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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Just Fake

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Speaker 1: It Tea, make It Here we Go.

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Speaker 2: Suprema Shuck Suh, Supremo role called Suprema shut shut Supremo

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Speaker 2: role called Supremo shut sup Supremo.

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Speaker 1: Role called Supremo shut Up. Supremo role calls Ryner Cuomo.

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Speaker 3: Yeah, Wilson Belle four Heroes in ninety four.

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Speaker 1: Yeah, save me from Hell.

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Speaker 4: Roll call Supremo Suh sut Supremo role called Suprema suck

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Speaker 4: suh Suprema role call.

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Speaker 1: My name is Fante, Yeah, not Deze's on me hero.

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Speaker 4: Yeah.

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Speaker 1: Found out about Wheezer playing on guitar Hero.

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Speaker 2: Supprimo Sun Sun Supremo role called Supremo Sure Sun Supremo.

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Speaker 5: Role call name is Sugar. Yeah, I'm such a Geezer.

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Speaker 1: Yeah.

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Speaker 5: My first concert, Yeah it was the actual Buddy Holly Suprema.

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Speaker 1: Roll call Dreamer So Supremo.

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Speaker 6: Roll call I'm me yes me b Yeah, goddamn yeah,

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Speaker 6: I am roll.

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Speaker 4: Sir s Suprema roll call Suprema so so Supremo.

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Speaker 2: Roll call.

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Speaker 7: My name is Patrick Wilson's him in New York City. Yeah,

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Speaker 7: I want to say ahead of my wife because she's

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Speaker 7: exceptionally pretty.

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Speaker 1: From downtown.

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Speaker 4: Suprema roll call, Suprema So soun Suprema roll call.

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Speaker 8: My name is Jonas, Actually it's not. Yeah, it's Rivers. Yeah,

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Speaker 8: busted rhymes on the spot.

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Speaker 4: So Prema roll call, Suprema Su Sun Suprema roll call,

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Speaker 4: Suprema su su Suprema roll Suprema Sun Sun supremea roll.

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Speaker 6: That's the first time a guest has ever voluntarily raised

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Speaker 6: their hand to go next.

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Speaker 3: Yes, well done. Every other guest is like, not me,

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Speaker 3: I'm not doing. Pladies and gentlemen, Welcome to quest Love Supreme.

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Speaker 3: I am quest Love your host team Supreme.

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Speaker 1: Good people. Morning, good morning, morning, good morning, yes, good morning.

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Speaker 5: Fucking cough, good morning.

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Speaker 1: Nothing happened. Nothing happened today.

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Speaker 3: Speaking of ninety four, yo, whoa right, wow, okay, met as,

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Speaker 3: we kind of reflect on the significance of April ninety four,

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Speaker 3: which was probably significant for two X June.

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Speaker 4: Yeah.

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Speaker 3: Well no, no, well, April ninety four being the the

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Speaker 3: domino that also ends in June.

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Speaker 1: Wait, how do you know the date by heart?

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Speaker 5: I'm talking about Ojson.

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Speaker 3: Yeah, I know that you're talking about. Who commits that

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Speaker 3: to memory? Oh because of the basketball game.

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Speaker 5: Now, I watched the I was unemployed that summer, so

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Speaker 5: I watched the whole trial.

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Speaker 1: You weren't working on an Electric lady then.

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Speaker 5: Now it was right before I started.

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Speaker 1: Did you start there?

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Speaker 5: Ninety six? Yeah, middle ninety so this.

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Speaker 1: Is the way after you guys. Okay, I see.

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Speaker 3: Basically, I will probably say that today's conversation is long overdue.

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Speaker 3: I think everyone thinks that they have a special relationship

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Speaker 3: with an entity or whatever, like theirs is unique alone.

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Speaker 3: But I think that my relationship to our guest today

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Speaker 3: is fairly unique than that of their fan bases connection

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Speaker 3: to them.

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Speaker 5: Yeah, what did your role call mean?

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Speaker 1: Well?

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Speaker 3: Yeah, I was going to say that when I tell

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Speaker 3: the folklore of the roots time at DGC Records back

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Speaker 3: in ninety three to ninety four, when we first signed,

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Speaker 3: I would assume that both acts got their record deals

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Speaker 3: around the same time. I was made aware that they

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Speaker 3: were releasing their record in ninety four, and kind of

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Speaker 3: when we had that stalled beginning of which our album

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Speaker 3: was supposed to come out in June of ninety four,

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Speaker 3: and then the labels like not yet, we have to

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Speaker 3: get you a staff first, and all those things. Those

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Speaker 3: were really really lean years. So I can't believe I'm

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Speaker 3: telling this story so pretty much for quick survival money.

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Speaker 7: Closet.

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Speaker 1: Wait you two, Oh my god, wait the way And

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Speaker 1: I'm like that was too easy.

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Speaker 3: I wonder I'm like under trepidation of like I don't

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Speaker 3: know if I was telling the story, yo, But I

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Speaker 3: will say that as far as value was concerned, you guys, ecstasy.

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Speaker 1: And back.

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Speaker 3: No, seriously, like at any moment of like the moment

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Speaker 3: that we all had to like go see pault fiction.

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Speaker 1: All right, let's go get them real quick, grab some wheezers.

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Speaker 3: Yes, wait a minute, but how you guys who were

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Speaker 3: the people that provided, in some indirect way the finances

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Speaker 3: for my survival ninety four also doing the same.

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Speaker 8: Thing we were ninety three. We were going there in

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Speaker 8: ninety three and it was like guns and roses, use

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Speaker 8: your illusion.

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Speaker 3: Yes, oh my god, thought dude, I literally thought that

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Speaker 3: showing them hockey, Yeah, yeah, that was.

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Speaker 5: Just taking to listen to.

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Speaker 1: So this is a crime, all.

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Speaker 3: Right, Yes, yes, I using our guest today. But the

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Speaker 3: thing was is that I was always shocked the period

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Speaker 3: that I was doing it. In my mind, I'm like, okay,

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Speaker 3: they'll want the spaghetti incident, use your losing, and it

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Speaker 3: was like, no, all the Neil Young Geffen era records

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Speaker 3: trans all that stuff, Nah, they wanted Weezer. And then

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Speaker 3: one day, after like six months of hawking you guys,

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Speaker 3: I'm like, all right, let me listen to this.

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Speaker 1: And then I became more obsessed.

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Speaker 3: And then once I started reading about like your kiss

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Speaker 3: obsession and all that stuff, I was like, wow, like

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Speaker 3: there's some weird kinship here. And plus, you know, I

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Speaker 3: really credit you guys more than anything for at least

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Speaker 3: making me aware of Spike Jones as a video director. Anyway,

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Speaker 3: longest intro in history, Ladies and gentlemen, Please welcome Weezer

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Speaker 3: to the show. Yeah, welcome. I had a whole scroll

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Speaker 3: of fan letter to do the intro, but I decided

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Speaker 3: not to do that. Just a confession, that's all.

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Speaker 1: Yeah, Are you really that this was going down? No,

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Speaker 1: you gotta do what you gotta do. You never did that.

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Speaker 5: I've stolen so much shit from you, from everybody?

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Speaker 1: Are you kidding me? I was supposed to do it?

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Speaker 1: So wait.

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Speaker 3: First thing I'll ask is because of the I mean,

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Speaker 3: your entire canon now, and you know you're running out

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Speaker 3: of colors and and I'm only jealous of the synesthesia

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Speaker 3: of it all, like the fact that you know each

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Speaker 3: album represents a mood or whatever. I'm so jealous that

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Speaker 3: you guys really got to explore that. Is it cringe

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Speaker 3: worthy to listen to your first record? Like do you

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Speaker 3: accept where you were as artists when you're making this

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Speaker 3: in ninety three or is it you listen to and

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Speaker 3: you're like, I could have that Stanza could have been better,

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Speaker 3: or this mix could have been better, or like, are

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Speaker 3: you overly critical?

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Speaker 1: For me?

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Speaker 8: I'm less critical now than I was then when we

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Speaker 8: finished it. I remember at the time and we made

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Speaker 8: some big mistakes, specifically like the I wish we had

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Speaker 8: gone bigger with the drum sound, and then we did

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Speaker 8: exactly that on our second record, Pinkerton. We just turned

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Speaker 8: up the room MIC's uhs more that. But now it's like, yeah,

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Speaker 8: that's that's what the album sounds. It sounds how it's

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Speaker 8: supposed to sound.

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Speaker 1: I love it.

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Speaker 3: How do you feel about the perception of Pinkerton and

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Speaker 3: the fact that, I mean, it's basically the standard of

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Speaker 3: I won't say postmodern and leftist center records. I mean,

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Speaker 3: there's a lot of it, but just the fact that

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Speaker 3: now it's used as like, well, I'm a real fan

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Speaker 3: because I have Pinkerton tattooed, or you know what I mean,

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Speaker 3: Like the amount of dissertations I've read about the album

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Speaker 3: and on the internet and your Weezer Palooza. Have you

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Speaker 3: guys been on your own Weezer Palooza page at all?

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Speaker 1: No, it's very.

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Speaker 8: Scary, yeah, weezer Pedia.

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Speaker 1: Maybe. Oh I'm sorry, Yes, Weezer.

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Speaker 8: That's a good idea though, well yeah, yes, you know,

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Speaker 8: fans are gonna fan and that's great, and I don't

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Speaker 8: I don't think it's I don't think I should be

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Speaker 8: like paying too much attention to that stuff. What I

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Speaker 8: care about is, like I just want when we play

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Speaker 8: a concert, I want as much harmony as possible in

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Speaker 8: the room, just like everyone to be united. I love

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Speaker 8: that feeling. So the only time that's the problem is

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Speaker 8: when like you have different segments of the crowd want

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Speaker 8: to hear different songs. But that's why it's great to

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Speaker 8: like play huge venues sometimes and then sometimes play really

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Speaker 8: little venues. You know, the super hardcore fans, they're gonna

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Speaker 8: want to hear Pinkerton some B sides, that kind of thing.

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Speaker 8: That's super fun too.

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Speaker 1: I assume that come twenty twenty six, you guys will if.

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Speaker 8: We can get past the blue album thing, that will

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Speaker 8: be fun.

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Speaker 4: Yeah.

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Speaker 1: What is it like to return to it? Do you do?

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Speaker 3: You have seminal memories of the making of the album.

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Speaker 3: And I'm also kind of else that you guys know

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Speaker 3: what Electric Lady was like when the dome was in

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Speaker 3: front of it?

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Speaker 1: Oh yeah, yeah, yes, yeah. Wait were you there with

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Speaker 1: us the day we were going to protest and.

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Speaker 5: Yeah, yeah, we were trying to like tire ourselves.

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Speaker 1: To Yeah, the last day, the last day of that

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Speaker 1: that the dome that was in front of Electric Lady.

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Speaker 5: He's calling it a dome, but it's a rounded brick wall.

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Speaker 5: Well or no, a dome goes above you.

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Speaker 3: But yes, okay, so it's at the time I thought

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Speaker 3: it was an igloo or whatever. I mean, I don't

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Speaker 3: know what to make of it. But rounded brick wall, yeah,

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Speaker 3: brick wall, circular brick wall because Jimmy Hendricks didn't believe

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Speaker 3: in corners. Yeah, oh really And yeah, so our first

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Speaker 3: week there of doing d' Angelo's Voodoo and we found

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Speaker 3: out they were going to knock the wall down and

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Speaker 3: we were going to go all vigilant and chain ourselves

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Speaker 3: to the front door, like in front of the breaker.

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Speaker 1: And then of course at six am, none of us

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Speaker 1: were now to stay up in front of it. Oh well,

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Speaker 1: we got to work like it's going on. Actually, let

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Speaker 1: me start you pet, what was your like your first

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Speaker 1: musical memory in life?

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Speaker 7: Very man low? What that's the biggest ones for you?

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Speaker 7: His face on the cover is huge. I don't know

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Speaker 7: why I liked it, but I was like, it was

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Speaker 7: pretty small.

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Speaker 1: Yeah, he was unavoidable.

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Speaker 5: Also, yeah, you know you like the even Now album,

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Speaker 5: that's the one nineteen seventy eight.

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Speaker 7: It all sounds like a seventies movie to me, but

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Speaker 7: I love it.

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Speaker 3: Yeah, the same mellow intro in it exactly. So you

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Speaker 3: mean purchasing that record or just.

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Speaker 7: I don't know how I got it, but I got it.

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Speaker 7: My brother and sister are much older than me. They're

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Speaker 7: they're like in their early seventies now, so they would

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Speaker 7: leave records lying around people like, oh, here's weird Neil

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Speaker 7: Young record, here's you know, the Who, Quadraphinia and all

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Speaker 7: this stuff, and I just thought they were great to throw.

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Speaker 1: You know, it's a little Casby.

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Speaker 7: Yeah, yeah, this is whatever. But eventually I started listening

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Speaker 7: to it, stuff like Van Halen. Then I got into

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Speaker 7: it on my own or like Rush right, and that's

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Speaker 7: when I, you know, got into rock.

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Speaker 1: Where were you born?

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Speaker 7: Buffalo? Okay, okay, Buffalo, New York, up state?

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Speaker 1: Nice? All right, Riverskay? What was your first musical memory?

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Speaker 1: It was all right right?

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Speaker 8: First memory would be listening to my dad play the drums.

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Speaker 1: Okay.

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Speaker 8: He is a jazz drummer, so it would have been

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Speaker 8: him and his buddies jamming.

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Speaker 7: Who do you play with?

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Speaker 1: Uh wah?

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Speaker 2: Yeah?

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Speaker 8: He made it onto a Wayne Shorter session in nineteen

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Speaker 8: seventy right here, I think in Manhattan or Brooklyn.

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Speaker 1: And what was your dad's name?

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Speaker 8: Frank Cuomo? So Francis actually legally it's Francis. Yeah did that?

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Speaker 7: How did you know that?

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Speaker 4: I just.

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Speaker 5: I didn't know.

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Speaker 3: We're in a band together. So your father playing drums

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Speaker 3: around the house. That was your first musical remember?

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Speaker 1: Yeah?

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Speaker 3: Okay, you know I've read this interview long ago we

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Speaker 3: described I guess the discovery of Kiss.

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Speaker 1: Was your kind of come to Jesus moment? Yeah, all right,

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Speaker 1: can you describe that?

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Speaker 3: Like, what was that feeling? I mean, you're one year

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Speaker 3: older than I am. But it's so weird that you

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Speaker 3: actually listened to the music. I was obsessed with Kiss,

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Speaker 3: but only as to whenever we would go to like

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Speaker 3: a department stores or whatever like sears, I would immediately

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Speaker 3: be lined for the record section and just stay there

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Speaker 3: for like the two hour derivation while they're shopping around.

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Speaker 1: And I'm noticing that for a band that started.

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Speaker 3: In seventy four, like they released a whole like a

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Speaker 3: whole collection by nineteen seventy six, where and I would

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Speaker 3: obsessed over these record covers but never listen to the music.

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Speaker 3: So like I think my first experience was Love Gun

256
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Speaker 3: and Christine sixteen, but for yours, like what was it about?

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Speaker 3: You actually listened to the music, Like I just got

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Speaker 3: as far as the cover and that was it. Tried

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Speaker 3: to imagine what they sounded like.

