WEBVTT - Questlove Supreme: Weezer

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio. Just Fake

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<v Speaker 1>It Tea, make It Here we Go.

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<v Speaker 2>Suprema Shuck Suh, Supremo role called Suprema shut shut Supremo

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<v Speaker 2>role called Supremo shut sup Supremo.

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<v Speaker 1>Role called Supremo shut Up. Supremo role calls Ryner Cuomo.

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<v Speaker 3>Yeah, Wilson Belle four Heroes in ninety four.

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<v Speaker 1>Yeah, save me from Hell.

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<v Speaker 4>Roll call Supremo Suh sut Supremo role called Suprema suck

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<v Speaker 4>suh Suprema role call.

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

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<v Speaker 4>Yeah.

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<v Speaker 1>Found out about Wheezer playing on guitar Hero.

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<v Speaker 2>Supprimo Sun Sun Supremo role called Supremo Sure Sun Supremo.

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

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<v Speaker 1>Yeah.

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<v Speaker 5>My first concert, Yeah it was the actual Buddy Holly Suprema.

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<v Speaker 1>Roll call Dreamer So Supremo.

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<v Speaker 6>Roll call I'm me yes me b Yeah, goddamn yeah,

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<v Speaker 6>I am roll.

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<v Speaker 4>Sir s Suprema roll call Suprema so so Supremo.

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<v Speaker 2>Roll call.

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

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<v Speaker 7>I want to say ahead of my wife because she's

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<v Speaker 7>exceptionally pretty.

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<v Speaker 1>From downtown.

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<v Speaker 4>Suprema roll call, Suprema So soun Suprema roll call.

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<v Speaker 8>My name is Jonas, Actually it's not. Yeah, it's Rivers. Yeah,

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<v Speaker 8>busted rhymes on the spot.

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<v Speaker 4>So Prema roll call, Suprema Su Sun Suprema roll call,

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<v Speaker 4>Suprema su su Suprema roll Suprema Sun Sun supremea roll.

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<v Speaker 6>That's the first time a guest has ever voluntarily raised

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<v Speaker 6>their hand to go next.

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<v Speaker 3>Yes, well done. Every other guest is like, not me,

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

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<v Speaker 3>I am quest Love your host team Supreme.

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<v Speaker 1>Good people. Morning, good morning, morning, good morning, yes, good morning.

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<v Speaker 5>Fucking cough, good morning.

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<v Speaker 1>Nothing happened. Nothing happened today.

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<v Speaker 3>Speaking of ninety four, yo, whoa right, wow, okay, met as,

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<v Speaker 3>we kind of reflect on the significance of April ninety four,

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<v Speaker 3>which was probably significant for two X June.

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<v Speaker 4>Yeah.

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<v Speaker 3>Well no, no, well, April ninety four being the the

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<v Speaker 3>domino that also ends in June.

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<v Speaker 1>Wait, how do you know the date by heart?

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<v Speaker 5>I'm talking about Ojson.

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<v Speaker 3>Yeah, I know that you're talking about. Who commits that

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<v Speaker 3>to memory? Oh because of the basketball game.

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<v Speaker 5>Now, I watched the I was unemployed that summer, so

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<v Speaker 5>I watched the whole trial.

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<v Speaker 1>You weren't working on an Electric lady then.

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<v Speaker 5>Now it was right before I started.

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<v Speaker 1>Did you start there?

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<v Speaker 5>Ninety six? Yeah, middle ninety so this.

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<v Speaker 1>Is the way after you guys. Okay, I see.

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

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<v Speaker 3>I think everyone thinks that they have a special relationship

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<v Speaker 3>with an entity or whatever, like theirs is unique alone.

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<v Speaker 3>But I think that my relationship to our guest today

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<v Speaker 3>is fairly unique than that of their fan bases connection

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<v Speaker 3>to them.

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<v Speaker 5>Yeah, what did your role call mean?

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<v Speaker 1>Well?

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<v Speaker 3>Yeah, I was going to say that when I tell

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<v Speaker 3>the folklore of the roots time at DGC Records back

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<v Speaker 3>in ninety three to ninety four, when we first signed,

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<v Speaker 3>I would assume that both acts got their record deals

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<v Speaker 3>around the same time. I was made aware that they

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<v Speaker 3>were releasing their record in ninety four, and kind of

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<v Speaker 3>when we had that stalled beginning of which our album

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<v Speaker 3>was supposed to come out in June of ninety four,

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<v Speaker 3>and then the labels like not yet, we have to

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<v Speaker 3>get you a staff first, and all those things. Those

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<v Speaker 3>were really really lean years. So I can't believe I'm

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<v Speaker 3>telling this story so pretty much for quick survival money.

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<v Speaker 7>Closet.

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<v Speaker 1>Wait you two, Oh my god, wait the way And

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<v Speaker 1>I'm like that was too easy.

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<v Speaker 3>I wonder I'm like under trepidation of like I don't

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<v Speaker 3>know if I was telling the story, yo, But I

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<v Speaker 3>will say that as far as value was concerned, you guys, ecstasy.

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<v Speaker 1>And back.

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<v Speaker 3>No, seriously, like at any moment of like the moment

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<v Speaker 3>that we all had to like go see pault fiction.

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

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<v Speaker 3>Yes, wait a minute, but how you guys who were

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<v Speaker 3>the people that provided, in some indirect way the finances

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<v Speaker 3>for my survival ninety four also doing the same.

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<v Speaker 8>Thing we were ninety three. We were going there in

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<v Speaker 8>ninety three and it was like guns and roses, use

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<v Speaker 8>your illusion.

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<v Speaker 3>Yes, oh my god, thought dude, I literally thought that

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<v Speaker 3>showing them hockey, Yeah, yeah, that was.

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<v Speaker 5>Just taking to listen to.

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<v Speaker 1>So this is a crime, all.

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<v Speaker 3>Right, Yes, yes, I using our guest today. But the

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<v Speaker 3>thing was is that I was always shocked the period

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

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<v Speaker 3>they'll want the spaghetti incident, use your losing, and it

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<v Speaker 3>was like, no, all the Neil Young Geffen era records

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<v Speaker 3>trans all that stuff, Nah, they wanted Weezer. And then

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<v Speaker 3>one day, after like six months of hawking you guys,

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<v Speaker 3>I'm like, all right, let me listen to this.

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<v Speaker 1>And then I became more obsessed.

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<v Speaker 3>And then once I started reading about like your kiss

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<v Speaker 3>obsession and all that stuff, I was like, wow, like

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

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<v Speaker 3>really credit you guys more than anything for at least

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<v Speaker 3>making me aware of Spike Jones as a video director. Anyway,

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<v Speaker 3>longest intro in history, Ladies and gentlemen, Please welcome Weezer

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<v Speaker 3>to the show. Yeah, welcome. I had a whole scroll

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<v Speaker 3>of fan letter to do the intro, but I decided

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<v Speaker 3>not to do that. Just a confession, that's all.

