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DISGRACELAND
Bonus Episode: Brit Pop and the Attempted Kidnapping of Two British Musical Icons
00:51:27
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- [00:01]
VRBO Announcer
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- [00:30]
Jake Brennan
Hey, discos, need a little more Disgrace Land in your life, Just a touch to get you through. Yeah, me too. This is the podcast that comes after the podcast welcome to Disgraceland. The afterparty. Welcome to the Disgraceland bonus episode. A little thing we like to call the After Party. This is the show after the show. The party, after the party. The bridge to get you from one full episode of Disgraceland to the other. The backyard to dig into the dirt. Our mission? To uncover the truth, to confront the myth, to reclaim the story. On this bonus episode, we jump off of Pete Daugherty and jump back into the Britpop glory years to get your thoughts on all things music and true crime. Preview next week's very special episode. And in the exclusive section, we dive into two new Brit Pop specific music in true Crime stories. One involving the attempted kidnappings of not just one, but two iconic British musicians by, you're never going to believe this, a bunch of other gangster British musicians. Plus, we get into your emails, comments, DMs, and as always, a whole lot of Rosie. This is the podcast for the musically obsessed, the outsiders, the independent thinkers who know that the best history is the history that gets buried. The Disgraceland is where I tell the stories they didn't want told. The kind you'll end up telling someone else. All right, discos, let's get into it. You know, something we've never really discussed here in Disgraceland is Britpot. Now I know the Libertines. The subject of this week's full episode isn't technically Brit pop. They're really just an indie rock band with UK influence. From the uk, of course, from London. And they're part of a generation of British indie bands that became known after Brit pop. Britp to me, is decidedly a 90s thing. Oasis, blur, pulp. The 90s are the era of British bands. Okay? That to me is Britpop. The Libertines, Block Party, the Cribs. That's a different generation. British, sure, but not necessarily Brit pop. So we covered Oasis here in Disgraceland, obviously, Brit pop. And we have Blur and Elastica on our list for this year for episodes that we're going to produce. But we've barely spoken about the groups from that 90s Brit pop era that inspired bands like the Libertines and the Cribs and Block Party, you know, again, Brit pop bands, Super Grass, Suede, Radiohead. And we've barely spoken about the group of British bands that came to inspire these Brit pop bands. I'm talking about the post punk era of British groups that inspired Oasis and Blur and Pulp and all that. I'm talking about the Cure, Smiths, Susie and the Banshees. Now, we spent a ton of time talking about the first generation of British punk, Sex Pistols, Clash, Generation X. We just did an episode on the Pretenders, Chrissie Hyde, which is set largely in that world in London in the late 70s. So here's what I want to do. Thanks to the Libertines, thanks to Pete Daugherty. I want to talk about the Britpop movement here with the Libertines, obviously, as a jumping off point. And I want to use it as an entry point, ideally, into some more Disgraceland episodes we can cover going forward from this era. Now, I can't recall if in the Oasis episode, if I mention whether I'm Oasis or Team Oasis or Team Blur, not that you have to be either, but, you know, you kind of like one more than the other. You don't like them both the same or you're not really paying attention. I can't remember if I got into that in those Oasis episodes. But I, I, I am an Oasis guy, which is a very unpopular opinion in my house. My wife and my oldest son are decidedly Blur first, and my youngest son is basically just agreeing with them to piss me off. So I'm in the minority, but I'm gonna win him over. Let's look though, not just at Oasis and Blur, but at that whole 90s generation of peak British pop music, the era that directly influenced Pete Daugherty in the Libertines. And let's steep ourselves a little bit more in London music history, more recent, of course, and hopefully some lore. All right, so I went digging this morning as I was thinking about what I was going to say to you guys today. And surprisingly, Rolling Stone magazine does not have a list of top rip pop groups or albums. But side note, Rolling Stone, if you want one, you know, you can call me up. You know, I was kind of surprised by that. I, I Rolling Stone's all about the lists. I don't know why they don't have one. Pitchfork, on the other hand, has a 50 Best Britpop Albums list. And right out of the gate, I'm angry before even looking at the list because I know the Pitchfork isn't going to have. Oasis is definitely maybe at number one, which they absolutely should, because really, to me, that 1994 album is Brit pop's big Bang. Instead, Pitchfork is going to have something obscure like Richard Holly's cousin's third grade teacher's best friend's demo that he cut in the basement of the local pub as their number one album of top 50 Brit pop albums. That imaginary album is called Chandler and the Ghost by the imaginary band Cosley. But I digress. And despite my anger, or perhaps because of it, I'm going to trudge on here like Liam Gallagher into a violent melee of warring soccer hooligans and cops. Which is to say I'm gonna dive headfirst into this list. Okay, so this is just kind of recent. It's from 2017 and right out of the gate, despite my reservations, I have hope here, okay? Because the list, as I look at it, it starts with