Hits 21 - 2008 (4): Dizzee Rascal & Calvin Harris, Kid Rock, Katy Perry

Episode Date: April 21, 2024

Hello again, everyone, and welcome back to Hits 21, the show that's taking a look back at every UK #1 hit single of the 21st century - from January 2000, right through to the present day. Twitter: @Hits21UK Email: [e-mail] Vault: https://open.spotify.com/playlist/5O5MHJUIQIUuf0Jv0Peb3C?si=e4057fb450f648b0 Piehole: https://open.spotify.com/playlist/2FmWkwasjtq5UkjKqZLcl4

Hi there everyone and welcome back to Hits21 where me, Rob, me, Andy and me, Lizzie all look back at every single UK number 1 of the 21st century, from January 2000 right through to the present day. If you want to get in touch with us you can find us over on Twitter, we are at Hits21UK, and you can email us too, just send it on over to hits21podcast.gmail.com. Thank you so much for joining us again, you find us midway through the year 2008. This week we'll be covering the period between the 6th of July and the 13th of September. Just a word of warning, my window in the room that I record is currently open. If you hear any sounds from outside, that's what that is. Last week, the poll winner, well technically

we have 2 but also technically we zero, because it was a tie. Neo and Coldplay, both tied. It's an interesting philosophical question, isn't it? It's a bit like glass half empty or half full. Like, did we have two winners or did we have zero winners? Did we have none? Alright then, it is time to press on with this week's episode. And as always, it is time for some news headlines from around the time the songs we're covering in this episode were at number 1 in the UK.

The 2008 Olympic Games take place in Beijing. Great Britain finished 4th in the medals table, winning 15 bronzes, 13 silvers and 19 golds, completing their most successful return from an Olympics in 100 years. In the Paralympics, Great Britain win over 100 medals, finishing second in the medals table. Over 150 people are killed in a plane crash at Madrid airport when an aircraft attempting to take off catches fire and veers off the runway. In total there were 18 survivors. The airline, Span Air, was dissolved in 2012.

And 8 people are killed when severe storms and flash flooding hit parts of the UK. The Grand Pier at Western Supermere is destroyed when a fire breaks out in the early hours of a Monday morning in July. No injuries or deaths were reported, but the fire left the pier needing to be rebuilt over the course of two years, and Barry George is found not guilty of the murder of Jill Dando. The films to hit the top of the UK box office during this period were as follows. Mamma Mia! The Movie for two weeks, The Dark Knight for two weeks, The Mummy! Tomb of the Dragon Emperor for one week, The Dark Knight again for one more

week, Hellboy 2 The Golden Army for one week, Step Brothers for one week, Rock and Roller for one week and Pineapple Express for one week. Former Big Brother and Celebrity Big Brother contestant Jade Goodie finds out that she has cervical cancer while competing on the Indian version of Big Brother. Jade immediately returned to the UK for more tests. Meanwhile, Des O'Connor and Carol Vorderman both stepped down as presenters of Countdown, being replaced by Sky Sports host Jeff Stelling, who I could forgive you for forgetting that one, and Rachel Riley.

And in music news, American singer Jo Stafford dies at the age of 90. She was at number 2 on the very first UK singles chart, with her song You Belong to Me eventually climbing to number 1 after 10 weeks, becoming the second UK number 1 single overall. Elsewhere, legendary soul singer Isaac Hayes dies from a stroke at the age of 65. He's got a top 5 hit in 1971 under his own name with the theme from Shaft, but he also had a number 1 single in the final week of 1998 as the character Chef from South Park singing Chocolate Salty Balls. Put them in your mouth. Andy, the UK album charts, how are they doing in July, August and September 2008?

We've opened this period with Coldplay still at number one with Viva La Vida or Death and All His Friends, still at number one with its five week run when Quintuple Platinum eventually, but that is then toppled by none other than Bass Hunter with the quite oddly titled, Now You're Gone, The Album. The Album, yeah. Which went number one for one week and went platinum. This is a solid six months after the song, Now You're Gone, had been at number one.

And I thought, that's a bit weird, isn't it? That's only just gone to number one. But the album has only just come out at this point. That a whole six months passed before an album followed up that single, which you kind of get that a little bit these days, but that was very rare for those times to have that long lead time between the single and the album. They do things differently, don't they sometimes? Yes, so Coldplay then returns to number one for another week with

Viva La Vida or Death and All His Friends or How I Learned to Love the Bomb and then we have a big big big old classic at number one. It is ABBA Gold at number one for two weeks because of Mamma Mia I can only assume. And ABBA right back in the zeitgeist which gives me the pleasure of saying that that album, as of 2024, has gone 21 times platinum and is by far the highest selling album that we have ever mentioned on the show. Of course, it's sort of, you know, not technically one from this decade. Well, nothing technical about it. It's not one from this decade, but yeah, one of the biggest albums of all time, making another appearance at number one there. And it won't be the last time, I believe, that it's at number one. another appearance at number one there and it won't be the last time I believe that it's at number one.

Then something a bit more contemporary, we have The Script with The Script, which is the debut album from The Script called The Script. Could have fooled me. That went number one for two weeks and went quadruple platinum for some reason and is finally toppled by fourth by the verve which went number one for two weeks and was certified gold. I had that album for some reason, I bought fourth by the verve, I went through a phase of really trying to get into the verve, it didn't take but I contributed to that gold status there yeah. And that's your lot for this week. All right then Lizzie

the States how are they? Well in terms of singles, most of this period was dominated by Katy Perry and her debut single I Kissed A Girl. It spent 7 weeks at number 1 in the US and was eventually certified 6 times platinum. We'll talk more on that one later, but the next single to hit number 1 in the US was Disturbia by Rihanna. It was her third single to hit number 1 in the US was Disturbia by Rihanna. It was her third single to hit number 1 in the US, and after spending two weeks at number 1, it was eventually certified 7x platinum. Back in the UK, it narrowly missed out on the top spot, peaking at number 3 on two separate

occasions. Finally for singles this week, we have Whatever You Like by T.I. It was his second single to hit number 1 in the US and was eventually certified 3x platinum. It spent 7 weeks at number 1 in the US, but back here in the UK it failed to break the top 40, peaking at number 47 in October of this year. So as ever we go over to albums. First up this week is The Carter 3 by Lil Wayne. Three weeks at number one in the US, only got to number 23 in the UK. This is quite a big album.

That's a surprise, but maybe just hadn't crossed over yet. Next up we have Untitled by Naz. One week also got to number 23 in the UK. And then we have Breakout by Miley Cyrus. One week, also got to number 23 in the UK. And then we have Breakout by Miley Cyrus. One Week, number 10 in the UK. Next up is Love on the Inside by Sugarland. One Week, failed chart in the UK. Next up is Mamma Mia! The Movie soundtrack.

