Music In My Shoes
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Music In My Shoes
From Paul McCartney’s Stage to The Doors to Grateful Dead American Beauty to U2 Boy E104
The lights drop in Atlanta and Paul McCartney steps into a room full of memory—and invention. We unpack how an icon in his eighties still delivers a two-hour-forty marathon by leaning on tight harmonies, a punchy horn section, and the kind of live tech that lets Being for the Benefit of Mr. Kite explode off a modern stage. The show’s emotional peak arrives when Paul sings I’ve Got a Feeling with John via Get Back footage, a moment that proves technology can connect past and present without cheapening either one.
From there we chase the thread of discovery. Remember when The Doors felt brand new again in 1980? A radio deep dive, Apocalypse Now, and a greatest hits record turned Hello, I Love You and Riders on the Storm into fresh obsessions for a new generation. We map that rush forward and backward: how L.A. Woman and Morrison Hotel still punch, how Mr. Mojo Risin’ became every teenager’s riddle. Along the way, we decode the stories behind The Rolling Stones’ Get Off of My Cloud and Neil Diamond’s Cracklin’ Rosie, and how fame, loneliness, and late-night singalongs sneak into pop myth.
Then we give American Beauty the close listen it deserves. From Box of Rain’s tenderness to Ripple’s campfire wisdom and Truckin’s road-scarred grin, we talk sequencing, sunshine daydream codas, and the tradition behind I Know You Rider. We round out the tour with U2’s Boy—lean, urgent, and still startling—and a Ramones reappraisal that finds great songs beneath Phil Spector’s glossy wall. Through it all, one idea keeps returning: artists adapt, listeners evolve, and the best songs keep meeting us where we are.
If that resonates, hit play, follow the show, and share it with a friend who loves live music and music history. Leave a review to tell us which song hit you differently this time—we’ll feature our favorite takes on a future episode.
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You can contact us at musicinmyshoes@gmail.com
Hey everybody, this is Jim Boge, and you're listening to Music in My Shoes. That was Vic Thrill kicking off episode 104. As always, I'm thrilled to be here with you. Let's learn something new or remember something old. So, Jimmy, the other night I got to see Paul McCartney at State Farm Arena here in Atlanta. And it was November 2nd, Sunday night. What a great way to end a weekend. And it was so good. And, you know, Paul's up in his 80s now. I was a little concerned. But one of the things that he did, I think he realizes, you know, his voice is going a little bit. Is that they lowered the volume on the voice a little bit, they jacked up the music just a little bit. But they also had the band sing certain parts of the song with him to help him where he didn't have to strain. And I think that that's how older musicians they really need to do things like that. They can't sing the way they once did. And Paul, for so many years, was able to, but time is catching up, you know? It was fantastic. It was worth it. What a great time. You know, every time I I see him, I just can't believe that I am watching Paul McCartney. You know, the Beatles are my favorite band.
SPEAKER_01:It is that feeling, doesn't it?
SPEAKER_03:It's just like that's the guy. It is. It it truly, truly is. And, you know, he opened up with help. Um, coming up was after that. You know, those are songs that we've talked on, you know, the the show that just this year we we talked in depth on both of those. He had a horn section. So with coming up, where you have the horns, you had the horns. And, you know, he played some different songs with the horns, and it just sounded really, really good. Got to get you into my life, drive my car, uh let me roll it from uh Wings, um, Getting Better, Let Him In, which was a 1976 hit for Wings, and it name drops The Everly Brothers, where it talks about Phil and Don. Oh, oh yeah. And it's mostly about family members, but then some famous people. But I remember the first time that I heard it back in 1976, I was like, I wonder if they're talking about the Everly Brothers.
SPEAKER_01:Like that's you picked up on it then.
