Episode 615 - The bud was low key and the records were Jamaican

[00:00:00] What is up, good people? Welcome to Music Mostly, the podcast where we celebrate the music that is important to us. Thank you so much for joining us. First and foremost, as always, huge shout

[00:00:12] out to the very good people in the service and hospitality industries. Thank you for all the hard work that you do. And the rest of you, Pricks, when you go out always without exception, every single

[00:00:23] time, tip like a rock star and don't be a dick. You guys got to hit that into that? Hey, I like the way you refer to everybody's never working at Reds, but I'm just afraid.

[00:01:10] Oh, alright. I'm your host. My name is Willos and I am ecstatic as always to be joined. I'm the phone this week by my good friend and regional icon Mr. James Raymond Scott. Jimbo, how

[00:01:31] you doing today? Pretty good. I didn't know we were phone saying. Yeah, that does a little bit weird, but yeah. Yeah, sorry about this. It's a technical difficulty. I'm usually, well,

[00:01:41] you know, I'm not usually better than this. I usually suck, but you know, I usually have a better setup. Really a single. I usually sound better when I suck. Usually it's just a takes that suck,

[00:01:53] not not the same. You're so nice and good. Not tiny like a like a victroller. I like it. I think it's good. Oh, we are joined by our buddy, the fellow who makes the sound so great

[00:02:04] and is going to have to do what he can with Jimbo's audio track this time around Mr. Brad Gardener, how are you doing, Brad? Well, you know, I was better until we had to deal with this phone business,

[00:02:13] but over, over here on it. And we are also joined tonight by our unofficial fourth man, my baby brother, the one and the only Mr. Peter Matthew Olson. He's a great young man. How

[00:02:28] are doing in the night, Peter? It's mega made. The James Raymond Scott. He's gone from suck to blow. Oh, all right. Now before we get going, I'd like to remind you that we put out the accompanying

[00:02:48] music playlist to the shows a few days before the episode drops. So you have a chance to listen to music that we're going to talk about today before the episode even comes out. So you can go to Spotify

[00:02:58] and search for our user profile, music mostly pod. And you can follow that and you can follow the show. And if you follow the user profile, you get notified when the playlist drops, it's a whole thing.

[00:03:08] But I highly recommend that you do it. It's a good time. All right, boys, as you know, your guy will is a fan of the scom music, a big fan. I'm also a proponent of finding out who

[00:03:22] your favorite artist's favorite artist is in listening to those folks. For example, my current heroes, the interruptors wouldn't be the interruptors without bands like the selector in the specials, although second wave bands from England in the late 70s and early 80s. So I listened to

[00:03:37] bands like the selector in the specials and all those second wave bands from the late 70s and early 80s. Then after listening to those bands, I start to wonder what those bands listen to

[00:03:46] in the first place. One inspired them to kick off the second wave. There was the influx of immigrants from indangolin from Jamaica. There was the joblessness and the factory towns, there was Margaret Thatsher.

[00:03:57] There was a bunch of political and socioeconomic factors that were going on to bring about some kind of big thing. But why Scott? Well, there was the aforementioned Jamaicans in England and they would have

[00:04:09] brought music. And there's nothing that upsets white folks who are already kind of racist and also parents of young adults as much as when those young adults listen to and mimic the culture

[00:04:17] black and brown people. I know because I was a young adult when rap music took over the world. I saw it firsthand. Anyway, what was the Jamaican music that Jerry Damers and his friends

[00:04:29] would have listened to? What was the first wave of Scott? I'm talking about Prince Buster, Desmond Decker, the Skatilites, the Metals, all of those dudes. That's what they would have and that stuff is gold. It's like soul music with an island feel. There's none of the raw punk

[00:04:44] energy that got injected into it in England, but it's still like a party in a box. And speaking of a party in a box, if you had several boxes, made out of wood and those boxes were

[00:04:54] actually filled with speakers and you were in Kingston Jamaica and you were blasting the newest and greatest sky rock steady in Reggae and you had MCs on the mic and vending the concept of toasting,

[00:05:04] you would in fact have what is known as a sound system. In Jamaica and popular culture, a sound system refers to group of disjockeys, engineers and MCs who come together to create an immersive musical experience. These sound systems are not just about playing music, they're a

[00:05:19] way of life for many Jamaicans. Sound system culture originated in the 40s and 50s when Jamaicans started hosting street parties in dances. These events became an integral part of the social scene, providing a platform for local artists to showcase their talent and for those two

[00:05:35] ports who afford to cover charges to get into the club, awaited join the party. A technical sound system consists of several elements that work together to create a unique and powerful musical experience. First there's the selector, also known as the DJ, who's responsible for choosing

[00:05:51] the music. There's the engineer and this can't be overstated how important the engineer was. The engineers and charge of all the technical aspects of the sound system, ensuring the sound works, ensuring the equipment and the amps. The speakers create the rich and immersive experience

[00:06:07] that they're trying to create and I cannot emphasize this enough. They're doing this on street corners of shandy towns like pulling electrical wire off a street pole and hacking into it to power this stuff. I mean these guys were like 100% DIY madmen. It was the MC,

[00:06:26] the voice of the sound system, engaging with the audience, hyping up the crowd, providing commentary throughout the event. Their energy and charisma play a crucial role in creating a lively atmosphere. They also invented toasting which, in my opinion, led directly to the bragged noxious nature

[00:06:44] of hip hop like the battle rap concept. The toasting was all about how great you were and how bad the other people were. There's also dub plates, exclusive recordings made specifically for a sound system. These tracks often feature customized lyrics and shoutouts adding to personal touch

[00:07:02] to performance. So they were like cutting records just so they could play them that weekend and it was all about having records that nobody else had. It's awesome. So anyway, the sound system

[00:07:14] seen had a profound effect on both local and global music industry. Sound systems have provided a platform for local artists to express themselves and share their music with the community. Play to crucial role in preserving and promoting Jamaican culture. The sound system culture has been

[00:07:30] a hotbed of innovation, technical and otherwise pushing the boundaries of music production and performance. From the early days of dub to the monodid dance hall, sound systems have been at the forefront of musical experimentation. They're not just about music, they're about building the sense

[00:07:45] of community. These gatherings bring people from all walks of life together. Fostering a spirit of unity and togetherness. The scene has had a significant influence on various genres worldwide from the rise of reggae in the 60s to the impact of dance hall on contemporary pop music.

[00:08:00] Jamaican sound systems have left an indelible mark on the global music scene. And that influence is what brings us here tonight. The bubble was low key and the records were Jamaican. You haven't already guessed by Pete Thogs' attendance. We're talking about

[00:08:14] three-eleven tonight, specifically their fifth studio album entitled, if you haven't figured that out yet, sound system. So it was a controversial banger released in 1999. I remember when this came out. I remember downloading the first single come original beforehand. It was pre-released by the band

[00:08:30] for MP3 download. I played it with Win-Ap. Remember Win-Ap? Yeah. Remember all those things. That was Win-Ap, right? Yeah. It's the Lama's ass. So many people don't even attempt to understand the limitless possibilities of man. They say they're so that the ever-remount can't be paid.

[00:09:19] But before we get to all of that, Pester, what have you been listening to lately? My, I convinced my son to get on the Guardians of the Galaxy ride. Disney World with me.

[00:09:32] And so he really liked September by Earth when in fire. Nice. So we've been listening to the Guardians of the Galaxy and he loves loves, loves all notes, man-eater like I hear it.

[00:09:44] Coming to him. So we're in the car and I was like, oh you got to hear this other song. And so I played you make my dreams come true. But debatably home, it's best most popular song.

[00:09:55] Yeah. So he's excited. He's like, Dad, I don't think it's the same guys. Put it back on me. You're not. That reminds me of, I was watching YouTube videos when they and every came. I was like,

[00:10:11] oh, watch this, watch this. And it's a video of a live performance of this co-heating cambria song. Like 30 seconds since she just goes, Dad, I hate to say this. But this is terrible. Yeah. Oh, he's not for the faint of heart. Yeah.

[00:10:30] Jimmy Ray. What you been listening to? Well, I got this pink Floyd, a tribute thing coming up. So it's just been kind of like listening to the pink Floyd music that we're going to do is like seven tracks of any tracks. And trying to figure out how we're

[00:10:46] going to do it and whatever. But tell us more. I mean, he is a lot of that. What's this pink Floyd? What's on? What's on? What's on? I'm talking about the market. Mac. My. And I love it already. Yeah. So back you also, essentially,

[00:11:03] with it's a fact you also on friends, but of the, uh, uh, my spot's going to be there. A couple other bands and it's just going to be all pink Floyd tribute. It's benefiting a boy. What is it benefiting? Damn it. I was supposed to know this.

[00:11:20] It will have happened by the time this episode airs. So really doesn't matter. Put a better fit in something. So yeah, have you ever said it? If any any particular song you're excited about?

[00:11:31] Oh, yeah. Well, I'm, I'm, I'm singing and I'm kind of sharing run like hell with Cam behind the drum. He's going to be, he's, he's, he's, he's singing. We're going to go by.

