1 00:00:15,476 --> 00:00:15,956 Speaker 1: Pushkin. 2 00:00:20,236 --> 00:00:22,196 Speaker 2: The magic of Dave Grohl isn't just that he's one 3 00:00:22,196 --> 00:00:25,116 Speaker 2: of rock music's great rack and tours, or that he's 4 00:00:25,156 --> 00:00:27,356 Speaker 2: one of the greatest drummers in frontman of the last 5 00:00:27,356 --> 00:00:30,876 Speaker 2: thirty plus years. It lies instead in the sheer number 6 00:00:30,876 --> 00:00:33,596 Speaker 2: of lives he's gotten to live within rock and roll. 7 00:00:33,756 --> 00:00:37,196 Speaker 2: I mean, just think about his trajectory. Girl starts out 8 00:00:37,236 --> 00:00:39,276 Speaker 2: as a drummer of one of DC's great, if not 9 00:00:39,396 --> 00:00:42,796 Speaker 2: underrated hardcore band's scream mingling with Ian Mackay and all 10 00:00:42,836 --> 00:00:45,676 Speaker 2: the other amazing discord artists from that time. Then he 11 00:00:45,756 --> 00:00:47,876 Speaker 2: joins Nirvana, where he more than makes his mark as 12 00:00:47,876 --> 00:00:50,156 Speaker 2: a drummer for one of the most consequential bands since 13 00:00:50,196 --> 00:00:53,676 Speaker 2: the Beatles, not only changing music forever, but also becoming 14 00:00:53,716 --> 00:00:56,476 Speaker 2: an indelible part of the story of Seattle's music scene 15 00:00:56,556 --> 00:00:59,356 Speaker 2: that forget about grunge and subpop for a second, goes 16 00:00:59,396 --> 00:01:01,676 Speaker 2: all the way back to Jimmy Hendricks and Quincy Jones. 17 00:01:02,276 --> 00:01:04,116 Speaker 2: And then if that one enough, Girl launches one of 18 00:01:04,156 --> 00:01:07,516 Speaker 2: the most successful acts of the post Nirvana Boom Foo Fighters, 19 00:01:08,036 --> 00:01:11,116 Speaker 2: which he does literally single handedly, and Prince or Stevie 20 00:01:11,156 --> 00:01:14,236 Speaker 2: Wonder like fashion write and recording every song on the 21 00:01:14,276 --> 00:01:17,436 Speaker 2: debut himself, except for some guitar work by Greg Dooley 22 00:01:17,476 --> 00:01:20,236 Speaker 2: from the Great Afghan Whigs. And then when it's time 23 00:01:20,276 --> 00:01:22,116 Speaker 2: to fill out the band, he gets to pulling guys 24 00:01:22,116 --> 00:01:24,436 Speaker 2: like Nate Mendel from Sunny Day Real Estate and Pat 25 00:01:24,476 --> 00:01:27,036 Speaker 2: Smear from the Germs in Nirvana, and all the other 26 00:01:27,116 --> 00:01:29,356 Speaker 2: really talented and interesting guys that have joined the group 27 00:01:29,396 --> 00:01:32,836 Speaker 2: over the years. It's almost an embarrassment of riches, but 28 00:01:32,876 --> 00:01:35,796 Speaker 2: then God Dave Girl realizes it and relishes the opportunity 29 00:01:35,836 --> 00:01:39,116 Speaker 2: to tell stories from his remarkable career. We're sitting down 30 00:01:39,116 --> 00:01:40,916 Speaker 2: with Grol at the Foo Fighter Studio to talk about 31 00:01:40,916 --> 00:01:43,716 Speaker 2: their twelfth album, Your Favorite Toy. We talked about all 32 00:01:43,716 --> 00:01:46,396 Speaker 2: of it, including how their new album came together, but 33 00:01:46,516 --> 00:01:48,756 Speaker 2: we started with the story that I've always wanted to 34 00:01:48,756 --> 00:01:51,116 Speaker 2: ask him about. It's from a song from his first 35 00:01:51,116 --> 00:01:54,236 Speaker 2: solo project, he called Late, from an album called Pocketwatch 36 00:01:54,476 --> 00:01:57,996 Speaker 2: that to this day has only ever seen a cassette release. 37 00:02:00,996 --> 00:02:10,356 Speaker 2: This is Broken Record, real musicians, real conversations. Here's my 38 00:02:10,396 --> 00:02:12,836 Speaker 2: interview with Dave Grohl. Head over to YouTube dot com 39 00:02:12,836 --> 00:02:15,716 Speaker 2: slash Broken Record Podcast if you want to see the video. 40 00:02:16,956 --> 00:02:18,876 Speaker 1: Walking through here. It's like a Hall. 41 00:02:18,676 --> 00:02:23,276 Speaker 2: Of You and Barry Manilow amazing. You know, there's so 42 00:02:23,356 --> 00:02:26,076 Speaker 2: many little gems. As you walk through. One of the things, 43 00:02:26,116 --> 00:02:27,556 Speaker 2: I was like, wow, I'll start with it just because 44 00:02:27,636 --> 00:02:30,996 Speaker 2: so I don't forget it is the pocket Watch album. 45 00:02:31,156 --> 00:02:35,796 Speaker 2: Oh my god, story of Skeeter Thompson actual true story. 46 00:02:36,196 --> 00:02:37,396 Speaker 1: That is a true story. 47 00:02:37,716 --> 00:02:40,956 Speaker 3: That was when I first started recording stuff on my 48 00:02:41,036 --> 00:02:45,996 Speaker 3: own in a studio. My friend Barrett Jones, that was 49 00:02:46,036 --> 00:02:48,156 Speaker 3: actually the first person I ever recorded with when I 50 00:02:48,196 --> 00:02:51,436 Speaker 3: was fourteen years old. He had like a four track 51 00:02:51,516 --> 00:02:54,476 Speaker 3: studio in the laundry room of his parents' house, and 52 00:02:54,836 --> 00:03:00,996 Speaker 3: through friends of friends, we wound up recording our first demo, 53 00:03:01,076 --> 00:03:03,516 Speaker 3: this punk band I was in called Freak Baby, and 54 00:03:03,556 --> 00:03:08,916 Speaker 3: we we recorded four songs in his laundry room, like 55 00:03:08,956 --> 00:03:11,196 Speaker 3: the drums were in his bedroom and the vocals were 56 00:03:11,196 --> 00:03:13,916 Speaker 3: in the bathroom and whatever. Over time we became really 57 00:03:13,956 --> 00:03:18,876 Speaker 3: close friends, and he upgraded to an eight track and 58 00:03:19,116 --> 00:03:21,316 Speaker 3: still had a studio in his house. 59 00:03:21,596 --> 00:03:23,036 Speaker 1: But it was around then that. 60 00:03:23,156 --> 00:03:29,916 Speaker 3: I realized like, oh, if there's eight tracks, I could 61 00:03:29,956 --> 00:03:34,116 Speaker 3: lay down a drum track and then put a bass 62 00:03:34,156 --> 00:03:37,556 Speaker 3: over it, and then put some guitars over it, and 63 00:03:37,556 --> 00:03:40,396 Speaker 3: then put a vocal on it, and it'll sound like 64 00:03:40,436 --> 00:03:43,756 Speaker 3: a band even though it's just one person. And I 65 00:03:43,836 --> 00:03:47,756 Speaker 3: kind of understood multi tracking from when I was really little. 66 00:03:47,836 --> 00:03:51,156 Speaker 3: I had two cassette decks and I would record a 67 00:03:51,196 --> 00:03:54,556 Speaker 3: drum thing on this one cassette on a boom box, 68 00:03:54,596 --> 00:03:57,556 Speaker 3: and then I'd take and the drums were pots and pans, 69 00:03:57,596 --> 00:03:59,916 Speaker 3: and then I would put that in this stereo and 70 00:04:00,436 --> 00:04:02,956 Speaker 3: hit record on this one. Hit play on the drum thing, 71 00:04:03,076 --> 00:04:05,276 Speaker 3: play guitar along with it, and then I'd have this 72 00:04:05,316 --> 00:04:08,276 Speaker 3: cassette that would have drums and guitar on it, and 73 00:04:08,316 --> 00:04:10,236 Speaker 3: I'd take the cassette and put it in that and 74 00:04:10,316 --> 00:04:11,476 Speaker 3: just sort of like bounce. 75 00:04:11,236 --> 00:04:13,276 Speaker 1: That way back, yeah, beatlestyle, I guess. Yeah. 76 00:04:13,316 --> 00:04:16,716 Speaker 3: So I understood like the concept of multi tracking, but 77 00:04:16,796 --> 00:04:18,796 Speaker 3: then I thought like, oh wow, this is like an 78 00:04:18,876 --> 00:04:23,036 Speaker 3: eight track studio. And my friend Barrett I would always 79 00:04:23,076 --> 00:04:26,156 Speaker 3: say like, hey, do you have any tape left at 80 00:04:26,196 --> 00:04:28,236 Speaker 3: the end of that reel, Like, yeah, probably have like 81 00:04:28,316 --> 00:04:30,316 Speaker 3: a couple of minutes, and I would go in really 82 00:04:30,396 --> 00:04:34,476 Speaker 3: quickly so it's to not waste his time. I usually 83 00:04:34,516 --> 00:04:36,196 Speaker 3: had everything worked out in my head and I would 84 00:04:36,236 --> 00:04:39,316 Speaker 3: just blast a drum track really quick, put two guitars 85 00:04:39,356 --> 00:04:41,076 Speaker 3: on it, a bass on it, and then bring it 86 00:04:41,116 --> 00:04:44,556 Speaker 3: home and listen to it. And that's when I realized, like, 87 00:04:44,636 --> 00:04:47,996 Speaker 3: oh my god, I could, like I couldn't write songs 88 00:04:48,196 --> 00:04:50,996 Speaker 3: and record them and make it sound like a band, 89 00:04:51,436 --> 00:04:54,436 Speaker 3: even though I didn't necessarily like the way I sang. 90 00:04:54,996 --> 00:04:56,876 Speaker 3: I didn't think I was a great guitar player, but 91 00:04:56,916 --> 00:04:58,116 Speaker 3: it was this fun experiment. 92 00:04:58,276 --> 00:04:58,676 Speaker 1: So I was. 93 00:04:58,596 --> 00:05:01,276 Speaker 2: Recording songwriter at the point, did you write songs for 94 00:05:01,396 --> 00:05:02,516 Speaker 2: like and you spare time for fun? 95 00:05:02,636 --> 00:05:04,516 Speaker 3: I mean I was writing songs about my dog when 96 00:05:04,516 --> 00:05:07,916 Speaker 3: I was eleven years old, and you know, I had 97 00:05:07,996 --> 00:05:11,996 Speaker 3: journals and stuff, and I was, you know, a complicated 98 00:05:12,036 --> 00:05:14,396 Speaker 3: teenager of writing all of this shit that I considered 99 00:05:14,436 --> 00:05:17,156 Speaker 3: poetry but it was just not And so I was 100 00:05:17,276 --> 00:05:20,956 Speaker 3: just starting to kind of explore this new way of 101 00:05:21,716 --> 00:05:23,916 Speaker 3: expressing myself for just like a new to me. It 102 00:05:23,916 --> 00:05:26,636 Speaker 3: was almost like a puzzle, like a game, just seeing 103 00:05:26,676 --> 00:05:28,876 Speaker 3: how far I could take it. Like I only had 104 00:05:28,916 --> 00:05:31,396 Speaker 3: eight tracks to deal with, so I couldn't, you know, 105 00:05:31,516 --> 00:05:34,476 Speaker 3: I couldn't do this, but anyway, so like a song 106 00:05:34,556 --> 00:05:37,316 Speaker 3: like that was just something recorded for fun. And that 107 00:05:37,396 --> 00:05:41,116 Speaker 3: pocket Watch cassette was the first time I released music 108 00:05:41,196 --> 00:05:43,236 Speaker 3: on my own, but it was a cassette only release. 109 00:05:43,436 --> 00:05:45,996 Speaker 3: I don't know how many they made. 110 00:05:45,236 --> 00:05:47,276 Speaker 1: Only ever come out on cassette. 111 00:05:47,596 --> 00:05:49,876 Speaker 3: Yeah, it was a friend of ours. So this is 112 00:05:49,916 --> 00:05:54,356 Speaker 3: in Washington, d C. In the early nineties. Everybody had 113 00:05:54,396 --> 00:06:00,116 Speaker 3: a record label, right yea, and the DC scene was 114 00:06:00,116 --> 00:06:03,956 Speaker 3: was amazing because it was it was very independent and 115 00:06:04,036 --> 00:06:08,716 Speaker 3: the ambition was really pure. It was to create good music, 116 00:06:08,756 --> 00:06:13,476 Speaker 3: to create art to be shared, but also to sort 117 00:06:13,516 --> 00:06:18,476 Speaker 3: of like foster this community and scene. It wasn't a 118 00:06:18,556 --> 00:06:21,596 Speaker 3: huge scene, but it was a really like a strong 119 00:06:21,636 --> 00:06:25,076 Speaker 3: and connected scene of friends and really creative people. So 120 00:06:25,796 --> 00:06:28,116 Speaker 3: a girl named Jenny Toomy, she was the one with 121 00:06:28,196 --> 00:06:29,876 Speaker 3: the Simple Machines. 122 00:06:31,196 --> 00:06:33,916 Speaker 1: Label. That one was Simple Machines. Yeah. 123 00:06:33,956 --> 00:06:37,236 Speaker 3: But at the same time I was in Nirvana. I'm like, 124 00:06:37,596 --> 00:06:41,636 Speaker 3: why would I want to complicate my musical experience by 125 00:06:42,356 --> 00:06:47,196 Speaker 3: putting out something like the story of Skeeter Thompson, the 126 00:06:47,196 --> 00:06:50,236 Speaker 3: bass player of Scream, which is just an instrumental with 127 00:06:50,276 --> 00:06:52,196 Speaker 3: a spoken word over it, and it's a true story, 128 00:06:52,236 --> 00:06:56,676 Speaker 3: but it's ridiculous. While I'm in this other band with 129 00:06:56,956 --> 00:06:59,716 Speaker 3: one of the greatest songwriters of all time, and I 130 00:06:59,756 --> 00:07:03,836 Speaker 3: get to just bang away at the drums behind this 131 00:07:04,076 --> 00:07:09,956 Speaker 3: amazing songwriter and it's pure and it's beautiful, and it 132 00:07:09,996 --> 00:07:12,196 Speaker 3: was powerful and it sounded good. I saw all of 133 00:07:12,236 --> 00:07:15,476 Speaker 3: the things that I do now. They were like my 134 00:07:15,596 --> 00:07:18,396 Speaker 3: little side project thing that if I needed to blow 135 00:07:18,436 --> 00:07:20,716 Speaker 3: off steam, I would just record things on my own, 136 00:07:20,956 --> 00:07:23,276 Speaker 3: but never never wanted to. 137 00:07:24,116 --> 00:07:24,276 Speaker 1: You know. 138 00:07:24,276 --> 00:07:26,876 Speaker 3: It's the famous drummer joke. Was the last thing the 139 00:07:26,916 --> 00:07:29,636 Speaker 3: drummer said before he got kicked out of the band. Hey, guys, 140 00:07:29,676 --> 00:07:31,036 Speaker 3: I have a song that I think we should play 141 00:07:31,116 --> 00:07:32,796 Speaker 3: like That's I knew that. 142 00:07:32,996 --> 00:07:35,276 Speaker 1: Yeah, yeah, I lived that because you do. Did it happen? 143 00:07:35,356 --> 00:07:35,836 Speaker 1: Scream ever? 144 00:07:35,956 --> 00:07:36,036 Speaker 2: Like? 145 00:07:36,076 --> 00:07:38,356 Speaker 1: Were you ever trying to? Like? 146 00:07:38,836 --> 00:07:43,156 Speaker 3: Scream was very collaborative in that the guys in the band, 147 00:07:43,156 --> 00:07:45,236 Speaker 3: they were older than me. They're you know, eight ten 148 00:07:45,316 --> 00:07:47,516 Speaker 3: years older than me, but they've grown up with each other. 