a Jarvis Cocker quote and it goes on to interview Danny Boyle. Okay, Trainspotting Danny Boyle. Pitchfork defines Britpop similarly to the way I do, but they put more meat on the bone. They say that Britpop is, quote, the musical scene active in the United kingdom in the mid-90s. Particular, particularly we are looking at the guitar based musicians who shared focus on anthemic melodies, social observations of British culture and daily life in their country's musical heritage. That sounds about right to me, that that nails the definition of Brit pop. So let's dive in. I'm not doing all 50 here, by the way. I'm just doing the top 10. Number 10. The Verve, Urban Hymns. This feels both too low and too high at the same time. So maybe this album is perfect at number 10. I don't know. I don't know. I'm gonna reserve judgment here. Number nine now. See, I knew it. I knew it. Oasis definitely maybe at number nine. This is an affront to, I don't know, the monarchy. No, to. To the working class. That's what it's in front too. This is way, way, way too low. Okay, this is what Pitchfork has to say about definitely maybe. Hold on here, let me pull it up for you. It's interesting. At number nine. Definitely maybe Oasis's full length album, their debut full length from 1994. Pitchfork has this to say in the context of this list of top 50 rip pop albums. Okay, here we go. Tonight I'm a rock and roll star. Liam Gallagher. Proclaims at the start of Oasis's debut. Taken out of context, it's easy to mistake this chor as another example of braggadocio from Brit pop's brashest band, particularly given the anti stadium hero ethos of the era. But the verses of Rock and roll Star tell a different story, reflecting Oasis's modest circumstances when they may definitely maybe before Oasis were arrogant, they were aspirational. I disagree with that. They were always arrogant goes on to say throughout the album, Noel Gallagher writes about a dead end working class life from which there is no escape save for fantasies of fame and fortune. In that same song, in a cutting wine pitched at the midpoint of John Lennon and Johnny Rotten, Liam Gallagher sings Definitely maybe's truest line. In my mind, my dreams are real. It was up to Oasis to make them real. There's more to it than that, but that's the part I wanted to read to you because I don't really disagree with anything there, except for the claim that this was before Oasis were arrogant. You know, insinuating that there was a time when they weren't arrogant, which just isn't true. They always had that cockiness and that was honestly, that was the appeal to me of Oasis back in the 90s. It was super refreshing to finally, after Kurt Cobain, after just this sort of the grunge era of the 90s in America, the time in which we were all supposed to. And I felt this way authentically. You know, we were all sort of like just rejecting the idea of the rock star for something more authentic and more artistic. It was. Even though we felt that way, it was just honest to get the. Get the opposite in Oasis of these guys who were clearly larger than life, absolute rock stars and just made no bones about it, came out of the gates swinging. Exactly. Authentically who they were, not putting anything on. You could just feel it. They were gangsters, rock stars. Absolutely didn't give a about societal norms. It was expressed in their music. And yes, this was not the brand of your sort of, you know, like highfalutin, high Soc, late 60s swinging London, rolling Stones, rock star. This was a different breed entirely. This was just totally working class, thuggish. It was great. It was great to know that these guys were going for it and we were rooting for him in the hardcore scene. We were at least. I mean, it was kind of just this thing. It was. I don't know what it was. I don't know why hardcore kids liked Oasis so much, because I think them being British gave us the freedom to root for further rock stardom because there was some separation there. We didn't do that with American bands, not in 1994. Certainly not with new American bands in 1994. Anyways, this record, to me, it, like I said, it's the big bang of rip pop. And I know there's. There are plenty of arguments to make against this record for other records. That's what makes this topic so interesting. But for me, this is the one. This is the one. It's a ringing bell. It's Bunker Hill or Lexington or whatever it is. This is the thing. This is. This is when it starts for me. So number nine. I just. Nine barely in the top ten. I just can't go there. I can't. Come on. But it's Pitchfork, so what do you expect? Number eight is Blur's self titled album Blur from 1997, which I don't know this, this also feels very low. This was Blur's breakthrough in America, sort of. Blur never really broke through in America like Oasis did. Despite. Despite the massive single from this album, song number two, which still has cultural relevance. This record personally is. I. I love it. It's incredible. One of my favorite albums from this era for sure. It's definitely my favorite Blur album. I like it more than Park Life, which is saying something because Park Life is fantastic. And again, this is the band that broke. The band broke Blur in America. And America is still listening to it, like I said, pretty much every day. Turn on most any sporting event broadcast and wait a couple minutes and you're going to hear the crowd singing song number two at some point. A woohoo, as they say. So number eight here feels low for Blur's self titled album number seven, Pulp. This is hardcore. And you know by now, guys, that I'm not a huge Pulp fan, but I don't dislike Pulp like your favorite New Jersey crime boss. I like some Pulp. And this record ain't it. Not