David Bowie – Blackstar

Welcome to the Album Nerds podcast with your hosts, Andy, Don, and Dude. It is summertime. Welcome to the Album Nerds podcast. I'm Dude. I've got Andy and Don with me celebrating this beautiful summer. Don, how are you guys doing? Doing well, man. Happy July to everybody. What better way to celebrate the blazing summer sun of Don than talking about a very dark, kind of depressing record? Yes, but kind of an imploding star, a supernova. It has taken a dark turn as we knew it would.

Alright, so this is the Album Nerds podcast. We love albums, the album format, and each other very deeply. Let's just think about that for a minute. We got a great show for you today. We are going to explore in depth the album Black Star by David Bowie. Don's going to give us a deep question. Then we're going to have some shout outs to some albums and album related items that we're digging and then we'll get into what we'll be talking about on the next episode.

But this time it's all about that black star. I proclaim this the summer of Donnie Lakey. That's what I'm talking about. So the summer of Don continues, although that sun has been covered up by a black star. As you might already know, I went back into the Album Nerds archives to the time before I was on the show. I made a list of records I'd like to talk about, gave it to Wodbot. It was put on the wheel of musical discovery.

This week it came up David Bowie's Black Star, an album you guys only briefly mentioned during the year end countdown episode back in 2017, episode 11.

So Black Star is the 26th and final studio album for David Bowie, born David Robert Jones in 1947 in London, England. He worked with longtime co-producer Tony Visconti and a bunch of jazz musicians. Reportly Bowie had been listening to Kendrick Lamar and Death Grips. According to Visconti, they were trying to avoid rock and roll. And I guess most famously, Bowie died two days after the release of this album from liver cancer. Let's hear the title track.

This is Black Star. Yeah, the middle part is so different from the beginning of the tune. Yeah, that song evolves a lot over the nine minutes. It better. Right. Yeah. So Black Star won a Grammy for best rock song and best rock performance. At the beginning, he talks about the Villa of Orman, which I had to look up. The Villa of Orman. Yeah, I didn't even know what he was saying. Yeah. It just sounds cool. So it translates to the, it's House of the Serpent.

Oh. Yeah. Kind of strange, strange lyrics, but again, you know, seems to have something to do with his death. You know, you get to that point there where he's like something happened on the day he died. And it seems maybe kind of autobiographical. Maybe it's painted by seeing some of the videos that he put out for this, but it felt kind of like Dante's Inferno when listening to this song and this album.

You know, there's something afterlifey and like a journey of some kind that you're taking with them and starts off with a bag now. Yeah. And the video alludes to or might allude to Major Tom from the song Space Oddity. The day he died, it was Major Tom that died. Major Don was going to be my stage name. Yeah. I also read that it could be connected to an Elvis Presley song called Black Star, which was written by Sherman Edwards and Sid Wayne.

In the lyrics of that song, it says, when a man sees a black star, he knows his time has come. I've also heard that a black star could refer to a cancer lesion. Black scar, sort of. So yeah, lots to think about there. You guys barely talked about it years ago. What are your thoughts on this album? I mean, at the time it came out in 2016, it was pretty emotional time, at least for me. We had just gone through the election, which was its own thing in the US.

And then Bowie passed away pretty soon thereafter, and it was surprising. I think this record, like we talked about, really took on a new meaning after he passed. And all these songs are like, wow, these are really just about him dealing with his death. And yeah, so I think it was nice to come back to it after some time has passed and be able to appreciate it more for the music, and less of the emotional response that I was feeling back in 2016. I mirror that.

I mean, it was the same, it was kind of like this fascinating thing that there was this album that was alluding to his impending death. So it was more kind of like, whoa. And I really hadn't experienced the record, so I am also glad that we have a chance to really dig in and see what it's all about. Yeah. For me, I was really back on the Bowie train. I loved his previous album, The Next Day, from 2013, but that was a very straightforward rock album.

So I remember listening to this on the first day and being like, oh, this is interesting. I'm going to have to spend some time with it. And then two days later, he was dead. And I listened to it. I'm like, oh my god, this guy is literally dying as he's recording this. And it just really changed the meaning of the record. All right. Well, let's hear some more. Here's a track called, Tis a Pity, She Was a Whore. I'm going to use a bad word, whore. We just watched that movie.