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Speaker 8: So when I was five or so, my family moved

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Speaker 8: to an ashram and we were pretty cut off from

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Speaker 8: pop culture at that point. There was a lot of

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Speaker 8: like Sanskrit chanting that that was my main music experience

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Speaker 8: at that point. I listened to now, but there was

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Speaker 8: some hippie music too. I remember Kat Stevens, Joan Biaz,

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Speaker 8: Bob Dylan, that kind of stuf. I would hear those records.

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Speaker 8: But then there was this one girl who was my age.

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Speaker 8: She came and visited the Ashram. Her name was Shanty

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Speaker 8: and she had rock and rock and roll over by Kiss.

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Speaker 8: So it's probably seventy seven, and she poisoned the whole

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Speaker 8: that she accidentally left it, and we put it on

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Speaker 8: the record player and we had like a little cassette

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Speaker 8: player also, so we pressed record as the record was going.

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Speaker 8: So then I had a recording of this record, and

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Speaker 8: that's the only Kiss album I had at that point.

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Speaker 8: It's really the only kind of rock or intense music

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Speaker 8: I had, but we would listen to it over and over.

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Speaker 8: But it had the sound of my brother and I

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Speaker 8: running around the coffee table in circles over and over,

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Speaker 8: like spazzing out as we're listening to this rock. Like

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Speaker 8: I said, that's what I listened to for a couple

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Speaker 8: of years. And then then I started going to record

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Speaker 8: storees myself, exactly like you did, and I went straight

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Speaker 8: to the K section to find the Kiss albums and LEXI, yeah,

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Speaker 8: this is incredible.

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Speaker 7: Now cut to my mom in seventy seven saying, honey boy,

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Speaker 7: that's the Devil's music. That's kids in Satan's snare.

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Speaker 3: Well, I got to add to this story. I don't

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Speaker 3: know if you guys know this story. So you know,

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Speaker 3: I grew up my father was like a duop singer

291
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Speaker 3: in the fifties. So by the seventies he's going through

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Speaker 3: his what I can call like the revival face like whatever, fifties,

293
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Speaker 3: yeah and so yeah, anything that have remotely to do

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Speaker 3: with du wap music or you know, the revival of

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Speaker 3: American Gaffiti, Happy Days, Laverne and Shirley Greece, all that stuff.

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Speaker 1: My dad was a part of it.

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Speaker 3: But somehow like he got off that circuit and sort

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Speaker 3: of pivoted to just a regular nightclub act of which

299
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Speaker 3: in the seventies, if you're looking for a good time

300
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Speaker 3: on you know, a weeknight or whatever, you go to

301
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Speaker 3: your local holiday inn and somewhere in the bar there's

302
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Speaker 3: you know, some legend of Yesteryear playing. So weird enough,

303
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Speaker 3: this is in Buffalo, New York, nineteen seventy eight, and

304
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Speaker 3: I guess the protocol of the day is that acts

305
00:16:53,200 --> 00:16:57,840
Speaker 3: would stay at the Airport Hotel always because it's right

306
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Speaker 3: next to the airport. And we did about three weeks.

307
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Speaker 3: I think of Sheridan in Buffalo, of which you know,

308
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Speaker 3: Boston came through the group Kansas, and I also came

309
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Speaker 3: through a lot of city and state names.

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Speaker 1: Yeah, exactly.

311
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Speaker 3: But one particular night, it was on a Friday night,

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Speaker 3: and all I remember was, this might have been seventy nine.

313
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Speaker 3: I remember Dan Hartman was just did his second song

314
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Speaker 3: on Midnight Special.

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Speaker 1: It was like the whatever.

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Speaker 3: The follow up song was the instant replay. I think

317
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Speaker 3: a song called this is It? So he does it

318
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Speaker 3: and the credits are going up, and I was thirsty.

319
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Speaker 3: It's like, I guess, like one thirty two in the morning,

320
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Speaker 3: I go to the dresser, grab fifty cent to get

321
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Speaker 3: a soda, and I walk in the hallway. Now this

322
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Speaker 3: is a circular hotel. I walk in the hallway to

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Speaker 3: the soda machine, get my soda, and then.

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Speaker 1: The elevator opens. Now I'm eight years old.

325
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Speaker 3: In that entire Hire album cover artwork is now coming

326
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Speaker 3: to life, like it's it's fucking Chris and Ace and

327
00:18:08,960 --> 00:18:13,920
Speaker 3: Paul and Jean and their bodyguards in no kind of

328
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Speaker 3: post makeup. All I remember was I looked, and I screamed,

329
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Speaker 3: and I ran to the right and the thing was

330
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Speaker 3: I actually ran.

331
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Speaker 1: Literally, so they were performing there for three days, and.

332
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Speaker 3: You know, instantly it was like elation, curiosity, but mostly

333
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Speaker 3: terror because also I saw kiss Me to the Phantom

334
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Speaker 3: O My God, which as an eight year old, like

335
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Speaker 3: that totally fucked with me. I mean, now is a

336
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Speaker 3: total camp film. But the next day I remember going

337
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Speaker 3: to the game room in hotels all the arcade games

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Speaker 3: and bin ball games would they would have arcades inside

339
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Speaker 3: of those hotels, and I remember going down there and

340
00:18:58,080 --> 00:19:01,200
Speaker 3: it was just it's it's like something out of almost famous,

341
00:19:01,359 --> 00:19:06,359
Speaker 3: like all these women, like seeing Paul without his makeup

342
00:19:06,440 --> 00:19:10,840
Speaker 3: one and Gene and they signed autographs and whatnot, and

343
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Speaker 3: that was like and someone gave me a Christine sixteen

344
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Speaker 3: forty five, Oh dude, and that was kind of.

345
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Speaker 1: My kiss induction.

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Speaker 5: Wow, that's crazy.

347
00:19:20,080 --> 00:19:24,359
Speaker 1: Yeah. But yeah, but for you, like what spoke of it?

348
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Speaker 3: Because as I got older, I was taught that that's

349
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Speaker 3: not you know, I'm listening to older generator, that's not

350
00:19:30,359 --> 00:19:32,160
Speaker 3: real rocky, like you know, that's camp rock.

351
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Speaker 1: But what was it that spoke to you?

352
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Speaker 8: They're not supposed to be the most credible rock act

353
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Speaker 8: of all time, but they sure seemed to inspire. A

354
00:19:40,119 --> 00:19:43,000
Speaker 8: lot of kids are our age at that time, and

355
00:19:43,680 --> 00:19:46,200
Speaker 8: a lot of us went on to start bands ourselves.

356
00:19:46,240 --> 00:19:48,880
Speaker 8: So I'm not sure what it was because in my case,

357
00:19:49,520 --> 00:19:53,280
Speaker 8: I didn't have the visual. It was just the music.

358
00:19:54,160 --> 00:19:56,359
Speaker 8: I mean, I had seen briefly the album cover, but

359
00:19:56,440 --> 00:19:59,440
Speaker 8: it's just this weird, kind of abstract thing of their

360
00:19:59,720 --> 00:20:02,159
Speaker 8: design of their faces. I didn't know what they looked like,

361
00:20:02,320 --> 00:20:05,080
Speaker 8: or what the costumes were, or about the pyro or

362
00:20:05,119 --> 00:20:08,760
Speaker 8: the production. I just had the music and that was

363
00:20:08,880 --> 00:20:12,359
Speaker 8: enough to completely get me excited. It was it was

364
00:20:12,480 --> 00:20:17,720
Speaker 8: the sound of the guitar, the intense riffage, and the

365
00:20:18,520 --> 00:20:22,840
Speaker 8: sound of their singing Paul Stanley going up into that falsetto.

366
00:20:23,400 --> 00:20:25,880
Speaker 8: I didn't I didn't understand what the lyrics were at all.

367
00:20:26,520 --> 00:20:28,160
Speaker 1: Have you ever met them? I was going to say,

368
00:20:30,520 --> 00:20:31,400
Speaker 1: have they broke your heart?

369
00:20:31,520 --> 00:20:32,520
Speaker 7: Recently we met him?

370
00:20:32,600 --> 00:20:35,159
Speaker 8: Yeah, I met him a couple of times, but recently

371
00:20:35,200 --> 00:20:37,080
Speaker 8: we just played We opened for them. They asked us

372
00:20:37,119 --> 00:20:39,720
Speaker 8: to open for them at their last show in Australia, so.

373
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Speaker 1: He uh, we were.

374
00:20:46,520 --> 00:20:47,320
Speaker 8: I was so excited.

375
00:20:48,880 --> 00:20:49,920
Speaker 1: It was nice.

376
00:20:51,320 --> 00:20:53,000
Speaker 8: They were in this uh they were doing this big

377
00:20:53,080 --> 00:20:55,919
Speaker 8: meet and greet with all these fans and and they

378
00:20:56,040 --> 00:20:58,919
Speaker 8: interrupted the line to bring Weezer in there and say hi,

379
00:21:00,119 --> 00:21:02,640
Speaker 8: And I was so excited, and they're they're so tall,

380
00:21:02,640 --> 00:21:05,320
Speaker 8: They're like seventy seven feet tall in these big heels.

381
00:21:06,520 --> 00:21:10,399
Speaker 8: And I went up so expectant, and and Jean saw me,

382
00:21:11,200 --> 00:21:14,440
Speaker 8: and what do you say? He was like, Rivers, you're

383
00:21:14,520 --> 00:21:15,600
Speaker 8: gonna be famous in.

384
00:21:15,760 --> 00:21:20,680
Speaker 7: Jail, was like going for the ages, You'll be the

385
00:21:20,760 --> 00:21:22,320
Speaker 7: most famous guy in jail.

386
00:21:22,840 --> 00:21:24,000
Speaker 1: And you were like what does that mean?

387
00:21:24,080 --> 00:21:25,640
Speaker 7: He's like, it doesn't have to mean anything.

388
00:21:26,760 --> 00:21:30,560
Speaker 8: And to this day, I'm still puzzling and over like

389
00:21:31,359 --> 00:21:36,160
Speaker 8: what does that mean? It sounds crypto significant, but I'm

390
00:21:36,240 --> 00:21:36,760
Speaker 8: not sure.

391
00:21:36,880 --> 00:21:40,160
Speaker 3: It's kind of weird now because yeah, like when I've

392
00:21:40,200 --> 00:21:42,040
Speaker 3: seen him a few times and you know, he's been

393
00:21:42,119 --> 00:21:44,760
Speaker 3: to the Tonight Show whatever, and then he kind of

394
00:21:45,000 --> 00:21:49,600
Speaker 3: talks like who's the comedian Jackie uh, Jackie Mason, like

395
00:21:49,880 --> 00:21:50,480
Speaker 3: it's it's.

396
00:21:51,040 --> 00:21:53,320
Speaker 5: Yeah, yeah, he was trying to be funny and he

397
00:21:53,359 --> 00:21:55,080
Speaker 5: has a lasts level like I.

398
00:21:55,160 --> 00:21:58,480
Speaker 3: Wasn't used to that, Like everything was did it? Yeah,

399
00:21:58,680 --> 00:22:01,399
Speaker 3: It's like is this Jean's Jean Summons that I've heard it?

400
00:22:01,520 --> 00:22:02,320
Speaker 1: Like that sort of thing.

401
00:22:02,440 --> 00:22:04,760
Speaker 8: But yeah, but the other time I met him was

402
00:22:04,880 --> 00:22:08,080
Speaker 8: probably around two thousand. It was some private movie screening

403
00:22:08,200 --> 00:22:10,359
Speaker 8: and he sat next to me, and I remember the

404
00:22:10,400 --> 00:22:13,760
Speaker 8: one thing he said was just whatever you do, make

405
00:22:13,840 --> 00:22:15,960
Speaker 8: sure you screw over your hardcore fans.

406
00:22:18,040 --> 00:22:20,240
Speaker 5: They're going to give you some notable quotables.

407
00:22:22,000 --> 00:22:24,360
Speaker 8: Don't listen to them. They're going to lead you astray.

408
00:22:24,840 --> 00:22:26,080
Speaker 8: They want you to stay the same.

409
00:22:26,400 --> 00:22:28,840
Speaker 7: And you're like, well, you know, I liked it when

410
00:22:28,840 --> 00:22:29,840
Speaker 7: you guys were makeup.

411
00:22:37,520 --> 00:22:40,960
Speaker 3: I always wondered if the design of the Weezer logo

412
00:22:41,800 --> 00:22:44,560
Speaker 3: was that you're like brains out to come up with

413
00:22:44,680 --> 00:22:47,520
Speaker 3: something that will stick with the fan base in a

414
00:22:47,560 --> 00:22:51,240
Speaker 3: way that the kiss logo, you know, like many of

415
00:22:51,359 --> 00:22:52,879
Speaker 3: us would just draw it.

416
00:22:52,960 --> 00:22:55,359
Speaker 8: And yeah, and in the eighties and in high school,

417
00:22:56,040 --> 00:22:58,639
Speaker 8: you'd spend a lot of time drawing band logos in

418
00:22:58,720 --> 00:23:01,320
Speaker 8: your in your notebook as you're supposed to be listening

419
00:23:01,320 --> 00:23:03,639
Speaker 8: to the teacher, right right. It wasn't his kiss there

420
00:23:03,640 --> 00:23:04,280
Speaker 8: as many of them.

421
00:23:04,920 --> 00:23:09,080
Speaker 7: It's a standard gen X move, like van Halin, Like

422
00:23:09,400 --> 00:23:12,240
Speaker 7: I just drove vhs all day.

423
00:23:12,960 --> 00:23:14,520
Speaker 8: Do kids do that still?

424
00:23:15,400 --> 00:23:17,600
Speaker 5: No, Captain Kirk still does that.

425
00:23:18,200 --> 00:23:18,920
Speaker 1: He does. Yeah.

426
00:23:19,880 --> 00:23:22,920
Speaker 5: I have a question though, still with regards to kiss.

427
00:23:23,000 --> 00:23:27,399
Speaker 5: But maybe this will segue. Was it Kiss, Were they

428
00:23:27,480 --> 00:23:29,119
Speaker 5: the reason wanted to go to Electric Lady or was

429
00:23:29,160 --> 00:23:31,160
Speaker 5: that a Rick Okasik decision?

430
00:23:31,640 --> 00:23:36,920
Speaker 8: He pronounced it ocassick ocassick, But yeah, that was his call.

431
00:23:37,200 --> 00:23:40,080
Speaker 8: He he wanted us to come to New York and

432
00:23:40,119 --> 00:23:42,399
Speaker 8: he wanted us to work at that studio. But of

433
00:23:42,480 --> 00:23:45,520
Speaker 8: course I immediately made the connection because I remember staring

434
00:23:45,560 --> 00:23:48,639
Speaker 8: at the back of those LPs for hours on end,

435
00:23:48,720 --> 00:23:51,280
Speaker 8: just kind of reading them over, not knowing what anything meant.

436
00:23:51,400 --> 00:23:54,280
Speaker 8: But it's like, Electric Lady, Electric Lady. It's like, yeah,

437
00:23:54,440 --> 00:23:55,080
Speaker 8: let's go there.

438
00:23:55,840 --> 00:23:57,199
Speaker 5: Yeah, they did a bunch of records there.

439
00:23:57,320 --> 00:24:00,879
Speaker 1: Yeah, what period were you working? You Hat Tower Records

440
00:24:00,920 --> 00:24:01,480
Speaker 1: on Sunset.

441
00:24:02,119 --> 00:24:05,879
Speaker 8: I worked there like all of ninety and half of

442
00:24:05,960 --> 00:24:06,600
Speaker 8: ninety one.

