wellRED podcast - BUBBA SHOT: "No One Else On Earth" by Wynonna

Episode Date: March 25, 2022

Wynonna Judd is country music royalty. It is rare that someone's career can span not just multiple decades, but multiple acts. Her inimitable voice and well earned unique style are both on display on the bluesy "No One Else On Earth," a huge hit in 1992. The song went to number 1, and was three straight for the newly solo singer, cementing her as an act that didn't need to be a part of a duo or group. We have a lot of fun on this one talking country music history, rap (of course), and giving a dramatic reading (from Cho) of Tushar's rating. Also, we forgot to circle back but the actor Wynonna's career arc is most like is Drew Barrymore.

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And we thank them for sponsoring this episode of the podcast. They're the... Bubba shot the podcast and that's right. A show about country. Welcome to Bubba shot the podcast. First, the facts. No one else on earth is a song released in 1992 as the third single from Winona Judd's self-titled debut album called Winona,

which was the name she took on as a performer when she separated from her mother professionally. It was the third straight number one hit on the Billboard Hot Country charts for that album. It was remixed for release in the UK called No One Else on Earth 94, because it was in 94, which I thought was funny. There is a clubbed. mix that was put out in 97 that was supposedly used for the music video that I cannot find. Gentlemen, what's going on? I love this song. I love the judge. I love Winona. How we feeling about the day's episode in general? Oh man. I mean, first off, I'm glad to hear you say that you couldn't

find that video because I too couldn't find an official video. So I watched a performance of her at the CMTs in 92, I think. And yeah, realizing that this song was in 92 makes a lot of sense, because I'll be honest with you, when you first pitched it, I was like, that has to be an 80s song. And it still kind of has that feel to it just because it was so, you know, early in the 90s. But I love it, love Winona, all that.

It's also half rock song, which I think is what makes it sound 80s, because I don't know, I guess 90s rock would be grunge. and there was no one in country doing that, you know. So it's like rock pop from the late 80s. And country's often behind the rock pop world by a few years. Yeah, I was about to say, it's also another one of those songs. Like I mentioned with Clint Blacks that like the only reason it's really country is because Wynonna's doing it.

And I actually think I heard Tyler Mayhan Co. During the Cocaine and Rhinestone's episode about the Judds say that specifically about this song. I mean, I feel like, yeah, talking about the 80s feel and what you just said, I feel like this song could easily be by like Bonnie Tyler or somebody like that. And it wouldn't, you know, wouldn't really change very much about the song. Like it wouldn't seem off or weird. It would just be like an 80s power ballad or something. If it's by one of those people, you wouldn't think nothing about it.

So one of my notes was to bring up the producer. I assumed I would be doing it late in the show just kind of as an addendum or whatever. but I feel like we're kind of in the vein of it right now, talking about the song generally. Tony Brown is the record producer. Tony Brown has had a lot of hats, and among them, he's worked very closely he used to with Jerry Jeff Reed, and he's often thought to be a founding. He's a big producer in Nashville, like producer of the year awards, platinum, gold, multi-platinum album, some of the biggest names, Reba, Brooks and Dunn, etc.

but he's also known as a founding father, if not the founding father, of the alternative country Americana movement that we're all huge fans of because he signed early on Rodney Krause, Steve Earl, Joe, Eli, Lowe, I love it, Kelly Willis, Todd Snodder, Allison Moore, Shooter Jennings, the Mavericks, the list goes on and on. I bring that up in this context because it sounds a lot like a Bonnie Wright song to me. And it sounds a little bit, not the voice, but musically like a loose son. send a song that was produced by Steve Earle who produced car wheels on the gravel road.

It's phenomenal. It's a phenomenal song that was kind of genre bending in 92. Yeah, yeah. I don't have anything to add to that right now. Sorry. Well, yeah, like I said, his name was Tony Brown. Okay. And like I said, it was just an addendum.

Yeah, I didn't expect it to be a big part of it. That's kind of, frankly, over our heads as far as our abilities to, bullshit. If you want to hear about the Judds and their musical style and what Winona did with his album and why, as Corey already referenced, there's a phenomenal episode on the Judds on Cocaine and Rhinestones and there's a significant portion of it dedicated to this album because it is what started the breakup of the judge professionally and in some ways personally though they eventually reconcile. Yeah, I couldn't recommend that episode enough because I I was always a fan of Winona and the Judds,

but honestly, after listening to that episode, even more a fan of Winona now knowing everything that she had to go through. It's a really, really, it's dark as it, as it, you know, tends to be on cocaine and rhinestones, but I was there some reason we can't just talk about some of it on this show right now? No, we're going to. I don't know really. Well, I was about to say, yeah, so I'm going to give a brief history of the Judds.

What I meant was, I don't think we can talk about musically what happened there because that episode made me more of a fan of her, like Corey said, not just personally, but also professionally, because it was kind of risky to do an album the way she did Winona. But yes, we will get into the Judd history. And on that note, be thinking, gentlemen, instead of a rap song, because I couldn't think of one and I would defy y'all to too. I have one that sounds very similar. Well, lyrically, it popped into my head immediately, and I was like, oh, that's really close. But it's not. Main bitch by mustard?

No. Nothing on you by B-O-B. You all know that's one? Oh, yeah, yeah, yeah. Beautiful girls all over the world. I could, something, whatever, but their time would be wasted because they got nothing on you, baby. Nud, nut, nut, nut, nut, nothing on you, baby.