One Week in the US was ineligible for the main albums chart but spent 11 weeks at number one on the compilations chart. Fuck me wow. God. Yeah. 11 weeks wow. And finally we have A Little Bit Longer by Jonas Brothers. Two weeks number 19 in the UK. That's strange. That's strange that Whatever You Like didn't get the top 40 in the UK. I actually remember that. Yeah me too. The UK now whatever you like. Say it.

Yeah shortly before he went to prison. Thank you both very much for those reports and we will get back over to the UK now and get on with this week's episode and the first song up this week is this. What's up darling? I've been keeping my eye on your movement I can't see no room for improvement But why you all over there on your Jack Jones? You need to let me get behind your backbone Cause I'm the man for the job, let me work here I won't waste no time, I make it worth it 100% I make it worth it You got a body to die for, let me work here Now it's murder on the dark floor I wanna take this further than the dark floor I ain't false fool but I'm still hardcore You're gonna give me everything I ask for

It's not a long ting, you're the boom ting Maybe more than a hotel room ting I'll never know if I just walk past I really wanna dance so I guess I'll just boss She use no O Look at those eyes, it's in her eyes She's good to O She can satisfy my mind, body and soul

Come and dance with me, come and dance with me Come and dance with me, come and dance with me Come and dance with me, come and dance with me I see you glass with me, that's why I'm asking B So let's party B, come and dance with me If I'm out on my own Then I can look at you, looking at me If I'm out on a date Then I just shut my eyes

Then I can't see, get away from the bar Tell your boyfriend hold your jar And dance with me I see you glass with me, that's why I'm asking B So let's party B, come and dance with me Okay, this is Dance With Me by Dizzy Rascal featuring Calvin Harris and Cro. Released as the lead single from his 4th studio album titled Tongue & Cheek, Dance With Me is Dizzy Rascal's 11th single overall to be released in the UK and his first to reach number 1, and it isn't the last time we'll be coming to Mr Rascal on this podcast, nor is it the last time we'll be discussing Calvin Harris. Dance With Me went straight in at number 1 as a brand new entry knocking Nio off the

top of the charts. It stayed at number 1 for...FOUR WEEKS! In its first week atop the charts, it sold 49,000 copies, beating competition from All I Ever Wanted by Bass Hunter, which got to number 3, and Stay With Me by Ironic with a K, which climbed to number 6. In week 2, it sold 87,000 copies, beating competition from All Summer Long by Kid Rock, which climbed to number 6. In week 3 it sold 58,000 copies, beating competition from One for the Radio by McFly, which got to number 2, and Give It to Me with 2, by Madonna, which climbed to number 7, and Shut Up and Let Me Go by The Ting Ting's

which climbed to number 9. And in week 4 it sold 44,000 copies in a week where there were no new entries or new climbers in the top 10. When it was knocked off the top of the charts, Dance With Me dropped 1 place to number 2. By the time it was done on the charts it it had been inside the top 100 for 60 weeks. The song is currently officially certified platinum in the UK as of 2024. Andy, what do you think?

Yeah, I've got to start by quickly acknowledging Give It To Me by Madonna, because I think all three of the songs this week, along with Viva La Vida last week all have a good claim to being the song of the summer in 2008 but for me the song of summer 2008 was Give It To Me by Madonna because I was on holiday for two weeks in Bulgaria in this summer and they played one song all the time in the result that I stayed in, which was Give It To Me by Madonna. So I knew that song better than I knew my own soul.

So that was the song of the summer for me there. Nice to hear that one getting mentioned. So as for this, yeah, I really liked this. I think this is a really fun song, a really nice thing to listen to and definitely taking a step forward to where things are going in the future. Calvin Harris, it's a bit of a name that's popping up there.

And the main thing I was kind of reflecting on is like how much the wheel has turned like from from where we were then to the present day, not just in terms of Calvin Harris's status, but in terms of like what it means to have him on a song and what his role is on the song now. Because now it's like Dizzy Rascal with Calvin Harris, you know, special guest star. But these days it's like pop stars kneeling at the altar to get Calvin Harris to do a song that they get to sing vocals on and go to number one for five weeks just because. Like, I think quietly, obviously you've got your Adele's and Ed Sheeran's of the world, but I think you could make a case that quietly Calvin Harris is like the biggest success of the

next decade we've got ahead of us here. And it's relatively humble beginnings for him here and so different to the kind of stuff we'll be hearing from in the future, which gets quite generic. So I thought it was really interesting to see this from Calvin Harris here. As for Dizzy Rascal I mean he I really like his music in general My one thing that I sometimes struggle with a little bit is His vocal inflections that he sometimes says things a little bit like that

like he's sort of sad that he's dropped his pudding or something and In a lot of songs that works like I don't have an inherent problem with that but I think for a song that's got this kind of quite chill production that's quite kind of cool funky production it's a little bit overbearing sometimes that kind of it's a little bit overwhelming in the songs in times but it's a fairly minor complaint and all the complaints that I've got a fairly minor to be honest. I think that I can't help but compare it to Bonkers which I think is much better than this and I know that it's very different context because that's a solo song and it's a very different kind of vibe that

it's going for but I think that one is just so much more exciting and more inventive and that's so much more new stuff going on in it. Whereas this is just a very well-produced pop song, I think that's got one very good hook with that bass line that is then the vocal line in the chorus, the very, very good bass line there. But it is kind of the only real hook the song as far as I'm concerned, and it doesn't quite sustain all the way through. But there is enough to keep interest throughout. I love those breakdown sort of piano bar style sections at the beginning and in the middle as well.

They're lovely, a real change of pace there. And you don't hear much stuff like that in songs of this kind. So yeah, they really kind of surprised me and I really, really liked that. So overall, yes, I like this. I think this is pretty good. I don't think it takes full advantage

of the tools at its disposal. I think it definitely could be a bit more out there and innovative and interesting, but it's just a very good, solid straight down the line pop song, which I don't listen to all that often. And I was really happy to revisit this. It was just a nice, refreshing thing to come back to.

And it represents a step into the future, I think, as well, because not just in terms of Calvin Harris's presence, but I think this kind of sound we'll be hearing a lot more from. I don't know whether it'll necessarily be at the top of the charts, but certainly in the charts. You get artists like Example and Professor Green and those types of people who will be quite liking this kind of sound over the next couple of years. So we're definitely taking

a step into the 2010s here, the early 2010s at least so yeah I definitely feel like this is one of those songs that's come up a bit like Viva La Vida last week where it's like I can sort of feel a page turning over in a book here and that's always an exciting thing whether you like it or not because it's just good to see history unfolding. As this is, yeah, like I say, it's a perfectly solid, decent pop song. I don't think it's the greatest thing in the world, but I respect what it's bringing to the table,

and I do very much enjoy it, yeah. Yeah, I concur, Andy. I think this is great. Probably the last thing Calvin Harris gets involved with that had his slightly quirky stance on like alternative dance on it. You know, things like Acceptable in the 80s and the girls one day. I get all the girls on you.