443
00:24:06,920 --> 00:24:10,000
Speaker 3: Even though I've worked at a record store once before. Like,

444
00:24:10,440 --> 00:24:13,080
Speaker 3: to me, that was like one of my first fantasies

445
00:24:13,119 --> 00:24:15,920
Speaker 3: in life. Like everyone's playing House and Doctor and I

446
00:24:15,960 --> 00:24:20,200
Speaker 3: would play record store in the house during prime record

447
00:24:20,440 --> 00:24:23,960
Speaker 3: shopping season or the time period in which actually going

448
00:24:24,000 --> 00:24:27,159
Speaker 3: to the record store was, you know, a thing that.

449
00:24:27,800 --> 00:24:29,240
Speaker 1: Was an everyday occurrence.

450
00:24:29,400 --> 00:24:32,320
Speaker 3: What was it like back then, like your experience in

451
00:24:33,480 --> 00:24:37,000
Speaker 3: like were you the cool taste maker guy that I

452
00:24:37,040 --> 00:24:38,879
Speaker 3: would ask, like, okay, so what are you into, Like,

453
00:24:39,320 --> 00:24:39,960
Speaker 3: give me something.

454
00:24:40,680 --> 00:24:41,520
Speaker 1: Were you that person?

455
00:24:41,840 --> 00:24:45,400
Speaker 8: No, I was the opposite. Yeah, when I got there,

456
00:24:45,560 --> 00:24:48,679
Speaker 8: I was pretty much straight from the sticks in Connecticut,

457
00:24:49,040 --> 00:24:51,960
Speaker 8: upstate Connecticut, and I'd just grown up listening to like

458
00:24:52,359 --> 00:24:54,879
Speaker 8: heavy metal music, and I came to La to be

459
00:24:54,960 --> 00:24:59,760
Speaker 8: a shredder and I got a job there, and other

460
00:24:59,800 --> 00:25:02,440
Speaker 8: peop people there were a few years older, which meant

461
00:25:02,480 --> 00:25:04,280
Speaker 8: a lot at the time, even just a few years,

462
00:25:04,680 --> 00:25:07,679
Speaker 8: and they had a much broader knowledge of the history

463
00:25:07,680 --> 00:25:11,560
Speaker 8: of music, and especially rock music and alternative music. I

464
00:25:11,600 --> 00:25:15,240
Speaker 8: didn't know anything about that, So working there was a

465
00:25:15,320 --> 00:25:17,800
Speaker 8: real education, and I got exposed to all different kinds

466
00:25:17,840 --> 00:25:23,120
Speaker 8: of music, and slowly my own style evolved from being,

467
00:25:23,720 --> 00:25:27,399
Speaker 8: you know, a Metallica cover band type to what you

468
00:25:27,480 --> 00:25:28,280
Speaker 8: hear on the Blue Album.

469
00:25:28,880 --> 00:25:33,040
Speaker 3: First of all, what was Sunset Boulevard like? Like, my

470
00:25:33,160 --> 00:25:36,920
Speaker 3: period of Sunset Boulevard was more akin to ninety four

471
00:25:37,040 --> 00:25:40,800
Speaker 3: ninety five, And if you ask any rapper of ninety

472
00:25:40,840 --> 00:25:44,639
Speaker 3: four ninety five, like this a different environment for us,

473
00:25:44,680 --> 00:25:48,560
Speaker 3: because I believe like that's the first time that mainstream

474
00:25:48,720 --> 00:25:53,200
Speaker 3: raps sort of had real estate on that particular street.

475
00:25:54,119 --> 00:25:57,600
Speaker 3: So my thing was more or less like, h this

476
00:25:58,000 --> 00:26:01,200
Speaker 3: looks like a death Row party, or hmmm, I'm good

477
00:26:01,240 --> 00:26:02,680
Speaker 3: on that. I'm gonna stay in the hotel, like that

478
00:26:02,840 --> 00:26:06,760
Speaker 3: sort of thing. But for that period of which you

479
00:26:06,840 --> 00:26:09,120
Speaker 3: know from the books that I've read of Neil Strauss

480
00:26:09,200 --> 00:26:13,399
Speaker 3: and the Motley Cruse stuff like, were you thinking that

481
00:26:13,520 --> 00:26:16,560
Speaker 3: you would have to morph into what was then the

482
00:26:17,560 --> 00:26:19,560
Speaker 3: hair the glam hair rock scene.

483
00:26:19,359 --> 00:26:23,360
Speaker 8: Or yeah, so I got I got to Sunset Boulevard

484
00:26:23,520 --> 00:26:26,119
Speaker 8: in nineteen eighty nine, and it was probably the last

485
00:26:26,280 --> 00:26:29,840
Speaker 8: year of that phase, and it was just a paradise

486
00:26:29,920 --> 00:26:33,000
Speaker 8: for metal heads. Is every Friday and Saturday night is

487
00:26:33,320 --> 00:26:37,920
Speaker 8: packed with hundreds thousands of kids and like guys with

488
00:26:38,040 --> 00:26:41,600
Speaker 8: long teased hair and wearing spandex and passing out flyers.

489
00:26:42,440 --> 00:26:48,160
Speaker 8: And I was coming from a more I don't know again,

490
00:26:48,320 --> 00:26:51,240
Speaker 8: like shreddy progressive metal type of thing.

491
00:26:51,680 --> 00:26:53,480
Speaker 1: Who your heroes not at all glam.

492
00:26:53,920 --> 00:26:57,359
Speaker 8: I mean the best, best well known would be Metallica,

493
00:26:57,480 --> 00:27:01,359
Speaker 8: But I was also into less known bands like uh

494
00:27:01,840 --> 00:27:06,000
Speaker 8: well maybe Ingvey, he's pretty pretty well like real more

495
00:27:06,080 --> 00:27:13,120
Speaker 8: like shreddy instrumental type music. Yeah, not no girls, yeah anywhere,

496
00:27:13,600 --> 00:27:16,080
Speaker 8: Yeah I get so so Yeah, we didn't fit in

497
00:27:16,160 --> 00:27:18,320
Speaker 8: when we got to the Sunset strip and we tried

498
00:27:18,359 --> 00:27:20,840
Speaker 8: to make it a little more poppy for sure.

499
00:27:21,880 --> 00:27:24,520
Speaker 3: Was it easy to amalgamate in the scene at all

500
00:27:24,680 --> 00:27:26,960
Speaker 3: or or did you feel like an outcast or.

501
00:27:27,359 --> 00:27:29,880
Speaker 8: Didn't quite work? The band broke up, then guys moved

502
00:27:29,880 --> 00:27:32,359
Speaker 8: back to Connecticut. Yeah, and that that's when I got

503
00:27:32,359 --> 00:27:33,080
Speaker 8: the job at Tower.

504
00:27:33,200 --> 00:27:35,880
Speaker 1: But the plan was literally like let's go to let's

505
00:27:35,880 --> 00:27:37,280
Speaker 1: go to California.

506
00:27:36,760 --> 00:27:40,000
Speaker 8: And yeah, like we're going to be huge. People are

507
00:27:40,080 --> 00:27:43,520
Speaker 8: gonna love the They're going to be.

508
00:27:43,480 --> 00:27:47,160
Speaker 5: Able to resist that upstate Connecticut down.

509
00:27:49,320 --> 00:27:52,720
Speaker 3: How do you feel about the perception of Weezer versus

510
00:27:53,920 --> 00:27:56,000
Speaker 3: what you really feel you are in your heart? Because

511
00:27:56,000 --> 00:27:59,119
Speaker 3: I think that if someone were to say, like, you know,

512
00:27:59,280 --> 00:28:02,440
Speaker 3: to try to power phrase what you guys are on surface,

513
00:28:02,680 --> 00:28:05,200
Speaker 3: I'm certain you've read or whatever, it's like, okay, like

514
00:28:05,720 --> 00:28:09,359
Speaker 3: this whole revenge of the Nerds thing, like finally geeks

515
00:28:09,400 --> 00:28:11,040
Speaker 3: get to see the table whatever.

516
00:28:11,840 --> 00:28:14,359
Speaker 1: But you guys did it.

517
00:28:14,359 --> 00:28:18,200
Speaker 3: At a time where that wasn't seeing as cool, like

518
00:28:18,280 --> 00:28:21,080
Speaker 3: it was still in us in them or kind of

519
00:28:21,119 --> 00:28:26,240
Speaker 3: a divided conflict of atmosphere, whereas now I see a

520
00:28:26,400 --> 00:28:30,080
Speaker 3: lot of non nerds claring Oh I'm always a nerd

521
00:28:30,160 --> 00:28:32,120
Speaker 3: like dog just because you got glasses on or whatever.

522
00:28:32,359 --> 00:28:37,000
Speaker 3: But because I know that at early Roots shows we

523
00:28:37,200 --> 00:28:42,080
Speaker 3: would have conflicts about it, because my perception was that

524
00:28:42,200 --> 00:28:46,920
Speaker 3: Treek was upset that I was too doweeby in interviews

525
00:28:47,120 --> 00:28:50,840
Speaker 3: and publicly. And then once like the internet started that

526
00:28:51,200 --> 00:28:55,600
Speaker 3: like I made my thing known, the sort of champagne

527
00:28:55,640 --> 00:28:57,960
Speaker 3: life that he was expecting that we were all going

528
00:28:58,040 --> 00:29:01,400
Speaker 3: to have as a rap group was passing the spy

529
00:29:01,440 --> 00:29:03,840
Speaker 3: and like all the nerds were coming here. And that's

530
00:29:03,880 --> 00:29:06,840
Speaker 3: always been like a silent Now of course, like we're

531
00:29:07,120 --> 00:29:09,680
Speaker 3: you know, we have an embracement of our audience, but

532
00:29:09,720 --> 00:29:12,000
Speaker 3: I think in the very beginning there was kind of

533
00:29:12,040 --> 00:29:16,680
Speaker 3: resentment that like, wait, why does our audience look like

534
00:29:16,720 --> 00:29:17,120
Speaker 3: a mirror?

535
00:29:17,400 --> 00:29:24,920
Speaker 1: Like how did you feel? Because again only having.

536
00:29:25,120 --> 00:29:27,840
Speaker 3: Known you guys as a very convenient way for me

537
00:29:27,960 --> 00:29:31,240
Speaker 3: to have one hundred dollars in my pocket that weekend

538
00:29:31,320 --> 00:29:35,560
Speaker 3: for whatever I wanted hawk in the CDs. Oh yeah,

539
00:29:35,800 --> 00:29:41,440
Speaker 3: you know, once I listened to it, I'm still trying

540
00:29:41,440 --> 00:29:43,680
Speaker 3: to wrap my head around what you guys were because

541
00:29:43,760 --> 00:29:48,600
Speaker 3: the guitars are so aggressively loud. And then when I

542
00:29:48,640 --> 00:29:50,560
Speaker 3: looked at the cover. I was like, wait a minute,

543
00:29:50,600 --> 00:29:53,600
Speaker 3: these aren't like rock looking guys or whatever. And so

544
00:29:54,520 --> 00:29:57,840
Speaker 3: but for you, how do you feel about like the

545
00:29:58,040 --> 00:30:02,120
Speaker 3: idea that you guys are the cat nip to sort

546
00:30:02,120 --> 00:30:04,840
Speaker 3: of nerd nation that never felt seen.

547
00:30:05,560 --> 00:30:09,080
Speaker 8: Yeah, there's definitely a lot of conflict, especially when we

548
00:30:09,200 --> 00:30:11,760
Speaker 8: first broke through, and it's interesting to hear that you

549
00:30:11,880 --> 00:30:14,160
Speaker 8: guys went through the same thing, a similar thing.

550
00:30:14,400 --> 00:30:16,520
Speaker 1: We're still going through it. I just accepted.

551
00:30:17,360 --> 00:30:20,200
Speaker 8: Yeah, I feel way more accepting now too. I think

552
00:30:20,360 --> 00:30:23,800
Speaker 8: our core fans really know that there's a lot more

553
00:30:24,000 --> 00:30:30,280
Speaker 8: to us than the quirky image, and whether it's the

554
00:30:30,400 --> 00:30:36,000
Speaker 8: emotional catharsis of Pinkerton or the eight minute guitar shreddage

555
00:30:36,000 --> 00:30:38,800
Speaker 8: and only in Dreams on the first album, it's like

556
00:30:38,960 --> 00:30:42,600
Speaker 8: they know there's a ton of emotional depth there, and

557
00:30:43,200 --> 00:30:47,160
Speaker 8: as long as we have that connection with that audience,

558
00:30:48,080 --> 00:30:52,120
Speaker 8: I feel pretty satisfied. But early on, yeah, we were

559
00:30:52,960 --> 00:30:55,400
Speaker 8: you know, people just took us at face value. And

560
00:30:56,160 --> 00:30:57,960
Speaker 8: that's why, like on the album cover I was like,

561
00:30:58,000 --> 00:31:01,200
Speaker 8: I'm taking my glasses off, or on the Buddy Holly video,

562
00:31:01,240 --> 00:31:03,400
Speaker 8: I take the glasses off. I don't want to just

563
00:31:03,480 --> 00:31:06,400
Speaker 8: be a shtick, you know, when we put the record out,

564
00:31:06,480 --> 00:31:08,960
Speaker 8: they're like, Okay, we're going to send out this bio,

565
00:31:09,160 --> 00:31:11,560
Speaker 8: so give the press an introduction to who you are.

566
00:31:11,840 --> 00:31:13,920
Speaker 8: Like yeah, it's like, no, we're going to write our

567
00:31:13,920 --> 00:31:17,480
Speaker 8: own bio. So we wrote our bio. And it was

568
00:31:17,560 --> 00:31:22,200
Speaker 8: the worst decision we ever made. Ye were like, because

569
00:31:22,200 --> 00:31:24,320
Speaker 8: we had started to see what the press were latching

570
00:31:24,360 --> 00:31:26,360
Speaker 8: onto even as we're playing the clubs in LA and

571
00:31:26,760 --> 00:31:31,480
Speaker 8: every article said like, quirky geeks, fun all this stuff,

572
00:31:31,520 --> 00:31:35,200
Speaker 8: and so we said, okay, write whatever you want, but

573
00:31:35,320 --> 00:31:39,120
Speaker 8: do not use any of the following words quirky geek.

574
00:31:39,160 --> 00:31:40,440
Speaker 8: You know, we just went down this list.

575
00:31:40,520 --> 00:31:42,080
Speaker 1: Do you try to give them a restriction?

576
00:31:42,720 --> 00:31:46,240
Speaker 8: Yeah, we literally did that. Sin is the worst first move,

577
00:31:46,920 --> 00:31:47,160
Speaker 8: I know.

578
00:31:48,160 --> 00:31:48,360
Speaker 1: Yeah.

579
00:31:48,440 --> 00:31:53,600
Speaker 3: My trick was, whoever wrote the worst review of your album,

580
00:31:54,480 --> 00:31:57,120
Speaker 3: you hire that person and write the bio of your

581
00:31:57,160 --> 00:32:00,800
Speaker 3: second record. That way, by conflict of interest, they can't

582
00:32:00,800 --> 00:32:04,440
Speaker 3: review this, right, they can't review the record. So like

583
00:32:04,520 --> 00:32:06,920
Speaker 3: the six critics that never liked the roots or whatever, like,

584
00:32:07,040 --> 00:32:09,880
Speaker 3: I've always made sure that they are brilliant.

