah. And there

54:24

are so many different kinds of loves and it made me think

54:26

of the song She's Such a Temptation by

54:28

Billy Joel, which you think is about his wife,

54:31

but it's about his newborn daughter that

54:32

he doesn't want to leave.

54:34

I just like, it's interesting,

54:37

like how many different kinds of love can be encompassed

54:39

in a song and even taken

54:41

to mean, it can be romantic love, even

54:43

if it's not written that way. I think

54:45

that's like the hallmark of a really great song. Yeah.

54:47

Yeah. Love is love is love, right?

54:49

Yeah. Yeah. All

54:52

right. What order should we do this in? Should

54:54

we stay in the same order or make it up? You have the list?

54:57

I have the list. I will read the list right

54:59

now. Okay.

55:00

For Matt Gorley,

55:02

Linda Ronstadt, Long Long Time, Louis

55:04

Armstrong, All the Time in the

55:07

World, Waylon Jennings, Whirl it Surprise,

55:10

Golden State by John Doe,

55:13

and Danny Song by Anne Murray.

55:16

For How Loveland, In Your Eyes by Peter Gabriel,

55:18

True Colors by, I didn't

55:20

write all these down by her brain. Thank you.

55:23

Thank you. And Billy Anderson. Thanks.

55:27

For How Loveland, In Your Eyes by Peter Gabriel, True

55:29

Colors by Louis Anderson. Let's

55:31

Stay Together by Al Green, Something

55:33

by, was it The Beatles or was it Just? Time

55:36

After Time, Not True Colors. Oh, sorry. Not

55:38

True Colors. Time After Time. By

55:40

Sandy Loepper. Yes. Let's Stay Together

55:43

by Al Green, Something, is that a George Harrison or that's

55:45

a Beatles? That's Beatles. That's

55:48

Beatles. Written by George Harrison and at last by Etta

55:50

James. Mine from Starship,

55:52

Nothing Gonna Stop Us Now, Endless Love by

55:55

Lionel Richie featuring Diana Ross, A Whole

55:57

New World by Alan Menken performed

55:59

by Thousand. thousands throughout the years. I'll

56:01

make love to you by boys to

56:03

men and I will always love you.

56:06

Bye Dolly Parton. Can

56:08

I just say that the only Venn

56:11

diagram of a person that shares my

56:14

love song taste would be a 60-year-old

56:17

woman at a

56:19

slot machine alone in not

56:22

even Vegas but like Reno, Nevada

56:25

smoking

56:27

in the late 70s wearing all polyester

56:30

knit, dentures in a glass

56:32

and just letting that one-arm bandit go.

56:35

You know what? That is love, baby. That

56:37

is love right there. She's living her

56:39

best life and let's let her do it. I'm

56:42

glad you guys decided on this method because

56:44

honestly, I recognize my picks

56:46

are what they are because my top

56:48

two choices have come from each of you,

56:50

including my own. I think to be

56:54

objective, you have to really look at what

56:56

is just so powerful and effective

56:59

and probably universally so.

57:02

One of yours each are at a tie

57:04

for me. I'm not quite sure how to change. Well,

57:06

you know what? Then we can have a final four instead of a final

57:08

three. Oh no. You are our guest.

57:11

No, I'm not arguing for that. All

57:14

right. Well, it sounded like you were very briefly

57:16

and very gently. Well,

57:18

maybe I'll just say let me go last because then that

57:20

way if one of them gets picked. All right.

57:22

Okay. I'll go first. Okay.

57:25

I'm going to take one of yours, Matt. I'm going to take Danny's song

57:27

because I think it's

57:29

beautiful and I love it. First of all, I love

57:32

the song that you used while you were proposing

57:34

to Amanda. That's something that was playing and it was important

57:36

to you. But I also like the message of it, that

57:39

like love is enough and doesn't

57:41

matter. As long as you have each other, that's

57:43

what's important.

57:44

Oh, that makes me... I love that. You're

57:46

making me tear up, Hal.

