WEBVTT - Dave Grohl 0:00:15.476 --> 0:00:15.956 Pushkin. 0:00:20.236 --> 0:00:22.196 The magic of Dave Grohl isn't just that he's one 0:00:22.196 --> 0:00:25.116 of rock music's great rack and tours, or that he's 0:00:25.156 --> 0:00:27.356 one of the greatest drummers in frontman of the last 0:00:27.356 --> 0:00:30.876 thirty plus years. It lies instead in the sheer number 0:00:30.876 --> 0:00:33.596 of lives he's gotten to live within rock and roll. 0:00:33.756 --> 0:00:37.196 I mean, just think about his trajectory. Girl starts out 0:00:37.236 --> 0:00:39.276 as a drummer of one of DC's great, if not 0:00:39.396 --> 0:00:42.796 underrated hardcore band's scream mingling with Ian Mackay and all 0:00:42.836 --> 0:00:45.676 the other amazing discord artists from that time. Then he 0:00:45.756 --> 0:00:47.876 joins Nirvana, where he more than makes his mark as 0:00:47.876 --> 0:00:50.156 a drummer for one of the most consequential bands since 0:00:50.196 --> 0:00:53.676 the Beatles, not only changing music forever, but also becoming 0:00:53.716 --> 0:00:56.476 an indelible part of the story of Seattle's music scene 0:00:56.556 --> 0:00:59.356 that forget about grunge and subpop for a second, goes 0:00:59.396 --> 0:01:01.676 all the way back to Jimmy Hendricks and Quincy Jones. 0:01:02.276 --> 0:01:04.116 And then if that one enough, Girl launches one of 0:01:04.156 --> 0:01:07.516 the most successful acts of the post Nirvana Boom Foo Fighters, 0:01:08.036 --> 0:01:11.116 which he does literally single handedly, and Prince or Stevie 0:01:11.156 --> 0:01:14.236 Wonder like fashion write and recording every song on the 0:01:14.276 --> 0:01:17.436 debut himself, except for some guitar work by Greg Dooley 0:01:17.476 --> 0:01:20.236 from the Great Afghan Whigs. And then when it's time 0:01:20.276 --> 0:01:22.116 to fill out the band, he gets to pulling guys 0:01:22.116 --> 0:01:24.436 like Nate Mendel from Sunny Day Real Estate and Pat 0:01:24.476 --> 0:01:27.036 Smear from the Germs in Nirvana, and all the other 0:01:27.116 --> 0:01:29.356 really talented and interesting guys that have joined the group 0:01:29.396 --> 0:01:32.836 over the years. It's almost an embarrassment of riches, but 0:01:32.876 --> 0:01:35.796 then God Dave Girl realizes it and relishes the opportunity 0:01:35.836 --> 0:01:39.116 to tell stories from his remarkable career. We're sitting down 0:01:39.116 --> 0:01:40.916 with Grol at the Foo Fighter Studio to talk about 0:01:40.916 --> 0:01:43.716 their twelfth album, Your Favorite Toy. We talked about all 0:01:43.716 --> 0:01:46.396 of it, including how their new album came together, but 0:01:46.516 --> 0:01:48.756 we started with the story that I've always wanted to 0:01:48.756 --> 0:01:51.116 ask him about. It's from a song from his first 0:01:51.116 --> 0:01:54.236 solo project, he called Late, from an album called Pocketwatch 0:01:54.476 --> 0:01:57.996 that to this day has only ever seen a cassette release. 0:02:00.996 --> 0:02:10.356 This is Broken Record, real musicians, real conversations. Here's my 0:02:10.396 --> 0:02:12.836 interview with Dave Grohl. Head over to YouTube dot com 0:02:12.836 --> 0:02:15.716 slash Broken Record Podcast if you want to see the video. 0:02:16.956 --> 0:02:18.876 Walking through here. It's like a Hall. 0:02:18.676 --> 0:02:23.276 Of You and Barry Manilow amazing. You know, there's so 0:02:23.356 --> 0:02:26.076 many little gems. As you walk through. One of the things, 0:02:26.116 --> 0:02:27.556 I was like, wow, I'll start with it just because 0:02:27.636 --> 0:02:30.996 so I don't forget it is the pocket Watch album. 0:02:31.156 --> 0:02:35.796 Oh my god, story of Skeeter Thompson actual true story. 0:02:36.196 --> 0:02:37.396 That is a true story. 