585
00:32:10,000 --> 00:32:12,360
Speaker 1: And then one of them caught on like wait a minute,

586
00:32:12,920 --> 00:32:13,880
Speaker 1: oh I know what you're doing.

587
00:32:14,280 --> 00:32:18,440
Speaker 3: Yeah, exactly, I'm stopping you from right exactly. Well, first

588
00:32:18,480 --> 00:32:21,360
Speaker 3: of all, getting a deal at Geffen, Like why did

589
00:32:21,440 --> 00:32:24,000
Speaker 3: you why did you guys choose DGC at the time.

590
00:32:24,840 --> 00:32:28,000
Speaker 8: Well, a lot of the bands that came up with

591
00:32:28,200 --> 00:32:31,880
Speaker 8: us or right before us, they went the indie route

592
00:32:31,960 --> 00:32:34,000
Speaker 8: or the faux indie right route where they signed with

593
00:32:34,920 --> 00:32:39,719
Speaker 8: Caroline Caroline, Yeah, one of those low, smaller independent labels,

594
00:32:39,800 --> 00:32:43,280
Speaker 8: and then they yeah yeah, and then there the plan

595
00:32:44,320 --> 00:32:46,640
Speaker 8: for the big lad Yeah, the plan is to graduate

596
00:32:46,720 --> 00:32:52,480
Speaker 8: to the big label for the second record. But we're like, no, this,

597
00:32:53,200 --> 00:32:55,640
Speaker 8: we love these songs, we think this is going to

598
00:32:55,680 --> 00:32:59,000
Speaker 8: be incredible album. Who knows, this may this may be it,

599
00:32:59,160 --> 00:33:01,320
Speaker 8: you never know, So we want to go straight to

600
00:33:01,400 --> 00:33:04,440
Speaker 8: a major. And so we made the demo tape. We

601
00:33:04,520 --> 00:33:09,320
Speaker 8: shopped it around and everybody passed except Geffen came back

602
00:33:09,360 --> 00:33:10,040
Speaker 8: at the very end.

603
00:33:10,200 --> 00:33:11,040
Speaker 1: Who was the an R.

604
00:33:11,480 --> 00:33:13,720
Speaker 8: Well it was a junior guy who didn't even have

605
00:33:13,840 --> 00:33:16,920
Speaker 8: the power to sign us. His name is Todd Sullivan and.

606
00:33:18,320 --> 00:33:20,560
Speaker 1: Oh yeah, trust me, I know the entire staff there.

607
00:33:20,640 --> 00:33:24,160
Speaker 7: Yeah, So Tony Bird kind of backed him up, I think.

608
00:33:24,160 --> 00:33:24,600
Speaker 1: Right right.

609
00:33:25,160 --> 00:33:28,160
Speaker 8: So he was like the last person in LA to

610
00:33:28,200 --> 00:33:30,160
Speaker 8: actually hear the tape, and he's like, Wow, I like this,

611
00:33:30,360 --> 00:33:33,040
Speaker 8: So he went out on a limb and signed us.

612
00:33:33,760 --> 00:33:36,120
Speaker 1: What year did you record the demo tape?

613
00:33:36,600 --> 00:33:39,000
Speaker 8: Some? Oh the demo tape? Yeah, at the end of

614
00:33:39,080 --> 00:33:39,520
Speaker 8: ninety two.

615
00:33:40,480 --> 00:33:41,959
Speaker 1: Why are you doing this at ninety two?

616
00:33:42,160 --> 00:33:45,360
Speaker 3: Like how a where of you guys were of a Nirvana,

617
00:33:45,560 --> 00:33:48,080
Speaker 3: of a pearl jam of what we now know is

618
00:33:48,160 --> 00:33:51,000
Speaker 3: grunge culture, like coming around the corner because you guys

619
00:33:51,040 --> 00:33:51,520
Speaker 3: don't fit in.

620
00:33:52,800 --> 00:33:54,120
Speaker 1: Yeah, it's any of those boxes.

621
00:33:54,480 --> 00:33:57,520
Speaker 8: Well, we were well aware. So because of working at

622
00:33:57,560 --> 00:34:01,640
Speaker 8: Tower Records from nineteen ninety I was I was hipped

623
00:34:01,640 --> 00:34:04,200
Speaker 8: in Nirvana and the Pixies and Sonic Youth and all

624
00:34:04,240 --> 00:34:06,800
Speaker 8: these bands. I never would have heard any of that

625
00:34:06,920 --> 00:34:09,759
Speaker 8: stuff if I wasn't working at Tower Records. So we

626
00:34:09,880 --> 00:34:12,919
Speaker 8: actually before Weezer, Pat and I started a grunge band,

627
00:34:13,719 --> 00:34:19,359
Speaker 8: and you know, we tried to sound like Dirvana. Yeah, ish,

628
00:34:19,680 --> 00:34:20,080
Speaker 8: And so.

629
00:34:21,840 --> 00:34:25,440
Speaker 3: Can you explain to me to an outsider sort of

630
00:34:25,480 --> 00:34:28,560
Speaker 3: studying it from afar? If I hear it we're starting

631
00:34:28,600 --> 00:34:33,359
Speaker 3: a grunge band, then of course, yeah, I might play

632
00:34:33,400 --> 00:34:35,200
Speaker 3: the idiot role and just be like, okay, you guys

633
00:34:35,239 --> 00:34:39,640
Speaker 3: were flannel. What do you distinguish the genres? Because for

634
00:34:39,719 --> 00:34:41,920
Speaker 3: the longest, even when I worked at sam Goodies. In

635
00:34:42,000 --> 00:34:45,879
Speaker 3: my mind the day that Appetite for Destruction came out

636
00:34:46,520 --> 00:34:48,719
Speaker 3: and I'm working at sam Goodies when the original cover

637
00:34:49,360 --> 00:34:52,279
Speaker 3: was If you remember, there's two covers for Guns and

638
00:34:52,360 --> 00:34:53,680
Speaker 3: Roses Appetite for Destruction.

639
00:34:54,080 --> 00:34:56,640
Speaker 1: The original one was like band. It was like a

640
00:34:57,000 --> 00:34:59,040
Speaker 1: woman some robot.

641
00:34:59,360 --> 00:35:05,640
Speaker 3: Yeah, yeah, you know, And so immediately I would just

642
00:35:05,760 --> 00:35:10,360
Speaker 3: been like heavy metal and then someone kind of a

643
00:35:10,880 --> 00:35:14,320
Speaker 3: the Jack Black figure of that particular record stores like

644
00:35:14,560 --> 00:35:18,680
Speaker 3: you know, well, actually that's you know, hard rock or

645
00:35:18,719 --> 00:35:20,600
Speaker 3: glam rock, And I was like, well, what's the difference,

646
00:35:20,680 --> 00:35:27,560
Speaker 3: Like it's loud guitars, how do you differentiate like the genres?

647
00:35:27,719 --> 00:35:28,680
Speaker 1: Yeah, none at all.

648
00:35:29,440 --> 00:35:32,000
Speaker 7: These guys are the ones that would strategize and be like,

649
00:35:32,440 --> 00:35:34,279
Speaker 7: all right, you have to cut your hair, you have

650
00:35:34,400 --> 00:35:37,440
Speaker 7: to you can't wear that, and I'm all like, but dad,

651
00:35:37,640 --> 00:35:39,360
Speaker 7: let's just fucking jam, Like, let's go.

652
00:35:39,640 --> 00:35:44,320
Speaker 8: Let'ssonically speaking, though, there is, I think there's some different

653
00:35:44,480 --> 00:35:47,920
Speaker 8: meaningful differences that that anyone would pick up on. So

654
00:35:48,280 --> 00:35:52,280
Speaker 8: grunge to me, if our band was called fuzz is much.

655
00:35:52,160 --> 00:35:55,080
Speaker 7: More blues based, patonic.

656
00:35:54,719 --> 00:35:58,239
Speaker 8: And a little more active riff wise, is pentatonic and

657
00:35:58,320 --> 00:36:02,080
Speaker 8: blues based, and then vocally I was trying to sing

658
00:36:02,239 --> 00:36:04,839
Speaker 8: more like with a scratchy type of voice, which I'm

659
00:36:04,880 --> 00:36:07,799
Speaker 8: not at all suited to sing like, I guess more

660
00:36:07,840 --> 00:36:09,799
Speaker 8: in the Black Sabbath tradition.

661
00:36:09,719 --> 00:36:12,480
Speaker 6: Almost jane Zy though, what's the lyrical content different too?

662
00:36:12,560 --> 00:36:17,040
Speaker 8: Because of yeah, there was. It was a little more,

663
00:36:18,280 --> 00:36:22,560
Speaker 8: a little more swearing, a little more abstract and impressionistic,

664
00:36:23,680 --> 00:36:27,000
Speaker 8: I think, yeah, very influenced by Jane's addiction. And then

665
00:36:28,080 --> 00:36:30,399
Speaker 8: over that the course of the first year of working

666
00:36:30,480 --> 00:36:34,279
Speaker 8: with Weezer and writing those songs, the big shift is, OK, Okay,

667
00:36:34,360 --> 00:36:37,000
Speaker 8: let's write in a major key and let's use these

668
00:36:37,800 --> 00:36:38,600
Speaker 8: common chords.

669
00:36:38,640 --> 00:36:42,640
Speaker 3: You hear so risky though, yeah, because like major keys

670
00:36:42,719 --> 00:36:48,839
Speaker 3: don't wreak of like yeah, yeah, it's not exclamation point,

671
00:36:48,920 --> 00:36:52,680
Speaker 3: even though especially like for me, the most notable thing

672
00:36:52,719 --> 00:36:55,640
Speaker 3: about uh, my name is Jonas is actually how you

673
00:36:55,880 --> 00:36:58,560
Speaker 3: end the song, you know what I mean? Like it's

674
00:36:58,640 --> 00:37:02,160
Speaker 3: it's book ended by the electric guitar is coming later,

675
00:37:02,360 --> 00:37:08,279
Speaker 3: and so I see it as wow, there's I don't

676
00:37:08,360 --> 00:37:10,239
Speaker 3: I mean, I don't know if you would say if

677
00:37:10,680 --> 00:37:16,439
Speaker 3: Brian Wilson had a super hard edge to his musical work.

678
00:37:16,520 --> 00:37:18,160
Speaker 3: But for me, it was just nothing that I've ever

679
00:37:18,239 --> 00:37:22,680
Speaker 3: heard before with someone embracing acoustic the sound like acoustic

680
00:37:22,719 --> 00:37:27,200
Speaker 3: guitar and pretty melodies and whatnot and this angst thing,

681
00:37:27,320 --> 00:37:28,120
Speaker 3: which I think.

682
00:37:28,080 --> 00:37:29,000
Speaker 1: Is also effective.

683
00:37:29,160 --> 00:37:32,520
Speaker 3: Like I felt like, I'm such a massive fan of

684
00:37:32,560 --> 00:37:36,359
Speaker 3: Public Enemy and I really loved the way that their

685
00:37:36,719 --> 00:37:41,680
Speaker 3: aggressive sound gave me release as a listener. I was

686
00:37:42,000 --> 00:37:45,960
Speaker 3: a very non aggressive guy, but put these headphones on

687
00:37:46,080 --> 00:37:49,400
Speaker 3: and suddenly walk is harder, you know that sort of thing,

688
00:37:49,520 --> 00:37:52,560
Speaker 3: like like you feel that, And I felt like that's

689
00:37:52,680 --> 00:37:55,800
Speaker 3: what you guys were sort of doing. But what was

690
00:37:55,800 --> 00:37:59,399
Speaker 3: the Kasokh saying at the time when you're presenting these songs.

691
00:37:59,160 --> 00:38:02,319
Speaker 7: Like, well, I mean he was a song guy all day,

692
00:38:03,000 --> 00:38:06,120
Speaker 7: and that's what attracted him to us. I think as

693
00:38:06,160 --> 00:38:08,600
Speaker 7: he heard River songs and he was like, these are

694
00:38:08,760 --> 00:38:11,160
Speaker 7: great songs, and that's where.

695
00:38:11,120 --> 00:38:13,000
Speaker 1: How'd you link up with him? Though?

696
00:38:13,239 --> 00:38:17,200
Speaker 8: Who I was todt At at Geffen at DGC was

697
00:38:18,200 --> 00:38:20,560
Speaker 8: really forced us to work with a producer we didn't

698
00:38:20,600 --> 00:38:24,920
Speaker 8: want to because growing up making demos with different engineers

699
00:38:24,960 --> 00:38:27,200
Speaker 8: and producers, they'd always start turning the knobs to where

700
00:38:27,200 --> 00:38:29,400
Speaker 8: it doesn't sound like us, or it just sounds whack,

701
00:38:29,520 --> 00:38:33,240
Speaker 8: and but he said, you got it. It's your first record,

702
00:38:33,360 --> 00:38:35,920
Speaker 8: this is a major label. You need a producer. And

703
00:38:36,000 --> 00:38:38,080
Speaker 8: then one day I was in the in the supermarket

704
00:38:38,200 --> 00:38:41,320
Speaker 8: shopping for ramen noodles or whatever, and just what I

705
00:38:41,400 --> 00:38:48,600
Speaker 8: needed by the Cars came on and d and immediately

706
00:38:48,640 --> 00:38:51,560
Speaker 8: I recognized, like, whoa, that's kind of like what weez

707
00:38:51,600 --> 00:38:53,919
Speaker 8: are supposed to be sounding, Like, let's work with that guy.

708
00:38:54,680 --> 00:38:57,520
Speaker 8: So they sent our demo tape to Rick, and Rick

709
00:38:58,400 --> 00:39:01,040
Speaker 8: responded immediately like I'm talking on the phone with ric

710
00:39:01,080 --> 00:39:04,680
Speaker 8: Ocassik from the Cars and he gets us like nobody

711
00:39:04,760 --> 00:39:08,120
Speaker 8: else in LA music industry had gotten us yet. So

712
00:39:08,200 --> 00:39:10,520
Speaker 8: it's like, yeah, this is going to be exciting.

713
00:39:10,920 --> 00:39:12,200
Speaker 1: What was he like in the studio?

714
00:39:12,320 --> 00:39:12,480
Speaker 8: Man?

715
00:39:12,520 --> 00:39:14,279
Speaker 1: Because I was I was a Cars fan, but like

716
00:39:14,400 --> 00:39:15,560
Speaker 1: what was what was he like?

717
00:39:15,640 --> 00:39:20,319
Speaker 7: Production was a sweet man, just a lovely man. Yeah,

718
00:39:20,360 --> 00:39:24,840
Speaker 7: and musically he was you know, we looked up to

719
00:39:24,920 --> 00:39:27,080
Speaker 7: him a lot, and when if he said something, we

720
00:39:27,120 --> 00:39:27,959
Speaker 7: had to be like, all right.

721
00:39:29,320 --> 00:39:35,400
Speaker 1: Yeah, since the how do you decide we're the power falls?