57:48

I know it is. The sentiment of that song is perfect.

57:51

Yeah. It wrestled it away from

57:53

a Wet Hot American Summer, which made such

57:55

a huge impression on me when I saw it 22 years ago.

58:00

As soon as you said sing, it was like, oh my goodness, yes,

58:02

of course. But it is actually a beautiful

58:05

song. And so I'm picking it to be a final.

58:07

Oh, wow. I'm excited. I

58:09

am going to select one of yours, Hal.

58:13

Just to jump in there, I know, Matt, you said that you

58:16

wanted to go last on this, so I'm giving you the final.

58:18

I hope this is about to work out in my favor. If

58:20

you're going to do it, I think you're going to do it. I am

58:23

going to – this was tough.

58:25

This was tough because you've got some great ones in there,

58:27

Hal. Let's say Together, I think, is a very mature,

58:30

wonderful song. Something I think

58:32

is a melodically perfect song, but I think

58:34

I have to go with Time After Time by

58:37

Cindy Lauper because I think it is –

58:39

I think the sentiment of

58:42

that song, if you're lost, you can look and you

58:44

will find me. Time after time, if

58:46

you fall, I will catch you. I will be waiting.

58:49

Time after time is a beautiful,

58:51

beautiful sentiment. Cindy Lauper,

58:54

a brilliant, brilliant songwriter. If you

58:56

haven't heard Kinky Boots, listen to Kinky Boots. It's

58:58

amazing. Yeah, True Colors is a great song,

59:00

but this song in particular as a love song,

59:03

lyrically, I think it's pretty great. So

59:05

I'm giving that slot. My

59:07

choice goes to Time After Time. Cindy

59:09

Lauper is crazy unappreciated. Not

59:12

only as a writer, but as a singer. I

59:15

think people think of Girls Just Want to Have Fun or

59:17

maybe Goonies are good enough. I think probably more

59:19

people are thinking of Girls Just Want to Have Fun,

59:22

which is a great song, but she is such

59:25

a powerhouse singer. She can do pretty

59:27

much anything. Well, some of her songs, she has such

59:29

a cutesy overlay to her voice

59:31

that you don't realize she's hitting crazy

59:34

notes perfectly. Yeah.

59:36

Yeah. I'm so glad you chose

59:38

that because I had two that I

59:40

was, I'm not sure about, but I actually

59:42

hearing you talk about that because that was in my shortlist

59:45

too. I think

59:47

that is a perfect song and it's melancholy

59:50

like Danny's song too. There's

59:53

just a chord in that Time After

59:55

Time that's like a major seventh chord. I

59:57

think depending on how you play it. There's something

59:59

about the... this chord that just like, it just,

1:00:02

I guess that's where you get like pulls your heartstrings, you

1:00:05

know? Yeah. So I was down to

1:00:08

something by the Beatles and I Will

1:00:10

Always Love You by Dolly Parton. George

1:00:12

Harrison's my favorite Beatle but

1:00:15

I think the sentiment and

1:00:18

coupled with the melody and the power of

1:00:21

Dolly Parton, the fact that it's just, she's

1:00:23

just saying it like it is, I am leaving

1:00:25

but I Will Always Love You is tragic

1:00:29

and so sad and so evocative of

1:00:31

love, albeit a tragic love. It's

1:00:34

just the impact of that one hits me a little

1:00:36

bit more. So I'm gonna go with, and

1:00:38

I think I love all three of these songs the same

1:00:41

so I don't know how we're gonna do this but yeah,

1:00:43

mine is tough.

1:00:45

Yeah. Yeah.

1:00:46

Well, you know what we've done, I think

1:00:48

is really fascinating in this is

1:00:51

it looks like as far as the sentiment

1:00:53

of the lyrics of each of these songs goes, we've

1:00:55

got a beginning, a middle and

1:00:57

an end. Oh, this is so sad. Right?

