Mandatory Music
Welcome to Mandatory Music! A podcast about the craft of music.
Join Mike and Sebastian as they unravel the depths of song writing, musicianship and great artists. Each season centres on one particular band, with a deep dive into specific songs that delve into their creation, sound and complexity. It is within song and harmony, melody and rhythm that our emotional heartbeat echos.
It has been said that "Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. - Plato
So, come for the ride.
Mandatory Music
Musical Icons and the Mysteries of Pink Floyd's Animals (Side B)
What if you could uncover the hidden threads connecting a musical legend and a rock masterpiece? In our latest episode, we honor the unparalleled Quincy Jones, whose recent passing at the age of 91 marks a profound loss in the music world. We share insights into his legendary career, from working with icons like Frank Sinatra, Ray Charles, and Michael Jackson to producing timeless projects such as "We Are the World." Reflecting on his humble beginnings as a jazz trumpeter, we acknowledge the artistic void his departure leaves behind while celebrating his indelible impact on the arts.
Switching tempo, we journey through the enigmatic world of Pink Floyd's "Animals," particularly the evocative tracks on Side B. Roger Waters' incisive lyrics dissect authority and corruption through Orwellian lenses, while the dynamic interplay between Waters and David Gilmour during this period is laid bare. We explore the rich textures and arrangements that define these pieces, drawing connections to the band's earlier work and highlighting the creative tensions that fueled their enduring soundscapes.
We wrap up by drawing fascinating parallels between Pink Floyd's sonic explorations and Stephen King's narrative genius. Their shared ability to channel creativity into groundbreaking art forms is a testament to their unique talents. With a nod to the audacity of releasing an album with only five extensive tracks, we celebrate Pink Floyd's bold artistic choices. As we transition to discussing horror films, we offer a recommendation for "The Void," a cosmic horror gem that promises to chill and thrill enthusiasts of the genre. Join us for an episode that honors musical legends and explores the rich tapestry of creativity in music and beyond.
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Mandatory Music is proudly hosted and produced by Michael Heide and Sebastian Kwapich
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Thanks for listening and keep on rocking
You're listening to Mandatory Music. Good evening and welcome back to the program. I'm Mike. This is Seb. We are Mandatory Music. Back again with another exciting episode, Seb, how are you tonight? My?
Sebastian:friend, I am very good. Thank you very much, sir. Yeah, I'm great. We're excited to talk about a few things, and then one sad thing, one sad thing.
Mike:Yeah, we'll do the sad thing off the top.
Sebastian:Yeah.
Mike:We just figured we'd acknowledge that Quincy Jones Titan, he's a Titan of music. He's not even a legend, he's a Titan. Quincy Jones titan, he's a titan of music. He's not even a legend, he's a titan. He is the Zeus.
Sebastian:Of music.
Mike:He passed away last night At the age of 91. His sort of, his sort of Rasp on music through, decade after decade, working with Frank Sinatra, ray Charles, dizzy Gillespie All of it and Michael Jackson.
Sebastian:Yeah, he did basically most of michael jackson's biggest songs, like beat it bad, billy jean dirty, diana, man in the mirror. You know he did. He produced all of those for for michael jackson, uh, but probably the most famous thing that he's ever done is the we are the world, the us for africa thing, where they had all the stars in. So he kind of helped produce that whole yeah thing. So, yeah, famous, famous music producer that works a lot with michael jackson passed away yesterday. So we want to thank him for all of his contributions to the world of music because he is quite the titan.
Mike:Yeah, he was born in 1933, and he was actually like my daughter, he's a jazz trumpeter, so that's how he got his start playing the trumpet, just like my little princess. So that, uh, that, that's amazing. He, uh, he also did film scores or and tv show scores, did sanford and and Son In the Heat of the Night, the original Italian job and the Color Purple. So the dude, he could do it all, literally could do it all. He could produce, he could write, he could play, he could write songs. He could do anything.
Sebastian:Yeah, he was also a songwriter and a composer as well as a producer. Worked with Aretha Franklin, worked with Donna Summer. You know a lot of people.
Mike:Yeah, so, uh, our condolences go out to the Jones family. Um, just because you know he's, it's a great loss to, uh, it's a great loss to music and yeah. Yeah, so anyways so with. That said, we're going to move on to something a little more fun. So we are going to continue our Pink Floyd animals journey. Yes, sir. We are going to do Side B, which is basically two songs as opposed to one. Yeah, we got pigs.
Sebastian:We're doubling the amount of songs we're doing this week?
Mike:We're doubling the output. We got pigs three different ones and sheep, so obviously following the Orwellian.
Sebastian:Pigs. Three different ones is one song, by the way.