722
00:39:35,400 --> 00:39:38,080
Speaker 3: Because I'm still trying to determine if there's really such

723
00:39:38,120 --> 00:39:41,520
Speaker 3: a thing as a democracy or just the idea of

724
00:39:41,560 --> 00:39:45,960
Speaker 3: a democracy, like you guys meet ahead of time and

725
00:39:46,040 --> 00:39:50,120
Speaker 3: communicate before you get with Rick, or you just say, okay,

726
00:39:50,160 --> 00:39:53,040
Speaker 3: he's the leader. And because I've been in situations where

727
00:39:53,040 --> 00:39:55,000
Speaker 3: people try to like buddy up to me and sort

728
00:39:55,040 --> 00:39:57,960
Speaker 3: of you know, give their two cents and don't let

729
00:39:58,040 --> 00:39:59,680
Speaker 3: the other guys here that sort of thing.

730
00:40:00,040 --> 00:40:04,080
Speaker 1: Hmmm, Like how do you balance communication and.

731
00:40:04,640 --> 00:40:08,200
Speaker 8: You mean especially between us and the and Rick or yeah.

732
00:40:08,000 --> 00:40:10,359
Speaker 3: I'm in between you guys and Rick and just as

733
00:40:11,760 --> 00:40:13,520
Speaker 3: the group, Like is it a thing where it's like

734
00:40:13,680 --> 00:40:17,040
Speaker 3: all of you get an equal say or well, I.

735
00:40:17,040 --> 00:40:20,640
Speaker 8: Think especially at the time working working on the Blue album,

736
00:40:21,640 --> 00:40:24,759
Speaker 8: Rick he was just perfect for us. He's he knew

737
00:40:24,800 --> 00:40:27,320
Speaker 8: when to push and most of the time he just

738
00:40:27,440 --> 00:40:30,920
Speaker 8: let us do our thing. And when it came time

739
00:40:30,960 --> 00:40:34,800
Speaker 8: to push, you know, he was he was insistent and

740
00:40:34,880 --> 00:40:37,080
Speaker 8: he kept coming back and back again and again. Like,

741
00:40:37,880 --> 00:40:41,560
Speaker 8: you know, you really should consider putting Buddy Holly on

742
00:40:41,640 --> 00:40:43,880
Speaker 8: the record. No, no, no, no, that's for our second record.

743
00:40:44,320 --> 00:40:47,320
Speaker 1: So yeah, like it always happens next.

744
00:40:47,239 --> 00:40:49,480
Speaker 8: Day, Come on, man, you give it another listen. I

745
00:40:49,520 --> 00:40:51,960
Speaker 8: think you guys should really finish this one up. No, no, no,

746
00:40:52,040 --> 00:40:54,360
Speaker 8: that's for our second record, you know, but he just

747
00:40:54,440 --> 00:40:56,480
Speaker 8: kept coming back, and he was so sweet that eventually

748
00:40:56,480 --> 00:40:59,479
Speaker 8: it's like, oh, hey, let's try it. And then like dang,

749
00:40:59,560 --> 00:41:02,800
Speaker 8: he's right. And he did the same thing with my

750
00:41:02,880 --> 00:41:05,879
Speaker 8: guitar sound. I walked in like with a super muddy sound.

751
00:41:05,960 --> 00:41:07,319
Speaker 8: I was using the the.

752
00:41:09,200 --> 00:41:10,240
Speaker 7: In the neck position.

753
00:41:11,080 --> 00:41:13,200
Speaker 8: When I was writing by myself in the garage. It

754
00:41:13,280 --> 00:41:17,200
Speaker 8: sounded amazing. It was huge, fat sound, very bassy. It

755
00:41:17,360 --> 00:41:19,440
Speaker 8: just didn't work in the sound in the context of

756
00:41:19,480 --> 00:41:23,239
Speaker 8: a full band and a big studio. So he he

757
00:41:23,360 --> 00:41:25,239
Speaker 8: kept saying, why don't you try this guitar, and he'd

758
00:41:25,280 --> 00:41:29,600
Speaker 8: hand me his fifty eight Junior Gibson Junior and I

759
00:41:29,760 --> 00:41:32,960
Speaker 8: tried it. I was like, no, that's too thin, but

760
00:41:33,080 --> 00:41:35,560
Speaker 8: he just kept coming back and then eventually I hear

761
00:41:35,640 --> 00:41:38,000
Speaker 8: it all in the mix. Is h He's right again.

762
00:41:39,000 --> 00:41:41,000
Speaker 6: What was the process for finding guitar sounds? Was it

763
00:41:41,120 --> 00:41:42,320
Speaker 6: like guitar pedals?

764
00:41:42,400 --> 00:41:42,640
Speaker 1: Amp?

765
00:41:42,920 --> 00:41:47,239
Speaker 6: And like where where was the finagling done the most? Like,

766
00:41:47,719 --> 00:41:50,000
Speaker 6: because I mean the guitar sounds we are the most

767
00:41:50,280 --> 00:41:53,200
Speaker 6: iconic guitars and rocking and rolling in my opinion, it's

768
00:41:53,239 --> 00:41:55,480
Speaker 6: pretty straight in just like right, yeah, yeah, and.

769
00:41:55,560 --> 00:41:59,279
Speaker 8: That's Rick's guitar. I use it to this day and

770
00:42:00,680 --> 00:42:03,280
Speaker 8: no pedals. I was totally against petals.

771
00:42:04,000 --> 00:42:06,240
Speaker 1: You are, yeah, Marshall Stackage.

772
00:42:06,880 --> 00:42:08,919
Speaker 8: In fact, just the other day I sent a note

773
00:42:09,000 --> 00:42:11,959
Speaker 8: to the Mixture about Tom Petty cover. We just didn't

774
00:42:11,960 --> 00:42:14,560
Speaker 8: say can we hear it without the effect on that guitar? Yeah,

775
00:42:15,200 --> 00:42:18,960
Speaker 8: we're still like that, like no reverb because I don't know,

776
00:42:19,080 --> 00:42:22,000
Speaker 8: like engineers and producers, they could keep adding things like

777
00:42:22,120 --> 00:42:23,880
Speaker 8: that because they feel like they got to do something,

778
00:42:24,000 --> 00:42:26,719
Speaker 8: But I like just a straight up sound.

779
00:42:27,200 --> 00:42:30,040
Speaker 6: And one more question about my name is Jonas, Like

780
00:42:30,080 --> 00:42:33,520
Speaker 6: the arpeggiating acoustic guitar business, is that more.

781
00:42:33,360 --> 00:42:37,920
Speaker 1: Of like a in they Shredded situation? Or like was

782
00:42:37,960 --> 00:42:39,279
Speaker 1: there a classical music world?

783
00:42:39,440 --> 00:42:40,759
Speaker 6: I mean it's not really, but like you know what

784
00:42:40,760 --> 00:42:43,200
Speaker 6: I'm saying, Like it's it's more come from like Elliott

785
00:42:43,239 --> 00:42:45,400
Speaker 6: Fiskey nylany business or like.

786
00:42:45,520 --> 00:42:47,000
Speaker 1: Is it Hey, where did that come from?

787
00:42:47,120 --> 00:42:49,400
Speaker 7: It came from Jason cropp Or who was in the

788
00:42:49,480 --> 00:42:52,800
Speaker 7: band at the time, and I was his roommate and

789
00:42:52,920 --> 00:42:55,320
Speaker 7: he was just walking around with an acoustic guitar doing that.

790
00:42:55,440 --> 00:42:58,400
Speaker 7: I'm like, what is that? And he showed it to

791
00:42:58,480 --> 00:43:00,960
Speaker 7: me and I kind of rained it into a four

792
00:43:01,080 --> 00:43:04,400
Speaker 7: track demo and gave it to Rivers and he added

793
00:43:04,440 --> 00:43:07,160
Speaker 7: the climbs at the end with the Yeah.

794
00:43:07,239 --> 00:43:11,719
Speaker 8: So Jason Jason was like a little bit of the

795
00:43:11,760 --> 00:43:14,080
Speaker 8: odd man out in the band because he was a

796
00:43:14,080 --> 00:43:16,840
Speaker 8: little bit younger and he was from northern California. The

797
00:43:16,920 --> 00:43:20,440
Speaker 8: restaurants are all East Coast guys, so in Walks Jason's

798
00:43:20,600 --> 00:43:25,120
Speaker 8: it's like this big hippie guy, uh and like all

799
00:43:25,239 --> 00:43:27,880
Speaker 8: kinds of fingerpicking on acoustic and in fact, for the

800
00:43:27,920 --> 00:43:30,040
Speaker 8: first year of the band he only played acoustic.

801
00:43:30,560 --> 00:43:34,080
Speaker 7: So it's like but he was so burly that every

802
00:43:34,239 --> 00:43:40,160
Speaker 7: show one song in parent a string, so like we

803
00:43:40,239 --> 00:43:42,759
Speaker 7: were like, maybe you should play ei drag, but he

804
00:43:42,880 --> 00:43:43,920
Speaker 7: played it aggressively.

805
00:43:44,200 --> 00:43:44,399
Speaker 4: Yeah.

806
00:43:44,520 --> 00:43:45,240
Speaker 7: You what a character.

807
00:43:45,600 --> 00:43:46,919
Speaker 8: Yeah, I love that guy.

808
00:43:47,880 --> 00:43:51,120
Speaker 7: He was from He was pretty hippie.

809
00:43:51,400 --> 00:43:51,600
Speaker 4: Yeah.

810
00:43:56,920 --> 00:43:59,840
Speaker 5: How old were you when you made that first album.

811
00:44:00,760 --> 00:44:04,799
Speaker 8: Twenty three, which was the age Brian Wilson was when

812
00:44:04,840 --> 00:44:10,879
Speaker 8: they made Pet Saundy, just fifteen number one songs into their.

813
00:44:10,880 --> 00:44:12,239
Speaker 1: Career, Go Fuckers. Yeah.

814
00:44:13,440 --> 00:44:17,880
Speaker 3: Lyrically speaking, what was your mind state in terms of

815
00:44:18,600 --> 00:44:21,239
Speaker 3: because you know it's it's some of the songs are

816
00:44:21,640 --> 00:44:25,719
Speaker 3: confrontational somewhat and really a motive and expressive in a

817
00:44:25,760 --> 00:44:29,480
Speaker 3: way that I felt resonated with a particular artist that

818
00:44:29,680 --> 00:44:32,000
Speaker 3: you just didn't hear of before. And a lot has

819
00:44:32,040 --> 00:44:34,400
Speaker 3: been made of your songwriting and your lyrics, like what

820
00:44:34,800 --> 00:44:37,120
Speaker 3: is your process for your songwriting?

821
00:44:38,000 --> 00:44:43,160
Speaker 8: Definitely influenced by the Pixies and Nirvana where you can't

822
00:44:43,280 --> 00:44:45,120
Speaker 8: quite tell what they're singing about. It's not like a

823
00:44:45,200 --> 00:44:49,480
Speaker 8: traditional song lyric, and so it never sounds corny. It's

824
00:44:49,560 --> 00:44:54,000
Speaker 8: just always weird and intriguing. So I had that, Yeah,

825
00:44:54,239 --> 00:44:56,719
Speaker 8: I had that side to me for sure, and like

826
00:44:56,800 --> 00:44:58,680
Speaker 8: maybe you can hear that in the Sweater song or

827
00:44:58,719 --> 00:45:00,839
Speaker 8: Buddy Holly. It's like, what the heck is he saying?

828
00:45:02,000 --> 00:45:06,400
Speaker 8: My name is Jonas. But then I also liked really straightforward,

829
00:45:07,280 --> 00:45:11,719
Speaker 8: plain language, just talking about my emotions, what I'm going through,

830
00:45:12,480 --> 00:45:16,400
Speaker 8: and you know, is influenced by Brian Wilson. He he

831
00:45:16,520 --> 00:45:17,120
Speaker 8: did that a lot.

832
00:45:17,800 --> 00:45:18,120
Speaker 1: I can't.

833
00:45:18,160 --> 00:45:20,759
Speaker 8: They have a song called in My Room, it's just

834
00:45:21,280 --> 00:45:24,880
Speaker 8: singing about that safe place. And so what we did

835
00:45:24,920 --> 00:45:27,399
Speaker 8: a song called in the Garage kind of same thing,

836
00:45:27,800 --> 00:45:31,720
Speaker 8: talking about kiss posters and on the wall.

837
00:45:32,560 --> 00:45:35,759
Speaker 3: For you, like you represent or at least as an

838
00:45:35,800 --> 00:45:39,440
Speaker 3: example for like future creators, like in terms of using

839
00:45:40,080 --> 00:45:42,880
Speaker 3: it's almost like a it feels like a release, at

840
00:45:42,960 --> 00:45:44,680
Speaker 3: least I think so. And I don't know if any

841
00:45:44,719 --> 00:45:47,520
Speaker 3: of the songs were personal in your life or not personal,

842
00:45:47,680 --> 00:45:51,080
Speaker 3: but even like your vocal delivery, like the way that

843
00:45:51,160 --> 00:45:54,640
Speaker 3: it's delivered for me, it just felt like a cathartic

844
00:45:54,760 --> 00:45:59,080
Speaker 3: release that you really just don't hear. And you know

845
00:45:59,160 --> 00:46:03,200
Speaker 3: it's not the a power lead singer that is singing

846
00:46:03,680 --> 00:46:07,200
Speaker 3: as opposed to a mooting, which is hard to do.

847
00:46:07,480 --> 00:46:11,160
Speaker 1: So for you, how personal is this record?

848
00:46:11,880 --> 00:46:19,480
Speaker 8: It is extremely personal and cathartic and writing is just

849
00:46:19,640 --> 00:46:24,320
Speaker 8: the best feeling to get my feelings out into a

850
00:46:24,440 --> 00:46:28,840
Speaker 8: lyric and melody and feel like, yeah, that's that's it.

851
00:46:29,040 --> 00:46:31,400
Speaker 8: That's exactly what I'm feeling right now. And I just

852
00:46:31,560 --> 00:46:35,000
Speaker 8: really expressed it. I'm not good at that in normal

853
00:46:35,120 --> 00:46:39,040
Speaker 8: life in a conversation or something, or my relationships, so

854
00:46:39,200 --> 00:46:40,800
Speaker 8: to get it into a song, So you got to

855
00:46:40,840 --> 00:46:42,640
Speaker 8: get into this song to be able to hear it

856
00:46:42,800 --> 00:46:45,319
Speaker 8: back and rewind the tape, listen to it again, it's like, yes,

857
00:46:45,960 --> 00:46:46,360
Speaker 8: that is it.

858
00:46:47,400 --> 00:46:52,040
Speaker 3: Were you guys at all shocked at how it caught on,

859
00:46:52,760 --> 00:46:55,080
Speaker 3: like no one goes in here and saying okay, it's

860
00:46:55,080 --> 00:46:57,839
Speaker 3: going to be a multi platinum record, like or did

861
00:46:57,880 --> 00:47:00,280
Speaker 3: you figure that this is going to catch onto?

862
00:47:01,239 --> 00:47:03,399
Speaker 8: I had both voices in my head at the same time.

863
00:47:04,120 --> 00:47:06,279
Speaker 8: Part of me is thinking, you know, we're gonna sell

864
00:47:06,280 --> 00:47:08,640
Speaker 8: a hundred copies to our friends and family. That's gonna

865
00:47:08,640 --> 00:47:10,120
Speaker 8: be it. I'm gonna go back and get my job

866
00:47:10,120 --> 00:47:13,560
Speaker 8: guit our records. That was cool, but it's over. But

867
00:47:13,719 --> 00:47:16,480
Speaker 8: part of me is thinking, this album is amazing and

868
00:47:16,880 --> 00:47:20,120
Speaker 8: this band is amazing, and once the right audience picks

869
00:47:20,200 --> 00:47:23,600
Speaker 8: up on it, this is gonna be huge and it's

870
00:47:23,680 --> 00:47:25,400
Speaker 8: going to go on to be an important album for

871
00:47:25,440 --> 00:47:28,120
Speaker 8: a long time. So I had both those voices.