149 00:07:47,516 --> 00:07:50,756 Speaker 3: They were best friends through high school and stuff. So 150 00:07:51,196 --> 00:07:54,276 Speaker 3: Franz the guitarist was a great guitar player, is a 151 00:07:54,316 --> 00:07:59,996 Speaker 3: great guitar player, and a great songwriter. Pete was and 152 00:08:00,036 --> 00:08:04,756 Speaker 3: it is a great singer and a great lyricist songwriter. 153 00:08:05,476 --> 00:08:05,676 Speaker 1: You know. 154 00:08:05,676 --> 00:08:08,036 Speaker 3: At the time when Screamed, before I joined the band, 155 00:08:08,756 --> 00:08:11,196 Speaker 3: they were one band in Washington, DC that was far 156 00:08:11,316 --> 00:08:14,476 Speaker 3: more kind of musical and rock and roll than a 157 00:08:14,476 --> 00:08:16,916 Speaker 3: lot of the other bands in town. Yeah, and that's 158 00:08:16,956 --> 00:08:18,996 Speaker 3: one of the things I loved about them. Like I 159 00:08:19,036 --> 00:08:22,716 Speaker 3: loved the Bad Brains, I loved you know, the Dead 160 00:08:22,796 --> 00:08:25,396 Speaker 3: Kennedy's and Minor Threat and all of the early hardcore bras. 161 00:08:25,596 --> 00:08:29,516 Speaker 3: But I loved Foght Yeah, you know, like I loved Zeppelin. 162 00:08:29,596 --> 00:08:31,676 Speaker 3: I was a rock and roll kid from the suburbs. 163 00:08:32,156 --> 00:08:34,276 Speaker 3: Scream were sort of that band that put all those 164 00:08:34,316 --> 00:08:37,116 Speaker 3: things together. But when we would collaborate, we really did 165 00:08:37,316 --> 00:08:41,156 Speaker 3: have that thing when a specific group of people get 166 00:08:41,196 --> 00:08:44,036 Speaker 3: together and play, it makes a specific sound. And so 167 00:08:44,116 --> 00:08:47,276 Speaker 3: that connection, not only musically but as people as friends 168 00:08:47,956 --> 00:08:48,716 Speaker 3: was really strong. 169 00:08:48,996 --> 00:08:51,596 Speaker 2: Those are great records, and your drumming on those are 170 00:08:51,916 --> 00:08:53,716 Speaker 2: I mean, it's like in your book you tell a 171 00:08:53,756 --> 00:08:57,436 Speaker 2: great story about Skeeter basically changing to the drum set 172 00:08:57,716 --> 00:08:59,596 Speaker 2: and they wanted to play a groove over and over 173 00:08:59,676 --> 00:09:01,036 Speaker 2: like can or something, you know, Like. 174 00:09:01,076 --> 00:09:04,116 Speaker 3: Yeah, basically, I mean before I joined Scream, I was 175 00:09:04,396 --> 00:09:07,636 Speaker 3: like a wild horse. I was just reckless, and of 176 00:09:07,676 --> 00:09:11,636 Speaker 3: course I wanted to have tempo, I wanted to have feel, 177 00:09:11,796 --> 00:09:14,716 Speaker 3: but I was like a hyperactive child, you know, and 178 00:09:14,756 --> 00:09:16,916 Speaker 3: you give me a drum set and something's gonna break 179 00:09:17,556 --> 00:09:19,756 Speaker 3: and it's gonna maybe be faster than it should and 180 00:09:19,796 --> 00:09:22,276 Speaker 3: I'm probably going to fill up those empty spaces with 181 00:09:22,356 --> 00:09:24,916 Speaker 3: things that only I love. 182 00:09:25,356 --> 00:09:26,036 Speaker 1: Yeah. 183 00:09:26,156 --> 00:09:28,996 Speaker 3: So basically, Skeeter sat me down and when I first 184 00:09:29,076 --> 00:09:31,876 Speaker 3: joined the band and he said, we're gonna smoke a 185 00:09:31,956 --> 00:09:35,556 Speaker 3: joint and we're gonna play this one riff for half 186 00:09:35,596 --> 00:09:36,516 Speaker 3: an hour and you're not. 187 00:09:36,516 --> 00:09:37,996 Speaker 1: Going to do a drum fill. 188 00:09:38,436 --> 00:09:40,556 Speaker 3: I was like, yeah, okay, great, and we sat down 189 00:09:41,156 --> 00:09:42,676 Speaker 3: and I don't remember what it was. It was a 190 00:09:42,716 --> 00:09:47,876 Speaker 3: simple groove and almost like an itch that I needed 191 00:09:47,876 --> 00:09:51,516 Speaker 3: to scratch. Within thirty seconds, I blasted some drum fill 192 00:09:51,556 --> 00:09:53,156 Speaker 3: and he looked at me and kind of winked, like, no, 193 00:09:53,196 --> 00:09:55,396 Speaker 3: you can't do that. You gotta stay on it, and 194 00:09:55,436 --> 00:09:58,636 Speaker 3: he broke me like a horse and it really worked. 195 00:09:58,676 --> 00:10:04,036 Speaker 3: It was it was my one valuable drum lesson was 196 00:10:04,356 --> 00:10:05,196 Speaker 3: from a bass player. 197 00:10:05,236 --> 00:10:07,756 Speaker 1: Well of course, right, I mean fucking of course now, 198 00:10:07,796 --> 00:10:08,036 Speaker 1: I know. 199 00:10:08,236 --> 00:10:11,436 Speaker 3: Yeah, back then, I was like, wait, what just happened? 200 00:10:11,516 --> 00:10:12,796 Speaker 1: That's so funny, man. 201 00:10:13,076 --> 00:10:15,076 Speaker 2: And but you know, like you listen to the records, 202 00:10:15,116 --> 00:10:16,876 Speaker 2: You're like, oh yeah, like you can hear that, like 203 00:10:17,356 --> 00:10:19,836 Speaker 2: you're an unchained maniac in some way. You were at 204 00:10:19,836 --> 00:10:22,036 Speaker 2: one point because the power is there, like you know, 205 00:10:22,076 --> 00:10:23,516 Speaker 2: it's like the fucking powers there. 206 00:10:23,516 --> 00:10:25,356 Speaker 1: But then there is like a restraint and a groove 207 00:10:25,396 --> 00:10:26,116 Speaker 1: on those records. 208 00:10:26,556 --> 00:10:32,076 Speaker 3: Have you ever been to You probably haven't. The The 209 00:10:32,116 --> 00:10:36,396 Speaker 3: engineer producer that made most of the DC records is 210 00:10:36,396 --> 00:10:40,596 Speaker 3: a man named Donzie and Tara so Donzie. He was 211 00:10:40,716 --> 00:10:43,316 Speaker 3: like the first person to record the Bad Brains. He 212 00:10:43,396 --> 00:10:45,676 Speaker 3: was the first person to record all of the discord stuff, 213 00:10:45,676 --> 00:10:50,476 Speaker 3: all of that stuff. It was in a room about 214 00:10:50,676 --> 00:10:54,716 Speaker 3: a fifth the size of this room, this tiny room. 215 00:10:54,956 --> 00:10:56,916 Speaker 3: You know, they're recording analog to tape. I don't know 216 00:10:56,956 --> 00:10:59,476 Speaker 3: what machine he had, but it was not only like 217 00:10:59,556 --> 00:11:06,596 Speaker 3: spatial restriction, the basement of a house in Arlington residential neighborhood. 218 00:11:06,636 --> 00:11:09,036 Speaker 3: And when you listen to like some of those for 219 00:11:09,196 --> 00:11:14,876 Speaker 3: Gazi recordings where you've got that incredible band tracking live 220 00:11:15,116 --> 00:11:17,236 Speaker 3: in a space the size of like a bath towel, 221 00:11:17,516 --> 00:11:19,676 Speaker 3: and you listen to it and it sounds so huge. 222 00:11:19,996 --> 00:11:22,196 Speaker 3: And one of the reasons why it sounds so huge 223 00:11:22,476 --> 00:11:26,156 Speaker 3: is because it's the combination and energy of those people 224 00:11:26,276 --> 00:11:29,916 Speaker 3: in that moment, so sonically, like the sonic element has 225 00:11:29,916 --> 00:11:32,036 Speaker 3: a lot to do with it, but beyond that, it's 226 00:11:32,076 --> 00:11:36,676 Speaker 3: the energy of what's happening between those people in that moment, 227 00:11:36,876 --> 00:11:40,436 Speaker 3: and that's kind of how we would record. Yeah, you know, 228 00:11:40,796 --> 00:11:42,716 Speaker 3: I mean it's the same thing like when we recorded 229 00:11:42,956 --> 00:11:45,516 Speaker 3: the one picture we took from the studio. 230 00:11:45,396 --> 00:11:46,556 Speaker 1: There's only one picture. 231 00:11:46,636 --> 00:11:48,876 Speaker 3: I swear to god, there's maybe three pictures, Like one 232 00:11:48,876 --> 00:11:51,036 Speaker 3: of them is the three of us in the control room. 233 00:11:51,156 --> 00:11:54,236 Speaker 3: That was the drum setup for recording. Nevermind. The reason 234 00:11:54,276 --> 00:11:59,596 Speaker 3: why it worked is because when we recorded live, you know, 235 00:11:59,596 --> 00:12:02,196 Speaker 3: those songs, we just we'd count in it and we'd do it. 236 00:12:02,276 --> 00:12:03,956 Speaker 3: We'd do a couple of takes, and then we didn't 237 00:12:03,956 --> 00:12:05,236 Speaker 3: have a lot of time, so we had to move 238 00:12:05,276 --> 00:12:07,076 Speaker 3: on to the we're only there for twelve days or 239 00:12:07,116 --> 00:12:11,556 Speaker 3: whatever it was anyway, so that's a really important part 240 00:12:11,636 --> 00:12:15,996 Speaker 3: of the process that lends to the the energy of 241 00:12:15,996 --> 00:12:16,356 Speaker 3: a song. 242 00:12:16,516 --> 00:12:18,996 Speaker 2: Yeah, you know, that picture brings joy to my heart 243 00:12:19,036 --> 00:12:21,556 Speaker 2: because I look like that's simple, like Mike set up 244 00:12:21,556 --> 00:12:24,196 Speaker 2: for you know, it's just that's fucking perfect. 245 00:12:24,316 --> 00:12:26,516 Speaker 1: Well, it was also that room, and it was also 246 00:12:26,636 --> 00:12:28,076 Speaker 1: this board and so. 247 00:12:28,116 --> 00:12:32,836 Speaker 2: Which is a long way from the boom box dubbing exactly. 248 00:12:32,876 --> 00:12:36,276 Speaker 3: If I had this when I was eleven, O fucking Beethoven, 249 00:12:37,156 --> 00:12:38,196 Speaker 3: we'd be a lot further along. 250 00:12:38,316 --> 00:12:43,196 Speaker 2: Yeah, hard to imagine, just to put a pin on it, though, 251 00:12:43,196 --> 00:12:44,996 Speaker 2: Hold on real quick, Okay. 252 00:12:45,236 --> 00:12:50,516 Speaker 1: Is this puss? It's link, It's kind of it's like 253 00:12:50,636 --> 00:12:53,996 Speaker 1: a vulgar story. It's great, it's hilarious. 254 00:12:54,396 --> 00:12:58,076 Speaker 3: So we were in Amsterdam. That's exactly how the song begins. 255 00:12:58,636 --> 00:13:01,996 Speaker 3: Whatever screen would tour Europe. I think I was like 256 00:13:02,036 --> 00:13:05,876 Speaker 3: eighteen years old the first time I went. Amsterdam is 257 00:13:05,916 --> 00:13:09,796 Speaker 3: our home base, not only for obvious reasons, but because 258 00:13:09,796 --> 00:13:11,876 Speaker 3: we had a good friend there, a guy named Toss, 259 00:13:12,156 --> 00:13:15,156 Speaker 3: had an apartment, and so we would go there to 260 00:13:15,276 --> 00:13:18,156 Speaker 3: prepare for a tour. We'd go there and we'd start 261 00:13:18,196 --> 00:13:21,276 Speaker 3: rounding up equipment because there's no way we could fly 262 00:13:21,356 --> 00:13:23,116 Speaker 3: our back line equipment too. 263 00:13:23,156 --> 00:13:23,836 Speaker 1: We had no money. 264 00:13:24,356 --> 00:13:28,396 Speaker 3: We'd fly standby on this airline called Martinair. It was amazing. 265 00:13:28,756 --> 00:13:32,316 Speaker 3: You could fly out of BWI for ninety nine dollars 266 00:13:32,916 --> 00:13:36,476 Speaker 3: out of BWI and you could reserve a stand by ticket, 267 00:13:36,676 --> 00:13:38,676 Speaker 3: which is weird because usually if you fly stand by, 268 00:13:38,716 --> 00:13:41,196 Speaker 3: you sit and wait and cross your fingers. Martinair it 269 00:13:41,316 --> 00:13:45,156 Speaker 3: was a Dutch airline Martinair. They would tell you whether 270 00:13:45,196 --> 00:13:47,836 Speaker 3: you're on the flight or not, like two days before 271 00:13:47,876 --> 00:13:50,396 Speaker 3: the flight, so you basically reserve a seats for ninety 272 00:13:50,436 --> 00:13:52,596 Speaker 3: nine bucks. So we would all work our jobs at home. 273 00:13:52,636 --> 00:13:55,076 Speaker 3: I worked on a furniture warehouse. Pete worked at the 274 00:13:55,116 --> 00:13:57,796 Speaker 3: Washington Post delivering papers, and we get ninety nine bucks 275 00:13:57,796 --> 00:13:59,836 Speaker 3: and we'd get our tickets and get over to Amsterdam 276 00:14:00,076 --> 00:14:02,716 Speaker 3: but have nothing, and we would sleep on Toss's floor. 277 00:14:02,836 --> 00:14:05,076 Speaker 3: We'd sort of try to pick up odd jobs to 278 00:14:05,116 --> 00:14:06,916 Speaker 3: make a little bit of money. And how did you 279 00:14:06,956 --> 00:14:09,516 Speaker 3: know Toss scream New Toss? I think I think from 280 00:14:09,516 --> 00:14:11,916 Speaker 3: the first time day before I joined the band. They 281 00:14:11,956 --> 00:14:14,956 Speaker 3: toured Europe in maybe like nineteen eighty three or eighty 282 00:14:14,996 --> 00:14:17,596 Speaker 3: five or something, but so yeah, they just met Toss scene. 283 00:14:18,076 --> 00:14:18,796 Speaker 1: Yeah, I mean that was. 284 00:14:18,756 --> 00:14:22,716 Speaker 3: Sort of like that networking community those days. People helped 285 00:14:22,756 --> 00:14:26,436 Speaker 3: each other out. There's always a Florida crash on and 286 00:14:26,876 --> 00:14:28,596 Speaker 3: if he didn't have a guitar, there was always one 287 00:14:28,716 --> 00:14:29,716 Speaker 3: that someone would end. 288 00:14:30,076 --> 00:14:30,836 Speaker 1: So Skeeter. 289 00:14:30,996 --> 00:14:35,196 Speaker 3: One day, as I was sitting on the couch listening 290 00:14:35,276 --> 00:14:38,756 Speaker 3: to Tossa's amazing record collection, Skeeter walks up to me 291 00:14:40,156 --> 00:14:45,956 Speaker 3: with his dick in his hand, and I think he 292 00:14:46,076 --> 00:14:51,276 Speaker 3: was afraid that he had maybe contracted a nasty problem. 