0:02:37.716 --> 0:02:40.956 That was when I first started recording stuff on my 0:02:41.036 --> 0:02:45.996 own in a studio. My friend Barrett Jones, that was 0:02:46.036 --> 0:02:48.156 actually the first person I ever recorded with when I 0:02:48.196 --> 0:02:51.436 was fourteen years old. He had like a four track 0:02:51.516 --> 0:02:54.476 studio in the laundry room of his parents' house, and 0:02:54.836 --> 0:03:00.996 through friends of friends, we wound up recording our first demo, 0:03:01.076 --> 0:03:03.516 this punk band I was in called Freak Baby, and 0:03:03.556 --> 0:03:08.916 we we recorded four songs in his laundry room, like 0:03:08.956 --> 0:03:11.196 the drums were in his bedroom and the vocals were 0:03:11.196 --> 0:03:13.916 in the bathroom and whatever. Over time we became really 0:03:13.956 --> 0:03:18.876 close friends, and he upgraded to an eight track and 0:03:19.116 --> 0:03:21.316 still had a studio in his house. 0:03:21.596 --> 0:03:23.036 But it was around then that. 0:03:23.156 --> 0:03:29.916 I realized like, oh, if there's eight tracks, I could 0:03:29.956 --> 0:03:34.116 lay down a drum track and then put a bass 0:03:34.156 --> 0:03:37.556 over it, and then put some guitars over it, and 0:03:37.556 --> 0:03:40.396 then put a vocal on it, and it'll sound like 0:03:40.436 --> 0:03:43.756 a band even though it's just one person. And I 0:03:43.836 --> 0:03:47.756 kind of understood multi tracking from when I was really little. 0:03:47.836 --> 0:03:51.156 I had two cassette decks and I would record a 0:03:51.196 --> 0:03:54.556 drum thing on this one cassette on a boom box, 0:03:54.596 --> 0:03:57.556 and then I'd take and the drums were pots and pans, 0:03:57.596 --> 0:03:59.916 and then I would put that in this stereo and 0:04:00.436 --> 0:04:02.956 hit record on this one. Hit play on the drum thing, 0:04:03.076 --> 0:04:05.276 play guitar along with it, and then I'd have this 0:04:05.316 --> 0:04:08.276 cassette that would have drums and guitar on it, and 0:04:08.316 --> 0:04:10.236 I'd take the cassette and put it in that and 0:04:10.316 --> 0:04:11.476 just sort of like bounce. 0:04:11.236 --> 0:04:13.276 That way back, yeah, beatlestyle, I guess. Yeah. 0:04:13.316 --> 0:04:16.716 So I understood like the concept of multi tracking, but 0:04:16.796 --> 0:04:18.796 then I thought like, oh wow, this is like an 0:04:18.876 --> 0:04:23.036 eight track studio. And my friend Barrett I would always 0:04:23.076 --> 0:04:26.156 say like, hey, do you have any tape left at 0:04:26.196 --> 0:04:28.236 the end of that reel, Like, yeah, probably have like 0:04:28.316 --> 0:04:30.316 a couple of minutes, and I would go in really 0:04:30.396 --> 0:04:34.476 quickly so it's to not waste his time. I usually 0:04:34.516 --> 0:04:36.196 had everything worked out in my head and I would 0:04:36.236 --> 0:04:39.316 just blast a drum track really quick, put two guitars 0:04:39.356 --> 0:04:41.076 on it, a bass on it, and then bring it 0:04:41.116 --> 0:04:44.556 home and listen to it. And that's when I realized, like, 0:04:44.636 --> 0:04:47.996 oh my god, I could, like I couldn't write songs 0:04:48.196 --> 0:04:50.996 and record them and make it sound like a band, 0:04:51.436 --> 0:04:54.436 even though I didn't necessarily like the way I sang. 0:04:54.996 --> 0:04:56.876 I didn't think I was a great guitar player, but 0:04:56.916 --> 0:04:58.116 it was this fun experiment. 