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- His confusion at the line "You learned love from Charlie Sheen". The closest thing he can think of is the Spaghetti Kiss scene from Hot Shots! Part Deux.
- Ironically hitting his hand with a hammer.
- His Mondegreen of the lyrics.
- Pretty much everything about his reaction to "America".
- Especially this line: "Take that, America, you... Spam-eating non-Polanskis!"
- His shock that Jewel, a published poet, would confuse "casualness" with "casualty."
- "Obviously I don't like Styx! I'm a music critic! It's part of the licensing exam."
- "My brother likes Styx. Seen them in concert twice. Owns a lot of their T-Shirts... I've failed him."
- Todd describes Dennis DeYoung's voice as "the death of music".
- Everything about the laughably corny concert film for Kilroy Was Here, especially the supercut of Tommy Shaw's horrendous acting."You can't stop the music, you bastards!"
Todd: Shockingly, after the band broke up, Shaw did not pursue a film career.
- The scene of the prisoners fighting in the eating area is.. interesting to say the least.(camera pans over to prisoners hugging, flailing, lunging and attempting to beat up the Robotos in a metal room with fight noises layered over it)
- The scene of the prisoners fighting in the eating area is.. interesting to say the least.
- Even before that, the so called riot was instigated by this gem of a line:Prisoner: Hey Roboto! Your mother was a Toyota! (throws milk bottle at one Roboto while the other prisoners laugh) You got no rythym huh, you got no rythym!
- Even before that, the so called riot was instigated by this gem of a line:
- The theme of "Mr. Roboto" is the dehumanizing aspect of technology. "You're a synthesizer band, you goddamn hypocrites!"
- The blink-and-you'll-miss-it intercut of the Chuck E Cheese animatronic band playing over "Mr. Roboto".
- Todd admits when reviewing albums for Trainwreckords that sometimes failure or backlash can only show itself during the follow-up. To illustrate this, he shows the opening weekend grosses for Batman v Superman: Dawn of Justice and the massive drop-off when Justice League (2017) came out.
- Todd's multiple riffs on the nine-minute intro film.Todd: Now, as a sci-fi buff, I can't help but notice the similarities between this album's premise and the fictional sci-fi universe created by ME in the eighth grade!
- Todd's description of other people responses to his own similar sci-fi premise:Todd: Critics rapturously praised my conceptual masterework as "dorktastic" and "lame as balls" before crumpling all of my drawings and stuffing me in a locker!
- Todd's description of other people responses to his own similar sci-fi premise:
- "And the robotos, what about them? Well, here's a funny thing. They are not part of this story, like, at all. 'Mr. Roboto' was the first single and the album opener, and it never comes back. Robots are to this album as breast cancer is to The Room."
- Regarding Jonathan Chance's solo in the Villain Song, "Heavy Metal Poisoning":Todd (as Dr. Righteous): NOOO! He's playing rock and roll in my rock and roll song!
- Todd noting how well "Renegade" would have fit on the album, despite it being from a different album.
- Todd as the angry arena audience: "Boo! Play 'More Than a Feeling' already!"
- And this was after he described the typical Styx audience in arenas as "Angry rednecks, who just want to hear Blue Collar Man."
- Introducing Hammer's change of image by slowing down his "Now why would I ever stop doing this..." line from "U Can't Touch This"
- Todd "pretending" to be Ronald Johnson, the senior Senator from Wisconsin, saying it made about as much sense as Hammer pretending to be an O.G.
- Any of the comments regarding MC Hammer's infamous Speedo in the original "Pumps and a Bump" video.Todd: Why, it's almost like I can touch this. ...Please Hammer, don't hurt 'em.
- Comparing Hammer becoming more "thuggish" to get with the times as less like sexual maturity with teen pop stars and more like being flashed by your youth counselor.
- Todd can't help but mock Hammer's tough-guy pose in the "It's All Good" video.
- Todd claiming that there isn't a more depressing rap beef than the one between Hammer and Q-Tip, complete with a genuinely disappointed tone of voice.
- After Todd builds up to the topic of the video, mentioning how they would be covering one of the biggest bands of the 1990s, he sighs (almost in defeat) as he leads into:
- Reminding everyone that Oasis was so big in their heyday that an audio recording of the Gallagher brothers having a violent argument managed to chart in the UK.
- Contrasting the positive reviews of the time to the negative retrospective reviews.
- Reflecting upon the lead single "D'You Know What I Mean?"Todd: I assume the other drafts were named after all their other tossed-off catchphrases, like "Right?" and "Innit?" and "Oi, Liam, you wanker!"
- Todd's soul-crushing angst over the endless nine minute song "All Around the World", on an album where a bunch of the songs are overly long already.Todd: It's like a Death March of Peace and Love!
- "It's like listening to them going to literally every person in the world and singing the chorus at them!"