Is this also the, because there's one more coming, but is this the penultimate track that Calvin Harris gets number one on that he actually sings on instead of just standing in the background? I was wondering about that because when I heard his voice come in I was like oh in my head I wasn't ready for that because you see Calvin Harris's name on a song and you see him as a producer basically and I was really surprised to hear his voice I genuinely forgot that he used to sing because it's yeah there's not gonna be many times that we hear him singing yeah I don't know what would be the other one?

I'm not alone. I'm not alone. That's the only one that I can really think of right now, but we'll find out I'm sure and this is slightly weirder and funkier than the stuff that comes quite shortly after this Like I'm not alone and the ready for the weekend, which is when he starts just doing sample stuff the shoes and I'm ready for the weekend one and starts doing sample stuff. With this, with Dance With Me, there's still that slightly odd, slightly funny, almost like parodical slant in the instrumental, feels like he's happy to pull from Funky House and bits of new disco and UK hip hop as well I suppose with Dizzy Rascal being involved. on motion, where almost every song is just loud sample and a guest star. At the moment he sounds like someone who makes music for student bars on campus, and those

bars are always called something like H2WO instead of H2O, but pretty soon he starts making music for clubs in the centre of London that are called things like Euphoria. You can't imagine a sultry female voice not saying them when you see the names of those clubs. I think what really sells this though is Dizzy's performance because he didn't take himself too seriously at this stage and he was happy to bring the silly, using terms like Jack Jones and feel like a Wally and let me murk it that give a sense of location and time. He bounces along at good speed, there's a lot of enthusiasm. I even love how he adds a little sensitive quiver in his voice when he's

saying, I know you didn't come out to stand and stare. You know, he has good chemistry with Calvin Harris and Chrome as well, which now I've just said it, how are Calvin and Chrome, like how is that not a dance duo from Britain's Got Talent? You know, two like 15, 16 year olds called Calvin and Chrome. But I think that this is a sign of how the internet is changing music production. You know how you were saying this is like a little glimpse into the future. Because Dizzy and Calvin Harris never actually met while making this record. They met each other to exchange phone numbers and then

talked about doing a song together but the rest of it was made entirely across like email and file sharing and I think it's a sign of how the internet can break down those kind of barriers and help artists bring chemistry despite never being in the same room. I think sometimes I think it's really obvious like that song from the Lion King soundtrack, the most recent Lion King soundtrack that Donald Glover and Beyonce did together and... Don't remind me. Exactly but well the thing is you kind of have to remind people because when you tell people this they go what? Like that film made over a billion dollars and I bet you nobody's watched it since but I think

this definitely ends up feeling more like Dizzy's song than anyone else's but I think that's more of a testament to his performance and a criticism of anyone else's. You know kind of like in the music video Calvin's kind of happy to play the side character watching events from a few yards away. I think this is a little leery I will say just opening up with you know what's up darling I thought about the TingTings and what they had to say and what Katie had to say about being called darling by a bloke while out but I think this is super fun and memorable and definitely one of the better tracks on

this sort of middle era of Dizzy Rascal's career this kind of like you know third and fourth album sort of thing when he's kind of just about to go over the very very top. So yeah I'm cool with this. Lizzy, how about you? Yeah I think you've both summed it up really well. In terms of Dizzy I do think it's a bit of a surprise that it has taken as long as it has to get to Dizzy Rascal in his own right, like sure, he has already technically had a number one if you count Band-Aid. He was the most memorable part of that song, definitely. That's true. I think, you know, if you ask most people which bit of Band-Aid 20 do you remember, it's going to be the Dizzy Rascal bit. And it's fitting really, because he was

one of the most important figures in British music throughout the 2000s. He was one of the main driving forces in bringing grime to the mainstream and eventually crossing over into indie as well as mainstream pop. Like here we are. The impact he had on British music does make it Somewhat more disappointing that he eventually did what he did. He's still knocking about he's still headlining festivals and such but I think a lot of his Appeal has been kind of tarnished in the mainstream. But anyway, he's gonna come up a few more times I think might be another discussion for another time. Whereas Calvin Harris He's kind of only been

around in the mainstream for about a year at this point. Acceptable in the 80s was his first hit, and like you say, The Girls. I think there was this element of sort of slightly quirky take on dance pop, almost a bit of new rave about it. Whereas, yeah, this is just before he goes full pop and he's always a bit of a chameleon figure. He sort of knows what the current sound is and he can sort of fit himself to that mould and even mould it himself in some cases. I don't like a lot of his stuff in the 2010s, he has some moments, but I definitely prefer this sound where, like you say, there's a bit of a quirkiness to it, there's a bit of fun. It's like, I'm trying to think what the comparison would be for kind of the

vocals, the sort of weird low wobbliness. I kind of thought of David Byrne from Talking Heads. Yeah, there might be a better comparison. I'm also thinking like, who did never met a girl like you before? Edwin Collins. Yeah, another Scott. So, yeah, and I think this is a really good combination. I think Dizzy, by this point, is kind of well established that, you know, he's a big Grime star but he also has

fun with it. He's got sort of clever lyrics but there's also a relatability there. I think that's kind of what helped him cross over in a lot of respects. It wasn't just pigeonholed into the Grime scene, it kind of crossed over to like, you know, the NME and places that would usually be obsessed with like guitar music. He kind of worked his way into that world and this is the next iteration of it where he's working his way into pop and it works pretty well. I don't think it's vault-worthy but I think, yeah, I do like this one. Probably, it might even be my favourite of the Dizzy Rascal number ones. I might have to check myself when I actually come to them, but looking at what's

coming up, I think this might be the one that stands out to me the most as the one that I would be most likely to revisit. I don't know about you guys. I think I agree, yeah. I think I probably prefer Bonkers just because I think, I just think it's a little bit more different and interesting, but honestly, I don't know. Like I've not listened to Bonkers yet in preparation for that.

I could be wrong. I definitely was much fonder of this than I expected. So I might end up agreeing with you actually, yeah. I think I prefer the vibe of this to bonkers. Something about bonkers kind of puts me on edge. Whereas this is just kind of laid back, chill, like you're having a drink with some friends sort of music. And I've got a lot more time for that than pop music,

which kind of makes me a bit agitated like bonkers do. Anyway, we'll come to that when we come to that, I think. Yeah. I do like this. Cool. All right then. Second song up this week is this. It was 1989, my thoughts were short, my hair was long Caught somewhere between a boy and man She was 17 and she was far from in between in northern Michigan.