Mike:Yes, it's not three different songs, so obviously following the Orwellian, Three different ones is one song by the way. Yes, it's not three different songs. Yeah, three different ones yeah.
Mike:Um, but following in the Orwellian of dogs, pigs, take it for what it is. It's about authority, authoritative figures and corrupt, corruption, all that stuff. And it's just the way Roger is starting to start with the lyrics, cause this is the way Roger Waters'm going to start with the lyrics, because the way Roger Waters can frame such sort of not villainy, but sort of that kind of just anger into words but make it sound so poetic at the same time. He's basically got his middle fingers up to everybody and it's just.
Mike:He's a savant, I know he's not the, doesn't seem like the nicest guy in the world, but dude yeah, it definitely seems like he has a chip on his shoulder yeah, and he's like annoyed at the world why I I don't know, and I think this was another song I think all three of them were were written previous, because I think this one originally was called raving and Drilling, I think so it would have been on the same tour cycle as Dark Side of the Moon and Wish you Were here, just like Dogs was. So these were songs sitting around from when they were getting along better, because by 77, like we said last week, waters and Gilmore were not in a happy place.
Sebastian:Yeah, leading to Splitsville basically, like we said last week, waters and Gilmore were not in a happy place. Blitzville, yeah, leading to Splitsville, basically.
Mike:Starting. Yeah, I think the seeds were sown in around 77 of well Roger with everybody, not even just Gilmore, like just sort of alienating everybody.
Sebastian:I mean the band broke up in 83, I believe.
Mike:Uh, after the final cut came out, which was 81, I think yeah, roger left 83, 82, 83.
Sebastian:Yeah, so this would have been five years after animals was was released, right? So?
Mike:And I think the final cut was just an extension of the wall. I've actually never listened to the final cut Cause I put something on, I'm like I, I'm good, I think it's just it was. It was more or less. Well, the wall was really a Roger water solo record. But we're not talking about the wall, we're talking about animals animals, pigs, three different ones in brackets.
Sebastian:It starts sort of similar to dogs, a little bit heavy synth well, all three of the songs are super similar in like structure, basically like yes, they are there's like that you know the way they start the middle part and how it ends, which I I think it's.
Mike:It's kind of neat. But like the bass line under the synth to start is really cool. Like it's. Like it just it fits. Like. I got it right now. It just it fits so well with like it's just. I don't know it's the way they can put all these different sounds together to make them like. It's almost like magic, but it's just yeah and I do notice.
Sebastian:I did notice, though, like as soon as the singing comes in. It's very different than dogs, like it's more aggressive. There's like anger to it and musically it's very almost, I guess, for lack of better words it's very punchy and staccato, like the guitar is like that, like it's not flowing no, it's kind of like sharp little.
Mike:Well that delicate touch that g Gilmore usually has is not here. It's like that. It's like with that delay it's a sharp chord and then it just stops and it just keeps sort of pounding you.
Sebastian:Yeah.
Mike:And then we, yeah, and when it's when he starts singing, Roger's singing and it's, it's funky.
Sebastian:I do have something to say about the lead guitar work in it, though. Okay, um. So as I was listening to animals last week, this week I've started to really appreciate on how correlated the instrumentation and the sounds and the timbre that's coming out are in each of the three songs, based on the concept of each of the songs. So when you listen to a lot of the lead work in pigs, it's very squealy interesting. It's almost like a pig squealing. Yeah, like if you actually listen to the lead work done it's, it seems like it's a pig squealing you know, like it's.
Mike:It's kind of fascinating actually I wonder if that was like a subconscious thing when they were making it, or it was like okay, you need to make your guitar sound like a pig squealing it could be a combination of both too, like maybe it was an accidental thing and they're like hey, do you know what this sounds like?
Sebastian:it sounds like a pig squealing, yeah. But like when you, when you listen to some of the lead work in the middle parts, it's just like, yeah, that definitely. I could definitely relate that to like a pig squealing or noises a pig would make, right. So it's, it's quite fascinating really.
Mike:Well, even now that you say that the chords he's strumming those sharp like it literally is a pig, it's very reflective of that right.
Sebastian:Interesting yeah.
Mike:Opening up my mind is.
Sebastian:Hey, pink Floyd man, Like they don't do any. I don't think they do anything by accident to be honest with you or sometimes, sometimes you just allow your subconscious to go through.
Sebastian:So you know Stephen King I'm not talking about him, but he's very big on not planning his books out, because if he knows where it's going then it's not a surprise. And so by figuring it out as you go, you can really surprise the audience. And that's trusting your, your subconscious and your intuition of like this is what feels right, going into here, going to there, right. And then you kind of subconsciously manifest that part, basically Right. So but yeah, like at the 4, 30 point of the song there's like almost like a talk box. I think that there's. The one of them is using I, I think it is.
