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Michelle Branch's “The Spirit Room” turns 25, and we're going track by track through the album that gave us "Everywhere," "All You Wanted" and "Goodbye to You." This is our honest review of her 2001 major-label debut, made at 17 with producer John Shanks, from the hits to the deep cuts nobody talks about enough.
Chris has loved this album since he was a kid and has seen Michelle live on almost every tour. Chantel is coming in fresh and wondering if she likes these songs because they're good or because they were on every WB show she grew up with. We get into the Christian TV channel that wanted "Everywhere" to be about Jesus, the most mildly creepy music videos of 2001, the Buffy and Laguna Beach moments, the 2021 re-recordings, and the brand new "Goodbye to You" with Maren Morris from her “Everywhere and Back Again” EP.
Timestamps:
- 0:00 Intro
- 0:32 “The Spirit Room” Album Info
- 1:45 Album Covers
- 3:45 "Everywhere"
- 13:28 "You Get Me"
- 18:29 "All You Wanted"
- 25:53 "You Set Me Free"
- 30:28 "Something to Sleep To"
- 35:25 "Here With Me"
- 40:01 "Sweet Misery"
- 45:45 "If Only She Knew"
- 50:05 "I'd Rather Be in Love"
- 53:38 "Goodbye to You"
- 1:05:17 "Drop in the Ocean"
- 1:09:49 Cut or Keep
- 1:11:04 Overall Thoughts & Final Rating
References:
- “Everywhere” MV https://youtu.be/HLCasyAh7ic?si=9pkIsg_dujWuaoed
- “All You Wanted” MV https://youtu.be/Cbo2n2MzxxE?si=Mjb_-DC0j9AkPIAb
- “If Only She Knew” Live https://youtu.be/3uYkl8PLFRs?si=u-iYWsk-YYqy5SSm
- “Goodbye To You” MV https://youtu.be/crkEBHrQSdc?si=F76iQFrsUnke0ikc
- “Goodbye To You” Live on Buffy: The Vampire Slayer https://youtu.be/fhxHDcAHYuo?si=YB-SNgjpO6ITviio
- “Goodbye To You” with Maren Morris MV https://youtu.be/fUyj-8D9C7o?si=XRQmL5ftSWqhUG3b
- “The Spirit Room” 20th Anniversary Acoustic Concert https://youtu.be/OysYG-TG9Hs?si=62O7ZHca0dUpl_qI
00:00:00 --> 00:00:01 You're everywhere.
00:00:02 --> 00:00:03 You're everywhere.
00:00:03 --> 00:00:14 This is CCTV, the nonstop pop show, where we do honest music reviews and iconic interviews across global pop music.
00:00:15 --> 00:00:16 Yes, that's right.
00:00:16 --> 00:00:19 And if you didn't know what that was, it's Michelle Branch.
00:00:19 --> 00:00:27 And because Michelle Branch is embarking on her tour to celebrate the 25th anniversary of her album, The Spirit Room, we are going to talk about it.
00:00:27 --> 00:00:27 That's right.
00:00:27 --> 00:00:29 We're going to go into The Spirit Room.
00:00:29 --> 00:00:30 And you're here to join us.
00:00:32 --> 00:00:32 Yes.
00:00:32 --> 00:00:38 So The Spirit Room was released in August 2001 on Maverick Records, which is Madonna's label.
00:00:39 --> 00:00:41 And it is her major label debut.
00:00:42 --> 00:00:44 And she had turned 18 years old just a few weeks earlier.
00:00:44 --> 00:00:49 And the album was produced entirely by Grammy Award winning producer John Shanks.
00:00:50 --> 00:00:50 Mm-hmm.
00:00:51 --> 00:00:55 And the name Spirit Room is named after a bar near Michelle's hometown in Arizona.
00:00:56 --> 00:01:03 And though most of the songs are love songs, these were just inspired not just from life experience, but from books, movies, and other people's love songs.
00:01:04 --> 00:01:11 The album debuted at number 28 on the Billboard 200 and was ultimately certified two times platinum in the US.
00:01:11 --> 00:01:14 And it was hugely successful all around the world.
00:01:15 --> 00:01:19 In 2021, Michelle re-recorded the entire album for her 20th anniversary.
00:01:19 --> 00:01:24 And now she is re-releasing some of the singles as collaborations.
00:01:24 --> 00:01:25 Yes.
00:01:25 --> 00:01:29 So we will now dive into the production, vocals, visuals, and performances of all the songs.
00:01:30 --> 00:01:32 And then drop our individual ratings.
00:01:32 --> 00:01:33 And definitely join us.
00:01:33 --> 00:01:35 You want to hear all your thoughts on all these songs.
00:01:36 --> 00:01:36 Yes.
00:01:36 --> 00:01:39 But be warned, your discretion is advised.
00:01:39 --> 00:01:41 Your fave will be criticized.
00:01:41 --> 00:01:42 Dun, dun, dun.
00:01:42 --> 00:01:43 I'm joking.
00:01:44 --> 00:01:45 Okay.
00:01:45 --> 00:01:48 So before we get into the music, let's talk about the album cover because there actually are two.
00:01:49 --> 00:01:49 Yeah.
00:01:50 --> 00:01:56 The original album cover features Michelle in front of a red wallpaper and that is the cover that the record label wanted.
00:01:56 --> 00:02:01 But Michelle much preferred the blue album cover with the skyline.
00:02:01 --> 00:02:09 And once her album sold one million copies, Michelle got her way and the official cover was switched to the blue one for all future pressings and all over streaming.
00:02:09 --> 00:02:10 So that red cover...
00:02:11 --> 00:02:12 It's gone.
00:02:12 --> 00:02:13 Oh, goodbye.
00:02:13 --> 00:02:17 You know, I was choreographing my lights and that's your narration.
00:02:17 --> 00:02:18 I probably got the album cover.
00:02:22 --> 00:02:25 The reason we talk about the album covers is because the presentation matters, PayPal.
00:02:26 --> 00:02:30 I mean, looking at the original red, something about it feels bohemian.
00:02:30 --> 00:02:33 And I think it's because of the decal on the wall.
00:02:33 --> 00:02:34 And it's red.
00:02:34 --> 00:02:40 So it's like red represents passion, fury, love, romance.
00:02:40 --> 00:02:42 It's like it's very strong, fiery color.
00:02:42 --> 00:02:44 She has skin's very warm here.
00:02:44 --> 00:02:45 Love the jacket.
00:02:45 --> 00:02:46 But with the blue.
00:02:47 --> 00:02:51 Absolutely love it so serious it's bold kind of matures her a bit.
00:02:51 --> 00:03:03 Yeah, like it's giving I'm not a teeny bopper, you know, she's pensive it's she's got something to say and you have like the skyline in the back and the power lines it's adding to this effect of just like, I've lived life.
00:03:04 --> 00:03:08 Yes, so young, you know, I'm not a girl, you know.
00:03:09 --> 00:03:12 Yes, she's getting kind of angst here with the blue cover.
00:03:12 --> 00:03:13 Well, actually, both covers.
00:03:13 --> 00:03:16 She looks kind of serious in both covers.
00:03:16 --> 00:03:20 But I would say the blue one, and maybe it's because I'm biased, because that's the cover that I just know better.
00:03:20 --> 00:03:24 But, you know, she looks like a teenager that maybe, like...
00:03:25 --> 00:03:27 you know, ran from her room to run out and meet her friends.
00:03:27 --> 00:03:28 Oh, yeah.
00:03:28 --> 00:03:33 Or coming back from that, you know, and kind of making her way back home without her parents noticing.
00:03:33 --> 00:03:36 Like, it's giving teenager for sure.
00:03:36 --> 00:03:36 Yes.
00:03:37 --> 00:03:39 But, yeah, kind of mature.
00:03:39 --> 00:03:40 Yeah, it's a little rebellion.
00:03:40 --> 00:03:41 I like it.
00:03:41 --> 00:03:41 Yeah.
00:03:41 --> 00:03:43 So I'm not mad at it at all.
00:03:43 --> 00:03:43 Not at all.
00:03:45 --> 00:03:47 Okay, so let's get into the album.
00:03:47 --> 00:03:49 And the first song is Everywhere.
00:03:50 --> 00:03:52 And this was done by John Shanks and Michelle Branch.
00:03:53 --> 00:03:56 And this was released as the first single from the album in June 2001.
00:03:56 --> 00:03:58 And it peaked at number 12 on the U.S.
00:03:58 --> 00:03:59 Billboard Hot 100.
00:04:00 --> 00:04:00 And of course...
00:04:01 --> 00:04:02 hit the charts all over the world as well.
00:04:03 --> 00:04:07 And the music video won VMA viewers choice in 2002.
00:04:07 --> 00:04:14 And fun fact, a Christian video channel offered to play it if she recorded a liner saying that she accepts Jesus as her savior.
00:04:14 --> 00:04:16 And she said, no, sorry, this song is about a boy.
00:04:17 --> 00:04:19 Because you're everywhere to me.
00:04:23 --> 00:04:28 Can I tell you, I totally heard that because I was like, is it like a flyleaf situation?
00:04:28 --> 00:04:30 I can feel it all around me.
00:04:31 --> 00:04:31 And I was like, girl, me too.
00:04:32 --> 00:04:32 I'm alive.
00:04:33 --> 00:04:34 I didn't know it was about God.
00:04:34 --> 00:04:34 I was like, okay.
00:04:35 --> 00:04:36 Yeah, right.
00:04:36 --> 00:04:39 I was screaming and the walls were, you know, like flyleaf is giving a vibe.
00:04:39 --> 00:04:39 Yeah.
00:04:39 --> 00:04:41 She was like, nope, it's a bad boy.
00:04:42 --> 00:05:06 i'm singing a lesson that you might you might be frowning upon actually let's not go there oh i don't blame her good for her um but yes i remember okay i couldn't remember specifically where i heard this song as a child but it was everywhere everywhere it was everywhere what the heck i don't it's amazing i'm sure it wasn't a comedian a commercial definitely in a movie um
00:05:07 --> 00:05:14 But yeah, I think I talk about sync on the show quite a bit because I've worked for a lot of sync, like studios, we do licensing and whatnot.
00:05:14 --> 00:05:18 But like this song is so good for so many things everywhere.
00:05:19 --> 00:05:24 Mobile everywhere coverage everywhere clothing is just travel everywhere.
00:05:24 --> 00:05:24 You know,
00:05:26 --> 00:05:27 I love it.
00:05:27 --> 00:05:34 And it's so interesting because it's like, we're gonna get a little bit more into, there's a single that came out when Vanessa Carlton had debut.
00:05:34 --> 00:05:41 So I'm not gonna like go super deep into it, but it's interesting how now looking back on it, I get the lumping.
00:05:41 --> 00:05:45 Cause I didn't even know, I know they're not the same person like now, but I was younger.
00:05:45 --> 00:05:47 I was like, couldn't tell me nothing.
00:05:47 --> 00:05:52 I see black, brown hair, guitar, and the girl, you know, plucking away by the guy, you know?
00:05:52 --> 00:06:02 But yes, the chugging guitar riff that is in this song, it sounds like it wants to be on a Sheryl Crow record, but then it got rerouted through the WB network.
00:06:02 --> 00:06:06 It's called CW now, but my sister lived on WB.
00:06:07 --> 00:06:12 Buffy, Dawson, Dawson's Creek was the other thing I was on, but mostly those two shows.
00:06:12 --> 00:06:12 Yeah.
00:06:12 --> 00:06:13 Like, oh my God.
00:06:13 --> 00:06:18 And then listening to this song, to be a young teen, everything just felt so much more intense.
00:06:18 --> 00:06:21 Like, turn it inside so I can see.
00:06:21 --> 00:06:24 I will not sing the whole time, guys, but the song is so good.
00:06:24 --> 00:06:26 You forgot the uh, see ya.
00:06:26 --> 00:06:27 Yes.
00:06:27 --> 00:06:28 Oh my God, that's in my notes.
00:06:28 --> 00:06:30 I was like, where did this uh, come from?
00:06:30 --> 00:06:34 I think it's vocal choice, of course, but I think also like,
00:06:35 --> 00:06:41 It's a not an accent thing, but it's a little like, you know, no vocal fry, not Valley Girl.
00:06:42 --> 00:06:43 It's that weird, like.
00:06:43 --> 00:06:46 It helps you add some attitude to it, I guess, in a way.
00:06:46 --> 00:06:48 Yeah, it's an interesting choice.
00:06:48 --> 00:06:50 I'm glad that she doesn't do that the entire album.
00:06:50 --> 00:06:50 Yes.
00:06:50 --> 00:06:52 Because that can get very annoying.
00:06:52 --> 00:06:53 But it makes it fun to sing along, too.
00:06:54 --> 00:06:55 Yes, everywhere.
00:07:03 --> 00:07:03 Yes.
00:07:04 --> 00:07:06 Okay, well, shout out to John Shanks, because he's iconic.
00:07:06 --> 00:07:08 Obviously, we've talked about some of his songs before on the show.
00:07:08 --> 00:07:10 He did Kelly Clarkson's Breakaway.
00:07:10 --> 00:07:12 Yes, Patience by Take That.
00:07:12 --> 00:07:13 Yes, right.
00:07:13 --> 00:07:15 He did Pocketful of Sunshine, Natasha Benningfield.
00:07:16 --> 00:07:17 He did The Climb for Miley.
00:07:17 --> 00:07:19 So he has amazing credits.
00:07:19 --> 00:07:20 So he's a really cool...
00:07:20 --> 00:07:22 He did some Hillary as well, right?
00:07:22 --> 00:07:23 Oh my god, yes.
00:07:23 --> 00:07:23 Yes.
00:07:24 --> 00:07:24 Yeah, yeah.
00:07:25 --> 00:07:27 So you know the production is going to be good on this album.
00:07:27 --> 00:07:29 It's like perfect pop rock.
00:07:30 --> 00:07:57 production and and the way i'm gonna say this a lot because he builds the song so well right yeah this is a great example it starts off acoustic the electric guitar and drums kick in literally right at 30 seconds oh yes and energy is just so good and then yes the vocal execution too she sounds so young here it's like very cute yeah but she's very passionate and the belt is very strong that's yeah it's just very sincere so
00:07:58 --> 00:07:59 Yeah.
00:07:59 --> 00:07:59 Sorry.
00:07:59 --> 00:08:00 I made it way high.
00:08:00 --> 00:08:00 Sorry.
00:08:02 --> 00:08:02 And yeah, the chorus.
00:08:02 --> 00:08:03 The chorus is so good.
00:08:03 --> 00:08:05 It sounds so full with all the backing vocals.
00:08:06 --> 00:08:08 And I remember, I think there was an interview or something.
00:08:08 --> 00:08:12 I forget if it was with him or with her, but she had originally written the chorus lower.
00:08:12 --> 00:08:15 And he was like, no, you are belting it up there.
00:08:15 --> 00:08:18 And he turned it into this kind of anthemic moment.