[00:11:39] Oh, my, he's singing. Oh, my, he's singing. Oh, my, he's singing. Oh, my, he's singing. Oh, my. Oh, my, he's singing. Oh, my. He's singing. Oh, my. He's singing. Oh, my. He's singing. Oh, my.

[00:11:42] Yeah, yeah. I'm singing part of, I'm like, help that's good. But what he called young lot is actually what I'm mostly excited about. And then just to get a boy. And then we're doing a couple of that. We're doing like the first section of Darcy of the Moon.

[00:11:56] So those first three tracks. Is that we're doing time? Time you doing time? No, but we're doing the other one. Brain damage. Yeah, we're doing breathe. That's the, oh, nice. Yeah, we're doing, we're doing, we're doing, it's going to be a nice little selection.

[00:12:13] It'll be good. Really fun. The thing I wanted to say is hope, Pete, is that I have forgotten, like I watched the third guardian of the Galaxy movie. And I'm like,

[00:12:21] what's all this music from the 80s doing? He was he was he left earth on this 70s. How would you know this music? And I forgot that there's that little holiday special that goes

[00:12:31] in between the second guardians of the galaxy movie and the third one. Did you watch it? I have seen it, but it is not appropriate for children my age. And yeah, yeah, yeah. I'm always like, what a watch that. If only I could turn the hour.

[00:12:47] There's there's the kid, the kidnapping of Kevin Bacon that happens. And then they kidnapped Kevin Bacon and he brings this other like, I, I pod like full of music and give it to start Lord. And so now we've got all this 80s music. And so the third movie

[00:13:06] has all this 80s music and I'm like, why in the hell would they have all this 80s in left earth in the 70s? And that's why because of that that holiday thing fell in between the second and third

[00:13:17] movie. Yeah, that's like getting the world's best mixed tape from the ax. Yeah, yeah, you know, the first we do the 70s music. The kidnapping of Kevin Bacon will be a great album title

[00:13:30] I'm just throwing it out. Yeah. Yeah. And we're being seen in a great way from the entire plan. So there you go. It's actually very, very funny. You just play some cell and they,

[00:13:41] they kidnap him and take him out into space. It's great. I think that Kevin Bacon is known for having a pretty good sense of humor about himself. Absolutely. He would have to. Yeah. He plays right

[00:13:52] with me. I could get through life if you didn't, you know, make a joke out of yourself if you're that guy. The, um, what's the name Justin Long has a podcast? An interview podcast called Life

[00:14:02] is short with Justin Long and he interviews people because he has access to them. Any other of you can make me always ask everybody what their most used emoji is when they text and,

[00:14:12] and he was, Kevin Bacon was just like bacon like how? I mean, yeah, I mean if it wasn't, it would be that. Yeah. That would be so cool. Brian, what do you been listening to?

[00:14:25] A lot of new stuff, man. I'm trying to like get back on like seeking out new music. I feel like I've been stuck in a rut. So, um, there's some good shit going on that probably no one's going to

[00:14:38] know or maybe $100,000,000. I still haven't gotten to the end of the story. I have this very curious about that. I'm scared to go but very curious. I like what he does. But I've got like a

[00:14:51] handful of bands right now and I want to spend too much time on any of them in particular, but a band called Wednesday with an album Ratsa God, female vocals kind of like punkish vibes.

[00:15:07] Another band called MS Paint which is like actually might be kind of like the yeah right and it's like who doesn't love MS Paint and our age bracket or how many most people don't even know

[00:15:19] what the hell is. But um, this is cool. It's kind of like I don't even know. It's got like some, it's like beasty boys ish but not it's got like punk but like

[00:15:32] they kind of like wrap over it's not wrap it's like talking. I don't even know it's it's really cool. I like this one a lot. Uh, feeble little horse. Uh, another band grow with a fish as the record.

[00:15:43] Um, and then water from your eyes. Uh, everyone's crushed is that record and that one's actually probably my favorite out of all of them. It's like super obscure. It's like every element of like weird

[00:15:57] experimental shit filtered through like a pop lens. Uh, right? Uh, my super super cool. Yeah, jibble you would actually love this shit water from your eyes. Check it out. Yeah, that's I'm

[00:16:09] hungry because I'm like that. Uh, so yeah, that's where I've just I'm going all new. It's all different. Just if you're listening to this listen. Nice. I uh, go on the other way. I've been listening

[00:16:22] to a lot of um gang star like a lot of old gang star really? Right. And um, I did listen to that new Andre 3000 record. It's really good. It's super ambient like it's kind of overstate that

[00:16:38] there are no lyrics. It's all instrumental. It's super ambient is a great record for listening to it work. Um, it's really good. And we know they're all. None. It's all. It's not that in the press release.

[00:16:53] And I was like yeah, well, maybe he's just fucking with all of us like now. No, no, no, no, no, it's um, it's all instrumental. It's all flu. It's all. Maybe. Yeah, there's just it's super.

[00:17:10] It's it's it's mellow. It's laid back. There's there's nothing to it. I'll tell you what the first track is called and just a sec because I need to look it up because it's like a million

[00:17:24] words long. Like the tracks are titled like a fricking fallout boy record. But I was thinking fall up boy when you said that. That's something something something comma, love a debob of my songs. No, what you do in the dark. Yeah, so the first track is titled

[00:17:40] I swear comma. I really wanted to make a quote rap and a quote album. But this is literally the way the wind blew me this time. That's the title of it. Oh, because it takes like terrible with

[00:17:54] that X Eugene to a next level or like yeah, you were selecting me be myself again, you know. But it's really good. I highly recommend you check it out and yeah, anyways,

[00:18:08] let me say a quick break and we'll come back. We're going to talk about San Jose some my 311. And we're back and we're talking about San Jose in this week. I'm so excited to talk about this

[00:18:45] record. All right, let me get through the vital stats real quick. It was released October 12, 1999 recorded March 11th or 311 day through June 1999. Clock's in around 45 minutes, 46 and 39. And so this one was produced by 311 and Scott Ross and who is a long time co-worker of

[00:19:07] theirs, but also co-produced by Brian your boy, Hugh Patum who has worked with like everybody. And so I read a couple of reviews a lot of them weren't kind, but that's a whole different thing.

[00:19:22] We're not going to get into that. But Hugh Patum was credited with kind of raining in the opulence of their previous record transistor. So transistor was like double album length and they kind

[00:19:32] of caught a lot of flack and when we talked about it, I admitted that even I who am like a super fan did like there was some filler on that record. There was definitely some cuts that could have

[00:19:44] been made that didn't get made. It was indulgent. It was certainly indulgent. It was certainly indicative of a band that went like barely gold, barely gold, triple platinum and then like

[00:19:57] had a little bit of time and money. And I did discover if you look on like 311's website they say nominated for new Grammy Awards. I was like what were the Grammy's one? One of them

[00:20:07] was for best recording package for the album heart on this album. They don't mention that's one of the Grammy's they were nominated. That's cool, but actually I love the art actually probably more than anything. That's phenomenal. Yeah, the art's great. The album cover is amazing.

[00:20:24] But it looks like Jimbo you were saying that in between when we weren't on like that, it is packages. It's noticeably different than anything that they had put out before and frankly

[00:20:37] anything they put out after. Yeah, the logo is different. But it also kind of means it's retro. It's trying to look like old like like earlier. Like even earlier like when your intro was perfect

[00:20:51] talking about sound system because a lot of that stuff happened in the 70s and you know and style of art comes through on the cover with it has like the 3D effect but it only affects

[00:21:04] the very bottom of the letters. So it's like you don't see the 3D effect behind the top parts of the letters where it would show. It's only coming out of the bottom of the letters and that was

[00:21:14] a thing that was like sort of a cheat a little bit. It was like oh you know automatically do this thing and we don't have to worry about what do you know like I'm in space as far as it goes up here,

[00:21:23] you know it was like it was like a tape towel out of the cover you know like tape towel records and shit like that you know it had that kind of look to it. Yeah and I think they brought

[00:21:37] in Hugh Patum for kind of a fresh perspective like they they kind of have like this team of producers and co-workers that they like working with and I think they were trying to shake things up a

[00:21:50] little bit. Now whether that was specifically because of criticism they got about transistor or not I don't know but it does seem to me like this was an intentional step out of their comfort zone. Well on it coincided with then moving from the stadium shows, the big shows

[00:22:13] to the more intimate venues and you know I think we went to a couple of shows on this tour actually well. I know we did. Yeah I know we did. I knew he was saying he craved that connection like the

[00:22:28] sweat he said with the audience where it's like a living breathing thing and everybody's on the same vibe. Yeah so like they felt the big success you know the self-titled transistor was an indulgent

[00:22:40] album I would argue one of their better ones. They're trying to get back to their roots a little bit here. Yeah it's pretty clear that on one level like you know let's not forget that's where

[00:22:54] they came from. They were like endless touring and their popularity was achieved a lot of the popular received to that like festivals and just touring and touring and touring and touring back then you

[00:23:06] know they you know and then but then they had like big success where they didn't have to rely in that as much. So I think it's a strong point like you know I think that they were really