1:01:02

In Danny's song, we've got, we just

1:01:04

had a baby, I love you, we don't

1:01:06

have a lot of money but we're going to make this

1:01:09

work. In Time After Time,

1:01:11

we've got deep in a relationship

1:01:14

of real love and relying

1:01:17

on your partner in the

1:01:19

thick of it.

1:01:21

Finally, we have, look, it

1:01:23

didn't work out but I will always

1:01:25

love you. Oh my God, I

1:01:27

can't bear to think of that couple in Danny's

1:01:29

song breaking up the way they

1:01:31

do. It kills me, it kills

1:01:34

me. Oh, I'm so

1:01:37

sorry that we have to be the bear of bad

1:01:39

news but it's the same couple in all three

1:01:41

songs. Oh no. They

1:01:43

do. Oh man. Well,

1:01:46

we should throw Reverend Al Green in there and get him to

1:01:48

stay together. Yeah, I know, right?

1:01:51

Look, they need to just get some church in

1:01:53

from the Reverend. Yeah. So

1:01:55

we have like idealistic auspicious

1:01:58

future ahead of you. The reality. reality,

1:02:00

the bittersweet reality of actual

1:02:03

relationship and then the end of a relationship.

1:02:05

Those are our three sentiments. They're all female

1:02:08

singers. They're all generally

1:02:12

pretty simple songs, melodies

1:02:14

and arrangements in the form of pop

1:02:16

or country. None

1:02:19

of them are really presumptuous. Dolly's

1:02:22

gets a little bombastic because she

1:02:24

just can, you know? They're

1:02:27

humble songs, I think, and that's what

1:02:29

I like about them. Yeah.

1:02:31

Yeah.

1:02:32

So this is so tough. So what

1:02:34

criteria? I will go back to the beginning

1:02:37

of the episode and what we talked about in

1:02:39

trying to look at this objectively. Let's

1:02:42

remind each other and the

1:02:44

people of the world listening what our

1:02:46

individual criteria were for

1:02:49

selecting our favorite songs.

1:02:52

And maybe the melding of those criteria

1:02:54

will aim us toward what our

1:02:56

ultimate finalist is. Matt, I'll

1:02:58

start with you. What criteria are

1:03:00

you looking at now and how are those criteria

1:03:02

informed by the arc of what we just

1:03:05

looked at? I started by simply

1:03:07

just what moved me gut-wise

1:03:11

and it was something that on the surface also

1:03:13

moved me and that was Danny's song, the sweetness

1:03:16

of as long as we have our love, we have

1:03:18

everything

1:03:19

and we're happy.

1:03:22

But the tragic

1:03:25

romance of I Will Always

1:03:27

Love You is so powerful to

1:03:30

me. And then the sweet, bitter

1:03:32

sweetness of time after time, I really

1:03:35

don't know what to do here. I'd be happy

1:03:37

with any one of them. I'm sort of leaning

1:03:39

towards I Will Always Love You

1:03:42

because it just

1:03:46

kind of like, it just

1:03:49

shouts a little bit more. It's a little bit more passionate

1:03:52

maybe. Not that that's what you need to have

1:03:55

in a love song but it's of the three songs.

1:03:57

This is the one song saying, no, no, no, look, I

1:03:59

need to go. I need to belt this out. I

1:04:02

need to get above the rest of the noise and

1:04:04

say this or I'm going to die. You know?

1:04:07

I don't know. What

1:04:08

do you think, Hal? Based on your original

1:04:10

criteria.

1:04:12

You know, so much of this, even then talking,

1:04:14

it's like so much of it is about the feeling you get

1:04:16

and I'm sort of going off a feeling right now.

1:04:20

To me, it's also between, as

1:04:22

much as I like Danny's song, to me it's also

1:04:24

between time after time

1:04:26

and I will always love you. The

1:04:29

thing that sticks with me with I Will Always Love You

1:04:31

is the idea of like if I stay around I'm just going to

1:04:33

be in the way and that is, first

1:04:36

of all, it's heartbreaking.

