transcript

Speaker 1:
[00:02] Dear listeners of Hollywoodland, does it feel like you're stuck in limbo, standing under a flickering streetlight at the corner of Hollywood and True Crime, waiting for the next episode of Hollywoodland to drop? I got you. Welcome to Hollywoodland. What is shaking, my fellow movie geeks, you true crime freaks? Just like me, you guys like your movie history served up with a side of grit and grime. This, of course, is the place where we rescue those stories from the cutting room floor, the stories that were left behind, the very same stories that have now made you the most dangerous person at the party. I'm your host, Zeth Lundy, writer, showrunner and good doctor here at Double Elvis. And today in the Hollywoodland Wrap Party, we are talking about top five lists. We are talking great songs named after actors and other Hollywood types. We're talking about this week's full episode subject, Sigourney Weaver, as well as next week's subject, Drew Barrymore. And I've got your picks for the best movie theme songs of all time. So come on, everybody, let's party. Here we are in the third week of April, the fourth, if you count that half week that started the month. But many of you out there know this week by its other name. Yes, it's school vacation week. For those of us with kids, this is the week that throws our routine out of whack, gives you a glimpse of what's to come this summer. And speaking of summer, speaking of glimpses, we got a little taste of summer over the weekend here in my neck of the woods, just a little taste, okay? The temperatures hit 70 degrees at one point. I mean, it was just miraculous. My wife and I got a ton of yard work done over the weekend. We dragged the grill out for the ceremonial first grilling of the season, which, you know, that must be done to the dulcet tones of the Grateful Dead's Cornell 77 show. At least here in my house, that's how we do it. If you're driving by or walking by my place and you hear Cornell 77 coming from my backyard, you know it's the first day of the grilling season. It's tradition. I love traditions. And the Cornell show is one of my favorite traditions because it signals for me at least the rebirth of the season, the shift from this pale slate gray outlook to one of lush greens and blues. And the dead are a common musical accompaniment for our summertime outdoor shenanigans because it just feels right. The dead feel right in the summertime. They don't feel right to me in early January when it gets dark at four o'clock. So anyway, Saturday is beautiful. We get all this shit done. We're grilling, having a tasty beverage out in the sun. And then yesterday, it snowed. Like what the fuck, right? Wasn't enough to stick and accumulate, but it was enough just to break your spirit and make you shake your fists up at the heavens and scream, why? It's the third week of April. Why are we snowing? Look, these are all Northern New England problems. I realize that. And as a Northern New Englander, you spend a lot of time talking about the weather. There's that old saying, if you don't like the weather here, just wait five minutes or however that goes, which is true. You'll be standing outside in the sunshine and you'll look at your weather app on your phone and it's supposed to be cloudy and drizzling. The weather here can be so stealthy that even the apps and the algorithms can't follow along. I think this week right now, my daughter, my oldest daughter is having a more pleasurable weather experience or I should say a more predictable weather experience than I am. She's on a college tour right now with her boyfriend's family. They're taking this road trip all the way from the Carolinas up the East Coast through Massachusetts or New Hampshire, wherever the last stop is. A really, really cool opportunity that she was able to take part in. And it seems like they're having a blast so far. And thinking about that this week, thinking about the weather got me thinking about road trips. And just like grilling out back the backyard, a good road trip needs a good soundtrack. We call them mixtapes. My daughter's generation calls them playlists. Whenever you call it, you need it, okay? It's like air or water on the road. And now I'm thinking of top five Desert Island albums for road trips. And why am I thinking about top five albums for a road trip? Well, because over the weekend, I rewatched for the millionth time the film High Fidelity starring John Cusack. And why did I do that? Because later today, tonight actually, Jake and I are going to record a brand new episode of our video podcast. This film should be played loud. And this new episode is going to be all about High Fidelity. Quick sidebar here for anyone who's new here to Hollywoodland and or Disgraceland. Welcome, first of all. Second of all, just a heads up that over on our Patreon, that's Disgraceland All Access, on Patreon, we have a monthly video podcast that the two of us co-host, all about the incredible music from some of our favorite movies. This podcast is where Hollywoodland joins forces with our sister show Disgraceland, just like Kurt Russel and Sly Stallone coming together in Tango and Cash. And Jake and I get into all things, music and movies. Just go to disgracelandpod.com for more info and to sign up. So we're recording that episode tonight. Well, I'm recording this on, this is Tuesday that I'm recording this episode on, so Tuesday night. It'll go live on Patreon a week from today. That's next Wednesday, the 29th. And so, I've been thinking about top five lists ever since rewatching this movie again, because as you know, this movie and the book that it's based on is all about top five lists. Thinking about road trips, since my daughter is on one. And so, like I said, naturally, thinking about top five desert island albums for a road trip, go. Number one, The Rolling Stones, Exile on Main Street. Number two, The Avalanches, Since I Left You. Number three, A Tribe Called Quest, The Low End Theory. Number four, Tedeschi Trucks Band, Revelator. And number five, The Figs, Incredible Records, Sucking in Stereo, which the song reaction from that album was on like every mixtape I made for a number of years. So there you go. Exile on Main Street, Since I Left You, The Low End Theory, Revelator and Sucking in Stereo. Those are my top five albums for a road trip. And so I'm thinking more and more about this. Thinking about other top five lists I could do right now. Thinking about High Fidelity. High Fidelity, the lead character played by John Cusack is named Rob. So, top five movies with characters named Rob. And I'm gonna fudge this a little bit, okay? Cause Rob is Robert, Rob, and I know that someone who wants to be called Rob doesn't wanna be called Bob and vice versa. However, both of their names, Bob's and Rob's, both come from Robert. So again, I'm gonna cheat here a little bit. I'm gonna give you some Rob's, some Bob's, some Robert's, a little bit of everything, okay? So, top five movies with characters named Rob. Number one, obviously we gotta do High Fidelity, okay? Rob Gordon. Number two, the Blues Brothers. You know Bob, owner of Bob's Country Bunker? You know, we'll talk to Bob. That guy, the guy's like, you boys drink a hell of a lot, it'd be like $300 worth of beer, right? Okay, Bob, Bob's Country Bunker, the Blues Brothers. Number three, office space. You get a two for one here, because you get the Bobs, the two Bobs, the consultants that come in, which leads to the downsizing of the firm or whatever. Number