Splashing through the sandbar, talking by the campfire, it's the simple things in life like when and where. We didn't have no internet, but man I never will forget The way the moonlight shined upon her hat And we were trying different things And we were smoking funny things

Making love out by the lake to our favorite song Sipping whiskey out the bottle, not thinking about tomorrow Singing Sweet Home Alabama all summer long All Summer Long by Kid Rock Released as the third single from his seventh studio album titled Rock and Roll Jesus, All Summer Long is Kid Rock's fourth single overall to be released in the UK and is first to reach number one, however as of 2024 it is his last. All Summer Long first entered the UK chart at number 46, reaching number 1 during its 5th week on the chart, knocking Dizzy Rascal off top spot. It stayed at number 1, 4, 1 week. In its first and only week atop the charts, it sold 37,000 copies, beating competition

from The Man Who Can't Be Moved by The Script, which climbed to number 3, I Kissed A Girl by Katy Perry, which got to number 4, If This Is Love by The Saturdays, which climbed to number 8 and 5 Years Time by Noah and the Whale, which climbed to number 10. When it was knocked off the top of the charts, All Summer Long dropped 1 place to number 2. By the time it was done on the charts it had been inside the top 100 for 25 weeks the song is currently officially certified platinum in the UK. As of 2024. Lizzy, Kid Rock, All Summer Long. How'd you feel? This was shit then and it's shit now.

Yep, pretty cheap. Thanks Lizzy. Great. Andy, what do you think? No, I'm not done yet. Admittedly, yeah, I've never liked this style of rock music that exploits listening nostalgia as a quick workaround for a story that isn't interesting enough to tell on its own. I think Summer of 69 by Brian Adams and Jack and Diane by John Koo or what's his name,

both offenders in that category, but at least they have their own tune. This song with its melody cribbed from two separate 70s songs proved that it's easier to shamelessly reference music from the past than it is to learn from that music and use it as a basis to forge your own identity as an artist. I have got no time for this song or this talentless prick. Next. Woah. Scalding hot. Just to expand on this actually, because I know that I am the resident nu metal fan of

the bunch, and I was anyway. Even at the time I don't remember anybody liking Kid Rock. It was all Eminem, Linkin Park, Limp Bizkit, maybe Slipknot, System of a Down. Nobody liked this fucker. Nobody. No, he appeals to a different kind of sensibility. Yeah, this shit American sensibility that I don't like. I don't want to go away. I was reading before that Kid Rock actually has a real B in his body about New Metal. He really, utterly despises it. And it's like, it's like the absence of talent, New Metal. He really like... You were it!

You were it! I know, I know, I know. Not only that. He really rejects the label, yeah. He was, he fucking chased his way into it. Like, he broke out because he thought he was Vanilla Ice. And then this New metal thing took off It's like oh, I'm gonna do that now because there's some money in it fuck off

Well, he says like oh, it's just one of the many things that have touched He said like I'm like I'm inspired by every piece of music I've ever listened to Yeah, I attempted to pour cold water on that just for a second because I'm gonna light the fires underneath it again. I don't get on with this stuff aesthetically at all. Never really understood the appeal of Kid Rock, like even back in the very beginning when he's just like a rapper guy, somehow opening for KRS-1, when KRS-1 was carrying on Boogie Down Productions kind of under his solo name in the late 80s, but by the late 90s I'm not even like even curious this kind of Southern rock country rap like devil devil without a cause stuff Anything like that not keen on it

And did you know while I was researching this that bloody uncle cracker was a member of his band during that period in the late 90s and early 2000s. Explains loads, exactly. Anything that smells like a Confederate state just turns me off, like, which makes it even weirder because Kid Rocks from fucking Michigan. But you know when you walk into CEX, like into a shop, and you immediately get hit with that really special brand of nerd sweat that like you only recognize if you are a nerd yourself. Well I get hit with a different kind of sweat with this and it's this yucky white tank-topped bicep tattooed long-haired moustachioed

smoking cowboy hat and boot wearing guy gun gun in his trousers, is going to come up to me and complain about gays in the military and COVID vaccines. And that's after he's introduced me to his dog who's called Whiskey and telling me a story about how things were so much better before all this woke stuff came along. Although in 2008 he would have referred to it as political correctness. And you can just drive down to a lakeside and drink beer for four hours, breathe your honking beer breath all over some poor girl and then drive drunk back home. Because that's what this is. Like summer of 69, but for people who don't even remember the 60s fondly because civil rights was kind of, you know, happening. I start having issues with this basically from the word go. I guess I can sort of appreciate the idea to combine Werewolves of London and Lynyrd Skynyrd but I actually think the whole thing sounds

really cheap and I just get left listening, I get left wanting to listen to those instead and he opens the song with it was 1989 my thoughts were short hair was long. And then you watch the video and like, his hair is still long! So like, if you had short hair, that would work, I suppose. Now it's like a, oh, remember how it used to be? And it's like, that's who you still are. And it makes the whole thing seem like less of a happy, reminiscing session. And it makes the whole Kid Rock thing actually sound like a pretty desperate bid to recapture

something that's long gone you know like Andy you'll definitely get what I mean about this but you know the the Han Solo film that came out a few years ago and it kind of you know the plot of that specific prequel film it takes place over the period of about 6 months, but obviously it contains all the references to things like where he met Chewbacca, where he got his name, the dice, the Kessel Run, the leather jacket etc etc. And it just makes Han Solo from the original Star Wars film seem like a really sad desperate idiot who can't get over that one great summer and still wears the leather jacket was man I'd love to see that girl again. I'm thinking like does the girl want to see him? I'm not sure.