872
00:47:27,920 --> 00:47:28,319
Speaker 5: In my head.

873
00:47:29,239 --> 00:47:32,040
Speaker 3: What were those early shows like promoting once the album

874
00:47:32,120 --> 00:47:35,000
Speaker 3: came out, like how many? Well it was Also it

875
00:47:35,120 --> 00:47:39,000
Speaker 3: was also you know the period of us as Americans

876
00:47:39,080 --> 00:47:42,279
Speaker 3: getting to know the festival or this whole new way

877
00:47:42,360 --> 00:47:45,680
Speaker 3: of presenting your music, Like what was the process of

878
00:47:45,800 --> 00:47:46,320
Speaker 3: promoting it?

879
00:47:46,480 --> 00:47:48,600
Speaker 1: Like who do they pair you with? And yeah, what

880
00:47:48,719 --> 00:47:49,480
Speaker 1: was the circuit? Yeah?

881
00:47:49,680 --> 00:47:56,000
Speaker 7: Yeah, the key was honestly K Rock and MTV. That

882
00:47:56,200 --> 00:48:01,160
Speaker 7: was the two big levers that we we're fortunate enough

883
00:48:01,239 --> 00:48:02,000
Speaker 7: to be involved in.

884
00:48:02,719 --> 00:48:06,920
Speaker 8: Yeah, first bigger tour was with Lush. We were opening

885
00:48:06,960 --> 00:48:10,080
Speaker 8: for Lush and that was just kind of cool. Was like, WHOA,

886
00:48:10,200 --> 00:48:12,640
Speaker 8: that's a really cool band and it's great to be

887
00:48:12,719 --> 00:48:15,400
Speaker 8: out with them. And then then we went out with

888
00:48:15,520 --> 00:48:18,120
Speaker 8: Live for a couple months and that was great because

889
00:48:18,120 --> 00:48:21,480
Speaker 8: they were had a much bigger audiences or bigger venues.

890
00:48:22,400 --> 00:48:25,920
Speaker 7: And at this time undone over the summer had been

891
00:48:26,239 --> 00:48:29,480
Speaker 7: a thing. And then were we at the Buddy Holly

892
00:48:30,040 --> 00:48:31,000
Speaker 7: stage at that point?

893
00:48:31,480 --> 00:48:31,719
Speaker 1: Yeah?

894
00:48:32,640 --> 00:48:35,640
Speaker 7: And then the save ain't so after that, lots of

895
00:48:35,760 --> 00:48:36,600
Speaker 7: radio shows too.

896
00:48:38,880 --> 00:48:40,799
Speaker 1: I remember once having an argument with.

897
00:48:42,320 --> 00:48:46,160
Speaker 3: One of our video directors because I didn't realize, well,

898
00:48:46,239 --> 00:48:51,600
Speaker 3: obviously the Sweater song had to be tracked with the

899
00:48:51,719 --> 00:48:53,799
Speaker 3: song was twice as fast, right, yeah, you guys are

900
00:48:53,840 --> 00:48:54,840
Speaker 3: doing it on forty.

901
00:48:54,600 --> 00:48:56,880
Speaker 1: Five because I couldn't.

902
00:48:57,040 --> 00:49:01,160
Speaker 3: For me, the coolest part of the Sweater video was

903
00:49:01,320 --> 00:49:04,600
Speaker 3: how I don't know if who's the one step?

904
00:49:04,760 --> 00:49:10,839
Speaker 1: Is Scott snapping his fingers Matt right right, just right?

905
00:49:12,560 --> 00:49:16,279
Speaker 3: I kept I kept micromanaging our director, like no, man,

906
00:49:16,440 --> 00:49:18,640
Speaker 3: like we need to I want a cool moment.

907
00:49:18,719 --> 00:49:20,800
Speaker 1: Look like I don't see the cool moment, Like we

908
00:49:20,920 --> 00:49:22,240
Speaker 1: don't look cool, we don't look.

909
00:49:22,120 --> 00:49:25,239
Speaker 8: At and comparing yourself to Weezer you were.

910
00:49:28,480 --> 00:49:32,040
Speaker 3: To that you don't understand, Like I it's almost like

911
00:49:32,120 --> 00:49:34,600
Speaker 3: I wish there was a tail or two cities or

912
00:49:34,760 --> 00:49:39,480
Speaker 3: kind of a sliding doors kind of story of both

913
00:49:39,520 --> 00:49:42,920
Speaker 3: the Roots and Weezer, because I feel like we were

914
00:49:42,960 --> 00:49:45,919
Speaker 3: doing the exact opposite of what you guys were doing,

915
00:49:46,160 --> 00:49:49,680
Speaker 3: even though I almost feel as though we were in

916
00:49:50,400 --> 00:49:54,799
Speaker 3: sort of adjacent or or these these boxes of commonalty.

917
00:49:55,840 --> 00:50:01,000
Speaker 3: But no, all the time at the label, like especially

918
00:50:01,040 --> 00:50:03,319
Speaker 3: when it caught like right before Buddy Holly came out,

919
00:50:03,520 --> 00:50:09,080
Speaker 3: like all the interns, all the uh just the everyday

920
00:50:09,120 --> 00:50:12,600
Speaker 3: workers at DGC or whatever, like you guys were their hero.

921
00:50:12,760 --> 00:50:13,880
Speaker 1: It's always like Weezer, and.

922
00:50:13,920 --> 00:50:16,200
Speaker 3: Then they would you know, it's time to choose video

923
00:50:16,280 --> 00:50:19,200
Speaker 3: directors or whatever. Okay, well we'll show you all the

924
00:50:19,320 --> 00:50:21,239
Speaker 3: video directors that we are looked at, and da da

925
00:50:21,320 --> 00:50:24,040
Speaker 3: da da, and we can't afford Spike Jones or whatever.

926
00:50:24,080 --> 00:50:26,080
Speaker 3: And we didn't have a relationship with them at the time,

927
00:50:26,280 --> 00:50:29,800
Speaker 3: so you know, I hated the video process.

928
00:50:29,920 --> 00:50:31,840
Speaker 1: But how did you guys hook up with Spike?

929
00:50:32,160 --> 00:50:34,880
Speaker 8: Yeah, I mean we felt the same way. I remember

930
00:50:35,080 --> 00:50:36,920
Speaker 8: when we turned in the records, we just said, we're

931
00:50:36,960 --> 00:50:39,200
Speaker 8: not We're not making a video forget it, and.

932
00:50:40,200 --> 00:50:42,439
Speaker 7: Why we had a lot of requirements.

933
00:50:42,600 --> 00:50:48,680
Speaker 8: Yeah, I just I thought videos were stupid. But and

934
00:50:48,800 --> 00:50:51,520
Speaker 8: they sent us a whole bunch of treatments that these

935
00:50:51,560 --> 00:50:57,840
Speaker 8: are like those yeah, treatments, and they and every single

936
00:50:57,880 --> 00:50:59,840
Speaker 8: one had something to do with the sweater and it's like,

937
00:51:00,280 --> 00:51:04,520
Speaker 8: come on. But then then we got one from Spike

938
00:51:05,000 --> 00:51:07,520
Speaker 8: and it was like two sentences or something. You know,

939
00:51:07,640 --> 00:51:11,080
Speaker 8: you guys are playing in front of a blue background,

940
00:51:11,239 --> 00:51:15,080
Speaker 8: and halfway through a pack of dogs runs across the screen.

941
00:51:15,080 --> 00:51:20,000
Speaker 8: It's like and it's all in one Okay, that sounds cool.

942
00:51:20,840 --> 00:51:23,520
Speaker 3: How many how many takes did that take? I'm very

943
00:51:23,560 --> 00:51:27,919
Speaker 3: obsessed with that video and especially when the dogs won't

944
00:51:28,000 --> 00:51:33,399
Speaker 3: run by and damn it like something so simple being

945
00:51:33,520 --> 00:51:34,400
Speaker 3: like super effective.

946
00:51:34,400 --> 00:51:36,319
Speaker 1: How many How many takes was that for you guys?

947
00:51:36,520 --> 00:51:37,200
Speaker 7: It was one day?

948
00:51:37,640 --> 00:51:40,719
Speaker 8: Yeah, it was a lot of takes a different.

949
00:51:41,320 --> 00:51:45,400
Speaker 3: Later because I figure, like your level of silly, like

950
00:51:45,480 --> 00:51:46,960
Speaker 3: when you're dancing at the drum set or.

951
00:51:46,920 --> 00:51:48,680
Speaker 7: Whatever, you can't look at it.

952
00:51:50,600 --> 00:51:53,360
Speaker 1: Was there was there any editing trickery or was that

953
00:51:53,680 --> 00:51:54,360
Speaker 1: actually like.

954
00:51:54,440 --> 00:51:56,000
Speaker 7: No, it's all one take. It's one guy with a

955
00:51:56,040 --> 00:51:59,200
Speaker 7: steady cam and he was it was a lot of work,

956
00:51:59,440 --> 00:52:02,600
Speaker 7: like he was and exhausted by the yea, yeah, it

957
00:52:02,760 --> 00:52:02,880
Speaker 7: was it.

958
00:52:02,960 --> 00:52:04,719
Speaker 1: Choy graphed the same way each time.

959
00:52:05,000 --> 00:52:07,400
Speaker 7: He sort of had a circuit that he would do.

960
00:52:08,000 --> 00:52:11,480
Speaker 7: And I think they've the one we wound up using

961
00:52:11,640 --> 00:52:13,400
Speaker 7: was you know, the one, Yeah.

962
00:52:13,280 --> 00:52:14,959
Speaker 8: One of that was probably one of the last ones.

963
00:52:16,480 --> 00:52:19,279
Speaker 9: I want to ask about. The Guitar Hero and my

964
00:52:19,480 --> 00:52:22,880
Speaker 9: name is Jonas going in that. What made y'all decide

965
00:52:22,920 --> 00:52:25,600
Speaker 9: to do that, man, because that opened up a whole

966
00:52:25,760 --> 00:52:29,040
Speaker 9: new generation. Oh yeah, you guys music like my kids,

967
00:52:29,280 --> 00:52:31,640
Speaker 9: me and my boys, like we would play that all

968
00:52:31,680 --> 00:52:32,000
Speaker 9: the time.

969
00:52:33,360 --> 00:52:33,480
Speaker 1: Uh.

970
00:52:34,000 --> 00:52:37,320
Speaker 8: Sadly, I think I didn't know what Guitar Hero was

971
00:52:37,640 --> 00:52:40,239
Speaker 8: or I don't. I wasn't part of that decision. It's like,

972
00:52:41,120 --> 00:52:42,960
Speaker 8: uh sure if you guys think that would be cool,

973
00:52:43,120 --> 00:52:46,719
Speaker 8: and it did turn out to be massive for us. Yeah,

974
00:52:47,040 --> 00:52:48,360
Speaker 8: bringing in a whole new generation.

975
00:52:48,840 --> 00:52:53,120
Speaker 7: I think. Also we haven't touched on is the Windows

976
00:52:53,239 --> 00:52:58,000
Speaker 7: ninety five install CD had a folder called videos on

977
00:52:58,160 --> 00:53:01,120
Speaker 7: it and this was back you remember, like nobody watched

978
00:53:01,120 --> 00:53:03,759
Speaker 7: the video on their computer. That was a like what

979
00:53:04,000 --> 00:53:05,960
Speaker 7: what is this? Sorcery?

980
00:53:06,120 --> 00:53:06,640
Speaker 1: Like what is this.

981
00:53:08,800 --> 00:53:11,799
Speaker 7: That so many people say, like, yeah, the Bunny Holly

982
00:53:11,920 --> 00:53:14,320
Speaker 7: video on there is amazing. So just all kinds of

983
00:53:14,360 --> 00:53:16,040
Speaker 7: stuff like that. We're huge for us.

984
00:53:16,760 --> 00:53:19,680
Speaker 3: I used to work at uh An actual Big Ols.

985
00:53:20,080 --> 00:53:21,879
Speaker 3: You know, at one point big Ows had his own

986
00:53:21,960 --> 00:53:22,640
Speaker 3: restaurant chain.

987
00:53:22,760 --> 00:53:25,920
Speaker 1: Really, why, why are you're shame of me?

988
00:53:26,280 --> 00:53:26,320
Speaker 4: No?

989
00:53:26,520 --> 00:53:28,440
Speaker 1: I mean I didn't know that. You didn't know that

990
00:53:28,719 --> 00:53:30,839
Speaker 1: it's big Al from Days.

991
00:53:30,880 --> 00:53:33,160
Speaker 5: I assume you're talking about what are you talking about

992
00:53:33,160 --> 00:53:33,839
Speaker 5: from Happy Days?

993
00:53:33,960 --> 00:53:35,440
Speaker 1: Yeah? Yeah, Big Ols?

994
00:53:36,120 --> 00:53:40,440
Speaker 3: There there was an actual before what's the the actual

995
00:53:40,520 --> 00:53:44,640
Speaker 3: for these restaurants like Johnny Rockets now, right, But before

996
00:53:44,760 --> 00:53:48,640
Speaker 3: Johnny Rockets, there was I guess back in eighty eight

997
00:53:48,719 --> 00:53:53,080
Speaker 3: or eighty nine, like well not several a few of

998
00:53:53,239 --> 00:53:57,600
Speaker 3: these themed restaurants or whatever. Like at the time when

999
00:53:57,680 --> 00:54:01,080
Speaker 3: that video came out, Like how convinced were you guys

1000
00:54:01,160 --> 00:54:04,040
Speaker 3: that this wasn't because that could have been a hit

1001
00:54:04,120 --> 00:54:07,080
Speaker 3: or miss situation, Like and I'm not thinking that he's

1002
00:54:07,160 --> 00:54:11,560
Speaker 3: going to nail the perfect you know, television filter and

1003
00:54:12,800 --> 00:54:14,760
Speaker 3: complete with the commercial and all that stuff.

1004
00:54:14,880 --> 00:54:17,760
Speaker 1: Like at the time, what were you guys.

1005
00:54:17,680 --> 00:54:23,120
Speaker 3: Thinking about the idea of recreating the Happy Days theme

1006
00:54:23,200 --> 00:54:24,080
Speaker 3: for Buddy Holly?

1007
00:54:24,520 --> 00:54:27,640
Speaker 8: Well, I certainly I think all of us felt that

1008
00:54:28,080 --> 00:54:31,640
Speaker 8: from the moment we heard the idea, this is going

1009
00:54:31,680 --> 00:54:33,200
Speaker 8: to be the greatest video of all time.

1010
00:54:34,200 --> 00:54:35,000
Speaker 1: That's so cool.

1011
00:54:35,360 --> 00:54:36,319
Speaker 7: You love happy days?

1012
00:54:36,560 --> 00:54:39,600
Speaker 1: Okay? Was he was Spike your first choice to the director?

1013
00:54:39,680 --> 00:54:41,160
Speaker 8: Did you see it was his idea?

1014
00:54:41,320 --> 00:54:41,520
Speaker 1: Yeah?