- His response to the song title "It's Getting Better (Man!)"Todd: I like that because it's literally a Beatles title with some bad attitude thrown in. They are on-brand.
- He expresses delight that the final song on the album is only two minutes long... before he discovers it's a reprise of "All Around the World."Todd: Piss off, you wankers.
- Also funny is the Tiny Toon Adventures clip that precedes it: "It's magnificent... it's stupendous... it's short!"
- Todd doesn't even indicate how bad this album is going to be at first. For the opening five minutes, he actually appears to be looking forward to the new direction, and his response to the opening instrumental "Neworld" boils down to "That's pretty". It's only once he actually listens to "Without You" that he's completely taken aback. Even the lead-in to the title sequence is subverted.Todd: Gary Cherone was the man who would lead them into their third decade, and Van Halen was gonna continue to kick ass. Here it comes. It's gonna be so good. [rubs hands together] Here it comes!
[Trainwreckords title sequence]
- And once it settles in how bad this album is...
- Todd goes into this long spiel about how Van Halen needed to revamp their sound for the 90s, making a point of asking "Who in 1998 was going to listen to a dinosaur cock-rock band that started in the goddamn '70s?", and then immediately cutting to the music video for "I Don't Want to Miss a Thing".
- Todd attempts to explain the album's title:
- Todd's reaction to the disjointed structure of "Without You":Todd: Wait, w-we're just changing tempo now?! Go eat me.
- Todd mocking the lyrics of "One I Want"...Todd: It ["One I Want"] at least has more structure than the last one ["Without You"], and the lyrics are a little more, uh...
Gary Cherone: Poor man, he just wants a little! Rich man, wants a little bit more! Superman, he lookin' for Lois! Salesman, tryin' to sell you his soul!
Todd: Actually, hold up, what are these lyrics?
Gary Cherone: Fat man, he's ordering seconds! Pizza man, just want a slice!
(beat, as Todd visibly recoils)
Todd: Ant-Man! Not in Infinity War! Giant-Man! That's actually Ant-Man again! Triangle Man! Hates Particle Man, they have a fight! Triangle Man wins!
Gary Cherone: Gay man, looking for another! The candy man! Yeah, the candy man can!
Todd: I'm trying, but I can't actually come up with funnier lyrics.
- When Todd is looking for an explanation on what went wrong with the album:Todd: So, what went wrong? Sammy Hagar has a theory.
(cut to article title "Sammy Hagar Says Eddie Van Halen Can't Write Songs")
Todd: Well, yes, that, but... also, more specifically...
- Todd brings up "Fire in the Hole"...
- While Todd considers "Fire in the Hole" the best song on the album (in that, it sounds like a second tier Sammy Hagar song, or a fourth tier David Lee Roth song), the incomprehensible lyrics make Todd do a Double Take:Gary Cherone: In a word to... yah! The wisdom tooth!
Todd: A word to the wisdom tooth?!
Gary Cherone: So open up...and say ahhh-men! Rinse cup! Hey, and spit again!
Todd: Is that a play on words? Is this like a really bad Hashtag Rap? And what do dentist puns have to do with fire in the hole?!
Gary Cherone: You got a mind full of decavities (???)
- Ultimately, Todd can't avoid a major issue any longer:Todd: Now that I've played a few songs for you, so you know it's not a fluke, let's talk about the giant elephant in the room: Why the fuck does Gary sound like that?
(cut to a montage of Gary screaming "Yeah!")
Todd: It's amazing because he managed to sound almost exactly like Sammy Hagar, yet simultaneously four hundred times worse.
- Todd clarifies that he doesn't think Cherone is a bad singer:Todd: I've listen to those old Extreme albums! He sounded fine! And nothing like Sammy Hegar!
- Todd then compares Gary's singing with Van Halen to "playing something if you want to scare raccoons out of your yard".
- Todd clarifies that he doesn't think Cherone is a bad singer:
- Todd does a background check on producer Mike Post... only to find that his resume consists primarily of TV show themes.
- Todd had called Post a "hard rock producer" earlier in the video... which Todd admits, to his shock, is actually referring to just Van Halen III.
- On the video for the track "Once", which was released exclusively online... in 1998.Todd: Considering the streaming capabilities of PCs in 1998, they might as well have just dropped it in the garbage. I found a copy of it on YouTube, but I'm guessing no better quality version of this was ever uploaded, 'cause the only copy I could find looks like it was filmed on ravioli. This is what all Internet video used to look like, kids.
- Once Todd gets to the closing track, a piano ballad sung by Eddie himself:Todd: This is the most embarrassing thing Eddie van Halen ever did. And just a few years earlier he got himself a short haircut and goatee that made him look like the forgotten third member of Brooks & Dunn.