293 00:14:51,876 --> 00:14:53,916 Speaker 3: I'm sorry, Skeeter. I don't want to call Skeeter out. 294 00:14:55,076 --> 00:14:57,076 Speaker 3: And he said, does that look like pusty? And I said, nah, 295 00:14:57,116 --> 00:14:59,676 Speaker 3: I think it's lint. And so it's so perfectly delivered 296 00:14:59,716 --> 00:15:02,116 Speaker 3: on this song. Well, here's the thing, it's I mean, 297 00:15:02,396 --> 00:15:04,996 Speaker 3: I'm never short for words, first of all, I never 298 00:15:05,076 --> 00:15:07,156 Speaker 3: have been. And I didn't know what to sing over 299 00:15:07,196 --> 00:15:11,236 Speaker 3: this crazy like metal instrumental thing that I had done. 300 00:15:11,436 --> 00:15:13,516 Speaker 3: So I decided just to tell a story. That was 301 00:15:13,516 --> 00:15:13,876 Speaker 3: the story. 302 00:15:13,956 --> 00:15:14,676 Speaker 1: But long. 303 00:15:15,156 --> 00:15:17,636 Speaker 2: Hey, if you're long winded, you figured out to be 304 00:15:17,716 --> 00:15:20,236 Speaker 2: really concise and economical. 305 00:15:20,316 --> 00:15:22,876 Speaker 1: It's all about the timing. All the timing perfect. It 306 00:15:22,956 --> 00:15:24,156 Speaker 1: was perfect. And then I saw the. 307 00:15:25,956 --> 00:15:31,076 Speaker 2: Classic Cheech and Chong it's Dave, Oh my god, maybe 308 00:15:31,076 --> 00:15:33,756 Speaker 2: that must be I remember listening to Cheech and Chong 309 00:15:33,876 --> 00:15:34,676 Speaker 2: records when I was in. 310 00:15:34,676 --> 00:15:37,676 Speaker 1: Like sixth grade. It's weird, life. 311 00:15:37,516 --> 00:15:39,916 Speaker 3: Kind of changed around like ten or eleven years old, 312 00:15:40,116 --> 00:15:42,636 Speaker 3: where you know, I had Beatles records, and I had 313 00:15:42,716 --> 00:15:46,556 Speaker 3: Kiss records, and I had Rush records, and pre punk rock, 314 00:15:48,196 --> 00:15:52,556 Speaker 3: I was listening to Cheech and Chong records which are amazing, 315 00:15:52,996 --> 00:15:56,956 Speaker 3: and Days Not Here, that comic that's upstairs, and all 316 00:15:56,956 --> 00:15:59,476 Speaker 3: those bits on those records are so funny. And then 317 00:15:59,516 --> 00:16:01,956 Speaker 3: I went to a movie theater with my friend Larry Hinkle, 318 00:16:02,236 --> 00:16:04,756 Speaker 3: He's my best friend. We went one night to a 319 00:16:04,796 --> 00:16:07,956 Speaker 3: midnight movie and we saw a C d c's Let 320 00:16:07,956 --> 00:16:12,396 Speaker 3: There Be Rock Tour Moving, which is an ACDC performance 321 00:16:12,436 --> 00:16:16,436 Speaker 3: in I think Paris from maybe seventy nine. It was 322 00:16:16,956 --> 00:16:19,916 Speaker 3: just before bon Scott, the original singer, passed away, and 323 00:16:19,956 --> 00:16:22,676 Speaker 3: their performance was so. 324 00:16:24,796 --> 00:16:25,156 Speaker 1: Moving. 325 00:16:25,196 --> 00:16:27,196 Speaker 3: It was so it was the first time I'd seen 326 00:16:27,796 --> 00:16:30,236 Speaker 3: and it was in a movie theater with a concert 327 00:16:30,316 --> 00:16:32,916 Speaker 3: pa in the theaters, Me and Larry and like three 328 00:16:32,956 --> 00:16:35,756 Speaker 3: other people in the backs who were smoking weed and 329 00:16:35,956 --> 00:16:39,316 Speaker 3: watching this ACDC performance. It was like their life depended 330 00:16:39,396 --> 00:16:43,676 Speaker 3: on it. Angus Young is running, sweating, getting oxygen because 331 00:16:43,676 --> 00:16:46,876 Speaker 3: he's going so hard that the drummer Phil Rudd, he's 332 00:16:46,916 --> 00:16:50,396 Speaker 3: just breaking through snares and putting new snares up. And 333 00:16:50,476 --> 00:16:53,956 Speaker 3: it was like it was the first time I felt 334 00:16:54,596 --> 00:16:58,996 Speaker 3: in my body that I wanted to explode. As much 335 00:16:58,996 --> 00:17:02,476 Speaker 3: as I loved the complexity and the beauty and the 336 00:17:02,516 --> 00:17:05,876 Speaker 3: melody of like the Beatles and things like that this 337 00:17:06,076 --> 00:17:09,116 Speaker 3: just made me want to fucking tear the movie theater down, 338 00:17:09,476 --> 00:17:12,196 Speaker 3: and that sort of like set this spark in me. 339 00:17:12,236 --> 00:17:14,516 Speaker 3: And it wasn't long after that that I discovered punk 340 00:17:14,596 --> 00:17:17,276 Speaker 3: rock music and I was like, I'm home. Okay, great, 341 00:17:17,356 --> 00:17:19,596 Speaker 3: I found the thing that unlocks the thing. Yeah, I 342 00:17:19,636 --> 00:17:21,876 Speaker 3: got the key now, so what am I gonna do. 343 00:17:21,956 --> 00:17:24,116 Speaker 2: It's amazing how closely related those things are, because you know, 344 00:17:24,916 --> 00:17:26,636 Speaker 2: after a certain point, by the time I got into 345 00:17:26,636 --> 00:17:29,196 Speaker 2: punk rock, it was like verbot and to like, you know, 346 00:17:29,396 --> 00:17:31,436 Speaker 2: like God forbid you listen to like a Ted Nugent 347 00:17:31,476 --> 00:17:33,076 Speaker 2: record or something you know, but then you and then 348 00:17:33,076 --> 00:17:35,196 Speaker 2: you like watching an interview with like Henry Rollins, He's like. 349 00:17:35,196 --> 00:17:37,396 Speaker 3: He fucking loves Ted Nugent, Like, oh, he and Ian Mackay, 350 00:17:37,636 --> 00:17:43,596 Speaker 3: I've had long debates. Actually it's funny. Ian Ian's old 351 00:17:43,596 --> 00:17:47,516 Speaker 3: friend and he was you know, he's honestly one of 352 00:17:47,516 --> 00:17:51,116 Speaker 3: my heroes in life. He's such an incredible person, incredible man. 353 00:17:51,316 --> 00:17:55,116 Speaker 3: His truth and integrity and purity and creativity and the 354 00:17:55,156 --> 00:17:59,236 Speaker 3: way he lives is like he's a righteous dude. He's 355 00:17:59,316 --> 00:18:01,956 Speaker 3: amazing to this day, incredible to this day. So we've 356 00:18:01,996 --> 00:18:05,756 Speaker 3: had long conversations about Ted Nugent. I'm like, are you 357 00:18:06,556 --> 00:18:08,836 Speaker 3: really Ian? He's like yeah, man, like I guess he 358 00:18:08,876 --> 00:18:10,236 Speaker 3: and had we went to go see him. Play's like, 359 00:18:10,276 --> 00:18:12,836 Speaker 3: here's this guy. He jumps out on stage with his guitar. 360 00:18:12,876 --> 00:18:14,916 Speaker 3: It's loud as shit, he's wearing a loincloth and he's 361 00:18:14,956 --> 00:18:17,516 Speaker 3: screaming his fucking brains on his hairs out to here. 362 00:18:17,836 --> 00:18:19,076 Speaker 1: He goes, yeah, Ted Nugent. 363 00:18:19,316 --> 00:18:22,036 Speaker 3: And so last year, for Ian's birthday, I got him 364 00:18:22,036 --> 00:18:29,356 Speaker 3: a cameo from Ted Nugent No louking way, yeah, and 365 00:18:29,796 --> 00:18:33,596 Speaker 3: it blew Ian's mind. I don't even think Ian knew 366 00:18:33,636 --> 00:18:36,236 Speaker 3: what cameo was. And of course, like you have to 367 00:18:36,276 --> 00:18:40,396 Speaker 3: sort of prompt the cameo say it's my friend Ian's birthday. 368 00:18:40,716 --> 00:18:44,716 Speaker 3: He's a struggling musician and an avid bow hunter or whatever. 369 00:18:44,596 --> 00:18:48,196 Speaker 1: Like I, oh, yeah, I went there. He was just like, 370 00:18:48,676 --> 00:18:51,476 Speaker 1: how did you do that? How does this? I'm like, en, 371 00:18:51,516 --> 00:18:53,356 Speaker 1: It's like he's like an app you just played it. 372 00:18:53,476 --> 00:18:56,396 Speaker 1: He's like blue is mine. He was super into it. 373 00:18:56,676 --> 00:18:59,756 Speaker 1: Gee was not apparently. I would like to imagine at 374 00:18:59,796 --> 00:19:02,356 Speaker 1: some point Ted Nugent realized that was really for. 375 00:19:02,556 --> 00:19:05,156 Speaker 3: Well, you know what's funny actually recently. I could say 376 00:19:05,196 --> 00:19:07,516 Speaker 3: this now because Ian acknowledged it the other day. You 377 00:19:07,516 --> 00:19:12,396 Speaker 3: know about the Albini Fugazi that came out recently. It's phenomenal. 378 00:19:12,636 --> 00:19:17,116 Speaker 3: It's testament to how Steve Albini could take something to 379 00:19:17,356 --> 00:19:22,596 Speaker 3: an entire, entirely different place. Like I'd never heard Fugazi 380 00:19:22,636 --> 00:19:25,876 Speaker 3: sound like that. That record is a masterpiece and it's 381 00:19:25,916 --> 00:19:29,636 Speaker 3: so incredibly powerful, and you know, everybody had heard it 382 00:19:29,676 --> 00:19:32,356 Speaker 3: was rumored that they made a record with Albini. But anyway, 383 00:19:32,596 --> 00:19:34,836 Speaker 3: so when it came out on band camp, it was like, 384 00:19:35,076 --> 00:19:37,356 Speaker 3: you know, nine ninety nine ten bucks or whatever, and 385 00:19:37,396 --> 00:19:44,756 Speaker 3: you could donate money to a charity that was Albini's 386 00:19:44,956 --> 00:19:50,436 Speaker 3: like favorite charity. So I buy the record and then 387 00:19:50,516 --> 00:19:52,636 Speaker 3: I donate a bunch of money to the charity. But 388 00:19:52,676 --> 00:19:54,676 Speaker 3: then you can also write a message to the band, 389 00:19:55,316 --> 00:20:00,556 Speaker 3: and I said, thank you for finally releasing these Albini sessions. 390 00:20:00,756 --> 00:20:07,996 Speaker 3: Currently listening to your album from my monster truck as 391 00:20:08,036 --> 00:20:12,276 Speaker 3: I shoot flaming arrows at targets, love Ted Nugent, and 392 00:20:12,316 --> 00:20:15,276 Speaker 3: I'm like, he's going to see this. It took it 393 00:20:15,316 --> 00:20:17,676 Speaker 3: took about three weeks, and I just got the text 394 00:20:17,676 --> 00:20:20,156 Speaker 3: the other day He's like, hey, nuge, thanks for the donation. 395 00:20:21,076 --> 00:20:25,596 Speaker 3: I just texted back, I said, God bless America. But 396 00:20:25,596 --> 00:20:27,756 Speaker 3: but right, so, no, the I mean both of these 397 00:20:27,796 --> 00:20:30,956 Speaker 3: things can be true. These two things can coexist. Yeah, 398 00:20:30,996 --> 00:20:33,636 Speaker 3: you know, I think one of the complications in a 399 00:20:33,676 --> 00:20:39,916 Speaker 3: lot of that punk rock list of ethos, ethics, whatever, 400 00:20:39,916 --> 00:20:42,276 Speaker 3: it was like can't do this, can't do that, can't 401 00:20:42,276 --> 00:20:45,676 Speaker 3: do this one of the things. Of course, like there 402 00:20:45,716 --> 00:20:48,796 Speaker 3: were there were elements of that music where I was 403 00:20:48,796 --> 00:20:53,596 Speaker 3: really inspired emotionally, personally, politically, all of those things, especially 404 00:20:53,596 --> 00:20:55,796 Speaker 3: at that time in the eighties, Like I mean, we're here, 405 00:20:55,836 --> 00:20:57,076 Speaker 3: we are again, but still like. 406 00:20:56,996 --> 00:21:00,196 Speaker 1: It seems quaint almost r so, like the world needs 407 00:21:00,236 --> 00:21:03,396 Speaker 1: punk rock now more than ever. I think it's coming back. 408 00:21:03,396 --> 00:21:05,476 Speaker 1: I'm telling the guitar is coming back. I hope, so 409 00:21:05,556 --> 00:21:07,316 Speaker 1: fucking world needs guitars. 410 00:21:07,356 --> 00:21:10,636 Speaker 3: But there was also the musicale When I learned how 411 00:21:10,676 --> 00:21:12,916 Speaker 3: to play the drums, it was literally sitting on a 412 00:21:12,956 --> 00:21:15,756 Speaker 3: floor in front of a couch, playing on pillows. But 413 00:21:16,116 --> 00:21:19,196 Speaker 3: I could hear like Earl from the Bad Brains, I 414 00:21:19,196 --> 00:21:22,796 Speaker 3: could hear the difference between him and John Bonham and 415 00:21:22,916 --> 00:21:26,036 Speaker 3: Jeff Nelson from Minor Threat and Stuart Copeland, and so 416 00:21:26,196 --> 00:21:31,396 Speaker 3: there was something about the musicality in all of their 417 00:21:31,476 --> 00:21:34,276 Speaker 3: individual feel that I was like that to me was 418 00:21:34,356 --> 00:21:38,636 Speaker 3: the challenge, like just go up there and like screamshit, 419 00:21:39,356 --> 00:21:42,076 Speaker 3: Like go up there and like push it, to push 420 00:21:42,156 --> 00:21:44,916 Speaker 3: as far as you can. And even in writing a song, 421 00:21:44,996 --> 00:21:48,556 Speaker 3: don't just stop there, like keep going. Sometimes it should 422 00:21:48,596 --> 00:21:51,556 Speaker 3: stop there. But like a lot of the musicality I 423 00:21:51,596 --> 00:21:56,516 Speaker 3: think came from those early rock and roll records, classic rock. 424 00:21:57,636 --> 00:22:01,556 Speaker 3: Then the energy and the intention of punk rock. You 425 00:22:01,596 --> 00:22:04,196 Speaker 3: put those two things together and you have a Pigazzi record. 