four, what about Bob? Bill Murray as the camp guest from hell. Number five, Twin Peaks Fire Walk With Me. Bob, the absolutely terrifying manifestation of evil, which I have spoken about at length before, still haunts me to this day. Okay, those are my top five movies with characters named Rob. What about top five movies with scenes in record stores, and can I do it without including High Fidelity? Also not gonna include Empire Records, because I have not seen that movie. I'm sorry, don't come at me. I will see it at some point. I just have not seen it yet. So I'm not gonna use High Fidelity or Empire Records. Top five movies with scenes in record stores. Number one, Pretty in Pink. Number two, Baby Driver. Number three, Mission Impossible Ghost Protocol. And this gets a special little award, because it's within this record store that Ethan Hunt, Tom Cruise's character, gets his Impossible Mission assignment, right? Number four, Taxi Driver. Come on, man, Travis Bickle buys the Chris Christopherson record. And number five, I'm going to cheat here a little bit, and I'm going to choose the documentary called All Things Must Pass, which is the documentary, I believe, directed by Colin Hanks, Tom Hanks' son, about Tower Records, okay? Also, High Fidelity has an incredible opening scene needle drop. It has that 13th floor elevator song that I believe is on the Nuggets compilation, the classic Nuggets compilation. You're going to miss me by the 13th floor elevators. So it got me thinking about top five opening scene needle drops from movies. Here we go. Number one, Lust for Life by Iggy Pop from the film Trainspotting. Number two, The End by The Doors from the film Apocalypse Now. Number three, Fight the Power by Public Enemy from the movie Do the Right Thing. Number four, Amarena by Elton John from Dog Day Afternoon. And number five, Dear Mr. Fantasy by Traffic from the movie Avengers Endgame. If you want to pass along your top five for any of these lists, or maybe you've got a completely different top five list you want to share. Hopefully, it's movie related, this being Hollywoodland and all, but listen, share with me whatever you want to share with me. You know how to do this. You can hit me up with a text or a voicemail, 617-906-6638. You can also email me, DisgracelandPod at gmail.com. And then make sure you are ready to rock and roll Hoochie Coo next week for our new episode of This Film Should Be Played Loud, All About High Fidelity. Now, as you guys likely know, we always try to inject a little bit of rock and roll into our movie point of view over here in Hollywoodland. You know, we can't help it. Just like the girl that Little Richard once sang about, we are disgraceland at our core. And as such, thinking about our full episode subject this week, Sigourney Weaver, I was thinking about the rock and roll world's connection to her. Is there one? The first thing I thought of is this great song by John Grant from his album Queen of Denmark, I think it's called. Came out a few years back. John Grant song called Sigourney Weaver. And it has that great line in its corners. I feel just like Sigourney Weaver when she had to kill those aliens. John Grant is a guy I incidentally, just totally incidentally mentioned last week in the Screening Room episode for our mixtape last week. Anyway, this got me thinking about great rock songs, great songs from music history with titles that are simply the name of actors from movie history. Okay. Later in this episode, I'll be joined by Jake Brennan from Disgraceland. And we're going to give you guys our recommendations for our favorite songs named after actors. All right. But before we do that, I want to check in with all y'all, your calls, your DMs, your emails, all of it. And we're going to get into it right after this. The Hollywoodland hotline is open. Operators are standing by to take your call. Okay, that last part is not true, there are no operators, but the hotline is red hot and ready for your call. All you gotta do is punch those digits into your mobile device, 617-906-6638, and you will be connected toot sweet with the Hollywoodland slash Disgraceland offices where you can leave us your burning thoughts on whatever. Just like this listener in the 765 who sent us this text. Zeth, Metalhead Mundy here from the 765. The best movie theme song ever is Judgment Night by Biohazard and Onyx. Full stop, not taking questions, rock-a-rola. Okay then, Metalhead Mundy has spoken, guys. We were talking best movie theme songs last week. Jake and I got into it in our recommendations section and we asked you for your thoughts on this subject. Metalhead Mundy, I love the confidence and I love the mic drop vibe here in your response. I appreciate you. Thank you for that. Judgment Night by Biohazard and Onyx. On this same theme, movie themes, we got an email. You can email us at Disgracelandpod at gmail.com. We got an email here with the subject line, movie themes, and it reads as thus, G'day, Zeth, so many to choose from, but for me, it's got to be the instrumental theme to what's still my favorite movie, Local Hero. My now wife and I traveled around Scotland in 1986 based on the film's locations, but what tips the movie into top spot for me is Mark Knopfler's soundtrack. I think the best movie themes come at the end of movies and Going Home, the theme of Local Hero, is a template for other film music composers to follow. A quiet, reflective and understated build to a thundering and rousing musical encapsulation of the joy you felt while watching the movie. Things to Do in Denver When You're Dead has got a great soundtrack, but that could be because I love Warren Zevon, who gave permission to use the song that gave the movie its title only if it was played at the end of the film. Rockarolla Pete from Australia. Thank you, Pete. First of all, Things to Do in Denver When You're Dead, the guy who directed that movie, and now his name escapes me, I think it's Greg something, I think his name begins with a G. He went to the film school that I went to, BU, and my freshman year of BU, this film came out, and I remember him, he came back and screened this movie for us before it came out, this private screening. It was really cool to see a grad from your school come back and share what he had done. I don't remember the soundtrack at all, though. I think I've only seen it that one time, and this was like, this was a while ago, Pete, so I gotta jog my memory here somewhere. But to the Mark Knopfler of it all, totally agree with you, I know this local hero soundtrack. I think Mark Knopfler also did Princess Bride too, right? Mark Knopfler, for those who need a refresh, he was famously the singer and lead guitarist in Dire Straits. And he put out this solo record a few years back called Privateering. Pete, have you heard this album? It's a double album. I was like obsessed with this album for months when it came out, like nonstop obsessed. And still, like if I put it on this afternoon, I'd fall back down in the rabbit hole with it. I just, the overall vibe, just the sound of the record, sometimes a record just has a sound to it. And just the sound just, it just feels right for the moment. The sound, the vibe of privateering is just aces. So check that out if you guys don't know that. Pete, thank you so much for reaching out from Down Under. Cheers to you. Let's see, we were talking about, we were talking about all kinds of stuff. We were talking about ghosts and ghost songs. I got an email from Jason. The subject line is ghost