00:08:18 --> 00:08:21 So this is her kind of main launch is awesome.
00:08:22 --> 00:08:23 And the lyrics are fun, too.
00:08:23 --> 00:08:27 You know, it does a good job of this whole kind of obsessive crush.
00:08:28 --> 00:08:28 Yeah.
00:08:28 --> 00:08:31 When you first start feeling those feelings as a young person.
00:08:31 --> 00:08:32 Mm hmm.
00:08:32 --> 00:08:34 And it literally is all you can think about.
00:08:34 --> 00:08:35 Yeah.
00:08:35 --> 00:08:36 You know, it's tough.
00:08:36 --> 00:08:40 Like, again, the intense feelings as I'm glad I didn't date when I was in high school because honey.
00:08:40 --> 00:08:40 Yeah.
00:08:44 --> 00:08:48 It's interesting talking about her aging throughout the song and taking that into perspective.
00:08:48 --> 00:08:51 Because now as a grown woman, right?
00:08:51 --> 00:08:56 She has the alternative version where the synth is a little bit more prominent.
00:08:56 --> 00:09:00 The song overall sounds like something that would beat a teen romance movie.
00:09:00 --> 00:09:04 But I think the alt version just makes it sound a little bit more relaxed.
00:09:04 --> 00:09:08 Because you're everywhere too much.
00:09:09 --> 00:09:15 It reminds me of like Walk to Remember, Romeo plus Juliet, Twilight, like again, pensive, full.
00:09:15 --> 00:09:18 It feels mature, more romantic as opposed to like obsessive.
00:09:18 --> 00:09:22 And then like the vocal choices are even more yummy because like she's settled into her voice.
00:09:23 --> 00:09:23 Yes.
00:09:24 --> 00:09:25 Yeah, I think the song is like...
00:09:26 --> 00:09:29 the different versions we've gotten over the years, I've been like really good.
00:09:29 --> 00:09:32 She's maintained her voice as well, which is really important.
00:09:33 --> 00:09:35 And it sounds good, but she's not forcing anything.
00:09:35 --> 00:09:37 And it's like, yeah, it's more relaxed now.
00:09:37 --> 00:09:38 It's more relaxed.
00:09:38 --> 00:09:39 I love the alt version.
00:09:39 --> 00:09:43 It's more intense and it feels a little darker, but there's all these strings in it.
00:09:43 --> 00:09:47 So yeah, I could see it being used in a more adult rom-com.
00:09:47 --> 00:09:51 And, you know, as of this recording, we don't know who the collaboration is for this single.
00:09:52 --> 00:09:52 That's right.
00:09:52 --> 00:09:53 For this upcoming EP.
00:09:53 --> 00:09:54 I'm so curious what she's,
00:09:55 --> 00:09:56 Like what kind of vibe she's going to go for?
00:09:56 --> 00:09:58 Like, will it be like an Avril Lavigne?
00:09:58 --> 00:10:03 Or will it be, you know, like, will it be someone kind of in her space to kind of celebrate this song?
00:10:03 --> 00:10:04 That'd be interesting.
00:10:04 --> 00:10:05 Or Vanessa?
00:10:05 --> 00:10:05 How funny would that be?
00:10:06 --> 00:10:07 Please, please, please.
00:10:07 --> 00:10:08 Sorry.
00:10:08 --> 00:10:09 Please.
00:10:09 --> 00:10:09 You know?
00:10:09 --> 00:10:12 That'd be absolutely amazing.
00:10:12 --> 00:10:13 Yeah, right.
00:10:13 --> 00:10:14 Let's talk about the music video.
00:10:15 --> 00:10:15 Oh, my God.
00:10:16 --> 00:10:17 I mean, she has acknowledged.
00:10:17 --> 00:10:18 She is such a creep at this music video.
00:10:18 --> 00:10:20 I was about to say.
00:10:21 --> 00:10:24 I was going to say, I'm like, so is he the apparition or is she?
00:10:24 --> 00:10:28 Because everyone's just kind of floating by, like, just looking at everybody.
00:10:29 --> 00:10:39 I'm like, I think it's just the Polaroids make it even more like, girl, your apartment has nothing else but that.
00:10:40 --> 00:10:43 I mean, she literally bought that apartment, I think, because it's across from him.
00:10:43 --> 00:10:46 Or she's living there because it's across from him.
00:10:46 --> 00:10:48 Turn me inside out so I can see.
00:10:49 --> 00:10:50 You know, like that vibe.
00:10:50 --> 00:10:50 Yeah.
00:10:50 --> 00:10:52 It's like the big, scary wide eyes.
00:10:53 --> 00:10:53 Yeah.
00:10:53 --> 00:10:54 She does look cool, though.
00:10:54 --> 00:10:58 I love the house party scene when she's just kind of playing and he's walking past her.
00:10:58 --> 00:11:00 It gives cash.
00:11:00 --> 00:11:02 She's like, I'm not really stalking you.
00:11:02 --> 00:11:03 Exactly.
00:11:03 --> 00:11:03 Yeah.
00:11:04 --> 00:11:11 I didn't completely just blow out my parents' rent and make them take out a second mortgage just to say hi to you when you leave and walk your dog.
00:11:11 --> 00:11:14 It's amazing, though.
00:11:14 --> 00:11:17 I loved how mildly creepy the videos were.
00:11:18 --> 00:11:20 Because what happens is it's not like she's following him.
00:11:20 --> 00:11:24 She is just thinking about him, and she's in the house.
00:11:24 --> 00:11:26 Even she looks like she's busking on the street.
00:11:26 --> 00:11:29 It's just very chill.
00:11:29 --> 00:11:30 It's not...
00:11:30 --> 00:11:30 It's so...
00:11:33 --> 00:11:34 It's so funny.
00:11:34 --> 00:11:35 I'm like, does she get the guy?
00:11:35 --> 00:11:37 Ladies and gentlemen, does she get the guy?
00:11:37 --> 00:11:40 And the answer is... No.
00:11:41 --> 00:11:42 Exactly.
00:11:43 --> 00:11:43 Oh, man.
00:11:44 --> 00:11:45 I mean, he does come to the plays.
00:11:46 --> 00:11:47 No, he disappears after that, though.
00:11:47 --> 00:11:48 So she imagined that.
00:11:48 --> 00:11:49 That's what I'm saying.
00:11:49 --> 00:11:50 Apparition.
00:11:50 --> 00:11:51 Thank you.
00:11:51 --> 00:11:52 Yeah.
00:11:52 --> 00:11:53 She's a limerick.
00:11:53 --> 00:11:53 Oh, gosh.
00:11:53 --> 00:11:56 She's a limerick.
00:11:56 --> 00:11:57 The song still does go off live, though.
00:11:58 --> 00:11:58 For sure.
00:11:59 --> 00:11:59 It does.
00:11:59 --> 00:12:00 Yeah.
00:12:00 --> 00:12:01 Yeah.
00:12:01 --> 00:12:01 Yeah.
00:12:02 --> 00:12:22 it's impressive because she was so young like i i still get kind of nervy myself like i can oh yeah i can sing well now but like i get nervy i don't her confidence i would love to have just just seen it in person she was spunky yeah for sure yeah yeah well my god and honestly all the other like songs that were we're talking about everywhere for a long time guys sorry
00:12:22 --> 00:12:44 feel free to join us in the comments but i will say just kind of that being her debut like lady marmalade hanging by a moment by life house ride with me by nelly oh are you pop by nsync like she was against a lot of grown-ups who were like killing it i can go down from like one to ten for her to chart as well as she is is impressive so
00:12:45 --> 00:13:10 music was so good then oh honey oh my gosh oh wait till we get to the other song where i found the other listing of okay okay it was sickening oh man one thing though i want to say for all the michelle super fans here because i am actually i'm a huge fan of her you are i'm a big fan since i was a kid every tour she's done since i've moved to the u.s i've gone to um there was one tour where she sang this song acoustically at the end the crowd was not happy they were like
00:13:11 --> 00:13:11 Where's the band?
00:13:12 --> 00:13:12 Right.
00:13:12 --> 00:13:14 They said, girl, you better scream.
00:13:14 --> 00:13:15 Yeah.
00:13:15 --> 00:13:15 Girl, you better.
00:13:15 --> 00:13:18 I got a while for that.
00:13:18 --> 00:13:19 Oh, man.
00:13:19 --> 00:13:20 Okay, so this is definitely a 10.
00:13:20 --> 00:13:21 I love this song.
00:13:21 --> 00:13:23 Yes, everywhere.
00:13:23 --> 00:13:23 It's a 10.
00:13:23 --> 00:13:24 That was terrible.
00:13:24 --> 00:13:25 That was the worst one I've done today.
00:13:25 --> 00:13:26 All right.
00:13:28 --> 00:13:33 Up next is You Get Me, and this was done by Avra Moore, Shelley Pykin, John Shanks, and Michelle Branch.
00:13:33 --> 00:13:40 And this song was chosen as the theme song for MTV Sorority Live and included in films like What a Girl Wants and The Hot Chick.
00:13:41 --> 00:13:48 And though it wasn't a single, Michelle has often included the song on her set list, and it has also been included on her upcoming collaboration EP.
00:13:48 --> 00:13:50 But we still don't know.
00:13:50 --> 00:13:50 Still.
00:13:50 --> 00:13:50 Still.
00:13:51 --> 00:13:52 Still don't know who the collaborator is.
00:13:53 --> 00:13:56 As of this recording, we are watching you get jobs as soon as we post it.
00:13:56 --> 00:13:57 I know.
00:13:57 --> 00:13:57 You know what?
00:13:58 --> 00:13:59 It's fine.
00:13:59 --> 00:13:59 It's fine.
00:14:00 --> 00:14:02 It makes it more fun because we can make guesses, I guess.
00:14:03 --> 00:14:03 This is true.
00:14:10 --> 00:14:10 Oh, man.
00:14:10 --> 00:14:11 So you get me.
00:14:11 --> 00:14:13 The lyrics are so cute.
00:14:13 --> 00:14:14 Yes, they are.
00:14:14 --> 00:14:16 I'm going to use that word quite a lot, I think, for this.
00:14:16 --> 00:14:21 Like her describing her quirks, you know, but it's like, oh, but you get me.
00:14:21 --> 00:14:22 It's like, it's very cute.
00:14:22 --> 00:14:25 She does sound a bit like Avril Lavigne in the verses here, I will say.
00:14:26 --> 00:14:26 Yeah.
00:14:27 --> 00:14:29 And there's this like use of vocal fry that she does.
00:14:30 --> 00:14:30 There it is.
00:14:31 --> 00:14:33 You know, which it makes it feel a bit more intimate.
00:14:33 --> 00:14:35 I think that's kind of maybe why they made that choice.
00:14:36 --> 00:14:36 Yeah.
00:14:36 --> 00:14:41 But yeah, I think overall, the chorus of this especially has a really nice melody.
00:14:41 --> 00:14:44 It's chill, you know?
00:14:44 --> 00:14:47 And it's kind of nice to sing along to you, you know?
00:14:49 --> 00:14:50 Yeah, exactly.
00:14:50 --> 00:14:54 It's perfect for the arm waving, for sure.
00:14:55 --> 00:15:00 So I can see why she's included it in the set list, and it's kind of become a pseudo single, I guess.
00:15:00 --> 00:15:01 Oh, I know what you mean, yeah.
00:15:01 --> 00:15:02 Yeah.
00:15:02 --> 00:15:03 And yeah, again, the writing.
00:15:03 --> 00:15:07 You know, the final chorus is slightly different lyrics, just to kind of build the whole thing.
00:15:07 --> 00:15:08 There's some good ad-libs here.
00:15:08 --> 00:15:08 Yes.
00:15:09 --> 00:15:13 And, you know, even though it wasn't a single, it got a lot of sync.
00:15:14 --> 00:15:14 So there you go.
00:15:14 --> 00:15:14 Yeah.
00:15:16 --> 00:15:21 Listen, when I see a good cue sheet, it's like, hey, this part of the movie, at this time, we're going to play this song.
00:15:21 --> 00:15:21 Thank you.
00:15:21 --> 00:15:23 We'd love to see that.
00:15:23 --> 00:15:24 We'd love to see that.
00:15:24 --> 00:15:25 But yes, fun fact.
00:15:25 --> 00:15:28 Kaiken actually pinned What a Girl Wants for Christina.
00:15:29 --> 00:15:30 So it's interesting that ended up in a movie.
00:15:30 --> 00:15:31 Oh, nice.
00:15:31 --> 00:15:31 That's so fun.
00:15:32 --> 00:15:34 Yeah, I love it.
00:15:34 --> 00:15:35 I love when things come together.
00:15:36 --> 00:15:39 So I also enjoy the meaning of the song.
00:15:39 --> 00:15:45 And I think although it is pretty obvious in its meaning, like when I'm making choreography and it's like completely on the words, I call it cornyography.
00:15:46 --> 00:15:53 This is like some mildly corny ish, but not super bad, like.
00:15:54 --> 00:16:20 metaphors was like i'm out of tune i'm paranormal like bending of the spoon i enjoy that because it kind of makes you think of the matrix it's like she sees things a certain way or like she's not going to quote normal she doesn't fall in line so things like that make it feel a little bit more special and different um and also when you're young it is easy to feel out of place like i know with where i went to school i felt that way um overall like sonically i think
00:16:21 --> 00:16:25 This song is definitely about finding her person, her human being.
00:16:25 --> 00:16:29 You know, like, this is the track that plays during those long-winded Instagram comments.
00:16:29 --> 00:16:30 Like, you guys know the ones.
00:16:30 --> 00:16:33 Like, you're on my side, they just roll my eyes.
00:16:33 --> 00:16:36 Like, having someone understand your humor and that way of speaking, like,
00:16:37 --> 00:16:37 It feels amazing.
00:16:37 --> 00:16:39 It feels like reinforcement and support.
00:16:41 --> 00:16:44 But yeah, I think for me, the song feels like cafe pop.
00:16:44 --> 00:16:50 This is something that you would like sit down at a cafe or like a big, you know, chain cafe.
00:16:50 --> 00:16:52 I'm not going to say they're not doing this.
00:16:52 --> 00:16:58 But yes, and it gives like that Dawson Creek fantasy of like soulmate level comprehension.
00:16:59 --> 00:17:03 But yeah, I totally hear this in a bean or bread centric place and feel cozy, you know?
00:17:04 --> 00:17:06 Yes, that is very true.
00:17:06 --> 00:17:07 Yes.
00:17:07 --> 00:17:10 Also, I do want to shout out the 2021 re-record of this.
00:17:10 --> 00:17:12 I actually love this version.
00:17:12 --> 00:17:15 It looks like she took that version off of streaming.
00:17:15 --> 00:17:18 I'm assuming because of this EP release that's happening.
00:17:18 --> 00:17:20 She didn't want to confuse people with the different versions of the song.
00:17:21 --> 00:17:25 But with this song in particular, her voice has perturbed just so nicely.
00:17:25 --> 00:17:29 And the production overall in these re-recordings is just a bit more organic.