There was definitely. But there's no. double entendre at all. I know. I know, definitely for sure. Well, it's a rap song. But also, it's not, it's not about, it's just like a love song. It's not about like heartbreak or pain at all. I can't think of any specific songs, but there's definitely a couple Trick Daddy verses where he speaks of Trina in a way that it seems that no one else on earth could do some of the things that she can do. So maybe Trick Daddy and Trina. I just found out it hurts to smile. So that's fun for me.

It shouldn't be that much of a problem. But that's great. I'm really glad you guys did those comps. At the end of the show, we will do a comp. I want you guys to think about, and we're about to get into the Judd history, whose film career

compares most closely with Winona Judd? Because Winona Judd was essentially a child music star who was a known entity and was a known entity for years, as part of a duo with her mama, and then was able to transition that into solo success,

which was not automatic, was not necessarily an easy call, and then especially going so far with this album and it being so different. So the Judds, in general, their history. I had this pulled up, but now it seems to be gone, so I'm going to go off memory,

which means there's not going to be a lot of specific years. but they started out as a duo. There's a phenomenal movie about them that I'm sure takes a lot of creative license with the story where they pretended to be sisters. The movie implies that they pretended to be sisters partially for professional reasons, but also partially because Naomi, her mother,

didn't want anyone to know her age, wanted to be thought of as a sister, but also wanted people to think Winona was a little older because they were in a very adult business. they lived with a violent man in California. It was, that was, that they moved in with to get out of, allegedly, poverty and a bad situation in Kentucky. Some people say, Naomi just wanted to be famous,

so she fucked off to Hollywood with her kids. Did she, was, she like real young when Winona was born? I don't know the exact age. That's a great question. I'll look that up while you guys. Because, like, you know, like, especially in the, the South, that'd be a thing. Obviously, that'd be a thing to the point where, you know, a lot of times grandkids

be raising kids and stuff. And saying their mom is their sister. And saying, yeah, exactly. Right, yeah. People grow up thinking that their actual mama was really their older sister and stuff like that. This isn't the exact same thing, but there's parallels. So I was wondering.

Also, either she's like, Naomi really had her shit together or was extremely genetically gifted or, like, they had to be pretty close. and age to even pull that off. Pull that off so well for so many people. Now, granted, you know, granted, why not, and I know that this is how she was portrayed and stuff, but Winona does have a very, even as a young age, had a very mature look to her.

You know what I'm saying? I know they dressed her up more like that, but I'm saying she was doing a lot of the work too. Yeah. So she was born in 46. This is Naomi. me and Winona was born in 64. So 18.

Yeah. Matt. Okay, you're right. I did 28 in my head that did the math poorly and I was like, yeah. Which, you know, 18. Back in those days, Southern woman, ain't no spring chicken. You know what I'm saying? She should be on her tire.

Yeah. And that old boy, he got it in just under the wire too. Sure. Yeah. Anyway. Yeah. I mean, I figured it had to be somewhere around in there. So that makes sense.

I fully expected it to be 14. Yeah. South, time period, and what we were just talking about. Okay, so you said they moved to L.A. So this dude was in the music game somehow, and that's why they followed him out there. Was they like singing in church and shit and was just real gifted but in butt fuck Kentucky or whatever?

Gore, you got a better memory than me. Actually, no, no, I don't. I remember the loose pieces that you're saying, but I don't remember it enough to speak on that. I just remember that they, you know, didn't have a pot to piss in. And then in Kentucky. In Kentucky, there weren't a lot of pots in the 40s. And if you had it, it's like, don't pissing that pot. That's our only goddamn pot.

And yeah, yeah. So they moved to L.A. in 68 and lived on welfare after she divorced. Michael in 72, so they went to L.A. with him. I think there, now she'd always sang and taught her daughter to sing, but I think that there was a failure, that moving back home to Tennessee because they couldn't, you know, get it together, let her to try. It's a classic move. L.A. didn't work out.

Let's fuck off to Nashville. You know what I mean? I didn't make it as an actor. Maybe I'll make it as a singer. That really was a move back then. And, you know, there were essentially three towns you can make an entertainment in, and Nashville was third on the list after New York and L.A. So that was also when she changed her name to Naomi.

She had been Diana before that and started playing music with her daughter. So in 72, she would have been eight. I've been bad at math earlier, but. Yeah. Yeah. So Juanona starts singing at eight. And Naomi was the main promoter of the act. and reportedly was often

propositioned, sexually harassed, you know, had to do that whole thing as a woman. And, um, the judges were formed when Wynonna was eight years old. They started singing. I'm not sure if they were known as the judge,

and she certainly probably wasn't saying that they were sisters, other she may have been. That's wild. Dude, did you know that, did you know that Nickel Creek was formed when Chris Thiele was like seven or something like that?

No. Yeah. Like, I randomly, I know this is an aside, but it's relative. I happen to be looking up some Nickel Creek stuff not that long ago because I loved him when I was younger or whatever. And of course, now they're the Punch Brothers. He's moved on. And I looked at it was like a band since 1980 something.

I was like, oh, so it was a band. And then he joined. No, he was just really, really young child prodigy. And that's when they started the band. So fast forward to, that is crazy. Fast forward to 83. Nomi gets their big break. when a producer whose child she cared for as a nurse

got her dad to listen to the act, he was charmed and signed him. So if that's 83, they have been trying to make it in Nashville for 11 years. Fucking Pythagoras over here. You said 72, didn't you? And that was in Nashville. They moved to Nashville in 72 after bombing out in LA?

Yeah, so 83, that's 11 years. So now... Yeah, but I think I think. I said the wrong year. I said the wrong year, and that's my apologies. They moved in 79. Because they moved back to Kentucky first. So,

um, four years in Nashville. That ain't too bad. Yes, four years in Nashville. By 84, they had hits on their hand, and they became huge.