Sebastian:Yeah, and it's. It's literally like a pig squealing, not like aggressively squealing, but like grunts of a pig.
Mike:basically that might actually be a pig, or maybe it's a pig. I literally think it's a pig.
Sebastian:Yeah, but like, yeah, the guitar works Very correlated towards that, but when it gets to that sort of pig squealing Part, it's like. Wait till you hear the solo at the 5 minute mark. There's like little snippets of the lead solo, or 5.15, I guess it was.
Mike:Okay, I'm almost there. But you're talking about stephen king a little tangent, because I just finished his newest uh book of short stories and there's like a whole afterward he's sort of describing how he wrote each one and one of them. He said he wrote, he literally put his shirt on and then it just hit him, he had the whole thing and you're just like what yeah, it was like and it wasn't like a Three pages, it was substantially long, like it was.
Mike:I did audio book and it was A couple of hours and he had the whole. It just hit him when he's putting a shirt On one day. It's like, oh my god, did you?
Sebastian:ever see the interview between. So they had Stephen King and George RR Martin on a panel.
Mike:George RR Martin just Randomly turns to Stephen King and goes how the heck he doesn't use uh.
Sebastian:So they had stephen king and george rr martin on a panel. George rr martin just randomly turns to stephen king, goes how the heck he doesn't use heck, he uses the f word. But how the heck do you write so fast? The whole audience just starts laughing because george rr martin has been writing one book for nine years, where stephen king writes three books a year three books a year, it's.
Mike:I had this conversation with somebody at work and it's it's incredible how prolific stephen king is, like not all his books are great works are great works yeah, but everybody buys them everybody. I I read every single one and they are fantastic yeah it's just. It boggles my mind how he's did like saying 65 full novels and 200 short stories that's ridiculous and he's been writing for 50 years like that's a lot of that's a lot that's a man who's found the right calling in life because he really enjoys it.
Mike:He's a vessel. He's kind of like. You can even bring this back to Pink Floyd with Roger Waters and his songwriting output. Maybe not so much now, but back in the day he was just a vessel. Any of these great songwriters, they're just vessels for this, wherever that comes from and it just comes out, and their fingers on the piano, the guitar, whatever it.
Sebastian:so I would put roger in that boat, except for his rendition of dark side of the moon that came out last year we won't get into that, but we, I do, actually I do I do think it is a talk box and for those people that don't know what a talk box is, it's like um, it is a talk it.
Mike:And for those people that don't know what a talk box is. It's like um it is a talk box, it's an, it's an instrument that you kind of like put near a microphone that you kind of like a tube that comes up right next to the microphone and you kind of talk into that tube and then that goes on through your guitar. It's it's it's interesting, so it seems less than sanitary, if you ask me.
Sebastian:I just gotta clean the tube once in a while, I guess so.
Mike:So yeah, so you get this wonderful Talkbox solo.
Sebastian:It's a pig. For all intents and purposes it's a pig.
Mike:You couldn't have done that solo any other way.
Sebastian:It makes so much sense.
Mike:Not even a wah pedal would have done that. I think you need the talkbox for it. And then we're sort of back at the beginning of the song again. Sort of the same, so not as long as dogs, but that's like you said, that same formula. If you will, so, then we're going to get into verse number um, the next verse, after all the solos are done and we're still.
Sebastian:We're eight minutes in the song, so we still got three and a half to go and then, yeah, so it's a wonderful beginning back again and you still got there's still pigs in the background squealing too it is fascinating though, like when you, when you break down the lyrics for all three of these songs like dogs, pigs and sheep, it's basically roger waters, I mean, he wrote the lyrics for all three of these songs like dogs, pigs and sheep. It's basically Roger Waters, I mean, he wrote the lyrics, I assume. Yes, they're basically calling out the negativity of that correlation to humanity in terms of a pig and a man, or a dog and a man, or a sheep and a man. So like when you actually deep dive the lyrics, like it's very, you're just the pig, basically, you know, so yeah talk, talking about you know what's?
Mike:what is the sort of thing? We all associate a pig with the authority figures, cops, whatever yeah and even the lyrics, I think, was they opened the song. What were they? They were uh uh, big man, pig man, uh oh, come on, stop it. Professional, um oh, can you not?
Sebastian:they just keep going to where big man, pig man haha, charade you are, you well-heeled big wheel haha, charade you are. And when your your hand is on your heart, you're nearly a good laugh, almost a joker, with your head down in the pig bin Saying keep on digging Pig stain on your fat chin. So he's really Laying it on thick there. He's an angry man. Yeah.