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<v Speaker 1>Yeah, Are you really that this was going down? No,

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<v Speaker 1>you gotta do what you gotta do. You never did that.

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<v Speaker 5>I've stolen so much shit from you, from everybody?

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<v Speaker 1>Are you kidding me? I was supposed to do it?

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<v Speaker 1>So wait.

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<v Speaker 3>First thing I'll ask is because of the I mean,

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<v Speaker 3>your entire canon now, and you know you're running out

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<v Speaker 3>of colors and and I'm only jealous of the synesthesia

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<v Speaker 3>of it all, like the fact that you know each

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<v Speaker 3>album represents a mood or whatever. I'm so jealous that

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<v Speaker 3>you guys really got to explore that. Is it cringe

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<v Speaker 3>worthy to listen to your first record? Like do you

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<v Speaker 3>accept where you were as artists when you're making this

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<v Speaker 3>in ninety three or is it you listen to and

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<v Speaker 3>you're like, I could have that Stanza could have been better,

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<v Speaker 3>or this mix could have been better, or like, are

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<v Speaker 3>you overly critical?

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<v Speaker 1>For me?

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<v Speaker 8>I'm less critical now than I was then when we

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<v Speaker 8>finished it. I remember at the time and we made

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<v Speaker 8>some big mistakes, specifically like the I wish we had

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<v Speaker 8>gone bigger with the drum sound, and then we did

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<v Speaker 8>exactly that on our second record, Pinkerton. We just turned

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

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<v Speaker 8>that's that's what the album sounds. It sounds how it's

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<v Speaker 8>supposed to sound.

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<v Speaker 1>I love it.

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<v Speaker 3>How do you feel about the perception of Pinkerton and

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<v Speaker 3>the fact that, I mean, it's basically the standard of

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<v Speaker 3>I won't say postmodern and leftist center records. I mean,

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<v Speaker 3>there's a lot of it, but just the fact that

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

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<v Speaker 3>because I have Pinkerton tattooed, or you know what I mean,

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<v Speaker 3>Like the amount of dissertations I've read about the album

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<v Speaker 3>and on the internet and your Weezer Palooza. Have you

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<v Speaker 3>guys been on your own Weezer Palooza page at all?

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<v Speaker 1>No, it's very.

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<v Speaker 8>Scary, yeah, weezer Pedia.

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<v Speaker 1>Maybe. Oh I'm sorry, Yes, Weezer.

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<v Speaker 8>That's a good idea though, well yeah, yes, you know,

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<v Speaker 8>fans are gonna fan and that's great, and I don't

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<v Speaker 8>I don't think it's I don't think I should be

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<v Speaker 8>like paying too much attention to that stuff. What I

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<v Speaker 8>care about is, like I just want when we play

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<v Speaker 8>a concert, I want as much harmony as possible in

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<v Speaker 8>the room, just like everyone to be united. I love

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<v Speaker 8>that feeling. So the only time that's the problem is

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<v Speaker 8>when like you have different segments of the crowd want

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<v Speaker 8>to hear different songs. But that's why it's great to

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<v Speaker 8>like play huge venues sometimes and then sometimes play really

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

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<v Speaker 8>want to hear Pinkerton some B sides, that kind of thing.

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<v Speaker 8>That's super fun too.

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<v Speaker 1>I assume that come twenty twenty six, you guys will if.

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<v Speaker 8>We can get past the blue album thing, that will

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<v Speaker 8>be fun.

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<v Speaker 4>Yeah.

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<v Speaker 1>What is it like to return to it? Do you do?

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<v Speaker 3>You have seminal memories of the making of the album.

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<v Speaker 3>And I'm also kind of else that you guys know

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<v Speaker 3>what Electric Lady was like when the dome was in

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<v Speaker 3>front of it?

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<v Speaker 1>Oh yeah, yeah, yes, yeah. Wait were you there with

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<v Speaker 1>us the day we were going to protest and.

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<v Speaker 5>Yeah, yeah, we were trying to like tire ourselves.

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<v Speaker 1>To Yeah, the last day, the last day of that

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<v Speaker 1>that the dome that was in front of Electric Lady.

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<v Speaker 5>He's calling it a dome, but it's a rounded brick wall.

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<v Speaker 5>Well or no, a dome goes above you.

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<v Speaker 3>But yes, okay, so it's at the time I thought

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<v Speaker 3>it was an igloo or whatever. I mean, I don't

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<v Speaker 3>know what to make of it. But rounded brick wall, yeah,

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<v Speaker 3>brick wall, circular brick wall because Jimmy Hendricks didn't believe

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<v Speaker 3>in corners. Yeah, oh really And yeah, so our first

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<v Speaker 3>week there of doing d' Angelo's Voodoo and we found

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<v Speaker 3>out they were going to knock the wall down and

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<v Speaker 3>we were going to go all vigilant and chain ourselves

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<v Speaker 3>to the front door, like in front of the breaker.

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<v Speaker 1>And then of course at six am, none of us

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<v Speaker 1>were now to stay up in front of it. Oh well,

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

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<v Speaker 1>me start you pet, what was your like your first

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<v Speaker 1>musical memory in life?

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<v Speaker 7>Very man low? What that's the biggest ones for you?

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<v Speaker 7>His face on the cover is huge. I don't know

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<v Speaker 7>why I liked it, but I was like, it was

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<v Speaker 7>pretty small.

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<v Speaker 1>Yeah, he was unavoidable.

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<v Speaker 5>Also, yeah, you know you like the even Now album,

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<v Speaker 5>that's the one nineteen seventy eight.

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<v Speaker 7>It all sounds like a seventies movie to me, but

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<v Speaker 7>I love it.

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<v Speaker 3>Yeah, the same mellow intro in it exactly. So you

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<v Speaker 3>mean purchasing that record or just.

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<v Speaker 7>I don't know how I got it, but I got it.

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<v Speaker 7>My brother and sister are much older than me. They're

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<v Speaker 7>they're like in their early seventies now, so they would

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<v Speaker 7>leave records lying around people like, oh, here's weird Neil

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<v Speaker 7>Young record, here's you know, the Who, Quadraphinia and all

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<v Speaker 7>this stuff, and I just thought they were great to throw.

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<v Speaker 1>You know, it's a little Casby.

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<v Speaker 7>Yeah, yeah, this is whatever. But eventually I started listening

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<v Speaker 7>to it, stuff like Van Halen. Then I got into

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<v Speaker 7>it on my own or like Rush right, and that's

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<v Speaker 7>when I, you know, got into rock.

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<v Speaker 1>Where were you born?

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<v Speaker 7>Buffalo? Okay, okay, Buffalo, New York, up state?

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<v Speaker 1>Nice? All right, Riverskay? What was your first musical memory?