And I'm not sure we could overstate how big they were because the duo thing, once it came out, they were mother-daughter and we got big enough to do the interviews, et cetera. They had a lot of hits, but they also were sort of, we don't have an equivalent to this now because with social media, and even before that, shows like Oprah, but the way that Gwyneth Paltrow, people know who she is as much or more than they know her movies, that was the Judds in the South. Was it like a big dramatic thing that?

Oh, she's actually his daughter. her daughter. Yeah, right. So the official story when they first came out was that they were sisters, right? And at some point, everybody found out they're actually mother-daughter and was that like salacious or like country tabloid fodder and like that type of shit? Because I can totally see that. This is during the era of like Dallas and Dynasty and stuff. Yeah, yeah, yeah. I can see people really getting into that at the beauty shop. I was certain that people were getting into it at the beauty shop. So once they started to break, Naomi would not put,

like, there's not like an interview where Naomi claimed this is my sister. It was more like a thing she had said on their come up that she allowed people to believe. So in other words, I couldn't find any salaciousness partially because it was kind of like the Jack White. That's something I can compare it to

is the Jack White Megwhite thing, where people were like, is that his sister or his lover? And before we all knew, we just made it up. But it wasn't salacious because you couldn't find any evidence that, you know, it was just like Jack White just let people believe it. She just eventually let people believe it.

She's kind of, she's also sort of a precursor, in my opinion, to the Kardashian mama. Playing the media, playing the game, you know, playing men, being played by men. It's pretty impressive. But they had the goods to back it up. I mean, they also had great voices that harmonized well. So 84 to around 91 is a solid seven-year run where musically they had hits. They became a known entity.

As I said, they sort of existed in the southern zeitgeist. The Judds, family, isn't that sweet? Their family plays together. You know, we hadn't had a country music family that wasn't a married family. You know what I mean? Yeah. You know, in a while, in a generation or two. And then it ends.

and she has to transition. So I don't know if you have any questions about that, Trey, or if you want to keep going. Well, no, like, I don't have anything else to, like, I'm ready to transition into the song that we have for today, but I did think it was important to talk about the judge. It kind of, I'm sure it sucks for Winona, but, like, if you're going to do a song from that first album,

you have to contextualize it. And the context is she's been a duo for her whole career and the South watched her grow up, but still probably kind of thinks of her as a little girl because she's looked 30, literally her whole career, but they know that she's a teenager. So she's, there's so much going on in her life right now. Yeah, no, if we're about to be done with the judge,

I'd definitely have some more questions. Okay. I don't know it. So what's the, what's the fallout that happened right before she goes solo? you were saying like y'all mentioned like all the shit she had to go through also it fucked them up on a personal level for a while it sounds like it was pretty bad so like what all went down at the demise of the judds correct me if i'm wrong but i was about to say correct me if i'm wrong but that abusive feller that they were uh shacked up with was i know beating winona i think do another thing you ought not do to a young kid Well, he definitely was Ashley. Yeah, right.

I was also going to ask where Ashley fell in all this, but so she was there getting molested. That's where she was doing. Yes. And from what I remember, again, this is from what I remember. I'm willing to be wrong. There was a whole like the mama, our mama knew, but it was like, let's not talk about that or let's sweep it under the rug or yada, yada, yada. So there was a little bit of resentment between the two. Am I right?

Am I wrong? Yeah, there seems to be that. Although there's some of that going Winona's direction too, because Ashley has basically accused her of abandoning her at this time. And then Winona says, I didn't realize stuff was going on with her. So, and I'm going to be honest for you guys, I have read on some of this,

but this is all a little fuzzy for me. And it feels like it's a little fuzzy, I don't want to say on purpose, because everybody has a different account of what happened. Ashley Judd is also only four years younger than Winona Judd, which kind of surprises me because I know I knew they were half-sisters and also Ashley started popping later in the 90s when Minon had already been a thing for a really long time.

So in my head, they were like, they were half-sisters, but it was one of those, she's more like an aunt-type bills because she's 15 years older than her, whatever, but that's not true at all. she's only there's only four years separating them so part of that too i think is winona's going on the road as a young person and then comes back a year later she is a completely grown person you know what i mean like she's been around horrors uh drunks drugs you know of course at the same time come to find out actually's been around some adult shit too uh but

against her will entirely i mean it's a fucked up situation and whynona was trying to get out of it, which is what led to the dissolution of the Judds and that seems to be a consistent part of the story, depending on, no matter who you ask, is that at some point, Winona wanted out, there were a lot of reasons why personal, but also professional. I think she wanted to go her own way. She also had grown into, I mean, she was a prodigy, like not to be a complete asshole, but you look at this family and the mom is going on tour with one of them. Ashley is an internationally known beautiful person. And Winona, I mean, it's kind of been a shitty, horrible, sexist joke or whole career that she's not a looker.

Well, then why'd you pick her? Because her voice is unbelievable. It's deep and resonant. And it's got that deepness that only, for the most part, only a woman's voice can attain where it's deep, but also light. So she's got that voice. She's got a lot of people in the music industry that she's met over the years telling her she's got that voice. and her mother is a control freak. She is someone who has completely steered the career,

pushed her daughter to keep, you know, I mean, obviously she made her daughter great or helped make her daughter great, but she's also pushing her daughter away. I mean, this is a classic story of the parent who's overbearing, telling her what to do, telling her how to dress, telling her what songs to sing. At some point, she was like,

I don't want this anymore, number one. And number two, as her voice grew, she's comparing herself to other people in country music going you can't tell me shit I have one of the best voices in country right now and then you add on top of that you find out abuse you find out what's going on with Ashley you know it's not

it's not hard to figure out that the writing was on the wall right yeah I can like you said that thing I can even like remember there I don't remember any specific ones but they're being like a, like Wynonna Judd jokes and stuff. Oh, yeah.

