Bum software can’t stop the idiots from looking at an album and an artist that are so much greater than the dorm residents of the 1990s believed
The gents talk about a great, if heavy, album that emanated from the depths of Lake Superior
Deep focus on the album/compilation that served as “Meet the* Buzzcocks?” Seminar on punk history and theory? Meditation on the word “the” in band names? Why not all of the above?
The parts of the discussion that were just too hard core for our server to allow you to hear them
Journey into the heart of, well, something. NOTE: the episode got truncated by the server, so the last third or so of the conversation appear in a second episode
The idiots follow some strange lights out into the desert and find Jim Sullivan’s abandoned car. Also, somehow, Wolverine.
Chad and Keith come back from the dead to pass judgment on Gen X and its alleged jams.
A sixth-grade music homework assignment finally pays off as the idiots confront the Hendrix Enigma
The idiots make the very belated realization that Blondie was a very good band.
The newly-crowned Kings of Canada listen to Steve Earle’s landmark mix tape
Chad and Keith hang out in the parking lot in their Trans Ams drinking Coors Light and cranking out as much Van Halen and Van Hagar as you can handle
The idiots get kooky, get replaced by homo superior, search for life on Mars, and all that as they dig into David Bowie’s first great album.
The idiots head up into the hollow/holler to talk about Loretta Lynn’s 2004 collabo with Jack White, Van Lear Rose
Things get tttttripppppy as the idiots try to get a handle on the Flaming Lips’ controlled (and then not) psychedalia on The Soft Bulletin (1999)
New era, new format for the idiots as they stumble around the Covid wasteland and take turns picking albums to examine in depth. First up: Public Enemy’s landmark It Takes a Nation of Millions to Hold Us Back (1988)
The idiots close out Actor and digress a little more then usual. Ever wondered how to tell what gender a kitten is? Covered: “Just the Same But Brand New” and “The Sequel.”
The idiots confront hard truths about transitional albums, and tell the tale of the time Annie Clark made Omaha weird. Covered: “Marrow,” “The Bed,” and “The Party.”
Somehow Van Halen keeps coming up, and is 100% relevant each time. Also, the idiots run into the first great St. Vincent song. Covered: “Actor Out of Work,” “Black Rainbow,” and “Laughing With a Mouth of Blood.”
Some unfortunate microphone problems can’t stop the idiots from exposing the truth about the first 3 songs on Actor. The truth is that they’re good. Songs: “The Strangers,” “Save Me From What I Want,” and “The Neighbors.”
Chad and Keith kick off Season 2 with an overview of St. Vincent and a wide focus on her first album, Marry Me. Also: a surprising amount of somehow-on-topic discussion of James Bond.
Chad and Keith rank the Beatles. And talk about the end of Uncle Tupelo. What’s next? Songs covered: “High Water,” “No Use in Lovin’,” and “Steal the Crumbs.”
The idiots prepare to start landing the plane, both with Anodyne and Uncle Tupelo. Also: being Zappa-Curious. Songs covered: “Anodyne,” “We’ve Been Had,” and “15 Keys.”
Into the throbbing heart of Anodyne! Uncle Tupelo’s creative peak, plus carrot juice and who’s ride or die for Dune (1984). Songs covered: “Give Back the Key To My Heart,” “Chickamauga,” and “New Madrid”
Anodyne time! With a minute or two of missing audio and a clarification: Roy Acuff appeared on Hee Haw, but wasn’t a regular. Songs covered: “Slate,” “Acuff-Rose,” and “The Long Cut.”
The idiots close out March 16-20 by wading through the B-sides and bonus tracks. LISTEN ALL THE WAY TO THE END! Songs covered: “Take My Word,” “I Wanna Be Your Dog,” “The Waltons Theme,” and some album-track demos.
IMPORTANT: KP’s beef is with band stickers on guitars, not in any way with the Clash, who rule. Songs covered: “Fatal Wound,” “Sandusky,” and “Wipe the Clock.”