Who's playing saxophone? That's Donnie McClaston on tenor saxophone. Kickin' ass, I must say. That's a re-recording of a track Bowie had written back in 2014 for that record Don had mentioned there the next day. Yeah, I think that song in particular.

I mean, this whole record to me just feels like such a bold statement to make, especially the end of your career really goes for on this album, especially these handful of cuts at the beginning here that feel a little more experimental, a little more avant-garde, and it's just exciting and interesting to me. My clickbait headline is, Bowie Leaves Behind a Monumental Legacy, Black Star Only Leaves Me Wanting More.

It would have been really interesting to see what he did after this, after kind of putting out a record which is kind of like a sharp left turn in his discography. What did he do after that? I guess we'll never really know, but I'm super glad that he did put out this album, and I think it's a testament to just how creative and different of an artist, but he was willing to take risks and he could feel it on this album. He didn't like to be pigeonholed. I think this shows that.

As much as I thought this previous record was good, it was kind of more of a typical Bowie kind of sound, whereas this is not. That's cool. He sometimes would kind of return to something that worked for him before, but yeah, I mean, for the most part he was always taking chances, and I would say that he had nothing left to lose and that's why he took chances on this final album, knowing that he was sick, but I think it's just that's who he was as an artist, regardless.

Yeah. That's what it felt like to me too. And he kind of cites some hip hop to pimp a butterfly from Kettlecomar and D'Angelo's Black Messiah as being things they were listening to in the studio before recording this. I believe him. A lot of times a 69 year old man who said that stuff like, oh, I've really been listening to Taylor Swift to get rid of it. I believe him.

I like that it, so he's incorporating jazz musicians and jazz elements, but it's not, hey, this is David Bowie doing a jazz album. It's a jumping off point or something. Yeah. It still feels very much like a Bowie record. You can feel the stamp on every track. Yeah, the drum machine sounds, those electronic sort of. Stuttery drum beat. It's very Bowie. Yeah. And I think it's the vocal differences and the, she's a, and the shaky voice. Is that because he's in a weakened condition?

Is it because that's how he's emoting this particular thing? But there's a lot of questions you can, as you're listening to the record in every song, I found myself asking myself a lot of questions about why do you do that? And that's not always the case with records, especially of legacy artists like this who've been around for 20 plus records.

A lot of times by this point, they're just kind of making songs that sound like them to sell to the handful of fans they still have, but that's not what this is. Yeah. His voice sounds really good at times. And, you know, I mean, I wonder how much help he had, you know, with the processing and stuff like that to make them sound good. But yeah, it definitely is layered. You know, there's a lot of reverb going on. But even on that track we just played there, To the Page She Was a Horror.

I mean, he just lays it out. I mean, he's like, it sounds like he's exhausted by the end of the track. I really can feel the emotion, energy just pouring into that performance on that song. And I don't know, I'm there with him for 100%. I think it's pretty impressive. Well, let's hear more. Here's a track called Lazarus. I love those. It sounds like someone hitting guitar strings with their palm, you know?

Yeah. Yeah. Yeah. That feels like maybe one of the more accessible tracks on the album, even though it's over six minutes long. It's still, it seems like the album's over before you know it. Even though there are some long tracks, it's like a 40 something minute album. It does not drag. And the subject matter and the feel should, but it doesn't. Yeah. At least not for me.

Yeah. So just to throw it in there for folks that don't know, Lazarus is a character from the Bible, from the gospel according to John chapter 11, verses one through 45. And it's the story of a guy being brought back to life by Jesus. So you might hear the term Lazarus a lot and that's what it's referring to. Yeah. So some people have speculated that Bowie might've been kind of predicting increased fame after his death, which certainly was true.

Yeah. I love the line, like he's like, everybody knows me now or something like that after he's up in heaven. Yeah. Of course, it could have been referring to lots of other people over the years too. Of course. So my clickbait headline for this record is, like Mozart, Bowie writes his own Requiem. Nice. I don't know how much of that, I mean, a lot of the Mozart stuff is kind of mythology, I think.

So I don't know to what extent that was, like the movie Amadeus where he's sitting there writing his, composing his Requiem. I mean, he's a performance artist too, right? So those videos that are paired with this, including the one for Lazarus, which is quite striking, isn't he building his own legend? Isn't he creating these moments so that we talk about it like, whoa, this sounds like it's from the grave and all that kind of stuff. I mean, he knew what he was doing. Yeah. 100%. 100%.