426 00:22:04,276 --> 00:22:07,956 Speaker 2: Yeah you know, yeah, yeah, yeah, We'll be back with 427 00:22:07,996 --> 00:22:09,076 Speaker 2: more from Dave Girl. 428 00:22:13,316 --> 00:22:14,436 Speaker 1: It's a good time to bring up. 429 00:22:14,556 --> 00:22:16,516 Speaker 2: You guys are gonna go out on the road, and 430 00:22:16,556 --> 00:22:18,756 Speaker 2: you guys have some incredible openers, I mean to the 431 00:22:18,756 --> 00:22:21,276 Speaker 2: point to your point of like the world needs punk rock, 432 00:22:21,356 --> 00:22:23,316 Speaker 2: Like you guys have some great openers, and I feel 433 00:22:23,356 --> 00:22:26,316 Speaker 2: like mannequin pussy de Spits. I don't know if I'm 434 00:22:26,316 --> 00:22:27,836 Speaker 2: saying that right, but de Spits. I don't speak you 435 00:22:27,996 --> 00:22:28,876 Speaker 2: German or whatever, but. 436 00:22:28,916 --> 00:22:30,676 Speaker 1: There we go. Whatever you can figure it out. It's 437 00:22:30,676 --> 00:22:32,636 Speaker 1: just a little band called Queens stone Age or Queens 438 00:22:32,676 --> 00:22:33,636 Speaker 1: of the Stone Age. There we go. 439 00:22:33,716 --> 00:22:36,276 Speaker 2: I know, I feel like it does feel like you know, 440 00:22:36,796 --> 00:22:39,116 Speaker 2: when I was thinking back about your career, it's like 441 00:22:39,156 --> 00:22:41,636 Speaker 2: it's so it's like incredible, Like you're in DC and 442 00:22:41,636 --> 00:22:43,596 Speaker 2: there's that saying it's Ian Mackay and you got bands 443 00:22:43,636 --> 00:22:46,036 Speaker 2: like Scream, and then you come out to LA and 444 00:22:46,076 --> 00:22:48,476 Speaker 2: there's like, you know, the whole LA thing, and then 445 00:22:48,516 --> 00:22:49,956 Speaker 2: you up to see out and there's down of course, 446 00:22:49,996 --> 00:22:51,316 Speaker 2: and then you get out of there and you're starting 447 00:22:51,356 --> 00:22:53,876 Speaker 2: the food fighters and say, oh, Nate from fucking something 448 00:22:53,876 --> 00:22:55,476 Speaker 2: you did really say and then at some point and say, 449 00:22:55,516 --> 00:22:57,596 Speaker 2: oh no use for a name like Litis grab Chris. 450 00:22:57,676 --> 00:23:00,236 Speaker 2: And it's like there used to just be such a 451 00:23:00,076 --> 00:23:04,836 Speaker 2: a like a wherever every town had this incredible network 452 00:23:05,356 --> 00:23:09,876 Speaker 2: of musicians, and it felt like that was like splintered 453 00:23:10,036 --> 00:23:12,356 Speaker 2: for a long time. But it feels I'm hoping that 454 00:23:12,436 --> 00:23:14,396 Speaker 2: slowly is coming back. I mean, that's one of the 455 00:23:14,396 --> 00:23:15,556 Speaker 2: things that's sort of amazing. 456 00:23:15,796 --> 00:23:17,156 Speaker 1: I mean, you kind of caught the last tree out 457 00:23:17,156 --> 00:23:19,756 Speaker 1: of nom of helicopters. Nomen has sense like you kind 458 00:23:19,756 --> 00:23:20,436 Speaker 1: of were. 459 00:23:20,316 --> 00:23:24,556 Speaker 2: Like you got to have that and work from that, 460 00:23:25,076 --> 00:23:26,596 Speaker 2: and it just sort of went away. 461 00:23:26,316 --> 00:23:29,636 Speaker 3: Which is well, it's a trip because I think there 462 00:23:29,716 --> 00:23:36,716 Speaker 3: was like sort of necessity in connectivity, you know, those 463 00:23:36,836 --> 00:23:40,236 Speaker 3: punk rock scenes. First of all, the thing that I 464 00:23:40,316 --> 00:23:42,716 Speaker 3: really loved about it back then that there was like 465 00:23:42,916 --> 00:23:45,716 Speaker 3: there was this regional element to music. It's like if 466 00:23:45,796 --> 00:23:49,316 Speaker 3: you if a band was coming from Minneapolis, you're like, Oh, 467 00:23:49,356 --> 00:23:52,516 Speaker 3: they've got that Minneapolis thing, Decroitz and or Husker Do 468 00:23:52,716 --> 00:23:55,636 Speaker 3: or whatever stuff like that, or southern California the SST 469 00:23:55,836 --> 00:23:59,076 Speaker 3: record stuff. You're like, oh, it's an SST record. All right, 470 00:23:59,156 --> 00:24:00,836 Speaker 3: here we go, like what's this gonna be. It's gonna 471 00:24:00,836 --> 00:24:02,796 Speaker 3: be weird, it's gonna be heavy, it's gonna be loud. 472 00:24:03,156 --> 00:24:06,796 Speaker 3: And then over time, as things became more inter connected, 473 00:24:07,436 --> 00:24:11,956 Speaker 3: it's not that that that regional aspect or element of 474 00:24:11,956 --> 00:24:15,196 Speaker 3: the music disappeared. Things just sort of, you know, spread 475 00:24:15,196 --> 00:24:18,916 Speaker 3: faster and quicker. But the community. I still feel like 476 00:24:18,996 --> 00:24:21,756 Speaker 3: there is community in music. And it's funny because I 477 00:24:22,236 --> 00:24:25,876 Speaker 3: do feel like there's community in underground music as much 478 00:24:25,876 --> 00:24:30,956 Speaker 3: as I feel like there's community in like bigger, skip 479 00:24:31,036 --> 00:24:34,556 Speaker 3: broader scale like pop and things like that. Because I 480 00:24:34,956 --> 00:24:39,596 Speaker 3: feel like musicians should stick together. Right If you put 481 00:24:39,596 --> 00:24:42,156 Speaker 3: two musicians in a room in front of a board 482 00:24:42,156 --> 00:24:44,676 Speaker 3: and we're talking about albums and stuff or just music, 483 00:24:45,316 --> 00:24:48,996 Speaker 3: you're gonna find common ground. You know, I probably have 484 00:24:49,076 --> 00:24:51,356 Speaker 3: an easier time speaking with a musician than I would 485 00:24:51,876 --> 00:24:58,236 Speaker 3: like a lawyer or a football player or something like that. 486 00:24:58,596 --> 00:25:02,076 Speaker 3: So I do think that there is there is this 487 00:25:02,076 --> 00:25:06,116 Speaker 3: this common ground community in most musicians. Now with the 488 00:25:06,116 --> 00:25:10,236 Speaker 3: interconnectivity of everything, it's just just it's a different world. 489 00:25:11,036 --> 00:25:14,236 Speaker 3: But I do think, and you know, I watch someone 490 00:25:14,396 --> 00:25:18,236 Speaker 3: like my daughter Violet or my daughter Harper. They're both musical, 491 00:25:19,036 --> 00:25:23,236 Speaker 3: and they both reside in this really awesome place with 492 00:25:23,316 --> 00:25:27,236 Speaker 3: their friends, and a lot of them are tons of musicians. 493 00:25:27,276 --> 00:25:29,876 Speaker 3: Like there's drummers and there's guitar players, and this guy 494 00:25:29,916 --> 00:25:32,956 Speaker 3: has a studio and this band's playing a show. Actually, 495 00:25:33,036 --> 00:25:37,236 Speaker 3: oh my god. Recently I went and saw Max's band. 496 00:25:37,716 --> 00:25:41,236 Speaker 3: Max's sixteen, seventeen years old. He and my daughter Harper 497 00:25:41,276 --> 00:25:43,476 Speaker 3: are like this. And his band was playing at this 498 00:25:43,636 --> 00:25:47,676 Speaker 3: place that is a skate shop that sort of packs 499 00:25:47,756 --> 00:25:49,676 Speaker 3: up and pushes everything to this side so that they 500 00:25:49,676 --> 00:25:52,796 Speaker 3: can have punk rock shows at night. There's no door charge, 501 00:25:52,836 --> 00:25:55,036 Speaker 3: but you can donate if you want. And so I 502 00:25:55,076 --> 00:25:58,836 Speaker 3: went to go see Max's band. They're all probably around 503 00:25:58,876 --> 00:26:02,836 Speaker 3: seventeen eighteen years old. It's a three piece. I didn't 504 00:26:02,876 --> 00:26:04,836 Speaker 3: know what to expect. Max is a great drummer. 505 00:26:04,956 --> 00:26:05,476 Speaker 1: I walk in. 506 00:26:05,716 --> 00:26:08,316 Speaker 3: There's maybe thirty or forty people there, and all the 507 00:26:08,396 --> 00:26:13,756 Speaker 3: kids from the bands are watching everybody else's band, which 508 00:26:13,756 --> 00:26:16,836 Speaker 3: to me, that's like, that's that's that's the thing. They 509 00:26:16,876 --> 00:26:19,916 Speaker 3: start setting up and this singer guitar player guy I 510 00:26:19,956 --> 00:26:24,196 Speaker 3: don't remember his name, he unsip this duffel bag and 511 00:26:24,236 --> 00:26:28,996 Speaker 3: he pulls out this line of pedals that looks like 512 00:26:29,876 --> 00:26:35,076 Speaker 3: almost like like Christmas lights. He's it was like nineteen pedals. 513 00:26:35,316 --> 00:26:35,996 Speaker 3: He pulls out and. 514 00:26:35,956 --> 00:26:38,316 Speaker 1: They're all kind it's all tangled up, and he's like. 515 00:26:38,996 --> 00:26:42,676 Speaker 3: I'm like, oh my god, here we go. And they 516 00:26:42,716 --> 00:26:44,716 Speaker 3: get a thing set up and then he just goes 517 00:26:48,116 --> 00:26:52,636 Speaker 3: crazy sound of cue. I think he's playing like a 518 00:26:52,756 --> 00:26:55,596 Speaker 3: Jaguar or something like that. And wow, and now all 519 00:26:55,596 --> 00:26:57,676 Speaker 3: of a sudden it's like Hendricks at Woodstock. I'm like, 520 00:26:57,716 --> 00:27:03,636 Speaker 3: oh my god, what is happening right now? And then 521 00:27:03,996 --> 00:27:06,196 Speaker 3: he just goes playing, and all of a sudden, it's 522 00:27:06,236 --> 00:27:09,556 Speaker 3: like it's giving like Dinosaur Junior melodies chords. 523 00:27:09,596 --> 00:27:11,316 Speaker 1: I'm like, oh my god, this is great. The other 524 00:27:11,356 --> 00:27:12,516 Speaker 1: two aren't even in the club. 525 00:27:12,596 --> 00:27:15,716 Speaker 3: Yet then he's playing the song the two and I'm 526 00:27:15,716 --> 00:27:17,596 Speaker 3: standing by the front door. The two of them walk 527 00:27:17,676 --> 00:27:21,156 Speaker 3: into the front door into the place. Through the front door, 528 00:27:21,316 --> 00:27:25,316 Speaker 3: they get on their instruments and they just start going 529 00:27:28,196 --> 00:27:31,796 Speaker 3: for like five minutes. I'm just like, now it's like Swans. Now, 530 00:27:31,796 --> 00:27:34,516 Speaker 3: I'm just like, oh my god, this is insane. So 531 00:27:34,556 --> 00:27:39,036 Speaker 3: eventually it's total chaos and it's beautiful. And the guitar 532 00:27:39,076 --> 00:27:41,956 Speaker 3: player and he gets his guitar. There's maybe forty people 533 00:27:41,996 --> 00:27:44,636 Speaker 3: there in a really small room. He gets his guitar 534 00:27:44,756 --> 00:27:47,196 Speaker 3: and he's pulling it through the crowd on the well. 535 00:27:47,236 --> 00:27:49,836 Speaker 3: First he's handing his guitar to everybody, everybody's playing it. 536 00:27:49,956 --> 00:27:52,636 Speaker 3: He's pulling it through the crowd by like the guitar 537 00:27:52,996 --> 00:27:55,636 Speaker 3: on the floor is just running. So now the audience 538 00:27:55,756 --> 00:27:58,396 Speaker 3: is split in two. And there's this like like the 539 00:27:58,396 --> 00:28:00,956 Speaker 3: Red Sea. There's this aisle where he's just running back 540 00:28:00,996 --> 00:28:05,356 Speaker 3: and forth dragging his guitar around. It's the most insane, beautiful, 541 00:28:05,636 --> 00:28:09,716 Speaker 3: chaotic feedback. It's like he's making music. It's just chaos, 542 00:28:10,156 --> 00:28:12,476 Speaker 3: and I'm like, oh my god. Now it's the Nation 543 00:28:12,516 --> 00:28:14,876 Speaker 3: of Ulysses. Now I'm just like, oh my God, this 544 00:28:14,956 --> 00:28:16,036 Speaker 3: is I'm am. 545 00:28:15,916 --> 00:28:17,556 Speaker 1: I eighteen again. 546 00:28:17,636 --> 00:28:19,996 Speaker 3: This is insane, back and forth, back and forth, and 547 00:28:20,036 --> 00:28:22,996 Speaker 3: those guys are and then all of a sudden, I'm 548 00:28:22,996 --> 00:28:24,956 Speaker 3: looking around, like where the fuck did that guy go? 549 00:28:26,116 --> 00:28:28,436 Speaker 3: And the front door opens up and he comes running 550 00:28:28,476 --> 00:28:32,436 Speaker 3: through that he'd run around the block as the guitars 551 00:28:32,476 --> 00:28:37,196 Speaker 3: on the ground going, and then the show ends in 552 00:28:37,236 --> 00:28:42,756 Speaker 3: the most climactic I was so inspired, but I was 553 00:28:42,796 --> 00:28:47,316 Speaker 3: also reassured because I'm like, great, it still exists. So 554 00:28:47,396 --> 00:28:51,676 Speaker 3: there's moments where you think like maybe it's gone. Maybe 555 00:28:51,756 --> 00:28:59,716 Speaker 3: that thing that you feel at that age, independence, you know, identity. 556 00:29:00,676 --> 00:29:02,636 Speaker 3: Here in this place, you're not a little kid anymore. 557 00:29:02,796 --> 00:29:04,476 Speaker 3: You get to decide who you want to be. If 558 00:29:04,476 --> 00:29:07,956 Speaker 3: you're lucky, and you've got this community of people that 559 00:29:08,036 --> 00:29:12,116 Speaker 3: are like living, they're like, let's do this with each 560 00:29:12,156 --> 00:29:13,076 Speaker 3: other and for each other. 561 00:29:13,276 --> 00:29:16,596 Speaker 1: Yeah, Oh it was so great. Does that something like 562 00:29:16,636 --> 00:29:18,836 Speaker 1: that too? Does it? Does it still? Do you leave there? 563 00:29:18,836 --> 00:29:18,876 Speaker 2: Like? 564 00:29:18,916 --> 00:29:20,316 Speaker 1: Fuck it? I want to go to this. I'm gonna 565 00:29:20,316 --> 00:29:20,996 Speaker 1: just pick up my guitar. 566 00:29:21,036 --> 00:29:24,556 Speaker 3: And I was like, I can't wait to go home 567 00:29:24,596 --> 00:29:32,276 Speaker 3: and write some songs. Wow, you know, yeah, absolutely totally inspiring. 568 00:29:32,396 --> 00:29:34,436 Speaker 1: That's kind of I mean not necessarily that. 569 00:29:35,116 --> 00:29:38,396 Speaker 2: I don't know if something like that inspired this record, 570 00:29:38,516 --> 00:29:40,556 Speaker 2: but the new record Foo Fighter's Records. 571 00:29:40,356 --> 00:29:42,956 Speaker 1: Understand, did come from you just writing a bunch of songs. 