[00:23:20] trying to sort of get back to that they look this is where we came from but that's only one side of the change happened on this record. I think that also the songwriting stepped itself up

[00:23:31] with a melodic content of it. That's itself up the changes like there's always been these sort of like almost jazzy like major seven stops and the fills and things like that and on this record it kind of went beyond that. The melodies were strong but they they would

[00:23:52] these were not little breaks in between or little stops or breakdowns or whatever. These are parts these super melodic sections were worked into the actual chorus and it was and the melodies

[00:24:05] were it's it's almost like they took the one part that was simple that like just just major key melody that fit over the big huge wall of sound and they put it over the other part of the song

[00:24:17] which was kind of like the little turnaround or whatever or known was sitting or maybe someone was rapping they put them a lot of parts of that and and then of course had you you know come

[00:24:26] they came up with great melodies as a result and I just that came through more on this record I think than any other record thus far from that. I want to hear your thoughts on my interpretation

[00:24:38] of what I heard they still have the heavy guitarists you know that's a very distinctive 311 and I didn't hear it until the transistor when we were listening to it for the podcast that was

[00:24:52] the first time you heard essay like scratching but it's so much more prominent like the electronic influence. Yeah well yeah that I think is also part of like the time this was the time

[00:25:03] for the germ like they definitely were work consciously like the whole like little like kind of like jungle electronic beat that opens the last track like that was just a very intentional like

[00:25:18] electronic dance music was coming it was becoming known to people outside of the scene in which it lived and and they I think they did that on purpose and I think to to speak a little bit to

[00:25:32] what Jim was said that like my friends who who were like into this band who didn't like this record word they didn't like it because it was so quote sing songy and quote like they definitely were

[00:25:45] moved away from rapping there's a lot of something in the record about this album you know honestly I mean that kind of it was more common than people think like this kind of broke my relationship with

[00:25:55] 311 a little bit yeah and good bad whatever like actually revisiting now like I'm a little ashamed to say that but like at the time it was like nah I just felt so too much of the time to me

[00:26:12] I felt that way first it took me six months to fall in love with this album like it took another concert effort it wasn't what you were looking for I guess from their past music it

[00:26:25] was a step in a couple different directions yeah I can remember playing the single for my friend and uh Mike on on my computer in my room in the house in the pool house the house that I lived

[00:26:40] and he was like I'm not super into it and I was like yeah like it's not freak out like it's not you know like he's an old head and we actually went to see them before like before this out

[00:26:56] like right before this record came out was tracks Charlottesville Virginia was September 1999 I remember because my friend Sarah who I've talked about on this show S.J. like I was 21 and she

[00:27:06] wasn't yet or something like that like it was in this month in between and what's the show and that was the show where they opened with Omaha Stally but they opened by

[00:27:16] starting to play the instrumental or like the Omaha Stally has the intro to it right so they played that over the PA like I remember I was at the bar like drinking and I was like why are they playing

[00:27:26] a song by the band who's getting ready to play yeah I want the same tour that's a good thing and then the song goes to kick in and Omaha Stally starts off hot and like the

[00:27:36] lights just go down the curtain drops and they just they just start playing it's like the whole room went from like man to like oh yeah in like two seconds it was it's made one of the best show

[00:27:48] operas but anyway um I don't know but Mike Shaw was just not super into this and a lot of people weren't I I was but I understand why people weren't to me like the first three records especially

[00:28:05] transistor less over the first three records very very riff heavy the songs were all made up of these little riffs kind of chained together and the riffs were like written to be wrapped over so they

[00:28:17] want is big like in tone I feel like and I feel like on this record they're still a lot of like that kind of riff connectivity to make the songs go together but they were written to be sung over

[00:28:29] instead of wrapped over so the guitar is a little bigger and like swellier if that makes sense it doesn't make sense like he's playing like whole chords instead of playing notes yeah I

[00:28:39] went to Memphis with our our friend Doug Bernic who we went to see that three 11 show three 11 day to the other day in Memphis um and his buddy Kyle had like the big speakers in his

[00:28:52] truck and he played Eons and like such a good song that was when I fell in love with the album just feeling it it gave me a new appreciation we're just driving from I don't have some place someplace

[00:29:07] and I was like oh that's fucking good the quality sound quality I mean is I mean they're all their records maybe given the first two which have like a kind of a different vibe

[00:29:19] this record fucking hits though if you're gonna like put it through system like it definitely has like every character that you want out of a record that's for sure yeah there's a great moment

[00:29:32] in I can't even think of which song it is but there's a great moment where it goes to this uh it's uh which one is it anyway if this game over like it goes it's really awesome kind of

[00:29:45] guitar hook and then the baseline is not down in the boop boop boop boop boop boop area where you just goes up high there's a really cool little melody I hadn't heard them do that

[00:29:55] oh I know what we're talking about I know to that moment too there's like this little fluttery thing but it sounds so fucking cool what was that yeah it's called can't fade me

[00:30:07] that's all yeah there's like a whole trade off too in there that I really enjoy just kind of like very little bit of these boys a little more busy boys than they usually yeah actually

[00:30:19] I was just thinking beastly boy like they were like run DMC where they were like trying to go like line for line with each other and just kind of set up there as per verse

[00:30:29] making the voices different from each other if they possibly could yeah and it was very effective and then it goes into that cool little guitar riff and then it's like a very melodic

[00:30:41] guitar riff which is and it's not a big wall it sounds guitar it's more like something that um you know audio slave would do or something like that you know what I mean and then

[00:30:51] and then and that the baseline comes in behind it just gives the that space with this little bouncy thing and it just really needs they've never done that before it's not there that I remember

[00:31:02] not not to that extent yeah one of the things that I've learned listen to this album and reading some self listening to some interviews Nick was saying you know 311 is always about

[00:31:18] positivity of your life but he said this album really is about the challenge to find things you like and to make the decision about being positive and he said really it's an album about

[00:31:31] the struggle of staying positive it's like it's not all sunshines and rainbows and he was like yeah no you know I've been so long about insomnia song about breakups about mental things that I

[00:31:42] struggle with he's like I try to be as real as I can stand being on an album and a couple of comments about like it's not hard to make angsty music two self-to-teen angels you can

[00:31:56] sell depression easily but at 99 I mean it was like the lymphisket corn was like the shit on the radio at the time yeah they have on the next record they have a song called hostile apostle that

[00:32:07] like addresses that right specifically but I and I do appreciate that like what a good take man I just appreciate that vibe like regardless of like whether you're like the music or not like

[00:32:22] what what what a what a uplifting kind of like it's what's a health yeah like you know I mean like there's so much like negativity and shit like back then now and everywhere like

[00:32:35] it's just nice to little refreshing to know that like it comes from a good place yeah even when they're like pumping themselves up we're talking about like the toasting stuff

[00:32:46] like that and like where it became a style of just saying we we do this better than anybody because you know what I mean like when they're talking about it's in um oh okay they were the song

[00:32:56] yeah but you know what he do it live it live it live it live it live it live right because it really is none yeah yeah I mean that's really like kind of and then

[00:33:07] it's awesome let me just play for guitar solo but it's not a turntable solo and it just kick really good oh that song I've seen that song live and it freaking slaps the last song on this record

[00:33:19] is one of their strongest I think in their catalog like it's just it's so good the riff is really good it's so fun to play like if you learn to play it I'm

[00:33:29] actually that was a thing that I made note of that I'm like man I kind of want to learn how to like I had that yeah thought as I was like I kind of want to learn how to play that like

[00:33:39] it's so fun to play and like um found me and kind of adorable I don't know if it's just you're bad at all the same song and the way it changes tempo from the bit like it starts off like

[00:33:51] whatever the thousand beats per minute and then the second part is a lot slower but just as heavy but like a lot slower um a couple other things I wanted to hit on before we start getting into

[00:34:02] an invisible track so um I put down especially in the track strong all along there's more like two guitar interplay than they used to have and I think my opinion of why is because it is more

[00:34:16] sing-songy so the guitar doesn't have to serve as a like a driving vehicle for these rap for rap vocals but like because they're singing over it they can play these two guitars and like they're playing different completely different licks like to the same effect which I

[00:34:35] I really kind of did well I think that's Nick coming up the learning curve of playing the guitar to along with us a playing my music that's the thing that I think the guitar

[00:34:47] like the interplay between the guitars between Nick and uh in Tim to my own it was like way more on point than any record of this to do and you know what I like that they do

[00:35:01] they maintain this this level of like authenticity by when it's a Nick verse the guitars don't interplay because when he's playing live he typically does play his licks while he's singing

[00:35:17] and they maintain that on the record even though they would do it but it's good dynamic though like I think it's necessary for the song too like because when when that hits it's it's more impactful

[00:35:27] I mean at least to me I thought like that's like when he hears those like no you're like he's singing there's like two things it's like oh yeah yeah yeah so typically when their song

[00:35:37] structure is dickle sing his verse for us then there'll be a chorus and then essaye of singing his verse and while essaying in his verse nickel play a guitar like while Tim is playing a guitar like

[00:35:48] and so it does bill as the song goes on it it builds you know it's like second verse you're adding two layers you're adding a different voice that's a completely different register and you're