By how she didn't really hit. I bet she hit real hard for you, H.O. Yeah, boy. Yeah, yeah. That's a full-figured gal right there. I was looking up, and you mentioned that, and I looked up like old pictures of why not, because I remember that being a thing,

and I wanted to see how fair it was, and it's, you know, pretty, you know, hell, she's pretty. There ain't nothing. Yeah. It's not like she's a goddamn dog or something, fucking the public just be. like that, but I only bring it up to say one of the

top results under images of Whiteana Judge is her with Cactus Moser. Y'all know who Cactus Mozer is? I don't think so. It says it calls him a country music legend. Yeah, he's your man. Well, he's a producer. He's a drummer,

vocalist, writer, producer, multi- instrumentalist, three-time modern drummer Reader's poll winner, four-time CMA winner, and three-time Grammy Award nominee. So I do know who he is, partially because we saw Winona on our trip across country before Christmas, doing a Christmas show at Green Hall.

Great, and he did. Him and her had a lot of back and forth. But also, I'm not even... He also is one-legged. I think he came up around that time on somebody else's song we were doing because I'd recognize the name. One-legged cactus mozer.

Oh, one-legged cactus mosa. comes everybody giving up. That's a Cohen brother's character right there. Yeah, dude, it sure as hell is. That's great. Glad I found that. Anyway, I just remember the jokes when we were a kid, not that we would make,

but that I would hear was always either that, you know, she was kind of mannish, you know, and I remember them saying, like, there was like these stupid rumors that, like, she was actually a dude, you know, or she was in drag or whatever, and I was like, have you. Oh, I forgot about that.

Yeah, that was it. And I was just like, I don't know, Have you ever listened to the fucking songs like she's a woman? You know? Well, uh, also that pick right there, buddy. Oh, buddy. I'm telling you. Hall of Fame right there.

You know, not that you have to do it for me to be a great artist, but she does it for me. Let's, uh, let's get into some of these lyrics. Before I do, let me transition from what we were talking about. So you have an unreal voice whose career has been micromanaged by her mother, who she's now on the outs with both because she's becoming a woman. I think she'd also met a man that she's not with anymore, but she'd kind of done what her mama did. She was in a conservatorship, too.

Okay. Was she? Yeah, I remember that from the episode. She couldn't, no matter what, even when she got out, like she could not control her money. Like, no matter how much money she was making, she saw the numbers from the concert and stuff, but she couldn't spend anything unless her mama signed off on it and shit.

So you got all that going on. She gets out the way many young people do who are being held back, an overbearing parent with a lover, with a man. She's also, like I said, got this talent. She's got all these. I don't think it was cactus. This is pre-cactus.

This is pre-cactus era. PC. This is, yeah, the year-eight PC. And she's got this talent. People want to sign her. But when she decides to go do the album, she makes a pretty shrew. rude decision. Now, she was being

influenced. She's still a young person, but she's, you know, been into the game a long time. A pretty true decision to stop doing, she had to get away from the harmony. That's what she was known for, right? Family harmony, almost like in the lineage of the Cash family, the Carter Cash family, excuse me.

So she makes a pretty conscious decision to go a little rock bluesier. And that leads us to the album Winona. That was kind of genre-bending at the time and definitely knock down a lot of barriers as far as women and country go.

And that's where we are today, doing no one else on earth. If you haven't listened to it, go do it right now. It is bluesy. It is rocky. The hook is so infectious and bluesy, but we're going to get into the

lyrics right now. I've been a rock and I've got my fences. I never let them down. When it comes to love, I keep my senses. I don't get kicked around. I shivered once You broke into my soul The damage is done now

I'm out of control How did you get to me No one else on earth Could ever hurt me Break my heart the way you do No one else on earth Was ever worth it No one could love me like

No one could love me like you Big old dick Yeah big dick energy That's what you think that is For sure All right I mean god damn She ain't talking about no 5'6 fucking tax man.

Unless it, well, I mean, you know, I don't know. Let them short kings. They got a game. Maybe. Might be about cactus. Hell. It's back when you had both legs. She didn't ride it.

No, I was about to ask if you said it. I missed it. No. So it's a three-headed riding team. And let's get into it. It was written by, and I'm going to fuck these names up, Jill Kalucci, Stuart Harris

and Sam Lorber So they're all interested in their own right Because when I looked up all these songwriters As best I could tell None of them had written a hit by themselves They like all three of them had worked in various forms of teams

Which I found wildly interesting And it kind of makes you wonder about the hierarchy of the Nashville machine You kind of make you know like maybe one of the songwriters, Jill, was a young songwriter who wrote this song but had to include some other people on it to get

it done. The reason I would, if that's the case, put up Jill, Stuart is a beast. He has received 10 million air awards from the BMI, the Broadcasting Music Incorporated, honoring songs

that have received a million spins on radio. Oh, okay. All right. 10 million I thought this motherfucker got 10 million awards or some shit. I didn't know how that worked. 10, and then end quotes, millionaire awards. Yeah, yeah, okay.

His first credit was in 78 with a song called Ragamuffin Man, which went to the top 20. God damn, 78. You could just do whatever. Do whatever, man. But he's written songs across genres. But as far as hits go,

Travis Tritt and Winona Judd were sort of the end of his hits. Late 80s, early 90s, was when he started to line it up. He co-wrote, I'm going to be somebody. Oh, yeah. Drift off the dream. Can I trust you with my heart? And I love you.