for me anyways. But that's mainly out of ignorance and preference. I don't know this album that well. I always love the album cover, but I was never compelled to really dig into this and explore it. I suppose now is the time to change that. I just learned today, however, in going through this Britpop history, that Pulp had been a band for 17 years before breaking out. And I had to look, I had to look at this twice before breaking out into. In the Brit pop era of the 1990s. Pulp formed in 1978. What? That's incredible. That's shocking. I think Picasso was still alive in 1978. He wasn't. I think he died a couple years earlier, but you get my point. Wild. All right, number six, Elastica's self titled album. Now, this placement seems right. Perhaps it could be a little higher. Perhaps this album suffers in its positioning because it's a female fronted group. And most of the folks putting this list together, our crusty rock dude journalists. This is a great record with a great breakout single connection and. And songs on it that nod enthusiastically to the past, maybe too enthusiastically, got him into some trouble. And you know, this is the type of album that also storms into the future fearlessly. And the result, of course, is a sound that is undeniably or was undeniably present at the time. I love this record and I can't wait to cover Justine Fishman in either an Elastica episode of Disgraceland or in a joint Damon Alburn Disgraceland episode. We're gonna talk about that later. Seth and I, in the exclusive section of this here bonus episode. Number five, Suede Dogman Star. Now, I was never a big suede fan. Suede for me was where Brit pop just kind of went a little too Brit poppy. But people love this record, so what do I know? At number four. Here we go. Now we're getting down to it. Oasis's what's the Story? Morning Glory. I honestly don't know how to rank this album. Oasis, who I I clearly love, only really has two great albums. This and definitely maybe. And definitely maybe is my favorite among the two. But what's the Story? Morning Glory is a monster album. It skyrocketed the band to international fame. It made Oasis the biggest band to come out of Britain at the time. So I kind of don't know how it's just not number one on this list. But then again, I do know because it's not even my favorite Oasis album, by the way. Four Just Feels Too Low. Number three, Radioheads the Bends, mixed by my mentor and American Paul Q. Coldery and Paul's production partner at the time, Sean Slade. This feels right. Number three. Radiohead busted into the mainstream during the grunge era with Pablo Honey and their single Creep, which I believe is 1992. But this follow up in the middle of the Brit pop era, 1995, is incredible. The only thing though, I don't know how, I don't know if people will be able to relate to this, this album like it's follow up. Okay, computer. They don't really feel Brit poppy. Radiohead feels like its own thing. This record Feels like its own thing, you know, it feels like Radiohead and Radiohead alone. Like the beginnings of a new genre almost. But that's just me. I don't know what that says about its placement on the list here at number three. Perhaps it should be even higher. Perhaps it should have its own list. I don't know. Number two. Okay, before I get to number two, there are only two more albums that can possibly be at number two and number one on this list, right? And I should coco buy Supergrass and Grand Prix by Teenage Fan Club. Are those two albums, right? They have to be. They haven't been mentioned yet, but no, they're not. And my dog's pissed about it. You hear that? Dusty is upset. Dusty is upset. She's a huge Supergrass fan. Why wouldn't she be? Damn it. Both these incredible Brit pop albums were left out of the top 10 by the supposed big brains at Pitchfork. Unbelievable. Number two is park life by Blur. Which is the appropriate ranking, I think. I don't know. I know I'm contradicting myself because I already said that I like their self titled album better than Park Life, which, you know, Blurheads I'm sure would hate. But this record just. I feel like it meant more to the Britpop movement and it should be behind Oasis, as we've already discussed. Incredible as Park Life is. But the two great Oasis records, they've already been talked about here on this list. You know, actually, if I stop to think about it for five seconds longer, I can probably make the case that Parklife should be number one on this list. If I'm being honest, it's as genre defining as either of the great Oasis albums. I'm just letting my Oasis bias sway me. That or my wife. But again, Park Life here at number two. So what is number one? Number one. Number one. Brit pop heads have already figured this out. Number one on this list. I don't know, this kind of feels like, look at me journalism, you know what I mean? Like some. Some I'm hipper than you because I'm naming this record Type of Bullshit, which is just obviously so Pitchfork. Number one on Pitchfork's list of top 50 Brit pop albums is Pulp's Different Class, which. Deborah, come on. We love this album, but placing it above Blur or Oasis just feels like, like I said, Pitchfork, like trying. They're trying just a little too hard. Trying to appeal to the so called cool kids hanging out at Misshapes in the mid aughts in New York or at Boston's the Pill during that same era where, great Scott, I cannot get with Pulp's Different Class at number one. Maybe that says something about me. Maybe it says that I'm not as big of a Brit pop fan. You know, I'm not. I'm not a huge Brit pop fan, if I'm being totally honest. I like some Brit pop. I gotta stop. It's true though.
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Clint
And.