0:04:58.276 --> 0:04:58.676 So I was. 0:04:58.596 --> 0:05:01.276 Recording songwriter at the point, did you write songs for 0:05:01.396 --> 0:05:02.516 like and you spare time for fun? 0:05:02.636 --> 0:05:04.516 I mean I was writing songs about my dog when 0:05:04.516 --> 0:05:07.916 I was eleven years old, and you know, I had 0:05:07.996 --> 0:05:11.996 journals and stuff, and I was, you know, a complicated 0:05:12.036 --> 0:05:14.396 teenager of writing all of this shit that I considered 0:05:14.436 --> 0:05:17.156 poetry but it was just not And so I was 0:05:17.276 --> 0:05:20.956 just starting to kind of explore this new way of 0:05:21.716 --> 0:05:23.916 expressing myself for just like a new to me. It 0:05:23.916 --> 0:05:26.636 was almost like a puzzle, like a game, just seeing 0:05:26.676 --> 0:05:28.876 how far I could take it. Like I only had 0:05:28.916 --> 0:05:31.396 eight tracks to deal with, so I couldn't, you know, 0:05:31.516 --> 0:05:34.476 I couldn't do this, but anyway, so like a song 0:05:34.556 --> 0:05:37.316 like that was just something recorded for fun. And that 0:05:37.396 --> 0:05:41.116 pocket Watch cassette was the first time I released music 0:05:41.196 --> 0:05:43.236 on my own, but it was a cassette only release. 0:05:43.436 --> 0:05:45.996 I don't know how many they made. 0:05:45.236 --> 0:05:47.276 Only ever come out on cassette. 0:05:47.596 --> 0:05:49.876 Yeah, it was a friend of ours. So this is 0:05:49.916 --> 0:05:54.356 in Washington, d C. In the early nineties. Everybody had 0:05:54.396 --> 0:06:00.116 a record label, right yea, and the DC scene was 0:06:00.116 --> 0:06:03.956 was amazing because it was it was very independent and 0:06:04.036 --> 0:06:08.716 the ambition was really pure. It was to create good music, 0:06:08.756 --> 0:06:13.476 to create art to be shared, but also to sort 0:06:13.516 --> 0:06:18.476 of like foster this community and scene. It wasn't a 0:06:18.556 --> 0:06:21.596 huge scene, but it was a really like a strong 0:06:21.636 --> 0:06:25.076 and connected scene of friends and really creative people. So 0:06:25.796 --> 0:06:28.116 a girl named Jenny Toomy, she was the one with 0:06:28.196 --> 0:06:29.876 the Simple Machines. 0:06:31.196 --> 0:06:33.916 Label. That one was Simple Machines. Yeah. 0:06:33.956 --> 0:06:37.236 But at the same time I was in Nirvana. I'm like, 0:06:37.596 --> 0:06:41.636 why would I want to complicate my musical experience by 0:06:42.356 --> 0:06:47.196 putting out something like the story of Skeeter Thompson, the 0:06:47.196 --> 0:06:50.236 bass player of Scream, which is just an instrumental with 0:06:50.276 --> 0:06:52.196 a spoken word over it, and it's a true story, 0:06:52.236 --> 0:06:56.676 but it's ridiculous. While I'm in this other band with 0:06:56.956 --> 0:06:59.716 one of the greatest songwriters of all time, and I 0:06:59.756 --> 0:07:03.836 get to just bang away at the drums behind this 0:07:04.076 --> 0:07:09.956 amazing songwriter and it's pure and it's beautiful, and it 0:07:09.996 --> 0:07:12.196 was powerful and it sounded good. I saw all of 0:07:12.236 --> 0:07:15.476 the things that I do now. They were like my 0:07:15.596 --> 0:07:18.396 little side project thing that if I needed to blow 0:07:18.436 --> 0:07:20.716 off steam, I would just record things on my own, 0:07:20.956 --> 0:07:23.276 but never never wanted to. 0:07:24.116 --> 0:07:24.276 You know. 0:07:24.276 --> 0:07:26.876 It's the famous drummer joke. Was the last thing the 0:07:26.916 --> 0:07:29.636 drummer said before he got kicked out of the band. Hey, guys, 0:07:29.676 --> 0:07:31.036 I have a song that I think we should play 0:07:31.116 --> 0:07:32.796 like That's I knew that. 0:07:32.996 --> 0:07:35.276 Yeah, yeah, I lived that because you do. Did it happen? 0:07:35.356 --> 0:07:35.836 Scream ever? 0:07:35.956 --> 0:07:36.036 Like? 0:07:36.076 --> 0:07:38.356 Were you ever trying to? Like? 0:07:38.836 --> 0:07:43.156 Scream was very collaborative in that the guys in the band, 0:07:43.156 --> 0:07:45.236 they were older than me. They're you know, eight ten 0:07:45.316 --> 0:07:47.516 years older than me, but they've grown up with each other. 