With I'm going to be somebody, guess who he wrote it with? I don't know. Jill Colucci. Oh, nice. I'm going to be somebody, of course, as we all know, is the jukebox hero of country. Yes, it is. Yes, it is. Now, going back to Stewart real quick.

Stuart I could find even less about. Stuart has five songs credited to him that I could find on the internet. All of them were written with somebody else. Most of them were written with, I've lost my tab. Do you know off the top of your head, Corey, the front man for the band Black Hawk? No, I don't. So that's a, his name is, I just fucking had it. Not Marty, right?

no, Marty Rayburn was Shannon Doa. I'll find it. What a country-ass name, Marty Rayburn is. Motherfucker. No. All right. This is Blackhawks. Well, give me two seconds while I find it.

It's interesting to me because whoever that frontman is, and I'm going to pull it up and just says Van Stevenson. There you go. Van Stevenson had bunches of hits in the 80s as a songwriter. And then found it black. And it kind of seems to me like I hate to cast dispersions on somebody like this without knowing for sure. It sure seems like that was kind of almost the end of our boy Stewart's career. That when his songwriting buddy Van Stevenson decided I'm in Blackhawk now and you're not with me,

he didn't have another hit other than this one. I can't even find a song to his credit without Van Stevenson other than this song. Or for all I know, he actually wrote all the fucking hits and just was a bag of shit or a drunk. drunk or something and had a bad lawyer. I don't know. He just went out on a hater with this one. I was about to say, one good lick. He's in a cabin somewhere hitting.

Yeah. Well, I'm glad you brought up one good lick. Stayed drunk up and died, you know. Yeah. After a while. It's one in a hurry. One good lick because we talk about that all the time. And I'm starting to think that if you really want to live the one good lick life,

that Nashville songwriting is the way to go. Oh, yeah. Let me show you. especially back when CD says where I was about to say like especially back then that's the right tab I mean if you get a if you get a true insane hit now don't get me wrong and if you invest well you can live on that I've got some buddies that write songs and they've they've keyed me in but back then dude I mean if you own the fucking publishing rights to a song and that son of a bitch goes platinum I mean again you can keep doing whatever you want to do but it ain't because you

fucking have to. This is Jill Kalucci's Lexus. It is one of three pictures that she has on her Instagram. If you're only listening, it is of her license plate, which is a vanity plate, and it is a Tennessee

plate that says no one else. You want to talk about hitting one good lick. Hell yeah. And now she just goes around singing. She's a vocalist. Now, she's had a wild career, too, as a vocalist, which we'll get into in just a second. but as far as her money,

it seems like she made enough money off this and a few other songs that she was like, I'm good, I'm gonna write for me now because she is a very talented vocalist. One good luck, man. Jill Colucci has... I know that we all know this to be true

what we just said, but like, if you have any idea, like, actually what kind of money we're talking about here, like for a song like this, which I feel like, pretty goddamn big hit like yeah back then in that era like how much money you think we're talking about you would make off something like that if you had it depends on your deal if you have a

publishing deal and it's an it's an early one or you know you got a bad one they own they give you a salary but a lot of those people would be like no I want a salary and a percentage of everything you know what I mean so you you would never own the whole thing like RCA would own it or whoever signed you to the publishing deal, right? My guess is on CD sales, this is based on listening to Cocaine and Rhinestone, so it's educated, but it's definitely a guess. Jill was getting about a dollar for every

album, like, I don't want to say album, every time the song sold. But if the album is $20, the song's not worth $20. It's one of however many songs on the album. You know what I mean? So I genuinely think. I think conservatively she made

$2 million off this song. So if she had a good deal. I'm looking this up here and obviously American Pie by Don McLean is a different story altogether but still... He also owned it entirely. That's another reason it's a different story. Yeah, that's true.

But he still to this day on that one song makes around $300,000 a year. That is fucking insane. Yeah. Now again, that song is like a fucking outlier amongst songs. Like it's, it's, but like just on that one song, still he ain't got to do shit,

300 grand every year. And when, and not to take, I'm not trying to take anything away from Jill. She had other hits too. She just seems to have semi-retired as a songwriter. Well, as a song seller. Retired or nobody's buying them motherfuckers anymore. It could be that, but she was hot, man.

It seems to me like she got over it. and I also I've heard before but I don't remember the specific numbers but like if you get one of them goddamn Christmas songs yep that they just play everywhere plays every year at Christmas for the rest of eternity yeah you know once it gets on the Christmas song playlist yep that that shit like that's the hit Mariah Carey man right there yeah right Mara McCartney wrote and performed recorded, we'll be having a wonder of a Christmas, just for that reason.

Yeah, I'm sure a lot of them do. I'm sure, like, you know, so many artists make, like, Christmas records and stuff like that. I mean, I bet that's why. Oh, it's definitely why you make a Christmas record. But it's hard to write a new one. You know, a lot of them will record the classic, but you've got to be Frank Sinatra-esque for that to matter.

You know, Boo Blay does Christmas, okay, some housewives care. If you can write it and other people start recording it, I think about that all the time, like the song, you know, any of the Burl Ives Christmas songs, it's always, it's always crazy for me to think that at one time that was a new Christmas song. You know what I'm saying? Like, that's crazy. That's what I'm saying? Like, that's crazy.

And then, and then it's like, so bad to laugh. It's like in five years, all these new Christmas songs got wrote. And then for 50 more years, everybody's like, all right, we got them. This is, these are the ones. Them's the one that hits. And then Mara Carey did it. You're really talking about culture and how, you know, the hallmarkization, if I can make that into a word. Yeah.