572 00:29:43,036 --> 00:29:45,756 Speaker 3: It's weird because so we've made a bunch of records, 573 00:29:46,196 --> 00:29:49,756 Speaker 3: and we've moved in different directions like almost on each record, 574 00:29:49,956 --> 00:29:52,796 Speaker 3: because this is the first record, it's like there's Weenie 575 00:29:52,796 --> 00:29:55,596 Speaker 3: Beanie and that's my version of a ministry song, you know. 576 00:29:55,636 --> 00:29:57,556 Speaker 3: And then there's like big Me and that's my version 577 00:29:57,596 --> 00:30:01,516 Speaker 3: of a you know, candy commercial or a Silly Kinks 578 00:30:01,516 --> 00:30:03,916 Speaker 3: song or something. And then a song like I'll Stick 579 00:30:03,956 --> 00:30:05,876 Speaker 3: Around or this is a call, like that's more sort 580 00:30:05,876 --> 00:30:09,516 Speaker 3: of like that's that's my screen. That's it's like the 581 00:30:09,556 --> 00:30:12,756 Speaker 3: scream part of my heart right that's there. And then 582 00:30:12,796 --> 00:30:16,156 Speaker 3: the second record there's like really beautiful Moment February Stars 583 00:30:16,436 --> 00:30:21,836 Speaker 3: very sort of like big sort of emotional anthemic kind 584 00:30:21,836 --> 00:30:24,916 Speaker 3: of vibes. And then the third record it's like there's 585 00:30:24,996 --> 00:30:27,316 Speaker 3: elements like ain't it the Life? It's almost like a 586 00:30:27,476 --> 00:30:29,476 Speaker 3: fucking Eagles song or so, I don't know, it's weird 587 00:30:29,556 --> 00:30:32,436 Speaker 3: because that's what I'm saying, like you push, you know, 588 00:30:32,756 --> 00:30:35,596 Speaker 3: and you want to see how where you can go 589 00:30:35,676 --> 00:30:38,916 Speaker 3: with what you've got, right. So then over time you 590 00:30:39,076 --> 00:30:45,676 Speaker 3: have this like really wide playing field dynamic where it's like, Okay, 591 00:30:46,036 --> 00:30:48,876 Speaker 3: is this like a sleepy acoustic thing? The fuck we've 592 00:30:48,916 --> 00:30:52,676 Speaker 3: done that? Is this like some noisy ass, like screaming 593 00:30:52,716 --> 00:30:53,676 Speaker 3: ass punk rock song. 594 00:30:54,356 --> 00:30:55,196 Speaker 1: We've done that? Man? 595 00:30:55,836 --> 00:31:01,956 Speaker 3: Is this like you know some orchestral weird you know, 596 00:31:02,076 --> 00:31:07,716 Speaker 3: Zeppelin presence wanna be thing? We kind of did that, 597 00:31:07,876 --> 00:31:09,476 Speaker 3: you know. And so you wind up in a place 598 00:31:09,516 --> 00:31:14,156 Speaker 3: where you can't over analyze or overthink things because it 599 00:31:14,196 --> 00:31:17,396 Speaker 3: will overcomplicate stuff. You just go with what you feel 600 00:31:17,516 --> 00:31:18,076 Speaker 3: at the moment. 601 00:31:18,196 --> 00:31:18,876 Speaker 1: Yeah, right. 602 00:31:19,436 --> 00:31:22,196 Speaker 3: And so as we were making these songs, I had 603 00:31:22,196 --> 00:31:24,396 Speaker 3: this bank of demos that I'd made. It was like 604 00:31:24,436 --> 00:31:28,356 Speaker 3: forty or fifty things, just instrumentals, because still I'll walk upstairs, 605 00:31:28,676 --> 00:31:31,396 Speaker 3: put down a drum track, put some guitars on it. 606 00:31:31,596 --> 00:31:35,796 Speaker 3: Just like another story about Skeeter Thompson. I have an instrumental, 607 00:31:35,836 --> 00:31:37,436 Speaker 3: and I'm like, what am I going to do with this? 608 00:31:38,076 --> 00:31:39,956 Speaker 3: And so I have this bank of like fifty of them. 609 00:31:40,196 --> 00:31:44,076 Speaker 3: It's almost looking in the pantry and you have sixty 610 00:31:44,116 --> 00:31:48,836 Speaker 3: different ingredients. Pick ten of those ingredients and see what 611 00:31:48,916 --> 00:31:52,276 Speaker 3: you can cook up that's key's mallah and some don't 612 00:31:52,276 --> 00:31:52,996 Speaker 3: work with each other. 613 00:31:53,476 --> 00:31:56,636 Speaker 1: So what you do? And so that's basically what happens. 614 00:31:56,676 --> 00:31:57,676 Speaker 1: So how do you filter it? 615 00:31:57,756 --> 00:32:00,116 Speaker 2: Do you pick like your first couple of favorites and 616 00:32:00,116 --> 00:32:02,276 Speaker 2: start to see what kind of works with those, or 617 00:32:02,436 --> 00:32:05,156 Speaker 2: like you just pick a like twenty and start to whittle. 618 00:32:05,556 --> 00:32:07,556 Speaker 3: Well, what happened was I was lying there in bed 619 00:32:07,596 --> 00:32:08,876 Speaker 3: in the middle of the night just listening to these 620 00:32:08,916 --> 00:32:10,796 Speaker 3: down and I was like, Okay, that's kind of cool. 621 00:32:10,996 --> 00:32:14,316 Speaker 1: That verge is good. Oh, I like the pattern on. 622 00:32:14,276 --> 00:32:18,076 Speaker 3: That blah blah blah, and I'm just going down random sequence. 623 00:32:18,916 --> 00:32:21,716 Speaker 3: That's kind of cool. I like that blah blah blah. 624 00:32:21,716 --> 00:32:26,156 Speaker 3: And then randomly there were ten songs in a row 625 00:32:26,276 --> 00:32:29,996 Speaker 3: that were just like boom boom boom boom boom. 626 00:32:29,316 --> 00:32:30,916 Speaker 1: Just sequenced already like that. 627 00:32:30,796 --> 00:32:33,396 Speaker 3: Basically yeah, And I was like, oh, wait a minute, 628 00:32:33,516 --> 00:32:35,836 Speaker 3: why would I want to throw stay away to the 629 00:32:35,876 --> 00:32:37,956 Speaker 3: heaven and in the middle of rock for light, you 630 00:32:37,996 --> 00:32:40,276 Speaker 3: know what I mean? Like, it's like then that you can't. 631 00:32:40,396 --> 00:32:42,716 Speaker 3: And I literally text everybody at five o'clock in the 632 00:32:42,756 --> 00:32:45,116 Speaker 3: morning and I was like, Okay, I think this is 633 00:32:45,116 --> 00:32:47,516 Speaker 3: what we should do. And let's start tomorrow at ten 634 00:32:47,556 --> 00:32:50,316 Speaker 3: o'clock in the morning, Jesus, and we just blasted it out. 635 00:32:50,476 --> 00:32:52,836 Speaker 3: Elan was done in what a week? He was done 636 00:32:52,876 --> 00:32:53,916 Speaker 3: in about seven days. 637 00:32:54,116 --> 00:32:54,476 Speaker 1: Wow. 638 00:32:54,596 --> 00:32:56,396 Speaker 3: He would do three songs a day and just blast 639 00:32:56,436 --> 00:32:59,996 Speaker 3: through it. But it was recorded in my house and again, 640 00:33:00,556 --> 00:33:04,036 Speaker 3: limited space, like we couldn't fit the whole band in 641 00:33:04,116 --> 00:33:07,156 Speaker 3: the room, even just sitting down or standing up. It 642 00:33:07,236 --> 00:33:11,116 Speaker 3: was like this room is too small. It's small. 643 00:33:11,316 --> 00:33:14,236 Speaker 1: Going back to the discord, so it was like studio. 644 00:33:13,916 --> 00:33:16,796 Speaker 3: Okay, Alan, you come in and then Nate are you 645 00:33:16,796 --> 00:33:23,476 Speaker 3: available at one? And so literally like tracking in order 646 00:33:23,916 --> 00:33:27,116 Speaker 3: to have enough space for each person took play. 647 00:33:27,196 --> 00:33:29,276 Speaker 1: It's amazing and it was just blasting through it. But 648 00:33:29,316 --> 00:33:29,876 Speaker 1: that was the thing. 649 00:33:29,916 --> 00:33:31,996 Speaker 3: It was just sort of this gut feeling of energy 650 00:33:32,196 --> 00:33:36,556 Speaker 3: like right now, that's how we feel, like, let's go 651 00:33:37,116 --> 00:33:37,756 Speaker 3: blast shit. 652 00:33:38,036 --> 00:33:38,916 Speaker 1: Yeah. You know. 653 00:33:39,076 --> 00:33:41,876 Speaker 3: We were out there doing all these smaller gigs in 654 00:33:42,156 --> 00:33:46,236 Speaker 3: clubs and theaters, surprise gigs for fun mostly really just 655 00:33:46,276 --> 00:33:50,596 Speaker 3: to sort of like, you know, bring Elan in closer 656 00:33:50,636 --> 00:33:53,356 Speaker 3: and get tighter in those small shows. 657 00:33:53,396 --> 00:33:56,196 Speaker 1: It's like you get tight quick. And in those small shows. 658 00:33:55,916 --> 00:33:58,876 Speaker 3: We really celebrated like all of these older songs we 659 00:33:58,916 --> 00:34:01,196 Speaker 3: hadn't played in a long time. Blah blah blah. But 660 00:34:01,276 --> 00:34:03,476 Speaker 3: it was like, God, damn, that feels good. I'm fifty 661 00:34:03,516 --> 00:34:07,876 Speaker 3: seven years old and it still feels good to scream 662 00:34:08,196 --> 00:34:12,716 Speaker 3: bloody fucking murder over some squeal and ass feedback and 663 00:34:13,156 --> 00:34:14,156 Speaker 3: hard hitting drums. 664 00:34:14,396 --> 00:34:18,356 Speaker 2: So yeah, and you can still fucking do it like relentlessly. 665 00:34:18,436 --> 00:34:21,476 Speaker 2: It seems like because you don't stop, nothing's breaking. 666 00:34:23,316 --> 00:34:28,596 Speaker 3: The other day and the guy's like, okay, do you exercise, 667 00:34:28,796 --> 00:34:33,356 Speaker 3: I'm like no, okay, he takes all my stuff. He's like, well, 668 00:34:33,436 --> 00:34:37,116 Speaker 3: you're you're pretty good shape. I'm like, yeah, I run 669 00:34:37,156 --> 00:34:40,516 Speaker 3: around screaming my fucking ass off for three hours, you know, 670 00:34:40,636 --> 00:34:42,636 Speaker 3: four days a week or whatever. It's my that's my 671 00:34:42,636 --> 00:34:46,276 Speaker 3: favorite exercise. Imagine going on a jog for three hours 672 00:34:46,476 --> 00:34:49,996 Speaker 3: and singing Glory, Glory, Hallelujah the whole time, and you 673 00:34:50,116 --> 00:34:52,156 Speaker 3: come back with some fucking washboard asks. 674 00:34:52,756 --> 00:34:54,236 Speaker 1: I just start doing that. Yeah. 675 00:34:54,236 --> 00:34:57,796 Speaker 3: But so when I look at a lot of our 676 00:34:58,076 --> 00:35:05,316 Speaker 3: favorite musicians who have had these long, storied careers talking 677 00:35:05,676 --> 00:35:10,796 Speaker 3: you know, McCartney and Joe Walsh and and Mick Jagger 678 00:35:10,996 --> 00:35:15,836 Speaker 3: and et cetera, et cetera, et cetera. They don't slow down, Yeah, 679 00:35:15,956 --> 00:35:19,476 Speaker 3: they almost ramp up. Yeah, And you're like, how could 680 00:35:19,516 --> 00:35:23,276 Speaker 3: that possibly be? And I don't think that it's a 681 00:35:23,356 --> 00:35:27,076 Speaker 3: ticking clock. I think it's the heart grows and the 682 00:35:27,116 --> 00:35:31,556 Speaker 3: gratitude and the appreciation as time goes on really grows 683 00:35:31,996 --> 00:35:35,316 Speaker 3: where you're like, I can't believe I'm still fucking doing this. 684 00:35:35,876 --> 00:35:37,396 Speaker 3: I don't know what else I would do, but like 685 00:35:38,436 --> 00:35:42,716 Speaker 3: I'm just really I feel really grateful that like we're 686 00:35:42,756 --> 00:35:44,996 Speaker 3: here because it couldn't worry just like talking about shit, 687 00:35:45,556 --> 00:35:46,716 Speaker 3: this is the fucking best. 688 00:35:47,196 --> 00:35:47,476 Speaker 1: Thank you. 689 00:35:47,556 --> 00:35:50,356 Speaker 3: I go get into fucking passport in forty five minutes 690 00:35:50,396 --> 00:35:53,916 Speaker 3: so that I can go and do this somewhere really 691 00:35:53,956 --> 00:35:56,276 Speaker 3: far away. Yeah, for the next year and a half 692 00:35:56,276 --> 00:35:59,956 Speaker 3: of my life, and thank God, Like it's great because. 693 00:36:00,076 --> 00:36:01,476 Speaker 2: It could go the other way. It could be I've 694 00:36:01,516 --> 00:36:04,516 Speaker 2: done it. It could be jaded, or could go that 695 00:36:04,596 --> 00:36:07,836 Speaker 2: direction a thousand It just doesn't know. 696 00:36:08,036 --> 00:36:11,756 Speaker 3: And I've always thought the core intension, which you sort 697 00:36:11,756 --> 00:36:14,996 Speaker 3: of find when you first start playing music, it's like 698 00:36:15,116 --> 00:36:18,236 Speaker 3: I just want to play music, Like you can't imagine 699 00:36:18,636 --> 00:36:22,156 Speaker 3: it becoming the thing that you do for the rest 700 00:36:22,196 --> 00:36:24,236 Speaker 3: of your life. Just an itch and it's like in 701 00:36:24,276 --> 00:36:27,276 Speaker 3: your heart and that thing doesn't that doesn't go away. 702 00:36:27,596 --> 00:36:29,236 Speaker 3: I mean there was a time once, you know, when 703 00:36:29,316 --> 00:36:31,316 Speaker 3: Ravana ended, where I'm like, I don't know, I don't 704 00:36:31,316 --> 00:36:34,556 Speaker 3: want to do music anymore, Like that hurts, and I'm like, no, 705 00:36:34,636 --> 00:36:36,556 Speaker 3: what am I talking about? Like that's that's the thing 706 00:36:36,556 --> 00:36:39,316 Speaker 3: that I always saved my life, Like yeah, I'm I 707 00:36:39,396 --> 00:36:40,276 Speaker 3: have to do it. 708 00:36:40,356 --> 00:36:42,596 Speaker 2: Was there any part of you considering something like was 709 00:36:42,636 --> 00:36:44,516 Speaker 2: there anything you were Yeah? 710 00:36:44,636 --> 00:36:51,036 Speaker 3: I mean, yeah, you know, I I I didn't know 711 00:36:51,076 --> 00:36:53,996 Speaker 3: what it was. But time went by where I was 712 00:36:54,036 --> 00:36:56,716 Speaker 3: just like, God, what do I do? Like I can't 713 00:36:56,716 --> 00:36:58,356 Speaker 3: if I sit behind the drums, it makes me sad. 714 00:36:58,356 --> 00:37:00,276 Speaker 3: If I listen to music, it makes me sad. Then 715 00:37:00,276 --> 00:37:04,516 Speaker 3: I wrote songs. Yeah, And like when I was a 716 00:37:04,596 --> 00:37:07,996 Speaker 3: kid with those stupid journals, I wrote my way through it. 717 00:37:08,556 --> 00:37:11,516 Speaker 3: And so I think that's what happens. You know, that 718 00:37:11,716 --> 00:37:14,796 Speaker 3: part of it is you sort of write your way 719 00:37:15,276 --> 00:37:18,756 Speaker 3: through life. While at the same time it's like the 720 00:37:18,796 --> 00:37:22,556 Speaker 3: only other thing that I love as much as music 721 00:37:23,716 --> 00:37:28,076 Speaker 3: as an activity is like cooking. I really love cooking, 722 00:37:28,156 --> 00:37:32,636 Speaker 3: and I love cooking for people because it's a similar 723 00:37:32,716 --> 00:37:37,156 Speaker 3: interaction in that I'm going to prepare something for you, 724 00:37:37,716 --> 00:37:40,436 Speaker 3: and I really want it to be so good that 725 00:37:40,476 --> 00:37:45,036 Speaker 3: you enjoy it and you