00:17:29 --> 00:17:32 So I think it just feels different having...
00:17:32 --> 00:17:35 like an older person sing these lyrics.
00:17:36 --> 00:17:39 Cause I feel like after you've lived, you've met a lot more people, you know?
00:17:40 --> 00:17:43 And so finding someone that really does get you, I think actually means more.
00:17:50 --> 00:17:52 Yeah, I have that in my nose as an adult.
00:17:52 --> 00:17:54 Sometimes you feel like this now as an adult.
00:17:54 --> 00:17:55 You're like, dang.
00:17:56 --> 00:17:58 Sometimes some people don't find a person.
00:17:58 --> 00:17:59 We don't have to be romantic either.
00:17:59 --> 00:18:02 It can be someone that really cares about you, a friend, guys.
00:18:02 --> 00:18:05 So if you haven't found it yet, just look around.
00:18:05 --> 00:18:06 Maybe it's your dog.
00:18:07 --> 00:18:28 either way yes you come home the dog is like I love you like wow this is amazing you know so I do appreciate the song I appreciate the sentiment for me I was kind of like I don't know I don't know yet so for now this is gonna be my first like low score 7.5 for me it's not terrible okay yeah just okay I like this one I'll give it an 8.5
00:18:29 --> 00:18:34 Next up is All You Wanted, and this was written by Michelle Branch and produced by John Shanks.
00:18:35 --> 00:18:41 And this was released as the second single from the album in January 2002, hitting number six on the Billboard Hot 100.
00:18:41 --> 00:18:46 And this music video was nominated for Best Female Video and Best Pop Video at the 2002 VMAs.
00:18:53 --> 00:18:55 First off, she wrote this by herself, too.
00:18:55 --> 00:18:55 Yeah.
00:18:56 --> 00:18:56 Amazing.
00:18:57 --> 00:18:57 Good for her.
00:18:58 --> 00:19:01 Because it is not easy to write a good hit song.
00:19:01 --> 00:19:07 I mean, having a good producer who knows how to create atmosphere is very important as well.
00:19:08 --> 00:19:10 And this song, I have to mention the chart.
00:19:10 --> 00:19:12 So, again, it wasn't that long of a way, y'all.
00:19:12 --> 00:19:17 So this was around the Vanessa Carlton debut, A Thousand Miles, Peek at Number 5.
00:19:17 --> 00:19:19 And then also, you're dealing with, again,
00:19:20 --> 00:19:22 a really, really mixed bag.
00:19:22 --> 00:19:31 We have the icon, the musical industry plant that was J-Lo, who was topping chart, who I love J-Lo, but she was a plant.
00:19:31 --> 00:19:32 We all know.
00:19:32 --> 00:19:33 I don't know her.
00:19:33 --> 00:19:34 Where do you think it came from?
00:19:34 --> 00:19:35 Love J-Lo down.
00:19:35 --> 00:19:35 I...
00:19:36 --> 00:19:40 I can say I love her down on the 6th with my stuff, but it was topping the charts.
00:19:40 --> 00:19:45 You have Linkin Park as well, like peak Chester angst.
00:19:45 --> 00:19:48 And then Kylie had released Can't Get You Out of My Head.
00:19:49 --> 00:19:53 It was competitive and so diverse.
00:19:53 --> 00:19:54 Again, this year.
00:19:56 --> 00:20:00 You legit have a mild Sonic doppelganger against you.
00:20:00 --> 00:20:00 And then Kylie.
00:20:01 --> 00:20:04 Guys, if you're an older pop fan, you get it.
00:20:05 --> 00:20:07 If you listen to our show, you get it.
00:20:07 --> 00:20:08 So this is like intense.
00:20:08 --> 00:20:12 If you don't know Michelle Branches, please understand that she was in the ring.
00:20:12 --> 00:20:13 Okay.
00:20:13 --> 00:20:14 She was in the ring.
00:20:15 --> 00:20:17 But I do enjoy this song for a couple of reasons.
00:20:17 --> 00:20:23 Because of the meaning of it, it comes across as like she wants to help.
00:20:24 --> 00:20:26 And she kind of wants to be there for that person.
00:20:26 --> 00:20:32 But she had to learn that she had to be who she wanted to be, not what she thought that person wanted to be.
00:20:32 --> 00:20:35 Like, it's about escaping loneliness through each other.
00:20:35 --> 00:20:36 I can take you away from all of this.
00:20:37 --> 00:20:39 We can be happy together if you want, which I appreciate.
00:20:40 --> 00:20:43 I think finding that balance of like, let me fix you as opposed to.
00:20:43 --> 00:20:44 Yeah.
00:20:44 --> 00:20:44 Yeah.
00:20:44 --> 00:21:06 do you want to be fixed or do you want do you want me to support you while you figure this out i got you and the lyrics in the first verse is about like relating to him um but feeling overwhelmed it's like i see what you have to go through how the heck you keep this mask on like you have all this noise on the outside world and i do appreciate how the i say the narrator but the narration of the song is like i want to offer support but not lose you
00:21:07 --> 00:21:12 And it's so fun, because it's like, it's a lot more mature than everywhere.
00:21:12 --> 00:21:13 Everywhere is, we love her.
00:21:14 --> 00:21:16 But this one's like, I don't need to be you.
00:21:17 --> 00:21:20 But if you do need someone to kind of like bounce things on, I got you.
00:21:20 --> 00:21:24 And I do wonder if the younger generations that they heard this song, like,
00:21:25 --> 00:21:28 with the loneliness that people feel now, would it resonate?
00:21:29 --> 00:21:29 Oh.
00:21:29 --> 00:21:30 You know?
00:21:30 --> 00:21:32 So I'm just like, maybe, yes.
00:21:32 --> 00:21:32 Maybe.
00:21:32 --> 00:21:33 Yes.
00:21:33 --> 00:21:33 Yeah, you know?
00:21:33 --> 00:21:36 Like, this is a stronger you get me, where now she's like, I got you.
00:21:37 --> 00:21:41 So for me, I feel like this is, that's why I'm like, oh, kind of tough on you.
00:21:41 --> 00:21:42 You get me a little bit.
00:21:42 --> 00:21:42 Yeah.
00:21:42 --> 00:21:47 But I do like this song, because it's not pathetic for, like, a teen to be singing this song, you know?
00:21:47 --> 00:21:47 Yeah.
00:21:48 --> 00:21:51 And very mature, actually, for a teen to be singing these lyrics.
00:21:51 --> 00:21:52 Yeah, that's awesome.
00:21:52 --> 00:21:53 Yeah, I...
00:21:54 --> 00:21:56 I definitely love this song for sure.
00:21:56 --> 00:21:59 And again, there is nostalgia here, so that definitely comes into it.
00:21:59 --> 00:22:04 But there's something about this melody that I think, again, it's just a perfect pop rock.
00:22:05 --> 00:22:06 Like, it's just so satisfying.
00:22:07 --> 00:22:15 And even the execution as well, like Michelle kind of, she gets stronger as the song goes, almost a bit more frustrated, you know?
00:22:16 --> 00:22:34 has such a great sing-along ability like i'm so excited to go to this tour i haven't been to michelle's show in a while and this song it's always so fun when a crowd is just like screaming like chorus to this oh my god yeah you know this and are you happy now you know like it's like the two that are like everyone's like ah um
00:22:35 --> 00:22:37 I love the big belts coming out of the bridge into the final chorus.
00:22:37 --> 00:22:40 Like, she is just really giving there.
00:22:40 --> 00:22:46 So, yeah, I think just as a pop song, especially of this type of genre, it is one of the best.
00:22:48 --> 00:22:48 Oh, yeah.
00:22:48 --> 00:22:50 I can, like... Oh, my God.
00:22:50 --> 00:22:53 It's interesting, because I think about, like, what I was listening to at the time.
00:22:53 --> 00:22:55 It was like, Evanescence is, like, in part.
00:22:55 --> 00:22:57 I was, like, a really angsty kid for no reason.
00:22:58 --> 00:23:00 Okay, for some reason.
00:23:00 --> 00:23:01 But, like, I was like, oh, yeah, the darkness.
00:23:02 --> 00:23:04 And just, like, the shadow man came out again.
00:23:05 --> 00:23:05 But, yeah, no.
00:23:05 --> 00:23:09 And I love this video, because I think it's so funny.
00:23:09 --> 00:23:09 I don't...
00:23:09 --> 00:23:10 I'm just hopping right into it.
00:23:10 --> 00:23:14 But, like, the video for this song makes me laugh a little bit, because now she's the apparition.
00:23:15 --> 00:23:15 Like...
00:23:16 --> 00:23:18 She's, it's giving Charmed.
00:23:18 --> 00:23:19 It is.
00:23:19 --> 00:23:20 It's giving Piper.
00:23:20 --> 00:23:23 Can I, oh my God.
00:23:23 --> 00:23:23 Yeah.
00:23:23 --> 00:23:27 I feel so bad for, can you imagine like, guys, if you haven't seen Charmed, please watch your first episode.
00:23:27 --> 00:23:28 Can you imagine you're on a date with this guy?
00:23:28 --> 00:23:28 You think he's great.
00:23:28 --> 00:23:30 You know, you're connecting.
00:23:30 --> 00:23:33 He's connecting because he wants to connect his blade to your chest.
00:23:33 --> 00:23:33 Like what?
00:23:38 --> 00:23:39 Any hoodle doodle.
00:23:40 --> 00:23:41 We're so witchy here on this show.
00:23:42 --> 00:23:46 I think this video cracks me up because it's like, when they go better, it feels like an angel on his show.
00:23:46 --> 00:23:49 Like she's tapping and like, you don't like this noisy club.
00:23:49 --> 00:23:50 We have anxiety.
00:23:50 --> 00:23:50 Let's go.
00:23:50 --> 00:23:52 So he leaves and then he's on the bus.
00:23:52 --> 00:23:57 And then I'm just like, why are you, why is the ghost annoyed that he's on the bus talking to some friends?
00:23:57 --> 00:23:58 She's like, get off.
00:23:58 --> 00:24:01 And then when he finally does get off, you run away.
00:24:01 --> 00:24:03 Like girl, if you don't take your indecisive.
00:24:03 --> 00:24:06 She's also screaming at him in between these moments.
00:24:07 --> 00:24:07 That's what I'm saying.
00:24:07 --> 00:24:11 Like, if you don't take your indecisive butt onto the afterlife, girl, go.
00:24:14 --> 00:24:14 But I'm being silly.
00:24:14 --> 00:24:15 Oh my God.
00:24:15 --> 00:24:18 But I think the highlight of the video are the effects.
00:24:18 --> 00:24:25 Like you think about like the rain is freezing and she's moving around and she's looking at it in his face.
00:24:25 --> 00:24:28 And I'm like, oh wow, this is good effects.
00:24:28 --> 00:24:30 But I can't tell you what the video is about.
00:24:31 --> 00:24:33 Cause I was like, do you want to be there for him or not?
00:24:33 --> 00:24:34 Cause he's choosing you now.
00:24:35 --> 00:24:37 You're like, I don't think he's choosing her.
00:24:37 --> 00:24:38 I think,
00:24:39 --> 00:24:43 I think he's being like nonchalant and she's frustrated and she's like, what do you want?
00:24:44 --> 00:24:47 She's a ghost.
00:24:47 --> 00:24:47 What do you want?
00:24:47 --> 00:24:49 But yeah, I think that transitions are fun.
00:24:49 --> 00:24:55 Like this whole transition from the bedroom to the party to, you know, all of it was done really well and it tells a story, which is good.
00:24:56 --> 00:25:00 I will say there's, I think at the beginning she's strumming while she's at it.
00:25:00 --> 00:25:02 Like there's no strumming in the track yet.
00:25:02 --> 00:25:03 Yeah.
00:25:03 --> 00:25:31 it annoys me so much i'm like why are you not playing the guitar part the way it actually is in the track but otherwise the whole freezing thing is very fun like i will always think of charmed now you know every time just time freezes and there's just one person moving around i just think of piper yeah um because that would be the power that i would want as well i want to be pru i'm uptight like pru yeah i used to think i was a phoebe but i've gotten older i'm extremely uptight with my family was too i didn't want her power though you know
00:25:31 --> 00:25:32 I did when I was younger.
00:25:32 --> 00:25:36 I was like, wow, you have a second ability connecting with people.
00:25:36 --> 00:25:38 Now I'm like Prue and I'm like, why are you back here?
00:25:38 --> 00:25:40 You haven't been here for months, years even.
00:25:40 --> 00:25:41 Mom is dead.
00:25:41 --> 00:25:42 Grandma's also dead.
00:25:42 --> 00:25:43 You know, I'm Prue.
00:25:44 --> 00:25:44 I see.
00:25:45 --> 00:25:45 I see.
00:25:45 --> 00:25:46 Oh man.
00:25:46 --> 00:25:48 But anyway, I love the song.
00:25:48 --> 00:25:50 It is another 10 for me.
00:25:50 --> 00:25:51 Yeah, I'll give this one a 10 too.
00:25:53 --> 00:25:56 Up next is You Set Me Free, and this was done by John Shanks and Michelle Branch.
00:25:56 --> 00:26:01 And this is the first song that John and Michelle wrote together on the first day of their sessions.
00:26:01 --> 00:26:01 Oh.
00:26:01 --> 00:26:06 And this song was also used in the trailer for DreamWorks Spirit, Stallion of the Cimarron.
00:26:06 --> 00:26:10 And also in a few movies like Just Mary and Ice Princess.
00:26:11 --> 00:26:11 Mmm.
00:26:11 --> 00:26:15 You could see, yeah.
00:26:15 --> 00:26:16 And you set me free.
00:26:17 --> 00:26:18 Okay, two things.
00:26:18 --> 00:26:23 I remember watching Ice Princess because I had a friend who's a little bit older than me and she was kind of cool.
00:26:23 --> 00:26:26 And I was like, do you have that movie, like ice skating?
00:26:26 --> 00:26:27 She's like, oh yeah, girl.
00:26:27 --> 00:26:29 So we sat down and watched it and I was like, I'm cool.
00:26:30 --> 00:26:32 I was not cool, but I thought she was by proxy.
00:26:32 --> 00:26:37 And then also Spirit the Horse is my Hear Me Out.
00:26:38 --> 00:26:40 He has a lot of girls' Hear Me Out.
00:26:40 --> 00:26:41 Really?
00:26:41 --> 00:26:43 Yeah, because have you seen Spirit?
00:26:44 --> 00:26:46 I have, but a long time, like when it came out.
00:26:46 --> 00:26:47 Okay, no saying, saying, saying, saying.
00:26:47 --> 00:26:47 So, um.
00:26:47 --> 00:26:48 Yeah.
00:26:48 --> 00:26:51 So, you already know what the hear me out thing is, right?
00:26:51 --> 00:26:51 I do.
00:26:51 --> 00:26:53 Okay, okay, okay.
00:26:53 --> 00:26:55 So straight guys will be like, oh, Sofia Vergara is my hear me out.