SPEAKER_03:Yeah, I listened to the Everly Brothers a lot when I was a kid. I was really into them because a lot of musicians would always say, you know, give them credit for you know being influential on them. So I just kind of wanted to listen to them. So I did, you know, immediately. He did this song called My Valentine, which he wrote for his wife, and it's a really good song. And he sounds great because one of the things, as you get older, if you write a song now and you write it in a voice you can sing, you can sing it really well now. You understand what I'm saying, right? Yeah. Uh maybe I'm amazed. I've just seen a face, you know, acoustic guitar, and it's one of my favorite Beatles songs. And just to see this song being played off a rubber sole, I it's like being a kid. It really, truly is. Like I'm just singing, you know, and people around me have their phones out and they're videoing, and I'm trying to be like super quiet because I don't want to be on there. I don't want to ruin their video, you know. They want Paul, not Jim, you know. Uh Love Me Do. He did Dance Tonight, which is a really good uh Paul McCartney solo song, and on that he plays the mandolin. And then the drummer, and I think the drummer's name is Abe, if I'm not mistaken. Okay. He's in the background and he is doing uh like the Macarena dance, and he's doing, you remember that floss dance that everybody used to do? Yep. And he you're just like laughing because you know, Paul's serious, he's got the mandolin, you know, everybody's gonna dance tonight, and here's this guy in the background. It's just cool, it's just a lot of fun. Uh, Blackbird, that got a lot of applause, you know, just him and the solo uh acoustic. They did now and then, and we talked about now and then in two years ago, November of 2023, when the song came out. And I didn't like the song when it first came out. And then after a while, I kind of revisited and you know, the blow kind of softened, and I felt like it was better than what I was giving it initially. But what I really liked about it, it was this real archival video and photo footage of the Beatles throughout it on the screens. And, you know, I wasn't watching the band at all. I was watching all the video and the photos, and it really kind of took you back to the Beatles and kind of, I guess, you know, how he felt when they decided to to release this song two years ago. And, you know, it just, I don't know, I appreciated the song a little bit more. I don't think I listened to it that much. It was really just watching everything and just like, man, I wish I could have been part of that whole thing back in the day. You know, I'm not even naming all the songs, I've haven't even uh listed all of them, but he still did like Lady Madonna, Jet, you know, the Great Wings song. Being for the benefit of Mr. Kite, which is a John song, which is kind of cool that he, you know, he's singing this John song. And the thing that really made me think while I'm watching it, and I've seen him play it before, is the Beatles stopped touring so that they could make music that you couldn't tour with. But the way that technology has changed through all of time you can play being for the benefit of Mr. Kite, which is off of Sgt. Pepper's, you can play that in a show now. Like you can probably play almost any song in concert, whereas back in the day you just couldn't do it. You know, it wasn't possible to do it. Uh he followed that up with something, a George song, you know, started playing it on ukulele. Really good. And then Band on the Run, Let It Be, Live and Let Die, Hey Jude. All right. So 29 songs have been played, and now next is the encore. Like it's just so incredible that that much could happen. And he comes out, he does I've got a feeling, and you know, with the new technology, again, technology's everything. He's able to sing that song with John and from the get back movie, Let It Be, which it originally was titled. They take the parts where John sang and they put it up there, you know, when they're on the rooftop and you know, in in uh England, in London, England, back in in January of '69, and they have it, and they're doing a duet, and it's just like, this is so cool. You know, like you're being able to witness something that you didn't think that you possibly could.
SPEAKER_01:Imagine how cool it is for Paul.
SPEAKER_03:Yeah, you know, he at times was looking up at John, like he was looking at the video screen, just soaking it in. Yeah. And this is a guy that is on tour, and you know, he's been playing these shows, but you can still see it means everything to him. Uh, Sergeant Pepper's Lonely Hearts Club band, Helter Skelter, Golden Slumbers, carry that weight, and it ends with the end. And 35 songs, two hours, 40 minutes, well spent money. And I can't help but thinking, will I see him again? You know, he's you know, early 80s, and you know, comes a point where you stop touring. And I hope it's not, but I watched that show and I enjoyed it like it was. I'm wearing my Paul McCartney 2025 tour t-shirt. And um it was it was a lot of fun, you know. I've seen him before, I know you've seen him before. Um, like you said, it's like watching the man, like this guy is responsible for so much of what's happened after, and today people still want to play with him, and they still want to be part of him. And it just it's really cool. It really, really is. They would have different programs, whether it was an interview with the band, or they would highlight that band's music, or or you know, just different things. I can't even think of all the stuff. But one of them was the doors. And, you know, I had heard the doors probably light my fire, maybe a couple of pop songs that they had. But in April of 1980, I really learned a lot more about them. In October 1980, the Doors released a greatest hits album, and that kind of like exploded the doors for people my age that didn't know about them. You know, the doors kind of had faded out once Jim Morrison died in 1971. The other members tried to keep the