[00:35:56] adding a second guitar part and like I love like everybody gave them shit for being quote sing songy and quote but like when the two of them harmonize it's so great like the voice never

[00:36:09] better than he did son of a child this is the best job they ever did at that and I'll say there's one in particular song that we'll get to it now not let's let's let's okay before we get to it

[00:36:20] I want to talk about at least one more thing and then we'll take a break and then we'll start talking about songs I just wanted to check in Jim about how's the piccolo snare on this record

[00:36:29] I mean the piccolo snare is prominent on every damn record they don't really use anything with a piccolo snare and that's part of the style and the back end it just soars above that wall

[00:36:39] of guitar sound is absolutely necessary integral to their sound and to absolutely the drumming is but the snare drum is what really really defines before anyone starts singing you hear one of these reps and you know exactly what it is that like up piccolo snare there's

[00:36:58] some three eleven with big old fuzzy guitars and wall of fuzzy guitars coming at you I would also argue that that Tim Mahoney's guitar tone I mean it's very very very processed but it's very distinct like he's found a way when you hear it you know

[00:37:17] it's a three eleven guitar there are times when it sounds more like a machine than a man pretty good he's more machine than man somebody wants to tell me it's like if you're playing the piano

[00:37:31] and you don't have the white notes but you hit a lot of the black notes is what Tim Mahoney does and I somebody told me that 20 years ago I'm curious Brian and Jimbo is there is there any

[00:37:42] truth to that statement? I would say no because that would be all the sharps and flats but stands on the side with the key that was as I very Tim Mahoney really this so he used only black

[00:37:56] notes pretty limited yeah I would have to do some a research on that one I don't know for sure but yeah it's so distinctive keep going Jimbo it would always be in a sharper flat key

[00:38:13] if that were the case and it's just not that's true yeah but what they mean by that is that it does have it's a stay inside a lot of pentatonic and then when it doesn't then it suddenly

[00:38:30] you're like holy shit that's they're really going somewhere and they do it so effectively on this record especially with the vocal melodies which everyone hates but I'm saying that's why

[00:38:40] they hate it. I love the vocal melodies. I love the vocal melodies on this record I think it's their best work in that in that I'm gonna say a thing because it's after right now and then Brian

[00:38:50] I'll cut you because I know you have something to say but they use a lot of inversions too right like they use a lot of the low note at the very bottom like a lot of like what I'm saying like D over E or

[00:39:02] what I a lot of let me simplify you're playing like a D on the fifth fret of the guitar but you also hit that low E on the fifth fret right so it's like an upside down.

[00:39:13] It would be well if you put it in a over the D right or like playing like a D like playing an open D but putting your thumb over the second fret to F sharp like one of those like

[00:39:27] I think a lot about having that actually probably that note was like E tuned a lot. Okay all right we'll cut that part out as well as right. Yeah I mean he said he believes that to be true.

[00:39:42] Brian correct. I mean I think that's kind of a universal thing with these guys like there's always that that interplay. The only thing I want to say is that I think this was the best

[00:39:54] marriage of all of their sounds. We're talking about the stink snare drum and a guitar tone like this was I think the first record that like that actually like escaped my brain.

[00:40:12] I love it. If that makes sense. I was a little more focused on the song structure vocal harmonies more than I was on previous records. It's definitely still there obviously that's like a baseline.

[00:40:29] No pun intended not an actual baseline but but but but but where it just it all kind of glued like where I wasn't thinking about the snare sound as much or I wasn't thinking about the guitar tone as much.

[00:40:44] I was thinking about more about how they were using it than what it actually sounds like. I think this is a grown up record for them. I think this shows a lot of a desire for conscious growth, for conscious movement forward.

[00:41:03] They could have I don't want to say easily because nothing's easy but they could have listened to all the criticism about transistor and then beat themselves up to make another down and another all mixed up. They couldn't do that and they didn't want to do that. It's

[00:41:19] indigated because this is actually the last record that they recorded before they bought their own studio and they bought their own studio so they could do whatever the hell they wanted to. They're like it'll be our rehearsal space, our studio, that way.

[00:41:32] They had the wine and that's like actually that's a turning point for a lot of bands just to note that. I feel like there's definitely a lot of bands who become successful and do that. You can hear the

[00:41:41] change and it's not always critically acclaimed but I always appreciate it because they could do whatever the fuck they want and there's no constraint on it. It's like, they do and this kicks off this prolific area. They put out a record in 95, 97, 99, 013 and then 06 and then

[00:42:05] they just put out records like every other year for like 10 years and touring all the time. So that's like when are you writing? When we're on tour, when are you recording? When we're not on tour, when do you want me like that's what you eat?

[00:42:18] You don't want to know where they had to, they had to maintain a fan base to keep those cruises going all those years. They didn't do the cruise. The cruise has came much later. More than a decade. Let's take a part of it. All right.

[00:42:32] We're going to break and we're going to do a couple things when we come back. I do want to go on the cruise. I can think of no better cruise companion than Jimmy Rayska. Oh no, not a lot of

[00:42:44] we're just talking about the guy. Danny all really wants to go on a cruise. I'm going to sidetrack just real quick and I'm like, what does anyone want to go on a cruise? I'm like,

[00:42:51] and she's like, why is she just going on a cruise? What about one of those cool music cruises? That makes it all over. Yeah, we're going to get that out.

[00:42:59] I can't get it. There twice as much as the normal cruise. I guarantee my life we're not going with that. That's because the more time she doesn't want her to. We're going to come back and we'll

[00:43:12] get into the tracks and then we'll try and guess each other's favorite track. One. Who will I say? Okay, we're back. We're talking about sound system by 311 and we want to get into

[00:43:54] some tracks. Okay, um, I don't want to start at the top. Is there any particular track you want to talk about Brian? Me? Oh boy, you're coming right to me. Um, he wasn't right. Shit, I got I got a couple

[00:44:08] while I love the bad brains cover because that's like cool. Okay, let's start there. These guys are fucking cool. Like they know what's up. They reference shit. They reference like the Frank Black

[00:44:18] record. They're covering bad brains. Like these guys are, yeah, they just- I also think that the bad brains cover is it's a wink of a nod to the title of the record. It's a dub song. Yeah. I mean, the snare- like the snare with the echo, just a-

[00:44:38] Yeah. Oh, I love that. It's so great. Love that shit. And um, and I think that you'll agree with that. And it's the only cover song that is on an official record of that. Right, right.

[00:44:51] It is, right? Yeah, I looked at it. Because they- I mean, they he and Nick Hackson produce the uh the 51st date soundtrack where they did the cover the love song by the cure, but that was This is the whole different thing.

[00:45:01] Which was all that was all good. It's the whole soundtrack. Clearly, the guy can cover us off. And they covered white man on Hammersmith, Polly, for a class trippy record. There's a great cover. But that was for a trippy record.

[00:45:16] But this is the only cover that's on like one of their records. Yeah. And the cure loves song but that was on there. Yeah, the 51st State soundtrack. 51st States. Jimmy Ray. What do you want to talk about? Yeah. Oh man, flowing. It's love that song.

[00:45:38] It's like the melody is right over the gate. It's very Morrissey. And back there. I think back there. You just said that. So big like that. Well, Nick Hexam is an avoudsmith's fan. There you go.

[00:45:52] So I mean, the way here, the big turns behind it takes me are like, you know, the abtones doing more and see a little bit, which you know, I'm all excited about that. Which they have done actually. They're actually song with beats to me just chronically.

[00:46:05] It really speaks to me. So I think I think that flowing and in Eons both have like live on this huge guitar wall of sound. Yeah, yeah. Yeah. Yeah. But the way to know the song. The way the melody lays over is important part.

[00:46:27] And this is a thing I'm trying to get across is that it's better and just more effective and way more dissolving, way more mature sort of like there's the adult versions of themselves as musicians and as songwriters. When it comes to actual melodic structure.

[00:46:45] And it's just way beautifully over these couple of songs that are like this where they still got that big fuzzy. But then there's this thing, you're like, gee, what does that sound like? It's somebody is something and you're like, well, it's just them being awesome.

[00:47:00] But then of course, you're like, oh, it's more like a shot day. Whatever. Yeah. I like, one of the things I like about flowing is only three riffs. And they use the drums to break the song up.

[00:47:16] So like during the little pre-chorus, it goes through at three times and each time the drums do something different to punctuate. And that's the only way they kind of break it up because one of the tough things about

[00:47:30] that huge fuzzy guitar tone is it doesn't stop and start the guitar tone. So if you want to add a punctuation to a song, it's hard to do it with the guitar because it's so overdrive and it's so drony. And I love the beginning of flowing.

[00:47:48] The effect that it uses to start it like it's just that actually. That is very, that is very 90. But I'm a man. So yeah, that's actually probably one of my favorite moments of record. Yeah. And you remember they had the big video for flowing?

[00:48:05] Yeah, it started a ship break from American Pie. Holy shit, really. It's a great time. Oh, it's a great. It's a video like this. He was in that video. The video plays in reverse. It's like, oh shit.

