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    Walking In Memphis 
  • His reaction to Starlight Express, with someone in a strange costume rollerskating around singing about diesel engines.
    "The hell am I looking at?"
  • Todd trying to understand how Memphis is inspirational for music:
    Todd: Truly just a profoundly important part of American music, and it's hard not to feel a profound sense of spiritual uplift when you hear music from the great city of Memphis.
    Juicy J: ♪They call me the Juice when I'm at the strip club\ I put down a hundred or a du-uh-uh-uhhhb\ It don't matter to a player I'm a stu-uh-uh-uhhhd\ Cause when I leave the club I'ma fu-uh-uh-uhhhck♪
    Todd: That came out after "Walking in Memphis", but I'm sure Cohn finds it just as inspiring.
  • "Now I've never been to Memphis personally - the closest I got was watching Hustle And Flow, which made it look like kind of a shithole..."
  • "Really, the song is a super-effective Memphis tourism ad. ♪Take a vacation in Memphis\ Walk out on the street with an open cup of beer\ It's awesome drinking in Memphis\ And don't go anywhere else except Beale Street because there's nothing else there.♪"
  • This bit:
    Marc:: ♪Tell me, are you a Christian, child?♪
    Todd: Well, Muriel, here's a hint: (Cut to the record cover. Mark Cohn's surname is highlighted, accompanied by Hava Nagila, with a Star of David and a menorah photoshopped onto the cover.) Actually, from what I can tell, Cohn is kind of agnostic. But at that moment in Memphis, he felt touched by God, or...Elvis. Same thing, I guess.
  • Todd envisioning Elvis having a sex life in the afterlife:
    Marc: ♪They just hovered round his tomb\ But there's a pretty little thing\ Waiting for the King\ Down in the jungle room♪
    Todd: Yes Elvis is still having skeevy groupie sex in the afterlife. She's probably underage too. (thumbs up)
  • Responding to Cohn's next single, "Silver Thunderbird", by calling a Thunderbird "the butt-ugliest thing I've ever seen" and mentioning that it is "the size and shape of the Weinermobile".
  • "'True companion' and 'making love' don't go in the same sentence. 'True companion' is what people call their dogs."
  • "He was outrocked by Sheryl Crow, for God's sake."
  • "Marc Cohn didn't really have a Sussudio in him. ...Not that that's a bad thing."
  • Todd's awkward ending.
    Todd: And who doesn't like walking in Memphis? Um...go Grizzles.

    How Bizarre 
  • Everything involving That Dude in the Suede and his attempts to bring actual knowledge about New Zealand to a profoundly disinterested Todd, culminating in Todd giving a hyperbolic description of how New Zealand mourned the sadly deceased lead singer, and Suede not even knowing he was dead.
  • Overanalysing the secondary chorus:
    Pauly Fuemana: Every time I look around/It's in my face.
    Todd: What? What's in your face? And if it's there 'every time you look around', it can't really be that bizarre, can it?
  • When finding out that Lucy Lawless is a featured artist on OMC's later "4 All Of Us", he's surprised that she can sing. Cut to Xena: Warrior Princess's Kiai. "(Doesn't count.)"
  • Todd finishes by saying that, now that Pauly is gone, the rights to the story of "How Bizarre" are probably available again, so someone should buy them so we can finally find out what happened after they drove off at the end of the music video.
    Todd: I'm sure it's fascinating.

    Float On 
  • The Bait-and-Switch at the beginning making you think he was going to review a Modest Mouse song.
    Todd: Yes, in case you thought Anchorman was a parody of the 70's, now you know that there was, in fact, a time where guys could plausibly say in public, "Let me take you... to Loveland".
  • Shut up, ladies. Explanation 
  • His sheer joy when the song gets to Larry and Larry's desires.
  • Did they deserve better?
    Todd: **laughs**
  • "Hi, Charles." The best part of that is you can hear Todd grinning as he says it.