- After noting the attempts to reunite with Sammy Hagar and David Lee Roth in the wake of this album's failure, Todd concludes his review thusly...Todd: And it's just a shame that they couldn't find some kind of way to make it right with them, because they just couldn't do it all without them. (beat) Hey, wait! Is that what that song's about?! Did Eddie write the lyrics to this too? Is this about the other singers? But he did do it all without them, that's why it sucked! My god, it's like its own autopsy about why it failed!
- "But they kept soldering on. They... kept on chooglin'..."
- How does Todd describe how this album came to be (although he admits shortly after that it's not entirely true)? If, instead of breaking up, The Beatles decided to make one more album... and the others decided that this would only result in the band sticking together if Ringo did most of the work. And he had no say in it.
- Although Todd admits Creedance Clearwater Revival's situation wasn't as bad as that Ringo hypothetical (since the situation was that they would all write songs for the album), Todd admits that in some respects, the situation was actually worse than that hypothetical:Todd: [P]eople liked Ringo! Ringo had a personality, people knew who he was. People didn't have a clue who the other guys in [Creedance Clearwater Revival] were! They barely knew the main guy in the band!
- Todd immediately realizes that at least some people who would be watching this would know that;note he counters that by asking them to name the others.
- Although Todd admits Creedance Clearwater Revival's situation wasn't as bad as that Ringo hypothetical (since the situation was that they would all write songs for the album), Todd admits that in some respects, the situation was actually worse than that hypothetical:
- As part of his struggles with trying to understand the downfall of the band, Todd had to "buy books and read them, and shit".
- "[A]nd if the lead singer's not getting attention, you could imagine how little the fucking bass player gets."
- Presenting the intra-band drama as a Jersey Shore fight with "Re-Enactment" titled over it.
- Plus, Todd explains that John referred to the night when the others got into a fight over wanting to do more songs as "The Night of the Generals"... which Todd points out is a reference to a movie involving Nazi generals at the end of World War II. Cue Fogerty's response being put as a Downfall's Hitler Rant meme.
- This is Todd's breakdown of how the band described how the album came to be: At the time, Doug and Stu said that John needed their help because he was burnt out. Now?Todd!John: (complete with shaking picture) FINE! YOU WANT MORE INPUT?! WHY DON'T YOU WRITE THE SONGS?!
- And here's how Fogerty describes it:Todd: (over a clip of Baby Herman crying) Waaaa! Waa, I wanna write songs! Waaaa!
- And here's how Fogerty describes it:
- After Todd realizes the opener for the album, "Lookin' for a Reason", is explicitly about the band breaking up:Todd: "Because I Got High" is more open to interpretation than this.
Afroman: (while shown explicitly toking) Because I got high! Because I got high! Because I got high!
Todd: ...maybe it's about being high on life.
- Todd's utter bafflement at how bad the non-John Fogerty members' contributions are. When Stu Cook's second song begins, Todd swiftly gives it a Rapid-Fire "No!" and shows similarly blunt rejections from America's Got Talent and The Gong Show.
- This is then followed up by Todd's blunt realization that the song, "Take it Like a Friend", is just Stu "shit-talking John right to his face".
- Todd also mentions that Fogerty was so offended he didn't even play guitar on the other guys' songs. "Kind of a dick move, but I wouldn't want to help record a song about what an asshole I am either."
- This is then followed up by Todd's blunt realization that the song, "Take it Like a Friend", is just Stu "shit-talking John right to his face".
- Todd sees through Stu's third song's narrative of being a sailor, and dealing with the abrasive "captain".
- As Todd realizes to his disgust, the cover song (specifically, a cover of Ricky Nelson's "Hello Mary Lou") is "the same fucking song". He even plays them back to back to make his point crystal clear.
- At the end of the video, Todd gets the idea to force Amy to write his reviews from now on, topped off with Amy's confused expression.Todd: You're not pulling your weight, dog! Why do I have to do all the work?! Give me a thousand words on the new Eminem album! This is what you wanted, right?! I heard you begging at me! That was clearly what you meant!
- Since it is about an album by Billy Idol, Todd spends the entirety of the video wearing a spiky blond wig.Todd: Guess whose Halloween costume is tax-deductible this year?
- Later in the video Todd comments on Idol's second change of hairstyle, to an awful-looking set of blond dreadlocks like Vanilla Ice was wearing circa 1993. Todd refused to buy a wig for that.Todd: Like, not even for Halloween.
- Later in the video Todd comments on Idol's second change of hairstyle, to an awful-looking set of blond dreadlocks like Vanilla Ice was wearing circa 1993. Todd refused to buy a wig for that.
- "The '90s wouldn't start until September of '91 when uhh..."