band together, they did two albums. You know, I don't like to say this often, but it sucked. And, you know, kind of tarnished maybe the image of the band a little bit. But then when Apocalypse Now came out, and you have it opening up with the end, and all of a sudden now people like, oh man, yeah, I remember the doors, and this greatest hits comes out in 1980, or like I talked about in April of 80 on the radio hearing a bunch about them, it starts to pique interest. But for someone like me, that interest is all new songs, you know. I don't know a lot of these. And, you know, this album, it's you know, it starts off with Hello, I love you, light my fire, people are strange. And, you know, I am 13, I'm about to be 14, and it's like people are strange when you're a stranger. And it's like, man, those words are really cool. Like, I want to sing that and and you know, let people hear that I know the song and Love Me Two Times, Riders on the Storm. And then the second side was Break on Through, Roadhouse Blues, Not to Touch the Earth. You know, not to touch the earth is a part of a like a bigger song, uh, like kind of like a suite that that Jim Morrison had wrote, and kind of like poetry really put to music. And I'm like, oh man, I wish I could do that. Like that is cool that he's able to do that. Uh Touch Me, and then you know, LA Woman. And with LA Woman, short time after is when I learned that when he sings Mr. Mojo Ryzen, if you take the letters and switch them around, it spells Jim Morrison. Almost. Oh, yeah. But you know, it's like when you're a kid, it spells it, you know. You know, when you're a kid, it's like this is it, you know? And it just was a really cool time to be discovering new music to me and to my friends because we didn't know it at all. And just it took us into, you know, getting different albums by the doors. And at first, where you think the first album is this really good album, but then once you listen to it and you can hear some of the the technology at the time wasn't the best. So it's it sounds very early 60-ish, some of the songs, not Light My Fire, but some of the songs on it too. But then you're like, Oh, let me get LA Woman or Morrison Hotel, and you're like, Oh my lord, with you know, LA Woman with that song and Riders on the Storm, and it's just like insane, all of this musical knowledge that's just hitting you. And at the same time, ACDC Back in Black is the big album that's out at the time, and you're listening to this other stuff, and it was just really cool. It's a really cool time for me, and um, you know, I haven't forgotten it. I've always uh remembered it. I love the doors, and uh that's a little bit, I guess, through the whole uh through this year, that's how uh I got into the doors. And after that, um I read the book uh No One Here Gets Out Alive, the paperback book. I think it was Danny Sugarman that wrote that book. And you got to see some, you know, um read, not see, but read some, you know, backstories about the doors and you know, hanging out with Janice Joplin or Jimi Hendricks or recording this and how this happened. And it just seemed like it was all new, but it wasn't. Jim Morrison had been dead nine years, you know. But it was a cool time of my life, and I really enjoyed that. So I just thought that I would share that. It was great that you shared that. Well, thank you. You know what else I'm gonna share? I'm gonna share some more music in my shoes. The Rolling Stones Get Off of My Cloud peaked at number one on Billboard Hot 100, November 6, 1965. I live on the corner on the 99th floor of my block, and I sit at home looking out the window, imagining the world has stopped. This song is kind of an answer to all of the popularity and the chaos that happened to the Rolling Stones once satisfaction came out, and that they couldn't go anywhere without being recognized. And it's one of my favorite songs. I actually have the original 45. It was my aunt's, and I have it at my house, and I just think that this original 45 is everything, like it's so cool because it's it's from when the time that it was released, and it's a great song. Um and if you remember, it's hey, hey, you you get off my cloud, don't hang around, boy, choose a crowd on my cloud. And that's what the Rolling Stones felt at the time. And I think that you know, as much as you want to be famous, you know, fame can definitely lead to some loneliness from the standpoint of everyone's coming at you and it's overwhelming, so now you gotta kind of pull back, and now you don't want anybody near you, and it's right, it's kind of like everyone has an ulterior motive, right?
SPEAKER_01:They want they want your fame, they want, you know, what you're what you've got. Yes.
SPEAKER_03:I feel that way with you sometimes that um that you want my fame. Only a little. Well, I'm glad that you uh at least admit it. Makes me feel better. I mean, I have shoes too. Oh, that was good. I like that, Jimmy. Thank you. Oh man. No, I have no fame whatsoever. So any fame that you're trying is very, very little, Jimmy. Hey, so Neil Diamond, Crackland Rose, he peaked at number one on Billboard Hot 100, October 10th, 1970. Crackland Rose, you're a starbought woman, but you make me sing like a guitar hummin. So do you know the story behind this? No. Okay, I'm gonna tell you. Crackland Rose was a or maybe it was Crackland Rosey, I think it was Crackland Rose, was a wine. And there was this town that there were more men than women. And so if you couldn't get a date because the men had already asked out all the women, people would go buy this wine, and that's why you're a star bar woman, and those guys would just hang out drinking this wine and just kind of talking about how they don't have a date. I mean, it's just crazy. I always thought it was really about this woman, you know? Yeah, but it's not. If you read the words and you think of it as wine that's in the place of a woman, it makes all the sense in the world. It really does. Now, I hope I don't get to that point ever in my life because it seems sad.