Mike:This is probably my least favorite song On the album Of the three.
Sebastian:It's also quite similar to Dogs? It is. It's almost the same structure. Yeah, it is, and it's also quite similar to Dogs it is.
Mike:It's almost the same structure yeah, it is. And it's almost too similar. I just did 17 minutes of this. Now I got another 11. Come on.
Sebastian:It is fascinating to understand that all five of these songs are meant to be listened to one after another. Yeah, all five of these songs are meant to be listened, one after another. Yeah, like you don't get the full scope of the album and what what it means until unless you just listen to the entire album. Strong track one through five, because it just all flows into the next, into the next, into the next and I really do believe he he wrote all five tracks as one long song.
Mike:I think so, I would think so, um, but yeah, so I guess that's sort of that. That's pigs yeah um, and sheep is sheep is interesting because it's a completely different tone, like it's like it starts out kind of like a jolly, kind of bluesy p like sort of keyboard intro and it's like yeah, yeah, okay, like it's everybody's happy and everybody's. This is a completely different shift. And and then what quickly goes away?
Sebastian:higher mood of the the this song is is is explained in the first two lines of the lyric. And the lyrics are hopelessly passing your time in a grassland away, only dimly aware of the certain unease in the air, so like when you better watch out there might be dogs about like yeah, so when you, when you, when you listen to the song, it's just, you know a sheep. What is a sheep? A sheep is someone that just follows instructions just doesn't think for themselves.
Sebastian:One of the masses, right, one of the masses you're inside, just following the other sheep, you are led to water, you are led into, so you're not aware of any difficulties or any. You don't think for yourself. Basically, you're just in la-la land, basically, and it's very evident of just this airy quality of like do-do-do we're just here having a good time eating grass, and you know.
Mike:Yeah, like it's even um a lyric a little later on it's uh, things know what they seem. What do you get for pretending the danger is not real? Meek and obedient, you follow the leader like it's literally there you go, right it's he says it. This one's not really much a metaphor. This is pretty straight down the middle yeah and stay tuned next week for our breakdown of animal farmer george rowell we're currently reading it.
Sebastian:No, we're not.
Mike:No, we're not we are not reading it. I am not. I'd like to actually this. This has made me want to read the book, uh, because I know I, we were at 1984, 30, 30, 000 years ago, um, but animal farm would be interesting anyways. So, yeah, it's just. And then you get this sort of with the the fun, fun keyboard, bluesy keyboard, like you're just snapping your fingers standing on the street and you get this ominous bass rumbling behind it yeah, I guess this is the most keyboard focused of the three songs.
Sebastian:Yes, so the guitar kind of takes almost like a back seat to the main melody line because it's very guitar driven in dogs and pigs and this one is definitely very keyboard driven, I think. I mean, it's still got its elements of guitar as well, right, but it's interesting because it's a roger waters pen tune.
Mike:Only, like gilmore only had the one partial credit on dogs and as a rest of it was all roger waters. That's one thing about the kit. So one thing about this record. I understand that the tone, the vulgarity of it, david's voice, doesn't lend itself well to that kind of thing yeah, he's more of a soul soul singer, basically but his voice is so good like what a? What a waste of waste of talent to not really.
Mike:He only had the one verse on dogs and that's it I don't know, I just I'm such a, I'm such a gilmore homer, I just, I just can't help myself he was the soul of the band, right it was he really was. Um, but, and again, the pace of this song is very it's very similar to pigs, it's very similar to dogs.
Sebastian:It's like when it kicks in it's kind of frantic, almost like you have these lyrics about meek people just following the leader, but it's got this like sort of hurried, hurried tone to it yeah, it's funny how, like I mean, I would say and this is a gross overestimate, this is just a guess but I would say that this is a gross Overestimate, or this is just A guess, but I would say that Roger Waters is like the mechanism behind Pink Floyd that moves it, but David Gilmour is like the beloved Child that everybody loves. He's the soul of the band. Right, I don't know. I would say Roger Waters wrote Most of the music for Pink Floyd Throughout all the albums, but David Gilmour wrote some of the best songs that they've ever done, I think.
Mike:I would absolutely agree with that. I think, if we look back at all, I think they shared a lot of songwriting credits, like up until Dark Side of the Moon. Don't quote me on this, but I think there was a time when they all realized this guy writes prolifically, which they all looked at roger's head. Okay, well, you are taking the reins yeah have at her because he wrote. I think he wrote money and other other songs, other you know amazing stuff, david too, but I think they all just let roger okay do these things we're gonna go.
Mike:You take this wherever, wherever we're gonna go, and then just tell me what to play at that point. Just tell me what you want me to play.