songs. And it says, hi Zeth, Jason in the 845 here. Ghost Riders in the Sky, JR Cash Version Only. Then there's three exclamation points and that's on all caps, JR Cash Version Only. Well duh, of course the JR, of course the cash version only. And Ghost Riders in the Sky, incredible song. That is on my, I've got a Halloween playlist that I share with my kids every year and every year I think they ignore it. And this song is on there. So thank you for that recommendation, Jason. Speaking of ghosts, last week we were talking about Ghostbusters in the Screening Room and I was talking about Dan Aykroyd and I got a comment here on Spotify from Sarah Renee, which says, it says, Dan Aykroyd has more than a family history of spiritualism. The house he lived in when he wrote Ghostbusters was haunted. He sold it to Beverly D'Angelo and they've both talked about it publicly. She had an episode on one of the celebrity ghost story shows about it. He is or was for a long time also a member of a society that studies paranormal and psychic activity. Sarah, Sarah Renee, this is fascinating. I did not know this about Dan Aykroyd's haunted house or Beverly D'Angelo buying it and also being haunted. That's wild. Maybe Dan Aykroyd's just got to maybe the ghost just have a thing. Some people just are more susceptible. I have this old friend from high school and I feel like he and every member of his family they all have a close encounter UFO story. Sometimes you're just like why are some people, I guess the ghosts and the aliens just, there's a vibe in uncertain people. But I appreciate that, Sarah. That's a cool little tidbit there. Speaking of ghosts and other unexplained phenomena, we're just talking about underrated sci-fi movies recently. I can't remember what the context was for this, but I got this text from Scott from the 909 that reads for Dr. Zeth, a great underrated sci-fi movie is Ex Machina. It set off warning signals about AI a decade before Chat GPT crept into our lives and delivered one of the best holy shit endings in movie history. Oscar Isaac is well cast as the treacherous tech bro. Enjoy Scott from the 909. Scott, I am well aware of this film and I love it. This is by Alex Garland, the writer director behind Annihilation, Civil War. He also wrote the 28 Days slash 28 Years film scripts. I think both Ex Machina and Annihilation are great, great underrated sci-fi movies. And yeah, Scott, it's always a good time to celebrate a film that is both prescient and also has a holy shit ending. So co-signing on both of those things there. Got a text here from the 904 that reads, Zeth Spencer from the 904, I've been riding with a ghost by Jason Molina should be on the Ghostbusters mixtape. Thanks, 904. Great recommendation. I've got to admit something here, going to the confession booth here. My Jason Molina knowledge needs some serious, serious help. He was in, go and tell me, fuck, what band was Jason Molina in? Magnolia, something or other, right? Tell me I'm right about this. Magnolia, something company, something like that. Anyways, either I'm on to something or I'm totally off my nut. So let me know, 904. I'll check out this song, but also Jason Molina in general, I need some direction. I need some somewhere to start, somewhere to go. So hit me up again and let me know, all right? Another text here. Remember, you can text me, you can call me 617-906-6638. We got this text from the 423 that reads, I know this is late, but I heard you ask for alien movies. Have you seen the 2020 South African movie, Fried Berry? It's about an alien who takes over the body of a scumbag heroin addict. If you've not seen it, it's definitely worth watching. Travis. Travis never heard of that, but that sounds wild. Fried Berry, it's a great band name, too. Appreciate that. I will look that up over on Spotify. Listen, if you're listening on Spotify, you can leave us comments there on the episodes. I had a comment from last week, the mixtape that I made for Ghostbusters had, among the other songs on there, I included this song by King Missile, and I got a comment from Johnny here on Spotify who said, Just tuned in to Detachable Penis, what a song! And I could not agree with you more, Johnny. It really is a song. It's one of those, you gotta hear it. You just gotta hear it, guys. If you have not, listen, if you listen to this episode and you heard me talk about Detachable Penis and you have not listened to it yet and you don't know it, you gotta just pause, go listen to it and come back, okay, and let me know what you think. Do you think it's crazy that these guys had a major label record contract with Atlantic Records in 1992 or whenever it was? Thank you everybody over on Spotify who was listening and leaving messages. Thanks to everybody over in Patreon, Disgraceland All Access and Patreon where Disco Bill in the chat is asking this question, what is your at-bat walk-up song, Mine is I Feel You by Depeche Mode? Damn Bill, that is a great pick and a sidebar, shameless sidebar here. If you guys haven't heard yet, we have a new episode on Depeche Mode over in the Disgraceland feed which just dropped yesterday. Check that out if you have not. As far as walk-up, at-bat walk-up songs go, Bill, I think mine would be Sissy Strut by The Meters. It's not so much intimidating as it's like, oh shit, here comes that cool cat again. He can't hit for shit, but he's got a great song, a funky song. Yeah, yeah, I like that one, The Meters. Maybe a different meter song, but right now in my mind, it's Sissy Strut. This reminds me, the last time I played in a baseball league, a softball league. This was back when I lived in Boston, and it was a coworker who was in a league after hours. The league was in like South Boston, and these guys were hardcore. These were all like middle-aged men, guys in their late 20s, 30s, 40s. They would pay for an umpire to be there, right? So there were like dues that you paid for the league and you would pay for this, some umpire. And this fucking umpire got so much grief. Like the guys were all just fucking to argue with this umpire the whole time. And actually one of the players on my team got ejected from one of these after hours, slow pitch softball league games, right? And I remember I took a walk one time. I was up at bat. I took my four balls. I took a walk, you know, I'd read Moneyball. I knew that a walk was as good as a hit. As long as you just got on base, right? And I took so much shit from the other guys on my team for like not taking a swing. I was like, those were four. Those were all outside. Like, why would I swing at those? Like I'm getting on base. Anyways, guys, this is my this ends my my my baseball career ended very early when I was little ended in little league. And then it was resurrected again as a 20 something in Boston and ended just as quickly as it had begun once again. Listen, I want to hear about your at bat walk up songs. I want your top five lists. I want your movie related top five lists. 617-906-6638. That's how you get in touch. Give me all you got. Top five lists, okay? Time right now for another very brief pause here in the show, but listen, when we return, I will be joined by the one and only Jake Brennan and we will give you our recommendations for songs named after movie stars. Hang tight. Welcome back, everybody, to the Wrap Party. We have reached the part of the show where we give you some recommendations. I'm here, as always, joined by my guy, Jake Brennan, from over in the Disgraceland corner. What is happening, dude?