- Todd on Idol's career options in the wake of the grunge era:
- On Idol's look in the "Shock to the System" video, which sees his spiky hair get even spikier:
- Cut to the scene in the video where Billy stop-motion merges with a camcorder to form some ugly-looking cyborg thing. It gets the reaction it deserves:
- Turns out the album had bonus features on a floppy disc that came with the album. When Todd gets a look at it...
- "But the album has one major thing in common with Kurt Cobain. For both of them, it all went wrong... with 'Heroin'."
- When Todd plays Idol's Cover Version of Velvet Underground's "Heroin", he discovers that it both A) Comically Misses the Point of the original by turning the originally bleak and moody song into one with dance club beats, and B) It's also a mashup with Patti Smith's "Gloria"; so Todd slips in a clip of "Gonna Make You Sweat (Everybody Dance Now)" to mock both things.Todd: We're at a rave... A heroin rave!
- Todd giving us this delightful mental image:
- When bringing up a recent incident where Lauryn Hill received massive backlash for having shown up two hours late to a performance, Todd admits to being heartbroken and dismayed over the fact that people are still buying tickets for her shows.
- Todd states up top he's never been a fan of MTV Unplugged, finding an all-acoustic format tedious and also pretentious to consider it more "real" than a fully produced performance. He suspects the public came around to his side when Korn (of all bands) tried to do an unplugged concert. He then shows a clip of the performance, which shows that it went about as well as one can expect a Nu Metal band attempting an acoustic performance to go.Todd: What the fuck. Not an experiment to be repeated.
- Lauryn's opening lines are enough to make the thing unpromising.Todd: She is performing all new, never-before-released material.
Lauryn: A lot of these songs, too. Some of them, you know...they ain't even really have titles yet.
Todd: All new... unfinished material.
Lauryn: If I stop, if I start, if I, you know, feel like singing, "Baby, baby, baby" for...eighteen bars or whatever, you know, I just...I do that.
Todd: All new, unfinished... ad-libbed material.
Lauryn: Alright, so you guys are cool? Okay, I'm talking, people in my head, too [audience laughs].
Todd: Yeah, it's gonna be real shaky.
- On the subject of the song "Mr. Intentional":Todd: "Mr. Intentional" is about some unnamed condescending asshole...
Caption: It's definitely Wyclef Jean
- Captions come back later during a 12-minute monologue, which Todd describes as "Lauryn Hill TED Talks." Over shots of the audience with blank expressions on:"...Where are the exits"
"...please god invent the smartphone soon"
- Captions come back later during a 12-minute monologue, which Todd describes as "Lauryn Hill TED Talks." Over shots of the audience with blank expressions on:
- On Lauryn's guitar skills:
- On the song "I Find It Hard To Say (Rebel)", which led to the special not being aired until months after 9/11, because Lauryn was afraid of causing rioting:Todd: Yeah, don't worry Lauryn, this isn't going to make anyone start throwing bricks. It's going to make people get their latte somewhere else.
- Todd's takedown of Lauryn's "reality" running theme surrounding this show:Lauryn: I used to be a performer, and I really don't consider myself a performer so much anymore.
Todd: Then what the hell am I watching, lady?!
- This exchange:Lauryn: Y'all never knew me! I just wanted to introduce you to me — I'm just getting to know me!
Todd: (sigh) M'am, this is an Arby's.
- Todd's summary of the album, Madonna doing a Concept Album taking on The War on Terror, thus:
- Todd's critique of the title track's replacement video, which removed the shock of the original (a military-themed fashion show) and has Madonna just standing in front of flags from random countries green-screened behind her.Todd: Take that Estonia, Norway, Pakistan, and Monaco! Micronesia had it coming!
- Todd throwing shade during the "American Life Rap".
- His reaction to the third single, "I'm So Stupid":Todd: Speaking of sounding like garbage...note
- Also, his reaction to the harsh opening note at the beginning, even leaning back in his chair. Compounding this is the number of posts in the video's comments section comparing the noise to the sound of a Wii crashing.
- Todd scoffing at Madonna's rejection of Hollywood, saying that given the time the album was made, it comes off more as sour grapes after her film career definitively bombed with Swept Away.
- "Hollywood" has an odd ending where Madonna starts chanting "push the button, don't push the button, trip the station, change the channel" - cut to Bela Lugosi shouting "Pull the string!" from Glen or Glenda.
- The "Hollywood" single serves as a bit of a Brick Joke, because Todd used it as the theme song for his Cinemadonna series (at least, the version from a GAP commercial remixed to sound like "Into the Groove"). He reveals it's the only Madonna song to not chart at all in the United States, no matter how hard she tried to promote it.note Considering it highlights her bitterness over her film career ending, the irony is just delicious.
- Todd saying that only Madonna could lose a being-down-to-earth contest to Kanye West.