Sebastian:You're the captain of the ship, basically.
Mike:I'd be willing to bet that Roger gave them the outline. Okay, this is what we're going to do. It's in this key, that key, whatever.
Sebastian:Explore this space.
Mike:Yes, and then we'll you guys do your thing and make it fit this space. Yes, and then we'll you guys do your thing and make it fit. But I've yeah, you know, I wrote the outline of the song and this is I want you to play in this style okay, yeah, dude, they were like, essentially they were like studio session guys yeah, I could. I could see that, like with this album in the wall, like they just just came in and, of course, these are only assumptions by mike and sabby.
Sebastian:We, we know literally nothing. Yeah, we know nothing.
Mike:We know nothing, we just like to talk. So I do like this keyboard solo in the middle. It's awesome. Not enough keyboard solos in life. It's Sneedmoor. I'm a huge Doors fan. Hey man, keyboards are the shit Mike does.
Sebastian:Like the Doors, yes, oh, I love the doors, it's funny how the three middle songs Dogs, pigs and Sheep we've said this multiple times, but they're pretty much echoes of each other. They're basically the same format all three songs, that instrumental breakdown, and then we go back into. It's like A, b, a, A, b A, a, b A into.
Mike:It's like aba, aba, aba.
Sebastian:Basically, yeah, and this one has to slow down too, which I think this was my favorite slow down. It's kind of eerie actually.
Mike:It is like it's like it's haunting, almost like yeah yeah, and there's this like weird, like horn, in the background, like just yeah it, uh, yeah it, and you have that, that rumbling bass that's just following it the whole time and it's just there. It's like this all menace presence that's just adding to the haunting of the poor sheep that are just Dude, imagine you're a band today and you release a full length album with five songs on it.
Sebastian:People would be like what are you doing? What?
Mike:are you doing Especially at this length? Yes, right, okay, our album's 42 minutes, but we only have five songs, is that?
Sebastian:bad.
Mike:Three songs is 38 minutes well, actually, some of the sort of doom, like, if you're, if you're into the doom metal, a lot of their stuff is like okay, we just reached out, it's literally it's three songs.
Sebastian:Okay, it's like 25 minutes, 14 minutes and 12, it's like well, it's so doomy and slow it takes three and a half minutes just get into the lyric lines usually yeah, exactly so you're just warming up the band and the instrument, but I, I think in a like, in a highly commercial sense.
Mike:Nobody's ever gonna do this again. I don't think this album met great fanfare. I should look that up. I don't think it did just because of what was going on, because he had the punk, he had the disco, and then you have these guys going hey, guess what Middle fingers we're going to give you 35 minutes and three songs.
Sebastian:But you also don't have a lot of diversity on this album, right I? We just basically said all the second, third and fourth song all similar in makeup. It's pretty much just different tonalities, but they're made up exactly the same way, right? So, yeah, you're really going into a concept for this record, right? You don't have a lot of variants of different types of songs. It's all a similar song, yeah, so you either like it or you don't, you know. You know you're either in appreciating and loving it or you don't. You know you know you're either in in appreciating and loving it, or you're just like yeah, it's not for me.
Mike:So and, as opposed to pigs, was an e-minor and then sheep is in d-minor, so obviously using that sort of dogs is in d-minor as well too, but yeah I think so and so, giving that um the somber sort of sad tones of all the minors, of all the minors. Um, they really rely on that. It'd be interesting to see what if they did any songs in major.
Sebastian:I mean, yeah, dogs definitely goes into major modes throughout the song, right. But yeah. Yeah, yeah.
Mike:Yeah, so we did this cool outro with some sweet guitar and then it just kind of fades out, and that's Of course. We still got two minutes to go.
Sebastian:but it is fascinating how Pink Floyd can take a melody line and just extract so much out of it and not make it boring, like it actually goes through a journey on how they they layer different instruments and different songs and different patterns of the same kind of like rhythmic melody line.
Mike:Yeah, it's cool, yeah and I don't think Nick Mason gets enough love for his drumming. He's a good drummer, he's just not flashy. What do we always say? Serve the song, serve the song Serve the song. It's perfect. Leave the flash to the two dudes up front. Let them hammer it out.
Sebastian:hammer it out if you will let them fight each other for solo time. Yeah yeah, he's he's the, he's definitely. You know I or he steps into that. I am the backbone of the music. I'm the beat master. Like I, I have to keep rhythm. He doesn't do anything too flashy um you know it's.
Mike:It's so great because the earlier stuff's unpredictable, right, it's not like it's no boy don't even get me into the early, yeah, so you really how he really had to be, you know, on his toes all the time because he probably had no idea what was coming out well, when you're dealing with sid barrett, like what are you supposed to?