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<v Speaker 1>It was all right right?

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<v Speaker 8>First memory would be listening to my dad play the drums.

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<v Speaker 1>Okay.

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<v Speaker 8>He is a jazz drummer, so it would have been

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<v Speaker 8>him and his buddies jamming.

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<v Speaker 7>Who do you play with?

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<v Speaker 1>Uh wah?

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<v Speaker 2>Yeah?

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<v Speaker 8>He made it onto a Wayne Shorter session in nineteen

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<v Speaker 8>seventy right here, I think in Manhattan or Brooklyn.

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<v Speaker 1>And what was your dad's name?

0:12:44.040 --> 0:12:49.839
<v Speaker 8>Frank Cuomo? So Francis actually legally it's Francis. Yeah did that?

0:12:50.000 --> 0:12:50.640
<v Speaker 7>How did you know that?

0:12:50.840 --> 0:12:51.120
<v Speaker 4>I just.

0:12:53.240 --> 0:12:53.679
<v Speaker 5>I didn't know.

0:12:53.800 --> 0:12:57.600
<v Speaker 3>We're in a band together. So your father playing drums

0:12:57.640 --> 0:13:00.320
<v Speaker 3>around the house. That was your first musical remember?

0:13:00.600 --> 0:13:00.800
<v Speaker 1>Yeah?

0:13:01.080 --> 0:13:03.679
<v Speaker 3>Okay, you know I've read this interview long ago we

0:13:04.040 --> 0:13:07.720
<v Speaker 3>described I guess the discovery of Kiss.

0:13:07.720 --> 0:13:11.400
<v Speaker 1>Was your kind of come to Jesus moment? Yeah, all right,

0:13:11.440 --> 0:13:12.400
<v Speaker 1>can you describe that?

0:13:12.720 --> 0:13:14.719
<v Speaker 3>Like, what was that feeling? I mean, you're one year

0:13:14.800 --> 0:13:18.280
<v Speaker 3>older than I am. But it's so weird that you

0:13:18.440 --> 0:13:20.880
<v Speaker 3>actually listened to the music. I was obsessed with Kiss,

0:13:20.960 --> 0:13:24.599
<v Speaker 3>but only as to whenever we would go to like

0:13:24.760 --> 0:13:29.200
<v Speaker 3>a department stores or whatever like sears, I would immediately

0:13:29.280 --> 0:13:32.120
<v Speaker 3>be lined for the record section and just stay there

0:13:32.200 --> 0:13:35.520
<v Speaker 3>for like the two hour derivation while they're shopping around.

0:13:36.360 --> 0:13:40.400
<v Speaker 1>And I'm noticing that for a band that started.

0:13:40.040 --> 0:13:43.679
<v Speaker 3>In seventy four, like they released a whole like a

0:13:43.760 --> 0:13:48.400
<v Speaker 3>whole collection by nineteen seventy six, where and I would

0:13:48.480 --> 0:13:51.800
<v Speaker 3>obsessed over these record covers but never listen to the music.

0:13:52.640 --> 0:13:55.920
<v Speaker 3>So like I think my first experience was Love Gun

0:13:56.600 --> 0:13:59.120
<v Speaker 3>and Christine sixteen, but for yours, like what was it about?

0:14:00.520 --> 0:14:03.280
<v Speaker 3>You actually listened to the music, Like I just got

0:14:03.320 --> 0:14:05.000
<v Speaker 3>as far as the cover and that was it. Tried

0:14:05.040 --> 0:14:06.199
<v Speaker 3>to imagine what they sounded like.

0:14:06.679 --> 0:14:10.320
<v Speaker 8>So when I was five or so, my family moved

0:14:10.360 --> 0:14:14.360
<v Speaker 8>to an ashram and we were pretty cut off from

0:14:14.600 --> 0:14:17.160
<v Speaker 8>pop culture at that point. There was a lot of

0:14:17.280 --> 0:14:21.040
<v Speaker 8>like Sanskrit chanting that that was my main music experience

0:14:21.080 --> 0:14:25.040
<v Speaker 8>at that point. I listened to now, but there was

0:14:25.160 --> 0:14:29.200
<v Speaker 8>some hippie music too. I remember Kat Stevens, Joan Biaz,

0:14:29.640 --> 0:14:31.880
<v Speaker 8>Bob Dylan, that kind of stuf. I would hear those records.

0:14:32.720 --> 0:14:34.960
<v Speaker 8>But then there was this one girl who was my age.

0:14:35.360 --> 0:14:37.800
<v Speaker 8>She came and visited the Ashram. Her name was Shanty

0:14:38.760 --> 0:14:41.600
<v Speaker 8>and she had rock and rock and roll over by Kiss.

0:14:42.000 --> 0:14:45.960
<v Speaker 8>So it's probably seventy seven, and she poisoned the whole

0:14:46.960 --> 0:14:52.480
<v Speaker 8>that she accidentally left it, and we put it on

0:14:52.600 --> 0:14:55.920
<v Speaker 8>the record player and we had like a little cassette

0:14:55.920 --> 0:14:59.840
<v Speaker 8>player also, so we pressed record as the record was going.

0:15:00.560 --> 0:15:03.000
<v Speaker 8>So then I had a recording of this record, and

0:15:03.040 --> 0:15:05.920
<v Speaker 8>that's the only Kiss album I had at that point.

0:15:06.200 --> 0:15:08.480
<v Speaker 8>It's really the only kind of rock or intense music

0:15:08.560 --> 0:15:11.240
<v Speaker 8>I had, but we would listen to it over and over.

0:15:12.040 --> 0:15:14.080
<v Speaker 8>But it had the sound of my brother and I

0:15:15.120 --> 0:15:18.240
<v Speaker 8>running around the coffee table in circles over and over,

0:15:18.440 --> 0:15:21.160
<v Speaker 8>like spazzing out as we're listening to this rock. Like

0:15:21.160 --> 0:15:24.120
<v Speaker 8>I said, that's what I listened to for a couple

0:15:24.200 --> 0:15:26.880
<v Speaker 8>of years. And then then I started going to record

0:15:26.920 --> 0:15:29.920
<v Speaker 8>storees myself, exactly like you did, and I went straight

0:15:30.000 --> 0:15:33.480
<v Speaker 8>to the K section to find the Kiss albums and LEXI, yeah,

0:15:33.560 --> 0:15:34.320
<v Speaker 8>this is incredible.

0:15:35.400 --> 0:15:40.040
<v Speaker 7>Now cut to my mom in seventy seven saying, honey boy,

0:15:41.440 --> 0:15:46.000
<v Speaker 7>that's the Devil's music. That's kids in Satan's snare.