Christmas, you know, we've talked about it before on the well-read podcast. Stuff built up around Charles Dickens sort of created what we think of. It's like, oh, the white Christmas. That's because in those books. We had to create the culture around Christmas. We didn't have to, but we did. And Christmas music was a part of that. There was no Christmas music.

and then there was. And then that stuck, because Christmas is as much about nostalgia as it is about anything else now. I don't want to hear a new Christmas song. I genuinely don't. I want to hear fucking Bean Crosby, Frank Sinatra, Mariah, Mariah, Mariah, I carry a little bit. I'm good. Yeah, I want, I mean, I like it when I hear someone cover an old, like, somebody I like, if, you know, Zach Brown was like, I'm going to do a Christmas album and he just did the hit.

Yeah, I mean, I'm into that shit, but I'm with you, like, for the most part, I've got like the 10 to 15 Christmas songs that are my jam, and I don't really have room for, you know, any new, new shit. The move now would be to do a half musical Pixar-style movie about Christmas with some new songs like in Canto. Was that what that one? It's got a bunch of songs with it that the kids love. In Canto, I think.

And then you get eight-year-olds to love your new Christmas song, and then you're good. That'd be the move now, but Disney would own it. Yeah, that's true. But that would be the move. You're right. I'm going to write that down. Get song in Pixar.

There you go. One good lick. One good lick. Let's get back to the lyrics, I suppose. Oh, I wanted to say a few more things about Jill, because I don't think we'll come back to her. Wild interest in life. One footnote from her career.

I thought you'd about say she had one foot. No, that's Cactus. That's Cactus, yeah. Jill performed. She is a vocalist and a good singer. She performed all the singing on the score to Mystic Pizza, the movie. Oh, Julia Roberts. Yeah.

But specific to us, she is the singer of the funny things you do, which is the main theme song of America's Funniest Home Videos during the Bob Sagitt Arrow. Yeah, I bet she got a little lick off that. Yeah, she didn't write it, but I'm sure she got a little lick off of it. This is not, maybe she should. It didn't even be on this podcast. Y'all just reminded me of it, and I thought it was so wild.

Did y'all see the other day, unless I got taken and this was a joke, that Pusha T wrote the I'm Loving It, Jingle? No, that's true, I think. I'm pretty sure that blew my fucking mind. I'm loving it. I bet he was just singing that to a burger one day. Yeah, and they fucked him over on money,

so he put out a, like, fish fillet disc track or something like that. I swear to God, dude. I swear to God. But anyway. That would make sense too because that was during the McDonald's Goes Urban era. Yeah, they definitely were. We're doing that for sure. But it's just wild for them to hear, I don't know,

for their like corporate boardroom motherfuckers to hear like a clip song, you know, grinding or whatever. I just tried to look it up in the first article is, fish feud, colon, can McDonald's survive, push a T, single verse, scud. missile. I think they'll be okay. Also, push a T's new disc track is an Arby's ad and he's laughing all the way to the bank. My man. There you go. Okay, well, that makes a lot more sense. Brandon specifically was one of the clips first big produce. It was. It was the first one, I think. I'm saying it's wild for McDonald's to hear that and be like, let's get them to write a jingle.

Except like you said, they were like going urban at the time. They're like, let's see what they got. And then it's also why for me to think about push a T. coming up with him and his brother. Him and his brother, no malice. Yeah. Yeah.

But I'm wondering if the clips were, the clips, if NERD was involved in that. Farrell, who I'm trying to say. Farrell Williams. That's who produced. Also involved in the jingle?

That's who produced that song grinding. Yeah, that was their first big hit. So I'm just. I don't know. It's because it's like the clips ain't really known for their beats. You know what I mean? And a jingle is kind of more of a musical thing.

Yeah, the whole thing is wild. Push it to, he's great. But yeah, it's not like he's like overly melodic or anything. I'm saying like the whole, the whole thing is wild as hell to me. Sorry for that diversion. I just thought it thought it was hilarious. Yeah, no, back to Winona Judd. I'm sick.

I'm glad you did it too, but it is funny. Like this episode has been. so very much not about this song. Speaking of it being very different, just so everybody knows we're 40 minutes in, Tushar ain't going to be here. We hadn't said anything. I know that this one's going to come out,

you know, now, but it would be funny if this one was in May, which is Asian Pacific Islander month, you know, and he is in here. Too, Char all.

Yeah, and it seemed like, but anyway, just so everybody knows, when we get to the, rating portion, Tushar has written his rating and I will be reading it. So no fear there.

I don't think you're going to, but he requested that you read it in Brownface, he said, which I think, which I believe, he just means the voice. He just wants to do the voice for it. I'm not going to.

You've got a permission. You've got the text message. You can see the text message to the internet. This is for my Indian friend. He demanded that I talk this way. Yeah, that's true. That's always worked.

This one so, super flawed Indian is representing the entire group of people. Sure. I would listen to a Wynanajud album called Super Flawed Indian. Me too. Let's get back to these lyrics. We haven't hardly discussed the first verse. Obviously, it's setting up.

Corey talked about it being a big dick situation, but it's obviously setting up a situation where someone is saying, my whole life, no one's ever got to me, and yet here you are doing it. Here we go. You can make me want you anytime you want to you're burning me alive. I can't deny you even when I catch you weaving a weak alibi.