[00:48:22] It's kind of, it's not, it's like a sanitized version of smack my bitch up. It's like a night out at a club. Okay, which I read about. I read about it. I read about it. It's played in reverse. Oh, shit. Where, where. I don't know what this is.

[00:48:38] Wow. Oh, it's a great video. So he has the lipstick mark on his lips. Oh, it's a good seal. Yeah. And the whole time it's like he's trying to figure out what happened and then you find out how he got that.

[00:48:47] It's a very, oh man, how, I don't know. And of the video, which is the very beginning of his night. This is crazy. I'm considering I definitely listened to this record when it came out and I still did not catch it as we're talking about it on.

[00:48:59] I never saw that video. No, Nick, Nick said that's the only video in his entire life where they had like a full production budget and the record company was like, do whatever you want. Like here's the money.

[00:49:14] Like yeah, we need shipwreck from American Pie, like our, we got a very good man to go ahead. So like the production of this amazing. That's a treat. Like that's actually. I, you can't go on.

[00:49:25] I feel embarrassed that they have a distinctive like outfits in it and people still wear those outfits. They're going to also decide it that I love. Yeah. I think we can go and watch this because yeah, that's going to be great. All right.

[00:49:41] Let's talk real quick about what is, I think, one of the most excellent tracks on the record but also the anomaly which is, life's not a race, which is the Tim Mahoney. Easy wearing. All of his Santana influence on its sleeve. Oh yeah. Yeah, I think.

[00:49:57] The Andre 3000 flew down. Yeah, this is a track. But it's so, it's so great. And Jim, you had mentioned to that to me off Mike. So I know you want to talk about it. But it's interesting.

[00:50:07] Another thing that right out of the gate, I really thought it was going to go into like smooth operator, shot day or something. You know, it's like, as that, I mean, it's just, you know, ironically smooth obviously. I'm trying to press that. I'm trying to press that.

[00:50:20] Yeah, press that. Yeah, press that. But smooth operator could have been that that wandering sax solo, you know? That's the smooth operator too. It like the groove really feels like that. The mood is there. And it's very intentional, very intentional.

[00:50:35] It's like we're going to do this one song that sounds like these other things that were capable of doing. And we're just going to do them and it's going to be awesome and you're going to, you know, you know, save dude to your friends. It's so good.

[00:50:51] So there's three bonafide guitar solos plus like a little outro piece. Yeah. And they do like, they sing during the verses. Then the chorus is kind of very trippy to me. You know? It's essay. He's singing kind of up towards the top of his range.

[00:51:09] And then during, in the right in the middle of it, like between the second solo and the third solo, they go into these two, like Nick does a rap. They do the chorus again. Essay does a rap. Then they go into another guitar solo.

[00:51:21] And I was listening the other day and counting. And so the first two solos do four measures and then the third one does eight full measures. It's like, I don't know. It's just it's unlike, it's unlike any other song of this. It really is.

[00:51:38] And I just, I can remember the first time I heard it and just be like holy shit. Like these guys are just going for it. And they don't care. They just don't care. Like they, but they really pull it off. That's being important part.

[00:51:53] Well, I think there's an authenticity. Like so at its worst this record is cheesy. And we can talk about evolution and the lyrics to evolution. And like there's, and it is of its time, but it's also cheesy. And it's also a little fiber optic in there.

[00:52:12] But I don't want to say ham-fisted, but door, I mean just door-care. Quinting is more permissible. At times. I think they realized they could get away with some of the shit. And I guess maybe why I love and not so much love this record is that

[00:52:32] this was kind of their opportunity to like, you know? Like yeah, we did what we did. Like we're just going to make a fucking record however we want to make a record. But there's such a slick to that. Like there's, there's,

[00:52:50] I feel like that I would say they're committed to the process. I would say that, and I would say that, you know, that you don't hit every time. I mean, it's 13. It's 13 tracks and I feel like they knocked out a part of 11 times. Well, you know what?

[00:53:07] You don't get the same every time. That's the important part. It's like whether it had massive peel or not is not really the point. You know, this record, if it made them happy, then it makes me happy.

[00:53:20] And I will say that it's, we've talked about like the pop element and like what was, and like, oh, we're just going to be able to do and let's do it as well as you can.

[00:53:27] But there are things that are happening at the same time that they were doing also. I'm curious about, all right. So the next song, strong all, what's it called? Strong all along. Love that song. Yeah, right? So it's like a half time swing thing.

[00:53:42] And then, and then the, the, the, the snare is starts hitting every time. And it sounds very, to me, it sounds very much like what no doubt is doing right on the same time.

[00:53:51] Like as far as like doubling up to the, you know, going from a half time in chat, chat to a two of, do what you see that. You know what I mean? And I don't, I don't know what they can say.

[00:54:03] I'm not that before they probably have to have them done that before. What's that? I said, I'm probably more like what they adopted. Like they adopted it from these guys, but maybe maybe not. Yeah. I don't know if the, you know, which came first.

[00:54:16] So I can't really, but that one about the, I don't know, it sounds like a dusty spring field song by no doubt. But the point is, it, it really lends itself to listening to this.

[00:54:28] It put me in mind to them like, okay, so this was probably happening around the same time. And that sort of feel was like popularized probably by both these fans who did it first. I don't know.

[00:54:39] But it's every, I mean, it's, if you'll see it in Disney films now. That kind of, you know. But I feel it. Pester, what's the song you want to talk about? I would say one of my favorite moments in a song is on the album.

[00:55:05] And that's in large and the margin. I think it's nice. And saying, you think they'll probably find you in the guitar. But down down down down down down down down down down. And then you're probably right. It's very like heavy, quintessential. Tim Mahoney. They're singing about insomnia.

[00:55:29] It's like you're in your dark place. Right. Very melodic. I don't know, they just pull it off. It's one of my favorite parts of a three living song, period. Like I like the, there's an out on a literal bomb drop sound effect when they come out of it.

[00:55:45] Yeah, yeah, does do that. Yeah, yeah. It's so good. It's there. It's like the, when you gave up the fight fight fight. The vocal harmony is in that one are probably the songs that hurt. And it'll, again, it has lots to do with the classic mechanism of using,

[00:56:09] messing with the minorism and major thirds a little bit. And it, because they've always done that, but they did it a very clear way here. And it was like, okay, you now you just nailed it. You just gave me chills for a second there, you know?

[00:56:23] And I wonder how much of that is, is you pattern producing and just, it's, I didn't, I mean, it's, it's, it was beyond my frame of reference or anything. I could have thought about till I started doing research for this album for this episode.

[00:56:41] But like, him just sitting there and just being like, all right, let's, let's, let's pull that bat. Let's tone that back a little bit or let's tighten up this just a little bit.

[00:56:51] Because I mean, all of his experience is in, not all of it, but I mean, in pop, like the Phil Collins theater games. The sting, the police, like the XTC, like it's, it's, it's pop music.

[00:57:03] Like, and I wonder how much of that was after the self indulgence of transits, or which I'm not knocking on, but it's an indulgent record and, and that him just kind of being like, well, it's maybe maybe we just tighten that up just a little bit.

[00:57:19] Maybe we just make that a little more concise. I like, I like to think because before they get into the bridge and what I was sorry about, but when they're like, it's easier when you hear it, there's the reason to fear.

[00:57:32] Like their harmonies together there is as poppy as the two of their vocals can be. And then they come back to this real, but I wonder if there's like some given take, I don't know what do you think, Brian? I mean, for sure.

[00:57:44] But I think they have it in them. It's just one of those things where you, yeah. You just hold it on. Like there's a producer like, there you go. In part your influences and things, you just try to get the best performance out of someone.

[00:58:02] And I think they were at a point where coming out, you know, like you said, like coming off of the previous round going into this. Like, it's almost, like I said, I think I said at the top of the episode,

[00:58:18] like it's almost a little conflicting of like so many styles that they're putting together at once. But in a way, like it's perfect in that sense because it's like everything they could do well. Concicyly put into it.

[00:58:35] Straight up quote as a music producer, yeah, this band, top punk electronic. Yeah, a lot of shit rock rap fusion and they bought their own music studio and the brand. So they didn't record this. I used to do it, but yeah. Okay.

[00:58:55] But are you excited as a producer or are you like, this is going to be awesome? Like man, that's hard because like that seems like that seems like a daunting task.

[00:59:05] Or like man, like these guys have like, but maybe not, maybe like maybe they're at the point where it's like, okay, they kind of figured it out, like they have a recipe. Obviously, they have, but like now we've come this far.

[00:59:20] Let's just like, let's just put that into a little bit. Definitely sphere. It really hit top 10 will. I don't know the debut top 10, but I think it hit the top 10. Come original was definitely like a TRL. That's true. Top 10 so long.

[00:59:38] It, uh, come original pizza six on modern rock 39 on mainstream. Uh, flowing hit 17. I think that's actually just throw this out there. Just really quickly and no, I'm going to show what I have to say anyway. But I actually think come, I do.

[00:59:51] It's one of their lesser tracks on. I'm completely surprised that this song was this song. Really? Yeah, thank you. Come original. Okay. Yeah, I would. I'm going to just say it. It's a boring song to me. It's fine.

