Call me when your arms are empty, that's the only way it can be.

Call me when you're full of pretty life. Call me when you're full of pretty lives call me when your eyes are empty and open all night

you light enough open wide enough to drive a truck straight through only lie worth telling.

Hello, welcome to the great albums podcast. I'm Bill, and I'm all by myself yet again.

It's bonus song Thursday, so that can only mean one thing. We're going to talk about a single

song from the same artist as Mondays, the previous episode. For those of you new to the podcast, what we

usually do is once a week we do a full-length episode where we take an entire album and break

it down and talk about what we love about it and what makes it great and we do a track-by-track

review. On Thursdays, we take a single song and do basically the same thing. But this

week, we're doing something a little bit different. My normal co-host, Brian, is unable to join us

this week. So instead, I decided to do a solo podcast where I analyzed one of my favorite kind of under the radar albums by a singer-songwriter

named Paul Westerberg, who is best known for his work with the replacements in the 80s and their recent

reunion tour, and they're apparently broken up yet again, which is cool. I get it, but I was also

really happy I got to see them twice on that tour. So today I'm going to do something a little

bit different. Instead of doing a single song, I'm actually doing an album, but I'm not going to do a

track-by-track review because I, that takes a lot of time and a lot of

effort and a lot of notes.

So instead, what I'm doing is because the album that I did on Monday was actually paired with

another album as a sort of double album.

It was actually billed to two separate artists, but it was packaged together.

And the two separate artists are

actually the same artist. It's just an alter ego for Paul Westerberg. So today I'm going to be

...