00:26:55 --> 00:26:56 Like that's not.
00:26:56 --> 00:26:56 Yeah, yeah, yeah.
00:26:56 --> 00:26:57 You know, so you get it.
00:26:58 --> 00:27:02 So, my list of hear me outs are Nick Wiles from Zootopia.
00:27:02 --> 00:27:03 He's a scammer, I don't know why.
00:27:04 --> 00:27:06 Spirit, right?
00:27:09 --> 00:27:12 And the gargoyle, the main gargoyle from Gargoyles.
00:27:14 --> 00:27:15 Oh, I loved Gargoyles.
00:27:15 --> 00:27:18 Did you see that the reboot has been canceled?
00:27:18 --> 00:27:19 Like there was going to do a live action on Disney+.
00:27:21 --> 00:27:21 It's not happening.
00:27:21 --> 00:27:22 The CG would have been so bad.
00:27:22 --> 00:27:23 Maybe not.
00:27:23 --> 00:27:24 No, I think they would have been good.
00:27:24 --> 00:27:26 I was so excited to see them interpret it.
00:27:26 --> 00:27:27 Anyway.
00:27:27 --> 00:27:27 I'm scared.
00:27:27 --> 00:27:27 Okay.
00:27:27 --> 00:27:31 But point is, point is, point is, I've heard this song a couple of different times.
00:27:31 --> 00:27:32 Because of these movies.
00:27:32 --> 00:27:33 Yeah.
00:27:33 --> 00:27:34 In my Hear Me Out.
00:27:34 --> 00:27:37 Didn't feel like when I was younger, but I was like, why do I love this horse so much?
00:27:37 --> 00:27:37 But yes.
00:27:38 --> 00:27:39 So it's interesting.
00:27:40 --> 00:27:42 Again, syncing the song.
00:27:43 --> 00:27:44 Did you look up my Hear Me Out's?
00:27:45 --> 00:27:50 Well, no, I know what Hear Me Outs is, but I'm just looking at pictures now of Spirit, and I'm just laughing at that.
00:27:50 --> 00:27:51 He was untamable.
00:27:52 --> 00:27:53 Get off of my back.
00:27:53 --> 00:27:55 Did you know he was voiced by Matt Damon?
00:27:55 --> 00:27:56 I didn't know that.
00:27:56 --> 00:27:57 Matt Damon.
00:27:58 --> 00:27:59 Anyway, okay.
00:27:59 --> 00:28:00 You set me free.
00:28:01 --> 00:28:03 Welcome to CCTV, where the conversations are amazing.
00:28:04 --> 00:28:04 Yes.
00:28:04 --> 00:28:06 But yes, so, this song.
00:28:06 --> 00:28:06 Mm-hmm.
00:28:07 --> 00:28:08 How do you feel about it?
00:28:08 --> 00:28:11 Because I was getting very country-ish from it.
00:28:11 --> 00:28:13 Not very, but like a little light country.
00:28:13 --> 00:28:15 Yeah, there's always been a bit of a country twang to Michelle.
00:28:15 --> 00:28:17 I mean, she literally went country for a little bit.
00:28:17 --> 00:28:18 Yes, I saw.
00:28:18 --> 00:28:20 Yeah.
00:28:20 --> 00:28:22 I will say this one feels a tad cheesy.
00:28:22 --> 00:28:25 Like I would say this is probably the cheesiest song on the album.
00:28:25 --> 00:28:25 Okay.
00:28:25 --> 00:28:28 But I can see why that it was used for...
00:28:29 --> 00:28:32 a cartoon, these types of movies that it was used in, you know?
00:28:33 --> 00:28:35 So that's great, again, from the sync purpose.
00:28:35 --> 00:28:37 But for what it is, I think it does a good job.
00:28:37 --> 00:28:39 Like, I think it's produced well.
00:28:40 --> 00:28:41 The chorus is nice.
00:28:41 --> 00:28:46 I do like the way they stack the background vocals, like, because I, I, I, I.
00:28:46 --> 00:28:47 Yeah.
00:28:48 --> 00:28:50 Again, just a great sing along moment.
00:28:50 --> 00:28:53 I believe this is on the set list for the new tour.
00:28:53 --> 00:28:54 I'm kind of excited about that.
00:28:55 --> 00:28:56 I heard it.
00:28:56 --> 00:28:59 She did it kind of impromptu acoustic the last time that I saw her.
00:28:59 --> 00:29:01 So I'm kind of excited to hear it properly.
00:29:03 --> 00:29:05 It's not my favorite on the album, but I like it.
00:29:06 --> 00:29:07 Okay, I get what you're saying.
00:29:08 --> 00:29:11 Okay, for me, I don't know, I don't dislike it, but I don't like, oh my God, I love it.
00:29:12 --> 00:29:26 But the lyrics about this person coming around and pulling her through and giving her the confidence to be free without asking for things in return, like, oof, this is like the kind of sort of response to all you wanted.
00:29:26 --> 00:29:28 Like, I do appreciate that there's like a kind of a thread
00:29:30 --> 00:29:31 of connection here.
00:29:31 --> 00:29:35 Maybe because she's singing about love and romance and connection period.
00:29:36 --> 00:29:49 But not like a perfect response, but it just feels like if I were to hear a song that was sung back from the guy's perspective or whoever's receiving it's perspective, like you set me free while I was down, I didn't know who I wanted to be type things.
00:29:49 --> 00:29:50 I'm not going to lie.
00:29:50 --> 00:29:51 I'm not going to lie.
00:29:51 --> 00:29:52 I'm not going to lie.
00:29:52 --> 00:29:59 I do appreciate how bright it is, brighter it is in the previous track in terms of like the levity of the lyric, but it doesn't sound, it doesn't stand out.
00:30:01 --> 00:30:04 It's kind of like a beige Toyota Camry, you know, safe, chill.
00:30:07 --> 00:30:07 It's right there.
00:30:07 --> 00:30:13 It's solid, but it does feel like a sonic wallflower at this point in the record.
00:30:13 --> 00:30:17 And it's meant to be appreciated by someone as opposed to like the standout deep cut.
00:30:17 --> 00:30:18 And that's what I got from this.
00:30:19 --> 00:30:22 So for me, this is a 7.5.
00:30:23 --> 00:30:25 Not terrible, but I think just a little bit weaker.
00:30:26 --> 00:30:27 Yeah, I'll give it an eight.
00:30:28 --> 00:30:30 Next up is Something to Sleep To.
00:30:30 --> 00:30:34 And this was done by Jennifer Haggio, John Shanks, and Michelle Branch.
00:30:40 --> 00:30:42 Okay, here we are.
00:30:42 --> 00:30:45 And now we're getting a little darker, a little angstier.
00:30:45 --> 00:30:46 A little angstier.
00:30:46 --> 00:30:48 I'm like, my voice is going to pick up on the mic.
00:30:48 --> 00:30:48 Angsty.
00:30:49 --> 00:30:50 No, it's not.
00:30:50 --> 00:30:50 Okay.
00:30:50 --> 00:30:51 I can hear it.
00:30:51 --> 00:30:52 Okay, good, good, good, good.
00:30:53 --> 00:30:56 So this, we've hit the weighted blanket section of the album.
00:30:57 --> 00:30:58 It's cozy.
00:30:58 --> 00:30:59 But it's also unfortunate.
00:30:59 --> 00:31:01 I don't, it's like it's too hot.
00:31:01 --> 00:31:02 The blanket's too hot now.
00:31:02 --> 00:31:06 This track is deceptive because of the storytelling in the song, right?
00:31:06 --> 00:31:09 Like he wakes us up to the sound, worried that she's leaving.
00:31:09 --> 00:31:11 She's putting her makeup on, acting like nothing's wrong.
00:31:11 --> 00:31:13 She's a yellow brick road leading him nowhere.
00:31:13 --> 00:31:15 Like what the heck?
00:31:15 --> 00:31:17 So there's some dysfunction here, okay?
00:31:17 --> 00:31:25 There's some Jennifer Jones, Montel Williams show drama going on.
00:31:25 --> 00:31:26 Somebody's cheating.
00:31:27 --> 00:31:28 Somebody's cheating.
00:31:28 --> 00:31:29 I reference so many shows from the 90s.
00:31:29 --> 00:31:31 You can tell I have an older sibling.
00:31:33 --> 00:31:36 It's a toxic romance that creates this dysfunction because you never know what the woman did.
00:31:36 --> 00:31:42 You can only assume she's pretending that something's not happening or didn't happen, rather.
00:31:42 --> 00:31:46 And the guy is more worried about losing her instead of confronting the issue.
00:31:47 --> 00:31:48 You know, and I'm like, hmm.
00:31:48 --> 00:31:54 And yet deep down, the narrator, she, whoever she is, realizes ultimately that every choice I made was correct.
00:31:55 --> 00:31:56 It's weird.
00:31:56 --> 00:31:57 It's weird.
00:31:57 --> 00:32:01 This is definitely giving, they were watching some movie or something.
00:32:01 --> 00:32:05 And that was what this song came out of, you know.
00:32:05 --> 00:32:08 Because I believe Jennifer's just like her high school friend, I think.
00:32:09 --> 00:32:10 Stop it.
00:32:10 --> 00:32:11 Yeah.
00:32:11 --> 00:32:12 Get out.
00:32:12 --> 00:32:13 I love the lore.
00:32:13 --> 00:32:14 Yeah.
00:32:15 --> 00:32:16 We need to write a song together.
00:32:16 --> 00:32:17 Maybe they were going through it.
00:32:17 --> 00:32:18 I don't know.
00:32:18 --> 00:32:20 Maybe one of them really was going through something.
00:32:20 --> 00:32:22 I would say maybe Jennifer was the one.
00:32:22 --> 00:32:22 Sorry, Jennifer.
00:32:25 --> 00:32:25 Oh, man.
00:32:26 --> 00:32:27 I really like this one.
00:32:27 --> 00:32:33 Like, I think it's refreshing kind of coming off of the last four songs because they were quite bright overall.
00:32:33 --> 00:32:33 Yeah.
00:32:33 --> 00:32:36 This one feels a lot heavier and grounded.
00:32:36 --> 00:32:37 Like, the bass line is super loud.
00:32:37 --> 00:32:39 There's an intensity to the whole thing.
00:32:40 --> 00:32:41 I love the whole vocal production of it.
00:32:41 --> 00:32:48 Like, that double stack with the harmony and the octaves sounds so good because she...
00:32:49 --> 00:32:52 Like she's belting her face off for the higher part.
00:32:52 --> 00:32:57 And then you get this kind of low, kind of breathy version for kind of the lower version.
00:32:57 --> 00:32:59 So, yeah, it's a great dynamic for the chorus.
00:32:59 --> 00:33:01 And I always enjoy doing that.
00:33:01 --> 00:33:03 Even when singing along, I like change which one I'm going to sing with.
00:33:04 --> 00:33:05 Can you sing it now?
00:33:05 --> 00:33:05 Go ahead.
00:33:05 --> 00:33:06 Ready?
00:33:06 --> 00:33:08 Five, six, seven, go.
00:33:10 --> 00:33:27 right go ahead for a guys listen my friend can sing um he can do a lot of things he can rap if you're new here my friend went on stage you're gonna push this every episode now absolutely you had a one night stand with melanie c on stage he stood on stage and sang
00:33:28 --> 00:33:29 Wrath of Melody C. I did.
00:33:29 --> 00:33:30 Yeah, you did.
00:33:31 --> 00:33:31 I'm all proud of you.
00:33:31 --> 00:33:32 That's why.
00:33:32 --> 00:33:33 Thank you.
00:33:33 --> 00:33:39 But yes, and then there's just, again, she's just, I love that she, she's so young, right?
00:33:39 --> 00:33:40 Yeah.
00:33:40 --> 00:33:45 She's like 16, 17 recording these songs, but there's just so much emotion in there.
00:33:45 --> 00:33:49 And I love just some of the vocal choices are so fun.
00:33:49 --> 00:33:55 Like that lead into the second chorus, that, like that was so much fun.
00:33:55 --> 00:33:55 Yeah.
00:34:02 --> 00:34:03 That's actually really funny.
00:34:03 --> 00:34:05 She put some attitude on it.
00:34:05 --> 00:34:07 Yeah, she's clearly, you know, she's been listening to some Steven Tyler.
00:34:07 --> 00:34:13 Like she's been listening, you know, like she has that rock influence where she like really just like gives it.
00:34:14 --> 00:34:17 And then the 2021 version, super interesting.
00:34:17 --> 00:34:18 Because again, she just emotes.
00:34:19 --> 00:34:22 so much more naturally now, I would say.
00:34:22 --> 00:34:24 It's just a bit more relaxed, like we were saying earlier.
00:34:24 --> 00:34:30 And then she did perform it acoustically for the 20th anniversary, too, which was another interesting take on the song.
00:34:30 --> 00:34:34 So yeah, I hope this, I think this is on the tour set list, and I very much hope that it is, if it's not.
00:34:34 --> 00:34:34 Yes.
00:34:35 --> 00:34:35 Yeah.
00:34:40 --> 00:34:41 This was my grower.
00:34:41 --> 00:34:43 So it was sitting between two scores.
00:34:43 --> 00:34:45 I will give it an eight.
00:34:45 --> 00:34:46 We're getting back up, y'all.
00:34:46 --> 00:34:47 We're coming back up.
00:34:47 --> 00:34:48 We're coming back up.
00:34:48 --> 00:34:49 I like this one.
00:34:49 --> 00:34:50 I'll give it a nine.
00:34:51 --> 00:34:55 Okay, if you are enjoying the episode so far, I mean, you've made it this far, you are.
00:34:55 --> 00:34:58 You can follow us everywhere at CCTV Pops, okay?
00:34:58 --> 00:35:01 We do music reviews and iconic interviews.
00:35:01 --> 00:35:03 We've interviewed Mel C, as I've mentioned.
00:35:03 --> 00:35:04 We've interviewed K-pop as.
00:35:04 --> 00:35:06 We've interviewed Indie Acts as well.
00:35:06 --> 00:35:10 And also, we have really fun album reviews and guest appearances on our show.
00:35:10 --> 00:35:12 So make sure you do tune in.
00:35:12 --> 00:35:15 And also, if you'd like to join us for live sessions every month,
00:35:16 --> 00:35:23 and the ability to help us pick future episode topics, including the albums that we talk about, join us at patreon.com slash cctvpops.
00:35:23 --> 00:35:24 Yay!
00:35:25 --> 00:35:27 Up next is Here With Me.
00:35:27 --> 00:35:30 This was done by John Shanks and Michelle Branch.
00:35:36 --> 00:35:46 All right, here with me, speaking of what he went to do with Natasha, this sounds like Pocket Full of Sunshine in the beginning of the plucking.
00:35:46 --> 00:35:50 And then Wizard of Waverly Place.
00:35:51 --> 00:35:52 Oh.
00:35:52 --> 00:35:53 It's the plucking away.