- This review is one where Todd actually doesn't have as much in the way of snark or jokes.note Todd treats the colossal failure of Paula as a fairly-somber How the Mighty Have Fallen affair, even having the occasional Sympathy for the Devil (after all, Robin Thicke's material pre-"Blurred Lines", and even some of the material of this very album, made Todd realize Thicke wasn't untalented), while never losing sight of how Thicke basically brought it on himself, as the album is basically a very public show of Thicke being Not Good with Rejection. But then again, moments like the very first line of the review makes you know that you're in for something... special.Todd: He just... seemed like a douchebag.
[cue the opening bars of "Blurred Lines"]
- Even the "This is Trainwreckords" introduction seemingly comes out of nowhere, preceded by Todd throwing up his hands, and him sounding confused while saying it rather than his usual confidence.
- On said colossal failure of the album:note Todd: We've seen big names fail to debut at #1 and throw public fits about their low numbers, but if they had seen sales as low as Paula's, they'd melt like the Wicked Witch.
- There's a subtly funny beat in the story of the night Robin met Paula — He serenaded her with a Stevie Wonder song. It sounds so romantic, like being a crooner was his destiny. Except...Todd: You can't go wrong by singing Stevie.
[shows Wonder singing "Jungle Fever"]
Todd: ... Except that one. Please tell me he didn't sing that one. [shows an article saying exactly that] Please tell me that's not true.
- This is even more hilarious (albeit maybe in a cringey way) when one considers that "Jungle Fever" is a slang term for a white person being attracted to a black person, and one remembers that Paula Patton herself is (half-)black and Robin Thicke is white. Extra hilarity that the song was composed for a movie about the very thing that the term "Jungle Fever" means.
- Despite being a Trainwreckord through and through, Todd concedes that there are songs on the album that work—particularly "Living in New York City", a funk-throwback number that Todd sheepishly (and hilariously) admits "kinda slaps".
- However, even that song ends up befuddling Todd. It starts with a Lyrical Cold Open of a woman saying "I'm moving to New York" (which, as Todd elaborates, was Paula Patton herself, in what was possibly the last thing she collaborated for Thicke). It's obvious that Todd was expecting it to segue into something somber... only for the cheerful song to follow. Todd's reaction is priceless.
- There is one Hilarious in Hindsight moment where Todd cuts to an old review of his.Todd: Believe it or not, he wasn't always known as a douchebag. Rolling Stone called him "gentlemanly." [cut to the quote in question with "!?!!!" added next to it]
- There's a clip of Thicke performing "Forever Love" at the BET Awards, and he at one point makes a big, emotional, dramatic pause (which Todd immediately calls out as contrived). What Todd doesn't draw attention to is that, if you listen closely to that clip, you can hear people in the audience laughing at him. (One audience member can even be heard scoffing "Please!", while another groans out a disbelieving "Oh my god.")
- What Todd does draw attention to is how, during Thicke's appearance at the Billboard Music Awards, where the album's lead single "Get Her Back" first debuted, and where Thicke straight-up says to the audience "Help me get her back" several times, there's a woman in the front row with a Disapproving Look.Todd: Shout-out to the uncomfortable-looking woman at the front row, she speaks for us all.
- What Todd does draw attention to is how, during Thicke's appearance at the Billboard Music Awards, where the album's lead single "Get Her Back" first debuted, and where Thicke straight-up says to the audience "Help me get her back" several times, there's a woman in the front row with a Disapproving Look.
- On the uptempo, seemingly-out-of-place track "Tippy Toes"Todd: If this album were a musical, this would be the "Shipoopi".
- Some times it is the small things. Todd can't help but chuckle at an Accidental Pun.Todd: I'm sure that in the thick of it — Heh heh, in the Thicke of it — I'm sure that in the thick of it...
- Todd explaining that the album title is very unfortunate as it set itself up for mockery, as the album is essentially The Clash cutting "12 whole tracks of crap."Todd: No record has ever teed itself up for the critics like that since Spinal Tap released Shark Sandwich. [shows the scene of Spinal Tap reading reviews mockingly calling their album "Shit Sandwich"] "Shit Sandwich" was my original title for this series, by the way.
- Todd did really thorough research for this episode, even buying several books and watching numerous documentaries on The Clash mostly because the surviving members of The Clash and their fans have done their damnedest to avoid talking about it. MTV's Rockumentary episode on The Clash doesn't even mention it, the All the Albums, All the Songs encyclopedia reduces Cut the Crap's songs to single paragraphs each, and a Rolling Stone article about the band's last concert with Mick Jones and Topper Headon does briefly mention it, but explicitly claims it doesn't count.
- In fact, the album is so obscure that it didn't have a page on this wiki until after Todd's video came out!
- When the opening track "Dictator" starts, the production and mixing are so bad (most strongly exemplified by the driving drum track being out of sync with the rest of the song) that Todd tries to listen to it through multiple speakers and headphones to check if it wasn't just a hardware glitch on his end. He's not even joking.