[01:00:09] Like it's a great three 11 song, but as a single as like the hit coming out of this record, don't understand it. Still though. Because I heard it for like three weeks for the album came out. And I feel like that was why I wasn't as like I was.

[01:00:23] There's definitely flowing. I think it would be way better. I honestly think like there's like, uh, there's a, uh, yeah, yeah, but if you have any. Yeah, I mean, free time is a great track. Free time is a great live track is a great live track.

[01:00:38] So I thought that was an interesting. Man, I'm not, I don't know. I almost think. I mean, so can I say, I'm going to say something and you guys are probably. I'm going for it. I honestly think come original like fucking maybe like tank three 11 a little bit.

[01:00:58] I think this was like the beginning for them. I didn't, I didn't, I didn't think it was. I never liked the song. I still don't like it. It's a little self aggrandizing. I understand why they made it. The uh, putting myself back in the time,

[01:01:13] understanding why they chose to lead off with it. They were trying to make a statement that song was the statement. They're trying to make not necessarily, but I think message wise that was like this. The message we have delivered on the stage. I think. But um,

[01:01:27] but I would agree with you. It's certainly not my favorite song. I like it. I think it's a fine pop song. I think it's fine. I think it's maybe that's my point. Like it's like a pop song. Like it's not, it doesn't, it doesn't. It doesn't.

[01:01:42] Like so they're singles coming out of their, their previous records were like, I don't know. There was something more cool. Like electronic music wasn't as mainstream as it is now. We all know that, but I think that it was like the front. Right. Nobody listens to it.

[01:01:59] They paid to, they have like these huge speakers behind the skateboard, ramp park. Nick was saying in the interview. It took like four semi trucks to bring in the speakers. And they like unconditionally wouldn't play the music for it until like they had the speakers hooked up.

[01:02:19] And he was like, it was amazing. It was like this reverberating sound. And they had like electronic people dancing, like punk people dancing, pop people dancing in the video. So they were trying to make a statement. I'm trying to support you on this. Well, like,

[01:02:34] I'm just saying, I understand why they did it. But I understand what's going on. I do too. I just think musically. And it's like, actually this record's kind of a funny one because I don't think I've ever felt this way about a single,

[01:02:48] like the single off of a record that I think is the worst song on the record. So you're saying I shouldn't choose this as your favorite song. Oh, you can just count that. What you're saying. We're good. I actually, I think it's the worst thing.

[01:03:05] He can't find a word. Maybe like, I don't know. Maybe like, I don't know what the fuck happened in 1999. Like, I straight up think this is the worst song on the record. Okay, fair enough. All right, there's two other songs I want to mention before we move on.

[01:03:19] My in-spin, the second to last song, I really dig, but that's a seven string. So Tim breaks out the seven string low beat guitar for that song. That's a weird song. I think it's really cool. And then the last song,

[01:03:34] living in rock and I just want to make sure we talked about it a little bit earlier. But like, I just, I'm just fucking slaps. For, I'm just checking the stats for two minutes and 43 seconds. That song does not stop. Oh, dude. And it slaps the entire time.

[01:03:48] I, I can corroborate in 1999 in a car with oil. He's like, man, I can do it in a rock and I feel like that song. It's so good. It's really good. I can corroborate. It's funny because it starts with this electron beat. Like, Don't stop.

[01:04:06] And then the first word that he says, it's like the guitar comes in and does this, this cool like, Did it? No. The very first word is fire. Like it's just like, okay. Oh, it's so great. And so much fun to play. I think it's all right.

[01:04:22] I cannot echo that enough. Any other songs we want to mention before we pick each other's favorites? Nope. I'll take that sound. No. Okay. Let's try and pick Jimbo's favorite. Peter, what do you think Jimbo's favorite song on this record is? I'm going to go with, eh.

[01:04:46] Yeah, Brian. I'm torn. It's got to be flowing. Which one? I don't know which one. I don't know the flow. I am going to go strong all along. Jimbo is favorite song on this record. It's flowing. Brian, you're never going. Oh, no, no, no, no, no, no.

[01:05:07] Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no. It's a well-written song. And it's really good. It's the most melodic. Yeah, it really ever does. And it doesn't act in that thing that I like about them, which is the 3D

[01:05:23] Soreny melodies over giant, huge wall of sound. But it's kind of better than they've ever done it. And it's, I really feel strongly about that song. It's a, it's a, it's a, it's a, a long gem. I think I'm the writer.

[01:05:34] I would say it's the quintessential emblematic song. I would help them. I would help them. And just the way that like the run, the way to close my, and the way that essay comes in with the high harmony on close my eyes.

[01:05:47] It's just, yeah, yeah, really, really, really beautiful. Good start. Peter, what do you think Brian's favorite track on the record is? Well, I was going to say, I'm not going to more. You know, I feel like I feel like it's a long answer.

[01:06:03] Um, man, uh, large and the margin. I'm actually going to say the cover of leaving Babylon. I'm going to say that's a fair. No, Jimbo, I agree with large and the margin, but I don't think I can take the same song. Can I? Yeah, sure. There's no rules.

[01:06:22] Yeah, okay, then no forget it. I'm not going to do that. I'm going to do what's the last one called living in rockin'. All right. Brian was favorite. Jimbo is the closest. And I'm, uh, yeah, I'm, he's on. He's on. He's on. The baby was in there.

[01:06:37] This was him. Hey, you still. Very. Jimbo is the closest. All right. Um, it's a tie. Uh, in both songs are under three minutes. Um, Are my favorites? Which is can't fade me and living in rockin'. Who can't fade me? That's a deep cut too, man.

[01:06:57] You know what I'm saying? That's a deep cut. Dude, I, I love that. You know, it's a class like that build up. Yeah, dude. The back of fourth act. Yeah. I don't know. I don't know. I think, Jimbo. It makes sense.

[01:07:10] Definitely wins this one because living in rockin' is, they're, they're right there. So. All right. All right. Brian, what do you think? My brother's favorite song on this frunker this. Ah, man. Um, I mean, outside of everything we talked about, I would say, shit.

[01:07:36] I mean, large in the margins. Maybe. Jimbo, what do you think of this? I was just saying, being a thing. I mean, he got, I could hear the, I was saying, didn't you because I know it was the first time.

[01:07:45] Yeah, I mean, maybe we can be able to go in on what we talked about. Get giveaway, man. Let's play poker. He's done. It is. I mean, that, that, what we talked about earlier after the bridge, my favorite three elements. Moment, here is something good.

[01:08:03] I do have a very soft spot in my heart for free. Love this like, like that is. Yeah, we should. Yeah, I love all like that. This is all it opened her down this record man. So this might be, this might be after, after this week after the

[01:08:18] parameters episode, this might be my favorite three love in our good. Really? This might be and I'm, well, yeah, that's surprising to me, but I liked that. I think after I train this, oh, I'll give all of you guys a little bit. Well,

[01:08:32] what can I get to your part? The best way. Yeah, okay. So, all right. So what's my first on this record? Jimbo, you go first. Ah. You just have to go first. I know. And then I had to take a picture. All right, I got it.

[01:08:46] I'm going to go mine spin because I don't love that song. I don't know if you, that's the one you love the most, but that's, no. There's a brother that's right. I want to say, my, my initial reaction was Eons,

[01:08:57] but I want to say live in a rocket, just because we live in that same universe. Jimbo. I'll go with Eons. I'll just be the, a naysayer. Just a bit, now actually, my favorite song that's record is flowing. It's my favorite. It's one of my favorite. All right,

[01:09:13] that's the next one. That's all. Oh, I'm going to pick that. It's, it might be outside of sweet off the blue record. This, that might be my second favorite. Yeah, you love the, I don't know. Yeah, I should know that. Actually, knowing that. Yeah. Um, yeah, it's,

[01:09:31] it's so good. It's so, okay. All right. Well, you can listen to more more. See then because that's kind of what they're doing. Only more to see from the age of or actually the early 90s beyond that. And but flowing is also like, you know,

[01:09:47] listen to Guardians of the Galaxy. I feel like I feel like more see wasn't on the right. Yeah, I'm going on. Floating is if you learn to play that in guitar, it's all power cords and it's all press release, press release, press release and palm mute

[01:09:59] and it like it just like your thumb just hurts. It's all about the tone. I got to recreate the tone of, like it's so good. I actually kind of recreated both like the first part and then the second part,

[01:10:12] like the effect that they're very beginning in the intro. And then on my zoom 505, like there's I made patches which are really, really, really close. Nice. But you guys have anything else you want to say about this or before we get out of here? I don't know. Wait,

[01:10:29] I don't have a good question. So what? If you were third section Well, we're going to the lounge, but yeah. Okay. You're going to be the first time. James James. James, first time. Welcome. We'd like to welcome our guest James. It's college today. It's just a different vibe.

[01:10:48] Yeah. I'm like, you know what? I don't know what's going on. I'm Brian. I'm Brian. That is the show, ladies and gentlemen. We hope that we have inspired you to spend a little more time actively listening to music and highly recommend eight enthusiastic thumbs up.