I can't imagine what that experience is like to really be, I mean, it's like planning your own funeral and- You've got to really come to terms with that, like at a deep level to be able to look out in that bed in that video and put those buttons on your eyes, like that's heavy, man. But I mean, I'm sure, of course, no one wants to die, but as the artist that he was, this was an opportunity to explore something that until you're dealing with it or facing it, you can't explore it as effectively.

And so that's why it feels so haunting and real because we know that he was sick and we know that he died a few days after this was released. So it has a supernatural spiritual feel to it that you're somehow connected to the other side, whatever that might be. Yeah. And Bowie so often writes characters and I think this album is, I mean, it feels like it's personal, it's about him, which I, it feels like maybe one of the most sincere records he's done. Yeah. The song Lazarus, right?

Being risen from the dead. Isn't that kind of what happened? I mean, if this album had come out and he hadn't died days later, I feel like that's what triggered so much interest and people truly paying attention to the record. You know, I think it, so in a way he was resurrected. By the album. Yeah. Yeah. And you know, I mean, in a way, like this album is also dealing with his death, but it's also kind of giving his fans a way for them to process his death.

So it's, it does, it works on many levels. Also, I wish more artists would do things like this. I think a death is something we're really bad at talking about and thinking about as a society and having something like an art piece like this that really gets into the depths of it is I think really valuable. All right. Let's listen to the final track. This is I can't give everything away. As we've talked about this album is kind of cinematic and this song certainly is as well.

Features orchestral strings, harmonica, sax, guitar solos that kind of recall the Robert Fripp's classic Bowie collaborations, but it's kind of the reward for enduring some of the experimentation. Like it kind of, I think it's somewhat about the album. It's about him as an artist. Like if you want to know me, pay attention, appreciate my creations. I'm not just going to give you all my secrets and, and, uh, tell you what these things mean.

I think it's kind of, uh, it's a goodbye saying experience this experience my music, you know, this, this is my, you know, like the kind of the final curtain, the bow. That's what it kind of feels like to me. Yeah. Kind of like it's in your hands now, giving you everything I can. Yeah. Yeah. Carry on my legacy. I'm not going to give you every detail figured out.

Yeah. So the clickbait headline I came up with for this one is a haunting masterpiece that echoes his other names while exploring mortality, identity, and the uncompromising creative legacy of a true space oddity, unique dude, unique artists, uh, able to continue to morph even doing, uh, an industrial album there in the mid nineties, continue to explore, to never stop creating as an actor, as a musician. That's what it was all about for him. It wasn't about being a star.

So this is just a really beautiful way of saying goodbye and also saying hello. I think it's cement his legacy as an artist. Hey, you know, you say goodbye. I'll say hello. There you go. I know what I was talking about, Bowie is he's always painted himself as kind of the outsider, you know, looking, looking at us kind of like from an outside perspective, but so many people just resonate with that idea.

It's kind of amazing that he's kind of made almost everybody an outsider in a way that we're all, but we're all. Yeah. Brought together and someone like that. It's kind of, it's kind of beautiful in a way. Why it's through his characters, Ziggy Stardust and Aladdin Sane. And even this is sort of his character of, of the black star, you know, the, I think it's made it a comfortable way for him to let it all out. We're the benefactors of it. Yeah. All right. Well, let's do this.

I'm going to nominate David Bowie's black star for the album nerds Hall of Fame. I think, you know, with, with aging artists, you know, particularly the ones we love when they come out with material, you know, sometimes we'll say, Oh, this stands up with, you know, they're, you know, some of the best works. And a lot of times it's, I think we're stretching when we say that because we want to be able to say it. So are they, every artist always says it's the best album we've ever made.

Yeah. In this case, I really think it's true. I mean, I think this stands up there with, with Ziggy Stardust and Lo, you know, as a, as an artistic achievement, even if it's only because it deals with us. Yeah. It deals with the subject matter that, I mean, certainly people have, you know, done stuff about death, but I don't know, this is just such a unique work and I think it, you know, it deserves to be celebrated. What do you guys think? We should go first, dude.

I don't want to, you know, I was thinking about this possibility and I hoped it wouldn't come up. Me too. In the context, in some ways, yes, I mean, I could see because it is a specifically creative way of saying goodbye and it's a great album, but at the same time, like, did it shape music? Is it in Bowie's top five records, you think? Right. That's the question. Is it even in the top 10, you know, and- But I think Bowie could have 10 Hall of Fame worthy albums, maybe. Yeah. But yeah.

At least five, you know? Yeah. It's a tough one. I think it's one of the toughest ones for me to decide on because for me, it's a very emotional record. It's hard for me to separate this from like the art from like my response to it. Yeah. In that regard, obviously it'd be a Hall of Fame record, but if I look at it more critically, I don't think it's a perfect record, especially the B-side I think is not nearly as interesting to me as the beginning.

I think if I'm being honest, I probably would say no, but I would definitely be okay if it got in there because I love it. Yeah. I feel exactly the same. You know what? I'm on the fence with it and this will give a chance for the Album Nerds out there to vote so I'm going to say yes. I want it there. I just, I'm not quite all the way there, but yeah, I'm going to say yes so we can get our people involved. Okay. So, well, we're not quite there yet.

I don't know if Bowie made it to the gates of heaven, but he hasn't quite gotten to the gates of the Album Nerds Hall of Fame yet either. So please go on our social media, enter our website and vote Black Star into the Album Nerds Hall of Fame.

Excuse me. I'd like to ask you a few questions. It's time for Deep Questions by Don. This album was in many ways a goodbye from Bowie to his fans. What other final works of art left that impression on you? Yeah, for me the one that came to mind in recent years or I guess decades was Heath Ledger's portrayal of the Joker in The Dark Knight back in 2008. It's impressive to see someone go out at the top of their game, you know, like Bowie doing something new and creative and impressive.

I think Heath's portrayal of an iconic character still holds up as being maybe the most memorable Joker performance. Like, you know, maybe Joker is such an iconic character, he's going to say, like, is that better than Jack Nicholson? You know, tough, but definitely unique and definitely memorable. And I think something people look back on as being like, wow, that was the thing that happened in 2008.

I think, you know, up to the before Brokeback Mountain, I didn't really think of him as a dramatic actor. Yeah. He was in like 10 Things I Had About You or something like that. Yeah, stuff like that. I was vaguely aware of him, a knight's tale. But that performance is, even if he hadn't passed away, I think that would be one of his defining ones that might have become an annoyance in his career. Getting typecast a little bit. Yeah, because it was so shockingly good.

It was just like, because everyone had Jack Nicholson in their head from the 1989 Batman. So yeah, he just made it much darker, much realer. And yeah, definitely the one that came to mind for me. Yeah, a believable psycho instead of a cartoon character. Yeah, exactly. What came to mind for you did. Because of this, the Bowie situation and thinking about an album that comes out and then passes away shortly thereafter and it becomes the final album. Now in Bowie's case, he knew it.

In the case of John Lennon, he did not. So the album Double Fantasy by John Lennon and Yoko Ono comes to mind. For him, it was a new beginning, right? It had been five years since putting out an album. And just like Starting Over is the opening track. And I think it was this hopeful sort of John Lennon at 40 years old. And it was released November of 1980 and he died, shot in December of 1980. And it has become his legacy, you know, his final record. So that came to mind first.

You think it stands up in terms of the quality? Yes, it's among his best solo work. I mean, this one's with Yoko, but definitely it's a great album. Check it out. Donald? Well, I don't know if you would consider a speech, a work of art. Oh yeah. You know, when I think about, you know, kind of people facing death and saying goodbye, I think of Lou Gehrig. You know, you can find the audio of this speech anywhere. You know, he famously lost his life to ALS, which is known as Lou Gehrig's disease.

But so after, you know, he had to, I mean, he was still basically in the prime of his career when he had to basically shut it down because of this illness. You know, right after his retirement, they did a Lou Gehrig day at Yankee Stadium and they brought him out and he made a speech. And it's the one that starts out with, you know, today I consider myself the luckiest man on the face of the earth, which is just such a weird thing to say, you know, because the guy's dying.

Yeah, but he's, you know, talking about all the support he's had and you know, what an amazing life, you know, so it's just a, you know, it's an incredibly, you know, powerful speech and he's crying as he delivers it. And you know, I just, again, I just can't imagine experiencing that. Yeah. Yeah. That clip from that speech I think is infamous as like JFK speech or any of those others from that period. And the pop cultural references to it. Yeah. Since Sleepless in Seattle.