SPEAKER_01:A little bit, yeah.
SPEAKER_03:Yeah, yeah, a little bit. Now, this is one of the songs that I grew up with, listening to on the eight-track player, you know, at my parents' house, a lot of Neil Diamond that was played, but that's how I got to know the song. You know, I know the song very well. Another thing that I know very well is that June of 1970 saw The Grateful Dead release the album Working Man's Dead, and then the follow-up, American Beauty, in November of 1970. And they're very similar. You could probably take every song and interchange them on each album, and people wouldn't know because they're very, very similar. Kind of like bookends. Probably their two most popular studio albums. And American Beauty opens up with uh the Phil Lesh song Box of Rain, which he wrote as a tribute to his dying father. Um Friend of the Devil follows, it's Jerry Garcia on vocals, Sugar Magnolia, what a great song, Bob Weir song. Sugar Magnolia, Blossoms Blooming, Heads All Empty, and I Don't Care. Saw My Baby Down by the River, knew she had to come up soon for air. It's one of the most played Grateful Dead songs while they were a band. I love it. And it's one of those songs that kind of got better as the years went on from when they originally recorded it. Like it just got better and better. And it's got the sunshine daydream ending. So sometimes they would sing sunshine daydream and this whole part at the end of the song. Other times they would then wait a couple of songs, or they might do sugar magnolia in the beginning and then end the show with it, or sometimes they go a week before they would play the sunshine daydream. They always had some sort of thought. There was a lot of thought process in it, but it's a great song. Operator, which was sung by Pig Pen, Candyman, another Jerry song. Side two was Jerry. They have a member named Pig Pen. Yes, Pig Pen, yes. Ron, he was the keyboard player. Did he not bathe or something? Um, yeah, he was kind of like a pig pen. He definitely was different.
SPEAKER_01:He was everybody knows the character from Peanuts, right? Yeah, he was like a cloud of dust around it.
SPEAKER_03:He was more of like a biker kind of guy. Okay. Um he really didn't play keyboards on this album. He did like in um like some of the demos and when they started, but it just didn't go with the feel. I think that they let him play uh maybe harmonica or something like that, just something different, and didn't have him play the way that he played. Because if this isn't that 60s psychedelica, you know, it is more Americana music. So that organ just wasn't gonna work. Yeah. And he didn't play uh piano at all, so that wasn't something that he could do. So Jerry's Ripple, this is a top 250 uh song, you know, favorite song of mine, Ripple. I absolutely love it. There is a road, no simple highway, between the dawn and the dark of night, and if you go, no one may follow. That path is for your steps alone. This song is number 334 on the 2024 edition of Rolling Stone's 500 greatest songs of all time. I definitely think, you know, for me, it's my in my top 250. Rolling Stone has it at 334. Next up, Broke Down Palace. That's one of my chosen funeral songs. Till the Morning Comes, Addicts of My Life, and finishes up with Trucking. And that's got to be probably one of the most well-known songs. People seem to know either Casey Jones or Trucking or the big ones. Sometimes the lights all shining on me. Other times I can barely see. Lately, it occurs to me what a long, strange trip it's been.
SPEAKER_01:I've got I've got a story for you. Really? So you know the song I Hate the Grateful Dead that I wrote and with my bandmates and the violets. Yes. Yeah. So it has this kind of uh hippie breakdown in the middle where we're I'm going back and forth with Ernie the bass player, and we're pretending to be deadheads, but we don't really know anything about the Grateful Dead, and we don't we just kind of are imitating like surfer voices or something and just saying a bunch of nonsense. So when we would play it live, we would try to do that, but it it kind of got old, and we sometimes we would try to improv and it wouldn't work. So we got to the point where we would just do a little snippet of a Grateful Dead song, and those two songs that you mentioned that they're most popular, those were the two that we would put in there. Really? We either put, yeah, Casey Jones, uh is that the name of the song?