0:07:47.516 --> 0:07:50.756 They were best friends through high school and stuff. So 0:07:51.196 --> 0:07:54.276 Franz the guitarist was a great guitar player, is a 0:07:54.316 --> 0:07:59.996 great guitar player, and a great songwriter. Pete was and 0:08:00.036 --> 0:08:04.756 it is a great singer and a great lyricist songwriter. 0:08:05.476 --> 0:08:05.676 You know. 0:08:05.676 --> 0:08:08.036 At the time when Screamed, before I joined the band, 0:08:08.756 --> 0:08:11.196 they were one band in Washington, DC that was far 0:08:11.316 --> 0:08:14.476 more kind of musical and rock and roll than a 0:08:14.476 --> 0:08:16.916 lot of the other bands in town. Yeah, and that's 0:08:16.956 --> 0:08:18.996 one of the things I loved about them. Like I 0:08:19.036 --> 0:08:22.716 loved the Bad Brains, I loved you know, the Dead 0:08:22.796 --> 0:08:25.396 Kennedy's and Minor Threat and all of the early hardcore bras. 0:08:25.596 --> 0:08:29.516 But I loved Foght Yeah, you know, like I loved Zeppelin. 0:08:29.596 --> 0:08:31.676 I was a rock and roll kid from the suburbs. 0:08:32.156 --> 0:08:34.276 Scream were sort of that band that put all those 0:08:34.316 --> 0:08:37.116 things together. But when we would collaborate, we really did 0:08:37.316 --> 0:08:41.156 have that thing when a specific group of people get 0:08:41.196 --> 0:08:44.036 together and play, it makes a specific sound. And so 0:08:44.116 --> 0:08:47.276 that connection, not only musically but as people as friends 0:08:47.956 --> 0:08:48.716 was really strong. 0:08:48.996 --> 0:08:51.596 Those are great records, and your drumming on those are 0:08:51.916 --> 0:08:53.716 I mean, it's like in your book you tell a 0:08:53.756 --> 0:08:57.436 great story about Skeeter basically changing to the drum set 0:08:57.716 --> 0:08:59.596 and they wanted to play a groove over and over 0:08:59.676 --> 0:09:01.036 like can or something, you know, Like. 0:09:01.076 --> 0:09:04.116 Yeah, basically, I mean before I joined Scream, I was 0:09:04.396 --> 0:09:07.636 like a wild horse. I was just reckless, and of 0:09:07.676 --> 0:09:11.636 course I wanted to have tempo, I wanted to have feel, 0:09:11.796 --> 0:09:14.716 but I was like a hyperactive child, you know, and 0:09:14.756 --> 0:09:16.916 you give me a drum set and something's gonna break 0:09:17.556 --> 0:09:19.756 and it's gonna maybe be faster than it should and 0:09:19.796 --> 0:09:22.276 I'm probably going to fill up those empty spaces with 0:09:22.356 --> 0:09:24.916 things that only I love. 0:09:25.356 --> 0:09:26.036 Yeah. 0:09:26.156 --> 0:09:28.996 So basically, Skeeter sat me down and when I first 0:09:29.076 --> 0:09:31.876 joined the band and he said, we're gonna smoke a 0:09:31.956 --> 0:09:35.556 joint and we're gonna play this one riff for half 0:09:35.596 --> 0:09:36.516 an hour and you're not. 0:09:36.516 --> 0:09:37.996 Going to do a drum fill. 0:09:38.436 --> 0:09:40.556 I was like, yeah, okay, great, and we sat down 0:09:41.156 --> 0:09:42.676 and I don't remember what it was. It was a 0:09:42.716 --> 0:09:47.876 simple groove and almost like an itch that I needed 0:09:47.876 --> 0:09:51.516 to scratch. Within thirty seconds, I blasted some drum fill 0:09:51.556 --> 0:09:53.156 and he looked at me and kind of winked, like, no, 0:09:53.196 --> 0:09:55.396 you can't do that. You gotta stay on it, and 0:09:55.436 --> 0:09:58.636 he broke me like a horse and it really worked. 0:09:58.676 --> 0:10:04.036 It was it was my one valuable drum lesson was 0:10:04.356 --> 0:10:05.196 from a bass player. 0:10:05.236 --> 0:10:07.756 Well of course, right, I mean fucking of course now, 0:10:07.796 --> 0:10:08.036 I know. 0:10:08.236 --> 0:10:11.436 Yeah, back then, I was like, wait, what just happened? 0:10:11.516 --> 0:10:12.796 That's so funny, man. 0:10:13.076 --> 0:10:15.076 And but you know, like you listen to the records, 0:10:15.116 --> 0:10:16.876 You're like, oh yeah, like you can hear that, like 0:10:17.356 --> 0:10:19.836 you're an unchained maniac in some way. You were at 0:10:19.836 --> 0:10:22.036 one point because the power is there, like you know, 0:10:22.076 --> 0:10:23.516 it's like the fucking powers there. 0:10:23.516 --> 0:10:25.356 But then there is like a restraint and a groove 0:10:25.396 --> 0:10:26.116 on those records. 0:10:26.556 --> 0:10:32.076 Have you ever been to You probably haven't. The The 0:10:32.116 --> 0:10:36.396 engineer producer that made most of the DC records is 0:10:36.396 --> 0:10:40.596 a man named Donzie and Tara so Donzie. He was 0:10:40.716 --> 0:10:43.316 like the first person to record the Bad Brains. He 0:10:43.396 --> 0:10:45.676 was the first person to record all of the discord stuff, 0:10:45.676 --> 0:10:50.476 all of that stuff. It was in a room about 0:10:50.676 --> 0:10:54.716 a fifth the size of this room, this tiny room. 0:10:54.956 --> 0:10:56.916 You know, they're recording analog to tape. I don't know 0:10:56.956 --> 0:10:59.476 what machine he had, but it was not only like 0:10:59.556 --> 0:11:06.596 spatial restriction, the basement of a house in Arlington residential neighborhood. 0:11:06.636 --> 0:11:09.036 And when you listen to like some of those for 0:11:09.196 --> 0:11:14.876 Gazi recordings where you've got that incredible band tracking live 0:11:15.116 --> 0:11:17.236 in a space the size of like a bath towel, 0:11:17.516 --> 0:11:19.676 and you listen to it and it sounds so huge. 0:11:19.996 --> 0:11:22.196 And one of the reasons why it sounds so huge 0:11:22.476 --> 0:11:26.156 is because it's the combination and energy of those people 0:11:26.276 --> 0:11:29.916 in that moment, so sonically, like the sonic element has 0:11:29.916 --> 0:11:32.036 a lot to do with it, but beyond that, it's 0:11:32.076 --> 0:11:36.676 the energy of what's happening between those people in that moment, 0:11:36.876 --> 0:11:40.436 and that's kind of how we would record. Yeah, you know, 0:11:40.796 --> 0:11:42.716 I mean it's the same thing like when we recorded 0:11:42.956 --> 0:11:45.516 the one picture we took from the studio. 0:11:45.396 --> 0:11:46.556 There's only one picture. 0:11:46.636 --> 0:11:48.876 I swear to god, there's maybe three pictures, Like one 0:11:48.876 --> 0:11:51.036 of them is the three of us in the control room. 0:11:51.156 --> 0:11:54.236 That was the drum setup for recording. Nevermind. The reason 0:11:54.276 --> 0:11:59.596 why it worked is because when we recorded live, you know, 0:11:59.596 --> 0:12:02.196 those songs, we just we'd count in it and we'd do it. 0:12:02.276 --> 0:12:03.956 We'd do a couple of takes, and then we didn't 0:12:03.956 --> 0:12:05.236 have a lot of time, so we had to move 0:12:05.276 --> 0:12:07.076 on to the we're only there for twelve days or 0:12:07.116 --> 0:12:11.556 whatever it was anyway, so that's a really important part 0:12:11.636 --> 0:12:15.996 of the process that lends to the the energy of 0:12:15.996 --> 0:12:16.356 a song. 0:12:16.516 --> 0:12:18.996 Yeah, you know, that picture brings joy to my heart 0:12:19.036 --> 0:12:21.556 because I look like that's simple, like Mike set up 0:12:21.556 --> 0:12:24.196 for you know, it's just that's fucking perfect. 0:12:24.316 --> 0:12:26.516 Well, it was also that room, and it was also 0:12:26.636 --> 0:12:28.076 this board and so. 0:12:28.116 --> 0:12:32.836 Which is a long way from the boom box dubbing exactly. 0:12:32.876 --> 0:12:36.276 If I had this when I was eleven, O fucking Beethoven, 0:12:37.156 --> 0:12:38.196 we'd be a lot further along. 0:12:38.316 --> 0:12:43.196 Yeah, hard to imagine, just to put a pin on it, though, 0:12:43.196 --> 0:12:44.996 Hold on real quick, Okay. 0:12:45.236 --> 0:12:50.516 Is this puss? It's link, It's kind of it's like 0:12:50.636 --> 0:12:53.996 a vulgar story. It's great, it's hilarious. 0:12:54.396 --> 0:12:58.076 So we were in Amsterdam. That's exactly how the song begins. 0:12:58.636 --> 0:13:01.996 Whatever screen would tour Europe. I think I was like 0:13:02.036 --> 0:13:05.876 eighteen years old the first time I went. Amsterdam is 0:13:05.916 --> 0:13:09.796 our home base, not only for obvious reasons, but because 0:13:09.796 --> 0:13:11.876 we had a good friend there, a guy named Toss, 0:13:12.156 --> 0:13:15.156 had an apartment, and so we would go there to 0:13:15.276 --> 0:13:18.156 prepare for a tour. We'd go there and we'd start 0:13:18.196 --> 0:13:21.276 rounding up equipment because there's no way we could fly 0:13:21.356 --> 0:13:23.116 our back line equipment too. 0:13:23.156 --> 0:13:23.836 We had no money. 0:13:24.356 --> 0:13:28.396 We'd fly standby on this airline called Martinair. It was amazing. 0:13:28.756 --> 0:13:32.316 You could fly out of BWI for ninety nine dollars 0:13:32.916 --> 0:13:36.476 out of BWI and you could reserve a stand by ticket, 0:13:36.676 --> 0:13:38.676 which is weird because usually if you fly stand by, 0:13:38.716 --> 0:13:41.196 you sit and wait and cross your fingers. Martinair it 0:13:41.316 --> 0:13:45.156 was a Dutch airline Martinair. They would tell you whether 0:13:45.196 --> 0:13:47.836 you're on the flight or not, like two days before 0:13:47.876 --> 0:13:50.396 the flight, so you basically reserve a seats for ninety 0:13:50.436 --> 0:13:52.596 nine bucks. So we would all work our jobs at home. 0:13:52.636 --> 0:13:55.076 I worked on a furniture warehouse. Pete worked at the 0:13:55.116 --> 0:13:57.796 Washington Post delivering papers, and we get ninety nine bucks 0:13:57.796 --> 0:13:59.836 and we'd get our tickets and get over to Amsterdam 0:14:00.076 --> 0:14:02.716 but have nothing, and we would sleep on Toss's floor. 0:14:02.836 --> 0:14:05.076 We'd sort of try to pick up odd jobs to 0:14:05.116 --> 0:14:06.916 make a little bit of money. And how did you 0:14:06.956 --> 0:14:09.516 know Toss scream New Toss? I think I think from 0:14:09.516 --> 0:14:11.916 the first time day before I joined the band. They 0:14:11.956 --> 0:14:14.956 toured Europe in maybe like nineteen eighty three or eighty 0:14:14.996 --> 0:14:17.596 five or something, but so yeah, they just met Toss scene. 0:14:18.076 --> 0:14:18.796 Yeah, I mean that was. 0:14:18.756 --> 0:14:22.716 Sort of like that networking community those days. People helped 0:14:22.756 --> 0:14:26.436 each other out. There's always a Florida crash on and 0:14:26.876 --> 0:14:28.596 if he didn't have a guitar, there was always one 0:14:28.716 --> 0:14:29.716 that someone would end. 0:14:30.076 --> 0:14:30.836 So Skeeter. 0:14:30.996 --> 0:14:35.196 One day, as I was sitting on the couch listening 0:14:35.276 --> 0:14:38.756 to Tossa's amazing record collection, Skeeter walks up to me 0:14:40.156 --> 0:14:45.956 with his dick in his hand, and I think he 0:14:46.076 --> 0:14:51.276 was afraid that he had maybe contracted a nasty problem. 0:14:51.876 --> 0:14:53.916 I'm sorry, Skeeter. I don't want to call Skeeter out. 0:14:55.076 --> 0:14:57.076 And he said, does that look like pusty? And I said, nah, 0:14:57.116 --> 0:14:59.676 I think it's lint. And so it's so perfectly delivered 0:14:59.716 --> 0:15:02.116 on this song. Well, here's the thing, it's I mean, 0:15:02.396 --> 0:15:04.996 I'm never short for words, first of all, I never 0:15:05.076 --> 0:15:07.156 have been. And I didn't know what to sing over 0:15:07.196 --> 0:15:11.236 this crazy like metal instrumental thing that I had done. 0:15:11.436 --> 0:15:13.516 So I decided just to tell a story. That was 0:15:13.516 --> 0:15:13.876 the story. 0:15:13.956 --> 0:15:14.676 But long. 0:15:15.156 --> 0:15:17.636 Hey, if you're long winded, you figured out to be 0:15:17.716 --> 0:15:20.236 really concise and economical. 