0:15:49.640 --> 0:15:51.920
<v Speaker 3>Well, I got to add to this story. I don't

0:15:51.960 --> 0:15:54.160
<v Speaker 3>know if you guys know this story. So you know,

0:15:54.480 --> 0:15:58.080
<v Speaker 3>I grew up my father was like a duop singer

0:15:58.120 --> 0:16:01.760
<v Speaker 3>in the fifties. So by the seventies he's going through

0:16:02.080 --> 0:16:07.840
<v Speaker 3>his what I can call like the revival face like whatever, fifties,

0:16:08.000 --> 0:16:12.680
<v Speaker 3>yeah and so yeah, anything that have remotely to do

0:16:12.760 --> 0:16:15.600
<v Speaker 3>with du wap music or you know, the revival of

0:16:15.920 --> 0:16:19.600
<v Speaker 3>American Gaffiti, Happy Days, Laverne and Shirley Greece, all that stuff.

0:16:20.080 --> 0:16:21.040
<v Speaker 1>My dad was a part of it.

0:16:21.280 --> 0:16:25.320
<v Speaker 3>But somehow like he got off that circuit and sort

0:16:25.360 --> 0:16:29.800
<v Speaker 3>of pivoted to just a regular nightclub act of which

0:16:31.360 --> 0:16:33.480
<v Speaker 3>in the seventies, if you're looking for a good time

0:16:33.640 --> 0:16:36.960
<v Speaker 3>on you know, a weeknight or whatever, you go to

0:16:38.000 --> 0:16:40.480
<v Speaker 3>your local holiday inn and somewhere in the bar there's

0:16:40.840 --> 0:16:45.280
<v Speaker 3>you know, some legend of Yesteryear playing. So weird enough,

0:16:45.320 --> 0:16:49.640
<v Speaker 3>this is in Buffalo, New York, nineteen seventy eight, and

0:16:49.760 --> 0:16:52.920
<v Speaker 3>I guess the protocol of the day is that acts

0:16:53.200 --> 0:16:57.840
<v Speaker 3>would stay at the Airport Hotel always because it's right

0:16:57.960 --> 0:17:01.200
<v Speaker 3>next to the airport. And we did about three weeks.

0:17:02.280 --> 0:17:07.200
<v Speaker 3>I think of Sheridan in Buffalo, of which you know,

0:17:07.400 --> 0:17:12.040
<v Speaker 3>Boston came through the group Kansas, and I also came

0:17:12.119 --> 0:17:14.280
<v Speaker 3>through a lot of city and state names.

0:17:14.440 --> 0:17:15.200
<v Speaker 1>Yeah, exactly.

0:17:15.880 --> 0:17:18.560
<v Speaker 3>But one particular night, it was on a Friday night,

0:17:18.680 --> 0:17:21.440
<v Speaker 3>and all I remember was, this might have been seventy nine.

0:17:22.280 --> 0:17:26.160
<v Speaker 3>I remember Dan Hartman was just did his second song

0:17:26.560 --> 0:17:28.320
<v Speaker 3>on Midnight Special.

0:17:29.000 --> 0:17:30.000
<v Speaker 1>It was like the whatever.

0:17:30.080 --> 0:17:32.640
<v Speaker 3>The follow up song was the instant replay. I think

0:17:32.680 --> 0:17:35.280
<v Speaker 3>a song called this is It? So he does it

0:17:35.359 --> 0:17:38.480
<v Speaker 3>and the credits are going up, and I was thirsty.

0:17:39.320 --> 0:17:42.080
<v Speaker 3>It's like, I guess, like one thirty two in the morning,

0:17:42.880 --> 0:17:45.800
<v Speaker 3>I go to the dresser, grab fifty cent to get

0:17:45.840 --> 0:17:47.840
<v Speaker 3>a soda, and I walk in the hallway. Now this

0:17:47.960 --> 0:17:51.080
<v Speaker 3>is a circular hotel. I walk in the hallway to

0:17:51.240 --> 0:17:54.440
<v Speaker 3>the soda machine, get my soda, and then.

0:17:54.400 --> 0:17:58.760
<v Speaker 1>The elevator opens. Now I'm eight years old.

0:17:59.320 --> 0:18:04.800
<v Speaker 3>In that entire Hire album cover artwork is now coming

0:18:04.880 --> 0:18:08.800
<v Speaker 3>to life, like it's it's fucking Chris and Ace and

0:18:08.960 --> 0:18:13.920
<v Speaker 3>Paul and Jean and their bodyguards in no kind of

0:18:14.000 --> 0:18:20.760
<v Speaker 3>post makeup. All I remember was I looked, and I screamed,

0:18:21.119 --> 0:18:23.359
<v Speaker 3>and I ran to the right and the thing was

0:18:23.560 --> 0:18:24.639
<v Speaker 3>I actually ran.

0:18:27.280 --> 0:18:31.080
<v Speaker 1>Literally, so they were performing there for three days, and.

0:18:32.560 --> 0:18:37.119
<v Speaker 3>You know, instantly it was like elation, curiosity, but mostly

0:18:37.240 --> 0:18:40.280
<v Speaker 3>terror because also I saw kiss Me to the Phantom

0:18:41.000 --> 0:18:42.920
<v Speaker 3>O My God, which as an eight year old, like

0:18:43.040 --> 0:18:44.639
<v Speaker 3>that totally fucked with me. I mean, now is a

0:18:44.720 --> 0:18:48.600
<v Speaker 3>total camp film. But the next day I remember going

0:18:48.680 --> 0:18:51.920
<v Speaker 3>to the game room in hotels all the arcade games

0:18:51.960 --> 0:18:54.840
<v Speaker 3>and bin ball games would they would have arcades inside

0:18:54.880 --> 0:18:57.960
<v Speaker 3>of those hotels, and I remember going down there and

0:18:58.080 --> 0:19:01.200
<v Speaker 3>it was just it's it's like something out of almost famous,

0:19:01.359 --> 0:19:06.359
<v Speaker 3>like all these women, like seeing Paul without his makeup

0:19:06.440 --> 0:19:10.840
<v Speaker 3>one and Gene and they signed autographs and whatnot, and

0:19:11.520 --> 0:19:14.160
<v Speaker 3>that was like and someone gave me a Christine sixteen

0:19:14.359 --> 0:19:16.679
<v Speaker 3>forty five, Oh dude, and that was kind of.

0:19:16.680 --> 0:19:18.200
<v Speaker 1>My kiss induction.

0:19:18.480 --> 0:19:19.760
<v Speaker 5>Wow, that's crazy.

0:19:20.080 --> 0:19:24.359
<v Speaker 1>Yeah. But yeah, but for you, like what spoke of it?

0:19:24.560 --> 0:19:27.600
<v Speaker 3>Because as I got older, I was taught that that's

0:19:27.680 --> 0:19:30.280
<v Speaker 3>not you know, I'm listening to older generator, that's not

0:19:30.359 --> 0:19:32.160
<v Speaker 3>real rocky, like you know, that's camp rock.