come back for seconds. In 726 00:37:45,076 --> 00:37:49,756 Speaker 3: your recipe is your song, and the cook itself is 727 00:37:50,556 --> 00:37:53,956 Speaker 3: the process, and the serving is the concert, and the 728 00:37:53,996 --> 00:37:56,716 Speaker 3: second plate is the on court. Like, it's a very 729 00:37:56,756 --> 00:38:00,956 Speaker 3: similar reward when you do that for a large group 730 00:38:00,996 --> 00:38:04,396 Speaker 3: of people, for friends, when you do that for people 731 00:38:04,396 --> 00:38:07,756 Speaker 3: that don't have food, When you like to be able 732 00:38:07,796 --> 00:38:14,796 Speaker 3: to have a a simple, human, loving, empathetic, caring interaction 733 00:38:14,956 --> 00:38:18,036 Speaker 3: with someone else through a plate of food or a song, 734 00:38:20,076 --> 00:38:22,476 Speaker 3: that is the best thing as the world. That being said, 735 00:38:22,756 --> 00:38:25,556 Speaker 3: I would rather fucking rock the house than run the 736 00:38:25,636 --> 00:38:27,436 Speaker 3: kitchen for fucking sure. 737 00:38:27,556 --> 00:38:28,636 Speaker 1: Yeah, yeah, yeah. 738 00:38:28,876 --> 00:38:33,116 Speaker 2: Cooking for five hundred people much less fun than playing 739 00:38:33,116 --> 00:38:37,836 Speaker 2: for five hundred people five hundred man's easy. 740 00:38:38,316 --> 00:38:40,716 Speaker 1: Well, because you brought that up. There's a saw. 741 00:38:40,756 --> 00:38:43,716 Speaker 2: I saw a clip one time of christ Novoselag. Yeah, 742 00:38:43,916 --> 00:38:45,876 Speaker 2: saying I don't I don't know women who asked was 743 00:38:45,916 --> 00:38:47,956 Speaker 2: just like something popped up. It was like, you know, 744 00:38:47,996 --> 00:38:50,516 Speaker 2: people ask me like, am I like sometimes jealous that 745 00:38:50,636 --> 00:38:51,596 Speaker 2: Dave like has all. 746 00:38:51,516 --> 00:38:54,036 Speaker 1: This success now with like and it's just a it'sch no, 747 00:38:54,156 --> 00:38:57,476 Speaker 1: like this now fuck it just like put in the want. 748 00:38:57,556 --> 00:38:59,316 Speaker 2: You look at Dave, he's just he's putting in the 749 00:38:59,356 --> 00:39:00,556 Speaker 2: fucking work, like he's just doing. 750 00:39:00,636 --> 00:39:01,556 Speaker 1: You're like, so, how could I be. 751 00:39:01,556 --> 00:39:03,276 Speaker 2: Talking about I'm proud or something, And it's just like 752 00:39:03,556 --> 00:39:06,196 Speaker 2: from Afar, I mean, he has a more internal view 753 00:39:06,196 --> 00:39:08,396 Speaker 2: of that, But from Afar it's always seemed like that 754 00:39:08,676 --> 00:39:11,356 Speaker 2: way too, Like you almost like you brought a McCartney, 755 00:39:11,436 --> 00:39:13,676 Speaker 2: like leaving the Beatles, what do I do, like just 756 00:39:13,676 --> 00:39:15,756 Speaker 2: put a band together wings go, let's go, let's go 757 00:39:15,796 --> 00:39:19,876 Speaker 2: hit the fucking let's go play colleges across Europe, like yeah, 758 00:39:20,036 --> 00:39:20,916 Speaker 2: let's go figure it out. 759 00:39:20,996 --> 00:39:24,796 Speaker 3: Yeah, I mean, you know, the Nirvana experience was was 760 00:39:25,916 --> 00:39:27,836 Speaker 3: I don't even know what the word is for it. 761 00:39:27,836 --> 00:39:31,156 Speaker 3: It was just something else in all the best and 762 00:39:31,236 --> 00:39:35,876 Speaker 3: worst ways. And when you go through something like that 763 00:39:37,116 --> 00:39:41,916 Speaker 3: with like a small group of people, you're forever connected 764 00:39:42,076 --> 00:39:44,836 Speaker 3: by that. You know, we're we're a big We're just 765 00:39:44,956 --> 00:39:49,876 Speaker 3: we're a big family, all of the the people that 766 00:39:49,916 --> 00:39:54,476 Speaker 3: were there, and and we all do love each other. 767 00:39:54,876 --> 00:40:00,036 Speaker 3: Right When Nirvana ended, like I kind of knew what 768 00:40:00,916 --> 00:40:03,076 Speaker 3: well at first it was. It was hard for me 769 00:40:03,156 --> 00:40:06,436 Speaker 3: to get through it, and then I realized that music 770 00:40:06,516 --> 00:40:08,076 Speaker 3: is the thing that's going to get me through it. 771 00:40:08,156 --> 00:40:09,756 Speaker 3: Have you ever met Christmas much. 772 00:40:09,916 --> 00:40:12,676 Speaker 2: One time when I was fifteen on a record store, 773 00:40:12,996 --> 00:40:15,476 Speaker 2: as in a record store, and I didn't know he 774 00:40:15,596 --> 00:40:17,236 Speaker 2: was I'm six six. 775 00:40:17,836 --> 00:40:18,916 Speaker 1: He was fucking taller than. 776 00:40:20,836 --> 00:40:24,756 Speaker 3: We did SNL one time with Charles Barkley, And yes, 777 00:40:24,796 --> 00:40:26,356 Speaker 3: he was taller Charles Barkley. 778 00:40:26,436 --> 00:40:28,756 Speaker 1: Yeah, insane, insane. 779 00:40:29,156 --> 00:40:35,556 Speaker 3: Chris is has such a gigantic heart and such an amazing, brilliant, 780 00:40:35,676 --> 00:40:40,076 Speaker 3: amazing mind. And Chris sees the world through an entirely 781 00:40:40,156 --> 00:40:43,676 Speaker 3: different lens than anyone you've ever met in the most 782 00:40:43,956 --> 00:40:48,916 Speaker 3: beautiful way. He's an artist and he's a writer, and 783 00:40:48,956 --> 00:40:53,116 Speaker 3: he's still he's still that He's he's the same the 784 00:40:53,156 --> 00:40:56,316 Speaker 3: first day I ever met him. He has not changed. 785 00:40:57,636 --> 00:41:01,476 Speaker 3: And uh so the experience that we had together in Nirvana, 786 00:41:01,876 --> 00:41:05,476 Speaker 3: like will will be connected by that forever then, just 787 00:41:05,516 --> 00:41:09,236 Speaker 3: as we all continue to move forward in life and 788 00:41:09,356 --> 00:41:13,276 Speaker 3: live life. It's like we're still beautiful, loving friends. And 789 00:41:13,556 --> 00:41:16,596 Speaker 3: whenever I see him, like it's it's a trip. I mean, 790 00:41:16,596 --> 00:41:18,836 Speaker 3: it's like hugging a tree. You know, he's really big, 791 00:41:19,236 --> 00:41:22,156 Speaker 3: but when you give that hug, it's like that's real ship. 792 00:41:22,636 --> 00:41:27,956 Speaker 1: You know, like the kind that you really feel. So, yeah, 793 00:41:28,076 --> 00:41:28,716 Speaker 1: he's amazing. 794 00:41:28,836 --> 00:41:31,196 Speaker 2: Yeah, it's an incredible that you still get to play 795 00:41:31,196 --> 00:41:33,596 Speaker 2: with like Pat too, you know, now, Nate was how 796 00:41:33,636 --> 00:41:34,476 Speaker 2: many years of that'spen? 797 00:41:34,716 --> 00:41:36,356 Speaker 1: You know, it's like Pat seems like I've never got 798 00:41:36,396 --> 00:41:36,876 Speaker 1: to meet Pat. 799 00:41:36,916 --> 00:41:39,276 Speaker 2: But again, going back to people, you get to pull 800 00:41:39,276 --> 00:41:40,956 Speaker 2: from these things, like you get Pat from the germs, 801 00:41:40,996 --> 00:41:42,236 Speaker 2: like what the fuck? You know? 802 00:41:42,316 --> 00:41:44,516 Speaker 1: The funniest thing. So we went back to I agree, 803 00:41:44,556 --> 00:41:45,556 Speaker 1: it's a dream. That's a dream. 804 00:41:45,636 --> 00:41:47,396 Speaker 3: It's a dream, but the fuck like the decline of 805 00:41:47,436 --> 00:41:53,516 Speaker 3: Webstern civilization. That live record soundtrack was, uh, like the 806 00:41:53,556 --> 00:41:55,556 Speaker 3: first punk rock record I ever bought. 807 00:41:55,716 --> 00:41:56,036 Speaker 1: Wow. 808 00:41:56,236 --> 00:41:59,516 Speaker 3: And to think that in the germs are on that record, 809 00:41:59,676 --> 00:42:01,756 Speaker 3: and so to think that I get to spend the 810 00:42:01,756 --> 00:42:04,876 Speaker 3: rest of my life with the guy that inspired me 811 00:42:04,956 --> 00:42:08,196 Speaker 3: to do this thing, it's amazing. Yeah, And you think 812 00:42:08,236 --> 00:42:11,836 Speaker 3: that all the time, but you do have moments sometimes 813 00:42:11,876 --> 00:42:14,716 Speaker 3: where you're like, like, zoins. 814 00:42:14,636 --> 00:42:17,116 Speaker 1: This is this is It's amazing. 815 00:42:17,156 --> 00:42:20,476 Speaker 3: It doesn't always work that way, you know, No it doesn't. 816 00:42:20,596 --> 00:42:24,556 Speaker 3: And I don't know what I do without him. He's 817 00:42:24,676 --> 00:42:28,156 Speaker 3: just like last time we played in DC, we played 818 00:42:28,156 --> 00:42:30,756 Speaker 3: at the club the Black Cat in d C. Small 819 00:42:30,756 --> 00:42:33,436 Speaker 3: place holds maybe like five six on other people. And 820 00:42:33,676 --> 00:42:36,836 Speaker 3: in true DC fashion, we get there and we're set 821 00:42:36,916 --> 00:42:40,116 Speaker 3: up upstairs and I start seeing like all of my 822 00:42:40,236 --> 00:42:40,916 Speaker 3: old heroes. 823 00:42:41,036 --> 00:42:42,476 Speaker 1: Brendan from Fugazi shows up. 824 00:42:42,516 --> 00:42:45,876 Speaker 3: I'm okay, Joe from Fugazzi, shays hey Man, Alec mackay 825 00:42:46,116 --> 00:42:49,836 Speaker 3: Ian's younger brother who was in Faith and Ignition, and 826 00:42:49,876 --> 00:42:52,756 Speaker 3: all these amazing bands Faith. To be honest, it was 827 00:42:52,796 --> 00:42:55,236 Speaker 3: a band called Faith. They were kind of my favorite 828 00:42:55,516 --> 00:42:58,956 Speaker 3: DC band. So I look at Alec and I'm like, 829 00:42:59,156 --> 00:43:01,756 Speaker 3: oh my god, like this is I'm starstruck. 830 00:43:02,036 --> 00:43:02,396 Speaker 1: Yeah. 831 00:43:02,476 --> 00:43:04,396 Speaker 3: I'd hate for him to know this, but I just 832 00:43:04,516 --> 00:43:07,196 Speaker 3: am yeah. And we're sitting there talking. We were talking 833 00:43:07,236 --> 00:43:13,156 Speaker 3: about I think Brendan's daughter had a band with Alex daughter, 834 00:43:13,796 --> 00:43:16,236 Speaker 3: and we're just talking about the local music scene, and 835 00:43:16,236 --> 00:43:19,076 Speaker 3: all of a sudden, he puts on a staff security 836 00:43:19,116 --> 00:43:23,516 Speaker 3: shirt and I'm like, were you were you doing security? 837 00:43:23,636 --> 00:43:25,876 Speaker 3: And he goes, yay, I'm gonna be up. I'm going 838 00:43:25,956 --> 00:43:28,076 Speaker 3: to be up like front of the stage by the barrier, 839 00:43:28,276 --> 00:43:32,076 Speaker 3: and I'm like, really, I think he mostly only wanted 840 00:43:32,076 --> 00:43:34,516 Speaker 3: to do it so he could stand in front of 841 00:43:34,636 --> 00:43:39,116 Speaker 3: Pat Smear, who was his Heroes. Pat was in the Germs. 842 00:43:38,796 --> 00:43:40,636 Speaker 2: Yeah, and that must have felt the world away at 843 00:43:40,636 --> 00:43:42,396 Speaker 2: that point too, by the way, like you know DC 844 00:43:42,556 --> 00:43:45,316 Speaker 2: to LA early eighties, Yeah with that or set latest 845 00:43:45,316 --> 00:43:45,996 Speaker 2: seventies early. 846 00:43:46,516 --> 00:43:49,836 Speaker 3: Who do you think Pat's favorite band is? Favorite artist 847 00:43:50,676 --> 00:43:54,476 Speaker 3: of all time? Number one? Can you get a decade 848 00:43:54,676 --> 00:43:59,756 Speaker 3: that folk like nineties eighties, nineties group? 849 00:44:00,076 --> 00:44:01,916 Speaker 1: He's just not going to get it. I'm not okay, 850 00:44:02,356 --> 00:44:05,196 Speaker 1: I'm just number one and Roses. 851 00:44:06,076 --> 00:44:09,436 Speaker 3: So you would think it would be like maybe some 852 00:44:09,516 --> 00:44:13,476 Speaker 3: rock and roll, maybe like some glitter from the seventies, baby, 853 00:44:13,516 --> 00:44:17,556 Speaker 3: some punk rock, maybe some Prague. He's well versed in, 854 00:44:18,436 --> 00:44:22,036 Speaker 3: Yes and Genesis. Oh yeah, he'll be all that stuff. 855 00:44:22,116 --> 00:44:28,036 Speaker 3: Like number one Mariah Carey. I love Mariah Carey. 856 00:44:28,116 --> 00:44:30,396 Speaker 1: He loves Mariah Carey. Yeah, I talk to Pat. I 857 00:44:30,436 --> 00:44:31,316 Speaker 1: love Mariah care. 858 00:44:31,236 --> 00:44:34,236 Speaker 3: You guys could have a big, long podcast thing about it. 859 00:44:34,356 --> 00:44:37,476 Speaker 3: I'm sure he worked well, you know, I love Mariah 860 00:44:37,716 --> 00:44:38,156 Speaker 3: just saying I. 861 00:44:38,076 --> 00:44:40,196 Speaker 1: Tried to go to the music cach things. 862 00:44:41,236 --> 00:44:43,796 Speaker 3: So you think, like, you know, Pat saw the sex 863 00:44:43,836 --> 00:44:46,556 Speaker 3: Pistols at Winterland or wherever it was, and you know, 864 00:44:46,676 --> 00:44:49,196 Speaker 3: like Pat is o G and so you think, like 865 00:44:49,476 --> 00:44:51,316 Speaker 3: you look at his history and his past and all 866 00:44:51,396 --> 00:44:52,836 Speaker 3: those things. 867 00:44:52,836 --> 00:44:54,796 Speaker 1: Mariah number one? Does he say due? Why? Why does 868 00:44:54,836 --> 00:44:59,596 Speaker 1: he love Mariah? I will? I mean but telling you 869 00:45:00,116 --> 00:45:02,116 Speaker 1: to be continued on the trip. Yes, I'm gonna do 870 00:45:02,156 --> 00:45:03,396 Speaker 1: a deep dive with Patom Mariah. 871 00:45:03,516 --> 00:45:05,756 Speaker 2: Yeah, she's my favorite, one of my favorites. She's unbelievab 872 00:45:05,756 --> 00:45:07,116 Speaker 2: one of my favorites, one of my favorite singers. 873 00:45:07,196 --> 00:45:11,436 Speaker 1: Just ridiculous. It's like Ian mcconnas. Wait, how's that well 874 00:45:11,476 --> 00:45:13,916 Speaker 1: even more bizarre? Right? No, well maybe I don't know. 875 00:45:13,996 --> 00:45:16,636 Speaker 2: Ian mackay would ted nugent just because the politics is 876 00:45:17,076 --> 00:45:19,516 Speaker 2: pretty pretty fast, pretty funny. 