Category: Podcast Episode

This weeks record is Earth Rocker by the band Clutch. We talk about the album and other stuff too. Surprise!

Other topics in this episode include:

A discussion of lyrics and not paying attention to them

Dog bones, touring at 50

Interacting with bands you don’t like

Politics of being in a band.

Playing shows in front of big audiences who don’t know your songs.

Phoning in drum parts and no one noticing.

Gags and parlor tricks in songs, pick slides.

Punk rock slowing down

Backup clone wives.

Orange amps

Tony Iommi and Brian Mays guitar sound.

Of course Yank Crime

Eating the same breakfast every day for five years.

Grading scale again and an argument that a C grade is not average.

Trying to stop the discussion of blues, and how we both dislike Dixieland jazz.

Next week. Led Zeppelin by Led Zeppelin

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We start out comparing this record to Kid A, and then end up bashing Kid A for a bit. Why not?

Jamie keeps trying to convince Mike that he knows about contemporary things.

Mike has friends that have won Juno awards, so of course Jamie makes fun of this regional award he pisses all over the Grammys and they get into the argument over country size again.

Other topics include:

Swipes at Husker Du and Zen Arcade.

Spinet pianos

Tuning at full volume with a Marshall.

Laika the Russian space dog

Don’t make friends with Chickens.

The Afghan Whigs being high school wrestlers

We blast Rolling Stone with an uncountable amount of F-Bombs for their bullshit 500 greatest albums of all time list. ‘Yank Crime’ by Drive Like Jehu, Rachel Demys DJ name. Eddie Vedder and Pirate Radio.

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Other topics include:

The Seattle music scene being totally inbred. Portland musical cliques.

The Stone Roses, Grant Heart and Husker Du, Joe Bass and Bobby Keys.

Mike giving an audition tape to Sunny Day Real Estate.

What a mistake it is for labels to not make digital copies of their existing tape inventory.

Jamie tells his attempt to get on a major tour with the Violent Femmes strategy.

“Cure hair” and Randy Rhoads. Microfiche vs the smart phones

How being nineteen in 1990 is way different than being nineteen in 2020 and living Groundhog Day.

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Mike loves this record so much that all of Jamies jokes basically crash and burn. I think this is the first episode where we actually spend most of the time talking about the record.

Other topics include:

Dio, Rage Against the Machine, Rule 34. How everyone wants Tommy Thayers job. Kiss Alive being partially recorded in Davenport Iowa. Jamies disappointment that he’s not the new singer for Black Flag.

Our plan to have Ken Kelly repaint the Kiss Love Gun cover with Mike and Jamie included. Pissing off anyone living in Iowa. Mutt Lang being a shit hot singer, Mikes hate for Bob Dylan on Bobs Wikipedia page. Jamie talks about spending time in his front yard in his underwear leaf blowing.

An argument over who the greatest metal band of all time is, Phil Anselmo and a wine bottle. Finally and surprisingly, no argument over the the GSOH grading system.

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We start out the podcast hearing about Mikes time as a grave digger.. because OF COURSE he was a grave digger at one point in his life. Turns out Mike technically still works there. 

We eventually talk about Hunky Dory by David Bowie. We cover the great Mick Ronson, and the historic piano used by Rick Wakeman on this album. 

We also end up talking about Death Becomes Her, tattoos, the band Yes, Heart of the Sunrise, the movie Buffalo 66. Listening to stems, Garth Brooks alter ego Chris Gaines, Kix cereal, and the band Trixter.

Mike gets even more creative with his swipes at Bob Dylan and Jamie reveals his “stuck on a desert island record”.

Jamie and Mike really love this record, the cover song was important to get right. So of course it was left to the last minute and done poorly right before the episode was posted. Punk rock! 

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In this episode Jamie and Mike gush over their love of each of The Who members, but take them to task over some of the covers on this record. A word of advice, never ever cover James Brown.

As always, the conversation veers to other bands, and their influences. The missed opportunity of Bobby Keys not being a keyboard player, and the playability of three pickup Gibson SGs

The end of the episode almost sees the end of the podcast in general, as Jamie and Mike clash over the idea that Jimi Hendrix is on the same songwriting plane as The Who.

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This week is the 2017 album The Demonstration by Drab Majesty. Jamie and Mike dig into this record, we also manage to completely alienate most of the worlds major religions, the East Coast of the United States, Sex and the City fans, and virgins in heaven.

So join us for this episode. If it makes you angry, please write your complaints on a piece of paper, fold it into a paper airplane, and throw it in the direction of New York or Portland Oregon.

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If you listened to the end of the last episode, you’ve had a sneak peak as to how Jamie and Mike feel about this album.

Since Kid A is an experiment in the “art” of music, Jamie and Mike spend the hour painting you a beautiful portrait of how much they dislike this album.

If you also dislike this album and have wasted your time listening to it in the past, join us for a verbal Office Space printer revenge on this record.

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Jamie and Mike discuss their PTSD from watching “The Day After” and growing up during the Cold War. Jamie’s inability to sleep with his feet off the end of the bed due to the horror movie “Trilogy of Terror”.

The Too Legit to Quit hand gesture, drum machines, samples, incels, 4Chan, and progressive songs from 1991, not being so progressive in 2020.

Mike talks about making the OZZY video, and for the first time on the show, has to pause the episode to go poop.

It wouldn’t be an episode of GSOH if Jamie and Mike didn’t argue about album grades. So of course that happens.

Oh yeah, and they talk about A Tribe Called Quest – The Low End Theory.

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On this episode Jamie and Mike discuss Midnight Oil’s 1987 album Diesel and Dust.

Mike explains what a Jody is. Continues to try and gaslight Jamie about his his grade for the Leonard Cohen review from EP1. As well as taking swipes at poor defenseless Bob Dylan in the process.

Jamie completely dismisses the entire continent of Australia and popular bands from there as “regional” heroes at best, and the boys quickly touch on the number of elementary schools they each attended. Which explains a lot.

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