[01:11:04] Go listen to sound system by three of them. If you're feeling frisky, you can stay tuned for the lounge where we get a little loose. And we talked about this day in music history and a Billboard top 10 from back in the day. Thank you so much for listening.

[01:11:18] If you like this show, please tell a friend, tell all your friends as a matter of fact. Subscribe, rate and review us. Share us on social media. Get the word out there. If you're feeling generous, go on Apple Podcasts and give us a five star rating.

[01:11:30] That actually helps algorithmically hold up. You can subscribe to the show wherever the effort is that you subscribe to shows, including Spotify. If you search for music, mostly pod on Spotify, you'll find the show. You'll also find our user profile where you can subscribe to that

[01:11:49] and find all the playlists for the music for the shows that we talk about on the shows. It's a little convoluted and that Spotify's fault and I would apologize. I apologize for that. Yeah, there are musicals. You can check out our wubs or our website or our website.

[01:12:04] I'm using mostly pod.com. Find and follow us on stuff with me and mostly pod. Hit us up at music mostly pod at gmail.com. If you want to get in touch for Jimbo and for Brian and for Pete Dog, this is Will signing off

[01:12:15] and we will see him lounge in just a minute. We're going to allow ladies and gentlemen, this is the part of the show where we like to celebrate a job well done. Kick back. Have a couple of drinks. Talking about this day in music history

[01:12:45] and so on and so forth. Today is November 20th and on this day in 2007 radio head front man Tom York admitted that he was among the thousands of people who paid $0 to download the band's latest album in Rainbow. I love that. Speaking of BBC 6 is Music Steve

[01:13:08] BBC 6 Music Steve LeMell. He said there wasn't any point. I just moved some money from one pocket to the other. According to one survey, three and five people paid nothing at all for it. York added that no one was allowed

[01:13:22] to have copies of the master recording in case it was leaked before hand. I don't remember that being a big deal. When they put that out as like pay what you want model that was a big deal. It's also one of my favorite records of all time.

[01:13:35] Well, and we both have talked about this. You had a whole episode on it. It's okay. Shut up. It's amazing. It's actually that's an unreleased episode because it was a, it was a four-star record. We should start out. It was a practice episode. We definitely didn't know. Out.

[01:13:58] Yeah. As your number one fan, I can infatically agree that it's not released before. But we're sure of that. We should. So turns out you are the answer. We'll get the key to copy. I still have it. I mean, we'll just say it. Just don't. Just don't.

[01:14:15] Just don't. Just don't. Just don't. Yeah. Okay. Sorry. Oh. Okay. I still say the bends is their best record. Oh, I like to bend a lot. It really does. It's a secret. Yeah. I feel afraid. I feel like I'm a blogger. I feel like I'm a bad guy.

[01:14:33] I'm a bad guy. Um, in 2004, Oasis singer Liam Gallagher was fine. 40,000 pounds after a fight in a German hotel. He was arrested along with drummer Alan White and three other members of the bands answer. After the brawl in Munich in December of 2002,

[01:14:51] he lost two front teeth in the fight, which led to them abandoning their German tour. That happened. They fought a lot. You know, tragedy is it wasn't October. In Munich. I mean, excuse me. You don't find funny about the Gallagher brothers is like,

[01:15:07] I feel like the only reason why they're still relevant is because they shit talk everybody. Yeah. So like a hot take, is that just being what's going on? They would fight each other. Like they get in like fight an airport and shit.

[01:15:22] Well, one of them is literally going to go on tour playing their biggest record without the other. Yeah. Going up for a couple years, right? No, it's going to be this year, I believe or 25 or not, 20. No, it was so no Gallagher wrote everything.

[01:15:40] It's all his music, but I don't know. I just didn't think they were in their weird. I don't know. I used to live a racist and now I like this very knock it first enough the one song that's pretty good. That's scary. Very pocket. No contact.

[01:15:58] The word is on the street that I'm going to play this album without you. Oh, in 1998 a study comparing noise levels of rock music found that older people rated rock music much higher on allowed in a scale than younger people. The research was carried out by Ohio University.

[01:16:18] Test that people aged 18 to 21. When people range in an age from 51 to 58, the study asked participants to break the loudness of rock music play that nine intensities. He's ready for a 10 to 90 decibels participants listen to heart breaker by Ledzeblin for 10 seconds at different intensities.

[01:16:37] Each at each intensity the older subjects gave music higher in numerical ratings based on loudness than the younger subjects. That's a fancy way of saying, good off my lawn. Yeah. Also, I will acknowledge this study.

[01:16:54] If any of you can tell me what city Ohio University is in the play. Is it not my image and date? Oh, I don't know. I don't know. Why are we listening to these? Oh, I think the university circle is Cleveland. It's a Cleveland. No, no.

[01:17:21] It can't be clear. It has been certified that Cleveland in fact rocks by several bits. And the truth. Oh, we didn't really cool. You should go there and hang out with me. Yeah, the rock and roll hall of fame is there. It is an Evans County, Ohio.

[01:17:39] Oh, to the 130. How old is the 33? Couple of the country. Oh, well, that's because it's in the Midwest. In 1974. Barbecue. A lot of barcalis. I'm kidding. There was a tornado in Cleveland. Everyone, two liquor stores at Bull and LA. The liquor store museum. All right. No, I'm looking.

[01:18:08] I'm looking more closely. It's in between Parker's bird. Paroy. Jackson's in the middle of nowhere. It's literally in the middle of nowhere. It's in the middle. It's right next to the place. All right, in 1974, drummer with the who, Keith Moone, collapsed during a concert

[01:18:32] after his drink was spiked with horse tranquilizer. Wow. 19 year old Scott Halpin, who was in the audience, volunteered to replace him on drums for the remaining three numbers. Did it ever happen? Anyone's attention that that dude probably gave him the horse tranquilizer.

[01:18:49] So he could drum in the band. Yeah, that's how bad he wanted to play with the who, which is terrible. Wait, who was the guy who sat in? Scott Halpin. 19 year old Scott Halpin. He took that drug key. Get on drums.

[01:19:04] Yeah, it's just a, from the deposit in New York Scott's if I'm not saying. He was a drummer. He became captain in the back of the car. Oh, in 1971, Isaac K started a two week run at number one on the US single starts with

[01:19:24] the theme from shaft number four in the UK. He won a Grammy and four best original film score for the theme from shaft. That was a big, big deal. He was the first African American to win a Grammy.

[01:19:38] And an Oscar, I think he won the Oscar for this one too. First African American to win both of those four not acting. Fucking big man. One more Grammy than three livens won. That's true. You're doing it. That's a goddamn fact. All right.

[01:19:56] Happy birthday to Davey Havick of AFI. It was born in 1975. I thought he was younger than me for some reason. I don't know why. His real name is he was. Chad. David, David. How easy. He's full of superants. Did you guys listen to that?

[01:20:13] That record I sent you that was a dream car? That's him. Oh, yeah. That's what it's out. Yeah. Fucking hot. There is a record. Good people. Is dream car, right? That's what it's going. Yeah. Yeah. One record. It's all the fellows from no doubt plus Davey Havick.

[01:20:31] And it is like. It's interesting. It's like a mid 80s pop. Since pop type stuff. I did love it, but it's like you should watch it. I love that. I thought it was really good. It's good. I mean, it's good. Like don't get it wrong. It's fine.

[01:20:47] But it's weird. It's weird. Yeah. But in 1965, happy birthday Michael Diamond. They came my de-of the Beastie boys. Apparently not. Don't be late to Neil. Now related to Neil. Maybe they are different diamonds. Those are the, uh, the, uh, with their book from Brooklyn. I don't know.

[01:21:08] That's what they were in the road. No, no, no, no, no, no, no. Oh, no, no, no. Also in 1975, happy birthday Sand Dog from Cyprus Hill. All right. 1993, uh, you can number 15 single for Angle and I like that.

[01:21:22] And then 1993, number one album in the United States for Blackstone. I didn't realize that hit number one. That album was big. I just didn't realize it went to number one. Wow. Solid. What was the big single set up here? Something you can understand. Yeah.

[01:21:38] Oh, and say it all right now. There's something you can't understand. Uh, how I could just kill him. And that was from their first record, the self titled debut. The first. But also very good. Black Sunday amazing record mostly about weed. Yeah.

[01:21:52] I just remember in 1993 that being really something. You know, like it was like people just weren't. That open about it because you can still get a lot of trouble. I remember. I was like, oh, I got up with the like, no, you can't do it. Wow.

[01:22:08] Well, at the end of the intro with the like, the Bible, it's like God has given you every secret. For you to use, you use. And I was like the fact that a hardcore rap album would quote the Bible is emblematic of the early 90s. Yeah.

[01:22:25] It was different. You know what I'm saying? Different time. Different place. Different time. All right. 1947. I got two words for Don Henley, Joe fucking wasch. Three words. Having birthday Joe was. Fucking love Joe wasch man. The greatest Eagle. That's saying something because I fucking hate the Eagles.