- Saying that the song "We Are The Clash" sounds like the theme to a Clash-themed TV show.Todd: [imitating an announcer] The Clash! Weekdays at 4:30, on Fox 10!
- Todd does end up liking the one single "This Is England", but refrains from showing a video because there isn't one. Why? None of the band members showed up the day it was to be filmed.
- Todd comparing Bernie Rhodes' complaints about the album's negative reviews to a DC fan railing against Rotten Tomatoes.
- The video starts with Todd asking himself if he can make an entire 20-minute video about Hootie & the Blowfish interesting.note By the end:Todd: I think ultimately we can write this album off as a boring failure. Just like this video! I swear to god I'll cover Hulk Hogan's album next time or something, just anything more interesting than this.
- "If there is any band on earth who shouldn't be on a show about spectacular failures, it is Hootie and the Blowfish. 'Cause they weren't a spectacular anything."
- Todd stating that the band was so middle-of-the-road that they must have "scientifically pinpointed the exact center of the road with quantum precision."
- Todd admits up top that there's nothing notably disastrous about the album, it's just a dull album that didn't sell well. And that's just having explained that lots of bands have albums like that, and it usually doesn't meet his definition of a "trainwreckord"... except in this case, simply due to how jaw-droppingly successful Hootie's debut album Cracked Rear View was.
- Todd shows a clip of Hootie being award a Grammy, with a giant red arrow helpfully labeling the presenter as "TUPAC F'ING SHAKUR"
- And standing next to Tupac while he presents the Grammy? KISS.
- Right up there with the "bisexual" line from Lauryn Hill, Hootie and the Blowfish give us...Darius Rucker: And I'd love to hurt the population!
Todd: Wait, what, WHY?!
- Todd's frequent mocking of Darius Rucker's Yarling throughout the video. This includes not only yarling an interview quote from Rucker, but also yarling a quote from a record executive denying that the album was a flop:Todd: Yeah, everyone connected with them talks like that, I decided.
- Todd judges the best song on the album to be the eponymous middle track, "Fairweather Johnson": A 45-second joke song.
- Todd reads an excerpt from a British review that states "Duller than Dull Dave McDull's Duller Brother Dennis"Todd: I imagine the Zero Punctuation guy writing that.
- One of the reasons Todd lists for rushing out this album is that even Hootie and the Blowfish were sick of Hootie and the Blowfish.
- Todd introduces the review (following the Title Sequence) by bringing up Mike Love's bad reputation.Todd: He has unequivocally been cast by history as the villain of the Beach Boys. That band's story also includes Brian's abusive father, Murray, Brian's abusive psychiatrist, Dr. Landy, and Charles fucking Manson, and somehow, Mike Love towers above them all.
- You can tell that Todd found out that there's a Beach Boys song written by Charles Manson during research and that the only thing stopping him from talking about it is that it wasn't on this album. Hell, the fact that he mentions Manson's relationship with the Beach Boys as casually and offhandedly as one would a kitchen table is amusing all on its own.
- The Running Gag of cutaways to footage of Mike Love bragging about being a Kavorka Man and Brian Wilson casually describing his dislike of Love.
- "There are some accounts that defend Mike Love. Especially the ones commissioned by Mike himself."
- Todd compares the album's "update" of the band's first single "Surfin'" to the theme to Beverly Hills, 90210, but asked some friends if it sounded like any other TV shows. One friend suggested it sounded like the theme to Baywatch.Todd: Yeah, about that...
[Description Cut to the band's guest appearance on Baywatch where they perform "Summer of Love"]
- Todd openly admits that the story of "Summer of Love" could be its own video, not only revealing it was originally planned to be the follow-up to Do the Bartmannote (and had Bart rapping instead of Mike), and that it wound up on the Baywatch soundtrack seemingly only because it name-checked the show, and that the resulting Baywatch-themed music video (itself part of an episode of the show) was made after the album bombed, but, as Todd bluntly points out, this meant that The Beach Boys became "artists on the same level as David Hasselhoff."
- Todd's one piece of praise for "Summer of Love" is that it is only the second worst of the Beach Boys THREE rap songs they've released.Todd: This fucking band...
- "A whole ton of these late stage Beach Boys songs are just them reliving their glory days rather than actually coming up with something new. Who do they think they are, Disney?"
- On the album's title track and its Green Aesop:
- Towards the end of the album, Todd reveals the last song: a cover of "Forever". And if you thought it was weird how Todd didn't really comment on the drummer shown in the music videos, well...Todd: Let's give it a listen.
(cut to the John Stamos music video)
(cut to Todd, grabbing his head in frustration)
Todd: (annoyed) Okay...