0:19:32.240 --> 0:19:33.480
<v Speaker 1>But what was it that spoke to you?

0:19:33.960 --> 0:19:36.800
<v Speaker 8>They're not supposed to be the most credible rock act

0:19:36.880 --> 0:19:40.000
<v Speaker 8>of all time, but they sure seemed to inspire. A

0:19:40.119 --> 0:19:43.000
<v Speaker 8>lot of kids are our age at that time, and

0:19:43.680 --> 0:19:46.200
<v Speaker 8>a lot of us went on to start bands ourselves.

0:19:46.240 --> 0:19:48.880
<v Speaker 8>So I'm not sure what it was because in my case,

0:19:49.520 --> 0:19:53.280
<v Speaker 8>I didn't have the visual. It was just the music.

0:19:54.160 --> 0:19:56.359
<v Speaker 8>I mean, I had seen briefly the album cover, but

0:19:56.440 --> 0:19:59.440
<v Speaker 8>it's just this weird, kind of abstract thing of their

0:19:59.720 --> 0:20:02.159
<v Speaker 8>design of their faces. I didn't know what they looked like,

0:20:02.320 --> 0:20:05.080
<v Speaker 8>or what the costumes were, or about the pyro or

0:20:05.119 --> 0:20:08.760
<v Speaker 8>the production. I just had the music and that was

0:20:08.880 --> 0:20:12.359
<v Speaker 8>enough to completely get me excited. It was it was

0:20:12.480 --> 0:20:17.720
<v Speaker 8>the sound of the guitar, the intense riffage, and the

0:20:18.520 --> 0:20:22.840
<v Speaker 8>sound of their singing Paul Stanley going up into that falsetto.

0:20:23.400 --> 0:20:25.880
<v Speaker 8>I didn't I didn't understand what the lyrics were at all.

0:20:26.520 --> 0:20:28.160
<v Speaker 1>Have you ever met them? I was going to say,

0:20:30.520 --> 0:20:31.400
<v Speaker 1>have they broke your heart?

0:20:31.520 --> 0:20:32.520
<v Speaker 7>Recently we met him?

0:20:32.600 --> 0:20:35.159
<v Speaker 8>Yeah, I met him a couple of times, but recently

0:20:35.200 --> 0:20:37.080
<v Speaker 8>we just played We opened for them. They asked us

0:20:37.119 --> 0:20:39.720
<v Speaker 8>to open for them at their last show in Australia, so.

0:20:41.880 --> 0:20:46.359
<v Speaker 1>He uh, we were.

0:20:46.520 --> 0:20:47.320
<v Speaker 8>I was so excited.

0:20:48.880 --> 0:20:49.920
<v Speaker 1>It was nice.

0:20:51.320 --> 0:20:53.000
<v Speaker 8>They were in this uh they were doing this big

0:20:53.080 --> 0:20:55.919
<v Speaker 8>meet and greet with all these fans and and they

0:20:56.040 --> 0:20:58.919
<v Speaker 8>interrupted the line to bring Weezer in there and say hi,

0:21:00.119 --> 0:21:02.640
<v Speaker 8>And I was so excited, and they're they're so tall,

0:21:02.640 --> 0:21:05.320
<v Speaker 8>They're like seventy seven feet tall in these big heels.

0:21:06.520 --> 0:21:10.399
<v Speaker 8>And I went up so expectant, and and Jean saw me,

0:21:11.200 --> 0:21:14.440
<v Speaker 8>and what do you say? He was like, Rivers, you're

0:21:14.520 --> 0:21:15.600
<v Speaker 8>gonna be famous in.

0:21:15.760 --> 0:21:20.680
<v Speaker 7>Jail, was like going for the ages, You'll be the

0:21:20.760 --> 0:21:22.320
<v Speaker 7>most famous guy in jail.

0:21:22.840 --> 0:21:24.000
<v Speaker 1>And you were like what does that mean?

0:21:24.080 --> 0:21:25.640
<v Speaker 7>He's like, it doesn't have to mean anything.

0:21:26.760 --> 0:21:30.560
<v Speaker 8>And to this day, I'm still puzzling and over like

0:21:31.359 --> 0:21:36.160
<v Speaker 8>what does that mean? It sounds crypto significant, but I'm

0:21:36.240 --> 0:21:36.760
<v Speaker 8>not sure.

0:21:36.880 --> 0:21:40.160
<v Speaker 3>It's kind of weird now because yeah, like when I've

0:21:40.200 --> 0:21:42.040
<v Speaker 3>seen him a few times and you know, he's been

0:21:42.119 --> 0:21:44.760
<v Speaker 3>to the Tonight Show whatever, and then he kind of

0:21:45.000 --> 0:21:49.600
<v Speaker 3>talks like who's the comedian Jackie uh, Jackie Mason, like

0:21:49.880 --> 0:21:50.480
<v Speaker 3>it's it's.

0:21:51.040 --> 0:21:53.320
<v Speaker 5>Yeah, yeah, he was trying to be funny and he

0:21:53.359 --> 0:21:55.080
<v Speaker 5>has a lasts level like I.

0:21:55.160 --> 0:21:58.480
<v Speaker 3>Wasn't used to that, Like everything was did it? Yeah,

0:21:58.680 --> 0:22:01.399
<v Speaker 3>It's like is this Jean's Jean Summons that I've heard it?

0:22:01.520 --> 0:22:02.320
<v Speaker 1>Like that sort of thing.

0:22:02.440 --> 0:22:04.760
<v Speaker 8>But yeah, but the other time I met him was

0:22:04.880 --> 0:22:08.080
<v Speaker 8>probably around two thousand. It was some private movie screening

0:22:08.200 --> 0:22:10.359
<v Speaker 8>and he sat next to me, and I remember the

0:22:10.400 --> 0:22:13.760
<v Speaker 8>one thing he said was just whatever you do, make

0:22:13.840 --> 0:22:15.960
<v Speaker 8>sure you screw over your hardcore fans.

0:22:18.040 --> 0:22:20.240
<v Speaker 5>They're going to give you some notable quotables.

0:22:22.000 --> 0:22:24.360
<v Speaker 8>Don't listen to them. They're going to lead you astray.

0:22:24.840 --> 0:22:26.080
<v Speaker 8>They want you to stay the same.

0:22:26.400 --> 0:22:28.840
<v Speaker 7>And you're like, well, you know, I liked it when

0:22:28.840 --> 0:22:29.840
<v Speaker 7>you guys were makeup.

0:22:37.520 --> 0:22:40.960
<v Speaker 3>I always wondered if the design of the Weezer logo

0:22:41.800 --> 0:22:44.560
<v Speaker 3>was that you're like brains out to come up with

0:22:44.680 --> 0:22:47.520
<v Speaker 3>something that will stick with the fan base in a

0:22:47.560 --> 0:22:51.240
<v Speaker 3>way that the kiss logo, you know, like many of

0:22:51.359 --> 0:22:52.879
<v Speaker 3>us would just draw it.