Because when the night falls, you make me forget. Your love is killing me and it ain't over yet. How did you get to me? No one else on earth could ever hurt me, break my heart the way you do. No one else on earth was ever worth it. No one could love me like. No one could love me like you. I shivered once. You broke into my soul. The damage is done now. I'm out of control. How did you get to me? and then we repeat that fade out. Pretty masterful songwriting there to, like, I can't use the word lie. I need three words for it,

weaving a weak alibi. That's fucking great. That's pretty good shit. I like that. I do like that a lot. I like, you're burning me alive because it's also masterful in. I'm not allowed to say I'm horny,

especially if I'm a woman in country music in 1992. I can't say, as Corey has poetically told us, that he's got a big dick, or that he eats pussy like a king. I have to say, you can make me want you anytime you want to. You're burning me alive. I can't deny you even when I catch you. I mean, I think it's pretty obvious what's going on here. Someone is not treating her that well, and she cares until she sees him in the nighttime, and then she's going to let him in. the door and the metaphorical door.

Anyone disagree with that? No. This dude makes her wetter than the floor of a gas station bathroom, baby. It's right there in black and white. And smell better, I bet. It is a great song. It's also touching on something that, I'm to be honest,

till I started reading about it and thinking about it for this show, I didn't realize how negative the song was. I know, me neither. So I knew we were going to do it. And the first thing I did knowing we were going to do it, I was like, okay, rap song. And I landed on nothing on you. And I was like, oh, shit, I got it. That's perfect.

It's literally, there's parallels between the lyrics. Like, it's a perfect match. Nailed it. Then I looked up these lyrics and started reading them. And I was like, this song, I didn't realize it was, like, as pretty starkly negative as it is. The whole thing is about being hopelessly in love with a piece of shit. shit it fucks you over. And that's not what that

B-O-B song is about. Which is great thematically for a woman's history month. Because that, now that is a trope. That is a trope in songwriting at movies. You know, I can't get, I can't, you know, I know I shouldn't let you back in. And I know you've been cheating on me.

Bad boys and shit. Yeah. But it does. It's a trope in both directions, I think. But it hides it, though. no right I mean you know this is like songs old came out when we were kids

I always remember being around it goes hard and everything and yeah I don't know I never I thought it was just like a love song no one else on earth hits as hard for me as you do type of thing until I've revisited

it and realized it's not what it's about and it does a pretty great job of the chorus could be moved into a song that is more positive and it would work it's you you've got to look at the versus for you really realize that because well you'd have to do something would break my heart the way you do but yeah that's fair but like you know everybody gets their heart also could ever hurt me it's funny because it's right there yeah right right right it's really it's just you're right very strongly present throughout the whole song i also just didn't internalize it or

remember it that way. I feel like if we were adults when it came out, we probably wouldn't have any of this going. Maybe, but it's one of those where, like, how your listening is affected by melody and bead and stuff like that. And, like, it's a very, you know, like, it's, you're, the way that it makes you feel isn't the lyrics that it's saying. You just made me realize the rap song. Okay.

It's hey ya. Oh, it is hay ya. Because it's also... I don't want to hear me. You just want to dance. It's about the complete dissolution of a relationship, a toxic relationship, but it sounds very upbeat and happy and shit musically. And so a lot of people don't realize that. So, yeah, there you go.

Let's dive in on that music stuff a little bit, though. You're completely right. But even that, they're pulling a switcheroo on us because it is absolutely a blues riff. But it's a somehow positive sounding because it rocks. Because the horns, yeah. Yeah. It just doesn't sound sad. It sounds like powerful, you know.

Well, that's also her epic voice. No, I know. She always be sounding powerful. It's getting better. It's getting better. The song's getting better as we go. well let's see here let me look at my notes i think that's all i had i did a lot of research for this one because i wasn't sure what we were going to talk about we talked about the songwriters i loved

that that woman's license plate is still that was an instagram photo from like a month ago it bought the car baby so that just about to be there's a uh there's a like a SUV in my neighborhood it's like an escalate or something that I see around the street sometimes. And the flaskets played on it, I thought, said Mombo 5, right? And I was telling Katie, I was like, I think Lou Beagle lives in our neighborhood. Goddame my face. Or at least the guy that wrote that song or something, you know,

the Mombo number five guy lives in our neighborhood guy, ain't that wild. And she was like, there's a restaurant here named momboes and I was like oh yeah okay is it the fifth one that makes more sense no it wasn't a it's a s it's it just says mombo's so it's obviously the proprietor of this restaurant named mombo's hey but hey that guy lives in my neighborhood so that's cool yeah another aside we probably talked about this on well read but it's insane how many vanity plates are out here i mean it's like it's like one in ten cars and the vain capital of the world yeah I know, but this morning I saw one that said Rachie Baby with no A&B, so like Rachie B.B.

And that's a normal, I would see. Yeah. What kind of car do you think that was on? Um, out there. A Honda Odyssey from like 2006. I like, I, it's like, okay, I get that I'm in L.A. and I'm going to see a Rachie baby license plate. This is just a mom.

Yeah. No, they're, yeah. They're very mainstream out here. You see them all the fucking time. And it is funny because it seems very on the nose because of LA's reputation. But it's true. They're all over the fucking place. Someone that said, as one does recently.

And I don't know what that means in terms of a car. Like driving as one does. I hated it. Okay. Let's do our ratings. I think we will save Corey's performance for last. Okay. So, Corey, you can give your rating and then read your performance.

Trey, I'll invite you to go first then. I mean, I just, I don't remember the last time I didn't say three at this point. I know, I know. I'm pretty sure it was love without end, amen, which was like I was gone or something. It didn't hit, you know, for anybody. But other than that, Amy's back in Austin, too. It's just be. Y'all hated Amy's back in Austin.

I didn't. No, I didn't hate it. I was the only one who didn't. I felt like. I didn't know. I didn't know. I didn't really shitting on that song. I rated it purely on.