- Todd openly states that this cover was not made for the album, citing how it appeared on Full House several months prior to the album's release, and in particular was the focus of a two-parter, "Captain Video", where it became Jeese and the Ripper's first major hit.Todd: And the plot of the episode is that Uncle Jesse has to stop the record company from turning it into a rap song!
- "This being on the album was clearly just a thank you to Stamos for the TV appearances by letting him think he's now a real Beach Boy. No, this is a performance from Jesse and the Rippers, and don't you forget it!"
- Meta-wise, while Todd doesn't mention it, in Full House, it was also their only hit: it got to #68 on the charts in Americanote before plummeting to #99 (although it did hit #1 in Japan), and then two seasons later, when Jesse became too preoccupied with his home life, the band kicked him out, had him replaced with Barry Williams almost immediately, and pumped out a #1 hit song the same week.
- Todd openly states that this cover was not made for the album, citing how it appeared on Full House several months prior to the album's release, and in particular was the focus of a two-parter, "Captain Video", where it became Jeese and the Ripper's first major hit.
- Todd pointing out that this album has become such an Old Shame for the band that it's not on their Spotify page, and yet you can find every little studio outtake of theirs from 1963 on the streaming site.
- Todd makes the Obligatory Joke about the band's name:Todd: Now the story of a successful rap group that lost everything, and the one album that had no chance but to sink them all into obscurity. It's Arrested Development.
- He then shortly thereafter sneaks in another reference, during a clip of David Letterman discussing the album (itself humorously punctuated by Letterman's — and the audience's — bewilderment over the album's title):David Letterman: (holds up a copy of the CD) This one is also destined for greatness as well!
Todd: It wasn't.
- He then shortly thereafter sneaks in another reference, during a clip of David Letterman discussing the album (itself humorously punctuated by Letterman's — and the audience's — bewilderment over the album's title):
- Todd points out Zingalamaduni peaked at #55 on the pop charts, putting it in perspective by pointing out that it charted lower than Shaquille O'Neal's rap debut of all things (which came out the same year and specifically peaked at #25).
- "Ice-T was rapping about killing cops, and Arrested Development was rapping about playing a game of horseshoes. A game of horseshoes!
- Todd's increasing annoyance at the group's anti-gangsta passive-aggression.Todd: If people are forced to choose between Snoop Dogg and you, you lose. Every single time!
- The group is so preachy they even recommend the listener watch their weight during the first song on the album.Todd: Thanks, Mom.
- The group is so preachy they even recommend the listener watch their weight during the first song on the album.
- Finding out that one of the positive reviews of the album came from future film critic troll Armond White. note
- Todd's horror at "Warm Sentiments", a song about abortion sung from the man's perspective.Todd: Well... I don't know what I expected. ...his girlfriend had an abortion, he's got feelings about it. And he's gonna explain those feelings...at length.
- Hell, the way he discovers the song's existence can be fairly amusing to listen to, with Todd reading a mention of the subject matter in an old print review, not changing his flat, offhanded tone once, before doing a pretty impressive verbal Double Take upon realizing what he just read.
- Anytime Todd untangles the mountains of Unfortunate Implications and Did Not Think This Through that the album can't stop throwing at him.
- Meta Example: In the video, Todd mentions an article in Vibe magazine where the band members are clearly unhappy with their frontman, Speech, taking all the attention. Speech himself actually commented on the video, linking back to his YouTube page and promoting his latest single.
- This may give credence to Todd's observation that the group's Wikipedia page reads like they wrote it themselves.
- In the twitter thread where Todd found this out, he also points out that Speech opens his comment with "You have an interesting opinion," which could mean one of many things up to and including not having seen the video.
- This video is Todd's first sponsored video note and he decides to talk about its utility in listening to foreign music.
- This album may seem like an odd choice at first, since both Cher and Gregg Allman had long careers after its failure. Todd, however, points out that this album led to the end of their marriage, so it definitely qualifies as a Trainwreckord on that front. Todd's excuse for covering it is that it permanently ended the career of "Allman and Woman", as the album is billed to.
- Todd opens the episode professing some sympathy for celebrity couples, since their relationships are judged constantly in the public eye, especially if the public thinks the couple is wrong for each other. Afterward, Todd compares Greg Allman and Cher to Gwen Stefani and Blake Shelton, sneering that they're an awful couple.(points arrow to himself) PART OF THE PROBLEM
- Todd's Portmanteau Couple Name for Cher and Gregg; "Chregg".
- Todd's mockery of the album cover, particularly taking the piss out of Gregg's dopey expression and horribly misguided attempts at looking like a sex symbol.
- When discussing the opening track "Move Me", Todd mocks its overuse of the word "love" by comparing it to "When Loving Lovers Love".
- Describing the album as "something Elvis Presley would have performed at his very fattest."