Three Christian, non-UT songs on the back side of March 16-20: “Atomic Power,” “Lilli Schull,” and “Warfare.”
Convenient sequencing in the middle of March 16-20 1992: an OK song, a great song, and, uhhhhhh… Also: screw harmonicas. Songs covered are “Black Eye,” “Moonshiner,” and “I Wish My Baby Was Born.”
Some odd truths about March 16-20 1992 are revealed as Chad and Keith move forward. Also: unfortunate intros to bands and a theory of midwest punk. Songs covered are “Criminals,” “Shaky Ground,” and “Satan Your Kingdom Must Come Down.”
New Day, New album, same old idiots as Chad and Keith venture into March 16-20 1992. Barebones production is praised, and a longterm planned cat prank is revealed. Songs covered are “Grindstone,” “”Coalminers,” and “Wait Up.”
Chad and Keith close out Still Feel Gone, realizing that they’ve talked themselves into not really liking it. Also: legacy bands, hating Eric Clapton, and “honest” covers. Songs covered are “If That’s Alright,” “Sauget Wind,” and “I Wanna Destroy You.”
It’s home stretch time on Still Feel Gone, as Chad and Keith battle a restless puppy to talk about Uncle Tupelo and what it feels like to be too hard core for the Beastie Boys. Songs covered are “True to Life,” “Cold Shoulder,” and “Discarded.”
Chad and Keith travel further up the river into the dark jungles of Still Feel Gone. There’s light chatter, but up ahead looms a giant statue of the Minutemen. Songs covered are “Punch Drunk,” “Postcard,” and “D. Boon.”
Chad and Keith dig deeper into Still Feel Gone and if you listen closely, you can hear some terrible realizations being made about this album. Also: accordions, and what email was like back in the day. Songs covered are “Nothing,” “Still Be Around,” and “Watch Me Fall.”
Chad and Keith venture into Still Feel Gone and encounter one of the great Uncle Tupelo 1-2 punches. But has Chad lost the faith? It’s pistols at dawn. May they fall down easy. Songs: “Gun,” “Looking For a Way Out,” & “Fall Down Easy.”
Chad and Keith close out No Depression and work through some bonus tracks. Producers: threat or menace? Same question for harmonicas and banjos. And R.E.M., Sebadoh, and Dinosaur Jr elbow their way into the discussion. Songs covered are “John Hardy,” Left in the Dark,” “I Got Drunk,” and “Sin City.”
Chad and Keith hit the home stretch of No Depression, and the resulting discussion is about as funny as a screen door on a submarine, to Chad’s chagrin. Also, the honor of Rush (band, not Limbaugh) is debated. Despite the way this description sounds, Uncle Tupelo is also comes up here and there. Songs covered are “Flatness,” “So-Called Friend,” and “Screen Door.”
Chad and Keith go deeper into No Depression, pondering the issues of Jay Farrar’s beef with English grammar, what’s up with trains, and where the damned mando tabs are. Also, if you like digressions about the Bottle Rockets, this is the episode for you. Songs covered include “Outdone,” “Train,” and “Life Worth Livin’.”
Chad and Keith continue their exploration of Uncle Tupelo’s first album, opening up the whiskey bottle and finding it full of weird laughter. Discussions include the business models of a shop that sells liquor and guns, Neil Young’s “Cortez the Killer,” and Jay Farrar, Great American Poet. Songs covered are “No Depression,” “Factory Belt,” and “Whiskey Bottle”
Chad Cook and Keith Pille, two idiots from Minneapolis, begin their song-by-song walk through the catalog of seminal alt-country band Uncle Tupelo by talking about the first three songs on the album No Depression. Also discussed: the seeming impossibility of Jay Farrar’s voice, what’s up with a Loverboy song, and where some bad places to pass out after drinking are. Songs covered are “Graveyard Shift,” “That Year,” and “Before I Break.”