SPEAKER_03:Yeah, Casey Jones.
SPEAKER_01:Yeah, or trucking.
SPEAKER_03:Really? So Casey Jones was on Working Man's Dead. Again, you can take those songs from each album and you can interchange them. You would never know. So that is cool. I didn't know that. So someone that wrote a song called I Hate the Grateful Dead would play parts of snippets of the Grateful Dead.
SPEAKER_01:Yeah, it segueed really well in the in the song. People would go go crazy, and then we would go into the you know the final like crescendo of the song.
SPEAKER_03:Didn't I tell me if I'm wrong, but I think when I saw you at the Virginia Highland Porch Fest, didn't you do Friend of the Devil?
SPEAKER_01:Yeah, yeah, exactly. So that's my bandmate Tim in the Concord Grapes. He loves the Grateful Dead. A lot of Tim's songs that we do are a little bit more 70s um Americana, like you're saying. And so he we we do uh I think we do a couple of different Grateful Dead songs. I Know You Rider, I think we did two in the last um recent show. Yeah.
SPEAKER_03:That is a great song.
SPEAKER_01:That is a great song, which is an ancient song. That's a song, you know, that's like dates back to the 1800s or something.
SPEAKER_03:Yeah, and I think if you go back uh when the Grateful Dead first started playing that, everybody was playing it. Allman brothers were playing it, every San Francisco band was playing, everybody was playing that. That was one of those, you know, traditional songs, I guess you would kind of call it. Um, everybody seemed to play that, you know. Oh, I've heard that. It's not their song. They're doing a cover. Oh, I want to do that too, you know. A lot of people did that. So in 2020, Rolling Stone named American Beauty, number 215, on the 500 greatest albums of all time. While we were talking about The Grateful Dead, I don't want to pass, but former singer Donna Jean Godchow died of cancer November 2nd, 2025. She was in the band from 1972 to 1979 with her husband, Keith, who was the keyboard player. He replaced Pig Pen. And she was a backup singer for Percy Sledge on the song When a Man Loves a Woman, and for Elvis Presley on Suspicious Minds, both songs went to number one. And that's how she was able to talk her way into The Grateful Dead. Let's move up to 1980. So Boy by You Two came out on October 20th. It's the debut album, an album that you can listen from beginning to end, and still you can do that. And a lot of times we've talked about this, Jimmy, like how I felt about something. I go back and I kind of listen to it now. And do I have those same feelings or has it changed? I listen to it from front to end again. Like it is just this perfect album. And like many bands, it's just such a different sound for them from the early days to what they became and what most people know U2 for. As a young teenage boy, I could really relate to the words and the music that you know that made up the album. And side one had I will follow. You know, that's probably the most well-known U2 song, I would think. If you walk away, walk away. I walk away, walk away, I will follow. A live version was played a ton on MTV in the first couple of years, but it was even when it was like new, MTV was new, like that live version was kind of grainy. It was kind of funny. Like you were like, what's up with this?
SPEAKER_01:Was it from the Under a Blood Red Sky? No, it was before.
SPEAKER_03:It was it was before that. They did actually Under a Blood Red Sky, they re-released that live version, but they had this other one that they would show from like a club or something, and it just looked kind of grainy, you know? Yeah. And I remember they had the cover, the album cover, not the American album cover, but the UK album cover behind them, which was the boy, and that was up behind them. And I remember that from the video.
SPEAKER_01:What what was the American album cover?
SPEAKER_03:The American was their pictures, the four of them, it was dark on a white album cover, but they kind of stretched it out a little bit. So it was almost kind of like silhouettes.
SPEAKER_02:Hmm.
SPEAKER_03:And what they did is they just kind of stretched it to do something different. So two totally different. My brother actually got the the UK version. So we had it with the actual boy that was the same boy that was on war. He was just younger on Boy. I feel like that's the one I've always seen. So yeah, check it out. It's definitely different. It's kind of like I said, the full pictures of the four of them, but like stretch silhouette type.
SPEAKER_01:Who was the boy? Was that like a friend of the band?
SPEAKER_03:It was, yeah, it was. I I forget who, but yeah, he ended up actually being on uh uh another album that came out. Um, I I don't remember which one, like in 2015 or something like that. Yeah.
SPEAKER_01:His his photo or his voice?
SPEAKER_03:His photo. Oh yeah. So I I'd have to look it up. I don't remember off the top of my head.