1:04:38

It's heartbreaking in a real fantasy context. Do

1:04:40

you think she would be honest or

1:04:42

is she being a little like

1:04:44

it's not you, it's me? I

1:04:47

honestly think that she would have been in the way.

1:04:49

She's bigger than Porter Wagner at this point. Yeah,

1:04:52

she was limiting her growth and also

1:04:55

she was dominating the show with

1:04:57

her.

1:04:58

She was 100% right

1:05:00

as with almost every decision she's made in

1:05:03

her career in life. She made the

1:05:05

smartest choice at the time that maybe

1:05:08

probably he couldn't see, although it moved him to tears

1:05:10

and I think helped him under. How can

1:05:12

I, some people will write a letter, some people

1:05:14

will have a conversation. If you're Dolly Parton, you write

1:05:16

a song. I don't

1:05:19

know. Something in me feels like,

1:05:21

something in me is feeling like I have your time

1:05:23

is my choice because I think that... No,

1:05:27

I think that idea of being

1:05:29

there for someone is, that's

1:05:33

speaking to me more but that being said,

1:05:35

if any of these three won, I would be perfectly

1:05:38

happy. I'm not going to be, I

1:05:39

wouldn't be disappointed but Mark, it looks like you're the

1:05:42

tie breaker. I don't mean to be a tie

1:05:44

breaker in this. Unless, yeah,

1:05:46

if you... Unless mine is Danny's song.

1:05:51

I think for me, looking at these,

1:05:53

I look at Danny's song

1:05:56

and maybe it's about where I am personally

1:05:58

in my life but as far as... is like that

1:06:01

throws all objectivity out

1:06:03

the window. If I'm like, let's go through my filter,

1:06:06

but it's all I can do. I'm only human.

1:06:08

The early years joy of

1:06:11

Danny song of even though

1:06:13

we ain't got money, I'm so in love with you, honey.

1:06:15

Just as a perfect sentiment, the

1:06:19

mid-level selflessness

1:06:21

within the relationship

1:06:23

of

1:06:24

time after time, not even that it's

1:06:27

selflessness in there, it's supporting

1:06:30

and having the back

1:06:32

of your partner. And understanding you have

1:06:34

to do work sometimes in a relationship. Yeah.

1:06:36

That a relationship takes work. Yeah.

1:06:40

And I think the most man,

1:06:42

you just threw me off, Gorley. Oh, I'm sorry. Well,

1:06:45

I know you threw me off in the best way.

1:06:47

No way off in the best way, because

1:06:50

that's the thing. And now you've got me curious again,

1:06:52

because here's where I was going. And

1:06:55

I'm curious now. I know it just feels like a binary

1:06:57

race as wonderful as Danny

1:06:59

song. I think that's fair. It feels like

1:07:01

a binary race between these two. And

1:07:05

if time after time has moments that are

1:07:07

about sacrifice, they're not even really about sacrifice.

1:07:09

They're just about having someone's back. If you

1:07:11

fall, I'll catch you. I'll be waiting. If you're lost,

1:07:13

you can look, you'll find me. The sacrifice

1:07:16

at the beginning of I

1:07:18

will always love you. If I

1:07:20

stay, I will only be in the

1:07:22

way. So I'll go, but I'll

1:07:25

always love you. Feels like

1:07:28

the most version of

1:07:30

having a back that I've

1:07:32

done selfless version, even disingenuous,

1:07:36

uh, maybe, but the, if it

1:07:38

is in fact, genuine, that to me seems

1:07:40

like the most selfless version of I

1:07:43

love you.