Speaker 2:
[26:40] What is happening? I was just listening to some great music that I didn't expect to listen to this morning, and it's all because of this conversation we're about to have.

Speaker 1:
[26:49] Well, let me restate my logic on how I got here, because it's always a thing with me, this logic in my brain. So I was thinking today about Sigourney Weaver. Sigourney Weaver is our full episode subject in Hollywoodland this week. I was thinking about her and her rock and roll connects. Does she really have any? And immediately I thought of, do you know John Grant at all, the singer-songwriter?

Speaker 2:
[27:08] Only through you and the post you made last week.

Speaker 1:
[27:11] Okay.

Speaker 2:
[27:12] Yeah, or this week.

Speaker 1:
[27:13] He has a song called GMF, stands for Greatest Motherfucker. You've got to listen to it. It's a ballad.

Speaker 2:
[27:18] It's about me.

Speaker 1:
[27:19] Yeah, I mean, it's like Prince says, you can sing it looking in the mirror. It's great.

Speaker 2:
[27:24] Does Prince say that? That's so Prince.

Speaker 1:
[27:26] He said that about, oh man, my favorite Prince clip of all time. I think it's from VH1 Storytellers. It's just him with an acoustic guitar and he's playing cream, right? And as he's singing it, I think it's a line like, something about ain't nobody better. He like stops and he's like, you know, I wrote this when I was looking in the mirror, right? And the crowd kind of laughs and he's like, I'm serious. He like doubles down on it.

Speaker 2:
[27:50] It's so great.

Speaker 1:
[27:52] Anyways, John Grant has a song called Sigourney Weaver. And I just, I don't know what it is. I love when a song is just named after a famous actor or someone from Hollywood. So that is the inspo, the inspiration here for our conversation. Cool songs or just any song, any interesting song named after an actor or Hollywood type. Do you want to go first with some picks? You want me to go first? How do you want to play this?

Speaker 2:
[28:15] Let's go back and forth. I can start though.

Speaker 1:
[28:17] Okay.

Speaker 2:
[28:18] I'm going to start with an obscure one. Okay, great. Because it's super personal to me and it's Grace Kelly with Wings by Piebald, which is a great Boston.

Speaker 1:
[28:28] Great pick.

Speaker 2:
[28:29] People call them an emo band. They're a rock band, but they're part of the whole emo scene and part of the scene that I came up in and the song is about, I believe, I could be wrong. It's about a girl named Valerie who we all knew and hung out with and Travis from Piebald was romantically involved with her and this is the song that's about her, but it's just a great song. It is so, so, so great. And it's just about being arrested by the beauty and grace of, you know, you just see those women in your life where you're just like, oh my God, like, come on, man, stop. And it's, I think it's their best song and they have a lot of great songs and they're still playing, Piebald is still playing. They've been around forever. So, Grace Kelly with Wings, it's on the excellently named album. If it weren't for the Venetian Blinds, it would be Curtains for us all. If anybody wants a taste of what, like, mid to late 90s Boston, upstairs at the Middle East was like, that record will give it to you. It's great. So, Grace Kelly with Wings, that's my first one. I'll throw it to you.

Speaker 1:
[29:37] Sweet. All right. So, my first pick is the incredible Sarge Gainsbourg song called Initials BB., which technically is not her full name in the title.

Speaker 2:
[29:50] I know, man. I actually thought of this. I was like, I'm not going to do this one because it doesn't say her name.

Speaker 1:
[29:56] The song's too good for me not to do it. I'm going to do it. The strings and the brass on this chorus are just like, what is that? It's like a Will Ferrell word, like resplendent or like, you know what I mean? It's just like, I need to create a word for how incredible it is. I think, I feel like all of Beck's strings, Beck's dad, right, does his string arrangements.

Speaker 2:
[30:19] Yeah, he does Serge Gainsbourg cover string arrangements.

Speaker 1:
[30:22] Thank you. I was going to say, every Beck string arrangement, it's like a throwback to a Serge Gainsbourg.

Speaker 2:
[30:28] It absolutely is. This era of Serge is fantastic to you because it's like the period between where he's sort of writing pop but becoming himself at the same time, becoming this sort of thing, this songwriter that didn't exist before. And the beauty of this song too is it's a weird, not weird, it's an overt flex. It's like this guy who's heinous by modern beauty standards, the way that he looks and the way that he acts, although he's not quite there yet with the way he's acting. And he's in a love affair with quite literally the most beautiful and desirable woman on the planet at the time and it makes absolutely no sense. And they really, in the movie, great biopic by the way, the Serge Gainsburg biopic is one of my favorites. And in the movie, I can't remember how it's actually done, but they sort of expressed what I just said in a real nifty way as my grandmother used to say. And by showing Serge's father's reaction to being with Brigitte Bardot, and it's really subtle, but it really kind of, if you don't know who Brigitte Bardot was, you really kind of figure it out. Just awesome. And yeah, the song is so good.

Speaker 1:
[31:53] It's beautiful. We talked about this in our Disgraceland episode on Serge Gainsbourg, because it was all about his relationship with Brigitte Bardot. But you were talking about this period of his songwriting being like this bridge. Like, I really think that his relationship, his love affair with her, it was like this great muse that inspired, like, you know, Bonnie and Clyde and initials BB and all these, like, wacky songs from this era. They're just wacky, you know?

Speaker 2:
[32:21] He was a guy who needed a muse.

Speaker 1:
[32:23] Right. Okay. So why don't you give me your next pick here?

Speaker 2:
[32:26] Okay. This is perfect. This topic, because for some reason I've been in this huge, I know what it is, because I just wrote and recorded and we produced the Foo Fighters episode.

Speaker 1:
[32:38] Oh, great.

Speaker 2:
[32:38] Which isn't out yet.

Speaker 1:
[32:39] Can't wait to hear that.

Speaker 2:
[32:40] But I have been in a Nirvana phase, which I haven't been for a while. Honestly, I never really had a post-Kurt Death Nirvana phase. It was too depressing to me. I never really went back to Nirvana after Kurt died. I know that. Doesn't that sound crazy?

Speaker 1:
[33:01] Yeah. I know what you mean, though.

Speaker 2:
[33:03] I mean, aside from one night of getting drunk in a cabin in New Hampshire at my friend Cam and watching a Nirvana concert, it really hasn't been me revisiting this thing.