And I think that if the song leaned into that melancholic image then we would have something cooking but he doesn't so we don't. And then it goes for that same climax twice as well where you get the one guy going sweet old man Alabama oh yeah and then a little bit further on it's the man I'd like to see that girl again And both of them fall so flat for me. This doesn't rock or roll it countries up images I am NOT interested in I think kid rock sounds like a bellend on basically everything he records And I think that he does I didn't even like this at the time I should have probably mentioned this at the top that you know And I think that I didn't even like this at the time. I should have probably mentioned this at the top that,

you know how I said that Madonna and the Timbaland four minutes thing was like a seminal moment for me because it was the first time I remember looking forward to a pop song and then being slightly disappointed by it. This is also a seminal moment because this is the first pop song that I ever remember disliking. Like up to now in my life being 14, I would be happy to listen to anything and then pick and choose the stuff I like the most. But this was the turning point because whenever this came on the TV, whenever

this came on the radio, this is when I started paying attention to the news and current affairs because whenever this came on on radio one, I just to radio five i'd be like no i'm done i want to listen to something else i want to get away from this hellhole and then years later i went and saw the instrumental sort of experimental rock band uh holy fuck the they did uh lovely alan and a you know a couple of oh yeah a couple of good records sort of around the late 2000s and they were supported by a guy called book 65 and I looked him up beforehand This is like 2010 by this point 2011 and I looked him up beforehand and it said he was a country rap Artist and I thought oh no

But then I listened to him on stage He was doing live looping and all this kind of stuff. And then I went and listened to his compilation album, which was called This Right Here is Book 65. And I was like, oh, this is like what Kid Rock was kind of going for around the Rock and Roll Jesus era. But like, done well. And then I also later came to people like Bubba Sparks as well. Through my obsession with One Republic, I found out that, you know, Ryan Tedder was working with Bubba Sparks and Timbaland and stuff. And so I went and listened to some of his stuff and then I come back to this and it just feels so much worse. I think that if I was going to find a positive, I would say that the guitar solo is technically proficient.

Well done. Andy, Kid Rock. I'm not sure I'd even go that far about it being technically proficient. I mean, it's technically proficient in that it's like in-key, that there's no like brown notes in there or anything. But it's like, I wouldn't really go any further than that. I was going to do exactly what you both have done and go in really really hard on this and really tear it to shit and that's exactly what I'm going to do. Yeah, good. Just thought I'd give you a guess in a second there. Yeah, when I'm making my notes I don't write in full sentences really, I just kind of make bullet points.

And the first bullet point I've got written for this one is simply bollocks. That was my instant reaction to this, just like, ah. And it was kind of making me laugh when you said a few minutes ago, Rob, to introduce the segment, when you said, and next up, is this? In a really happy tone. And I thought, I wonder how many people have just gone from the mood whiplash of, is this? To, oh, this. Because that's how I felt listening to this, just like, oh, for God's sake. It pushes a few very particular buttons with me this.

I'm so glad you mentioned that sort of, oh, combining all of your favorite memories into one specific moment thing, which just makes it look completely tragic. I completely agree about the solo comparison comparison but it also has a little bit of a shade of the Sandy Toms about it, to be honest. Just the bills. Yeah, we didn't have no internet, etc. Yeah, like, you know, that song obviously we really went in on that for this stupid pastiche mish-mash idea it had of, you know, the days when Jimi Hendrix, Kate Bush and Joni Mitchell were all marching against Richard Nixon together you know

it's just like this stupid stupid kind of nostalgia thing for anyone that doesn't even exist you know like Kid Rock is barely old enough to even really have experienced the original songs here like Like this is just, inauthenticity doesn't really do it justice, to be honest. Again, I had the same thoughts about how, isn't this like a guy who kind of is from the Rust Belt and made it big quite young and never really looked back? What does he know about these times in Alabama?

Like just, so that is a point that really, really really bothers me of like you're kind of trying to reference things and indulge in things and look back fondly on things that you simply have not experienced and doubtful that anyone has really experienced them to be honest. Yeah it's got strong MAGA hat energy to it there so I really don't like that. It also touches a button that I hate in modern music, and this is me being all snobby and being like, oh, modern music is rubbish, but honestly, like, this thing that, and it's not just modern music, it's happened many times in the past,

but it's a particular thing these days, partly because of TikTok and partly because of new generations coming in and stuff like that, but this thing of like taking an old song making it significantly worse but adding new stuff to it and then giving it back as if it's somehow as good as the original or better it's horrible so there's this that horrible thing that's been done to Blue Dabber Dee with I don't even know what the song's called but that that one that's been out in the past year or so

that adds new lyrics to Blue Dabber Dee and is somehow treated as if it can hold a candle to that. That horrible cover of Praise You that Rita Ora did that is completely soulless and takes any sense of creativity and innovation out of it. It's a thing that really really bothers me when people do that and I was trying to think of a metaphor for it. And the only metaphor I could think of was it's like taking a juicy orange, scooping out all of the core and then returning the withered remains back to someone promising that it is still the original orange and charging 79p to give it back to you. It's just horrible, horrible, horrible, horrible.

And it leaves a really bitter taste in my mouth. And at the time I remember thinking like, a lot of people seem to like this and it's on the radio a lot But like I don't understand why and I I just pretended to like it Like when this came on like on the radio or family parties and stuff. So yeah Sweet home Alabama all summer long, you know, just trying to kind of go along with it, but I was like I don't stand I don't stop. Why does anyone like this? Like this is rubbish. And I didn't even really know any of the stuff that was referenced.

But I was like, what's exciting about this? OK, it's got a kind of nice little banner thing, which is, of course, not invented by the song. And pretty much everything about it is not invent. Sorry, everything good about it is not invented by this song. I don't know if maybe just people my age didn't know that because I didn't really know about like how how much of a brazen steel this was from several other songs my little cousin absolutely adored it at the time and used to sing all the lyrics to it he was only about five but he was he was

quite funny to watch him sing in lines like we were smoking funny things when he's like five years old that used to really make me laugh so that's a little bit of a fond memory but the thing that I just kept coming back to was lowest common denominator and it's a phrase I'm gonna use several times over the next couple of episodes to be fair because again this is potentially my inner snob coming out and I don't mean it to be that way but it's just like it can't really be described as rock music this but I mean it's kind of I would hesitate to even put the word country to it because I love country music I think it can be one of the most expressive emotional engaging

genres there is but this is like Kenny Rogers level this really it's just like the kind of me and my truck and my wife going in the pickup truck kind of genre of country which is just absolutely risible stuff um yeah lowest common denominator it's like music for people who don't like music to be honest yeah i i will say that like i'm not going to just completely condemn it and absolutely trash it and give it 0 out of 10 because it's doing something right. It was really popular and it is pleasant enough to tap your toe along to and you know what it is instantly when it comes on. I'm not sure that those are good things but it obviously is doing something right. But I think that is a real condemnation of the listening public, to be honest, that this did so well. Yes, and that's for Kid Rock himself. Well, you know, country music star, you didn't need to say re-music star.

And that's all I'll say about that. Yeah. Yeah, I mean, I guess the thing that I kind of try to forgive this for is that at least he does say that it was summertime in northern Michigan, you know, he's not trying to say it was summertime down by the southern end of the Mississippi because the Mississippi is a deceptively long river that actually starts really far in the north of the continent etc. But like he, like you were saying Lizzie, he tried to start out as like this Vanilla Ice character and then he heard about Van vanilla rice and he was like, oh, okay then, I'll just pretend I'm from Georgia. And I'm like, just fuck you.

Like, you know, I just, it was trial and error. None of it was, I understand that none of pop is real or whatever, but like, if it's going to fake something, I'm not going to like it if it fakes something that I'm already kind of hesitant to, you know, go near. Just want to make sure that everybody's aware, by the way, of a song that Kid Rock released from his album Bad Reputation, featuring Monster Truck in 2022, middle of the pandemic. The song was called Don't Tell Me me how to live you can see where this is going contains such wonderful lines as kiss my ass then you can suck a dick sideways and my way or the highway listen up and ain't nothing changed still don't give a fuck so what's the fuck so what the fuck is up

with all the backlash you snowflakes here's a news flash And then he does the chorus Ain't nobody gonna tell me how to live And then the whole second verse Has to be read out and enjoyed It's beautiful Years ago, we all thought it was a joke, see? That every kid got a motherfucking trophy But yo, homie, here's the situation

A nation of pussies in our is our next generation and these minions and their agendas every opinion has a millennial offended but this amendment one it rings true if you don't dissent bitch then see number two ain't nothing new right church wrong pew get a clue a crew your fake news and views can all get the bottom of my motherfucking shoe and the last of a few still screaming fuck you and then he goes ain't nobody gonna and the video makes references to like masks being like part of like some kind of zombie horde thing oh it's beautiful to watch in hindsight who is he to call anybody a snowflake he didn't shut up

about Bud Light for about a year because he was a trans woman and an advert. Fucking shut up. Fuck off. I hate you, you prick. And you know, it's just for anyone with this level of privilege to go on at all about how anyone might impinge on their life. It's like, come on. You've got money to burn. You have done since you were 19 years old. Like no one is coming for you. You are safe, Kid Rock.

It's just, I hate that. I absolutely hate that. And every single bloody caricature in the book, that's like music written by Nigel Farage. That's awful. Hate it. Yeah, keep making the worst kind of Southern rock. Southern rock from the North. Fucking idiot.

I wonder how he would feel, A, about the next song we're about to cover, and B, how we feel about it. I wonder which side he would come down on. Let's see. The third track of this week, the third and final song is this. Drinking and lost my discretion It's not what I'm used to Just wanna try you on I'm curry as for you Caught my attention I kissed a girl and I liked it

The taste of her cherry jastic I kissed a girl just to try it I hope my boyfriend don't mind it It felt so right, it felt so right Don't mean I'm in love tonight I kissed a girl and I liked it Alright, this is I Kissed A Girl by Katy Perry. Released as the lead single from her second studio album titled One Of The Boys, I Kissed A Girl is Katy Perry's first single to be released

in the UK and her first to reach number one, but it's not the last time that we'll be coming to Ms Perry on this podcast. I Kissed a Girl first entered the UK chart at number four, reaching number one during its second week on the chart, knocking Kid Rock off top spot. It stayed at number 1 for 5 weeks. Across its 5 weeks at the top, it sold 218,000 copies and along the way it beat competition from Love is Noise by The Verve, Disturbia by Rihanna, Begging by Madcon, Mountains by Biffy Clyro, Pijanu by Eric Pritz and When I Grow Up by Pussycat

Dolls. When it was knocked off the top of the charts, I Kissed A Girl dropped 1 place to number 2. By the time it was done on the charts it had been inside the top 100 for 34 weeks but the song is currently officially certified 2 times platinum in the UK so it is double platinum as of 2024 I will take the lead on this one because I think I will have the least say about it but you know what I mean about Kid Rock by the way because when this comes out it's like ugh a song about girls kissing girls god what world have we you know

like what world have we grown up in here like what have we become every generation? You know the next generation will be full of posses etc etc But then the backlash comes and it says well hang on a minute You've been a little bit could be accused of being a little bit frivolous here with a very serious issue Are you sexuality and then kid rock would probably start defending the song on the other count of like well? She could just say what she wants man, it's free speech, etc. But as I alluded to, the gender and sex politics of this song feel a little complicated for me to go into in depth, I think. So I will stick to the,

mostly stick to the compositional aspects. I think this kicks along at a good pace, it feels like it starts a mini obsession with kind of 21st century glam rock slash pop that gets picked up by Pink in a few weeks as well, it kind of reinforces this sort of like mini wave of that kind of stuff and Kelly Clarkson a little bit too. It's curious I think that it's in a minor key because it adds some unusual edge and tension to this song which is actually pretty playful and frivolous. I just don't think though, my problem with this as a pop song is I just don't think it goes anywhere. When the last chorus hits it doesn't feel like the last chorus. They don't do enough to keep building tension after the first minute or so, which is disappointing because I think the writing chops on this in terms of its basic ideas

are pretty strong and obviously Katy Perry relaunching herself in this new image, new name, no longer Katy Hudson, no longer a Christian trip-hop artist, believe me, listen to that first album, she is now this like just a totally new image who is going to dominate the charts for the next five years. She does a very successful relaunch of herself here and she has a strong pop identity at the beginning and a strong pop image as well. And speaking of image, I guess I could say something about the elements of the song that I've not yet discussed.

Personally, I think it's fair enough to write about experiences that you might have had and Katy Perry has kind of suggested that she's kissed more girls than the song implies and has said that if she'd written it 10 years from this point in 2018 she would make a few edits because she does lean into some stereotypes in this. But I think at the time, I don't know how I feel about this looking back. I think I just kind of look at it and like it is what it is. I'm kind of on the fence with it. Katy Perry's image was very much a man's idea of a girly girl. You know, her album was called One of the Boys. And I feel like it plays up to skeevy ideas about like pillow fights and slumber parties. And it all feels a bit 1980s.

But, you know, the song also has its defenders within the LGBT community for raising awareness about bisexuality, within pop, but I would argue that it doesn't really argue in favour of bisexuality, more that it just presents bisexuality as a temporary thing that you will grow out of and you will eventually settle down with Russell Brand. And that's kind of all I really have to say about it. Just that like I can see both sides, but I kind of side more towards Where I think Lizzie, if you'll take the lead, you're about to go next. Yeah, I mean I'll keep this brief because I can tell that Andy is jumping at the bit to get him I'm about to give it a four at the end Andy.

Yeah, I agree with you. I don't think it's a bad song in and of itself. Not a huge fan of what's implied by the lyrics, like just because it's harmless fun to you doesn't mean that's the case for the other person involved. Perrie has since said that she regrets some of the lyrics, which is admirable, but you have to be more tactful about this sort of thing in the first instance, otherwise these kind of stereotypes endure in the public consciousness. I think this thing was just too big to fail though. You look at the names that are attached to this, like Dr Luke, Max Martin, Cathy Dennis, Benny Blanco.