[01:22:48] I hate the Eagles. I don't agree. He was like, I'm crazy. The only good thing here happened to the Eagle. I'm glad. Yeah. Life in the fast line. So yeah, we're going to. Do an episode on the Eagles. And it's a. Yeah, yeah. We'll do that.

[01:23:03] That's what we. Brian is defending the Eagles. I would do another. No, it didn't mean I had to spend two weeks listening to the Eagles. Well, you know what? I will just listen to you and entirely different and then come back. We'll talk with the Eagles.

[01:23:15] Let's do the little River Band before we can just do an album of bands inspired by the Eagles. Was that Jima? I said, let's do a little River Band before we do the Eagles. Yes, please. Oh, I mean, Jim, you know, you know. Yeah, I know Brian.

[01:23:30] I know if you get your year with that. All right, 1946, do an album. Happy birthday to an album. Co-founder, leader of the album, but this band. At least a class gal in the interpeach. The best thing about it was that,

[01:23:46] doing the greater of the album brothers was killed in a motorcycle accident. 1971 when he collided with the rear of a flatbread truck that was delivering speeches and then they put out a record call to eat a peach. Immediately after his death.

[01:24:03] Wait, I think he died in a plane crash of what? Didn't he die in a plane crash? No, no, no, he crashed his motorcycle into a truck. Oh, that was lunch. It's all right. Yeah, you think it's scared? Yep. Also the big bopper, where's your balance? And buddy.

[01:24:21] Yeah, not a plane crashes, but none of them involved in the way. No, but I really really. More chic, although also tragic. Isn't that a job bomb died that way, right? Job bomb is fixated in his own vomit. That's so many young. He wasn't a motorcycle accident.

[01:24:39] I thought that was what we did too. I'm not sure I keep going. And Bob Scott and the guy from the film line. They all. And the guy who was in the interpeach was his name. Oh, I think it's a period. That'd be 42 every day, Norman Greenbaum.

[01:25:04] Singer, songwriter, guitarist, and one hit wonder with Spirit in the sky. Oh, you're hoping you're going to ask us. Oh, I was like, I know that, right? Norman, you're only Norman in the business. Oh, I was like, spirit in the sky. Who? That was covered, right?

[01:25:25] That was definitely. But many times. Yeah. But you, every morning ever. In 1970 on, over 20, the grateful dead played the University of Rochester. The police, you're a senior Rochester, Rochester in New York. 22 minute version of Good Lovin, which is, I don't know how you take that song.

[01:25:47] I'm going to make a 20 to my song. Drugs. But I do love that's off of the Shake Down Street and I just love Shake Down Street. Great record. I'm talking about Pete Duckie. What, tell us what city, Rochester University is in? Okay, you didn't get it. Never mind.

[01:26:10] Hey, welcome to. We are going to do the Billboard Top 10 for September 25, 1993. This is the week that insane in the brain by Cybers Hill, Pete, at number 19. As a shoutout to our man's send up. Number one, dream lover by Mariah Carey. Remember that one? Fuck yeah. Come on.

[01:26:32] Is that covered? Oh, I'm not. Dream. I don't know if it's covered or not. It's definitely an important one. Is that the end with a, you got me feeling a mose? No, I think that's after that. I was there. Follow them. So that's what she said.

[01:26:48] She's the best showy in female pop star in world. This is this. I've great to have on a cassette tape that I recorded off of the radio. Yeah. This shit is a lot higher. Number two, or whoop there it is by tag team. I thought you knew.

[01:27:02] I waited. I waited. Oh, oh, oh, oh, oh, oh, oh, oh. Oh, oh. That's me. D.C. The Brain Spring. Number three, right here. It's a brand of the season. Human nature by S.W.V. There's all the free release soundtrack. This is a banger.

[01:27:19] This is a banger. The free release soundtrack. No, no, no, you double. This was this was great. Feel like my new jacket. We're gonna get that. Just a second. No more can't help falling in love by UB 40. Right?

[01:27:36] You're like, it's, it's easy to forget how big UB 40 was. That was a terrible song, but it was pretty good. Because they were all cool Russian, actually. It was literally red, red wine just a difference.

[01:27:52] Wasn't so wasn't this off of the sliver movie soundtrack that like erotic thriller with Billy Baldwin, something believe this was off of that soundtrack. We want to say that that's true. If it's not true, somebody let me know in the comments. Number five, if by Janet Jackson,

[01:28:13] which was off of her Janet record, second single after that's the way love goes. This is a really, really solid song. This record is solid. Yeah, it's a pretty good record. Do you know what I'm talking about? Something that's not solid.

[01:28:30] Number six, the river dreams of Billy Joel. Remember that one? Definitely in the middle. This was about Chris Lee. Bruce Lee, Bruce Lee, Bruce Lee, Bruce Lee, Bruce Lee, Bruce Lee. What was it down to? When they all about Chris Lee, frankly, I mean, if... Yeah.

[01:28:46] I mean, if he's not talking about Brian, I guess he's talking about Chris Lee. I was just like, it's like, it's like, it's like, it's like, I think it's the song of the piano man and it's like, stop singing us songs. Yeah, please. Please.

[01:29:01] And the metal is not. I have to go pee because I'm so old. That's your prank, please. All right. Well done. Fair enough. I'm so glad. Number seven. Will you be there by Michael Jackson? This was the free Willie Sawyer. This is a great song.

[01:29:21] Oh, but no, no, no, no. Yeah, that little. Jimbo, were you at the right house when Chris Murphy did this on karaoke? Yeah, it was a bandwagon Chris's party. It was... It was so good. I would remember that. Yeah, no, he killed it. He killed it.

[01:29:39] Anyway, number eight, run away and train by Soul of Silent. Oh, yeah. That was like a... See, you made a stop. Stop, stop, stop. I have to stop it. Because if you're not actually aware of Soul of Silent's catalog, this song fits nowhere in it. It doesn't.

[01:29:57] But this is they weren't the band that this song for a trace. Yeah. Which is, it's kind of, it's interesting to me because they definitely wrote this song and recorded it before it was a hit because that's how songs work. And so, this just came on it.

[01:30:14] This was... I don't know where. I mean, they were like a Milwaukee bar band. Yeah, man. You know? With like a solid buzz in there. Like, this was Grape D'Answers Union was like the fifth or sixth record. You know, they put records out. Oh, yeah.

[01:30:29] Oh, plenty of records. Now, whole back catalog is really, really good. Just check it out. Great band. Check out Soul of Silent. All right, for back. Yeah. Oh, fucking dare you. Number nine is, uh, lately by Joseph Jonesey. That's Steve Wondercuffer. Uh, yeah. What did you see?

[01:30:51] Did you see, Joseph sees on a track like right now? Joseph was, I mean, they were legit. They were like, this was awful of, um, they did this on MTV unplugged. I want to say it was huge. This was a smash.

[01:31:07] So I mean, it went up to number four. But this was good. And then we're 10. Baby I'm yours by shy. You know, you don't have to remember the most about shy first of all was if I ever fall in love with was the actual.

[01:31:18] And then I just remember being that. That, uh, I bought Ricky had that CD. He got it for Christmas. Yeah, we used to like, let's do it. I didn't realize that. Follow up. Yeah, baby I'm yours. Single baby. Baby, baby. I'm yours.

[01:31:37] This was like right on the backs of all of those like four part, you know, kind of gospel influence vocal groups. Do up slash gospel influence. And shy was probably the, uh, the only one that wasn't boys to men that was like,

[01:31:57] mostly black dudes and then it was just all white dudes. Like because guys, it was the fine line between the actual popular influence for them like the boy band. Yeah, you know, it went to boy band real quick. They would try this was before. We're calling bad.

[01:32:16] Well, this is probably made call me bad. Oh, yeah. Mead CM B. I did pop your hair. Trying yellow. Because they're like four or five hits. This was the end of the middle. Was just like three or four more hits that is earth.

[01:32:33] Well, I got to say though. I have to, I think this is the only top 10 that we've done that I know every single song ever. Really? I have to. I definitely all. I was like, yep, I don't all these. Yeah, okay. So, all right. Yeah. I knew like,

[01:32:51] like, it's not that the middle guy. Okay, he not bad. Who told drunk. So where was uh, and then the brain was at number 19. That's what he did. Did not make the, yeah, that's where people. Oh, can you see what was ahead of him?

[01:33:05] I'm not at my disposal, but it's all good. Actually, the top 30 this week was all good. I knew all. That's good. I'm going to have to go fair enough. Fair enough. Right now we're done. I'm just a. Is that like Pete Sarah,

[01:33:20] yeah, Cypress Hill has got to be. They were like, by far. Yeah, far away. Did you say Pete Samper Hill? Pete Samper Hill. You know, Pete Samper is married to the actress who played Veronica Vaughn and Billy Madison. Veronica Vaughn. I know. Yeah, that's awesome. Yeah.

[01:33:38] And Pete's, Pete's Aperus. He can all play on Chris. Just wait. What are we doing? That's, that's got to, alright. Alright. That's it ladies and gentlemen. That's the show. Thank you so much for joining us. Until we meet again. Peter, Brian, Jimbo, thank you so much.

[01:33:57] Always always be better and get a victory every day.