0:15:20.316 --> 0:15:22.876 It's all about the timing. All the timing perfect. It 0:15:22.956 --> 0:15:24.156 was perfect. And then I saw the. 0:15:25.956 --> 0:15:31.076 Classic Cheech and Chong it's Dave, Oh my god, maybe 0:15:31.076 --> 0:15:33.756 that must be I remember listening to Cheech and Chong 0:15:33.876 --> 0:15:34.676 records when I was in. 0:15:34.676 --> 0:15:37.676 Like sixth grade. It's weird, life. 0:15:37.516 --> 0:15:39.916 Kind of changed around like ten or eleven years old, 0:15:40.116 --> 0:15:42.636 where you know, I had Beatles records, and I had 0:15:42.716 --> 0:15:46.556 Kiss records, and I had Rush records, and pre punk rock, 0:15:48.196 --> 0:15:52.556 I was listening to Cheech and Chong records which are amazing, 0:15:52.996 --> 0:15:56.956 and Days Not Here, that comic that's upstairs, and all 0:15:56.956 --> 0:15:59.476 those bits on those records are so funny. And then 0:15:59.516 --> 0:16:01.956 I went to a movie theater with my friend Larry Hinkle, 0:16:02.236 --> 0:16:04.756 He's my best friend. We went one night to a 0:16:04.796 --> 0:16:07.956 midnight movie and we saw a C d c's Let 0:16:07.956 --> 0:16:12.396 There Be Rock Tour Moving, which is an ACDC performance 0:16:12.436 --> 0:16:16.436 in I think Paris from maybe seventy nine. It was 0:16:16.956 --> 0:16:19.916 just before bon Scott, the original singer, passed away, and 0:16:19.956 --> 0:16:22.676 their performance was so. 0:16:24.796 --> 0:16:25.156 Moving. 0:16:25.196 --> 0:16:27.196 It was so it was the first time I'd seen 0:16:27.796 --> 0:16:30.236 and it was in a movie theater with a concert 0:16:30.316 --> 0:16:32.916 pa in the theaters, Me and Larry and like three 0:16:32.956 --> 0:16:35.756 other people in the backs who were smoking weed and 0:16:35.956 --> 0:16:39.316 watching this ACDC performance. It was like their life depended 0:16:39.396 --> 0:16:43.676 on it. Angus Young is running, sweating, getting oxygen because 0:16:43.676 --> 0:16:46.876 he's going so hard that the drummer Phil Rudd, he's 0:16:46.916 --> 0:16:50.396 just breaking through snares and putting new snares up. And 0:16:50.476 --> 0:16:53.956 it was like it was the first time I felt 0:16:54.596 --> 0:16:58.996 in my body that I wanted to explode. As much 0:16:58.996 --> 0:17:02.476 as I loved the complexity and the beauty and the 0:17:02.516 --> 0:17:05.876 melody of like the Beatles and things like that this 0:17:06.076 --> 0:17:09.116 just made me want to fucking tear the movie theater down, 0:17:09.476 --> 0:17:12.196 and that sort of like set this spark in me. 0:17:12.236 --> 0:17:14.516 And it wasn't long after that that I discovered punk 0:17:14.596 --> 0:17:17.276 rock music and I was like, I'm home. Okay, great, 0:17:17.356 --> 0:17:19.596 I found the thing that unlocks the thing. Yeah, I 0:17:19.636 --> 0:17:21.876 got the key now, so what am I gonna do. 0:17:21.956 --> 0:17:24.116 It's amazing how closely related those things are, because you know, 0:17:24.916 --> 0:17:26.636 after a certain point, by the time I got into 0:17:26.636 --> 0:17:29.196 punk rock, it was like verbot and to like, you know, 0:17:29.396 --> 0:17:31.436 like God forbid you listen to like a Ted Nugent 0:17:31.476 --> 0:17:33.076 record or something you know, but then you and then 0:17:33.076 --> 0:17:35.196 you like watching an interview with like Henry Rollins, He's like. 0:17:35.196 --> 0:17:37.396 He fucking loves Ted Nugent, Like, oh, he and Ian Mackay, 0:17:37.636 --> 0:17:43.596 I've had long debates. Actually it's funny. Ian Ian's old 0:17:43.596 --> 0:17:47.516 friend and he was you know, he's honestly one of 0:17:47.516 --> 0:17:51.116 my heroes in life. He's such an incredible person, incredible man. 0:17:51.316 --> 0:17:55.116 His truth and integrity and purity and creativity and the 0:17:55.156 --> 0:17:59.236 way he lives is like he's a righteous dude. He's 0:17:59.316 --> 0:18:01.956 amazing to this day, incredible to this day. So we've 0:18:01.996 --> 0:18:05.756 had long conversations about Ted Nugent. I'm like, are you 0:18:06.556 --> 0:18:08.836 really Ian? He's like yeah, man, like I guess he 0:18:08.876 --> 0:18:10.236 and had we went to go see him. Play's like, 0:18:10.276 --> 0:18:12.836 here's this guy. He jumps out on stage with his guitar. 