877 00:45:19,676 --> 00:45:20,876 Speaker 1: We're coming right back with more. 878 00:45:20,956 --> 00:45:28,276 Speaker 2: Dave Girl, you talked about like writing your way through things. 879 00:45:28,396 --> 00:45:31,156 Speaker 2: I've also read I know kind of earlier on you 880 00:45:31,196 --> 00:45:34,876 Speaker 2: mentioned like lyrics would really just be a last minute. 881 00:45:35,036 --> 00:45:36,556 Speaker 1: Oh yeah, they sometimes still are. 882 00:45:36,636 --> 00:45:38,236 Speaker 2: Ye, I was gonna say that all that's so, that's 883 00:45:38,276 --> 00:45:41,476 Speaker 2: not always true, but if sometimes true and have that 884 00:45:41,476 --> 00:45:43,716 Speaker 2: shakeout on this one. Do you actually just sit and 885 00:45:43,716 --> 00:45:46,476 Speaker 2: write still like journal like teenager, like you when you 886 00:45:46,516 --> 00:45:49,276 Speaker 2: were a teenager or early adult or is it yes. 887 00:45:49,196 --> 00:45:52,156 Speaker 3: And no not like I used to. Sometimes if I 888 00:45:52,196 --> 00:45:56,996 Speaker 3: have an idea or a crazy dream, I'll write that down. 889 00:45:57,236 --> 00:46:02,076 Speaker 3: It's still the part of the process that I like 890 00:46:02,156 --> 00:46:11,756 Speaker 3: the least second, guessing self editing, unsure if it's clear, 891 00:46:13,036 --> 00:46:18,516 Speaker 3: unsure if it's vague. And both my parents were writers, 892 00:46:18,556 --> 00:46:22,476 Speaker 3: so I still have this like PTSD of living under 893 00:46:22,516 --> 00:46:25,356 Speaker 3: the giant red pen that's just gonna go no, no, 894 00:46:25,476 --> 00:46:30,516 Speaker 3: no no. So I remember what we were making a 895 00:46:30,556 --> 00:46:33,116 Speaker 3: record in my house in Virginia. This is I think 896 00:46:33,156 --> 00:46:36,076 Speaker 3: the third record, Nothing Left to Lose, in small basement 897 00:46:36,076 --> 00:46:40,556 Speaker 3: studio and everyone's downstairs waiting for me. The track is recorded, 898 00:46:40,596 --> 00:46:43,476 Speaker 3: but I have to sing, and I'm like upstairs in 899 00:46:43,476 --> 00:46:47,516 Speaker 3: my bedroom, blank page, just like, come on, Dave, like anything, 900 00:46:48,196 --> 00:46:50,396 Speaker 3: you know, just writer's block. And I'm like, just gotta 901 00:46:50,436 --> 00:46:54,036 Speaker 3: be something. And I come down into the kitchen and 902 00:46:54,036 --> 00:46:57,276 Speaker 3: I think Nate was there, and he says, uh, He says, 903 00:46:57,316 --> 00:46:59,916 Speaker 3: are you are you done? Are you ready? I'm like, no, man, 904 00:46:59,956 --> 00:47:02,356 Speaker 3: I'm kind of stuck. I'm not I'm not there yet. 905 00:47:03,076 --> 00:47:06,916 Speaker 3: And he says to me, dude, not every song has 906 00:47:06,956 --> 00:47:09,836 Speaker 3: to be imagined by John Lennon, you know that, right, 907 00:47:10,196 --> 00:47:13,236 Speaker 3: So he kind of gave me this pass and I'm like, oh, yeah, 908 00:47:13,396 --> 00:47:17,876 Speaker 3: you're right. Pressure's off, like weight is lifted. Wow, great. 909 00:47:17,996 --> 00:47:20,476 Speaker 3: I can just I can write something and it could 910 00:47:20,516 --> 00:47:23,996 Speaker 3: mean nothing to me, could mean everything to you, or 911 00:47:24,116 --> 00:47:26,916 Speaker 3: something that means everything to me could mean nothing to you. 912 00:47:27,556 --> 00:47:30,596 Speaker 3: So then it sort of loosens the reins in that 913 00:47:30,596 --> 00:47:34,356 Speaker 3: that I don't want to spend a month writing a bridge. 914 00:47:34,956 --> 00:47:39,476 Speaker 3: I really want it to happen and to have that immediacy. 915 00:47:39,796 --> 00:47:41,716 Speaker 3: So there are times where I'm like, shit, hold on, 916 00:47:41,796 --> 00:47:42,556 Speaker 3: give you ten minutes. 917 00:47:42,636 --> 00:47:43,116 Speaker 1: And I go. 918 00:47:44,636 --> 00:47:46,236 Speaker 3: And I go in and do it and it sounds 919 00:47:46,236 --> 00:47:48,396 Speaker 3: good and it works. I'm like great, and you already 920 00:47:48,396 --> 00:47:50,556 Speaker 3: have the melody. Yeah, like I've got the pattern of 921 00:47:50,556 --> 00:47:54,956 Speaker 3: the melody and whatever. And it's not until months later, 922 00:47:55,356 --> 00:47:57,516 Speaker 3: as the song's mixed and finished that I listen and 923 00:47:57,556 --> 00:48:01,276 Speaker 3: I'm like, wow, like I know what I was saying 924 00:48:01,516 --> 00:48:04,436 Speaker 3: when I wasn't trying to say anything at all, Like 925 00:48:04,756 --> 00:48:08,756 Speaker 3: it's almost you know, it's it's the it's the subliminal. 926 00:48:09,276 --> 00:48:11,756 Speaker 3: It's not like this part of the cortext. It's like 927 00:48:11,836 --> 00:48:14,556 Speaker 3: back here and sometimes it's just happening. 928 00:48:14,876 --> 00:48:15,596 Speaker 1: So I like that. 929 00:48:15,756 --> 00:48:18,916 Speaker 3: I like the you know, the restriction of I like 930 00:48:18,996 --> 00:48:21,156 Speaker 3: the pressure of my guys sitting on the couch, like 931 00:48:22,476 --> 00:48:24,156 Speaker 3: can I get down here before traffic you know that 932 00:48:24,236 --> 00:48:25,556 Speaker 3: kind of thing, and I'm just like, great, all right, 933 00:48:25,636 --> 00:48:31,036 Speaker 3: let's go, because otherwise I might manipulate something into something else. 934 00:48:30,876 --> 00:48:33,556 Speaker 2: Even less or being it's more appear in that way, 935 00:48:33,556 --> 00:48:37,836 Speaker 2: maybe because it's coming from an a subconscious level under 936 00:48:37,956 --> 00:48:39,436 Speaker 2: I'm not really a lyric person. 937 00:48:39,516 --> 00:48:42,316 Speaker 1: I try not. I sometimes it's years before I even. 938 00:48:42,356 --> 00:48:45,516 Speaker 2: Understand know what a course, even a course is actually saying, 939 00:48:45,596 --> 00:48:46,516 Speaker 2: or like the words of a course. 940 00:48:46,556 --> 00:48:48,676 Speaker 1: It's gotten me in trouble doing this because some do't 941 00:48:48,676 --> 00:48:49,876 Speaker 1: you know what that songs about? It? No, I don't. 942 00:48:49,916 --> 00:48:51,436 Speaker 2: I don't even know the words, to be honest with you. 943 00:48:51,516 --> 00:48:54,876 Speaker 2: But I don't often ask about lyrics. But Child Actor 944 00:48:55,476 --> 00:48:57,556 Speaker 2: with something, I was like, well, what the that's interesting? 945 00:48:57,596 --> 00:48:59,996 Speaker 2: And actors has come up like stacked Actors. 946 00:49:00,356 --> 00:49:00,596 Speaker 1: Yeah. 947 00:49:00,836 --> 00:49:04,436 Speaker 2: I was always a fascinating song to me for many reasons. 948 00:49:04,876 --> 00:49:07,076 Speaker 2: But also there's like it seems like that's been a. 949 00:49:07,196 --> 00:49:11,756 Speaker 3: You know, the child actor thing with inspired by someone. 950 00:49:12,556 --> 00:49:16,596 Speaker 3: All I wanted was for that person to like, hey, man, 951 00:49:16,796 --> 00:49:20,876 Speaker 3: like you can be you with me right, like you 952 00:49:20,876 --> 00:49:22,796 Speaker 3: don't have to you don't have to put on the 953 00:49:22,836 --> 00:49:27,596 Speaker 3: thing like you just blacks like to be you, you know, 954 00:49:28,196 --> 00:49:34,076 Speaker 3: and feeling like sometimes you meet someone and there's almost 955 00:49:34,116 --> 00:49:38,276 Speaker 3: this someone who's trying to be the person that you 956 00:49:38,356 --> 00:49:42,876 Speaker 3: want instead of the person that they want to be, right, Yeah, 957 00:49:42,876 --> 00:49:44,916 Speaker 3: And it has to do with sort of like that 958 00:49:44,916 --> 00:49:48,076 Speaker 3: that validation. You know, that you're searching for some sort 959 00:49:48,076 --> 00:49:54,076 Speaker 3: of acknowledgment or validation from others when really like you can't. 960 00:49:54,116 --> 00:49:57,716 Speaker 3: You have to have it here first. So that's it's 961 00:49:57,756 --> 00:50:01,516 Speaker 3: like turn the cameras off, right, like, it's not out there, 962 00:50:01,716 --> 00:50:05,276 Speaker 3: it's actually in here. That one I wrote really quickly. Actually, 963 00:50:05,356 --> 00:50:08,636 Speaker 3: that one happened pretty fast. I mean it's a simple song. 964 00:50:08,676 --> 00:50:11,476 Speaker 3: It's not crazy or anything like that. But the intention 965 00:50:11,796 --> 00:50:14,556 Speaker 3: and the idea and the concept and the feeling was 966 00:50:14,676 --> 00:50:17,236 Speaker 3: real in that song. At some point in life, you 967 00:50:17,316 --> 00:50:21,716 Speaker 3: have to be able to sit and be like okay, 968 00:50:22,316 --> 00:50:24,916 Speaker 3: you know, and you work really hard to get there, 969 00:50:25,316 --> 00:50:26,956 Speaker 3: but you have to be able to turn all of 970 00:50:26,956 --> 00:50:30,876 Speaker 3: that shit off. And so that was basically it. And I, 971 00:50:31,036 --> 00:50:33,276 Speaker 3: you know, I was really excited. We were, and then 972 00:50:33,276 --> 00:50:35,916 Speaker 3: we recorded it and I'm like, it's just going, don 973 00:50:35,996 --> 00:50:38,516 Speaker 3: the cameras off. I say it a hundred times doing that, 974 00:50:38,636 --> 00:50:41,076 Speaker 3: and I'm screaming my fucking balls off doing that cameras off. 975 00:50:41,236 --> 00:50:43,756 Speaker 3: And I'm really looking forward to doing it live because 976 00:50:44,156 --> 00:50:47,756 Speaker 3: in that one moment, I hope that everyone puts their 977 00:50:47,796 --> 00:50:54,276 Speaker 3: fucking phone on it, actually watches, get listens to the music. Yes, 978 00:50:54,636 --> 00:50:57,596 Speaker 3: that's my interpretation. Someone else might feel differently, and that's 979 00:50:57,716 --> 00:50:58,796 Speaker 3: just the way it is. 980 00:50:58,876 --> 00:51:01,116 Speaker 2: Yeah, after that great build up moment goes into my 981 00:51:01,556 --> 00:51:03,756 Speaker 2: which I think because I listen. It's so hard when 982 00:51:03,756 --> 00:51:05,556 Speaker 2: I'm doing The album's not out yet, so I don't 983 00:51:05,596 --> 00:51:08,116 Speaker 2: I've only I've only been able to listen to it 984 00:51:08,156 --> 00:51:10,716 Speaker 2: a handful of time, so it's hard. Like I fell 985 00:51:10,756 --> 00:51:12,716 Speaker 2: in love with the first three songs and art time 986 00:51:12,716 --> 00:51:14,916 Speaker 2: getting passed the first three. A few days ago, I 987 00:51:14,956 --> 00:51:17,036 Speaker 2: finally discovered the last song on the record. Was just 988 00:51:17,076 --> 00:51:19,236 Speaker 2: like yeah, like now I'm just playing that song over 989 00:51:19,276 --> 00:51:19,676 Speaker 2: and over. 990 00:51:19,836 --> 00:51:20,996 Speaker 1: I always want to call it friend of a friend. 991 00:51:21,036 --> 00:51:23,556 Speaker 1: It's not friend asking asking for a friend. 992 00:51:23,676 --> 00:51:26,556 Speaker 3: Yeah, amazing song, amazing they asking for a friend thing. 993 00:51:26,716 --> 00:51:32,116 Speaker 3: That's funny because that happened before we really started making 994 00:51:32,276 --> 00:51:34,876 Speaker 3: this record. That that song is like, I mean six 995 00:51:34,956 --> 00:51:38,876 Speaker 3: seven months ago. It was just as Elne joined the band. 996 00:51:39,436 --> 00:51:42,356 Speaker 3: We had jammed a little bit, but I was like, 997 00:51:42,436 --> 00:51:45,436 Speaker 3: you know, what, come to the house. Let's record something. 998 00:51:46,316 --> 00:51:50,356 Speaker 3: He's a incredible studio drummer. The guy can He's got 999 00:51:50,396 --> 00:51:53,076 Speaker 3: like a photographic musical memory. You play him a riff, 1000 00:51:53,636 --> 00:51:55,636 Speaker 3: you play him a song one time and he goes 1001 00:51:55,636 --> 00:51:57,636 Speaker 3: in and the first take is perfect. You're like great. 1002 00:51:57,996 --> 00:52:00,796 Speaker 3: But to be able to vibe and create with him, right, 1003 00:52:01,236 --> 00:52:03,516 Speaker 3: I wanted to see what it felt like. You know, 1004 00:52:04,356 --> 00:52:07,716 Speaker 3: it's almost like like we were on a date. Let's 1005 00:52:07,716 --> 00:52:09,956 Speaker 3: see if we vibe, Let's see what happens. You know, 1006 00:52:10,036 --> 00:52:14,836 Speaker 3: his times impeccable, and and his his his taste and 1007 00:52:14,876 --> 00:52:18,756 Speaker 3: his composition, and he's he's like a fully formed musician. 1008 00:52:18,836 --> 00:52:21,436 Speaker 3: He's amazing and a phenomenal drummer. It's insane. 1009 00:52:21,836 --> 00:52:22,476 Speaker 1: So it was wild. 1010 00:52:22,516 --> 00:52:25,236 Speaker 3: It was like, not only are we going to like 1011 00:52:25,316 --> 00:52:29,636 Speaker 3: go out and rip up stages from here to Sydney, Australia, 1012 00:52:30,156 --> 00:52:33,836 Speaker 3: but we're gonna do this together. And so we you know, 1013 00:52:34,076 --> 00:52:37,236 Speaker 3: we started vibing like that, and so that song like, 1014 00:52:37,796 --> 00:52:41,196 Speaker 3: I mean to me, that's that's bordering on like our 1015 00:52:41,636 --> 00:52:47,316 Speaker 3: magnus Opus side of like big, long, structured, heavy, like 1016 00:52:47,956 --> 00:52:50,516 Speaker 3: empemic kind of things. I almost didn't know if that 1017 00:52:50,516 --> 00:52:53,636 Speaker 3: should go on the record because we'd recorded it and 1018 00:52:53,716 --> 00:52:55,756 Speaker 3: released it and then I'm like, I don't know if 1019 00:52:55,756 --> 00:52:58,756 Speaker 3: this fits with the other like short simple blasts of 1020 00:52:59,356 --> 00:53:02,596 Speaker 3: something like spit Shine or something like child Actor or 1021 00:53:02,636 --> 00:53:06,276 Speaker 3: something like of all people like does this thing fit in? 1022 00:53:06,636 --> 00:53:10,036 Speaker 3: Can you tag something that I'm not going to compare 1023 00:53:10,036 --> 00:53:12,756 Speaker 3: it to anything because I'll get in trouble because but 1024 00:53:12,836 --> 00:53:15,556 Speaker 3: to me, like it's one of my favorite albums of 1025 00:53:15,596 --> 00:53:17,756 Speaker 3: all time is aunt Justice for All by Metallica, And 1026 00:53:17,796 --> 00:53:20,356 Speaker 3: it does not sound like Injustice for All, but that's 1027 00:53:20,396 --> 00:53:23,436 Speaker 3: about to me, it's like I listened to that arrangement. 