- Todd questions the poor chemistry Cher and Allman have when Cher has made successful duets with tons of other artists, and brings up, of all things, her duet with Beavis And Butthead.
- Todd addressing the Elephant in the Room that Cher isn't exactly a great singer, to the point that autotune as we know it was partially invented because of her. Gregg Allman has the same assessment in his memoir, which shocks Todd because even if he agrees with him, he's not married to her.
- There's also kind of a funny realization that Gregg Allman is technically a better singer than Cher.
- The shock at discovering Cher covered a song with Gregg that she previously sang with her first husband, Sonny Bono.Todd: Did she just cut and paste Gregg's face on their old albums too?
- The tour behind this album was cancelled after the first week because of Cher's posh pop audience and Gregg's roughneck rock audience getting into conflict. Todd illustrates this by showing the scene of the gay Broadway dancer trying to fight the cowboy in Blazing Saddles.Dancer: YOU BRUTE! YOU BRUTE!! YOU BRUTE!!! YOU VICIOUS BRUTE!!! (sobs and collapses into the cowboy's arms)
- "This album feels a lot like having a baby to save the marriage; it's bad for the both of you and it fucks up the baby."
- You know that this is going to be a very different Trainwreckord when Todd's thumbnail artist doesn't even bother creating a stylized, "Todd-fied" version of the cover, instead just slapping the album's physical cover design on it.note It gets even more hilarious when in the video itself Todd shows the album's original cover◊ (from back when it was initially a download-only album), which he described as "computer vomit cover art."
- The cheesy VHS-style "Feature Presentation" intro has after his sponsored ad.
- This whole episode could be a Shocking Swerve on Todd's part since so many of his fans requested Liz Phair's Self-Titled Album that branded her a sellout by indie rock critics. But as Todd assures us, this one is way worse.
- With its obnoxious Indian-inspired riff and godawful Piss Take Rap, Todd's pretty sure that if Liz Phair released the lead single "Bollywood" now it would get her cancelled.Todd: Oh my God, what does she think she's doing?!
- In lieu of a music video for "Bollywood" (the song doesn't have an official one), Todd instead shows looped footage of one of Liz Phair's interviews (which becomes more and more distorted as the song goes on), before replacing it with footage of a dance number from, well, a Bollywood film. The interview footage becomes a Running Gag throughout the rest of the video, punctuated with everything from other film clips to a single gif of her on-stage to slowly warping stock images.
- And in one of the "Bollywood" uploads on Youtube, a commenter noted "It's sad to discover that the distorted interview footage it's not the official music video"
- Todd's bafflement that Liz genuinely thought that her label and management would like her new satirical comedy songs.Todd: She stuck to her guns. Kind of admirable I guess, but also insane.
- And once the song ends...
- Like Radiohead and Nine Inch Nails, Liz Phair released an album digitally and started working as a score composer. However, in the latter case, unlike those two bands, she did't do so for prestige movies, instead...
- On regular album cut "Oh Bangladesh" (one of the few songs she seems to have performed live):Todd: Considering her take on "Bollywood", maybe leave Bangladesh alone.
- Todd's reaction to discover that "Beat Is Up" is another song featuring her mindlessly talking crap over Indian dance music like "Bollywood".Todd: Man, Liz, what did India do to you?
- Todd notes that the one main difference between the two songs is that this one features a guru dispensing advice, so for the "music video", instead of a Bollywood film, Todd shows scenes from The Love Guru.
- When Todd gets to the second single, "And He Slayed Her", as soon as he says the title out loud, he immediately realizes that it's about someone named "Andy Slater."Todd: [sighs] Okay, I'll bite. Who's Andy Slater?
- Turns out Andy Slater was a record executive that Liz butted heads with. Since the single was a failure and didn't get a video until two years after it came out (which Todd suspects Liz might've funded herself), Todd's not even sure Andy Slater ever even knew about this.
- The final track, "U Hate It", which is another comedy song where Liz imagines winning awards for Funstyle even though the record executives hated it, apparently expecting it to become the new Yankee Hotel Foxtrot (considering her earlier statements that the album would be a revolutionary new art form altogether, she might've even expected it to become the next Melt).Todd: This. Song. Is. DELUSIONAL!
- His utterly dumbfounded reaction to the lyric in "U Hate It", "You're being a peñis...colada that is."Todd: NO Liz, 'Peñis Colada' is not going to win you a Grammy!
- Todd punctuates his reaction with a WWE tap-out on his piano, complete with a UFC voiceover.
- And the clincher to all of this? This is a video Todd's had in the works for four years, with him only knowing about it and its horrendous quality because he randomly picked it to listen to while doing crosswords, and it genuinely left him in Stunned Silence.
- In a meta example, there's a darkly humorous quality to this entry from the video's comments section: