One Song - Alanis Morissette's "You Oughta Know"

Episode Date: March 12, 2026

How did a 21-year-old unknown transform a deeply personal breakup into one of the defining hits of the ’90s? Diallo Riddle and LUXXURY dive into “You Oughta Know” by Alanis Morissette, unpacking the raw vocal performance, the Flea and Dave Navarro-driven groove, the genre-blurring production hidden in the stems, and the cultural moment that launched Jagged Little Pill into a 33-million-copy phenomenon. Songs Discussed: “You Oughta Know” - Alanis Morissette “Only Happy When It Rains” - Garbage “Unbelievable” - EMF “Too Hot” - Alanis Morissette “Straight Up” - Paula Abdul “Let The Music Play” - Shannon “All I Really Want” - Alanis Morissette “Hand In My Pocket” - Alanis Morissette “You Learn” - Alanis Morissette “Head Over Feet” - Alanis Morissette “Ironic” - Alanis Morissette “Big Exit” - PJ Harvey “Cornflake Girl” - Tori Amos “32 Flavors” - Ani DiFranco “Fast Car” - Tracy Chapman “You Oughta Know (Jimmy the Saint Blend)” - Alanis Morissette “Fools Gold” - The Stone Roses “Pacifics” - Digible Planets “Barracuda” - Heart “Fuckin’ In The Bushes” - Oasis “Little Miss Lover” - The Jimi Hendrix Experience “Bonin’ In The Boneyard” - Fishbone “Walk On Water” - Thelonious Monster “Jerry Was A Race Car Driver” - Primus “Epic” - Faith No More “Dungeon Vision” - Earth Tongue One Song Spotify Playlist Learn more about your ad choices. Visit megaphone.fm/adchoices

Did you forget about me, Mr. Duplicity? I hate to bug you in the middle of dinner. There was a slap in the... Duplicity, Mr. Duplicity, I don't think I'd ever heard that word before. Like, you know, I immediately knew what it meant. Okay. Oh, not even in life? Like, you say nothing of pop music? The word duplicity does not show up in tag team. Whoop, there it is. And it should have.

So, actually, today, we're talking about a breakup anthem from one of the best-selling albums ever. This album has sold something like 33 million copies and spent 12 weeks at number one on the charts. What's even crazier, is that the artist, a 21-year-old Canadian singer-songwriter, was virtually unknown before she blew up. That's right, Diala, and today we're going to dig into the magic of the song that introduced her to the world. On the surface, it's just a pop rock tune, but when you listen closer, this song has elements of electronica, punk, funk, and even alpine Swiss folk music. We're going to be getting into all that in the stems. We'll also talk about what happened in that movie theater.

We're talking One Song, and that song is You O'O know by Atlantis Morissette. Hey, One Song, listeners, if you love our show, you should check out Trappital, the podcast where technology meets culture. Each episode, Trappital hosts and founder, Dan Runcie, digs into the strategy behind the media and technology that drives our attention. You'll hear Trappital explore topics like YouTube's growing influence in music and entertainment, the never-ending saga about TikTok's future, and how AI is shaping. the future. Media is one of the first industries to get disrupted by new tech. It's Trappital's job to keep you ahead of the latest trends. You can listen to Trappital wherever you get your podcast. That's Trappital, T-R-A-P-I-T-A-L. I'm actor-writer, director, and sometimes luxury's anger management specialist, D.A. Riddell. And I'm producer, DJ, songwriter, and

musicologist luxury, aka the guy who whispers or sometimes shouts, interpolation. And this is one song. The show where we break down the stems and stories behind iconic songs across genres and tell you why they deserve one more listen. You will hear these songs like you've never heard them before and you can watch one song on YouTube while you're there, please like and subscribe. All right, Diallo, when was the first time you heard you ought to know? I think like everybody else, I probably saw it on MTV, you know, maybe heard it on the radio. But, you know, the first time I ever saw Atlantis, and this is way before Jagged Little Pill. She was a kid actor on one of my favorite Nickelodeon shows growing up. I used to love you can't do that on television.

Oh really? The show that gave us green slime. Did you know, like her character was one. Yeah, Alanis, Moose is the goat. As far as I'm concerned, as far as that cast. I don't know movies. But it's, yeah, look, I'm dating myself because this show was on Nickelodeon in like the early 80s. But I used to love it.

It was basically a kid's version of Saturday Night Live. And why don't we show a clip? Here's a clip of you can't do that on television with a very young Alanis. Did you give him a burger from across the street together? Get him off your back? No, I did not. I gave him my Barthberger to get him off my back. I guess we won't be hearing from him anymore.

Maybe not the greatest moment. You can't do that on television history. But it was a very funny show. They were always just hanging out, doing kid's stuff, doing kids' jokes. If you said the word water, they dumped water on you. And if you said, I don't know, they dumped green slime on you. And the green slime has stayed on Nickelodeon ever since. I was vaguely aware of this show.

it wasn't quite my demographic. I mean, at the time it came out, I was a little bit older than you, my friend. But when you heard Alanis Morissette and you ought to know on the radio, did you connect? Oh, God. I know. I'm not. Definitely not. I definitely did not think, oh, that's Atlantis from, you can't do that on television. This video, though, and this song, they were so, they were just huge hits at the time. And I think they kind of remained a quintessential snapshot of the 90s. And Alanis, you know, at that time, like, her hair wasn't teased. You know what I mean? Like, she was wearing a t-shirt long before, you know, Billy Elish made that cool. You know, like, it was just everything was completely dressed down. I guess you could say it was like a little grunge, but like it also just felt like the slacker 90s. You know, like there was no heart barracuda levels of style. Yeah. To this music video. Listen, I think one thing that's really interesting about investigating this song is that it really is a snapshot of 1995 musically.

Yeah. Because it is sort of post-scrunge. And visually, yeah. Visually, she's able to take advantage of the fact that not take advantage in a sort of transaction way. But we're naturally coming into an era where we've just had grunge. We have sort of early proto-electronica also. This is a moment where we're starting to, because that's an element of this song and this record that can easily be forgotten as much as, because we think of her powerful vocals and performance and maybe the band and the early footage with like Taylor Hawkins on drums. They're a rock and band.

But in the recording, there's like, there are drum loops and drum machines. So this is sort of like akin to what early garbage. There's some other bands. Absolutely. Shout out to Shirley Manson, one of my favorites. Let's not for early 90s, we had like EMF and like unbelievable. You're unbelievable. Right? Jesus Jones, stereo emcees. There's this new experimentation with mixing electronic beats and rock guitars and in a pop song format.

So when this record comes out, when this song comes out, when this song comes, out. It's right in the pocket of that. It also had just a killer video. Let's take a quick look at the music video for you ought to know. All those R's are super distinctive. She has a very distinctive mother sound art. It's a very pirate-us. I forgot to

add to the genre blend. There's a little pirate in there to the electronica and the punk funk. By the way, we're going to get into this, but the music in the video is slightly different than the music in the song. That's right. We're going to talk about how there's a couple different mixes, but in brief, if you buy the record of Jagged Little Pill, song number three is you ought to know, the kind of iconic

canonical version. But there's a second mix, which up until COVID, basically, the video version used instead of the radio version. So all of these decades of knowing this song, I've always a little bit bit confused about why are there two different versions. We'll talk about that a little bit later on this episode. What about you, Luxury? When was the first time you heard you ought to know? I remember I was working at a job I had during school, during college. I was working at this company, and it was, I think, pumping out of the radios that all the programmers were listening to. I was working at this early internet company, basically,

in Washington, D.C. When I heard it, it popped off the radio in a way that, like, I can sort of remember the pull the car over moments. Yeah. Our song is so good that you're like, what is this? And certainly, the previous version would have been Nirvana, smells like teen spirit.

I remember hearing that song and being like, whoa, pull that car over. What is this? Crank it up. Can I just say that's not a thing anymore. And I feel like I can totally relate. to that, I remember the very first time I heard nothing but a G thing. It was a,

I know exactly where I was driving. Right. And I heard that I was like, well, this sounds like nothing I've ever heard before. And I remember I didn't pull the car over. I think I was actually getting right across some train tracks. So sometimes it's a metaphorical pulling up the car over, but it's the same idea. You've got to stop what you're doing. Yes. And just pay full attention to this incredible song coming at the speakers. That is a thing that is a thing that is no longer a thing. I feel like because

now you get things from the algorithm and I don't know, it's just not the same. when you know that everybody is listening to the radio, hearing the same thing at the same time. That's a good point. It felt important, maybe, for some reason. It feels important. It feels shared.

Yeah, shared. A friend of the show, Sam Sanders, has said, like, you know, we're losing monoculture. And we definitely are, because I can totally remember where I was when I heard certain songs for the first time on the radio. I think monoculture is Sam's interpolation, isn't it? It's a great word for him to own.

Like Brunee Brown with vulnerability. I always think of her. I need a word. I need a word. It used to be chunky, but I didn't say that. Let's bring it back. Chunky. I love that, though.

A pull over the car moment. And why do you think it was? What about this song made you want to pull the car? Well, me personally, it was what I liked about the music I was listening to at the time. It was bringing in elements of, like I heard, without knowing at the time that there was a connection to this band, which we'll get into, I heard the red hot chili peppers and the Jane's Addiction. And the sort of post-grunge, grunge elements, some of them were sonic like guitars. some of them were dynamic, like arrangement-wise, like quiet, loud, like we talked about with the 50s in Nirvana. That was huge enough, but then add another 99% for this

insanely good vocal. The best, one of my favorite vocals, lyrically delivery, the emotions there, the rawness, the melodies. She has a great voice. She has a great voice. It's a different voice. It's a different voice. You know, it reminds me of like maybe the first time people heard Mama Cass or Janice Joplin. You know what I mean? Like certain women just explode on the scene and their voice is so unique that it immediately becomes that thing that you can like do an impression of it because it's so unique yeah it she does have some distinctive mannerisms and ways of hitting certain like sounds or vowels or consonants actually in certain cases we're going to talk about that when we get to her isolated vocals a little bit later well yeah also i feel like we heard her emotion right like there was a lot of

emotion in this song there's an authenticity that's hard to like pin down that word it does it does a lot a lifting and it's hard. It doesn't really get to the heart of things. It's like saying the word cool. What does that mean? But there's an authenticity that you can't necessarily put your finger on, but you know she means it. You know this is so real. And it's so relatable. I mean, like, you know, I was just going to say. I know, I was just going to say that like this is like, you know, a feminist anthem. But I feel like anybody who's ever felt jolted can relate to this. I was literally, male, female, whatever. You're speaking my mind, my friend. That was exactly what I was going to say. It transcends that it's another person. It transcends that other person happens to be

female. Like, it's just like, this is my story, too. I'm hearing this song and I can relate to it. Can I tell you, though? I actually can't relate to it in one sense because I've never been dumped. I was never dumped. Okay. And here's the fun. Quite a flex, my friends. Well, no, it's not a, here's where it's where this is going. It's a good flex. When I met my wife, we, we laughed because she's, she's never been dumped. Okay. We were like, neither of us has ever been dumped. So, like, clearly, one of us is going to lose eventually. Right. Like, right. Maybe in death. If your partner dies, you're effectively dumped.

It's like the idea like one of you married up, but which of you married up? I know. I was just like, hey, babe, one of us. Who's getting the better deal here? Who's going to get the better deal here? It's been 17 years and either one of us has had the streak. By contrast, I have been broken up with and I'm going to list all of those women right now. I had just been dumped.

You're actually making me remember. There was a major dumpage that had happened to me. You've been dumped? Just moments earlier when this song came out. Because it was not only a dumpage, it was a dumpage. a double dumpage where it's like the girl that I had been seeing started to date my best friend. Oh. So I lost both of those people in one moment.

It was a double dump. I am so sorry, my friend. You're just bringing back an old, forgot memory. So, but that is her name. Oh, my gosh. Bleep that out, but use it. Let's back up a bit. We've gone really far that direction.

But I think we were both surprised to learn that prior to. that prior to Jagged Little Pill, Alanis had a totally different sound in the early 90s. At the time, she was in her teens, she was signed to MCA, and she released two albums for MCA. Let's watch the video for one of her early singles.

Here's Too Hot. I love this song because I love Paula Abdul. I love Taylor Dean. It does feel very straight up. It's very Paula Abdul meets Taylor Dane, meets Bobby Brown, maybe. For those listening, and you really shouldn't just listen,

you should really watch this on YouTube. But for those listening, it styled like Paul Abdul. It's black and white. She's got like the checkerboard, you know, shirt tied around her waist. It is straight up, straight up. Straight up, straight up. It's straight up, not totally. Yeah, that was, that was a good song.

I actually dig that song. It was dance pop. One of these days I would love to do like a freestyle episode, like a song that, you know, because that's such a fun genre. I feel like whether it's freestyle or sort of like early 90s dance pop. Yeah, we guess definitely a genre that I feel like is kind of left in the past. but like there's some gems in there. I'm always thinking about let the music play.

Like once a week. Shannon, got to get some one song Shannon action. I think she listens to the show. These albums that she did for MCA were not a commercial success. And by 1992, Alanis was no longer satisfied doing the dance pop thing. She was entering her early 20s, and her songwriting was moving in a more introspective direction. MCA did not like that at all, so they dropped her.

And this ends up being a blessing in disguise because if that didn't happen, she might not have packed up her bags and moved to Los Angeles. So just for those of our listeners who aren't aware of how the songwriting process often works in pop circles, when I moved to L.A., I was in a publishing deal, which meant that I was a track person that would be put in a room with a topliner, which is a lyrics and melody specialist. And the two of us would write songs together. This was my career for about four years. So what Alanis is doing in this moment is exactly that. She has a publishing deal, but no record deal. So there's a publisher who's motivated to have her write songs that they can, you know, financially

benefit from when she gets a record deal. And she is in room after room after room, writing song after song and really honing her craft. She talks about that she would write like dozens of songs. Like she would have a session in the morning and another session in the afternoon, seven days a week, kind of a workaholic, but really honing her craft and getting good at writing songs quickly, which is really important because when she meets one of our unsung heroes of this show, which we will now talk about. That's Glenn Ballard in Los Angeles.

The two of them click as a writing duo in these circumstances of just sitting in a room trying to get a song out without any thought as to how... And are they writing... I'm just curious because I don't know. Are they writing... I mean, obviously, they're writing songs

that she would like to sing, but are they writing songs for other people? That's an important distinction. You're right. There are circumstances where sometimes you're writing just to get the song out and who knows who will cut it.

Maybe it's for another artist. You hope to get it. by a big artist because that's how you make money. But then there are circumstances where there are artists that are themselves writing for other people potentially. This song feels like a me song. I'll keep it for myself. I think in the circumstances here with Glenn Ballard and Alanis Morissette,

they're writing ostensibly for Alanis. Like these are really personal songs. I don't know that there's any thought that they'd be tried to, they'd try to have it cut by a big pop star of the day. Yeah. By Apollo, Abdul for example. Yeah. So a little bit more about Glenn Ballard.

we've actually mentioned it before on the show. If you go back to our Michael Jackson, Billy Gene episode, one of the songs that didn't make thriller was a song that Glenn Ballard had written called Nightline. He was one of Quincy Jones's stable of in-house writers. He worked for Quest.

So he wrote a bunch of hits, including Man in the Mirror for Michael Jackson. He wrote Wilson Phillips, Hold On. He actually wrote for Paul Abdul. Her name has come up three times already six minutes of this episode. So they were put together by a publishing company. clicked and they wrote together starting in early 1994. As Glenn Ballard tells the story,

the first song was All I Really Want. They wrote it and recorded it all in one day, finished it that night, recorded it, played it for the publisher the next day who liked it. And that was the pattern that they, for the rest of the year, they would get together and just have these really intense conversations about life, which would turn into lyrics. And then Glenn would go off and work up the music while Alanis would focus on the lyrics and melody, record the song, move on to the next day. 20 songs in 20 days across a few months. So they would meet at his like Enino-based home studio,

which by the way, in 1994, this is a new ability that you don't have to rent out an expensive studio. Basically, the songwriting process is starting to become potentially also the recording process. Because one thing that's really interesting about Jagged Little Pill is that it's mostly the demos they made in his home studio in Enino. And in 1994, we take this for granted now. We so take it for granted.

But it was relative to- That whole albums in their closet. He had an ADAP machine, which is a precursor, not even a laptop. This was sort of earlier digital recording technology. And because he also happened to be simultaneously a guitar player and songwriter, but he was interested in early electronics. We'll talk about it when we get to the Sims. But he's using a Lin-900 and he's using loops.

So you have the ability with that two people can make an entire song, an entire album, not to mention a hit record. There were overdubs. We'll get into that a little later. But for the most part, this record was made by two people in a garage with an engineer for some overdubs in Encino, California in 1994. And you know what's funny? It feels personal and homemade, so to speak. And what I thought was really interesting is that at some point she left Los Angeles and went back to Canada.

And he was like, oh, I guess that's the end of this relationship. But then when she came back, he was like, oh, man, she's only gotten better. Yeah. You know, like there's so much like mutual love and respect between these two artists. 100%. I just got to love their relationship. And again, going back to my experience in the room, I know the feeling of sometimes you get connected with somebody and you really have something. It's a combination of maybe your musical taste, but also just the rhythm and pace of how you work and how you think and how vulnerable one person can allow the other person to feel because it's a very vulnerable thing to write music together, to have something that isn't quite right yet.

and maybe the other person, if you sense that they're impatient, you know what I mean? That can really put a damper on the way of a relationship. Yeah, I feel like this is almost like the opposite of an impatient relationship. Glenn wasn't coming in with some big agenda or trying to shape her into anything. So Alanis had the freedom, you know, she had the freedom to write about whatever was on her mind. And you can hear all that freedom on jagged little pill. And songs like, hand in my pocket. You learn.

One of my absolute favorites, head over feet. And of course, ironic. Let's watch a bit of that iconic, ironic music video. So good. She's so good. She is so good. She's such a good artist. It's such a good record.

Everything about her is great. I love her. We like talking about people who are great. I just, I'm so excited. I get so into this. I mean, it was crazy. I didn't even know how much more popular ironic has state. It's actually her most streamed song.

How ironic. More than you... Don't you think? I do. I do think. No, but think about it. Like, if you were alive in the 90s, you would assume you ought to know way out ahead.

But ironic has twice the streams. Yeah. It's crazy. It's crazy. But I think that's because people come to it. And obviously, there's always been that debate about, are these things really ironic or do they just suck? I think it's a little easier to sing, too.

You ought to know is really hard to sing. It's hard to, like, belt and hit those notes. Yeah. And you just can't get that emotion. So it's like, why try? With ironic, that's the most. That's the crowd sing-along. That's the stadium sing-along in this record, I think.

I think you're right. So in that music video, it's a couple of Alanuses. Alanai, I think we can call them. Alanisis. You know, there's one driving. There's one in the backseat being whimsical. But they're all buds. They like each other.

They're all hanging out. She likes all of her different selves. I don't know where she's driving, but that looks like Canada to me. When I think Canada, I think, frigid. It looks very cold. Frigid road. You know what? It's funny.

You're making me. think that there's another element to her, like the genre blend. Like, she has this sort of iconic beanie. Like, her hair is disheveled and the oversized clothes. But there's definitely a post-grunge and musically... There's one when she has almost like dreadlocks, too. There's a pearl jamminess to the music, I would say. And in 1995, like, that was a few years earlier.

It's still happening. There's still a pearl jam right now. But my point is, is that pop music tends to absorb other elements that were once more underground. And by 1995, we are fully... absorbed all the Nirvana isms, all the electronic isms, even the punk funkism of like the chili we were talking about. We were talking about this. And Pearl Jam is part of that. In relation to this episode. And yes, I think that pop music always looks for a cosign from the underground. Like, this is 1995. This is the same year that Moriah Carey does a song with Old Dirty Bastard.

And that's like getting a sign off from Wutein class. So she's going to hip hop for a cosign. I feel like Lannis is going to like brunch and alternative rock. So like this, this song could have been produced by Butch Vig, you know what I mean? Like, you know, who's working with garbage and... At exactly the same time, making a very similar kind of sound. Yes. It should be said, with, like, drum loops and then rock guitars and pop music. So there's something really interesting about that absorption.

And I don't necessarily... I don't know that it was, like, strategic or planned. I think it's very... Very... Chance of her she was probably just into that music. I think very much so, yeah. And she'd tried... You know, she'd done the dance pop thing in her teens,

and she wanted to do something more authentic, more real. And this is the 90s. Right. So, like, there's a lot of... there's a lot of growling in the 90s. There's a lot of like, you know, like, that's what people wanted to hear in the night. And also the reason why Nirvana and Pearl Jam and these grunge bands were so important is because they really did unlock this other available lane of vulnerability and

an aggressive music. And so that's another kind of opportunity that Alanis is like, this is what I want to be doing right now. And I think the writing process from all accounts just unfolded very naturally without any sort of like record industry like strategy. There was a record label to speak of. But this was something that she was naturally drawn to, or I should say, it just came out of her in that way that maybe happened to coincide with what this post-grunge sounded like. This is also the 90s, and the 90s is just like, it was such a good time to release really big albums.

Like, I'm thinking about Green Day, Duky, Nirvana's, never mind. They're just some really big albums during this period, and Jagged Little Pill is easily one of the biggest. Yeah, and it's the end of that chapter, probably in human history, because the monoculture is coming to a close with the internet's rise. Just a couple years away. Yeah, about five years away from the end. But also, Atlantis is part of like this generation of female artists, specifically like alternative rock and folk, that they are expressing themselves completely honesty. There's like another level of honesty. And I love it because it's like artists like PJ Harvey and Toriamos.

Blake beer. To Danny DeFranco. I'm a poster girl with no poster. I am 30 to flavor. Even Tracy Chapman, I would argue. Like these are artists that are, you know, sort of walking so that Alanus can mainstream that sound and experience all the success.

And because of her success, then you have the success of like a garbage or like an Avrilavine. I'm going to say Billy Elish again, because again, this is sort of that first, you know, lady who was able to just get out there and just a T-shirt and some comfortable pants and rock out to millions. I mean, like, she's on tour for a long time,

like millions of people all over the world coming out to see her and this amazing band perform. All right, we're going to take a quick break, but when we get back, we're going to hear Atlantis's raw, isolated vocals. We're going to hear the original demo. I'm so excited about that. And we're going to find out how two of the red hot chili peppers

were the missing links the song needed when we get back. All right, welcome back to One Song. So before we get into the Stimms, we would like to share with you, the One Song Nation, the demo. So bear in mind as you listen to this, that her vocal take on this is the final vocal take that got used in the final song. But the musical bed is very different,

and we'll break that down after we listen. Okay, so here's a part that's different. I've got to say, At first, I was liking it. Okay. You know, like, I like that sort of like a guitar thing. Like that sort of a guitar thing. But then when it gets to the,

the build, the pre-chorus. Yeah. Yeah. That baseline is kind of. Let's talk about that bass sound. It's a little bit, it's a little bit, it's got like a filter on it. It's got like kind of a parliament funk. Like a Bootsy Collins.

You kind of like, like a Wausk. I don't know if that I want to say, it almost seems to insult Bootsy Collins a little bit. Well, that's, we just said the same thing. Yeah. Yeah. There's a little bit of silliness, I would say. Yeah.

As opposed to serious rock. And the drums sound like so basic. Like it's like... Well, what's interesting is we keep those drums throughout the entire... Those drums remain. That's a drum machine loop that is in the final version. But it was enhanced and, you know, overdubbed with a real drummer. With a real drummer, which you feel.

You do feel that real drummer. Yeah. And one last thing, which is super minor, but like, or unimportant, relatively speaking. But the chord changes in that pre, the build are slightly different. Yeah. And they go to the five, which is the dominance, which is like... You want your ear wants to go back to the one. But it's a little too on the nose.

It's a little too obvious. You know, I came across this quote from Flea about his reaction to the original bass line. Flea says, quote, that's some weak shit. It was no flash and no smash. I like that. No flash and no smash. But the vocal was strong. So I just tried to play something good.

I showed up. I rocked out and split. That's right. So how does Flea get involved in all this? So Guy O'Reilly at Maverick Records, who was Madonna's manager for many years, and actually Red Hot Chili Peppers and U2's managers for very many years. He might even still be the chili peppers manager, I believe. But he was the first label to not pass on this incredible demo that got shopped around. Everybody passed.

Every label was not interested. But Guy O'Seri was interested. Guy O'Siri knew a guy called Jimmy Boyle. He knew a guy. He knew a guy called Jimmy Boyle. That's the name of a guy that when you know a guy, that's that kind of. guy's name. Sure enough, Jimmy Boyle was another producer and an unsung hero of this episode because he did the alternative mix we talked about earlier. He did track 13 on Jagged Little Pill,

which is a slightly different version, a slightly different mix of the same recording of You O'Don Know. So it's called the Jimmy the Saint blend. And he's also the link in the chain that brought in Dave Navarro from Jane's addiction, but in this moment, red hot chili peppers. Oh, that's right. What Gai Osir gives him full credit and says, there's a guy called Jimmy I was hanging out with at the time. He kept saying, gosh, imagine what this would sound like with the stronger bass and guitar.

Alanis and Glenn were down to try it out, and the rest is history. So we have some drum machine, and we also have a live drummer. I've dying to hear the drums. Well, the song begins with the live drummer, and it goes back and forth, and then they get blended. It's very interesting mix of electronic and live. It's Matt Laug is his name. He's a session and touring drummer.

He's worked with everybody from Donna Summer to ACDC, for whom he's currently the tour drummer. Oh, wow. And he heard the same demo that we heard and added some live drums on top, starting with this at the very beginning. So he's playing the snare with brushes. Yeah, you can see it.

Kind of jazzy. And that's what's playing in the intro underneath Alanis' is kind of otherwise a cappella vocal. But what's interesting, a little fun fact, is that he'd actually recorded it later in the song. Yeah. It was for a different section,

near the bridge, like during the bridge. But when the song was mixed, the final version, he was like, oh, cool, what a good idea to bring that to the front of the song as well. But you'll also hear it a little bit later, a little bit of an Easter egg. What drum break does that sound like? Is that Amen Brother? Which what is that? Yeah, maybe that syncopated death-to-d-da.

I'll tell you what I think it is. So there is a little moment in music history where there's a lot of like soup dragons and a lot of kind of the baggy, like Manchester. Yeah, Manchester, adjacent, where they use that beat all the time.

All the time. And it's boom, boom, ka, ka, ke, and it drives me crazy. Or some small variation. That's my least

favorite rhythm. Really? Especially when like a British, you know, white British drummer is playing in an indie rock band. It always just sort of... I don't know why.

I don't have a reason. I just don't like it. But I hadn't noticed it. Maybe when it gets transferred to the brushes, it sort of loses its Manchester bagginess that always annoyed me a little bit.

But you'll, You'll hear that all the time in those bands. It's also funky drummer has a similar syncopation pattern. Yeah. For whatever reason. It's one of those classic breaks. So we've always said on the show, you can't really copyright a break. Oh, God, no.

That's a rhythm. It's a rhythm. Yeah. You're playing a pattern of, you know, syncopated snare hits. But that's what I hear when I hear those, when he's using the brushes on. That's what it evokes. I think it's a good call. Yeah, it evokes a lot of those iconic break beats.

Totally. So then right after this intro, we get right into the verse and we move from live drummer to drum machine, I'm going to play you the transition because it's actually pretty abrupt, but in the mix, you just don't notice it because you're so locked into the vocal. But here's how that happens as we go from her singing, Best for You Both. This is underneath that part. It almost seems like it didn't line up perfectly.

There's something to that in this song, which I've been noticing just going through the stems. There's a lot of loops that don't line up perfectly because we're not in a screen grid Pro Tools era. This is all done on ADAT, which is literally on. VHS tape. It's a digital recording technology where you don't have the visual, so you're doing it by feel, by luck, by hook or by crook to get things to line up. And kind of incredible job that Glenn Ballard and Chris Fogel did collectively. But, you know, it's imperfect. And maybe that adds to some of the humanity of the song. Can we hear it while we're time? You want to hear that again? I do. I'll put the vocal in just so you kind of know where we're at. Yeah.

It's a little bit late. It's like slightly delayed. You know, maybe it's just because we have now just lived in the grid so long. It's so funny how wrong that sounds. But I would argue, and I think you would agree, especially in this era, all the hip-hop, all of the electronica, not all, but like a great percentage of it has these little pre-digital, pre-pro tools, pre-Ableton, everything being lined up moments that actually arguably give it some humanity. Yeah. Yeah.

Until it bothers me. Well, there's like there's one line on a digible planet song where, where doodlebug comes in so off. And it just jars me every time. You just can't do it. No, what's the line I need to know? Ruin that song for me. My man, do planets do it lovely. Am I my brother's keeper?

Like, I do it on the beat. He doesn't, no, he does it off the beat. It's not lined up, dude. And it's bothered me since 19903. Oh, man. To my dying day. Since 1993, that line has been off. And I'm like, did nobody else hear this long?

Doodle bug, I got your back. This guy. What are we going to do? What's in that for another episode? Can't take him anywhere. So that drum machine is programmed by Glenn Ballard using a Lynn 9,000, which was one of his favorite tools. He loved it because you were able to use drum sounds, but also other sounds. So there's a level which I think he's using this almost as a sampler.

It's unclear to me exactly the tech. I've listened to every interview and read every article. To the best of my understanding, though, a lot of the programming, is through the Lin-9,000, because it's not just for drum sounds. But that loop and that groove-based writing is really starting to be a thing in pop music writing. If anything, it becomes the standard at this point. And he's doing it for this entire record, starting with a loop, starting with a groove, and then having that vibe bring the rest of the instruments on top.

He talks about how he especially, like, this is kind of a nerdy thing. But on the Lin-9,000, the hi-hat has eight different positions. so you can have it closed, semi-open, big open. That's going to come into play when we listen to the chorus drums in a moment because I actually wonder if this is a drum machine or a live drummer. Okay. Or if it's Matt Laug. It's possible that in this next part, what we're about to hear is the drum machine

with just a snare on top or it could be a full kit. I'm not really clear. But it's Matt Laug doing at least a snare drum, possibly the entire kit, mixed with that same drum loop. And here it is. This is the chorus. And I'll play for you just this wonderful fill that's very human going into the chorus.

You can hear the transition from drum machine to blend. And talking about the imperfections, notice in that drum machine that it doesn't quite, there is a little gap in between the beats. I'll play it for you again. Listen for every bar at one, two, three, four. A little gap, one, two, three, four. See if you can hear that display.

A little stutter. Yeah. It's a little bit of a stutter there. Totally, because it's not probably being played live. it's a loop. To be clear, Matt Laug is playing drums over the loop, but in the loop itself, it's not lining up perfectly. You can loop a live drummer.

Yeah. And I do feel like the reason you hear that gap is because when it comes back in, so to speak, there's like an echo of something that came before. Yeah, there's a reverb echo, which I believe is just the room that he recorded the drums in. Yeah. You can kind of hear that off. I think maybe the left channel a little bit. Yeah.

And it adds liveliness to the feel. Totally. And as I was researching the show, There's one big fill in this song, which may be the favorite part of every drummer on. It certainly is for me. But it's the big fill that takes you out of the bridge and gets you back into the final pre-chorus. So here it is, and I will have to air drum this. You got to get that double crash hit.

I love it. I love that. I feel like we've had a kik on the show before. Oh, Hart, Barakuta has that kikaze. It also reminds me of Fucking of the Bush's by Oasis, which has sort of very, similar drums to Little Miss Lover by Jamie Hendon. Can we hear it? Sure.

Oh, that's 100% Little Miss Lover with a great trashy SM 58 in the room, micing the whole kit sound. I love that. That's dope. That's dope. And it's definitely Mitch Mitchell coded, 100%. And Lowe talks about, Matt Lowe talks about when he heard that demo, he knew that there was an opportunity to go from that really chill bridge

into this last pre with that energy. he says, when he heard that, I heard the drum fill that I played on the record in my head, and I thought, that'd be a cool fill to play. So I wrote it in my charts, I wouldn't forget it. So when he first heard the demo, he's like, I know exactly what needs to go there. And he was right, because that's the moment that I got to pull my car over twice for that one just to like air drumming when I'm listening. You had to pull over twice. I had to pull over once to listen. So it's second time. So you're back in the street. Now you're just blocking track.

Here's what I do when I listen to Alainis Moresat. I pull the car over. I listen to the song. And then right during the bridge, I start driving again so that I can pull the street. over right at the end of the bridge to play that film. It's just who I am. You're not a safe driver. No, don't drive behind me or next to me or in front of me. A lot of cool stuff happening with the drums there. I really want to talk about the bass and guitar on this song. A's crucial, crucial, crucial bass. All right, let's listen to Michael Balzari, aka Flee, play F sharp. A lot of F sharp in this song in the verse and into the pre. But let's listen. So he's just riding that F sharp peddling during the beginning of the song. He gets a little.

little more fun a moment later, and I'll play you where we are in the song, a little vocal for context. That's during the pre-chorus. And what's cool about that is that he's really just rooted on that F-sharp. That is the root note, the tonic of the song. And we're hearing a lot of other notes and a lot of playful funk bass or punk-funk bass. But what's happening on top of that is different. Dave Navarro is not playing the F-sharp.

He's not playing the root. He's playing the three to the four to add some contrast. I'll play it for you. So here is just isolated. What Dave is playing on top of that with one guitar. So he's going from the three to the four. A lot of tremolo, a lot of chorus effect. Love that.

There's a second guitar, and then I'll put them together, and then I'll have the bass back. The second arpeggio is a little bit different. Sounds like this. It's really beautiful. But now you've forgotten what key you're in. I'll bring back flee. Give you that contrast?

So good. So good. Because they're playing different chords essentially. Please playing the one, the F sharp, and the two guitar parts are going from three to four, the three to the four, I should say, from A to B. So when you hear them isolated, it's almost like you're hearing two different songs. And then when you bring them together at the end of that. They mesh so well. They mesh so well, but they're adding this extraordinary tension, which is about to break three.

I literally ended it as we get to the chorus. and then they lock in together and we get the four chords and that's the pop chorus. Here's what it sounds like in the bass first. Just eighth notes playing the root notes of the chorus. And at the very end,

he does something to map to her vocal. You. Flea's just one of my favorite people. He's incredible. It should be noted. But he's also one of the first people who made me realize sort of like in my late teens and 20s

that, oh, I like it when the bass is doing something inventive or different or, like, sort of stand out. Oh, my God. He's one of my favorite bass players. It should be noted that they are playing to the demo with, I believe, the instrumental parts muted just the vocal and the drums. Really? I think that's what's happening from the telling, from the, like, quotes that are out there.

So they are re-harmonizing the song to a certain degree. It was their choice to retain the F-sharp, but have the chords. go from the three to the four on top, the A to the B. That was new decisions that they made. Remember how before with the silly bass sound? Yeah, totally. We were going in the pre-course to different courts. So they've simplified it.

We're not going to that five. We're not going to that dominant. And the other thing I wanted to point out, as you mentioned, is that he is emphasizing that you, you, at the very end, because that's already there. That's already in the track. So that's this section at the very end. I'll put Alanis back so you can hear of, hey,

work together. You, you. So he's playing do, do. He's matching her rhythm, basically. Remind me of all of this when we get to the splits because it's going to be very interesting conversation. And listen, just because we're talking about Flea and Dave, this is maybe our stealth Red Hot Chili Peppers episode

because this song, musically, is a very high percentage to your point, Red Hot Chili Peppers. I'm so glad you said that. What we're hearing is the non-drums and vocal part of the Red Hot Chili Peppers. It's just a band with two music, instrument playing members. Until we started doing this episode,

I didn't even know that these guys were on the song. You could have told me it was her touring band who's all in the Jagged documentary. For those listening, if you really want to go on a super deep dive on the album, the Jagged documentary is on HBO Max. And it's a really good dog. Apparently she's not a fan of it.

Lannis had some issues with some... I think she had some issues with some of the things that she said in the documentary is my theory. Yeah. You know, because it's a little bit of a warts and all documentary, but a very good documentary for those who want to

know how this album came together. And Flea's doing some fun fills all over the song and adding bits of color. Look, it's a punk funk song. Punk funk, by the way. This is a very forgotten subgenre. There was a moment where there was like fishbone,

Thelonious Monster. Another big LA band that never quite broke out of, but everyone talks about. You know, Primus kind of fits in there, I have to admit. I used to see a lot of Primus shows. When I was in high school, I had a fake ID, and I would go see Primus. It was all punk funk in that moment. I would see Primus and the Limbo Maniacs and Fungomongo. These are bands that only people who lived in San Francisco in the early 90s would have known about. But that was a huge scene.

You know what? Faith No More, frankly, is in that genre, I would say too. 100% Faith No More. There's like a hard rock, maybe edge to them more so than some of the other bands. But it's funk rhythms and certainly like literally, he's popping. and slapping that bass player. Think about Epic. Boom. It's like hip hop. Epic is the best ending of a song ever.

It's the best ending for any song ever. There's some really cool moments that I always notice in the song where Flea is 100% like having his bass playing match the vocal, match the lyrical content. I'll give you one example of that. I'll play Flea and I'll play Alanis isolated together. Right here. I was replaced I always think of that

as the slap in the face. This is a red hot chili pepper song with a drum machine and Alanis Morrison singing on top. That's the musical content that we're hearing in the song for the most part. And it feels like it too.

But this is the only song on this album that has Flea and Dave DeVarro. That's right. That's right. And then at the very end we have this wonderful wailing solo. Let's listen.

It's like a battle between Alanis and this like wailing. and she wins. She wins. She wins. At the end, the wailing note

ends before she ends. So it's like kind of a Pyrick victory. That's funny. I hear a battle too, but I actually hear this crazy note supporting her. Yeah. To me,

it's like her bannerman. Yeah. You know, like after she's won this battle, her bannermen come out and they've got these like, you know, flowing things.

You've played some vocals. It's like the audio version of the steam coming out of her ears. Absolutely. Absolutely. The structure of this song is just so good because you, now you like,

you appreciate. that sound at the end because that's letting you know like, hey, this is all coming to a climax. I love her vocals. This sounds so good hearing her vocal isolated. Can we hear a little bit of verse one? I want you to know that I'm happy for you. One thing I want to point out. She sounds so happy for him.

I know. I don't know if I take it at face value what you're saying on it. One thing to point out as we're listening, you can hear the bleed in her headphones. And now that we've heard the demo, listen, it's that guitar riff that we all heard. Don't do it. As I continue to play the rest of this, listen for that. I wish nothing but the best for you both.

Right? Do you hear that? Yeah, I hear it. By the way, this is the only time Alanis ever sang it in the studio. This is one take, and it's her first take. All the vocals were the original vocals. There's something about those first takes. I don't know. Even when we're on set, we're shooting a scene,

I'm always like, shoot the rehearsal. Yeah. Because sometimes it happens and you never get it back. It has a special vibe that like you, the more you refine it, the worse it gets. In fact, Glenn Ballard said, there was some talk about refining things and redoing them, but she was adamant.

There was something about the moment of creation when we did it. And she was right. Because some of the vocals, well, hear it isolated are in the red. They're like too hot. So, you know, it's distorted. Like a little distortion.

It only contributes to the overall vibe of the song, the energy of the lyric. Let's hear a little more of verse one. An older version of her, maybe. An old version of me, is she perverted like me? Would she go on you in a theater? I like that. You know, the 90s had such a bit of ways of, like, editing.

Yeah. Well, especially because, like, why are we editing out down on you in the theater? They said the first time they played this on K-Rock. Yeah. That, like, everybody was calling in. Everybody wanted, I think when you fuck her was edited, obviously. You can't say that. But I'm pretty sure that they play and go down on you in a theater, playing out.

And like, that's one of the things that hooks you, it grabs you. Yeah. But I guess once this song blows up and it's major, you do need a radio edit. Because, you know, sometimes people are driving into work at 8 a.m. And it's just like, going down on any theater seems like so. Or the kids are in the car. You know what I like talk about it right now. Maybe a little later.

Maybe, maybe years from now. My kids, they're actually informing me of obscenities nowadays. I'm like, wait, that's what that means? And just to call attention, because it's throughout the song, we have all these Alanisisms, sounds and emoting that aren't necessarily lyrical or melodic. But listen, here's one at the end of that line. Let's just point out the ach. A theater.

Ah! It's a ach. A theater. That's so specifically. Oh, at the theater theater. Well, now that I hear it, it's the whole word. It has like so many Alanisisms in it. On you in a theater.

Double a. They're double-off. That's such a thing. Let's continue into the pre. And you'll notice that what we had up the middle as a centered vocal is now split into the left and right channel. It's actually two takes.

I think this is the one section of the song that isn't a single, not doubled, i.e. multitracked vocal, happens right here. So you hear two Alanis is here. And every time you speak her name, does she know how you told me it helped me until you died, till you died,

but it's still alive. Okay. The line So good. But you're still alive It's so funny. I love that line so much. It is really funny.

You're right. She's mad at him that he's still alive. That's a great line. You're right. It is funny. I love that line. I forget that is funny. These lyrics are fucking bombed.

They're so good. I know that she's got some monagree across high bear. But like that's a line I heard from the very first time. I was like, wow, she's singing lyrics. Like every now, maybe it's the writer of me. Like certain lines, I'm like,

how did you get those words in there so wonderfully, so beautifully, Like to work that phrase into a song that's like a mega hit. You know, Prince did that sometimes. Like there are a couple of lines, you know, oceans of violets and bloom. You know, like, I'm just like, oh, that's fucking poetry. And I love the line. It's not fair to deny me of the cross I bear.

You know, like, I just think that's such a great line. It's not fair. I almost apologize in advance for trying to explain it because there's no explanation. She was born the way she was born, a creative and incredible soul. Yeah. And she has her 10,000 hours by the way. this point. She has been writing for years and performing and she has honed her

craft and she has innate gifts and there's probably other things that contribute to it but this is genius lyricism, it's genius delivery, it's the first and only take of the vocal and they've kept in all of these breaths and everything. This is also

a moment where like how risky, how daring, I mean at the time they were doing it, they had no record label. There was no sense of like someone waiting for some polished final product. And then when they take it around nobody's interesting. Props to Guy Osirian Maverick for keeping it this sort of like raw demo. Like it's wonderful that they kept the rawness of the sound.

Guy, Guy had an ear. You know, he was like 19 or something. He was really young when he, when he started at Maverick. Yeah. By the way, this is one of those songs where every verse sort of has something very memorable going on. Oh, absolutely. I really want to hear verse two. Did you forget about me?

Mr. Dilplicity. I hate to bug you in the middle. middle of dinner there was a slap in the... Duplicity, Mr. Duplicity. I don't think I'd ever heard that word before. Like, you know, I immediately knew what it meant. Okay. Oh, not even in life?

Like, you say nothing of pop music? This is the 90s. I definitely had never been to therapy. Like, the idea that like, you know, codependent relationship, you know, duplicitous behavior. Like, again, these are words that you would not expect to be slipped in. Right. But this is all part of her lyricism.

bringing just a new rawness, a new honesty. You're right. And quite honestly, you know, therapy words into a major song. This is introspection language that we hadn't necessarily heard on the radio to this degree. Yes. No. With this poetic degree, for that matter. No.

The word duplicity does not show up in tag team. Whoop, there it is. And it should have. But I digress. That's a different episode. I also really love this line about, you know, I hate to bother you in the middle of, I hate to bug you in the middle of dinner.

Oh, yeah. Another favorite. There's a famous line. And we, let's talk about this because this gets to the heart of like, is this song written about somebody in particular? Anytime I brought up this song with friends this week, they're like, oh, yeah, that's Dave Cullier. And obviously, Dave Cooleyer, Uncle Joey from Full House, you know, he has told this

story about hearing this song on the radio for the first time. He's driving. It comes on. He knows that him in Alanis. used to date at some point. And as the lyrics up fold, he starts thinking, wait, is this song about me? He points specifically to the dinner line

because apparently, Alanis once called him while he was at dinner after they had broke it up. So he felt like that would hit a little close to home. He's never really addressed the movie theater line, the famous movie theater line. Probably smart on his behalf. Atlantis, I want to point out, has said many times she loves to hear people talk about,

oh, this song's about me. This song's about, because she would argue that it's not about Dave Culey. It's not about, you know, she's never confirmed her denied that this song was about any particular person. I actually do think it's probably her singing to a composite character of many people that she's dated. Yeah, and I think she's been very consistent about the idea that the song has more power when it's not revealed who the person is.

and it doesn't really matter and probably would break some of the song's power if it was too closely associated. This is why we have Carly Simon, you're so vain, is the same thing. It's the same thing. I mean, people have kind of sleuthed out over the years, some very strong candidates, but there's something nice about the mystery, and I don't think we need to know for sure. And I think it's, I think it's classy on her behalf. And I think it's also funny that every time somebody news says, oh, this song is about me, she's like, it reveals something about their character.

Right. Why do you think that? Exactly. Yeah. And just to be clear, because we mentioned it before, the whole, like, Swiss Alpine thing. There's a yodel in there. Yeah. She's doing what's basically going from your body, your chest voice to your head voice and back again really quickly, which is the essence of what a yodel is. I'll just isolate that for you again. Here is Alanis Morissette yodling. Yeah. One more time. That's hard to do. That's a skill set she has developed. It's so fun. All right. So now that we've heard the song,

and you've told us, you know, the contributions of all these wonderful musicians that I didn't even know about, how did the splits break down? So the splits of this song, the publishing splits, are 50% Alanis Nadine Morissette.

Right on. 50% Glenn Ballard. Oh! How does Flea and how do Flea and Dave feel about that? You know, it's a 50-50 split on the songwriting because songwriting just the way copyright works. And it's kind of also just how it has been. in. It's one of those, this is the way it is guys. But at the same time, I think Flea and Dave were

really just brought in as session musicians. And we talked about this many times on the show. Sometimes session musicians bring a lot. Sometimes they bring a lot. And they're subject to literally the power dynamics of the moment. If they were brought in and said, hey, you want the gig, I'll give you 50 bucks. Then they take the 50 bucks and that's the way it works. And that's capitalism, that's power. That's a whole other discussion. The whole other podcast, whether that's fair, I think in these circumstances. It's flee, it's Dave from the chili peppers. They're doing their buddy. They're doing their butt as solid. Yeah. And they're having fun. And I don't. I flees on a bitch. He's like, I did it and I split. He did it and he split. And what they're contributing is obviously hugely

important. But it seems as though they aren't feeling left out as something they felt like they deserves. How many boats could you ski behind, bro? Wait, who skis behind boats? That's a line from Wall Street. How much is enough? How many boats can you ski behind. My sense is that Flea and Dave never had expectations of anything greater, but they also may not have had expectations of 33 million units sold. I know. Seriously. So that might be a tricky thing for them to have managed in the moment, but I think they'll be all right. I'd like to imagine like Flea driving down the road and hearing that for the first time, I'd be like, oh yeah, that's me. Yeah, I did that. I did that. So you ought to know is the beginning

of this whirlwind of success for Atlanta. She wins five Grammys, and she goes on an insane 18-month tour across the world. I can't imagine the pressure she was under. The creative pressure, you know, not even put aside the commercial pressure. Like creatively, how do you capture something so lighting in a bottle twice, you know? And I just, I feel like it's unenviable the position she was in given the success of that album. I mean, like we've talked about you ought to know, all those songs were hits. Like that song, that album produced like five or six huge songs. You know what I mean? So like to come back with another album. I can't imagine what she went through. I'm so glad you brought that up,

because she's already navigated so much in her first 19 years of youth, right? Because the songwriting, when she wrote the songs on Jagged Little Pill. Yeah. When she's 19, turning 20. And they are so filled with such a human journey, so many, we know without her telling us that a lot has happened to her, and she is navigating her way through it. And then this other kind of version of a thing to navigate, which is success and fame and pressure from record labels. and internal is another thing to navigate. I look at Alanis Morissette, and I think what an incredible person,

what an incredible human. And she has navigated so much, but sort of shown her work along the way, which is such a gift to the rest of the world for us to be able to share in how challenging it is because that allows for us to be more vulnerable because she has been telling us this whole time that she is trying and it's difficult.

She has had challenges, but rather than hide them or be ashamed of them, let's put them in the open and see what we can work with and see if we can't work through this messy humanity together. I mean, I think you're absolutely right. And I think that goes towards her legacy as an artist. What do you think the legacy of you ought to know is? I could not believe how excited I was to listen to it in the car driving over today.

It joins the ranks. It might be in my top three of on the day of the show we're taping episodes and I'm driving over. Just how pumped I was. Because it's such a belt it. It has so much energy. and thank God for music, thank God for recording technology, thank God for memory.

I was really feeling all of it. I was feeling all the feelings. And the legacy of this song for me personally, beyond the global success of it, for me personally, it's a reminder of just the power of music. It's so trite, but it is the power of music. It's the power of great songwriting, the power of a great vocal delivery,

and the power of just the chance coinciding of Glenn Ballard and Alanis meeting up and writing music together. Well, we're really happy that they did. Okay, luxury, sign for one more song. This is the segment where we share a deep cut or a hidden gym with you, The One Song Nation, and with each other. You go first.

All right, so I talk about Stoner Rock a lot of the time. One of my favorite genres, but I don't play nearly enough of it in this segment. Brand new Stoner Rock. This is a band called Earth Tongue, and the song is Dungeon Vision. That is so mean. These guys are from New Zealand, and there is a two-piece band. They call themselves a heavy psych rock two-piece, but I mean, that's Stoner Rock. That's the good stuff.

Stoner Rock is one of those genre names where I'm like, I don't know that I see the sonic through line. Yeah. Every time, but I tend to, you know, I've talked before I like, and you will know us by the Trail of Dead. Yeah. You love Fubanchi when I played it in the car that time. That's very true.

Yeah, I love Fubanchu. I think Stoner Rock maybe is a little slower tempo. Like the halftime part was the Stoner Rock part, and then it became psych rock when it was like double time. So a couple of genres in one song. Absolutely. As they always are. What about you?

you, Diyala, what is your one song today? You know, for my One More Song, I'm actually going to go with, usually I try to highlight artists who have not already made it, so to speak, but there is a song that I really, really love right now. M.J. Cole just came out with a new version of his classic Sincere. If you don't know, M.J. Cole's Sincere, then what are you doing? Go out, listen to it. He just re-released it with a new verse with Pink Panther, and the song is called Still Sincere. and it's just, it's a banger.

It's a 133 BPM. Hit us with it. Oh, that song does something too. It's just like when it goes minor there, I'm just like, oh. We love Pink Panthers, man. The original. She's got such a sound. She's got such a sound.

I like her. I love MJ Cole. He's one of the reasons I got into UK Garage back in the day. So yeah, check out, if you don't know, sincere by MJ Cole, do it. And then if you have, you know, just a little bit more time, check out Still Sincere by MJ Cole featuring Pink Panther's. As always, if you have an idea for one more song, you can find us on Instagram and TikTok.

You can find me on Instagram at Diallo, D-A-A-L-L-O, and on TikTok at D-A-L-L-O, R-D-D-D-L-E. Just spell out my name. And you can find me on Instagram at L-U-X-X-U-Y and on TikTok at LuxuryX. Right. And you can follow our podcast on Instagram and TikTok at OneSong podcast for exclusive content. You can also watch full episodes of OneSong on YouTube. just search for One Song Podcasts, you'll see these wonderful faces

and all our gesticulations. We'd love it if you'd like and subscribe. Also, be sure to check out the One Song Spotify playlist for all of the songs we discuss in our episodes. You can find the link in our episode description. And if you made it this far, you're officially a part of the One Song Nation.

Show us some love. Give us five stars. Keep that four-star shit to yourself. Five stars, leave a review, and send this episode to a fellow music fan. It really helps keep this show going. Luxury, help you end this thing. All right, luxury.

I can't say it sometimes? No, what if I say my own name? It's not changing. Let's change the entire format of the show right now. Let's start for the very much. I want to say your catchphrase. Luxury help me in this thing. Okay, say it.

No, I just did. Luxury, help me in this thing. I'm producer DJ, songwriter, musicologist, and KCRW DJ every Friday night from 10m until midnight. Luxury. And I'm after writer-director and sometimes DJ Diallo-Riddle. And this is one song. We'll see you next time.

This episode was produced by Melissa Duanyans. Our video editor is Casey Simonson. Mixing and engineered by Michael Hartman. This show is executive produced by Kevin Hart, Mike Stein, Brian Smiley, and Eric Weil.