Sebastian:yeah right, you don't know what you're gonna get.
Mike:No, so and then yeah, so we get this long, long, seemingly forever fade out forever. It's like a minute and a half fade out lazy writing.
Sebastian:Hey, you know. Yeah, I just don't know how to end the song you gotta fade?
Mike:yeah, that's true, you gotta. And you have song? Yeah, that's true. Maybe you gotta fade one of them out.
Sebastian:This whole album is like a sandwich, if you think about it. The song 1 and 5 are the bread pieces, and then 2, 3 and 4 Is all the meat and veggies in the middle, basically. So it starts the way it begins, with an acoustic guitar and one voice, pretty much so. It's interesting, though right, because the way it all opens is a minute and a half of an intro song which kind of offers you almost like a question, and then it goes into this huge exploratory thing of three different songs and then it asks the question again at the end of of the album I'm not even sure what the question is, but I'm just saying it's like do you know?
Mike:do you know what I'm trying to say. It's like I know exactly what you're trying to say like it offers you something and then it goes into.
Sebastian:It's like a essay. Basically, here's my intro, and then we're going to the meat of the songs, the three songs, and then here's the conclusion and right the last three lines of this of pigs on a wing.
Sebastian:Two is, and any fool knows, a dog needs a home, a shelter from pigs on a wing there you go when whatever pigs on a wing means man I I would love to get inside of the mindset at that time of like roger waters and how he comes up with these songs right, because they're so like. I think that's the one thing that's super fascinating about pink floyd is just how um connected they are to metaphors and almost dreamlike situations. Like a lot of their music is very dreamy and dreamlike. It's like you're almost in a trance or you're in a psychedelic state or you're and let's be real. I mean they were around in the 60s and 70s so they probably got into their psychedelics, like there was some psychedelic states at that time sure, yeah, so I mean they probably tapped into that as well.
Sebastian:Um, but yeah, it's just like how they walk. That dreamscape scape between like reality and not reality is something that you know, people appreciate or have always resonated with with pink floyd.
Mike:Yeah I would assume so at least I have anyways.
Sebastian:So, because they are out there, like the band is out there, in terms of, yeah, how they approach, music.
Mike:Writing and and for it to be commercially successful is a rarity too.
Sebastian:To put experimental music out to become, you know, one of the yeah the pantheon of great bands of all time is I mean, I challenge anyone to go listen to the very first pink floyd album and understand how somebody said yeah, these are my guys, this is, this is the. This is a good band, they're gonna go somewhere, this is my scene I don't get it like the first album. I maybe I'm alone in this, but it's a hard listen, like it's not pink floyd of what you understand pink floyd to be. It's so different, no so it's like.
Mike:It's like sort of 60s like trying to be radio pop, like trying to be like, but it's also so bizarre it is like nothing makes sense on that album.
Sebastian:Like nothing, the song titles, the music, like it's just all weird. And I don't know if they're being weird just for the sake to be weird, but you know, I I think they honestly. It's once sid barrett left the band which, for obvious reasons, he had to go. He was well, he had he.
Mike:I think he had issues. Yeah, he was a schizophrenic, I believe. Yeah, so he, you know, went off. I don't know if he's even on meds, I don't know if they did that back then, but he I'm not saying that he had to go as like, but he he wasn't stable enough he couldn't at one point to be in a band, so I believe so yeah, so you know what's your, your, your final verdict, with this, rank up there with you with the wall.
Mike:Dark side of the moon. Wish you were here, even or is this sort of? One disappointment that's in the sandwich of the 70s greatness no, I don't.
Sebastian:I don't think animals is a disappointment. Like, I appreciate and understand what they're going for, right? Uh, for me, dogs is the best song on the album. I like dogs the best. Um, maybe it's the one that I dove the most into, so that might be something related to, but like, I think dogs is the best parts of pigs and sheep combined into one song. Yeah, right, so, um, um, but yeah, it's a concept album, right?
Sebastian:so you're either going to buy into the concept album or you're not yeah you know or you can appreciate it for what it is, but like it's not something that most people will have on regular rotation, but it's good to put in there. And again I have said this, to fully appreciate and understand what they're going for, you have to listen to all five songs one, two, three, four, five in a row, because they definitely flow into one another. And you're either here for the experience, right, you're not here just to listen to like, oh, I'm just gonna put on track four, because I like that track. Like it's a sequential journey that you go through and I think the whole appreciation, understanding and enjoyment of this album comes when you listen to it as a whole, not when you listen to the individual songs really.