SPEAKER_01:You know, I heard I Will Follow the other day, and it was the studio version from Boy. And the bass line is different than what Adam Clayton played even shortly after that on Under a Blood Red Sky and that what he plays to this day. If you listen to the bass line on both of those, it's it's a completely different bass line.
SPEAKER_03:I will have to listen to it.
SPEAKER_01:Yeah, he plays a lot simpler on the boy version.
SPEAKER_03:Well, he was much younger and probably didn't know. You know, it's their debut. He probably didn't know as much. Maybe is my thought. Twilight, uncut dub going into the song, into the heart, finishes up with out of control. So out of control is one of my favorite songs of all time. Song starts off with Monday morning, 18 years dawning. I said, How long? Say how long. And I remember like I wasn't 18 years old. I'm like, someday I'm gonna be 18 and I'm gonna sing that song, and it's gonna mean everything in the world. And then I got a little past 18, and I'm like, oh yeah, like I'm 21 and I'm singing this, and all right.
SPEAKER_01:It's like partying like it's 1999 back when it was the 80s. It sounded like the future, and now it sounds like the past.
SPEAKER_03:Right. And now I'm 58 and I'm singing this song that's you know from 45 years ago. Well, yeah, 45 years because I was 13 when it came out, and I had five years before I made it to 18. And it's just kind of crazy. But I I love that song out of control. I really too really do. Um, side two stories for boys, The Ocean, A Day Without Me, Another Time, Another Place, The Electric Co, Shadows and Tall Trees. Great album to listen to from beginning to end, especially if you want to hear a different sound of YouTube.
SPEAKER_01:Right, yeah. And I mean a different sound than any band had had up to that point. They they really came out of the gate very original.
SPEAKER_03:Oh, yeah, without a doubt. And speaking of original, tick, tick, tick, it's minutes. With Jimmy.
SPEAKER_02:It's time for a minute with Jimmy, Minute with Jimmy, Minute with Jimmy. It's time for a minute with Jimmy, Minute with Jimmy, Minute with Jimmy.
SPEAKER_01:Alright, I wanted to talk about the Ramones album End of the Century. I know we've talked a little bit about it, but uh we had Monty A. Melnick on last show, and we we talked about the song all the way that mentions Monty's making me crazy. And I just went back to this album and I looked at all the songs. It there are so many great songs on End of the Century. The production is a little, for my taste, a little overproduced, the Phil Specter thing that he did with it. But do you remember Rock and Roll Radio that we referenced in the intro and outro of last episode? Return of Jackie and Judy. That's a callback to uh Judy is a punk from the first album. Let's go, baby. I love you. We talked about that. Um, this ain't Havana. That's a callback to Havana Affair from the first album. And of course, Rock and Roll High School and uh high risk insurance, but a lot of great songs on that album.
SPEAKER_03:I agree with you, Jimmy. I think that it's a good album, definitely overproduced. Phil Spectre sound was not something that the Ramones needed. I do like um Do you remember Rock and Roll Radio? It's very nostalgic at the time. You know, for me, I remember the 70s ending. I don't remember the 60s, I was too young, but I remember the 70s ending, and they're flashing back to, you know, all these old, you know, musicians, and it just was super cool. So I kind of looked past some of the overproduction because I thought the the words were super cool. That took me back to things that were important to me at the time. And especially, you know, what was it? It's the end of the 70s, it's the end of the century.
SPEAKER_01:That's the way people felt. It was kind of like what's what's next? Right. And there really was a very defined difference between the 70s and the 80s. It didn't happen right at 1980. I would say it more around 81, 82 when it started feeling like what we remember as the 80s. Correct. I agree with you on that. Definitely. But you know, that album came out 45 years ago in 1980. And uh, I think if somebody could go back, I would love, I would just kill to go back and get the raw tracks from those sessions and remix it myself to make it sound like the other Ramones records and take the Phil Spectre reverb and all the stuff off of it.
SPEAKER_03:The Ramones that we all love. Yeah. That was a great minute with Jimmy. Thanks. I'll always like going back to that. And it's also time for the end of episode 104 of Music in My Shoes. I'd like to thank Jimmy Guthrie, show producer and owner of Arcade160 Studios, located here in Atlanta, Georgia, and Vic Thrill for the podcast music. This is Jim Boge, and I hope you learned something new or remembered something old. We'll meet again on our next episode. Until then, live life and keep the music playing.