Speaker 1:
[33:13] It's very much a time and a place for me. You know what I mean?

Speaker 2:
[33:15] Yeah. Yeah. Well, I'm having another time and another place with it right now. And I've been flying a lot lately this weekend. I don't know what it is. It's like, I'm waiting in airports and I'm listening to Nirvana. And I think I'm like Jack from Lost or something. You know what I mean? Like, it's just like, and I'm completely floored by how heavy they were. But I know that sounds like, like, duh, yeah, of course they're heavy. They're fucking Nirvana, dude. But yeah, it's like, no man, like really fucking heavy.

Speaker 1:
[33:47] But like tight and heavy though, you know?

Speaker 2:
[33:48] Yeah, tight, but just like the low end and the production and the guttural nature of the rhythm section. It's just, I mean, it's also, I've also been listening to a lot of Melvins lately, and you can just hear that direct line between Melvins and Nirvana. In pop songs though, which is fantastic. So for this one, Francis Farmer will have her revenge on Seattle, which should be an episode of Hollywoodland actually onto itself. And that song on In Utero is, is, I mean, they named, right? Isn't their daughter, Francis, yeah. Francis Dean Cobain. Yeah. It's named after Francis Farmer.

Speaker 1:
[34:26] Yeah.

Speaker 2:
[34:27] And so, I mean, people don't know, Francis Farmer was an actress, if people don't know, from the 1930s, who I'm not going to pretend I watch, sit around and watch Francis Farmer movies. I've never seen a Francis Farmer movie. But this one is just top of mind for me. It might be my favorite song on In Utero.

Speaker 1:
[34:43] Oh yeah.

Speaker 2:
[34:44] It's so badass.

Speaker 1:
[34:45] It's great.

Speaker 2:
[34:46] It's so badass.

Speaker 1:
[34:46] That's what I'm talking about too. I didn't know who Francis Farmer was when that record came out, but I remember looking at the track listing and just like that song title was so evocative. There's something about a proper noun in a song title for me that's just, you know.

Speaker 2:
[34:58] Yeah. I didn't know who it was either. It's funny, just as you said that, you moved your head and Janis Joplin is behind you. And I thought Janis Joplin, whenever I see Janis Joplin, I think of that Festival Express with the band. And she definitely had sex with Rick Danko that night. I have nothing to prove it except the way they were acting toward each other on the film. But it made me think of the band and it made me think of Spike Jonze on the box. And that's not in the song title, but it was one of those exact same things that you just said. I never knew who Spike Jonze was. And I mean, this is before Spike Jonze, the director that we all knew in the 90s. But it was kind of, not that I looked up who Spike Jonze was when I heard The Wade or whatever, but I was like, who is Spike Jonze? That's a cool name.

Speaker 1:
[35:46] This is very similar to the effect of the Rolling Stones covering some old Chicago blues song and you not knowing who that is and then you're going backwards and learning who that Chicago blues artist is. It's a similar sort of thing, you know?

Speaker 2:
[35:56] Yeah, it's similar. There's a strange kind of power, like the same kind of power in name checking somebody in a title. You know what I mean? Like if you name check somebody in a title, it gives that person this weight that they may or may not have had before. Like nobody knows who the fuck Francis Farmer is, but now we do because of Nirvana. You know what I mean?

Speaker 1:
[36:15] For sure, for sure. Great. All right, great pick. All right, my next one is a little bit more obscure. It may have been less obscure in the UK, but Madness has this incredible song called Michael Caine. Really? That came out the year after that. Madness' huge record was the self-titled record, which wasn't their first. That was from 83 and that has Our House is on there. There you go, Michael Caine. For those not seeing the visual of this, Jake just held up his Michael Caine autobiography, which is out of print and difficult to find. Well, My Library does have it.

Speaker 2:
[36:50] You should do Michael Caine a favor and Charles Manson and burn it.

Speaker 1:
[36:56] I feel like the secret to everything is in that book. But anyways, this came out in 84, the year after that huge record. This was something of a hit, mild hit in the UK. But the coolest thing about this song, it's called Michael Caine. And Michael Caine actually came into the studio and recorded himself saying, My name is Michael Caine.

Speaker 2:
[37:16] Oh, that's so awesome.

Speaker 1:
[37:17] For the song. And it's repeated in the chorus of the song.

Speaker 2:
[37:20] Wow.

Speaker 1:
[37:21] The song's about, I think it was written during the time of the Troubles and Ireland. And I think it's about informers and the deep layeredness of this thing is like, Michael Caine played an informer in one of those early 60s crime British movies he was in, and that's why they got him. Anyways, it's this whole multi-layered thing. The film wasn't Get Carter, but it was like one of those. I forget the name of it now. It has the the in the title, I believe. Anyways.

Speaker 2:
[37:46] So cool.

Speaker 1:
[37:47] I didn't know that.

Speaker 2:
[37:48] I didn't know that at all, man. I'm pumped. I can't wait to play that for Harlan. He's gonna love it.

Speaker 1:
[37:55] Have you ever seen the thing with Steve Coogan and the other comedian doing their Michael Caine impressions back and forth at each other?

Speaker 2:
[38:00] No, no.

Speaker 1:
[38:01] Oh man, it's the best. It's the best.

Speaker 2:
[38:06] Who's the guy who plays the guy in the kimono, the cocaine guy in Boogie Nights? Alfred Molina.

Speaker 1:
[38:13] Yes, Alfred Molina.

Speaker 2:
[38:15] There's some movie I caught a couple months ago. I was just playing on Criterion and it was Steve Coogan and Alfred Molina, but Alfred Molina was like the straight guy and Coogan was the kind of lunatic. And I couldn't watch it. It was just kind of on and I'm like, you're just reminding me of it now. So now I'm gonna write that down actually. And I'm gonna go back to that. That's why I love these conversations. Alfred Molina, I can never remember that dude's name. By the way, I'm watching an English crime show right now.

Speaker 1:
[38:44] Yeah.

Speaker 2:
[38:46] It's pretty good. It's anthology-ish.

Speaker 1:
[38:48] What's it called?

Speaker 2:
[38:49] It's called Grant Chester.

Speaker 1:
[38:51] Grant Chester.

Speaker 2:
[38:52] It's pretty good. It's pretty good. I'm inept too. Don't let it stray, take you off the path of Capote Feud.