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Jake Brennan
And there is kind of a gaping hole in my knowledge of the history, which is why I'm excited to get into some rip pop focused episodes going forward here with Disgrace. And I just can't get with the fact that Supergrass and Teenage Fan Club with I Should Coco and Grand Prix are not cracking the top 10 list here. All right? These are capital G, great records from start to finish. And not having in in the top 10 just doesn't make any sense to me. Pitchfork does have I Should coco at number 12 and Grand Prix way down at number 36. I'm sure bandwagon Esque is higher than Grand Prix. I didn't look. But also not having Primal Scream on this list kind of feels intentionally hurtful. Stone Roses, I get. I get why they're not in the top 10 or even on the list at all. They. They sort of preceded the whole Brit pop thing and to an extent, so did Primal Screen, but not really. So I'm not too butthurt about these two omissions. Anyway, if you are a Libertines fan or a fan of any of the early to mid 2000s British indie rock, Maximo Park, Razor Light, these bands that we're discussing right here, from this list, they're going to give you some idea of what Pete Daugherty and Carl Barrett and others from the 2000s indie sleaze era were weaned on. So there you go. Now, Jake, you might be asking me, maybe screaming at your car speaker or whatever right now, going, what Brit pop bands are you going to cover, dude? Well, like I said, I think there's a blur. I think there's Blur in Elastica episodes. Perhaps a Damon and Justine joint episode. Maybe we write a really transgressive kind of junky love story from the 90s, set in the UK. Explores all the drug, the heroin, the crime and grime and the tabloid era that their relationship took place in. That. That sounds interesting to me. I'm obsessed with the Ryan Murphy's love story at the moment. JFK Jr. And Carolyn Bessette and maybe Damon and Justine is our answer to that here in Disgraceland. I like this idea. It's 90s it's the same era, but it's a totally different scene, a totally different place, obviously, and we can. It also has a completely kind of different type of glamour, yet it's still glamorous. It's got similar tabloid madness, just the UK RIP pop version. I'm loving this idea as I'm talking about it to you right now. From a crime angle. We've got heroin use, Damon's arrest, Elastica's legal settlement with Wire, all kinds of stuff we can get into. There's also what I've learned here over the years from you guys. I wish I could remember your names, who had written me on this subject. But quite, quite a few of you, more than a handful, have written about another British band that we should cover that we have not mentioned at all yet. And that is the Happy Mondays, a group with an insane true crime backstory, including kidnapping, multiple kidnappings, assault, one of the kidnappings. Actually both involve musical icons. I can't even, can't believe these stories. And heroin, of course, not just using heroin, but large scale drug smuggling and of course, all manner of rock and roll hedonism and debauchery. The Happy Mondays predate Brit pop. They go back to the wild sort of Manchester club scene that was the decade before. But nonetheless, this is an insane story and one that needs further exploration and most definitely its own Disgraceland episode on the Happy Mondays. I want to talk more about the true crime story of the Happy Mondays as well as the junky love story of Damon from Blur and Justine from Elastica with Zeth, and figure out how these episodes will take shape. We're going to do that in the exclusive section of this after party where we'll reveal which rock star, rock stars the Happy Mondays attempted to kidnap. Go to disgraceandpod.com to become an All Access member and unlock this and more exclusive and ad free content. Oftentimes. Guys, if you're new here, we use the exclusive portion of this bonus episode, Szeth and I, as sort of a creative session, a behind the scenes look at how we figure out what episodes we're going to cover and whether or not there's enough crime and transgression there to warrant a Disgraceland episode. It's kind of our think tank, our laboratory, so to speak. And that's what we got going on today. Again, go to Disgracelandpod.com to sign up to become an all Access member and you'll get exclusive content like this and ad free content every month. All right, before we dive into all that, let's do a little table setting here. As we mentioned, this week's Pete Daugherty from the Libertines episode is available for you to check out. And look, this story and the death of Mark Blanco, who was hanging out with Pete Daugherty that night, is one of the most underreported stories in music history. And we did our part here. Look, we're not journalists. We're not pretending to be journalists. We are storytellers, open source storytellers who use information that's already been published. We don't go out and dig up new stories. We source everything. We're careful about it. We make sure that we're giving you guys what really happened. But this story in particular really requires some real journalism. And, you know, I'm coming across. This is the second time in, in like, like this week actually that I've come, come across this, where we're telling these stories. It's almost like so many of the stories we tell in this Graceland are from like the 1960s and 70s and 80s. And a lot of time has passed. This story is from 2006. Not that much time has passed. And I don't believe that the facts are all out there or the truth is out there. But I wanted to dip in and find our way through this story. And, you know, if I'm being totally frank, we come up like, with more questions than answers at the end. And it's super frustrating because I, you know, I got a business to run, I got podcasts to make every week. I can't just, like, we have a way of doing it. I can't just like, pack up and fly to London and start asking people questions. Not that anyone would even talk to me if I did that. Anyhow. That's not what I do. So it's kind of frustrating and I don't