    Ghetto Supastar (That Is What You Are) 
  • The episode makes a running gag of how Pras can't seem to release a song that doesn't sample another one that's far better known (an inversion of Sampled Up).
  • When introducing the song and its context, Todd mentions "the elephant in the room." Cut to the video's political-rally intro. note 
  • Todd wondering why more rappers don't try to emulate politicians:
    Todd: Who is a bigger gangsta than a politician? Why do people want to be Scarface? Because he had the money, the power, the respect, the women, the impunity against the law? You know who has all that in real life? Duh! Politicians!
  • Todd pointing out that even on the only hit single in his solo career, Pras is still overshadowed by guest artists Mya and ODB.
  • The entirety of Todd explaining Pras's terrible, mercifully short big-screen acting career.
    Todd: But what about Pras himself - how is he, in the movie (Turn it Up)? Well, um... you know how Warren Beatty was an actor who shouldn't rap?
    Pras: (Incredibly flat monotone) 'Kindagamesareyouplayin'. Comin'downlikeyouhaven'tbeengoneforthelasttwelveyears.
    Todd: ...Yeah, it works in reverse, too. Pras should've stuck to music, because he is the worst actor who ever lived.
    Pras: (While standing over the prostrate body of his own mother) Yescanyougetanambulanceherequick, um, mymompassedout.
    Todd: The WORST... ACTOR... WHO EVER LIVED. Worse than, like... worse than Tommy Wis - no, just worse than everything. THE WORST.
    Pras: Gotsomethin'Iwantyout'listento. Whenitcomesout, it'sgon'changeourlivesforever.
    Todd: He's perfectly passable as a rapper, but on film, he's just, like, this walking lump of cottage cheese, so I hope you'll forgive me if I didn't bother to research the rest of his filmography.
  • "Did he deserve better?"
    Todd: I'll tell you what we deserved: another Fugees album.

    Absolutely (Story of A Girl) 
  • After playing the song's verse as his piano intro, he sings the premise of One-Hit Wonderland to the chorus.
    This is the story of a band
    Whose career didn't go as they planned
    But while they never had a second hit, we absolutely love them
    For one song!
    • And then refuses to do the outro in the same way.
  • Todd talking about Nine Days' background as the local band who hit it big, to the point where he calls them a real life version of Mouse Rat.
  • Todd feeling "a little torn" on what he thinks of the song.
    Todd: It's basically a terrible, unimpressive piece of garbage. As a matter of fact, just about the only interesting thing about it is that it may be the greatest song of all time.
  • Todd describing the song as something that could only have been popular in 1998, choosing to ignore the fact that it actually came out two years after that.
  • His criticism that the song's chorus, while immediately catchy, promises far more than the rest of the song delivers.
    Todd: For one thing, it promises a story.
  • After learning that lead singer John Hampson became an English teacher after the band split up, he imagines him trying to work the song into his curriculum. Less than an hour after he posted the video, someone on Twitter found a video of exactly that.
  • "Did they deserve better?"
    Todd: Well, let me put it like this: This was the story of a—no. No, they didn't.

    Groove Is In The Heart 
  • His description of the song as the kind that makes you want to get up and dance. Even if you can't dance, because as he demonstrates with various clips, Deee-Lite can't either.
  • "All this time I thought groove was in the butt!"
  • The line "We're gonna groove to Horton Hears a Who!" confuses him. Then he sees relevant footage from the 2008 film. It doesn't help.
  • Todd talking about the social "issues" sung in the second album.
    Todd: And that's not even getting into the bigger problem with that album, which is that they got a lot less "Deee-Gorgeous" and a lot more "Deee-Preachy".

    Just A Friend 
  • The opening, with Todd mimicking both the "YOUUUUUU" and Biz Markie on the piano.
  • "He looked like a cartoon character. He sang like a dying walrus. He rapped like he just had his tonsils removed. And yet, he powered his way not only to a Top 10 hit, but to about 25 years of goodwill since."
  • Todd gives a short overview of Biz Markie's song "Pickin' Boogers", and explains that picking boogers was 80s slang for nope, it's exactly what you thought it was. Todd was just screwing with you. No, really.
  • The whole episode has a lot of giggleworthy moments. Biz Markie just does not take himself seriously, and the world is a funnier place for it.
  • "It's a story about being played for a chump, but unlike Fred Durst he didn't even get the nookie."
  • Todd expressing his excitement over Biz Markie being on Yo Gabba Gabba!.
    Todd: Think about it...a whole generation of kids will grow up having been taught by Biz Markie. That just makes me proud to be a human being, you know?
    • The funniest part of this is that Todd loves Biz and his goofy charm, so he likely means this genuinely.
  • Todd gets interrupted by a screaming kid.
  • "Did he deserve better?"
    Todd: Abso-friggin-loutely. Biz Markie is an original. There's been none like him, and there won't be another any time soon. Yeah, he's a clown, but the world loves a clown for a reason.