Speaker 1:
[39:01] Yeah, yeah, no, no, I won't.

Speaker 2:
[39:03] But you might need something for you and Ange, and then when she falls asleep, you can crack open the Capote stuff.

Speaker 1:
[39:11] Yeah, you're speaking my language now.

Speaker 2:
[39:12] See, that's how it works.

Speaker 1:
[39:13] It is how it works.

Speaker 2:
[39:14] Gabby's like, there's no way I'm watching this fucking awful mafia thing with you.

Speaker 1:
[39:17] Yeah, and then you go, oh, that's fun.

Speaker 2:
[39:18] That's cool, baby, we'll walk up to Grant Chester. That's fine.

Speaker 1:
[39:20] Exactly.

Speaker 2:
[39:21] Five minutes later, she's out, I'm fucking in 80s Brooklyn eating pizza. That's fantastic.

Speaker 1:
[39:25] Yeah, yeah, yeah.

Speaker 2:
[39:27] That's the way it works.

Speaker 1:
[39:29] It's how it's done, you know?

Speaker 2:
[39:31] All right, is it my turn?

Speaker 1:
[39:32] It's your turn. Yeah, I need a third pick from you.

Speaker 2:
[39:36] I got two more. Can I do two more?

Speaker 1:
[39:38] Sure, you can do two more.

Speaker 2:
[39:40] And then I have some honorable mentions.

Speaker 1:
[39:41] Okay, that's fine.

Speaker 2:
[39:42] But we'll just do two more. Okay, we all think of David Bowie as this unassailable rock star, pop star.

Speaker 1:
[39:50] Yes.

Speaker 2:
[39:51] When you research David Bowie, I'm not talking shit about David Bowie. That's not what I'm gonna do here. But when you research David Bowie, you really start to see how the sausage was made, obviously. And David Bowie had some traits that were not so chill, man. Like he had, I mean, everyone kind of knows the thing about him showing up to gigs in a limo before he really had a limo or could afford a limo or that anyone knew who he was.

Speaker 1:
[40:16] Fake it till you make it, man.

Speaker 2:
[40:17] Yeah, and I like that. I do. I like that attitude. I like that he was a rock star. But David Bowie wasn't as big in the 70s as we think he was, you know. He's sort of like the myth is built up. When you quantify it with record sales and that sort of thing, he wasn't that he wasn't Led Zeppelin, not even fucking close.

Speaker 1:
[40:37] Yeah.

Speaker 2:
[40:38] And but anyways, earlier in like early 70s, 71, before he even met the man, he was so thirsty to be on his jock and to be in that world that Bowie wrote the song Andy Warhol to sort of like get Andy Warhol's attention. So that he, you know what I mean? And this is the same time that Andy, I mean, the David Bowie and Iggy Pop and that whole thing starting to percolate. This is a little before. And I love the song Andy Warhol. It's great.

Speaker 1:
[41:12] Yeah.

Speaker 2:
[41:13] I love the way it starts. And he's like trying to pronounce Warhol when he's talking.

Speaker 1:
[41:20] Didn't Warhol hate that song though?

Speaker 2:
[41:22] He didn't, I don't know that he hated it.

Speaker 1:
[41:24] Before he knew Bowie, he was like, who the fuck is this guy singing about me?

Speaker 2:
[41:27] I never, maybe, I never heard that, but I have, I've read a couple.

Speaker 1:
[41:31] Sorry, I think I read that in the autobiography I read about him, but.

Speaker 2:
[41:34] About Warhol or about David Bowie?

Speaker 1:
[41:35] Yeah, about Warhol.

Speaker 2:
[41:36] Oh, that makes sense, because I haven't read anything from Warhol's perspective. I've only read it from the Bowie perspective. And I've read a couple different versions of it where Bowie meets Warhol for the first time and Warhol's very indifferent toward him and the song. You know, like, that might be the polite version.

Speaker 1:
[41:53] Maybe that's what it is, yeah.

Speaker 2:
[41:54] Of what you're talking about. And it just reminded me of one of the all time greatest reactions to David Bowie that I... We were trying to figure out what this reaction was a couple episodes ago.

Speaker 1:
[42:06] Yeah.

Speaker 2:
[42:07] Maybe I just was in my head when we were talking about George Harrison. So it's like George... It's the 70s and like George Harrison and David Bowie are... I mean, George Harrison and Bob Dylan are at a party in New York. And Bowie walks in and Dylan's like, who the fuck is this guy when Harrison's put off by him as well? It's so good. It's so great. But yeah, so Andy Warhol. He's a director, so it kind of works here.

Speaker 1:
[42:32] Yeah. No, it works. It works. All right.

Speaker 2:
[42:35] So Andy Warhol by David Bowie on Hunky Dory. There we go.

Speaker 1:
[42:37] All right. Great. I'm going to go super basic bitch for my third pick here and pick Sheryl Crow's Steve McQueen because that song fucking rules.

Speaker 2:
[42:45] I fucking hate that song, man.

Speaker 1:
[42:47] You hate that song? How do you hate that song?

Speaker 2:
[42:49] I just hate it. It's so contrived. It's so-

Speaker 1:
[42:53] Yeah, who cares though? The chorus is great. That's got her best. That's got my favorite chorus of hers.

Speaker 2:
[42:58] What?

Speaker 1:
[42:59] Sorry. Have you heard? What is that album?

Speaker 2:
[43:01] Is that on the app? That's not on the good album.

Speaker 1:
[43:03] Is it like self-titled? It's got like the sun bleached cover. I don't know that I've heard that whole record. Her best record is the Globe Sessions, but in my opinion.

Speaker 2:
[43:13] Hold on a second.

Speaker 1:
[43:14] There goes the Neighborhood and my favorite, no, not my favorite mistake. Wait, is my favorite mistake on that?

Speaker 2:
[43:19] Hold on. I have a strong opinion about what her best record is. It's not the Globe Sessions.

Speaker 1:
[43:25] Well, you're wrong. It is the Globe Sessions. Yeah. My favorite mistake. There goes the Neighborhood.

Speaker 2:
[43:29] No. Her best album is her self-titled album from 1996. Wait, isn't that what Steve McQueen is on? I think it is. What's on this one? Hold on. This is the one with the She's All Dark on the cover.