1:07:44

And yes, it's about

1:07:46

the end of a relationship, but that was the thing

1:07:49

that makes me now curious going back

1:07:51

and forth between the two of them. What you said,

1:07:53

Matt, of it takes work. So

1:07:56

is it, it takes words and it's

1:07:58

successful or it takes. makes work

1:08:00

and it's not. Which

1:08:02

one is the love that we're looking at? Also

1:08:05

when you just take the songs on

1:08:07

the surface too of I think

1:08:09

I'd actually probably listen to time after time

1:08:12

more than I Will Always Love You because

1:08:15

and this is maybe something for or

1:08:17

against depending on how your criteria

1:08:19

is. I Will Always Love You is a more

1:08:22

epic love song and it's way

1:08:25

more raw. That's the one thing

1:08:27

I just feel like it's bearing all where

1:08:29

the other two are

1:08:32

they're a little bit more

1:08:36

padded or something. So the

1:08:38

epic rawness of I Will Always Love You

1:08:41

feels I

1:08:44

mean that's just what I think if we're picking best

1:08:47

love song there's some points

1:08:49

that have got to go towards the like showstopper

1:08:52

element of the emotions in that thing.

1:08:54

I don't know if I'm arguing that or not I'm

1:08:56

just kind of like trying to spitball. Well,

1:08:59

you know, all right, because we're going to have to make a decision,

1:09:01

we're going to get back in the way back machine.

1:09:03

I'm just going to go one, two,

1:09:06

three and we're each going to say the one that we

1:09:08

think it is just to see where

1:09:11

we are. Okay. And whether

1:09:13

or not we need it whether that's

1:09:15

voting or not. Or

1:09:17

we could all be on the team. All right, ready?

1:09:21

One, two, three. I will

1:09:23

always love you. Okay,

1:09:27

unanimous. We did it. You

1:09:29

know what we'll never know is if there's a zoom

1:09:31

delay or if anybody's waiting to

1:09:33

see what the other person said. Hey,

1:09:36

man, I counted in time and I said

1:09:38

it in time to my counting. So

1:09:40

okay. Well,

1:09:43

that's good to be anonymous

1:09:45

there. Yeah. Wow. How bring

1:09:47

us home then with the proclamation.

1:09:49

Well, people of the world before we wrap this up,

1:09:52

bittersweet memories.

1:09:54

That is all I'm taking with me.

1:09:56

So goodbye. Please don't cry. We

1:09:58

both know I'm not

1:09:59

what you need. And

1:10:05

I

1:10:05

will tell you that I will always love

1:10:08

you is the best love song in two different versions.

1:10:11

Like the Dolly Parton's version is this smoother

1:10:13

kind of Dolly version where she's definitely

1:10:15

telling the story. Then you have the Whitney version

1:10:17

that has a literal drop in it before

1:10:20

she hits the

1:10:21

note that every... That

1:10:23

drop. Every singer after that has wanted

1:10:26

to like be like a diva singer,

1:10:28

like that is the song you need to be able...

1:10:30

Like that is the note that you want to hit. Like

1:10:33

you want to be someone who can reach that level

1:10:35

of power.

1:10:36

And

1:10:37

the versatility of that song, which we didn't really

1:10:40

talk about as much, that the two versions

1:10:42

are so different

1:10:44

and both work on their own

1:10:46

merit

1:10:47

is kind of what makes it stand out. And

1:10:49

I think maybe what helped push it

1:10:52

over the finish line. So

1:10:54

there it is, the best love song is Dolly

1:10:56

Parton's I Will Always Love You. He is a multi...

1:11:00

many time champion. That wasn't the song that

1:11:02

won Best Dolly Parton's song, was it, Mark? Uh-oh.

1:11:05

It might have been. Wow,

1:11:07

has this song won two episodes

1:11:09

then? I think it's not the one or two episodes. It may

1:11:12

have. I'm pretty sure it did win that episode. Has anything ever

1:11:14

won twice before on this

1:11:17

show? I think there's a small

1:11:20

wing of the show for two time winners.

1:11:22

Wow. And that is one of them. I think

1:11:24

Back to the Futures won a couple. Back to the Futures won a couple, Best

1:11:26

Trilogy and something else. Yeah,

1:11:29

and Best Power of Love song in the song.