0:22:52.960 --> 0:22:55.359
<v Speaker 8>And yeah, and in the eighties and in high school,

0:22:56.040 --> 0:22:58.639
<v Speaker 8>you'd spend a lot of time drawing band logos in

0:22:58.720 --> 0:23:01.320
<v Speaker 8>your in your notebook as you're supposed to be listening

0:23:01.320 --> 0:23:03.639
<v Speaker 8>to the teacher, right right. It wasn't his kiss there

0:23:03.640 --> 0:23:04.280
<v Speaker 8>as many of them.

0:23:04.920 --> 0:23:09.080
<v Speaker 7>It's a standard gen X move, like van Halin, Like

0:23:09.400 --> 0:23:12.240
<v Speaker 7>I just drove vhs all day.

0:23:12.960 --> 0:23:14.520
<v Speaker 8>Do kids do that still?

0:23:15.400 --> 0:23:17.600
<v Speaker 5>No, Captain Kirk still does that.

0:23:18.200 --> 0:23:18.920
<v Speaker 1>He does. Yeah.

0:23:19.880 --> 0:23:22.920
<v Speaker 5>I have a question though, still with regards to kiss.

0:23:23.000 --> 0:23:27.399
<v Speaker 5>But maybe this will segue. Was it Kiss, Were they

0:23:27.480 --> 0:23:29.119
<v Speaker 5>the reason wanted to go to Electric Lady or was

0:23:29.160 --> 0:23:31.160
<v Speaker 5>that a Rick Okasik decision?

0:23:31.640 --> 0:23:36.920
<v Speaker 8>He pronounced it ocassick ocassick, But yeah, that was his call.

0:23:37.200 --> 0:23:40.080
<v Speaker 8>He he wanted us to come to New York and

0:23:40.119 --> 0:23:42.399
<v Speaker 8>he wanted us to work at that studio. But of

0:23:42.480 --> 0:23:45.520
<v Speaker 8>course I immediately made the connection because I remember staring

0:23:45.560 --> 0:23:48.639
<v Speaker 8>at the back of those LPs for hours on end,

0:23:48.720 --> 0:23:51.280
<v Speaker 8>just kind of reading them over, not knowing what anything meant.

0:23:51.400 --> 0:23:54.280
<v Speaker 8>But it's like, Electric Lady, Electric Lady. It's like, yeah,

0:23:54.440 --> 0:23:55.080
<v Speaker 8>let's go there.

0:23:55.840 --> 0:23:57.199
<v Speaker 5>Yeah, they did a bunch of records there.

0:23:57.320 --> 0:24:00.879
<v Speaker 1>Yeah, what period were you working? You Hat Tower Records

0:24:00.920 --> 0:24:01.480
<v Speaker 1>on Sunset.

0:24:02.119 --> 0:24:05.879
<v Speaker 8>I worked there like all of ninety and half of

0:24:05.960 --> 0:24:06.600
<v Speaker 8>ninety one.

0:24:06.920 --> 0:24:10.000
<v Speaker 3>Even though I've worked at a record store once before. Like,

0:24:10.440 --> 0:24:13.080
<v Speaker 3>to me, that was like one of my first fantasies

0:24:13.119 --> 0:24:15.920
<v Speaker 3>in life. Like everyone's playing House and Doctor and I

0:24:15.960 --> 0:24:20.200
<v Speaker 3>would play record store in the house during prime record

0:24:20.440 --> 0:24:23.960
<v Speaker 3>shopping season or the time period in which actually going

0:24:24.000 --> 0:24:27.159
<v Speaker 3>to the record store was, you know, a thing that.

0:24:27.800 --> 0:24:29.240
<v Speaker 1>Was an everyday occurrence.

0:24:29.400 --> 0:24:32.320
<v Speaker 3>What was it like back then, like your experience in

0:24:33.480 --> 0:24:37.000
<v Speaker 3>like were you the cool taste maker guy that I

0:24:37.040 --> 0:24:38.879
<v Speaker 3>would ask, like, okay, so what are you into, Like,

0:24:39.320 --> 0:24:39.960
<v Speaker 3>give me something.

0:24:40.680 --> 0:24:41.520
<v Speaker 1>Were you that person?

0:24:41.840 --> 0:24:45.400
<v Speaker 8>No, I was the opposite. Yeah, when I got there,

0:24:45.560 --> 0:24:48.679
<v Speaker 8>I was pretty much straight from the sticks in Connecticut,

0:24:49.040 --> 0:24:51.960
<v Speaker 8>upstate Connecticut, and I'd just grown up listening to like

0:24:52.359 --> 0:24:54.879
<v Speaker 8>heavy metal music, and I came to La to be

0:24:54.960 --> 0:24:59.760
<v Speaker 8>a shredder and I got a job there, and other

0:24:59.800 --> 0:25:02.440
<v Speaker 8>peop people there were a few years older, which meant

0:25:02.480 --> 0:25:04.280
<v Speaker 8>a lot at the time, even just a few years,

0:25:04.680 --> 0:25:07.679
<v Speaker 8>and they had a much broader knowledge of the history

0:25:07.680 --> 0:25:11.560
<v Speaker 8>of music, and especially rock music and alternative music. I

0:25:11.600 --> 0:25:15.240
<v Speaker 8>didn't know anything about that, So working there was a

0:25:15.320 --> 0:25:17.800
<v Speaker 8>real education, and I got exposed to all different kinds

0:25:17.840 --> 0:25:23.120
<v Speaker 8>of music, and slowly my own style evolved from being,

0:25:23.720 --> 0:25:27.399
<v Speaker 8>you know, a Metallica cover band type to what you

0:25:27.480 --> 0:25:28.280
<v Speaker 8>hear on the Blue Album.

0:25:28.880 --> 0:25:33.040
<v Speaker 3>First of all, what was Sunset Boulevard like? Like, my

0:25:33.160 --> 0:25:36.920
<v Speaker 3>period of Sunset Boulevard was more akin to ninety four

0:25:37.040 --> 0:25:40.800
<v Speaker 3>ninety five, And if you ask any rapper of ninety

0:25:40.840 --> 0:25:44.639
<v Speaker 3>four ninety five, like this a different environment for us,

0:25:44.680 --> 0:25:48.560
<v Speaker 3>because I believe like that's the first time that mainstream

0:25:48.720 --> 0:25:53.200
<v Speaker 3>raps sort of had real estate on that particular street.