1028 00:53:23,716 --> 00:53:25,876 Speaker 3: Then I don't know how Metallica writes songs. I don't 1029 00:53:25,876 --> 00:53:28,956 Speaker 3: know how they arrange her shit. But but to me, 1030 00:53:29,036 --> 00:53:32,276 Speaker 3: I was like, Okay, we've got different time signatures, we've 1031 00:53:32,316 --> 00:53:36,276 Speaker 3: got like different sections, we've got sort of overlapping melodies. 1032 00:53:36,356 --> 00:53:38,876 Speaker 1: We've got this bridge. It's double time. I'm screaming. 1033 00:53:39,076 --> 00:53:41,676 Speaker 3: It's a guitar solo. It's much different than the other 1034 00:53:41,796 --> 00:53:43,436 Speaker 3: songs on the record. 1035 00:53:43,436 --> 00:53:45,436 Speaker 1: Different than like way different than Window or you know, 1036 00:53:45,516 --> 00:53:45,916 Speaker 1: it's like. 1037 00:53:45,956 --> 00:53:48,036 Speaker 3: Well, yeah, and Window is the funniest thing, you know, 1038 00:53:48,116 --> 00:53:51,156 Speaker 3: Window that song. This is a great example of not 1039 00:53:51,236 --> 00:53:56,116 Speaker 3: overthinking shit. My daughter Harper plays the bass. She plays 1040 00:53:56,196 --> 00:53:59,156 Speaker 3: all the instruments, but like she really loves playing the bass. 1041 00:53:59,276 --> 00:54:02,796 Speaker 3: Her heroes Kim Gordon, Kim Deal. I wanted to record 1042 00:54:02,836 --> 00:54:05,516 Speaker 3: something with Harper, and I came up with this riff, 1043 00:54:05,596 --> 00:54:14,276 Speaker 3: this d bass just like really almost like a weird 1044 00:54:14,316 --> 00:54:18,196 Speaker 3: t Rex vibe. This is that kind of vibe, right, 1045 00:54:18,636 --> 00:54:21,036 Speaker 3: I'm like, hey, that's I wrote this thing that let's 1046 00:54:21,076 --> 00:54:23,396 Speaker 3: record together. And we did and I had that riff, 1047 00:54:23,396 --> 00:54:26,996 Speaker 3: and I was like, she loves the Breeders, two favorite 1048 00:54:27,036 --> 00:54:29,836 Speaker 3: bands probably Breeders and Ween. She's the biggest Wien fan 1049 00:54:29,916 --> 00:54:32,556 Speaker 3: in the world. So to me, it's like that there's 1050 00:54:32,676 --> 00:54:35,756 Speaker 3: there's those moments that sort of have these sort of 1051 00:54:35,796 --> 00:54:36,756 Speaker 3: Breeders elements. 1052 00:54:36,836 --> 00:54:41,756 Speaker 1: Now I saw your face, they're in the window. 1053 00:54:42,516 --> 00:54:44,596 Speaker 3: So I just did it like it's this fun exercise Harper, 1054 00:54:44,676 --> 00:54:47,876 Speaker 3: and then I came back to it and I'm like, well, yeah, 1055 00:54:47,916 --> 00:54:51,556 Speaker 3: I'll just I'll write something. And I always had this idea, 1056 00:54:51,636 --> 00:54:53,396 Speaker 3: like if you've been in a hotel where like the 1057 00:54:53,476 --> 00:54:57,156 Speaker 3: window washer, all of a sudden you hear something and 1058 00:54:57,196 --> 00:54:58,876 Speaker 3: you look outside the window and there's a guy there, 1059 00:54:59,076 --> 00:55:00,716 Speaker 3: you know, like washing the windows. 1060 00:55:01,196 --> 00:55:04,836 Speaker 1: What a weird gig? Terrified, I couldn't there's not money 1061 00:55:04,836 --> 00:55:05,236 Speaker 1: in the world. 1062 00:55:05,396 --> 00:55:07,956 Speaker 3: But what this This guy's he's looking in it at 1063 00:55:08,076 --> 00:55:09,796 Speaker 3: everyone's most intimate moments. 1064 00:55:10,476 --> 00:55:12,236 Speaker 1: He just is yeah, you fucking know it. 1065 00:55:12,356 --> 00:55:17,356 Speaker 3: Yeah, sometimes people never notice him, but he's offering this service. 1066 00:55:17,836 --> 00:55:22,716 Speaker 1: You know. That guy is there to bring in the light. Yeah, 1067 00:55:22,756 --> 00:55:24,196 Speaker 1: he wants you to see. 1068 00:55:24,156 --> 00:55:28,956 Speaker 3: Everything clearly through a wonderful, nice clean window. 1069 00:55:29,156 --> 00:55:31,876 Speaker 1: Yeah. Most people never consider that. 1070 00:55:32,316 --> 00:55:35,036 Speaker 3: That was that thought kicking around. Actually, you know what's crazy. 1071 00:55:35,196 --> 00:55:38,716 Speaker 3: The drummer of the Faith, my favorite DC band, his 1072 00:55:39,516 --> 00:55:43,156 Speaker 3: name is Igor Hanson, I think, became a window washer 1073 00:55:43,236 --> 00:55:45,196 Speaker 3: and he wrote a book about it. I digress. 1074 00:55:45,916 --> 00:55:47,356 Speaker 1: Maybe that that must be where that came bring it 1075 00:55:47,396 --> 00:55:50,516 Speaker 1: all together. I don't know, because where else is that. 1076 00:55:50,516 --> 00:55:52,276 Speaker 2: That's a I don't fucking know, odd thing to be 1077 00:55:52,316 --> 00:55:54,316 Speaker 2: kicking around your head to just come out in a 1078 00:55:54,316 --> 00:55:56,236 Speaker 2: burst of beating a right site. 1079 00:55:56,316 --> 00:55:58,116 Speaker 3: So then we record it and I'm like, oh, that's 1080 00:55:58,156 --> 00:56:00,236 Speaker 3: kind of cool and funny. And then also we started 1081 00:56:00,236 --> 00:56:02,596 Speaker 3: playing it for people and everyone's like, I love this song, 1082 00:56:02,836 --> 00:56:06,356 Speaker 3: and I'm like, you do. It's hard for me to like, 1083 00:56:06,396 --> 00:56:09,516 Speaker 3: I remember when we recorded best of You right here, Wow, 1084 00:56:10,076 --> 00:56:13,356 Speaker 3: And we recorded and I'm like eh, And then our 1085 00:56:13,356 --> 00:56:16,196 Speaker 3: manager John Silva we're playing the record. He goes, he goes, 1086 00:56:16,196 --> 00:56:18,636 Speaker 3: what what about that song where you say best of 1087 00:56:18,636 --> 00:56:21,276 Speaker 3: you one hundred times? And I'm like, I don't know, 1088 00:56:21,316 --> 00:56:23,676 Speaker 3: is that any good? He's like I like it, And 1089 00:56:23,716 --> 00:56:26,956 Speaker 3: I was like, I didn't think it was that special. 1090 00:56:27,036 --> 00:56:28,316 Speaker 1: You played that back and you didn't. 1091 00:56:28,716 --> 00:56:31,036 Speaker 3: No, I mean, I know, like we completed the task, 1092 00:56:31,636 --> 00:56:33,196 Speaker 3: we got it to a place where we're like, yeah, 1093 00:56:33,196 --> 00:56:35,516 Speaker 3: that's cool, but I didn't really think anybody else would 1094 00:56:35,876 --> 00:56:39,116 Speaker 3: feel it. Wow, whatever. So that was like the Window song, 1095 00:56:39,196 --> 00:56:39,996 Speaker 3: and then everyone's like. 1096 00:56:40,076 --> 00:56:42,836 Speaker 1: Yay Window, Like really it's cool. It's a cool song. 1097 00:56:43,196 --> 00:56:45,796 Speaker 3: And then people are finding meaning like that. There's a 1098 00:56:45,836 --> 00:56:49,516 Speaker 3: line that says, please to finally meet you swinging from 1099 00:56:49,516 --> 00:56:54,196 Speaker 3: the ceiling, watch you hang around until someone lets you down. 1100 00:56:54,716 --> 00:57:00,116 Speaker 3: And everyone's like, that's so that's so heartbreaking watch someone 1101 00:57:00,156 --> 00:57:02,116 Speaker 3: hang around until someone lets them down. 1102 00:57:02,196 --> 00:57:04,436 Speaker 1: I'm like, no, I was just talking about the fucking 1103 00:57:04,556 --> 00:57:06,636 Speaker 1: thing that the thing is standing on. Yeah. 1104 00:57:06,876 --> 00:57:11,316 Speaker 2: Yeah, one day it'll hit you what that you know, 1105 00:57:11,676 --> 00:57:14,196 Speaker 2: you know one thing that actually it's funny to do 1106 00:57:14,236 --> 00:57:16,476 Speaker 2: interviews and talk about music or the music that you 1107 00:57:16,596 --> 00:57:17,236 Speaker 2: just made. 1108 00:57:18,076 --> 00:57:22,636 Speaker 3: It's really sometimes that's the first time you think like, oh, yeah, 1109 00:57:22,796 --> 00:57:24,596 Speaker 3: that's what I is that what I did. 1110 00:57:24,716 --> 00:57:26,356 Speaker 2: I don't know what I did, Like it's out like 1111 00:57:26,396 --> 00:57:29,956 Speaker 2: you can't even yeah, yeah, yeah, you guys also almost 1112 00:57:30,156 --> 00:57:32,756 Speaker 2: worked with David Briggs, right, Neil's long. 1113 00:57:32,556 --> 00:57:34,956 Speaker 1: Time Yeah, we met with them. Did you ever meet 1114 00:57:34,956 --> 00:57:38,196 Speaker 1: with him? Yeah, he's like a rough character or what 1115 00:57:38,276 --> 00:57:38,476 Speaker 1: you know. 1116 00:57:39,436 --> 00:57:41,676 Speaker 3: We went to Benny Hannah or something like that and 1117 00:57:41,716 --> 00:57:42,556 Speaker 3: talked about records. 1118 00:57:42,596 --> 00:57:43,236 Speaker 1: He was really cool. 1119 00:57:43,276 --> 00:57:47,596 Speaker 3: I mean, around that time, Neil had made the Ragged 1120 00:57:47,636 --> 00:57:50,556 Speaker 3: Glory record and I think that was Briggs who did 1121 00:57:50,556 --> 00:57:54,076 Speaker 3: that one. But right, so we knew like Briggs was 1122 00:57:54,796 --> 00:57:59,356 Speaker 3: very familiar with the idea of recording like a raw 1123 00:57:59,436 --> 00:58:05,476 Speaker 3: fucking band live to capture those moments, and that's kind 1124 00:58:05,476 --> 00:58:07,676 Speaker 3: of what we wanted to do. Briggs was really cool. 1125 00:58:07,756 --> 00:58:10,556 Speaker 3: I met with a couple of different people. Well ultimately 1126 00:58:10,716 --> 00:58:13,236 Speaker 3: it was like, but you got the right one. 1127 00:58:13,236 --> 00:58:15,476 Speaker 2: We got but but you know, fascinating to think for 1128 00:58:15,556 --> 00:58:17,236 Speaker 2: when it was Briggs. 1129 00:58:17,116 --> 00:58:19,396 Speaker 1: Now or even just could have gone a whole other direction. 1130 00:58:19,996 --> 00:58:22,156 Speaker 2: Thousand questions, thousand things we can talk about, but I 1131 00:58:22,156 --> 00:58:24,956 Speaker 2: want to let you go. Man, this has been amazing 1132 00:58:24,996 --> 00:58:27,796 Speaker 2: to sit with you here in your place. I'm glad 1133 00:58:27,876 --> 00:58:31,036 Speaker 2: you am Yeah, man, where led Zepplin two hangs above 1134 00:58:31,076 --> 00:58:33,556 Speaker 2: the the liveary. 1135 00:58:33,676 --> 00:58:35,516 Speaker 1: Make your way all the way down the hallways. I 1136 00:58:35,556 --> 00:58:36,796 Speaker 1: didn't want to go to I didn't want to kick 1137 00:58:36,796 --> 00:58:38,516 Speaker 1: it down, but I want like halfway down. 1138 00:58:38,596 --> 00:58:41,716 Speaker 3: There's some like you wind up in like Tenacious D territory, 1139 00:58:41,876 --> 00:58:45,076 Speaker 3: like around that corner, and then there's some funny ship 1140 00:58:45,156 --> 00:58:45,476 Speaker 3: in there. 1141 00:58:45,876 --> 00:58:47,556 Speaker 1: This is I'm glad you came. Thank you man, really 1142 00:58:47,556 --> 00:58:50,356 Speaker 1: appreciate you. Have to come back. I will listen, come back, 1143 00:58:50,436 --> 00:58:54,916 Speaker 1: do that Pat's interview. If you guys can episode, I'll 1144 00:58:54,956 --> 00:58:57,556 Speaker 1: do it. I'll do that ship next week. Cabby's on 1145 00:58:57,636 --> 00:59:00,556 Speaker 1: it all right, love it, thank you, thank you, appreciate you. Yeah, 1146 00:59:00,596 --> 00:59:00,996 Speaker 1: of course. 1147 00:59:03,756 --> 00:59:05,956 Speaker 2: An episode description, you'll find a link to a playlist 1148 00:59:05,956 --> 00:59:09,316 Speaker 2: featuring our favorite songs from Dave Girls School here. Sure 1149 00:59:09,356 --> 00:59:11,836 Speaker 2: to check out YouTube dot com slash Broken Record Podcast 1150 00:59:11,916 --> 00:59:14,396 Speaker 2: to see all our video and records, and be sure 1151 00:59:14,436 --> 00:59:16,876 Speaker 2: to follow us on Instagram at the Broken Record pot. 1152 00:59:17,276 --> 00:59:19,596 Speaker 2: Broken Record is produced and edited by Leah Rose, with 1153 00:59:19,676 --> 00:59:22,876 Speaker 2: marketing help from Eric Sandler and Jordan McMillan. Our engineer 1154 00:59:23,036 --> 00:59:26,836 Speaker 2: is Ben Holliday. Broken Record is production of Pushkin Industries. 1155 00:59:27,036 --> 00:59:29,476 Speaker 2: If you love this show and others from Pushkin consider 1156 00:59:29,516 --> 00:59:33,076 Speaker 2: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription 1157 00:59:33,156 --> 00:59:35,916 Speaker 2: that offers bonus content and ad free listening for four 1158 00:59:36,036 --> 00:59:38,316 Speaker 2: ninety nine a month. Look for Pushkin Plus on Apple 1159 00:59:38,356 --> 00:59:41,876 Speaker 2: podcast subscriptions, and if you like this show, please remember 1160 00:59:41,876 --> 00:59:43,956 Speaker 2: to share, rate, and review us on your podcast app. 1161 00:59:44,276 --> 00:59:46,796 Speaker 2: Our theme music's by Kenny Beats. I'm justin Richmond.