understand why. Actual music journalists. And again, I've never called myself a journalist. Some people have. I never have. Not from the beginning. Like, the definition of a journalist to me is not somebody who does what I do. A definition of a journalist to me is somebody who goes out and actually digs up and finds information for the first time. You know, like, finds information that has not yet been public. Everything we talk about is public information, oftentimes made public by the artists themselves that we are covering in their autobiographies. And it gets buried throughout time. So it becomes very interesting when we get to it because a lot of this stuff has sort of just been been shoved under the covers because it goes back. Like, I said to the 60s, the 70s, the 80s, the 90s. Here, though, again, 2006, not that long ago, when you think about it. I mean, two decades sounds like a long time, but culturally, not really. And this story, still, it's hard to accept the story of how Mark Blanco died. I'm not pointing any fingers. It may vary. What the official story is may very well be the case, but it's just one of those things where we need more evidence that proves it that way, one way or another. And I've similarly come across the same challenge in the story that I'm researching right now on the Foo Fighters, which, I mean, look, man, Taylor Hawkins died in 2022, and we still don't know the cause of his death. He died tragically. I say that as a point of fact. But that is not the explanation for how he died, which, if you read anything about the Foo Fighters over the last few years, that's the explanation you're going to get. They'll talk about drugs in his system, but that's not the official take. They won't talk about an overdose. Again, more questions than answers. And this is only four years ago. And, look, man, like, I'm not trying to pry into anybody's life, and I get the sensitivity that this has with Taylor Hawkins's family, and. And certainly I would feel like this was none of anybody's business if this was my family member. But we know how Keith Moon died. We know how John Bonham died. It just doesn't make any sense that we don't know how Taylor Hawkins died. And anyway, like the Pete Daugherty story here, the death of Mark Blanco, which Pete Daugherty is at the center of, the death of Taylor Hawkins, is one of those things that we still don't have an answer for. I'm going to go a little bit harder into this one than we did Pete Daugherty, and I'm going to try to find out. I'm not. I'm not promising you anything. Nothing at all. But I am going to ask questions that people don't seem to really want to ask. And I don't think there's anything wrong with that. People in the public. Public eye, that's. That's the price. And you can be a fan of the Foo Fighters. I mean, I loved Taylor Hawkins. He just struck me as the type of guy. I never met him, but he struck me as the type of guy that if you met him, you would just instantly be like, you know, just vibe. And he's just such a spirit. And an incredible talent. And our episode is not going to be a takedown in any way, but it is going to ask some questions. And maybe perhaps at a later date, we'll dive back into this Pete Daugherty story as well. But we need more journalism here. And I'm appealing to the actual music journalists out there who listen to the show. You know, come on, let's go. Let's figure this out. All right. Anyways, I say all that because we're in the midst of Pete Doherty week here in Disgraceland. That's our latest episode. This here is the bonus episode episode. Tomorrow is our rewind episode, and that is on Bobby Brown. Now, listen, if you ever wondered what having sex with a ghost was like, you don't have to wonder anymore because we're going to answer that question in the Bobby. Well, Bobby. Bobby Brown has answered it for us. And you're going to hear about it in the Bobby Brown episode. I'm not kidding. Next week. Next week. Next week. We have a very special episode coming your way on Tuesday. There's something happening in Disgraceland right now. Something big. I can't exactly say what it is yet. I'm not even saying I'm going to go all the way there with this news in next week's special episode, but I am going to come close. So make sure you check out our special episode coming to you on Tuesday. That is a new EP coming up right after Bobby Brown. All right. And I'll be coming up right after this break. I'm gonna take a quick break. I'll be back after this with your voicemails, texts, and more.
- [31:12]
VRBO Announcer
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- [31:48]
Jake Brennan
All right, guys, I'm back. I'm in the chair. I'm talking to y'. All. I'm in my happy place. I gotta go to Los Angeles kind of on unexpectedly. And it's a super quick trip, so I'm getting it. I'm recording this early. My point is in telling you this, I'm recording the after party early this week. So we're not going to get a lot of your answers and responses to the P. Daugherty episode here right now. But we will get to it next week in next week's after party. But we are going to talk to you guys. We're going to hear from you as always. 617-906-6638 voicemail and text. You want to hit me up about anything, Anything at all. Episodes you want to hear. Artists you want us to cover whatever it is, get at us. 617-90-66638 if you're shy, you don't want to leave a voicemail. I would encourage you to, you know, leave a voicemail for sure. I love hearing your voices. You can always send me a text as well. This voicemail, however, comes from. Let's see here. This is the 5:03.
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Listener
Hey Jake. This is the 503, 253am in the morning listening to. I'm not even sure I listen to all your shows anyway. We're talking about women in rock and roll, which I'm not sure that I've ever really been too into. But you haven't mentioned Heart and I'm not a huge. I prefer Patti Smith over Hart. But what the hell man, those guys, those two must have sold more records than any of these people. These others you're mentioning. Anyway, dude, that's it. Hope you're doing well, man. Bye.
- [33:24]
Jake Brennan
503 thank you for the call. Yeah, you're right, man. I don't know that I have mentioned Heart. I think a listener might have in the last after party. I guess I take Heart for granted. Like I was talking the other day, we take CCR for granted because it's kind of, they've kind of, they're just there, they've been there forever, you know, on classic rock radio. But they are incredible, incredible musicians. And yeah, they sold a ton of records and they, they're definitely in the conversation. I like Patti Smith more than heard. I guess if I was going to pull an album off my shelf and I only had two choices and those are them, I, I like you would listen to Patti Smith as well. But yeah, I don't really understand the comparison, I guess. I guess you're comparing them because I guess I was talking a lot about Patti Smith in the last episode and I get that. But yeah, Hart, great, great, great, great band. Well deserved Rock and Roll hall of Fame inductee by the way. I guess we're going to find out in the next couple weeks who's getting in in the hall of Fame. I can't wait to talk to you guys about it. But in the meantime, let's talk to the seven to four.
- [34:29]
Clint
AJ this is Clint from seven to four. I'm responding to your response to my response about the baddest ass females I had said John Jett, you weighed in, said you thought it was a pretty good choice and asked me to get back had I ever seen Light of Day. Hey, dude, that was a great movie. Euclid Tavern. I live right up right on the state line between Pennsylvania and Ohio, so I get up that way for a long life. And back in the day when that was a, you know, relatively popular cousin, Michael J. Fox and John certainly made the pilgrimage, went up there and checked it out. There's also the Warsaw up there kind of. Kind of the same area where Joe Walsh played a lot with the Drew Carey show and shit like that. Kind of fun. So yeah, thanks for getting me on. Thank you for taking my response. Always a lot of fun. You do a great job with your show. Have a good day.
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Jake Brennan
7 2, 4. Thanks for the call, but thanks specifically for your excellent placement of the phrase. Fucking A, Jake. I just love a. I love that. I love that. You know what else I love? I love. I shit you not. I love it when people say those those two phrases. Fucking A, Clint. Yeah, Euclid Tavern. Right? Right on, man. Thanks for getting back. And light of Day. I love that we're talking obscure Joan Jett movies from the 80s. 617-906-6638. You guys want to talk to us about anything? Doesn't have to be obscure Joan Jett movies from the 1980s. 619 text in hey, Melissa here from the 619. I'm not sure how we can have a discussion about influential women in rock without mentioning Ann and Nancy Wilson. Anne is one of the most recognizable voices of rock women, and Nancy is an outstanding guitarist that the two of them combined in Heart makes a catalog of some of the best rock tracks in history. Just my two cents and you're spot on. Those are two two cents well spent. Melissa. I agree with you 100%. I'll go even a step farther and say that Nancy should get more recognition for her guitar playing. She's one of the best in classic rock. And not and I don't mean like ripping off solos. I mean just as her guitar playing sets the stage for the songwriting in Heart, it's kind of unmistakably her, which is awesome. 302 writes in how many messages did you get giving you for omitting Susie Quatro from your most Influential female rock musicians discussion. I didn't think I omitted her. I think we talked about her. I think she was brought up by you guys, by the listeners first. And yeah, we have a Susie Quatro episode coming 302, so you will not be disappointed. Eric from the 954 text and hey Eric from the 954X Boston 80s 90s, early 2000s. Always enjoy the show. The FX Sex Pistol series included Chrissy Hine throughout her and Susie sue and others blazed the trail in Europe. I think Carole King deserves much credit for her role in the evolution of popular music. Damn, you are absolutely right. Carole King, her influence is hard to measure in pop music. She's incredible. Incredible. All right, one little message here on the Rock and Roll hall of Fame nominees. This one. Because I want to keep this conversation going with y'.
- [37:49]
Listener
All.
- [37:49]
Jake Brennan
By the way, did we talk about that in the. I think we just talked about it in the exclusive section last week. But anyways, this one comes from Jason416. Hey, Rock hall nominees. The one I am really pulling for is Joy Division, New Order. It'll be a very blue Monday if. If they don't get in. Highly, highly influential. I can't imagine the soundtrack of my life without at least three Joy Division and three New Order songs on my triple album. Saw them in 2022 with pet shop Boys and the show blazed. I also noted that it was not just Gen Xers like me, the in the audience, people of all ages and many 20 and 30. Something's rocka rolla. Yes, hugely influential and relevant to the conversation we were having earlier about British bands. I don't know, man. I. I have a problem with this one. Not that I don't love the music or the band, plural, but it's the fact that the Rock and Roll hall of Fame is inducting like a hybrid Joy Division slash New Order. And I get why. It's just the difference of a singer, right? It just seems fucking weird to me. Like, just like induct New Order and then induct Ian Curtis at a later date or something. Doesn't this seem weird? Doesn't this open a can of worms that we're not. That we're gonna be upset that we opened in like five, 10 years. I don't know. Just seems kind of odd to me. But I hear you. Hugely influential and I get it. And I love them too. And I understand their greatness. I get it. Just. There's something about the. The way it's being done rubs me the wrong way and probably working against them if we're being. If we're being honest about it. But then again, we don't know how these things get decided, so who the fuck knows? All right, 617-906-6638. Voicemail and text. You guys want to get at me? His Graceland pod on the socials, Instagram, TikTok, Facebook, you know how to do it. I'm going to take a quick break and I'll be back in a flash with some recommendations. All right, we are back. And I talked about this last week. Going to start doing more recommendations. I know you guys like it. I like it. I like talking about what music I'm into. I like talking about what music and films combine. Get me going. I like talking about books I'm reading, movies, I'm watching all that stuff. But I. I've been thinking, I've been. Guys, this is gonna sound so fucked up. You. I've been. I don't even know how to start this. I've been listening to more new music that I have in the last decade and I have a take on why, but I can't really articulate it yet. It has a lot to do with how I don't like how modern rock and modern guitar oriented music is produced in this sort of new age of production that we're into, where everything's kind of done in the box, so to speak, in the way things sound. It just sounds different from how I was raised. But I'm not going to get into that. However, I've sort of opened myself up a little bit to being very curious of modern pop music. And this has largely spun me out from there. Spun out, I should say, and spun me out. Spun out from me being on TikTok and scrolling through and hearing stuff. I'm like, whoa, what the fuck is that? That's good. And you know, it's new shit, but it's not new rock and it's not new punk or hardcore. It's like new fucking hip hop and top 40. I know that sounds insane. Mainly top 40. I like the new Harry Styles American Girl song. I know you're. Some of you are vomiting in your mouth. I don't care. It's a good song and I can appreciate that song the same way that I could appreciate George Michael in the 90s. I like. It's not that new. It's from 2024. The. The Dochi song. Denial is a river. It's fucking incredible. Everything I've heard by her is incredible, by the way. Which is new. This is like the last few days for me. But I can appreciate her stuff in the same way that I can appreciate Salt and pepper from the 80s or en vogue or something like that, which I love. Doja Cat, same thing. You're gonna think I'm nuts, but I can appreciate that shit the same way I can appreciate Kanye stuff from like, you know, the 2010s or whatever. So I'm not saying that like we're gonna do recommendations, gonna be all new music. I'm not saying that. You know, in addition to, I'm also like, I, I've I've just, I have late onset Father John, Misty appreciation. That's happened to me over the last month. I've always kind of been curious and liked, you know, what's that? Real Love Baby, that huge song. But I've, I've now I'm like, I'm deeper into the albums and, and that makes sense. If I told you I was getting into that, that was kind of a new thing for me. Even though he's not new, but a new thing for me, you guys would go, I kind of get that. The doi stuff though, that makes no sense. And I'm not saying, again, I'm not saying that like our, the recommendations we're going to be doing, going to be like new pop music. But I'm just going to be honest with what I'm listening to and let you guys know. And I think it's a good thing. I, you know, I'm being turned on to new filthy. Some of it dochi stuff is filthy. It's great. Anyhow, we're going to be doing the Rex over in Seth's wrap party episodes because these after parties are jammed and we, we used to do them over there and then we stopped for reasons I can't remember. But we're going to start doing them again over. They'll be over there. And don't worry, you won't forget. I'll remind you here in the after party. And the best part of the recommendations is it cues up this conversation with you guys and you start to send us your recommendations, which is what we want. 617-906-6638. Voicemail and text, let us know what you're listening to, watching and reading. TV sucks right now, guys. It sucks. I'm watching Love Story, okay? TV blows. At the moment, in my opinion, I'm forcing myself to like this Jason Bateman Slow Burn dtf, which I don't hate. But I mean, I just like, I've given this thing now what, four hours of my life and I'm just mildly entertained. TV Rex, Give me the TV Rex. Okay, great film recs. I feel like movies have come back. Movies are now what peak television was 10 years ago or they're getting there. So we're going to talk about that stuff too in the recommendations. And as you know, music and movies, always a central topic for us. Some of you, if not all of you, know that we have a new video podcast called this Film Should Be Played Loud and it is available. The new episode. Yeah, you can hear it right now. It came out yesterday. You gotta be a Patreon member. Go to disgraceandpod.com to sign up to become an All Access member. We did Big Lebowski this month and it was a lot of fun. Great, great movie with incredible music. One of the greatest soundtracks from the 90s, in my opinion. And a movie where the music, I believe, changed the trajectory of the Coen brothers career. The music from the Big Lebowski. And you'll hear why I think that and you'll hear Zest's thoughts as well. And Seth is really more of a film guy than I am, and his insights into soundtracks and scoring is pretty incredible. And I always come away having learned something and I laugh pretty hard when we do these, which is great. So check that out. Next Next month's episode is going to be on High Fidelity, which I know all of you love that movie, so that's coming up as well. Go to Disgracelandpod.com to sign up for the this Film Should Be Played Loud. Make sure you're subscribed to the Hollywoodland podcast so you can get the rap parties and all the recommendations that I'll be doing over there with Zeth. Plus, everything that Zeth has going on, he's got. We got three episodes popping off a week over in the Hollywoodland feed. So if you want more double Elvis content, you're gonna, you're gonna supersize it over there. So make sure you are subscribed to Hollywoodland on Apple Podcasts, the iHeartRadio app, wherever you get your podcasts. Now it is time for the Sports rant sponsored by Five Hour Energy. This is the 60 second sports rant in under 30 seconds sponsored by Five Hour Energy and their fruity rainbow flavor. Treat your taste buds to an explosion of fruity candy flavor with a tasty caffeine kick. Get candy flavored chaos with fruity rainbow 5 hour energy shots online at www.5hourenergy.com or at Amazon. Now listen, guys, I don't think I've nailed one of these 60 second sports rants in under 30 seconds yet. So we are going to try right now. The other day I was cruising around YouTube on my couch with my youngest son, 8 years old, and we came across a CBS network football promo from the 1970s. And literally every single piece of footage, every hit, every action shot from an NFL game that they were using to promote their games on cbs, every single one would now be an illegal hit in today's NFL. My son's mind was blown. He literally was like, that's a penalty. That's a, that. You can't do that. You can't do that. You can't. Now listen, he's not wrong. Am I gonna pull the old guy card here and rant about how football was just better back then? Was it better back then? I can't really say. I don't know. It certainly wasn't healthier. I don't want my son playing that game that was up there on that screen. It was nuts. Do yourselves a favor and Google this. Search for this on YouTube. I should say CBS NFL Sunday Sports promo. It'll come up in no time, I guarantee it. All to say I miss sports right now. I got nothing. I got nothing. You know this. We're in the dead zone. I guess I gotta turn my. I got to put my, my fricking green teamer shirt on here and get on the Celtics bandwagon as we head into the postseason. But it's, it's just, we're, you know, I'm watching, I'm watching 70s NFL promos on YouTube. Come on, man. What's wrong with me? Matt? How did I do? 89 seconds, Jake. So I guess it was a 60 second sports rant in under 90 seconds. All right, well, you can't fault me for trying. That was a sports rant sponsored by Five Hour Energy's fruity rainbow flavor. Treat yourself to a candy like flavor explosion and satisfy your sweet tooth with the zero sugar treat. Once again, you can get in on the candy flavor chaos online at www.fivehourenergy.com or Amazon today. Guys, I loved our Britpop conversation from earlier, but we got more on this subject. Specifically which iconic rock stars were nearly kidnapped by a British band of just complete and total criminals. We're going to get into that. We're going to get into Love Story, Damon and Justine. Okay, we're going to get into that. In the exclusive section, go to discretesandpod.com to sign up.
- [49:20]
VRBO Announcer
With verbocare. Help is always ready before, during, and after your stay. We've planned for the plot twists, so support is always available because a great trip starts with peace of mind.
- [49:41]
Jake Brennan
All right, guys, welcome back. Let's, you know the archive. You know the archive. Disgraceland Archive. What's the Disgraceland Archive? Well, it's got 260plus episodes on tons of artists that you know and love. And every week I inevitably mention some of them. And it's a good jumping off point to clue you guys into the archive. We mentioned Oasis, the Clash, Sex Pistols, Generation X, Billy Idol, Joy Division, and we have episodes on all of those artists. Matt will grab the episode information, put it in the show notes of this page to help you guys easily navigate to those stories should you want to hear them. And you should, you should want to hear them because if I, you know, if I say so myself, they're, you know, they're fucking awesome. Okay, listen, let's recap, shall we? Number one, this week, our new episode on Pete Doherty is available for you to listen to right now. Number two, our rewind episode coming up next is on Bobby Brown. Number three, next week, a very special Disgraceland episode that you are not going to want to miss. Number four, Zeth gives you those Hollywood and crime vibes in Hollywoodland. So make sure you're subscribed on Apple Podcasts, iHeartRadio app or wherever you get your podcast. Number five, our new this film should be played Loud video podcast on the Big Lebowski is available for you to watch right now over on our patreon. Go to disgraceandpod.com to sign up. Number 661-7906-6638. Give me a call, leave me a voicemail, send me a text. Your voice. It keeps us digging into the dark corners of music history. So keep calling, keep texting with your answers to the week's question of the week or with whatever else you want to talk about. Number seven, don't forget discos. This isn't just content, it's a community. A community of the obsessed. And no one cares about music, books, records, and the crime and grime that ties them all together like you do. And, well, that's a disgrace. All right, December 2, 2006, that's the day that Mark Blanco stopped partying with Pete Daugherty and died in a, well, pretty sketchy way. And on that day, this is what America was listening to, according to the Billboard charts. Number one, I want to love you Akon featuring Snoop Dogg. Last Week, 17 Peak Position 1 Weeks on Chart 8 Number 2 Smack that Akon featuring Eminem Last Week 2 Peak Position 2 Weeks on Chart Number 3 Irreplaceable Last Week 4 Peak Position 3 Weeks on Chart 5 Number 4 My Love Justin Timberlake featuring T.I. last Week 1 Peak Position 1 Weeks on Chart 11 Number 5 Fertilicious. Quit talking and start mixing.
- [52:39]
VRBO Announcer
Cut it with verbo care. Help is always ready before, during and after your stay. We've planned for the plot twists, so support is always available because a great trip starts with peace of mind.