Yeah. There's no way this is gonna fail. And you put together a taboo subject matter, I'm sorry to say it, but this is what it's treated as. And yeah, of course it's gonna take off, but this is what I mean. I think the sound of it is quite good. I kind of like the sort of electro glam stomp it reminds me a bit of something like goldfrap even but I just think it does in terms of the execution um as I've already said I think it could have been done with a bit more tact and also I totally agree with you Rob there's no tension in it you just get the chorus which is a reveal, it's like I tried it, it's not really my thing but it happened. And that's it. There's no sort of arc throughout it, it's just she tells you what happened,

she then goes back into it and tells you a little bit more but it's the same. And then it just kind of stops it needed a bit needed a bit more um well it didn't because it's a huge hit but yeah i would have liked a bit more to be able to give this a bit more of a look it is like for such um a song that is considered controversial it's kind of boring and i wish it wasn't I sort of wish it did it dug a little deeper than it does it kind of just scratches the surface but I think conventional is the word I keep coming back to in my head well like there's tension at the beginning just the fact that it's in a minor key but

like that's kind of it it's a little disappointed for Kathy Dennis. I'll be honest, this is not one of her best ones. No, no. Yeah. I wonder which lyrics that Katy Perry specifically had in mind when she said that she was going to go back and because I feel like the whole song is a bit, you know, like you could pick any line. I think this idea that like, you know, it doesn't matter, you're an experiment, you know, my head's so confused. It's not what good girls do, and I have a boyfriend, and I hope you don't mind it. And it's like that whole, oh, if your girlfriend kisses another girl, it's not really cheating.

It isn't really cheating. But Andy, I feel like I'm walking all over your argument. I feel like you're going to say that. So I will let you take the floor with this one. You can finish the show. Well, I do thank you both for leaving that floor open for me. But you know, you're both welcome to have that discussion too. But this is just an issue that I feel very strongly about.

I will very quickly talk about the song itself because I actually agree that it's in and of itself it's fine. It's not particularly interesting to be honest but it's perfectly fine as a pop song. It's catchy, I kind of like that heavy guitar strum thing that gives it some momentum, gives it some meat in the chorus and Katy Perry's voice I usually don't get along with it, but it's just about okay in this one When she's not singing it live And I will also say I will go as far as to say that the idea is fine Like you know if the brief that I don't know how it works for Kathy Dennis and how it worked with Katy Perry either

But if the brief that was on the table was you know and Girl wants to experiment doesn't necessarily want to leave a boyfriend over it, but she's having feelings towards girls, wants to just give it a go, see how it goes. I think that's fine. You can easily make a good song about that. Plenty of people have. But like, there's context to this. And I respect what you said, Rob, that, you know, getting into the gender and sexuality politics of this is a bit of a hornet's nest from certain perspectives. To me, though, it's not. I don't think this is complicated. I think it's actually very simple. It's just queerbaiting. It's just queerbaiting. That's all it is. And it's very

calculated, very corporate, very precise queerbaiting. I'm very aware that I kind of live in a bubble where all of this is kind of, you know, just sort of aware that I kind of live in a bubble where all of this is kind of, you know, just sort of things that I talk about all the time. So just to define what is meant by it. That, you know, it's the idea of gay but not too gay or like just sort of touching at the edges of it. Like inserting queer content just to enough level where it's implicit but not explicit or where if it is explicit it's just once, just once and then we'll go back to all the straight stuff Just long enough to get your money and then we'll walk away from it again or just long

Just long enough to get the applause and get the critical acclaim and get the awards and then we'll we'll move on from the gay Stuff, you know, if it's a TV show We'll have them kiss once and then tragically die or if it's a film you know we'll have them maybe touch fingertips and then the straight couple will get their big romance scene and we'll say that we've done both you know it's it's it's a thing in films obviously weirdly mentioned in Star Wars for the second time this week one of the most clear examples that I can think of in recent memory is in the Star Wars sequel trilogy the characters Finn and Poe who clearly had very very strong chemistry with each other and the final film the trilogy went out of its way to shut

that chemistry down and not allow it to become anything more than subtext. The film Luca, a Pixar film which as I suspected at the time and is now confirmed was explicitly a gay film and was watered down to being an implicitly gay film. Again, that fact revealed after we'd all got our Disney Plus subscriptions and spent money on it. More for this era, Albus Dumbledore from the Harry Potter books, who was, after all the books were finished with no reference ever being made to it in the books, J.K. Rowling announced that Dumbledore was gay, to be treated with rapturous applause for that fact. And then when the Fantastic Beasts films came out, the representation that Dumbledore was gay meant that he looked fondly into a mirror to

see the reflection of Johnny Depp looking back at him. Oh joy, yeah, how represented I feel. What? Yeah, and then in music, you know, there's, funny enough that in many ways, we've got Jessie J coming up in a couple of years. In many ways, I've always seen her as the British Katy Perry. And she queerbates quite a lot, certainly at the start. Harry Styles, as much as I like Harry Styles, he's guilty of it as well, both in his music and in his acting career.

He said that very controversial thing last year of how he thinks films with gay characters shouldn't be all about them getting down to it and copping off, it should be about their feelings for each other. Right, okay, let's never have any straight sex scenes either. Yeah, so it's prolific these days and people are better at calling it out now and it's more of a known quantity. Like it's a thing that we understand exists now, but this is obviously it's not where it started and it's not the initial example of it, but I do think this is a totem pole of what Guia Baiting is and proved the business case

that it actually makes money and is something that corporations probably think is a really good idea. And the reason why it's such a clear example to me is that this is, I know it's not technically her debut single because of all the Katie Hudson stuff, et cetera, but this is basically her arrival on the scene straight out the gate with, look at me, I'm bisexual,

I kiss girls, I love the taste of their lips. She will then never, ever, ever come back to this ever again in any of our other singles. One of which, which immediately follows this entitled You're So Gay Using Gay As An Insult. Yeah. Yeah. That is just shameless, absolutely shameless and it makes me genuinely angry that so many people will have listened to something like this, felt represented and then it's very clear afterwards that it was just shock value and

actually Katy Perry, despite like you know maybe it maybe some of this is journeywinder, maybe she has experimented more than the song suggests but she clearly doesn't care about it enough to stop for one second and think you're so gay is that really something I want to be doing is that something I want to be saying to people you know and all of her songs from this point on are entirely heterosexual in terms of their coding. So no, it's queerbaiting, 100% queerbaiting and it's something that I absolutely hate. It's somewhat coloured as well by what I know about Katy Perry as a person as well in that she's not got a good reputation amongst her contemporaries.