00:35:53 --> 00:35:55 It's not like, oh my God, like, oh, this was inspired.
00:35:55 --> 00:35:55 Who knows?
00:35:56 --> 00:36:02 But it was just, for me, considering what I listen to, like Easy A, Pockets of Sunshine, Pockets of Sunshine was playing all the time.
00:36:03 --> 00:36:03 And then Wizards of Sunshine.
00:36:03 --> 00:36:04 You know what I'm saying?
00:36:05 --> 00:36:05 So I heard it a lot.
00:36:06 --> 00:36:15 And I'm like, oh, this one is interesting for me because we've been talking about her age, but we have to really consider it with certain topics.
00:36:15 --> 00:36:19 And I think this one is kind of like where her,
00:36:20 --> 00:36:21 Not immaturity.
00:36:21 --> 00:36:33 I don't know, I've read the word for it, but there's a youth that's present here and she does have an old soul, but now I'm noticing certain things, especially with how her voice changes throughout the dynamic of the song.
00:36:33 --> 00:36:35 The lyric feels a little regretful.
00:36:35 --> 00:36:37 It's not like a devastating kind of regret,
00:36:38 --> 00:36:40 Like she's gotten, she seems to have gotten lost in this guy.
00:36:40 --> 00:36:42 Her reflection's getting clearer.
00:36:42 --> 00:36:44 And of course with love, like literally being blind.
00:36:44 --> 00:36:49 Now she's looking back on things and the lyrics are strong as usual.
00:36:49 --> 00:36:54 And the regret seems to be coming from not saying enough or pulling away.
00:36:54 --> 00:36:57 And maybe it was a reflection of that immaturity.
00:36:57 --> 00:37:06 And granted, it may not be like a real life thing, but being able to articulate these kinds of words melodically in a way that sounds like poetic is not as easy as people think it is.
00:37:07 --> 00:37:15 The bridge is where we get that moment of mild desperation where she says, like a secret that you want to keep to yourself, right?
00:37:16 --> 00:37:18 You say it, but it's not for anyone to hear.
00:37:18 --> 00:37:22 It's an email you can't send vibe where she says, I want you to come back, please.
00:37:22 --> 00:37:25 And I was like, oh, girl, it's vulnerable, not pathetic.
00:37:25 --> 00:37:29 But then where it all falls away, she finally understands why the decision was made.
00:37:29 --> 00:37:30 And I was like, wow.
00:37:31 --> 00:37:56 yeah again very mature actually yes it's a good balance and i think that's what kind of brought me back in with this album because i wouldn't say like this is my particular style i was very angsty like i still kind of am but it's like more humorous angst now as opposed to like i'm angry at the world so like in terms of like intensity i do it i prefer more intensity but the way she writes creates complex thoughts i'm like oh my god i've ever
00:37:56 --> 00:38:20 felt this way before and i was like i felt like that oh please come back please oh but also i know why you left i get it i get it yeah i do enjoy now that she's older like the the was it the 20 20th anniversary version yeah it was like she brought the records back to life she gave him a little revival in her approach yes you got that twang in there yeah yeah so i do i do like this one lyrically
00:38:22 --> 00:38:23 I like this one in every way.
00:38:23 --> 00:38:27 I remember actually this being one of my favorites as a teenager, like listening to this album.
00:38:27 --> 00:38:28 Yeah, I don't know what it is.
00:38:29 --> 00:38:33 I think there's an interesting kind of like...
00:38:34 --> 00:38:34 I don't know.
00:38:34 --> 00:38:40 I think because it feels so internal, there was something about it that I just connected to.
00:38:40 --> 00:38:43 And I like how grounded the whole melody is.
00:38:44 --> 00:38:47 Again, there's a drama and an intensity to it.
00:38:47 --> 00:38:51 And yeah, you know, as a teenager, I think you just appreciate more drama, you know?
00:38:53 --> 00:39:15 um and then yeah i think the the journey that it takes you on which is kind of what you're alluding to where like the bridge starts off all intense but that just pulls back to the keyboard and lyrically she's just processing this whole situation and you're kind of going through the phases of it too so so yeah i i really like this one and this was on the set this last time i saw michelle so i was very happy about that
00:39:18 --> 00:39:44 justice if he's not on there yeah it had it had a moment which is good that's so funny you know for me i will say like as i listened to it there was moments where i was like it's giving divorce dad soft rock you know a little like that a little where like the guy reflected on his life and realized oh shoot the divorce didn't come out of nowhere so i think that's where that's where i'm kind of like oh that's john i feel a little john that's so funny you know what i'm not mad at that
00:39:44 --> 00:39:51 those lived in so i'm not mad oh okay i get this one a nine it's one of my favorites on this album
00:39:52 --> 00:39:54 You know, I like, can you take me higher?
00:39:55 --> 00:39:57 I'm a dad rock playlist girl.
00:39:57 --> 00:39:58 So I'll give it an 8.5.
00:39:58 --> 00:39:59 I can give it a little bit more.
00:39:59 --> 00:40:01 I can.
00:40:01 --> 00:40:06 Next up is Sweet Misery, done by Michelle Branch and produced by John Shanks.
00:40:07 --> 00:40:14 And this song, like a few we're about to talk about, was included on Michelle's independent debut album, Broken Bracelet.
00:40:19 --> 00:40:19 Yes.
00:40:20 --> 00:40:26 So question for you, because it was on the debut album, Broken Bracelet, how did it get onto the spirit room?
00:40:27 --> 00:40:33 So I'm assuming it was just a, she probably got signed because of the independent or partly because of the independent album.
00:40:33 --> 00:40:34 And they were like, we like these songs.
00:40:35 --> 00:40:36 Got it.
00:40:36 --> 00:40:36 Thank you.
00:40:36 --> 00:40:39 See, look at you guys learning things and me learning things with you.
00:40:39 --> 00:40:44 And she did it on her own, you know, and so now she got a big time producer to make a new version.
00:40:45 --> 00:40:46 Which is awesome.
00:40:46 --> 00:40:47 So hello.
00:40:47 --> 00:40:57 Have you ever, I mean, I know you were in different like plays in high school, but did you ever watch, not Degrassi, Instant Star?
00:40:57 --> 00:40:57 Yeah.
00:40:59 --> 00:41:00 No to Instant Star.
00:41:00 --> 00:41:02 Oh, guys, if you...
00:41:03 --> 00:41:12 It is a Canadian drama that was featured on The N. When I got old enough to watch The N, I was watching that, South of Nowhere and Degrassi.
00:41:12 --> 00:41:13 Well, Degrassi I was watching anyway, right?
00:41:14 --> 00:41:19 So Instant Star is about this girl named Jude Morrison or Jude Harrison, whatever her name is, Jude.
00:41:19 --> 00:41:26 She's like an Avril Lavigne-ish kind of style where she's like, oh, tank top, you know, jeans, little riding jeans, and red striking hair.
00:41:26 --> 00:41:34 She is your punk pop princess, and she joins a competition show similar to like American Idol called Instant Star.
00:41:34 --> 00:41:44 She wins the competition, and the whole thing starts because the guy that like manages her was in his boy group, but he's like older than her and they start dating.
00:41:44 --> 00:41:44 Point is...
00:41:46 --> 00:41:49 Jude, Tommy, this song reminds me so much of Instant Star.
00:41:49 --> 00:41:51 Like the teen punk pop singer and her manager.
00:41:51 --> 00:41:55 She's all over the place and he's the mature season guy.
00:41:55 --> 00:41:56 Like he knew better, but not really.
00:41:56 --> 00:42:00 They had an on and off again, the kind of ting going on, you know?
00:42:00 --> 00:42:01 And that was like the whole song.
00:42:02 --> 00:42:04 The lyrics here are just like, I'm such a mess.
00:42:04 --> 00:42:06 And then you saw me like this.
00:42:06 --> 00:42:08 And then you like ruin my life.
00:42:08 --> 00:42:09 And I don't know how I feel about that.
00:42:09 --> 00:42:13 Cause I'm just like, it's giving weird older date dating kind of thing.
00:42:14 --> 00:42:14 That's just how I took it.
00:42:15 --> 00:42:16 It doesn't mean like, you know, she was groomed.
00:42:16 --> 00:42:18 I'm not saying that.
00:42:18 --> 00:42:21 When you're saying I was a mess, but you weren't.
00:42:22 --> 00:42:25 And then like, you caused me sweet misery and you called me that.
00:42:25 --> 00:42:29 Something about it just feels mildly teenage toxic, which is fine.
00:42:29 --> 00:42:32 But it just reminded me so much of Instant Star and all the drama on that show.
00:42:33 --> 00:42:38 I will also say, do not shoot the messenger or the commentator rather.
00:42:38 --> 00:42:38 Yeah.
00:42:39 --> 00:42:46 I can kind of hear Taylor Swift pre-showgirl, poet, pre-lover, maybe folklore evermore singing about this.
00:42:46 --> 00:42:46 Yeah.
00:42:46 --> 00:42:48 Like far more deeply.
00:42:48 --> 00:42:51 And you're like, oh, my God, let me Easter egg and find out who she's talking about.
00:42:52 --> 00:43:00 So I think that Michelle Branches, I don't know if she's an influence, but I feel like some people may not cite her as much.
00:43:00 --> 00:43:01 I think she is.
00:43:02 --> 00:43:03 I feel like.
00:43:03 --> 00:43:03 For Taylor.
00:43:03 --> 00:43:05 I feel like Taylor has listed Michelle.
00:43:05 --> 00:43:06 Good.
00:43:06 --> 00:43:09 Because I feel crazy for saying maybe she doesn't.
00:43:09 --> 00:43:10 I don't know.
00:43:10 --> 00:43:11 I don't want to assume.
00:43:11 --> 00:43:13 But I'm just like, there's no, come on.
00:43:13 --> 00:43:14 Michelle could write a song.
00:43:15 --> 00:43:19 So the bridge is definitely my favorite part in terms of what she does with her voice.
00:43:19 --> 00:43:20 Because she's wailing.
00:43:21 --> 00:43:24 She's not really singing words per se, but she's giving you the O's.
00:43:24 --> 00:43:29 She's giving you her feeling, you know, without saying what those feelings are.
00:43:29 --> 00:43:30 And I think that's also really awesome.
00:43:31 --> 00:43:35 It doesn't go anywhere in terms of melody, I would say.
00:43:35 --> 00:43:35 Yeah.
00:43:35 --> 00:43:38 But the energy is bigger here and there throughout the song.
00:43:38 --> 00:43:40 So I appreciate that approach.
00:43:40 --> 00:43:42 So this song gives me ideas.
00:43:43 --> 00:43:45 It gives me concepts, but I don't know if it was like...
00:43:47 --> 00:43:48 fully articulated.
00:43:48 --> 00:43:49 I don't know what my hands are doing.
00:43:50 --> 00:43:51 If you're watching, I'm moving them a lot.
00:43:52 --> 00:44:03 Yes, so according to a quick Google search that I just did, Taylor Swift did cite Michelle Branch as one of the main reasons that she even picked up a guitar to write her own songs in the beginning.
00:44:03 --> 00:44:04 Amazing.
00:44:04 --> 00:44:08 And she actually did cover All You Wanted on the Speak Now tour.
00:44:09 --> 00:44:11 See, I know I'm not crazy.
00:44:11 --> 00:44:11 Thank you for balloting.
00:44:11 --> 00:44:13 You can definitely hear the inspiration, I think, for sure.
00:44:13 --> 00:44:14 Okay.
00:44:14 --> 00:44:14 Yeah.
00:44:14 --> 00:44:15 Yeah, yeah, yeah.
00:44:15 --> 00:44:17 Yeah, this one is interesting.
00:44:17 --> 00:44:22 It feels very light and airy at first before kind of, you know, the kind of standard kind of pop rock situation.
00:44:23 --> 00:44:29 And I will say the production of the background vocals on the chorus gives me kind of like Enya a little bit.
00:44:29 --> 00:44:33 Like there's like this ethereal choral effect that they put on it.
00:44:35 --> 00:44:36 Oh, I just think it's quite funny.
00:44:36 --> 00:44:37 Yeah, I'm going to be honest.
00:44:37 --> 00:44:39 I don't love this one.
00:44:40 --> 00:44:45 I think that the chorus, I don't love the sweet misery cause me.
00:44:45 --> 00:44:47 I just don't love that melody, to be honest.
00:44:47 --> 00:44:49 I do like the post-chorus, though.
00:44:50 --> 00:44:51 And in my heart I say.
00:44:51 --> 00:44:54 I think I'm like, okay, that's a good melody there.
00:44:55 --> 00:45:00 But yeah, this one is one that I'm going to be honest, I don't tend to turn back to very often.
00:45:00 --> 00:45:05 I will say I much prefer the 2021 re-record for the anniversary.
00:45:05 --> 00:45:09 Because again, it's just a bit more organic and there's kind of a sweetness to it.
00:45:11 --> 00:45:14 Again, I think maybe because it feels more lived.
00:45:15 --> 00:45:15 Oh yeah.
00:45:16 --> 00:45:19 Looking back on it, my life was like, wow, that was such a slow relationship.
00:45:19 --> 00:45:20 Yeah.
00:45:20 --> 00:45:21 So maybe it's that.
00:45:22 --> 00:45:23 Sweet misery caused me.
00:45:27 --> 00:45:30 And there's less of that Enya-ness of the background vocals.
00:45:31 --> 00:45:33 Who can't save my baby?
00:45:34 --> 00:45:36 Yeah, so yeah, I'm going to be honest.
00:45:36 --> 00:45:38 This is not one of my faves on this album.
00:45:39 --> 00:45:40 I have it as a 7.5.
00:45:40 --> 00:45:42 Yes, I will match your score.
00:45:42 --> 00:45:42 Okay.
00:45:43 --> 00:45:50 Up next is, oh, speaking of matching, somebody has the same feelings as she does on this next track, If Only She Knew.
00:45:51 --> 00:45:52 It's giving VJ from early 2000s, y'all.
00:45:53 --> 00:45:56 And this was written by Michelle Branch and produced by John Shanks.
00:45:56 --> 00:46:00 And this song was the first track on Michelle's independent debut album, Broken Bracelet.
00:46:06 --> 00:46:06 Well, let's start.
00:46:06 --> 00:46:09 First off, the broken bracelet version is interesting.
00:46:09 --> 00:46:11 Like, you can tell she did it on her own.
00:46:11 --> 00:46:15 You know, like, she used a drum loop, but the whole track is much slower as well.
00:46:16 --> 00:46:19 And the whole chorus is missing.
00:46:19 --> 00:46:20 Your face was so funny just then.
00:46:20 --> 00:46:21 Yeah.
00:46:21 --> 00:46:21 Yeah.
00:46:27 --> 00:46:28 She did a great job, though.
00:46:28 --> 00:46:29 You know, think about it.
00:46:29 --> 00:46:31 It's like a 15, 16-year-old on her own in 2000.
00:46:31 --> 00:46:37 Honestly, it's better than what I wrote at that age.