0:18:12.876 --> 0:18:14.916 It's loud as shit, he's wearing a loincloth and he's 0:18:14.956 --> 0:18:17.516 screaming his fucking brains on his hairs out to here. 0:18:17.836 --> 0:18:19.076 He goes, yeah, Ted Nugent. 0:18:19.316 --> 0:18:22.036 And so last year, for Ian's birthday, I got him 0:18:22.036 --> 0:18:29.356 a cameo from Ted Nugent No louking way, yeah, and 0:18:29.796 --> 0:18:33.596 it blew Ian's mind. I don't even think Ian knew 0:18:33.636 --> 0:18:36.236 what cameo was. And of course, like you have to 0:18:36.276 --> 0:18:40.396 sort of prompt the cameo say it's my friend Ian's birthday. 0:18:40.716 --> 0:18:44.716 He's a struggling musician and an avid bow hunter or whatever. 0:18:44.596 --> 0:18:48.196 Like I, oh, yeah, I went there. He was just like, 0:18:48.676 --> 0:18:51.476 how did you do that? How does this? I'm like, en, 0:18:51.516 --> 0:18:53.356 It's like he's like an app you just played it. 0:18:53.476 --> 0:18:56.396 He's like blue is mine. He was super into it. 0:18:56.676 --> 0:18:59.756 Gee was not apparently. I would like to imagine at 0:18:59.796 --> 0:19:02.356 some point Ted Nugent realized that was really for. 0:19:02.556 --> 0:19:05.156 Well, you know what's funny actually recently. I could say 0:19:05.196 --> 0:19:07.516 this now because Ian acknowledged it the other day. You 0:19:07.516 --> 0:19:12.396 know about the Albini Fugazi that came out recently. It's phenomenal. 0:19:12.636 --> 0:19:17.116 It's testament to how Steve Albini could take something to 0:19:17.356 --> 0:19:22.596 an entire, entirely different place. Like I'd never heard Fugazi 0:19:22.636 --> 0:19:25.876 sound like that. That record is a masterpiece and it's 0:19:25.916 --> 0:19:29.636 so incredibly powerful, and you know, everybody had heard it 0:19:29.676 --> 0:19:32.356 was rumored that they made a record with Albini. But anyway, 0:19:32.596 --> 0:19:34.836 so when it came out on band camp, it was like, 0:19:35.076 --> 0:19:37.356 you know, nine ninety nine ten bucks or whatever, and 0:19:37.396 --> 0:19:44.756 you could donate money to a charity that was Albini's 0:19:44.956 --> 0:19:50.436 like favorite charity. So I buy the record and then 0:19:50.516 --> 0:19:52.636 I donate a bunch of money to the charity. But 0:19:52.676 --> 0:19:54.676 then you can also write a message to the band, 0:19:55.316 --> 0:20:00.556 and I said, thank you for finally releasing these Albini sessions. 0:20:00.756 --> 0:20:07.996 Currently listening to your album from my monster truck as 0:20:08.036 --> 0:20:12.276 I shoot flaming arrows at targets, love Ted Nugent, and 0:20:12.316 --> 0:20:15.276 I'm like, he's going to see this. It took it 0:20:15.316 --> 0:20:17.676 took about three weeks, and I just got the text 0:20:17.676 --> 0:20:20.156 the other day He's like, hey, nuge, thanks for the donation. 0:20:21.076 --> 0:20:25.596 I just texted back, I said, God bless America. But 0:20:25.596 --> 0:20:27.756 but right, so, no, the I mean both of these 0:20:27.796 --> 0:20:30.956 things can be true. These two things can coexist. Yeah, 0:20:30.996 --> 0:20:33.636 you know, I think one of the complications in a 0:20:33.676 --> 0:20:39.916 lot of that punk rock list of ethos, ethics, whatever, 0:20:39.916 --> 0:20:42.276 it was like can't do this, can't do that, can't 0:20:42.276 --> 0:20:45.676