She is well known for just doing what the label tells her to do and not particularly being known for her values. I'm not gonna say anything more slanderous than that but it's out there do some googling. So that kind of informs my opinion on it as well but I just think it's fine to represent things and represent it with open arms and come back to it again. You don't have to be gay to do songs about gay stuff. You don't have to be bi to do songs about bi stuff, particularly with bisexuality,

because bi erasure and biphobia and the idea of treating it as a fun novelty, which girls do when they're drunk, is so pervasive and such a problem even now in 2024, where like, it shows you how much of a quaint novelty it is, still treated by so many people, just by the fact that, imagine a male singer doing this as their debut single. If they did this, they would be forever known as a gay artist. Not even a bi artist, they would be known as a gay artist. But a girl can do this and it's like,

she's talking about kissing other girls, isn't that fun? Anyway, who's her boyfriend? Who's she dating at the moment? I hear she's dating Russell Brand. It's just a horrible, horrible state of affairs in both gender and sexuality and that it's a complete double standard against men and women and it's a complete double standard

against heterosexuality, homosexuality and bisexuality. This is a kind of line in the sand for all of that and I have to condemn it in the harshest terms. However, as a pop song it's fine so I don't actually have a problem with it as a song but everything it represents can get in the bin and I really hope that that stereotype that Rob mentioned isn't true because my husband is bisexual and I don't want him to marry Russell Brand so let's just leave it at that. Yeah me too, no thank you. Do you know the thing is I've just been thinking I bet you somewhere this weekend, obviously this episode normally goes out on a Sunday morning, I bet you last night on the Saturday

I bet you there's at least one hen party somewhere in the country where that song suddenly plays and two of them kind of like, you know playfully like and then they all have a big laugh about it and Well, not really and yeah, there's a reason why those parties banned from a lot of places on canal three now. Mm-hmm And that is part of that culture. I mean, that's a separate conversation But that I mean, yeah, that is a separate that separate conversation for sure But it definitely links in that idea of hen party setting up and being like oh I'd quite like to kiss the girl and just dominating the dance floor because of that

I wish I could be a lesbian Etc etc. I wish I could choose to be a lesbian done with men. That's how it works isn't it? Exactly. I don't know if I've ever mentioned this on the air but I had an old boss I may have told this story before I had an old boss once who said something to me and she was not homophobic not certainly not knowingly so and she would be mortified to realize she caused any offence with this comment but she was moaning about her husband to me once and she said you know it makes me really understand why some girls go off with other girls and just choose to do that instead. I'm like god like that and

this song it's not saying this song put that in her head but like it could have done couldn't it? This is what I mean, those kind of ideas stick if like, if someone who doesn't fully understand it encounters something like this and you don't fully think through what you're saying. Yeah, yeah, 100%. And it's not in a vacuum with this, like there's things around this era

that do the same sort of thing. I'm not quite sure when the Madonna Britney kiss thing was. That was 2003. Well yeah okay fair enough but like that's sort of on a similar vein as well but like people people really just could not get that. Like the way people talked about Lindsay Lohan and the way people treated that just like oh look at her she's gone mad she's dating girls now what's wrong with her just oh dear well you could say the same thing about tattoo and yeah we all loved that song and we of course we had issues with you know the video and everything that came

out of it but it's an example of how it can have an impact despite some less than ideal execution. Yeah, I mean it's the difference between the song and the video there, isn't it? Because the song, all the things she said, is like, I think is just like an unbelievably good expression of the queer experience. But the video was just pure titillation. yeah such a shame yeah we'll get there one day we will get there one more thing to mention about this is that there is a little cameo in the music video from someone who will become quite a quite a big deal on this podcast actually in a couple of years Kesha is wandering around in the back of the I Kissed A Girl video. Oh! Oh! Yeah, you can all go and watch it and find her. You can't miss her.

If you're Googling that, you may see some of the things I mentioned earlier. Yeah. I'll just say that. Andy, Dizzy Rascal, Kid Rock, Katy Perry, where are we sending everyone? Um, Dizzy Rascal, I really thought about putting that in the vault, but I'm not going to do that. I've got no pun for that one. I'm not going to do any puns for any of this week because Lizzie's better than the mace. I'm going to let Lizzie take the floor on that.

Dizzy Rascal, no, it's not going anywhere, but very nearly did. It just misses on the vault because I just don't think it's quite special enough for me. Kid Rock is being slammed into the pie hole with all the force of the self-righteous MAGA hatred of that movement that's being forced into the pie hole and as for I Kissed A Girl I'm doing something kind of unprecedented it's not immediately clear to the listener unprecedented but our super secret scoring system that we do for the end of the year rankings, I've actually given this a six out of ten, I've given this positive thing because I think musically and as a pop song it's absolutely fine, but even though it's in the positive half of the table, I am pie-holing it because I will not accept queerbaiting, it's not happening on

this podcast so it's getting pie-holed, yeah. Cool that's fair enough Lizzie dance with me all summer long and I kissed the girl that nearly told the story and yeah dance with me all summer long I kissed the girl so dance with me if I'm out in the vault then I can look at you looking at me if I'm in the pie hole then I just shut my eyes then I can't see. Get away from the bar, tell your boyfriend, go in nowhere. It's just going in the middle. See what I mean? You're better. You're better. I'm trying. I'm trying. Kid Rock can go in the pie hole all summer long and then followed by autumn, winter, spring, the following summer, for the rest of eternity, you can stay there. And I may have kissed a girl,

but that doesn't mean I'm gonna put it in the pie hole or the vault tonight. For me, dance with me, I was going in the vault, for me, it's just creeping in, just about. All summer long, no real debate over it, that's going in the pie hole. I'm gonna even lower my score after this episode is done so that by the time we come to the year-end rankings,

it's probably at the very foot of the table, and I guess the girl is going nowhere, it's just sitting in the middle for me. When we come back, we'll be continuing our journey through 2008, I'm gonna leave you with the sounds of Kid Rock, don't tell me how to live we'll see you next time if you make it through the next minute or so bye bye I'm sorry everyone See that every kid got a motherfuckin' trophy But yo homie, here's the situation A nation of pussies is our next generation

And these minions and their agendas Every opinion has a millennial offended But this amendment one, it rings true And if you don't dissent, bitch, then see number two Ain't nothin' new, right church, wrong cue Get a clue, accrue your fake news and views Kiddo, get the bottom of my motherfucking shoe I'm the last of a few, still screaming fuck you

Ain't nobody gonna tell me how to live Ain't nobody gonna tell me how to live Oh, I'm gonna soar like an eagle My winds are carrying me away