00:46:37 --> 00:46:43 There's a lot of background vocals here, but because it's so slow and stuff, it makes it feel a lot sadder, actually.
00:46:43 --> 00:46:48 So it's interesting to hear this first version and then what it ultimately turned into.
00:46:48 --> 00:46:51 But yeah, you mentioned Sheryl Crow earlier.
00:46:51 --> 00:46:52 You can definitely...
00:46:52 --> 00:46:55 hear and feel the Sheryl Crow influence here.
00:46:55 --> 00:46:58 Like there's a bounce to it that kind of feels like some of Sheryl Crow's stuff.
00:46:58 --> 00:46:59 Yeah.
00:47:00 --> 00:47:02 But yeah, I think the production is great on the final version.
00:47:03 --> 00:47:06 Love the way the guitars kind of follow the melody and the pre-chorus.
00:47:06 --> 00:47:10 And there is a cheekiness and a sass to this that I can appreciate.
00:47:10 --> 00:47:14 Like, again, it kind of feels like, I mean, maybe she has going through a love triangle at school.
00:47:15 --> 00:47:19 But again, it feels like she was watching a rom-com or something and she like came up with this.
00:47:19 --> 00:47:20 You know what I mean?
00:47:21 --> 00:47:21 I'm in tears.
00:47:21 --> 00:47:28 You know, I feel like she's a nuanced heroine of a rom-com, you know, where she's like, I have feelings.
00:47:29 --> 00:47:53 is you belong with me but just a little bit more like rom-com movie um as opposed to like dorky girl like she's kind of like the the outcasted girl and she's like well i've always been your friend i've always liked you like what the heck you know it's like that it's not like well i you know it's a secret and i'll leave a note in your locker and she's like dude we dated already like you know i know you
00:47:55 --> 00:48:01 I mean, I feel like for this one, this is like the album's quote unquote the most snarkiest moment.
00:48:02 --> 00:48:10 And I think I appreciate the perspective a lot more because it's from the rival oblivious to what she has and it lets her be more...
00:48:12 --> 00:48:40 pointed instead of wounded so you're getting this like hey so i know this is not right i'm not going to do anything you're not going to do anything but it's kind of sucks like because i like you too if only she knew um and i think the attitude is a lot more refreshing after so much earnest earnest um and it gives the middle of the album a spike of personality that first line about her not being able to take sides and not taking that well cracks me up because i was like that is a fire statement
00:48:43 --> 00:49:06 I know better but I'm not going to do better and I'm not doing well with that at all um so she's self-conscious um I respect that um that's self-conscious self-aware excuse me yeah um it's a sticky situation you know she wants to really be there for her buddy and I will say production wise I think I prefer like listening to it like live because it sounds more full and big it sounds more
00:49:12 --> 00:49:22 filled rom-com theme especially with that na na na na na and then because the na na na's sent me they're not bad but it's one of those things i was just like oh you think this is funny
00:49:24 --> 00:49:26 That's why it felt like it was like a movie inspiration.
00:49:26 --> 00:49:27 You know what I mean?
00:49:27 --> 00:49:30 Because there is, yeah, there's like a silliness to this song.
00:49:30 --> 00:49:34 Like even the bridge line where she is like, I guess I forget what's the line.
00:49:34 --> 00:49:37 Oh, I just have to sit back and watch my world disappear.
00:49:37 --> 00:49:42 You know, but like the way she sings it is so like, I guess I have to sit back now.
00:49:43 --> 00:49:43 So I don't know.
00:49:43 --> 00:49:45 Yeah, there's a fun to this.
00:49:45 --> 00:49:48 And yeah, there is a performance that she performed, I guess, like at...
00:49:48 --> 00:50:15 some show somewhere that's from back at the from the time and yeah she's having so much fun with it so yeah this is a good one it's so funny to me i love it yeah so what do you what is your score it's a no no no it's a eight i also have it as an eight i had not seen that melody right next up is i'd rather be in love written by michelle branch and produced by john shanks and this also was included on broken bracelets
00:50:20 --> 00:50:22 Okay.
00:50:22 --> 00:50:23 Hello.
00:50:24 --> 00:50:24 Couldn't help it.
00:50:24 --> 00:50:26 Couldn't stop it if I tried.
00:50:26 --> 00:50:26 Oh, goodness.
00:50:27 --> 00:50:29 That line sounds of the health feelings spring up on you for sure.
00:50:29 --> 00:50:33 She sings it so sincerely as well.
00:50:34 --> 00:50:34 Yes.
00:50:34 --> 00:50:39 Like when someone is good to you and you have a good connection, like, oh boy.
00:50:39 --> 00:50:43 When wanting someone's companionship, if it's healthy, is fine and dandy.
00:50:43 --> 00:50:45 And she also carries the happiness on her voice.
00:50:45 --> 00:50:47 Well, there's no limerence here.
00:50:49 --> 00:50:50 Mm-hmm.
00:50:51 --> 00:50:52 There might be, who knows?
00:50:52 --> 00:50:54 You never quite get rid of it, do you?
00:50:54 --> 00:51:02 But I think the idea of her being able to emote the happiness now properly is definitely a strength of hers.
00:51:02 --> 00:51:09 Just listening throughout this whole album, I do appreciate how she's been able to navigate the complex emotions of being a teenager.
00:51:10 --> 00:51:16 And also translating what's being given to her, because maybe she doesn't understand all of it.
00:51:17 --> 00:51:17 Mm-hmm.
00:51:17 --> 00:51:22 Like she wrote Everywhere Lower, but Jom's like the effect that it could give higher.
00:51:23 --> 00:51:27 That kind of comprehension is a little bit deeper than just like, oh, she's old enough to know.
00:51:27 --> 00:51:28 She's almost 18.
00:51:28 --> 00:51:29 Like it's beyond that.
00:51:29 --> 00:51:32 It's like lived life, lived experiences as a musician and such.
00:51:32 --> 00:51:34 The bridge is full.
00:51:34 --> 00:51:35 It feels raw.
00:51:35 --> 00:51:40 And it's the scene in the movie where the main character is singing on stage to lead about their whole romantic situation.
00:51:40 --> 00:51:41 Like, yeah.
00:51:42 --> 00:52:08 it's amazing it's all yes so cinematic sonic matic cinematic whatever um i know that 18 is like legally an adult and i've been around but i've been around enough 18 year olds to know that like sometimes they're over dramatic or even understated when it comes to their emotions no offense to youngling oh fun but this one feels like a well-crafted heart pouring out you know yes um and then with a 20 year one oh please honey she sounds even more sure in the words it feels like
00:52:10 --> 00:52:10 Yes.
00:52:11 --> 00:52:11 I like it.
00:52:11 --> 00:52:12 Yes.
00:52:12 --> 00:52:17 I think, yeah, with the younger version, there's a naivete to it.
00:52:17 --> 00:52:20 Like it is giving kind of teenage rom-com.
00:52:20 --> 00:52:21 Promising, yeah.
00:52:21 --> 00:52:22 Yeah, exactly.
00:52:22 --> 00:52:25 Where it's just like, oh, because if you look at the lyrics, like they're quite simple.
00:52:26 --> 00:52:30 It's like without you, you know, I don't feel great, but with you, I feel great.
00:52:30 --> 00:52:32 You know, like essentially it's that.
00:52:32 --> 00:52:35 And it's quite, again, quite cute, you know, when you listen to it.
00:52:35 --> 00:52:38 And then yes, the kind of older version, much more mature.
00:52:39 --> 00:52:40 And yeah, Michelle, again,
00:52:41 --> 00:53:07 she has i think they were really pushing her belt i think across this album and so now with her execution that's just a lot more open yeah there is it it yeah it's much more chill than it used to be which is which is nice um so yeah it's kind of nice to listen to both versions i will say the band on this though killed it like the drummer is killing it i would love to actually learn this on drums um
00:53:08 --> 00:53:13 And there's like a lead guitar that comes into transition throughout as well, which is fun.
00:53:13 --> 00:53:17 So yeah, this one stands out to me in a good way, I think, on this album.
00:53:17 --> 00:53:17 Right.
00:53:17 --> 00:53:23 Like, I think if you loved the singles, this would be up there, you know?
00:53:23 --> 00:53:24 Oh yeah, that makes sense.
00:53:24 --> 00:53:25 That makes sense.
00:53:25 --> 00:53:26 This feels good.
00:53:26 --> 00:53:32 So for me, this one is right in the middle of an 8.
00:53:32 --> 00:53:35 I didn't give it any extra special glitter or sprinkles.
00:53:35 --> 00:53:36 Yes, I also have it as an 8.
00:53:38 --> 00:53:42 All right, up next is goodbye to you.
00:53:43 --> 00:53:44 And this was done fine.
00:53:44 --> 00:53:45 Yes.
00:53:45 --> 00:53:47 Hopefully this is on bad my legs, sorry y'all.
00:53:47 --> 00:53:50 This was written by Michelle Branch and produced by John Shanks.
00:53:50 --> 00:53:52 Again, the dynamic duo.
00:53:52 --> 00:53:56 And this song was included on Michelle's independent debut album, Broken Bracelet.
00:53:57 --> 00:54:03 And it was released as the third single from the album with a new radio mix in July 2002, peaking at number 21 on the U.S.
00:54:03 --> 00:54:04 Billboard Hot 100.
00:54:05 --> 00:54:08 This song was performed on both Buffy the Vampire Slayer and Charm.
00:54:09 --> 00:54:12 and Was the Limo sing-along song on season one of Laguna Beach.
00:54:13 --> 00:54:16 And it was also used on the Hills series finale.
00:54:16 --> 00:54:18 So here we are again.
00:54:18 --> 00:54:19 Yeah.
00:54:19 --> 00:54:21 Here we are syncing it up.
00:54:27 --> 00:54:27 Yes.
00:54:27 --> 00:54:32 And also, we do know the 2026 collaboration for this one.
00:54:32 --> 00:54:36 She just released, as of this recording, the version with Maren Morris.
00:54:36 --> 00:54:38 Ah, Maren's such a good vocalist.
00:54:38 --> 00:54:38 Yeah.
00:54:38 --> 00:54:40 So, yeah, we have a lot of different versions to talk about.
00:54:40 --> 00:54:41 We've got, like, four of them.
00:54:47 --> 00:54:54 I will say, I do think of Buffy sometimes when I listen to the song because it played at such a pivotal moment in that show.
00:54:54 --> 00:54:56 It was when Tara and Willow broke up.
00:54:56 --> 00:54:58 Oh, yes.
00:54:58 --> 00:55:00 The sapphic breakup of the 90s.
00:55:00 --> 00:55:02 Sorry, 2000s.
00:55:02 --> 00:55:03 Yeah.
00:55:03 --> 00:55:04 It's so funny.
00:55:04 --> 00:55:04 Yeah.
00:55:04 --> 00:55:06 But yeah, I think the song is beautifully written.
00:55:06 --> 00:55:08 It is one of Michelle's best.
00:55:08 --> 00:55:11 Like the chorus is so anthemic and heartfelt.
00:55:11 --> 00:55:12 Yeah.
00:55:13 --> 00:55:16 I actually do prefer the radio mix, I would say, to the album one.
00:55:16 --> 00:55:21 But I do like the doo-doo that is there on the album version.
00:55:21 --> 00:55:25 It makes for nice transitions, and it kind of makes it feel a bit more intimate.
00:55:25 --> 00:55:30 But yeah, listening to Michelle, because she's been talking about the song a lot in interviews and stuff recently.
00:55:31 --> 00:55:33 She was like, yeah, I wrote the song on my bed when I was 15.
00:55:34 --> 00:55:34 Yeah.
00:55:34 --> 00:55:36 And like, look at what happened, you know?
00:55:37 --> 00:55:38 It's absolutely insane.
00:55:38 --> 00:55:41 Like she did such an amazing job and the melody didn't change much.
00:55:41 --> 00:55:46 If you listen to the broken bracelet one, it's like very pure to what it was, which is beautiful.
00:55:47 --> 00:55:53 But yeah, I think lyrically it's just written so, so well, it's like a breakup processing song.
00:55:53 --> 00:55:55 Like it's not too angry.
00:55:55 --> 00:55:56 It's not too sad.
00:55:56 --> 00:56:00 It's kind of just processing what you're feeling.
00:56:00 --> 00:56:00 Yeah.
00:56:01 --> 00:56:06 And the vocal execution, while it is that kind of big belt, you do get some head voice in there.
00:56:07 --> 00:56:08 Like the emotion is really well done.
00:56:09 --> 00:56:17 So, yeah, I really like this one and it deserves its place, like in Michelle's greatest hits, I would say.
00:56:17 --> 00:56:22 And I'm glad it's getting kind of this new push with the Marin version as well.
00:56:23 --> 00:56:23 Oh my God, yeah.
00:56:24 --> 00:56:26 And I mean, Maren is like country, pop country.
00:56:26 --> 00:56:28 Well, she's, it's weird.
00:56:28 --> 00:56:32 Whatever the Grammys has sliced it into.
00:56:33 --> 00:56:34 She's a darling, period.
00:56:35 --> 00:56:36 And she sounds so good.
00:56:36 --> 00:56:38 But speaking of the original version...
00:56:39 --> 00:56:42 I used to watch the Charm reruns on TNT.
00:56:43 --> 00:56:47 And eventually on streaming, I watched like with Buffy and Charm.
00:56:47 --> 00:56:54 And when things popped up, I was like, OK, I did not remember when this stuff happened when I was younger, because I was like, whatever, you know, this is singing.
00:56:54 --> 00:56:55 I didn't know these bands were real.
00:56:55 --> 00:56:57 I didn't know people were real.
00:56:58 --> 00:56:59 The P3 performers?
00:56:59 --> 00:57:01 No, I was like, Otis is fire.
00:57:01 --> 00:57:03 Like, it's all in this world that does not exist.
00:57:04 --> 00:57:07 I'd watch it right early in the morning or before I went to school because TNT used to play.
00:57:07 --> 00:57:10 That's my dad for giving me Gable in my room.
00:57:10 --> 00:57:10 Nice.
00:57:11 --> 00:57:14 But yeah, I cannot say I remember when it happened until I watched it.
00:57:14 --> 00:57:15 Now I'm like, oh, shoot.
00:57:15 --> 00:57:16 Duh.
00:57:17 --> 00:57:27 But yes, point is though, the comparison I've been making this whole episode to teen movies and dramas and movies, like rom-com movies, doesn't feel so ridiculous anymore.
00:57:27 --> 00:57:28 I think you've been like kind of co-signing me as well.
00:57:29 --> 00:57:30 But it's just so interesting.
00:57:30 --> 00:57:35 Again, this is why it's so important to find a producer that you can work with and craft a sound.
00:57:36 --> 00:57:42 I mean, any artist can tell you that now, but like, this is well crafted for a lot of different purposes.
00:57:42 --> 00:57:44 Like, it's really impressive.
00:57:44 --> 00:57:51 And I also think it's kind of tough because this song is like, pretty strong, along with the other single.