Mike:So I couldn't set it better myself yeah, so yeah, there you go that's it like. For me it's not. It's not up there with wish you were here. Cuts to me. That's the ultimate, um, but david gilmore album or he wrote that song I think he wrote the song wish you were here, and I think he had co-write on a shiny, shiny, crazy diamond.
Sebastian:I mean, to this day, my two favorite pink floyd songs. There's another brick in the wall um part two, I think. What's the famous one? That's the famous one. Part two right, because there's three parts to it.
Mike:There's three parts. Think what's the famous one? That's the famous one. Part two right, because there's three parts to it. There's three parts. Then there's the happiest days of our lives in between part one and two.
Sebastian:Also listen to all three of those in a row.
Mike:Or listen to Korn cover it. It's really good.
Sebastian:Comfortably Numb man. That's got to be my number one Pink Floyd song of all time. It has to be Comfortably Numb. I can't even.
Mike:Ashley Mother is up there really high with me. I love that song.
Sebastian:It's just that damn solo in.
Mike:Comfortably Numb.
Sebastian:It's in the top five solos of all time.
Mike:Oh yeah, yes, sir.
Sebastian:I enjoyed it. It's good.
Mike:I'm glad because I don't think you've been really exposed to it before, so I want to expose you to some pink floyd that you've not very familiar with.
Sebastian:So I'm good yeah, no, it's good.
Mike:I definitely enjoyed this experience, for sure um, so we're gonna do a quick little. Uh, new segment now that I thought of like two hours ago oh boy, just for fun um, I love horror movies. That's just. I just do. I like watching horror movies, all all types, um from psychological horror to whatever. Um, so we're gonna do, like a what do we like a movie?
Sebastian:like a check this out because we enjoyed it moment. Yeah, like I watched this movie.
Mike:I really liked it. It might not be for everybody there is some, it is kind of violent, but, um, and it's not Terrifier, so don't. I'm not even going to go there with Terrifier because it'd paint me as a bad person. But I watched this movie on Sunday because I had the house to myself. Everybody went out and I was like, oh cool, I'm going to put this in. It's on Amazon Prime. It's called the Void. It came out in 2016,.
Mike:It was written and directed by Jeremy Gillespie and Stephen Kostansky. I did not recognize anybody in the movie. It stars Aaron Poole, kenneth Welsh and Ellen Wong. No idea, but the quick synopsis is shortly after delivering a patient to an understaffed hospital, a police officer experiences strange and violent occurrences seeming to link to a group of mysterious hooded figures. So there's cult stuff in it, there's dimensional shift, there's crazy monsters, there's the weird dudes in the robes and it's like the concept I don't know Sounds good. I think it's a. The concept I don't know like thick, sounds good. It like I think it's a lower budget movie, but the concept was so cool okay.
Mike:I highly recommend if you're into that kind of like culty kind of horror. It's a Lovecraftian horror film yes, it's very Lovecraftian and it yeah, it's very Lovecraftian and it yeah, it's very cool and it's so okay real quick for those people that don't actually know what Love, what a Lovecraftian horror film is.
Sebastian:So HP Lovecraft is synonymous with. I guess the best way to describe it is like cosmic horror. So it's like these demons and horrific creatures that come from a different time, in a different cosmos, a different universe, that kind of like manifest into our world and they're like big over the top, very void, like beings.
Mike:So to say, to say the least, yeah.
Sebastian:Anyways continue.
Mike:I really enjoyed it. It just the imagery, the way it was shot it was. It was really cool. All the effects are practical. I don't think there's any. There's not much CGI in this movie at all and you gotta love, you know. Practical. I mean practical effects like it's just yeah, like sure it's gory, there's stuff that goes on, but again, it's not on the terrifier level of gore. It's more like if terrifiers attend, this is well, this is maybe a six in the gore factor, like there's.
Mike:There's blood and guts but it's not like being sawed in half or something or chainsawed or something like that. But it's yeah. But the one thing that got me because this I'm gonna bring it on, I'm gonna land the player. The music in the movie was so cool like it was. It was a film score, but it was nice. It was mixed so loud, it just was wait, actually.
Sebastian:So when you're watching you're like, wow, this is really loud.
Mike:Yes, and I thought, and I thought it was kind of neat because I was like, oh okay, this is like I didn't have like the volume crank on the on the tv or anything, but it was just like man, the music is like overpowering everything. This is really neat, like I just, yeah, like I just bought into the whole thing. So, yeah, so it's the void, it's on amazon prime, um, or you can probably rent it from wherever else. Yeah, um, yeah, that's just, maybe we'll do. We'll do it all.