Speaker 1:
[43:43] Come on, come on is the one with, oh, the one where she's, yeah, that's a good record too. Yeah, yeah, yeah.

Speaker 2:
[43:47] Great record.

Speaker 1:
[43:48] Yeah. If it makes you happy.

Speaker 2:
[43:50] What's the guy's name who produced this? Burt Patrell. Is that right? Am I saying that right? Uh, da, da, da, da, da, produced by-

Speaker 1:
[43:56] Well, apparently we have different opinions on show.

Speaker 2:
[43:57] We have vastly different opinions. Hold on. I gotta find out who produced this. Sorry. Talk amongst yourselves, people. You would think Wikipedia would have this information.

Speaker 1:
[44:08] Is that a self-produced record?

Speaker 2:
[44:10] She didn't produce this. She may have got the credit for it, but-

Speaker 1:
[44:15] Personnel.

Speaker 2:
[44:16] I'm looking.

Speaker 1:
[44:16] Uh, who's the engineer? Mitchell Froome, assistant producer. And with Chad Blake, the engineer. Those two were working together a bunch.

Speaker 2:
[44:25] But this isn't the guy who I thought produced it. Anyways, I'm wrong. Okay. I mean, the best Sheryl Crowe record in my mind, Zeth, is the self-titled one, like I said.

Speaker 1:
[44:37] Okay.

Speaker 2:
[44:38] A Change Would Do You Good, Home, Sweet Rosalyn, If It Makes You Happy, Come On, Hard To Make A Stand. Do you know this record?

Speaker 1:
[44:47] Yeah, of course I know this record. It's great. I'm just saying my favorite is, There Goes the Neighborhood on the Globe Sessions is my favorite Sheryl Crowe song ever.

Speaker 2:
[44:54] That's a good one.

Speaker 1:
[44:55] I feel like the whole, that whole record is great though. All right.

Speaker 2:
[44:58] Except Steve McQueen.

Speaker 1:
[44:59] Well, Steve McQueen comes after you, Dick.

Speaker 2:
[45:05] Okay. Was that written for the Cars soundtrack or something?

Speaker 1:
[45:09] Yeah, probably was. I don't really give a shit. It was written for fucking Budweiser. I don't care.

Speaker 2:
[45:12] Is that written for a cartoon about Budweiser?

Speaker 1:
[45:15] Yeah, cartoon Budweiser song. It's fine. It's fucking rules, okay?

Speaker 2:
[45:18] Can I move on to music that doesn't suck here? Why don't you give me your cool...

Speaker 1:
[45:21] Yeah, yeah. Oh my God. We're already getting into high fidelity territory. We're not even there yet. Oh, I'm sorry. How does someone with no musical taste own a record store, you know?

Speaker 2:
[45:33] How can someone with no musical taste write for a music podcast? Okay.

Speaker 1:
[45:37] Oh shit. All right. Okay.

Speaker 2:
[45:39] This is great.

Speaker 1:
[45:40] Give me your arm-wrenching because I've got one too.

Speaker 2:
[45:43] I'm not trying to be obscure and esoteric here just to combat your fucking basic bitch, Sheryl Crow, Steve McQueen thing here. But Vincent Price Blues from ZZ Top's unheralded, ignored, criminally underrated, excellent, top three, perhaps top two ZZ Top albums, perhaps the best ZZ Top album. Have I got your attention yet, Zeth Lundy? From 1996, ZZ Top's Rhythmine and their song, Vincent Price's Blues. Incredible. And we've heard of Vincent Price, have you not?

Speaker 1:
[46:24] I'm just having a hard time with your hot takes today on Best Records by Artis.

Speaker 2:
[46:30] Because I can't co-sign on that. I don't have a ZZ Top album ranking. I don't know that I've ever thought about it. I just know this record fucking rules and no one knows this album. It's so good, it's so heavy.

Speaker 1:
[46:43] You told me about this a while back and I did listen to it and I do like it.

Speaker 2:
[46:46] You do, you just like it.

Speaker 1:
[46:48] No, I like it. I mean, for me, it's like Trey Zombray's and Tejas and like the 70s records are a killer.

Speaker 2:
[46:53] Yeah, they're different beasts though. Of course they are. It's like comparing fucking King of America to this year's model. They're done in different eras with different producers and production model, you know what I mean? I get it, I get it. You don't have to compare everything, Zeth. Not everything needs to be a fucking competition, man.

Speaker 1:
[47:14] Jesus, you're the one that started this with like, this is my favorite top record.

Speaker 2:
[47:18] I was just building it up. The song is great though. Vincent Price's Blues is fantastic. This whole record is great.

Speaker 1:
[47:25] I love that.

Speaker 2:
[47:26] I stand by this album and most of the hyperbole I used to tee it up here.

Speaker 1:
[47:32] I love that. That's a great pick, in all honesty. I have an honorable mention here because technically the person's name is not in the title, but I thought it was. And so I'm going to include it here, which is a song by American Music Club called What Holds the World Together. And the chorus is the world is held together by the wind that blows through Jenna Rollins' hair. And I thought that was the entire title, like a Morrissey song, but that was incorrect because Mark Eitzel was kind of like the American Morrissey there for a while in the nineties. I think you could kind of make that argument, sort of. But if you don't know this record, American Music Club, they were this incredible band back in the nineties, led by singer-songwriter Mark Eitzel. This was, for a while, their last record that came out, a record called San Francisco from 94. And then they reunited, like, I don't know, 10 and 15 years later and put out a few more. What Holds the World Together, the wind that blows through Jenna Rollins' hair, that's my honorable mention.

Speaker 2:
[48:29] Isn't it Gina Rollins?

Speaker 1:
[48:32] Jenna, Gina, Potato, Patato, I've only said Jenna.

Speaker 2:
[48:35] All right, hold on, I got to figure out what this fucking AMC album is. Hold on.

Speaker 1:
[48:41] It's the one that had, my favorite one is Mercury, which was the one before that. But this one had maybe their only sort of alternative radio hit.

Speaker 2:
[48:53] I'm thinking of a different band.

Speaker 1:
[48:55] Oh, all right.

Speaker 2:
[48:57] Who sings Valerie Loves Me? Is it American Music Club? No. And not the Steve Winwood version? Above Valerie. Yeah. Above Valerie.

Speaker 1:
[49:06] Come and see the little thing. That one?

Speaker 2:
[49:08] Yeah.