Yeah. You know, movies and TV shows. Yeah. Good pick, man. Feeling kind of sad now. I know you like it. Yeah, the summer of God sucks. Got a thunderstorm going on. Well, what other famous goodbyes are there? Let us know. Visit us on social media, Instagram, Facebook and threads. Also on our website, AlbumNerds.com. Can you dig it?

Can you dig it? Can you dig it? Can you dig it? Can you dig it? Can you dig it? Can you dig it? Can you dig it? Can you dig it? Well, we've been saying goodbye to David Bowie for a week now. Other things you've been digging this week, Andy? All right. I've got a collection of new releases here in my... Velcro wallet. Yeah, it's my Ridge new line wallet from... Not a sponsor. Sponsor of every podcast in 2015. Not this one. Hey, Ridge. All right, let's check it out.

We'll start it out with Nadi Sa. I believe it's how you'd say her name. The name of the record is Filthy Underneath. This is the sixth studio album for the singer and songwriter from the UK. She's touring with Depeche Mode right now, Donald. I'll play Topless Mother as the name of this guy. Giggity. Giggity. Not what I was expecting. Yeah, interesting. It's a really interesting record. It's got a dark, I would say, kind of gritty sounding... She's got a great voice too. Is that electronic?

Is the music electronic or is it... Very little. Very little, I would say. Cool. The next one up for me is a hip hop group from Ireland. You guys remember back when we did our Ireland show. It's kind of a growing scene there in Ireland. The group is called Kneecap. The name of the track is Fine Art. The track is Lucky Charms. Yes, they're Irish. Cool. This is their second album, three piece. It's interesting to me how much dance music has found its way into Irish hip hop scene.

It's much less of that traditional hip hop sound. Yeah, I mean, I love accents in hip hop in particular because we're so used to American delivery. Yeah. Yeah. It can really change the rhyme schemes a lot. So it's fun to listen to because it's so different. What was the guy's name we did, the Irish rapper? Nilo. Nilo. Yeah. Okay. That was a little more organic sounding than this, but very good as well. Yeah. All right. Last one up for me is a collaboration between James Blake and Lil Yachty.

The album is called Bad Cameo. We're going to play the opening cut, Save the Savor. You know, it's funny, I'm familiar with Lil Yachty, but I have no idea who James Blake is. Would you be surprised that we've probably reviewed two of his records over the last 10 or 15 years? Not at all. I couldn't place the music at all. And I think every time we've talked about him, I've been like, hey, never heard of him. You're like, we already do it. Sorry, James. I thought it was, I was thinking of James.

I was thinking of James Blunt first. Yeah. You're beautiful. That could have been him on that track, right? I think Paul Park, sort of. Anyway. Yeah. It's a pretty interesting collaboration, I would say, if you're a fan of a little hip hop and R&B sounds. I think it's a good one. What you been digging on, Don? Well, I was listening to another podcast called the New Wave Music Podcast, and they had a group on called Urban Heat.

They're actually kind of like a dark wave post-punk group from Austin. Their second album is coming out in August. Austin, England or? No. What? Austin, England, Texas. Yeah. Oh, wow. Yeah. So there's a single called Say The Words. Yeah. So their first album, I think, is pretty good, and it's kind of all over the place. So I think that song there that I just played isn't necessarily indicative of all of their work. It's a little more understated than I thought it was going to be.

Yeah. You know, with the post-punk tag on there, I thought it was going to be... It's just one song. Yeah, they are, I think, maybe a little more streamlined. I think there's only... I think it's a three-piece. So I think there's maybe more space in their sound. Okay. Another thing I've been digging. So I got this book that Robin Hitchcock just released. So it's called 1967, How I Got There and Why I Never Left.

So it's kind of a memoir, but it only focuses on this three-year period in his teenage years where he's at this boarding school. But it's really interesting. I like the way he writes. It's very similar to how he writes his lyrics, sort of intellectual, but also silly and strange and kind of like there's an inside joke that you aren't completely in on. Yeah. That's a great way of summing him up.

Yeah. But it's fun because he's talking about the first time he heard Dylan and the first time he heard Bowie and stuff like that. So even though it's not like a career, it doesn't tell the story of his career. It sort of gives you an idea of how he got where he is. But also in September, he's going to release a corresponding album called 1967 Vacations in the Past, and it's all cover versions of songs from 1967.