I was like, I have to be objective with the lyrics here. but I remember saying, but I still love this song. It's awesome, but like, you know, what are we doing here? Yeah, no, I remember being, I remember being surprised by that. So, but I don't, you know, I mean, goddamn. Uh, I'm just like two and two thirds about that. Okay. Tell us, tell us what's high.

Tell us what's low. Talk to it. Break that down for us. What's high and what's low? You're talking about where the song is concerned or on my, like, rating. No, and you're writing. Like, talk, talk to us about what's low. what's definitely great and then might have pulled you back a little.

It's just, it's the same argument that I've said before, like when we were talking about, was it neon moon or some Brooks and Dunn song or something like that where it's like, and I got lamb-baseded for this argument, so, you know, gotten away from it for a while. Because it didn't apply to that song. Okay, but I'm just saying, like. Is it lamb-baseded or lamb-basted? It's probably lamb-basted. Lamb-based is what you do for dinner.

meat to chops yeah yeah anyway lamb bastie fucking you know this song's super hits was definitely iconic it's just not quite up there with some of the other songs we've rated a three i'm gonna go to a little bit below for me yeah i'm gonna go a two and two thirds as well it was hard i almost went three to me the strongest argument is her Yeah. Yeah. This is probably her most famous non-judge song. I would say Mama He's Crazy is the most famous one that she did with her mama. And it's hard for me to not, because, like, her voice truly is borderline unmatched in country music. In R&B, there's some comps. And it's so powerful on this song.

And then the hook is so infectious. is how did you get to me? I mean, it's a rocker. What pulls it back a little bit for me, I make two points or arguments. One is there's not much of a story. There's lines I really love. The whole stanza,

you can make me want you anytime I want you burning me alive. I can't deny you even when I catch you weaving a week out of the buy is great. It's truly great. But the overall concept, it's kind of a one-trick pony. It doesn't take you on any kind of journey.

It is repeating the same theme over and over again. It comes up with clever ways to do it, but the story is completely told by the end of the first verse. I don't know how you get to me, but you do. That is the only thing going on here. So that's what pulls it back for me. I will say I agree with everything that has been said and will also give it a two and two-thirds earn heart.

and I wanted to give it a three, but as a staunch and unflappable feminist, I simply can't. I must remove one-third of an earned heart. In the name of feminism. In the name of feminism. If they want to. Yeah, in the name.

Toxic relationships if they want to. Nope. Oh, before we do that bit, I forgot to say, it also isn't as good as some of the threes objectively. Like I don't mean for me personally, like, well, not objective, I shouldn't say objectively, but like, it's not, like, whatever I prefer or not,

it's just not a banger the way neon moon as an example. Right, especially too, if we're going to, if we're going to say this is about country music, you know what I'm saying? It's a great song, but it doesn't hit the actual country notes for me as much, but it's great. She's awesome. It's tremendous.

It's two and two-thirds for me. Okay. And now we will hear from the Indian Outlaw as adapted and interpreted and performed by The Cho. All right. So here is Tushar's assessment of Wynonna's No One Else on Earth. Tushar says, and no, I'm not doing this. Tushar says, had never heard of this song, but definitely heard of Wynona from her. from her picture she definitely looks like she smells like marlborough reds um that's fair i don't consider

that uh uh like a disparaging comment necessarily what a perfect song for women's freedom movement the song is almost nostalgic in its masochism to surmise this gal considers herself a liberated lady and turns out she is completely shocked that a guy was able to get to her. Sounds like no one else chokeslammed her quite the way this feller did. I sure do hope he was black. My favorite line from

my favorite line, I think we should just do this from now on, just have two sure just sending his nose. My favorite line from the song, You're Burning Me Alive. It reminds me of, the old tradition of satee. Sati or Souti is a Hindu practice, now mostly historical,

in which a widow sacrifices herself by sitting atop her deceased husband's funeral power, go dogs. He said that's mostly historic? Mostly. You still have that. You can still do it now. They're not forced to do it, you know, but if you want to do a suiti, you know, that's-

Buddy, what else was they going to do back then? Is Saulté comes from? Maybe. Sautei, yeah, maybe. The Bollywood song equivalent, you may ask. I asked my mom and sister, and they said there are a bunch of songs like this,

but from the boys' perspective, because we a sexist-ass country, once again, go dogs. Overall, I give two Earnhardt's, representing the songwriters, where two out of three are men. Go dogs. That's the Indian outlaw right there.

Bam. That Indian suite thing, that's pretty wild. But it's also like just what was, what else was they going to do back then? I know. Like if their husband died, you might as well crawl on that fire, I guess. Yeah, because you can't like,

especially they're older. Let them do nothing else. Because like it, depending on when he died, like they're older, their parents aren't there to arrange another marriage. You know what I'm saying? A lot of places in the past, when a man died,

every other thing in his life just had to be killed and buried with him. You know what I mean? Yeah. Like, no reason for this horse anymore or that dog. Put it in the tomb. Put it in the tomb. Put it in the boat. Set it on fire, you know.

Shoot a flaming arrow at it from afar while we play a heart. What else we're going to do with these slaves? Nothing. Well, okay. On that, with the slaves. I always assumed that was just like for kings. Was that for everybody? No, no, but I don't think it was also only kings.

You know, like lower, like chieftains or lords or whatever. You don't have to literally be the king for that type of thing to go down. You could be the governor. Yeah, right. The Duke. But it, no. The Duke's horse was fucked. You know, surfs ain't have horses.

Right. Serf died. They just, you know, covered them with mud and went on. They took their wives. Yeah. Throw them in the potato garden. Mm-hmm. Ah.

Well, all right. Throw them in the potato garden. Scoot! Yeah. Yeah. Bubby shout the podcast And that's right A show about country

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