1:11:32

Best use of Power of Love in a Robert Tameka's

1:11:34

film.

1:11:35

Yeah. Can I tell one quick story about

1:11:37

an honorable mention that I love? By

1:11:40

all of the means of. Okay, I almost

1:11:42

put this in but it's an instrumental and it's a song

1:11:44

called Audrey by Paul Desmond, the

1:11:47

saxophonist. It's a beautiful,

1:11:49

beautiful, sweet song. And

1:11:52

apparently when Paul Desmond was playing

1:11:54

with the Dave Brubeck Quartet in

1:11:56

New York, he would always insist

1:11:59

that they took a break at a certain time

1:12:01

and it was so he could go down the street to the

1:12:03

theater where Audrey Hepburn was playing and

1:12:06

he would just, you know, just

1:12:09

watch her leave and

1:12:11

not in a creepy way. He was just fascinated

1:12:13

and I think probably in love with her from afar.

1:12:16

But he never said anything. He never approached her and

1:12:18

then he wrote the song Audrey

1:12:21

about her and he never followed

1:12:24

in up on anything and so he never knew if

1:12:26

she had ever even heard it. And

1:12:28

then he died in I think the

1:12:30

late 70s and

1:12:32

when Audrey Hepburn died, her

1:12:35

husband at the time called up Dave Brubeck

1:12:37

and said, would you mind coming and playing Audrey

1:12:40

at the memorial? And Brubeck said, oh,

1:12:42

she knows that song? And he said, yes, she

1:12:45

listened to it every night before she went to bed.

1:12:47

It was her favorite song. Oh, wow. Oh,

1:12:49

I love that. I know. That's

1:12:51

beautiful. Yeah, I love that. Well,

1:12:54

boys, I love you.

1:12:55

I love you,

1:12:57

too. I hate to be also the bearer

1:12:59

of bad news, but the best Dolly song

1:13:02

was coat of many colors that I can play. But

1:13:07

more importantly, we love you, Matt

1:13:09

Gourley. We're excited about the new show. We're

1:13:11

excited about this final Townland concert. Everybody

1:13:15

go get the album, Honey on the Hi-Fi and listen

1:13:17

to Keys to the Kingdom, right? I was trying

1:13:19

to get the preposition right. Not keys of the kingdom.

1:13:21

Yeah. Keys to the kingdom. Thank you so

1:13:23

much for coming on the show, brother. Thanks.

1:13:26

I really love spending time with you two guys.

1:13:28

So it was my pleasure. I'm so glad we could do it.

1:13:30

Amen, man. You're the best. This

1:13:33

topic is closed, but there are many more topics

1:13:35

to discuss. So please reach out to

1:13:37

us via email at We Got This Podcast

1:13:40

at gmail.com or go to our Facebook

1:13:42

group. Talk about the love songs that you love.

1:13:44

Share videos. Let's get into this together. We

1:13:47

all love love. Let's revel in it. Facebook.com

1:13:50

slash group slash We Got This Podcast. Thank

1:13:52

you to producer Ken Plume, who we love. If

1:13:54

you love him, you can support him at Patreon.com

1:13:56

slash Ken Plume. Researcher Kate McManus,

1:13:58

graphic designer Uri Kilman.

1:13:59

Please stay safe, Uri, and QA

1:14:02

engineer, Jen Alva. And thanks, of course, to

1:14:04

our musicians, Jonathan Dinerstein and Mike Furman,

1:14:06

for our score and theme song, respectively.

1:14:09

And thanks to you, the people of the world,

1:14:11

for giving us an opportunity to come

1:14:13

on, sit down and talk about love with

1:14:16

Matt Gorley, no less. Oh, y'all,

1:14:19

we will always love you.

1:14:21

Thank you. Thank you. Thank you.

1:14:24

For Hal Loveland, I'm Mark Gagliardi.

1:14:26

For Mark Gagliardi, I'm Hal Loveland. And don't worry, everybody.

1:14:29

We got this. We got this.

1:14:32

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