1015
00:54:41,600 --> 00:54:44,200
Speaker 8: Yeah, I mean we yeah, we only want to work

1016
00:54:44,239 --> 00:54:48,560
Speaker 8: with Spike to this day, but he's making movies and

1017
00:54:48,600 --> 00:54:52,520
Speaker 8: all that. We actually knew him from before any of

1018
00:54:52,600 --> 00:54:54,600
Speaker 8: us had made it too. He was kind of part

1019
00:54:54,640 --> 00:54:56,560
Speaker 8: of the same circle of friends.

1020
00:54:56,440 --> 00:54:57,640
Speaker 7: Sort of like a skate thing.

1021
00:54:58,200 --> 00:54:59,640
Speaker 1: Yeah, you guys are skaters.

1022
00:55:00,160 --> 00:55:04,000
Speaker 8: No, but our older brother band they were called Wax.

1023
00:55:04,320 --> 00:55:05,359
Speaker 1: This is in La.

1024
00:55:06,320 --> 00:55:09,600
Speaker 8: He made their video. I think that may have been

1025
00:55:09,680 --> 00:55:12,719
Speaker 8: his first video. And when we saw that with a.

1026
00:55:12,800 --> 00:55:18,719
Speaker 7: Slow motion guy on fire No no, no, Philly also.

1027
00:55:19,480 --> 00:55:24,799
Speaker 8: Hush, it was like them in a kid's playground. Oh yes, yeah, and.

1028
00:55:24,880 --> 00:55:27,360
Speaker 3: Actually thought the guy I initially thought that video of

1029
00:55:27,360 --> 00:55:29,400
Speaker 3: the guy on fire videos you guys as well, but

1030
00:55:29,560 --> 00:55:35,120
Speaker 3: I didn't what group was that wa Legends by then

1031
00:55:35,560 --> 00:55:39,000
Speaker 3: once it catches on. Because I kind of want to

1032
00:55:39,080 --> 00:55:43,200
Speaker 3: end the episode really obsessing with what made you guys go.

1033
00:55:43,960 --> 00:55:47,640
Speaker 3: Quasi left with Pinkerton because I do have a belief

1034
00:55:47,760 --> 00:55:53,880
Speaker 3: that maybe subconsciously, some acts might try to like, I mean,

1035
00:55:53,920 --> 00:55:56,759
Speaker 3: do you consider yourselves like, Okay, we actually became like

1036
00:55:56,880 --> 00:56:02,400
Speaker 3: a mainstream standard band instead of the underdogs or the

1037
00:56:02,480 --> 00:56:03,879
Speaker 3: nerds that you were supposed.

1038
00:56:03,560 --> 00:56:06,359
Speaker 7: To be, or like the dog caught the car.

1039
00:56:07,800 --> 00:56:11,200
Speaker 8: I mean like, yeah, no, I didn't feel like that.

1040
00:56:12,080 --> 00:56:15,600
Speaker 8: That that doesn't feel like why I took the turn

1041
00:56:15,719 --> 00:56:20,160
Speaker 8: I took. In fact, I felt like we never quite

1042
00:56:20,320 --> 00:56:23,960
Speaker 8: made it because the same year that Weezer came out,

1043
00:56:24,239 --> 00:56:28,680
Speaker 8: the Offspring came out and they were like, yeah, five

1044
00:56:28,760 --> 00:56:32,279
Speaker 8: times as big as us, Green Day came out five

1045
00:56:32,440 --> 00:56:33,399
Speaker 8: six times as big.

1046
00:56:33,320 --> 00:56:36,200
Speaker 1: As us, and there were you still felt like the underdog.

1047
00:56:36,719 --> 00:56:40,359
Speaker 8: Yeah, we felt like we didn't quite hit it over

1048
00:56:40,440 --> 00:56:41,120
Speaker 8: the fence, did we?

1049
00:56:42,239 --> 00:56:42,759
Speaker 7: So yeah?

1050
00:56:43,360 --> 00:56:47,080
Speaker 8: I mean to this day, so yes, even to this

1051
00:56:47,480 --> 00:56:48,360
Speaker 8: But I feel.

1052
00:56:48,200 --> 00:56:50,440
Speaker 6: Like now we're like, like we interviewed Adam Levine from

1053
00:56:50,440 --> 00:56:53,120
Speaker 6: Maroon five, who sighted you cited Weezer is one of

1054
00:56:53,160 --> 00:56:54,400
Speaker 6: his favorite bands of all time, Like what does it

1055
00:56:54,440 --> 00:56:55,600
Speaker 6: feel like now when you're out on the road and

1056
00:56:55,680 --> 00:56:57,759
Speaker 6: like you're still playing these songs and like you are

1057
00:56:57,840 --> 00:57:03,160
Speaker 6: influential to a generation of bands and sounds and whatever.

1058
00:57:03,239 --> 00:57:04,960
Speaker 6: I mean, does that does that affect you.

1059
00:57:05,880 --> 00:57:09,000
Speaker 8: Yeah, that's amazing, azing, but again, he's like ten times

1060
00:57:09,040 --> 00:57:09,600
Speaker 8: as big as.

1061
00:57:13,400 --> 00:57:13,800
Speaker 1: My money.

1062
00:57:16,560 --> 00:57:21,320
Speaker 3: The first day record, the first thing he said without

1063
00:57:21,360 --> 00:57:23,920
Speaker 3: putting it out there, I guess I can see your

1064
00:57:23,960 --> 00:57:28,640
Speaker 3: point of view. I had a very brief, albeit kind

1065
00:57:28,680 --> 00:57:35,440
Speaker 3: of eye opening conversation with Tom Yorke about Coldplay.

1066
00:57:36,280 --> 00:57:41,880
Speaker 1: Oh my god, yeah, that go. But that's the thing.

1067
00:57:42,040 --> 00:57:45,960
Speaker 3: His perception was like, you know, we're not as big

1068
00:57:46,000 --> 00:57:50,240
Speaker 3: as Coldplay. And the thing is is that I started

1069
00:57:50,280 --> 00:57:52,440
Speaker 3: to do what I hate for the fan base to

1070
00:57:52,520 --> 00:57:55,520
Speaker 3: do to me, because in my mind I was like, oh, well,

1071
00:57:55,520 --> 00:57:57,080
Speaker 3: you guys don't want to be cold Play. You guys

1072
00:57:57,120 --> 00:58:00,000
Speaker 3: are Radiohead, You've you've been it cool you and people

1073
00:58:00,080 --> 00:58:02,439
Speaker 3: will always come up to me like, oh man, y'all

1074
00:58:02,520 --> 00:58:04,000
Speaker 3: care about getting paid or making hits?

1075
00:58:04,080 --> 00:58:06,720
Speaker 1: Like you guys just make whatever type of record you

1076
00:58:06,800 --> 00:58:10,040
Speaker 1: want to. You don't give a fucking I'm like, I

1077
00:58:10,160 --> 00:58:17,960
Speaker 1: give a mortgage, right dude. And this is like this

1078
00:58:18,160 --> 00:58:19,600
Speaker 1: before it Hell did the Thief.

1079
00:58:19,880 --> 00:58:25,760
Speaker 3: This was like prime kid, a prime amnesiac, can't get

1080
00:58:25,840 --> 00:58:29,480
Speaker 3: no bigger like you guys have made it critically, couldn't

1081
00:58:29,480 --> 00:58:32,280
Speaker 3: get no yeah right. But they were also playing stadiums

1082
00:58:32,360 --> 00:58:34,640
Speaker 3: like it was it was unfurly, but.

1083
00:58:36,600 --> 00:58:40,840
Speaker 1: You know, in his mind didn't make it. Yeah, it's like, well,

1084
00:58:40,920 --> 00:58:43,240
Speaker 1: you know, we're still the underdogs.

1085
00:58:43,280 --> 00:58:45,520
Speaker 9: And I was like, I don't think so, like I

1086
00:58:45,600 --> 00:58:47,880
Speaker 9: think it's I think it was something you said earlier

1087
00:58:47,880 --> 00:58:50,120
Speaker 9: about you know, you had those conversations with Kiss and

1088
00:58:50,200 --> 00:58:52,320
Speaker 9: maybe it was Jeane and he was saying basically how

1089
00:58:52,320 --> 00:58:55,160
Speaker 9: you should piss off your fan base, well your diehard fans,

1090
00:58:55,440 --> 00:58:57,880
Speaker 9: and for me getting into you guys.

1091
00:58:57,920 --> 00:59:01,920
Speaker 1: Music, Yeah, no problem, DoD Man, for you guys music.

1092
00:59:01,800 --> 00:59:03,840
Speaker 9: Like Blue Album came out. I was in high school

1093
00:59:04,080 --> 00:59:06,919
Speaker 9: and so I had a homie of mine. I played

1094
00:59:06,960 --> 00:59:09,400
Speaker 9: football where he was into like all of that stuff,

1095
00:59:09,480 --> 00:59:11,360
Speaker 9: like cause I came from mostly hip hop, R and

1096
00:59:11,480 --> 00:59:12,280
Speaker 9: B background, and.

1097
00:59:12,320 --> 00:59:13,800
Speaker 1: So he would always run.

1098
00:59:13,840 --> 00:59:15,280
Speaker 9: He would put me on like he was running like

1099
00:59:15,400 --> 00:59:18,760
Speaker 9: back and like uh wean and I used to get

1100
00:59:18,880 --> 00:59:21,600
Speaker 9: Ween and Weezer comfused. I was like, okay, which one is?

1101
00:59:21,720 --> 00:59:23,800
Speaker 9: Which you know what I'm saying, And so he would

1102
00:59:23,840 --> 00:59:25,680
Speaker 9: put me on you stuff, you got stuff, and so

1103
00:59:26,320 --> 00:59:27,160
Speaker 9: I knew just.

1104
00:59:27,520 --> 00:59:29,000
Speaker 1: Of course, buddy, Hollywood was everywhere.

1105
00:59:29,360 --> 00:59:32,280
Speaker 9: But I listened to Pinkerton for the first time last night,

1106
00:59:32,520 --> 00:59:35,120
Speaker 9: and so this is my first time ever hearing it,

1107
00:59:35,520 --> 00:59:37,760
Speaker 9: just you know whatever, that shit is amazing.

1108
00:59:37,840 --> 00:59:38,040
Speaker 7: Dog.

1109
00:59:38,320 --> 00:59:41,800
Speaker 9: So like just somebody from outside of I guess the

1110
00:59:41,880 --> 00:59:44,800
Speaker 9: core fan base to me that record that shit slapped,

1111
00:59:44,920 --> 00:59:47,160
Speaker 9: you know, so whatever that means.

1112
00:59:48,600 --> 00:59:50,680
Speaker 1: I was like, oh shit, So you know what I mean?

1113
00:59:51,120 --> 00:59:53,440
Speaker 1: What did you create it? Yeah?

1114
00:59:55,000 --> 00:59:55,240
Speaker 4: Yeah?

1115
00:59:55,400 --> 00:59:57,360
Speaker 1: Were you trying to build and destroy?

1116
00:59:57,760 --> 01:00:00,680
Speaker 8: Or I thought it was gonna be huge? I know

1117
01:00:00,760 --> 01:00:02,400
Speaker 8: that sounds crazy really yeah.

1118
01:00:02,760 --> 01:00:06,880
Speaker 3: See so here's the thing, though, it wasn't used in

1119
01:00:07,000 --> 01:00:08,880
Speaker 3: the way that you thought it was going to be huge,

1120
01:00:08,960 --> 01:00:12,400
Speaker 3: But of your entire canon, and we're not even going

1121
01:00:12,520 --> 01:00:15,720
Speaker 3: through you know, there's what you guys are on your

1122
01:00:15,800 --> 01:00:20,560
Speaker 3: seventeenth including the EPs right now, I don't know. Yeah,

1123
01:00:20,760 --> 01:00:24,280
Speaker 3: you're close to seventeen, I'm not certain. But what is

1124
01:00:24,360 --> 01:00:29,040
Speaker 3: your personal top of the Cannon album? And then what

1125
01:00:29,200 --> 01:00:32,960
Speaker 3: do you feel as though your piece of resistance is

1126
01:00:33,520 --> 01:00:34,240
Speaker 3: to your fan base?

1127
01:00:35,000 --> 01:00:35,360
Speaker 1: What to you?

1128
01:00:36,080 --> 01:00:38,240
Speaker 5: I'll give you time to think about it. Well, because

1129
01:00:38,680 --> 01:00:41,960
Speaker 5: I have this theory that every band tries to do

1130
01:00:42,080 --> 01:00:46,680
Speaker 5: their pet sounds. So as an aside to his question,

1131
01:00:48,160 --> 01:00:50,520
Speaker 5: did you try and do your pet sounds? And it's

1132
01:00:50,520 --> 01:00:51,320
Speaker 5: Pinkerton that I.

1133
01:00:51,360 --> 01:00:55,320
Speaker 7: Guess I'm curious, I'll ask you how different did Pinkerton

1134
01:00:55,400 --> 01:00:57,280
Speaker 7: turn out from what you thought it was going to

1135
01:00:57,360 --> 01:00:58,760
Speaker 7: turn out, because it feels.

1136
01:00:58,480 --> 01:00:59,920
Speaker 1: Like he's got three questions on it.

1137
01:01:00,080 --> 01:01:06,720
Speaker 7: Play it feels like the I mean, we weren't we

1138
01:01:06,840 --> 01:01:11,000
Speaker 7: were burnt from touring a lot and everything, and I

1139
01:01:11,120 --> 01:01:14,200
Speaker 7: hear a lot of like to me, that's like van

1140
01:01:14,320 --> 01:01:17,080
Speaker 7: Halen's fair warning, Like there's a lot there's a lot

1141
01:01:17,120 --> 01:01:19,960
Speaker 7: of angst and anger in the music itself, like in

1142
01:01:20,080 --> 01:01:23,880
Speaker 7: the playing of it. So I'm curious if it turned

1143
01:01:23,920 --> 01:01:25,400
Speaker 7: out the way you thought it was gonna be.

1144
01:01:26,800 --> 01:01:27,000
Speaker 1: Yeah.

1145
01:01:27,080 --> 01:01:32,120
Speaker 8: Absolutely, I was totally satisfied. I'm more than satisfied.

1146
01:01:32,160 --> 01:01:33,320
Speaker 1: I was in love with it.

1147
01:01:33,760 --> 01:01:38,240
Speaker 8: But I do remember on a mixing day, ric Ocassik

1148
01:01:38,480 --> 01:01:40,920
Speaker 8: came to LA and came came to the studio and

1149
01:01:41,240 --> 01:01:43,160
Speaker 8: we played him a few of the songs we'd already mixed,

1150
01:01:44,440 --> 01:01:50,440
Speaker 8: and he didn't show any reaction, and I that was

1151
01:01:50,480 --> 01:01:52,920
Speaker 8: the first moment I was like, oh, wait a minute,

1152
01:01:53,760 --> 01:01:55,680
Speaker 8: maybe this isn't going to go like how I think

1153
01:01:55,720 --> 01:01:56,200
Speaker 8: it's going to go.

1154
01:01:57,040 --> 01:02:00,800
Speaker 1: Wow. Yeah, so did you I finally say something.

1155
01:02:02,480 --> 01:02:06,000
Speaker 8: No, he never gave an opinion on that. But what

1156
01:02:06,160 --> 01:02:08,920
Speaker 8: the way I took that was like this this just

1157
01:02:09,120 --> 01:02:11,520
Speaker 8: didn't turn out great and it could have been better,

1158
01:02:12,160 --> 01:02:13,400
Speaker 8: and it's hard.