Sebastian:I don't know if you've got one you want to recommend you can quickly do that, and I mean, I was talking about this in our group chat and, okay, hear me out. First of all, I watched ambulance last week. Oh no, it's a michael bay film man, I had such a good time watching that movie. You have to understand. It's a michael bay film and michael bay he did all the transformers. It's michael bay is over the top over the top.
Mike:Bigger is better bigger is better.
Sebastian:Let's make it like you know, I don't know how many drone camera shots they used in that movie, these sweeping drone shots, but you, you know, when you're watching a michael bay movie, you kind of just want to suspend your disbelief and just go for this train wreck of a ride and, if you can, it is freaking hilarious and amazing to watch. And I was watching a podcast where they're talking about this movie. And have you seen ambulance?
Mike:I have seen ambulance.
Sebastian:Yeah, and so they said on the podcast, which was actually makes a lot of sense, is like, is jake gyllenhaal trying to be michael bay in the movie because he's like so excited about everything in the movie?
Mike:yes, it's like.
Sebastian:He's like a kid in a candy store there was one scene where they're in like um, an aqueduct, like a, like a water aqueduct, and it's actually jake gyllenhaal hanging out the window shooting at helicopters trying to go underneath the bridges and it's the other, the yaya guy, whatever the other actor is actually driving and he's streaming the whole thing and he's like this is the craziest thing I've said I've ever been on in my life. Michael Bay is making us do all this kind of stuff.
Sebastian:Like I don't even know what's going on here. Nope, and Michael Bay is just. He's the king of like. Give me more. Give me more explosions, Give me more glass shattering.
Mike:And you got to have your flag in the background, always with the police to serve and protect, and all that. Always, always with the police to serve and protect and all that Always right. But the movie started out subdued. That was the funny thing.
Sebastian:It was like oh, maybe he's learned his lesson this isn't going to go off the rails.
Mike:And then all of a sudden it's just like boom, nope, I was so wrong. It was just like whoa, it was just stuff blowing up, cars flying everywhere, gunshots, all the crazy. It was trying to a like, it was like a the michael mann heat movie. It was like, uh, it was trying to be like the big shoot on heat and it's like no, you really, michael bay, you can't do that.
Sebastian:It just it doesn't work it's the last two gyllenhaal movies I watched was roadhouse, uh, and he was well, he was very subdued in that, like he's very well, not until until the end, until, like, the main fight between him and rick wagger right, but he was.
Sebastian:He was repressing all of it because he wanted to be calm, individuals and like individual. And then I watched Zodiac as well, which he's pretty calm, and that is, yeah, you know, too right. And then to see Gyllenhaal in this over the top role, I was just like wow, I haven't seen Gyllenhaal like this ever, I don't think it was, oh yeah, awesome to watch.
Mike:It's got to be fun for him to go unhinged right.
Sebastian:But here's the fascinating thing about that movie. It's like if you actually Look at the performances of each of the Actors, they're actually phenomenal In the movie, with the lines that they have to deliver and the moments that they're. It's really well acted. So I don't know, man I had. I know it's kind of like Michael Bay's gets made fun Of in in the thing and like in just in entertainment, but like if you understand it's a michael bay movie and go in it with that narrative and just just have a good time watching it, you'll have a great time watching that movie.
Mike:So yeah, the only, the only thing that's missing is nick cage. Oh yeah, imagine nick cage in the general hall role oh, dude, that would role.
Sebastian:Dude, that would have been the chef's kiss talk about over the top.
Mike:It would have been like there's the moon, we're going for Mars, just going right over.
Sebastian:There's our two recommendations.
Mike:So the void and Michael Bay's ambulance it's a fun ride if you want to just like Seb said, suspend your disbelief for two hours.
Sebastian:Yeah, I do know there's going to be a lot of people that are probably not going to enjoy it, but you know that's fine, and I did watch trap, the new Emma and my Shyamalan movie.
Mike:I'm not recommending that. I'll leave it at that.
Sebastian:Cause it's an M night movie. It's just making good ones years ago, but it's just, it's just, we can get into that. It wasn't, it wasn't it wasn't very good.
Mike:It just yeah, Cool concept, Just the execution was just kind of like really no, this is not how it would go.
Sebastian:Yeah.
Mike:You, just, you, just, it was just, it was ridiculous, and I hate to say it but Josh Harden.
Sebastian:It'd be a good role for him in the trailers too, right, yeah, but I don't know Whatever. We've been yelling about it too long.
Mike:So yeah, don't watch Trap, it's a trap.
Sebastian:All crap. It's a trap. Don't watch it, it's a trap.
Mike:Admiral Akbar says it's a trap. Anyways, that's mandatory music for another week. Thank you for listening and we'll talk to you again. We'll see you soon. Bye-bye, We'll see you next time.