Speaker 1:
[49:08] Which I hate.

Speaker 2:
[49:09] I mean, love.

Speaker 1:
[49:10] You ever notice how many Steve Winwood songs, Always Sunny, sneaks into their episodes? It's like always. Like every season there's at least one Steve Winwood song.

Speaker 2:
[49:18] No way.

Speaker 1:
[49:18] Yes. I missed that joke. Oh my God. It must be a running joke because it's always in there.

Speaker 2:
[49:23] Oh, and did you know Valerie is about the Steve Winwood, Valerie's about Valerie Bertinelli and him stealing her from Eddie Van Halen.

Speaker 1:
[49:31] Well, shit, I should have included that song in here because that song is a fucking jam.

Speaker 2:
[49:35] Yeah, I just completely made that up. That's not what that song is about.

Speaker 1:
[49:39] I was going to say, I'm going to put that on my mixtape right after Steve McQueen by Sheryl Crow when I'm going to send that to you.

Speaker 2:
[49:44] Although imagine if Steve Winwood did steal Valerie Bertinelli from Eddie Van Halen.

Speaker 1:
[49:48] Who did?

Speaker 2:
[49:48] Oh, Matthew Perry. Matthew Perry is the one who had a thing.

Speaker 1:
[49:51] Matthew Perry?

Speaker 2:
[49:52] Yeah, he had a thing with her when she was married to Eddie Van Halen. Wow. Yeah. Yep.

Speaker 1:
[49:58] Okay.

Speaker 2:
[50:00] This is great. I don't know that American Music Club song. I don't think I even know American Music Club. I thought I did. I was thinking of someone else. Who am I thinking of? Material issue. That's who I'm thinking of in this song, Valerie. Do you know that song? Great song.

Speaker 1:
[50:14] No.

Speaker 2:
[50:15] Has nothing to do with Valerie Bertinelli, but it is about Matthew Perry.

Speaker 1:
[50:18] Okay.

Speaker 2:
[50:19] What I wanted to say here, you missed a big one that I left. I laid off here because I didn't want to step in your lane.

Speaker 1:
[50:26] I thought you were going to, I didn't want to step on Steve McQueen, but I guess that wasn't an issue.

Speaker 2:
[50:30] No, I wasn't stepping anywhere near show across Steve McQueen. Bella Lugosi is Dead by Bauhaus. What's up? No?

Speaker 1:
[50:39] I figured you would take that one honestly.

Speaker 2:
[50:40] I thought you would take that. Look at us. Yeah. Being inconsiderate. Yeah.

Speaker 1:
[50:43] That's nice.

Speaker 2:
[50:44] That's a good one. That's a great one actually.

Speaker 1:
[50:46] That's a great one.

Speaker 2:
[50:47] That's a really good one. Okay. I think, is that all the ones I had? Oh, Betty Davis Eyes, Kim Karns, just third grade me. I dug that song.

Speaker 1:
[50:57] Yeah.

Speaker 2:
[50:58] There's a ton really, but I feel like we covered some good ones here.

Speaker 1:
[51:01] Yeah, we did. Yeah, we did. Yeah. Well, I appreciate you following my logic here for song recommendations and we'll throw these up on Instagram in our stories or something, so you guys can check these out and call or text us with your favorite songs about actors or Hollywood. Figures 617-906-6638. Jake, I appreciate you.

Speaker 2:
[51:25] I appreciate you. I'm going to go and I'm going to listen to Steve McQueen's solo album entitled Cheryl Crow. It's Steve McQueen, the designer though, not the badass actor. All right. Can I leave now?

Speaker 1:
[51:35] Yes, you can.

Speaker 2:
[51:36] Okay. Bye-bye.

Speaker 1:
[51:37] Right. Later. All right, party people, a grand old wrap party was had by all once again. My thanks to my partner in True Crime, Jake Brennan, for spreading the musical recommendation. Love, my thanks to all of you for listening and for being a part of the conversation. Keep calling, keep texting, keep emailing, keep DMing, keep jumping in the chat, whatever you're doing, 617-906-6638. Send me a text, leave me a voicemail. Disgracelandpod at gmail.com. If you're into the whole email game, give me your top five lists. Again, this being Hollywoodland, it's best that they're movie related somehow. Music is cool too, in a perfect world. Maybe they're a combination of the two. 617-906-6638. We didn't get into Sigourney Weaver a ton today, but if you've heard our episode on the great Sigourney Weaver, you know how true crime-y it is. It's an unbelievably true story. It's about an inmate on Death Row in Georgia who wasn't just obsessed with Sigourney Weaver. He worshiped her as a goddess. It's weird, it's disturbing, it's tragic, and it's real. It really happened. So please check that out if you have not already and let us know what you think, okay? With that all said, let's recap. Number one, first of all, right now in your Hollywoodland feed, our episode, as I just said, on Sigourney Weaver. Number two, coming at you this Friday, we've got a new episode of the Screening Room here in Hollywoodland. This week, I'm talking all about the 1979 film Alien, directed by Ridley Scott and starring our gal Sigourney Weaver. This, however, is a special edition of the Screening Room, as I will be joined by Double Elvis' head of production, Matt Bowden, to talk about this one. I had a really fun conversation with Matt about this, so please tune in for the Screening Room installment, all about Alien. Number three, next week on Monday, we continue our Superheroes in the Supernatural Month with a fully scripted and sound design episode on Drew Barrymore. Number four, over in our sister show, Disgraceland, we just dropped an episode on Depeche Mode, written by yours truly. This was an episode that was formerly an exclusive one for our All Access members. And now the tale of how Dave Kahan literally died and came back to life is available for everyone everywhere to check out. And you can do so in the Disgraceland feed, wherever you get podcasts, Apple podcast, the iHeart radio app, Spotify, et cetera, et cetera. And now in honor of this week's episode, here's what America was watching at the movies in 1987, the year that Sigourney Weaver was nominated for her first Academy Award for her performance in Aliens. Number one, Beverly Hills Cop 2, directed by Tony Scott. Number two, Platoon, directed by Oliver Stone. Number three, Fatal Attraction, directed by Adrian Lyon. Number four, The Untouchables, directed by Brian De Palma. Number five, Three Men and a Baby, directed by Leonard Nimoy. Number six, Fatal Attraction, directed by Adrian Leroy. Quit talking and start mixing. Cut it!