0:25:54.119 --> 0:25:57.600
<v Speaker 3>So my thing was more or less like, h this

0:25:58.000 --> 0:26:01.200
<v Speaker 3>looks like a death Row party, or hmmm, I'm good

0:26:01.240 --> 0:26:02.680
<v Speaker 3>on that. I'm gonna stay in the hotel, like that

0:26:02.840 --> 0:26:06.760
<v Speaker 3>sort of thing. But for that period of which you

0:26:06.840 --> 0:26:09.120
<v Speaker 3>know from the books that I've read of Neil Strauss

0:26:09.200 --> 0:26:13.399
<v Speaker 3>and the Motley Cruse stuff like, were you thinking that

0:26:13.520 --> 0:26:16.560
<v Speaker 3>you would have to morph into what was then the

0:26:17.560 --> 0:26:19.560
<v Speaker 3>hair the glam hair rock scene.

0:26:19.359 --> 0:26:23.360
<v Speaker 8>Or yeah, so I got I got to Sunset Boulevard

0:26:23.520 --> 0:26:26.119
<v Speaker 8>in nineteen eighty nine, and it was probably the last

0:26:26.280 --> 0:26:29.840
<v Speaker 8>year of that phase, and it was just a paradise

0:26:29.920 --> 0:26:33.000
<v Speaker 8>for metal heads. Is every Friday and Saturday night is

0:26:33.320 --> 0:26:37.920
<v Speaker 8>packed with hundreds thousands of kids and like guys with

0:26:38.040 --> 0:26:41.600
<v Speaker 8>long teased hair and wearing spandex and passing out flyers.

0:26:42.440 --> 0:26:48.160
<v Speaker 8>And I was coming from a more I don't know again,

0:26:48.320 --> 0:26:51.240
<v Speaker 8>like shreddy progressive metal type of thing.

0:26:51.680 --> 0:26:53.480
<v Speaker 1>Who your heroes not at all glam.

0:26:53.920 --> 0:26:57.359
<v Speaker 8>I mean the best, best well known would be Metallica,

0:26:57.480 --> 0:27:01.359
<v Speaker 8>But I was also into less known bands like uh

0:27:01.840 --> 0:27:06.000
<v Speaker 8>well maybe Ingvey, he's pretty pretty well like real more

0:27:06.080 --> 0:27:13.120
<v Speaker 8>like shreddy instrumental type music. Yeah, not no girls, yeah anywhere,

0:27:13.600 --> 0:27:16.080
<v Speaker 8>Yeah I get so so Yeah, we didn't fit in

0:27:16.160 --> 0:27:18.320
<v Speaker 8>when we got to the Sunset strip and we tried

0:27:18.359 --> 0:27:20.840
<v Speaker 8>to make it a little more poppy for sure.

0:27:21.880 --> 0:27:24.520
<v Speaker 3>Was it easy to amalgamate in the scene at all

0:27:24.680 --> 0:27:26.960
<v Speaker 3>or or did you feel like an outcast or.

0:27:27.359 --> 0:27:29.880
<v Speaker 8>Didn't quite work? The band broke up, then guys moved

0:27:29.880 --> 0:27:32.359
<v Speaker 8>back to Connecticut. Yeah, and that that's when I got

0:27:32.359 --> 0:27:33.080
<v Speaker 8>the job at Tower.

0:27:33.200 --> 0:27:35.880
<v Speaker 1>But the plan was literally like let's go to let's

0:27:35.880 --> 0:27:37.280
<v Speaker 1>go to California.

0:27:36.760 --> 0:27:40.000
<v Speaker 8>And yeah, like we're going to be huge. People are

0:27:40.080 --> 0:27:43.520
<v Speaker 8>gonna love the They're going to be.

0:27:43.480 --> 0:27:47.160
<v Speaker 5>Able to resist that upstate Connecticut down.

0:27:49.320 --> 0:27:52.720
<v Speaker 3>How do you feel about the perception of Weezer versus

0:27:53.920 --> 0:27:56.000
<v Speaker 3>what you really feel you are in your heart? Because

0:27:56.000 --> 0:27:59.119
<v Speaker 3>I think that if someone were to say, like, you know,

0:27:59.280 --> 0:28:02.440
<v Speaker 3>to try to power phrase what you guys are on surface,

0:28:02.680 --> 0:28:05.200
<v Speaker 3>I'm certain you've read or whatever, it's like, okay, like

0:28:05.720 --> 0:28:09.359
<v Speaker 3>this whole revenge of the Nerds thing, like finally geeks

0:28:09.400 --> 0:28:11.040
<v Speaker 3>get to see the table whatever.

0:28:11.840 --> 0:28:14.359
<v Speaker 1>But you guys did it.

0:28:14.359 --> 0:28:18.200
<v Speaker 3>At a time where that wasn't seeing as cool, like

0:28:18.280 --> 0:28:21.080
<v Speaker 3>it was still in us in them or kind of

0:28:21.119 --> 0:28:26.240
<v Speaker 3>a divided conflict of atmosphere, whereas now I see a

0:28:26.400 --> 0:28:30.080
<v Speaker 3>lot of non nerds claring Oh I'm always a nerd

0:28:30.160 --> 0:28:32.120
<v Speaker 3>like dog just because you got glasses on or whatever.

0:28:32.359 --> 0:28:37.000
<v Speaker 3>But because I know that at early Roots shows we

0:28:37.200 --> 0:28:42.080
<v Speaker 3>would have conflicts about it, because my perception was that

0:28:42.200 --> 0:28:46.920
<v Speaker 3>Treek was upset that I was too doweeby in interviews

0:28:47.120 --> 0:28:50.840
<v Speaker 3>and publicly. And then once like the internet started that

0:28:51.200 --> 0:28:55.600
<v Speaker 3>like I made my thing known, the sort of champagne

0:28:55.640 --> 0:28:57.960
<v Speaker 3>life that he was expecting that we were all going

0:28:58.040 --> 0:29:01.400
<v Speaker 3>to have as a rap group was passing the spy

0:29:01.440 --> 0:29:03.840
<v Speaker 3>and like all the nerds were coming here. And that's

0:29:03.880 --> 0:29:06.840
<v Speaker 3>always been like a silent Now of course, like we're

0:29:07.120 --> 0:29:09.680
<v Speaker 3>you know, we have an embracement of our audience, but

0:29:09.720 --> 0:29:12.000
<v Speaker 3>I think in the very beginning there was kind of

0:29:12.040 --> 0:29:16.680
<v Speaker 3>resentment that like, wait, why does our audience look like

0:29:16.720 --> 0:29:17.120
<v Speaker 3>a mirror?

0:29:17.400 --> 0:29:24.920
<v Speaker 1>Like how did you feel? Because again only having.