1159
01:02:13,520 --> 01:02:14,439
Speaker 1: Did you take that the heart?

1160
01:02:15,960 --> 01:02:19,440
Speaker 8: I don't want to say like that was the big

1161
01:02:19,560 --> 01:02:21,880
Speaker 8: wound of the Pingerton era because there were so many,

1162
01:02:23,360 --> 01:02:27,240
Speaker 8: so many bigger ones actually, but that was the first moment.

1163
01:02:27,800 --> 01:02:29,200
Speaker 1: How long was it to realize?

1164
01:02:29,280 --> 01:02:33,080
Speaker 3: Like example, you know, like Prince rushed off stage in

1165
01:02:33,160 --> 01:02:36,760
Speaker 3: Purple Rine like absolutely feeling like he just blew it

1166
01:02:37,440 --> 01:02:40,040
Speaker 3: and had to stop for a moment and heard them

1167
01:02:40,120 --> 01:02:42,560
Speaker 3: cheering and was like, oh, they did get it, Like

1168
01:02:42,640 --> 01:02:45,440
Speaker 3: did you ever have that redemption moment of like, yeah,

1169
01:02:45,440 --> 01:02:46,400
Speaker 3: wait a minute, I think I'll have.

1170
01:02:46,440 --> 01:02:46,880
Speaker 2: It at now.

1171
01:02:47,040 --> 01:02:47,600
Speaker 1: It seems like.

1172
01:02:49,520 --> 01:02:52,120
Speaker 8: It took a while, and so the album came out

1173
01:02:52,120 --> 01:02:56,680
Speaker 8: in ninety six and bombed. So by the end of

1174
01:02:56,760 --> 01:03:00,640
Speaker 8: ninety seven, I totally lost my confidence and just kind

1175
01:03:00,640 --> 01:03:02,600
Speaker 8: of went off and lived by myself and was trying

1176
01:03:02,640 --> 01:03:05,560
Speaker 8: to write a third record. But years went by and

1177
01:03:05,840 --> 01:03:08,400
Speaker 8: I couldn't figure it out. I just didn't know what

1178
01:03:08,560 --> 01:03:11,920
Speaker 8: to do. And one of my friends was in another

1179
01:03:12,040 --> 01:03:14,720
Speaker 8: band and he had been touring around the States. So

1180
01:03:14,840 --> 01:03:16,720
Speaker 8: at the end of ninety nine he came back and

1181
01:03:16,800 --> 01:03:19,760
Speaker 8: he said, you know, Rivers, there's a new generation of

1182
01:03:19,920 --> 01:03:23,880
Speaker 8: kids out there. Who love Pinkerton, and that was like

1183
01:03:24,480 --> 01:03:27,480
Speaker 8: shocking to me. I had no idea, and he said, yeah,

1184
01:03:27,800 --> 01:03:32,800
Speaker 8: it's called Emo and that's their album. So then we

1185
01:03:32,960 --> 01:03:35,360
Speaker 8: got the band back together and we went out and

1186
01:03:35,480 --> 01:03:37,200
Speaker 8: we just jumped on a few shows of the two

1187
01:03:37,240 --> 01:03:43,960
Speaker 8: thousand Warped tour and like before we walked on the stage,

1188
01:03:44,040 --> 01:03:47,640
Speaker 8: there would be another band playing and like twenty thousand

1189
01:03:47,720 --> 01:03:50,680
Speaker 8: kids would be chanting Weezer, Weezer, you know. And we

1190
01:03:50,800 --> 01:03:53,960
Speaker 8: walked out there and at this point Pinkerton wasn't even

1191
01:03:54,280 --> 01:03:55,960
Speaker 8: in our set list because we're like, oh, well, nobody

1192
01:03:56,120 --> 01:03:59,240
Speaker 8: liked that one, but there were you know, chanting for

1193
01:03:59,360 --> 01:04:02,640
Speaker 8: those songs. So that's when we you know, it really

1194
01:04:02,720 --> 01:04:03,080
Speaker 8: hit us.

1195
01:04:03,600 --> 01:04:06,640
Speaker 7: But I remember playing like the Ranch Bowl, like was

1196
01:04:06,680 --> 01:04:09,080
Speaker 7: it at Oklahoma or something in the middle of the

1197
01:04:09,160 --> 01:04:12,080
Speaker 7: somewhere in the middle of the country on that tour

1198
01:04:12,240 --> 01:04:16,720
Speaker 7: on Pinkerton and kids being super pumped and knowing all

1199
01:04:16,840 --> 01:04:19,000
Speaker 7: the lyrics to the Deep Cuts, And that was my

1200
01:04:19,120 --> 01:04:22,640
Speaker 7: first clue was like, why, Wow, they know all these songs.

1201
01:04:22,840 --> 01:04:25,080
Speaker 7: I don't know if you were hip to that, no,

1202
01:04:26,400 --> 01:04:27,080
Speaker 7: I could have.

1203
01:04:27,080 --> 01:04:32,040
Speaker 1: Told you, yeah, you're right next week, right, you were

1204
01:04:32,120 --> 01:04:32,680
Speaker 1: like right there?

1205
01:04:34,240 --> 01:04:34,439
Speaker 2: Nah.

1206
01:04:34,560 --> 01:04:36,760
Speaker 9: It was for me, like hearing that work again. My

1207
01:04:36,840 --> 01:04:39,120
Speaker 9: first time ever hearing it was last night, I'm just

1208
01:04:39,280 --> 01:04:41,680
Speaker 9: you know, just running it. And so for me it

1209
01:04:42,000 --> 01:04:44,600
Speaker 9: was I could tell how I mean, of course there

1210
01:04:44,640 --> 01:04:46,320
Speaker 9: was a difference between the Blue Album to this, but

1211
01:04:46,840 --> 01:04:48,919
Speaker 9: it wasn't as stark a difference of like, it wasn't

1212
01:04:48,960 --> 01:04:52,440
Speaker 9: like the first album was like a Radiohead reck like

1213
01:04:52,480 --> 01:04:55,000
Speaker 9: a you know, Pablo Honey or whatever, and then the

1214
01:04:55,120 --> 01:04:56,960
Speaker 9: second album was kid a where it was just this

1215
01:04:57,520 --> 01:05:00,120
Speaker 9: complete one eighty where it's like, what the fuck is this?

1216
01:05:00,600 --> 01:05:03,040
Speaker 9: It felt, and to me it felt in many ways

1217
01:05:03,120 --> 01:05:05,640
Speaker 9: like an extension. It didn't I don't know, it just

1218
01:05:05,640 --> 01:05:07,760
Speaker 9: didn't feel like it was such a big jump. And

1219
01:05:08,560 --> 01:05:10,560
Speaker 9: listen to it now, I'm just like, what was.

1220
01:05:10,600 --> 01:05:13,120
Speaker 1: The big Why was everybody so pissed off? Like the

1221
01:05:13,200 --> 01:05:15,080
Speaker 1: ship go hard? What was the problem?

1222
01:05:15,520 --> 01:05:17,160
Speaker 7: But brilling Stone was mad?

1223
01:05:19,040 --> 01:05:22,960
Speaker 8: Yeah, they all the critics there rated it the second

1224
01:05:23,000 --> 01:05:23,960
Speaker 8: worst album of the year.

1225
01:05:24,760 --> 01:05:27,680
Speaker 1: Serious, Uh, what was the worst? I remember that?

1226
01:05:29,400 --> 01:05:35,880
Speaker 5: Yeah, So it sounds like it took like four five

1227
01:05:35,960 --> 01:05:40,000
Speaker 5: years to catch on to the next generation.

1228
01:05:40,200 --> 01:05:43,400
Speaker 3: Man, So if it weren't for you having knowledge that

1229
01:05:43,640 --> 01:05:48,640
Speaker 3: perhaps uh, there's someone out there that is latching to it.

1230
01:05:50,200 --> 01:05:52,760
Speaker 3: Did you guys think that it was over by the

1231
01:05:52,800 --> 01:05:53,400
Speaker 3: second album?

1232
01:05:53,560 --> 01:05:57,520
Speaker 7: Like I would go visit him in Massachusetts. He lived

1233
01:05:57,920 --> 01:06:01,080
Speaker 7: five five years correct, Yeah, living on the East Coast

1234
01:06:01,120 --> 01:06:03,400
Speaker 7: and I was in out West, and I would go

1235
01:06:03,880 --> 01:06:06,120
Speaker 7: visit and we would try and get stuff together. But

1236
01:06:07,120 --> 01:06:09,000
Speaker 7: it was a transitional period, you know.

1237
01:06:10,560 --> 01:06:13,080
Speaker 9: I want to ask what the record you guys did

1238
01:06:13,280 --> 01:06:15,600
Speaker 9: with Polo to Don and Lil Wayne? Oh yeah, how

1239
01:06:15,640 --> 01:06:16,400
Speaker 9: did that come together?

1240
01:06:17,400 --> 01:06:21,200
Speaker 8: So we had this song Can't Stop Partying, And originally

1241
01:06:21,240 --> 01:06:24,960
Speaker 8: it was like this very somber acoustic thing. The head

1242
01:06:24,960 --> 01:06:28,400
Speaker 8: of the record company, Jimmy Iovine, had like this star

1243
01:06:28,560 --> 01:06:34,720
Speaker 8: producer on his team, poloded on and he asked me

1244
01:06:34,760 --> 01:06:37,200
Speaker 8: if I would be up for giving it to Polo

1245
01:06:37,280 --> 01:06:40,240
Speaker 8: and seeing seeing what happened. And I remember being in

1246
01:06:40,280 --> 01:06:41,720
Speaker 8: the studio the first time I heard it and just

1247
01:06:42,000 --> 01:06:45,600
Speaker 8: like my head was blown off. It sounded amazing and

1248
01:06:45,720 --> 01:06:49,000
Speaker 8: I was a massive little Wayne fan. So yeah, when

1249
01:06:49,000 --> 01:06:53,920
Speaker 8: they suggested that, I was all in and course Weezer

1250
01:06:53,960 --> 01:06:55,040
Speaker 8: and Weezy, I had to hear.

1251
01:06:54,960 --> 01:06:57,760
Speaker 1: You Weezer baby.

1252
01:07:00,000 --> 01:07:04,160
Speaker 3: Alright, right, how do you guys, Because I know most

1253
01:07:04,280 --> 01:07:07,760
Speaker 3: rockers hate looking in the rear view mirror in terms

1254
01:07:07,800 --> 01:07:09,320
Speaker 3: of not want to be seen.

1255
01:07:09,160 --> 01:07:11,800
Speaker 1: As a legacy act or that sort of thing. Okay,

1256
01:07:12,520 --> 01:07:18,360
Speaker 1: our Vegas run. How are you guys planning the celebration

1257
01:07:18,520 --> 01:07:19,480
Speaker 1: of the thirtieth tour?

1258
01:07:19,520 --> 01:07:24,000
Speaker 8: Wise, we could have planned like a very retro nostalgia

1259
01:07:24,080 --> 01:07:28,240
Speaker 8: thing and do it very ninety four style, but that

1260
01:07:28,360 --> 01:07:32,640
Speaker 8: would be boring so for us, So we're going to

1261
01:07:32,880 --> 01:07:35,640
Speaker 8: come up with some kind of crazy production and theme

1262
01:07:35,720 --> 01:07:37,880
Speaker 8: and I think it's going to involve a space voyage

1263
01:07:37,920 --> 01:07:39,360
Speaker 8: where we're going to this blue planet.

1264
01:07:39,480 --> 01:07:39,680
Speaker 4: Yeah.

1265
01:07:39,680 --> 01:07:42,120
Speaker 1: I was going to say, like with the teasers that

1266
01:07:42,240 --> 01:07:43,160
Speaker 1: you guys are putting on.

1267
01:07:44,080 --> 01:07:47,400
Speaker 8: Yeah, So musically it's going to be the Blue Album,

1268
01:07:48,120 --> 01:07:52,439
Speaker 8: the hits and some like nineties B sides, stuff those

1269
01:07:52,520 --> 01:07:55,800
Speaker 8: fans really want. But there's going to be an element

1270
01:07:55,880 --> 01:07:58,080
Speaker 8: of production that we never would have tried back then.

1271
01:07:58,520 --> 01:08:00,600
Speaker 8: And yeah, I think, yeah, that makes it fun and

1272
01:08:00,720 --> 01:08:01,400
Speaker 8: interesting for me.

1273
01:08:02,320 --> 01:08:04,920
Speaker 1: Okay, all right, I'm excited to hear that.

1274
01:08:05,520 --> 01:08:08,600
Speaker 3: Well, thank you guys for you know, sitting with us

1275
01:08:08,680 --> 01:08:15,160
Speaker 3: and sharing your experiences with the Blue Album. And you know, again,

1276
01:08:15,440 --> 01:08:18,639
Speaker 3: thank you guys for saving a nerd that you probably

1277
01:08:18,680 --> 01:08:19,600
Speaker 3: didn't realize that.

1278
01:08:20,520 --> 01:08:25,800
Speaker 5: Yeah, don't steal the mugs anyone, Thank you guys, and

1279
01:08:26,360 --> 01:08:27,400
Speaker 5: we appreciate you coming.

1280
01:08:27,880 --> 01:08:33,439
Speaker 1: Thank you, thank you, and uh yeah.

1281
01:08:35,640 --> 01:08:38,960
Speaker 3: Yeah we do our own sound effects, yeah, uh yeah

1282
01:08:39,000 --> 01:08:42,160
Speaker 3: when we have Sugar, Steve, Bill and Fan Segelo and

1283
01:08:42,360 --> 01:08:44,960
Speaker 3: like yeah, this is Quest Love and we will see

1284
01:08:44,960 --> 01:08:45,639
Speaker 3: you next week.

1285
01:08:45,680 --> 01:08:46,000
Speaker 1: All right.

1286
01:08:50,680 --> 01:08:52,439
Speaker 7: Thank you guys, our pleasure.

1287
01:08:55,040 --> 01:08:57,360
Speaker 6: Thank you for listening to Quest Love Supreme. This podcast

1288
01:08:57,479 --> 01:09:02,360
Speaker 6: is hosted by Mere Quest Love, Thompson, Saint Clair, Fante Coleman, Sugar,

1289
01:09:02,439 --> 01:09:06,360
Speaker 6: Steve Mandell, and myself unpaid Bill Scherm. The executive producers

1290
01:09:06,439 --> 01:09:09,240
Speaker 6: are Mere who just walked into the goddamn room, Thompson,

1291
01:09:09,600 --> 01:09:13,320
Speaker 6: Sean g and Brian Calhoun. Produced by Britney Benjamin, Jake

1292
01:09:13,400 --> 01:09:16,479
Speaker 6: Paine and Liiah Sinclair. Edited by Alex Conroy I Know

1293
01:09:16,560 --> 01:09:19,679
Speaker 6: Alex Conroy. Produced for iHeart by Noel Brown.

1294
01:09:22,200 --> 01:09:28,640
Speaker 1: West Love Supreme is a production of iHeart Radio. For

1295
01:09:28,800 --> 01:09:33,000
Speaker 1: more podcasts from iHeart Radio, visit the iHeartRadio app, Apple Podcasts,

1296
01:09:33,439 --> 01:09:35,120
Speaker 1: or wherever you listen to your favorite shows.