So the one that was just playing there is Itchy Coup Park from The Small Faces, which came out in 1967. Looking forward to that. Small Faces. Cool, man. We'll definitely have to check out the book. That sounds interesting. He's such a... Every time I hear him talk, I was like, I've listened to this guy talk for a long time. I feel like he'd be good at giving a speech or writing a book. Yeah. It seems like everything is an inside joke or a wink that only his people understand.

Even they don't understand. No one really gets it, but it's funny anyway. But they pretend to. Right. Dude? All right. So I have listened to this once. I just stumbled on it. I need to spend a lot more time with it, but it's a band called Truck Violence. The album is Violence and the song is Undressed You Lant Before. Wow, interesting. Sounds a little avant-garde there, I pretty do. I know.

They're from Montreal, but I guess I grew up near the Athabasca Tar Sands, which is like Northeast Alberta petroleum production area. Famous music for the petroleum area there. Yeah. Carson Henderson and Paul Lacour's Experimental Hardcore. But it reminds me of the late 80s Seattle sound. Poetic, intense, without any fear or aspirations of being famous or just making this music, which has a lot of banjo in it, by the way. There's something just true about it.

And I haven't gotten into what the lyrics are or whatever, but it's an interesting sound. It just sounds industrial and dirty. Covered in petroleum. Yes. Interesting. Covered in oil. That's cool. So I'm always exploring new country music and a lot of new country music sounds like old country music. I stumbled on a guy named Braxton Keith, who I guess is kind of a rising star. Not an album yet that I can find for this song. It's called Lonely as the Lone Star. Kind of your throwback country.

He's from San Antonio. No relation to Toby. I'm calling it the new wave of traditional country. I don't think he's related to Toby. But yeah, he's got a curled up waxed mustache, which is part of why I was like, hey, who's this guy? What era is he supposed to be from? Yeah. So that song Lonely as the Lone Star, I assume there'll be an album coming, but yeah, it's just fun. Interesting.

Finally, for the album collection, within the last few months ago, I did finally get my hands on Pet Sounds by the Beach Boys on vinyl. Yeah. That's pretty good record. Why is that part of the Summer of Dawn? I think that maybe that's how we should end the Summer of Dawn. Maybe. This is the 11th studio album, a creative response to Rubber Soul, Brian Wilson's masterpiece, introspective lyrics and innovative production.

And it's one of those that has a couple of songs on it that you know, and then some other stuff to dig into. But I think every record collector should probably have a copy of it, just like they should have a copy of Sergeant Pepper, that kind of thing. I was just listening to this the other day and I was thinking how it's like symphonies or it's like classical music sort of disguised as pop music. Yeah, it's kind of his secret. And my copy is a reissue.

It's not like original or anything like that. Is it the mono or the stereo? Stereo. All right. So what have you been digging? Let us know. We have Facebook, Instagram and threads also on our website at AlbumNerds.com. It will be a discovery of extraordinary value. All right. Well it's about that time on the show when I'm reminded of the great British singer-songwriter David Robert Jones. You guys know who I'm talking about? Davy Jones.

Go. Davy Jones. Talking about Mr. David Bowie that we've been talking about for the last 40 minutes here. All right. So Mr. Bowie said, if you feel safe in the area that you're working in, you're not working in the right area. Always go a little further into the water than you feel you're capable of being and go a little bit out of your depth. And when you don't feel that your feet are quite touching the bottom, you're at just about the right place to do something exciting.

I kind of love that quote from him. With that in mind, we're going to do something a little bit exciting on next week's episode. We're going to be talking about new releases from the first half of 2024, picking out some ones that have piqued our interest. And we're going to resume the Summer of Dawn following. Okay. Does David Bowie's Black Star belong in the Album Nerds Hall of Fame? What else are you listening to? Leave a comment on our website or email us at podcast at albumnerds.com.

You can follow us on Facebook, Instagram, and threads at Album Nerds. And please subscribe, rate, and review on your favorite podcast app. If you'd like to support the show, you can do so via PayPal at albumnerds.com slash support. Thank you once again for joining us on the Album Nerds podcast. We'll catch you next time when we discover some new music. Cool. Thanks for having me, buddy. Nice to be here. We can be heroes. Sounded just like him, didn't it? No. Sounded just like him, didn't it?

No. Sounded just like him, didn't it? No. Sounded just like Michael Bolton was doing a Bowie cover album. So that never happens. That'd be interesting. I'm intrigued now.