  • "Yeah, the '90s were a good time for rapid fire, hard-to-karaoke pop jams, but even people who can do 'It's the End of the World as We Know It (And I Feel Fine)' from memory without stuttering don't dare to take on 'Informer'. Not only does it go faster than Sonic the Hedgehog on cocaine, the words themselves didn't seem to make any sense. People might have assumed it was 'cause the song was from some foreign country, and they would be right, although that country was a little further north that they realize. They probably expected this to be from some dreadlocked Rasta, not a guy who looked like a forgotten 90210 cast member. And his name was Snow, for God's sakes. It was like he went, 'what's a name that'll get across as quickly as possible that I'm white and Canadian? Snow! Of course!'"
  • Todd relates watching the In Living Color! parody with Jim Carrey on YouTube:
    Todd: [They] didn't think this guy was funny, they were offended. To them, Snow was a disgusting minstrel-show act who stole and watered down black culture, and embodied everything wrong with the hypocritical standards of a racist society and record industry. (Beat) ...Holy shit, that's a lot of heavy stuff to throw on "Informer", of all things! I was just looking for Homey the Clown videos, goddamn.
  • The comparison of Snow's mild facial resemblance to Vanilla Ice by superimposing Johnny Bravo's pompadour on a photo of him.
  • Reacting to him delivering lines about getting strip searched.
    Todd: Yeah, not so hardcore. Lickey boom boom down, indeed.
  • Snow's absurd claim that people say he speaks like he comes from Jamaica.
    Todd: Dude, that's not how you sound! We KNOW that's not how you sound! You don't talk like that; your parents don't talk like that! It sounds fake! YOU'RE a fake! Nobody buys it!
    Holden Caulfield: You're a phony! Hey, everyone! This guy's a great big phony!
  • Todd's attempted deconstruciton of American's image of Canada as a "clean, magical place without poverty, crime, major cities or any other culture besides boring white people:"
    Todd: Of course I mean that was back then. Now that Drake's gotten big he's bestowing onto Toronto all his hardcore, dirty, gangsta street cr—[cracks up] Couldn't finish that sentence.
  • About a cameo of one of the Trailer Park Boys (specifically, Bubbles) in one of Snow's later videos:
    Todd: (Awestruck) "My God, this is Canadian."

    Hooked On A Feeling 

  • One of the most bizarre things about Michael Sembello is the first one pointed out by Todd: he got his start in music as a guitar accompaniment for Stevie Wonder, and worked on many of his big albums and songs from the 70s. Including "Superstition".
  • He attempts to make this a Halloween episode, despite admitting that the song's connection to the holiday is a stretch. It's still a good effort, considering the song's title, tone, original lyrics as a tribute to a slasher film, Sembello contributing to the Gremlins soundtrack, and ultimately the scariest part of the review: Ron Howard's moustache in the video for "Gravity".
  • His attempt to dance/workout to the song resulting in him falling down in exhaustion.
  • The mere existence of "Automatic Man". Todd understands perfectly well that nothing he could say would add to it.
    Todd: I believe in God now.
  • His not-entirely-inaccurate summary of Cocoon as "the movie where old people get horny."
  • His dumbfounded "Hi buddy" upon seeing what Michael Sambello looks like.
  • "Did he deserve better?"
    Todd: I think I have been enjoying the work of Michael Sembello in exactly the way it should be enjoyed. ... Oh god, this is one of the most glorious happy accidents in pop history.

  • Todd's impression of Mullins' speak-singing voice from the introduction ("Welcome One Hit Wonderland...") on down.
  • This Sarcasm Mode subversion:
    Shawn Mullins: Her parents threw big parties, everyone was there / They hung out with folks like Dennis Hopper, Bob Seger and Sonny and Cher
    Todd: So as you can see, this girl, she had it rough. No one should have a childhood that involves Dennis Hopper
    [cue clips of Dennis Hopper maniacally shouting]
  • When talking about his experience with Shawn Mullins's later project The Thorns, he is unfamiliar with third member Pete Droge. Complete with Doge lines over his picture.

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