00:57:51 --> 00:57:53 So it's interesting to see how everything else kind of came to be.
00:57:55 --> 00:57:58 This is an iconic single.
00:57:58 --> 00:58:00 And I like that it's not angry.
00:58:00 --> 00:58:01 It's more like resigned.
00:58:01 --> 00:58:03 Yeah, that's a good word.
00:58:04 --> 00:58:06 So I've been looking for words all day today.
00:58:07 --> 00:58:09 But yes, I do appreciate it because...
00:58:10 --> 00:58:14 At some point or another, she does, like you said, realize like this shouldn't continue anymore.
00:58:14 --> 00:58:15 And it's like, there's some grief here.
00:58:16 --> 00:58:17 There's not an exact triumph in it.
00:58:19 --> 00:58:20 But I love the lyric.
00:58:20 --> 00:58:25 Like, it hurts to want everything and nothing at the same time.
00:58:25 --> 00:58:27 I want you, but I'm not giving in this time.
00:58:27 --> 00:58:29 And I was like, girl, you better go up.
00:58:29 --> 00:58:29 Yeah.
00:58:29 --> 00:58:32 Go off, go off, go off, go off.
00:58:32 --> 00:58:36 My only side note is at the end, she goes, you're my shooting star.
00:58:37 --> 00:58:38 At the end, it made me laugh.
00:58:38 --> 00:58:40 I can't laugh because I can't lie because I was like, girl.
00:58:40 --> 00:58:43 You're my shooting star.
00:58:48 --> 00:58:49 Where did that come from?
00:58:49 --> 00:58:49 You know?
00:58:50 --> 00:58:50 I'm not mad at it.
00:58:50 --> 00:58:55 Actually, that's actually I love the way that Marin and Rochelle do that.
00:58:55 --> 00:58:57 They kind of change the melody slightly for that line.
00:58:57 --> 00:58:58 And it's a beautiful end.
00:59:05 --> 00:59:07 Yes, I'm not mad at all.
00:59:07 --> 00:59:12 I think, like I said, being able to walk away from anything like this, any job, person, whatever is a flex.
00:59:12 --> 00:59:16 I mean, I feel like it at the time, especially with all the time and energy you spent in a relationship.
00:59:16 --> 00:59:18 But the song really wraps it all together.
00:59:18 --> 00:59:24 And I appreciate her songwriting because I do that where I start with the story, the middle by the bridge.
00:59:24 --> 00:59:24 We need to wrap this up.
00:59:24 --> 00:59:25 What's the resolution here?
00:59:26 --> 00:59:30 Like it cannot be, you know, so I appreciate that for sure.
00:59:30 --> 00:59:31 Yes.
00:59:31 --> 00:59:36 But yeah, the radio mix, just going back to that really quickly, it's not on streaming, which is interesting.
00:59:38 --> 00:59:41 And it should be because I do think it is stronger.
00:59:41 --> 00:59:43 Like the whole thing is just a bit more intense.
00:59:43 --> 00:59:43 Yeah.
00:59:44 --> 00:59:46 And I actually think they sped it up a little bit as well.
00:59:46 --> 00:59:47 But it makes sense.
00:59:47 --> 00:59:53 I'm hoping that someone needs to go through and add all the singles and everything to streaming for sure.
00:59:55 --> 00:59:57 But yes, let's talk about the music video first.
00:59:57 --> 01:00:00 We have two because obviously we have the Marin one as well.
01:00:01 --> 01:00:05 I will say with the first music video, the hair is getting bigger and longer with each video.
01:00:06 --> 01:00:08 Didn't like some time pass at this point, right?
01:00:08 --> 01:00:09 It was like, okay, good, good.
01:00:09 --> 01:00:10 That's not to say.
01:00:11 --> 01:00:17 Back in the day, it used to promote, I mean, people still promote albums for a really long, long time now, too, but it's just so funny.
01:00:17 --> 01:00:19 Oh, my God.
01:00:19 --> 01:00:19 Okay.
01:00:19 --> 01:00:21 There's a lot of symbolism in this music video.
01:00:21 --> 01:00:21 Yes.
01:00:21 --> 01:00:23 A lot of storytelling.
01:00:23 --> 01:00:24 Yeah.
01:00:24 --> 01:00:26 Some of it, I was like, why is there a wildfire?
01:00:26 --> 01:00:27 Girl, what's happening?
01:00:27 --> 01:00:35 That one I felt was a little out of place, but it's only because I'm looking back on it now as an adult who's witnessed several and our friends being in it.
01:00:35 --> 01:00:38 So it's just like, oh my God, how would you use this imagery?
01:00:38 --> 01:00:42 But just in hindsight as well, it didn't make sense to the full story because I'm like,
01:00:43 --> 01:00:44 You never went to the forest.
01:00:45 --> 01:00:45 You drove through it.
01:00:45 --> 01:00:49 Maybe I didn't actually grasp the whole thing.
01:00:49 --> 01:00:53 But I do appreciate the returning of the fish to the sea.
01:00:53 --> 01:00:55 Like, yeah, it's a goldfish.
01:00:55 --> 01:00:58 Yeah, so it probably won't survive in the ocean.
01:00:59 --> 01:01:01 No, that was not even where I was going.
01:01:01 --> 01:01:02 Ha ha!
01:01:05 --> 01:01:06 Oh my God.
01:01:07 --> 01:01:08 This, hang on.
01:01:09 --> 01:01:11 Here we are in the, what was it, the next 48 hours.
01:01:11 --> 01:01:14 The tale of Goldie, the goldfish.
01:01:14 --> 01:01:21 Okay, so the reason they're the goldfish, I think they could have gotten any kind of fish, but goldfish for me, I feel like because they're the most recognizable home pets.
01:01:22 --> 01:01:28 You know, like she takes the little fish and they don't flush it, but they put it somewhere and they kind of float it back up to the sea.
01:01:28 --> 01:01:28 You know what I'm saying?
01:01:28 --> 01:01:31 Because I was like, OK, she put it in the water in the beginning of the video.
01:01:31 --> 01:01:31 Right.
01:01:32 --> 01:01:33 So I was like, OK, she has to take it somewhere.
01:01:33 --> 01:01:35 She has to get out of home.
01:01:35 --> 01:01:36 She has to leave.
01:01:36 --> 01:01:38 You know, she gets rid of the car.
01:01:38 --> 01:01:40 She's riding on the train with a bunch of other vagabonds.
01:01:40 --> 01:01:43 I mean, free spirits, you know.
01:01:43 --> 01:01:44 Well, the whole thing is told backwards.
01:01:45 --> 01:01:45 Yes.
01:01:45 --> 01:01:46 So like the fish is actually like the end.
01:01:46 --> 01:01:47 Right.
01:01:47 --> 01:01:47 Yeah.
01:01:48 --> 01:01:48 Yeah, yeah.
01:01:49 --> 01:01:50 It's just, it's not overly dramatic.
01:01:51 --> 01:01:52 It's about finding your way and things like that.
01:01:52 --> 01:01:53 So I do appreciate it.
01:01:54 --> 01:01:55 It's just the fire scene.
01:01:55 --> 01:01:56 I was like, okay.
01:01:57 --> 01:01:59 Yeah, that felt like unnecessary CGI for sure.
01:01:59 --> 01:02:06 But yeah, I think the whole, I enjoy the whole kind of telling a story backwards thing.
01:02:06 --> 01:02:08 It's become more common now.
01:02:08 --> 01:02:08 Yeah.
01:02:08 --> 01:02:12 Because I think obviously there's been way more music videos since this was released.
01:02:12 --> 01:02:19 But yeah, I think they did a good job because you're kind of, you are kind of interested in kind of what is happening for her.
01:02:19 --> 01:02:20 Yeah, and the goldfish.
01:02:20 --> 01:02:22 And there's so many scene changes as well.
01:02:22 --> 01:02:25 So you are kind of piecing it together as you go.
01:02:25 --> 01:02:27 So it kept me interested, right?
01:02:27 --> 01:02:29 Which is important for a music video.
01:02:30 --> 01:02:33 But yes, I think the whole Buffy montage should really be the second official music video.
01:02:34 --> 01:02:35 Okay.
01:02:35 --> 01:02:46 But yes, the Maren version, I will say, when Michelle first announced this EP, my number one wish for this EP, and maybe she'll be on a different song, is Kelly Clarkson.
01:02:46 --> 01:02:49 Oh my gosh.
01:02:49 --> 01:02:53 And if I could have chosen a song, I would have chosen Goodbye to You for Kelly Clarkson.
01:02:53 --> 01:02:56 Because can you imagine how amazing that would be?
01:02:56 --> 01:03:00 However, if it's Kelly for Are You Happy Now or something, that'd be amazing as well.
01:03:00 --> 01:03:00 Yeah.
01:03:01 --> 01:03:02 I will tell you this.
01:03:02 --> 01:03:03 Kelly, you touch an anyone song.
01:03:03 --> 01:03:04 I'm lazy to ask you guys now, girl.
01:03:04 --> 01:03:04 Go ahead.
01:03:05 --> 01:03:06 I mean, they've sung together before.
01:03:06 --> 01:03:07 Okay, yeah.
01:03:07 --> 01:03:07 Okay.
01:03:07 --> 01:03:08 Yeah, yeah.
01:03:08 --> 01:03:10 So we know that there's a connection there.
01:03:10 --> 01:03:11 But, you know.
01:03:11 --> 01:03:14 And it seems like Michelle doesn't really have an ego like that.
01:03:14 --> 01:03:14 I don't think.
01:03:14 --> 01:03:15 That's valid.
01:03:15 --> 01:03:18 It's just so funny because Kelly's just.
01:03:18 --> 01:03:19 We love her here.
01:03:19 --> 01:03:20 It's just so funny.
01:03:20 --> 01:03:23 If you have a concept where you want other artists to cover your songs.
01:03:23 --> 01:03:24 I mean, Kelly Clarkson's like.
01:03:24 --> 01:03:25 Absolutely.
01:03:25 --> 01:03:26 The American Idol.
01:03:27 --> 01:03:28 The Supreme Idol.
01:03:28 --> 01:03:29 Exactly.
01:03:29 --> 01:03:30 Idol Supreme.
01:03:30 --> 01:03:30 Yeah.
01:03:30 --> 01:03:30 But anyway.
01:03:31 --> 01:03:32 Not that I'm against Maren.
01:03:32 --> 01:03:34 I think Maren has a beautiful voice.
01:03:34 --> 01:03:38 And actually, I think countryfying this song was a great idea.
01:03:38 --> 01:03:41 Like, it totally, totally works because the emotion is so beautiful.
01:03:42 --> 01:03:47 And Maren's husk balances Michelle well because Michelle does have a thinner, kind of purer tone.
01:03:48 --> 01:03:50 And Maren's kind of lower and more grounded.
01:03:50 --> 01:03:52 And there is that kind of raspiness there.
01:03:52 --> 01:03:54 So when they sing together, it's so beautiful.
01:03:55 --> 01:04:00 And some of the kind of melodic changes that were made were, yeah, they're pretty subtle.
01:04:01 --> 01:04:01 Yes.
01:04:01 --> 01:04:03 But I think it adds to the emotion.
01:04:04 --> 01:04:05 So, yeah, I think that version is great.
01:04:06 --> 01:04:09 And the music video, I've never seen Laguna Beach, unfortunately.
01:04:09 --> 01:04:10 Me either.
01:04:10 --> 01:04:11 I was at my jam.
01:04:12 --> 01:04:12 Yeah.
01:04:12 --> 01:04:18 But having seen the clip on YouTube and what they were trying to reference.
01:04:18 --> 01:04:19 Recreate here, yeah.
01:04:19 --> 01:04:20 Yeah, yeah, yeah.
01:04:20 --> 01:04:21 I mean, I thought it was cute.
01:04:21 --> 01:04:22 Like, the goldfish comes back.
01:04:22 --> 01:04:27 It did feel like the filming style felt like those MTV shows back in the day, for sure.
01:04:27 --> 01:04:29 And, like, they got the same limo.
01:04:29 --> 01:04:31 Like, they did a great job recreating it.
01:04:31 --> 01:04:32 Recreating, yeah.
01:04:33 --> 01:04:34 I mean, it was fun.
01:04:34 --> 01:04:36 And I think that's the important part of it.
01:04:36 --> 01:04:39 It's like, if you're going to revisit this, you're going to be spending all this money.
01:04:39 --> 01:04:41 Do the best thing you can do and have the most fun.
01:04:41 --> 01:04:42 Because even though the song is really, like...
01:04:43 --> 01:04:44 Not sad.
01:04:44 --> 01:04:46 You know that, what did I say?
01:04:47 --> 01:04:47 Resigned.
01:04:48 --> 01:04:48 Mm-hmm.
01:04:49 --> 01:04:52 There was no visual that, except for the buffy one.
01:04:53 --> 01:04:57 And there's no buffy one.
01:04:57 --> 01:05:01 Except for the buffy one, there was nothing that was really dramatic and make you feel even worse.
01:05:01 --> 01:05:03 Because I think the song is about feeling bad.
01:05:03 --> 01:05:07 I think it's just more like a, I can release this as opposed to holding on really tight.
01:05:08 --> 01:05:08 Yeah.
01:05:08 --> 01:05:10 Yeah, so shout out to them.
01:05:10 --> 01:05:11 This is a 10 for me.
01:05:11 --> 01:05:13 I mean, the singles were pretty strong.
01:05:14 --> 01:05:15 Yes, this is a definite 10.
01:05:15 --> 01:05:16 I love this song.
01:05:16 --> 01:05:17 All right.
01:05:17 --> 01:05:27 Okay, the final song on this album is Drop in the Ocean, done by Bernie Riley, Jennifer Haggio, Will Golden, John Shanks, and Michelle Branch.
01:05:34 --> 01:05:40 Okay, so we get this kind of experimental end to this album.
01:05:40 --> 01:05:40 What do you think?
01:05:41 --> 01:05:41 Oh, my God.
01:05:41 --> 01:05:42 I loved it.
01:05:42 --> 01:05:43 Okay, so here we are, right?
01:05:43 --> 01:05:48 So we've got all this, like, dad rock, dad adjacent rock from this guy.
01:05:48 --> 01:05:49 No offense to Mr. Shanks.
01:05:49 --> 01:05:50 He's not bad.
01:05:50 --> 01:05:51 He's not a terrible songwriter.
01:05:52 --> 01:05:55 But after a while, you can kind of get a little like, okay.
01:05:55 --> 01:05:56 Fatigued.
01:05:56 --> 01:05:57 Yeah.
01:05:57 --> 01:06:00 You can get a little cafe pop fatigued out.
01:06:00 --> 01:06:03 This one was very interesting because it sounded very bohemian.
01:06:03 --> 01:06:04 Yeah.
01:06:04 --> 01:06:05 And I was thinking to myself, oh.
01:06:07 --> 01:06:12 Is Lady Smith Mombasa a real, I think it's a real band.
01:06:13 --> 01:06:15 Also, I think Lady Smith Mombasa is actually a real band.
01:06:15 --> 01:06:16 I just think of- They are, they're real.
01:06:17 --> 01:06:18 They are real, thank you.
01:06:18 --> 01:06:18 Yeah.
01:06:18 --> 01:06:19 Okay, so here's my thing, right?
01:06:19 --> 01:06:33 It just reminds me of one of those random, psychedelic retreat acts that you know, you paid $5 for the ticket, you know, you guys are gonna go, it's a Burning Man kind of track, you know?
01:06:33 --> 01:06:33 Yes.
01:06:33 --> 01:06:35 Dropping the ocean.
01:06:35 --> 01:06:35 She didn't do that.
01:06:37 --> 01:06:38 It's definitely not that.
01:06:39 --> 01:06:39 I'm joking.
01:06:39 --> 01:06:40 I'm joking, guys.
01:06:40 --> 01:06:46 But the idea of being so small in this vast universe and the scope of life.
01:06:47 --> 01:06:50 In the scope of life, it's like, who are we really?
01:06:50 --> 01:06:51 And then the music changes.
01:06:52 --> 01:06:55 And you get this interesting, like, and I was like, oh, hang on.
01:06:55 --> 01:06:56 Wait, what is this interesting beat?
01:06:56 --> 01:06:57 What is this drum or percussion?
01:06:58 --> 01:06:59 And I appreciate that.
01:06:59 --> 01:07:00 And also, she's singing.
01:07:02 --> 01:07:07 Not down, but she's not announcing, she's articulating certain emotions really well.
01:07:08 --> 01:07:12 And I've said it a bunch of times, she emotes really well, but this song sonically perks me up a little bit.
01:07:13 --> 01:07:14 The meaning is interesting.
01:07:14 --> 01:07:18 I wanna hear more like this where I'm like, where's the rest of it?
01:07:18 --> 01:07:20 Do we get something else like this ever again?
01:07:20 --> 01:07:21 Or did everyone just hate it?
01:07:22 --> 01:07:24 I don't know, but I did like it.
01:07:24 --> 01:07:25 And I don't know if it's like,
01:07:26 --> 01:07:28 It's the best amazing song on this album.
01:07:29 --> 01:07:29 No.
01:07:29 --> 01:07:33 But in terms of something that's completely just different, like not even on the same coin.
01:07:33 --> 01:07:35 We're on a different currency at this point.
01:07:36 --> 01:07:36 What is this?
01:07:37 --> 01:07:37 I like it.
01:07:38 --> 01:07:39 Okay, nice.
01:07:40 --> 01:07:47 I will say if you get into some of like the indie albums later on, like Hopeless Romantic, maybe not Hopeless Romantic, maybe like Trouble with Fever and stuff.
01:07:47 --> 01:07:48 She has more kind of stuff like this.
01:07:49 --> 01:07:50 So if you're kind of into that.
01:07:50 --> 01:07:51 Yeah, okay.
01:07:51 --> 01:07:52 Definitely.
01:07:52 --> 01:07:54 Just have to come forward 20 years basically.
01:07:55 --> 01:07:58 But yeah, I think ending on kind of an experimental song is cool.
01:07:59 --> 01:08:02 I will say I remember not getting this at all when I was younger.
01:08:02 --> 01:08:05 I was like, what is happening?
01:08:05 --> 01:08:07 But now I can appreciate it.
01:08:07 --> 01:08:19 I think the kind of ethereal organ situation with these like wispy alien sounds and strings and stuff, like it's interesting to listen to, especially if you have like really good headphones, like there's a lot going on for sure.
01:08:20 --> 01:08:25 And the whole melody feels very pensive and almost like kind of ritualistic too.
01:08:26 --> 01:08:26 Yeah.
01:08:27 --> 01:08:29 So, so yeah, I'm not mad at that.
01:08:29 --> 01:08:34 And then right when you think it's kind of ending, you do get this pickup that you were mentioning, right?
01:08:34 --> 01:08:36 You get this kind of percussion picking up.
01:08:36 --> 01:08:39 It kind of, yeah, you get to get more kind of these like weird sounds coming in.
01:08:40 --> 01:08:41 So I'm not mad at it.
01:08:41 --> 01:08:47 This isn't one that I listened to a lot, but if I, I kind of like it in the story of the album.
01:08:47 --> 01:08:48 Yeah.
01:08:48 --> 01:08:49 Because I think you're right.
01:08:49 --> 01:08:53 It's like you kind of think you know what you're getting and you kind of get this surprise at the end.
01:08:53 --> 01:08:54 So I'm not mad at that.
01:08:54 --> 01:08:54 Yeah.
01:08:55 --> 01:09:00 I will say the re-record for the 20th anniversary, I like that one a lot.
01:09:00 --> 01:09:01 It's a bit more organic.
01:09:01 --> 01:09:07 You get this rockier intro with Michelle just kind of doing these like vocalizations and stuff all on top of it.
01:09:07 --> 01:09:07 Yeah.
01:09:07 --> 01:09:08 So that's cool.
01:09:08 --> 01:09:11 And I think she starts, it looks like she starts the new tour with it.
01:09:11 --> 01:09:14 And the small as a drop
01:09:14 --> 01:09:33 in the ocean let's freaking go so that's a really cool yeah that's a really cool way to start a concert if you start yeah yeah hello bring the spirit into the spirit room hang on have a freaking title like that just to be like it's a cool title and then not have anything that sounds spiritual yeah that's so yeah i like this one okay so what do you rate it
01:09:34 --> 01:09:37 Okay, it's not super high, but it is like a fat eight.
01:09:37 --> 01:09:39 Like it's a super juicy, chunky eight.
01:09:40 --> 01:09:40 Nice.
01:09:40 --> 01:09:42 Okay, I have this as a 7.5.
01:09:42 --> 01:09:46 But now I'm really excited to see how she starts this tour.
01:09:46 --> 01:09:48 Good for you for not doing the spoilers, friend.
01:09:49 --> 01:09:49 All right, guys.
01:09:49 --> 01:09:53 So we are at the end of our review.
01:09:53 --> 01:10:01 But we're not finished yet because here at CCTV, if you're new here, we play cut or keep where you get to cut one song and keep one song.
01:10:01 --> 01:10:02 All right.
01:10:02 --> 01:10:09 Now, there's a lot of good scores here and you have an emotional, spiritual childhood tie.
01:10:10 --> 01:10:10 Yes.
01:10:10 --> 01:10:14 OK, if we had to cut a song, I would cut Sweet Misery.
01:10:14 --> 01:10:15 I'm sorry.
01:10:15 --> 01:10:16 I never really listened to that one.
01:10:16 --> 01:10:16 Oh, yeah.
01:10:16 --> 01:10:17 The instant star track.
01:10:17 --> 01:10:19 I didn't think about it because I was like trying to fight with myself.
01:10:19 --> 01:10:20 Like, what song would I cut?
01:10:20 --> 01:10:21 And I was like, oh, I wouldn't cut.
01:10:21 --> 01:10:22 You get me.
01:10:22 --> 01:10:22 It's cute.
01:10:22 --> 01:10:23 It's cute.
01:10:23 --> 01:10:23 It's cute.
01:10:23 --> 01:10:25 It's like really like, you know, young teen.
01:10:25 --> 01:10:26 Yeah, Sweet Misery can go.
01:10:26 --> 01:10:32 But if I weren't matching you, you set me free.
01:10:32 --> 01:10:34 If I had to get her something else, you set me free could go.
01:10:34 --> 01:10:34 She's not.
01:10:34 --> 01:10:37 Even though it was on the Spirit soundtrack.
01:10:38 --> 01:10:40 That horse carried the movie.
01:10:41 --> 01:10:42 Okay.
01:10:42 --> 01:10:46 Akeem, obviously the three singles are freaking amazing.
01:10:46 --> 01:10:46 Yeah, man.
01:10:46 --> 01:10:50 But if I had to choose another one, it would be something to sleep to.
01:10:50 --> 01:10:53 Okay, I would actually keep dropping the ocean.
01:10:53 --> 01:10:57 I mean, again, if you're going to sit there and have something called spirit room, give me something that feels like transcendent.
01:10:58 --> 01:10:59 Transcendental.
01:10:59 --> 01:11:00 Seriously, that's a big one for Elmo.
01:11:00 --> 01:11:02 That's a big one for Elmo.
01:11:03 --> 01:11:03 Nice.
01:11:04 --> 01:11:05 Okay, so overall thoughts.
01:11:06 --> 01:11:24 on this album obviously i have a lot of nostalgia tied to this yeah um like i saw her in concert when i was like 12 or 13 and it was a beautiful show it was like in hong kong you could see the harbor as outside she still talks about that show and how like beautiful it was so it's cool that i was there for it yeah so yeah
01:11:25 --> 01:11:26 I love this album.
01:11:26 --> 01:11:31 But, you know, even objectively, I do think it's a great teen pop rock album.
01:11:31 --> 01:11:31 Yes.
01:11:31 --> 01:11:35 Like, especially even if you listen to all of John Shank's other music, right?
01:11:35 --> 01:11:39 Like he did, like, Ashley Simpson, like, Hilary Duff, and like, all these people we were mentioning earlier.
01:11:39 --> 01:11:40 Like, this is up there.
01:11:40 --> 01:11:42 Like, it's a really strong body of work.
01:11:42 --> 01:11:44 The songwriting is really well done.
01:11:44 --> 01:11:46 There's some great hooks, great production.
01:11:46 --> 01:11:46 Yeah.
01:11:47 --> 01:11:53 And I think, like I said in the beginning, it does balance the innocence and the angst of being a teenager well.
01:11:53 --> 01:11:57 But like you were saying, the lyrics are actually quite mature in a lot of this as well.
01:11:57 --> 01:12:02 So, yeah, I think it deserved all the success that it has had.
01:12:02 --> 01:12:04 I think it's a really solid album.
01:12:04 --> 01:12:05 It is.
01:12:06 --> 01:12:11 Just based off the chart placements for a lot of the songs, it was so hard.
01:12:11 --> 01:12:12 Yeah.
01:12:12 --> 01:12:13 It was so hard.
01:12:13 --> 01:12:14 And, like, music was shifting.
01:12:14 --> 01:12:18 Because, like, in the 2000s, early 2000s, everyone was kind of doing, like, this, like, R&B pop thing.
01:12:18 --> 01:12:22 And if you were a rock, like, you were really freaking, like, strong rock.
01:12:22 --> 01:12:23 You know what I'm saying?
01:12:23 --> 01:12:26 It was, like, a blending of the genre, really.
01:12:26 --> 01:12:29 It was just pure this, pure that, pure this, maybe a little bit of something, something.
01:12:29 --> 01:12:31 But you knew who was topping charts.
01:12:31 --> 01:12:32 Like, yeah.
01:12:32 --> 01:12:35 She was up against Nelly at one point with Hot in Here or something.
01:12:35 --> 01:12:36 And I was just like, come on.
01:12:36 --> 01:12:38 And it's hard.
01:12:38 --> 01:12:46 Again, you're against a lot of songs that literally are on every like millennials, like iPod shuffle or like karaoke list.
01:12:48 --> 01:12:49 And vocally, I think she's really good.
01:12:50 --> 01:12:57 So she definitely stood out to me because of that, because a lot of the pop acts did not last from back then.
01:12:57 --> 01:13:00 I'm just like, I can kind of see you didn't really have like a vocal thing.
01:13:01 --> 01:13:18 sonic vocal any kind of identity that made me feel like i want to latch on then i want to hear some similarities to other artists but i do think that's in part to john's writing yeah it was like a um what is it that kylie had who was it again um
01:13:19 --> 01:13:42 the initial stockman aikman saw so how kylie had saw and like you had that specific sound john shanks has a specific sound yes direction they had a specific sound it's like you're working with that one producer it could get a little samey samey or could sound a certain kind of like the tone could be a little like older so i think it's not bad but i think that may have been a criticism that i could see happening back then if there were any kind
01:13:49 --> 01:13:51 We don't do like 0.3, 0.6 over here.
01:13:51 --> 01:13:54 So I'm just going to give it a fat, juicy eight, like dripping, sopping eight.
01:13:54 --> 01:13:55 Okay.
01:13:55 --> 01:13:56 We do do 0.5s though.
01:13:56 --> 01:13:58 So I'll go a little bit higher and do an 8.5.
01:14:01 --> 01:14:02 Oh my goodness.
01:14:02 --> 01:14:09 So Michelle aliens or Michelle trees or olive branches.
01:14:09 --> 01:14:10 I got you guys.
01:14:10 --> 01:14:11 We like olive branches.
01:14:11 --> 01:14:12 Okay.
01:14:12 --> 01:14:13 Okay.
01:14:13 --> 01:14:13 Michelleians.
01:14:14 --> 01:14:15 Michelleians.
01:14:15 --> 01:14:15 Michelleians.
01:14:16 --> 01:14:17 Ooh, I'm trying, y'all.
01:14:17 --> 01:14:21 I feel like branch is more fun to go off of.
01:14:21 --> 01:14:22 The olive branches.
01:14:23 --> 01:14:24 The olive branch?
01:14:24 --> 01:14:25 No.
01:14:27 --> 01:14:28 Branches of government.
01:14:28 --> 01:14:30 I don't know.
01:14:30 --> 01:14:32 Guys, let us also know some fandom names in the console.
01:14:32 --> 01:14:37 And not every group, not every artist needs a fandom name, but it's also so fun to name ourselves, you know?
01:14:37 --> 01:14:37 Yes.
01:14:38 --> 01:14:40 But yes, let us know what you think of The Spirit Room.
01:14:40 --> 01:14:43 And are you attending Michelle's upcoming tour?
01:14:43 --> 01:14:48 Let us know in the comments and tell us what other artists or albums you want for us to review next.
01:14:48 --> 01:14:50 And a huge shout out to our CCTV crew on Patreon.
01:14:50 --> 01:14:58 And that's Lily, Emily, George, Jonathan, Janelle, Julianne, Darius Wren, Hillary, Luke, Ivana, Ryan, Chase, Diego, Aaron, and Espin.
01:14:58 --> 01:15:01 And don't forget, you can follow us everywhere at CCTV Pops.
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01:15:06 --> 01:15:07 those notifications on.
01:15:07 --> 01:15:07 Okay?
01:15:07 --> 01:15:08 Ring the bell.
01:15:08 --> 01:15:08 All right?
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01:15:13 --> 01:15:18 And a share really helps spread us like a, like a, like something just spread us out.
01:15:18 --> 01:15:18 Okay?
01:15:18 --> 01:15:19 Let's go viral.
01:15:19 --> 01:15:20 Until next time, that's Chris.
01:15:21 --> 01:15:22 That's Chantel.
01:15:22 --> 01:15:25 And we're signing off from CCTV, the nonstop pop show.
01:15:27 --> 01:15:28 Everywhere to me.
01:15:28 --> 01:15:29 I should have said everywhere.
01:15:30 --> 01:15:30 Everywhere.