0:29:25.120 --> 0:29:27.840
<v Speaker 3>Known you guys as a very convenient way for me

0:29:27.960 --> 0:29:31.240
<v Speaker 3>to have one hundred dollars in my pocket that weekend

0:29:31.320 --> 0:29:35.560
<v Speaker 3>for whatever I wanted hawk in the CDs. Oh yeah,

0:29:35.800 --> 0:29:41.440
<v Speaker 3>you know, once I listened to it, I'm still trying

0:29:41.440 --> 0:29:43.680
<v Speaker 3>to wrap my head around what you guys were because

0:29:43.760 --> 0:29:48.600
<v Speaker 3>the guitars are so aggressively loud. And then when I

0:29:48.640 --> 0:29:50.560
<v Speaker 3>looked at the cover. I was like, wait a minute,

0:29:50.600 --> 0:29:53.600
<v Speaker 3>these aren't like rock looking guys or whatever. And so

0:29:54.520 --> 0:29:57.840
<v Speaker 3>but for you, how do you feel about like the

0:29:58.040 --> 0:30:02.120
<v Speaker 3>idea that you guys are the cat nip to sort

0:30:02.120 --> 0:30:04.840
<v Speaker 3>of nerd nation that never felt seen.

0:30:05.560 --> 0:30:09.080
<v Speaker 8>Yeah, there's definitely a lot of conflict, especially when we

0:30:09.200 --> 0:30:11.760
<v Speaker 8>first broke through, and it's interesting to hear that you

0:30:11.880 --> 0:30:14.160
<v Speaker 8>guys went through the same thing, a similar thing.

0:30:14.400 --> 0:30:16.520
<v Speaker 1>We're still going through it. I just accepted.

0:30:17.360 --> 0:30:20.200
<v Speaker 8>Yeah, I feel way more accepting now too. I think

0:30:20.360 --> 0:30:23.800
<v Speaker 8>our core fans really know that there's a lot more

0:30:24.000 --> 0:30:30.280
<v Speaker 8>to us than the quirky image, and whether it's the

0:30:30.400 --> 0:30:36.000
<v Speaker 8>emotional catharsis of Pinkerton or the eight minute guitar shreddage

0:30:36.000 --> 0:30:38.800
<v Speaker 8>and only in Dreams on the first album, it's like

0:30:38.960 --> 0:30:42.600
<v Speaker 8>they know there's a ton of emotional depth there, and

0:30:43.200 --> 0:30:47.160
<v Speaker 8>as long as we have that connection with that audience,

0:30:48.080 --> 0:30:52.120
<v Speaker 8>I feel pretty satisfied. But early on, yeah, we were

0:30:52.960 --> 0:30:55.400
<v Speaker 8>you know, people just took us at face value. And

0:30:56.160 --> 0:30:57.960
<v Speaker 8>that's why, like on the album cover I was like,

0:30:58.000 --> 0:31:01.200
<v Speaker 8>I'm taking my glasses off, or on the Buddy Holly video,

0:31:01.240 --> 0:31:03.400
<v Speaker 8>I take the glasses off. I don't want to just

0:31:03.480 --> 0:31:06.400
<v Speaker 8>be a shtick, you know, when we put the record out,

0:31:06.480 --> 0:31:08.960
<v Speaker 8>they're like, Okay, we're going to send out this bio,

0:31:09.160 --> 0:31:11.560
<v Speaker 8>so give the press an introduction to who you are.

0:31:11.840 --> 0:31:13.920
<v Speaker 8>Like yeah, it's like, no, we're going to write our

0:31:13.920 --> 0:31:17.480
<v Speaker 8>own bio. So we wrote our bio. And it was

0:31:17.560 --> 0:31:22.200
<v Speaker 8>the worst decision we ever made. Ye were like, because

0:31:22.200 --> 0:31:24.320
<v Speaker 8>we had started to see what the press were latching

0:31:24.360 --> 0:31:26.360
<v Speaker 8>onto even as we're playing the clubs in LA and

0:31:26.760 --> 0:31:31.480
<v Speaker 8>every article said like, quirky geeks, fun all this stuff,

0:31:31.520 --> 0:31:35.200
<v Speaker 8>and so we said, okay, write whatever you want, but

0:31:35.320 --> 0:31:39.120
<v Speaker 8>do not use any of the following words quirky geek.

0:31:39.160 --> 0:31:40.440
<v Speaker 8>You know, we just went down this list.

0:31:40.520 --> 0:31:42.080
<v Speaker 1>Do you try to give them a restriction?

0:31:42.720 --> 0:31:46.240
<v Speaker 8>Yeah, we literally did that. Sin is the worst first move,

0:31:46.920 --> 0:31:47.160
<v Speaker 8>I know.

0:31:48.160 --> 0:31:48.360
<v Speaker 1>Yeah.

0:31:48.440 --> 0:31:53.600
<v Speaker 3>My trick was, whoever wrote the worst review of your album,

0:31:54.480 --> 0:31:57.120
<v Speaker 3>you hire that person and write the bio of your

0:31:57.160 --> 0:32:00.800
<v Speaker 3>second record. That way, by conflict of interest, they can't

0:32:00.800 --> 0:32:04.440
<v Speaker 3>review this, right, they can't review the record. So like

0:32:04.520 --> 0:32:06.920
<v Speaker 3>the six critics that never liked the roots or whatever, like,

0:32:07.040 --> 0:32:09.880
<v Speaker 3>I've always made sure that they are brilliant.

0:32:10.000 --> 0:32:12.360
<v Speaker 1>And then one of them caught on like wait a minute,

0:32:12.920 --> 0:32:13.880
<v Speaker 1>oh I know what you're doing.

0:32:14.280 --> 0:32:18.440
<v Speaker 3>Yeah, exactly, I'm stopping you from right exactly. Well, first

0:32:18.480 --> 0:32:21.360
<v Speaker 3>of all, getting a deal at Geffen, Like why did

0:32:21.440 --> 0:32:24.000
<v Speaker 3>you why did you guys choose DGC at the time.

0:32:24.840 --> 0:32:28.000
<v Speaker 8>Well, a lot of the bands that came up with

0:32:28.200 --> 0:32:31.880
<v Speaker 8>us or right before us, they went the indie route

0:32:31.960 --> 0:32:34.000
<v Speaker 8>or the faux indie right route where they signed with

0:32:34.920 --> 0:32:39.719
<v Speaker 8>Caroline Caroline, Yeah, one of those low, smaller independent labels,

0:32:39.800 --> 0:32:43.280
<v Speaker 8>and then they yeah yeah, and then there the plan

0:32:44.320 --> 0:32:46.640
<v Speaker 8>for the big lad Yeah, the plan is to graduate

0:32:46.720 --> 0:32:52.480
<v Speaker 8>to the big label for the second record. But we're like, no, this,

0:32:53.200 --> 0:32:55.640
<v Speaker 8>we love these songs, we think this is going to

0:32:55.680 --> 0:32:59.000
<v Speaker 8>be incredible album. Who knows, this may this may be it,

0:32:59.160 --> 0:33:01.320
<v Speaker 8>you never know, So we want to go straight to

0:33:01.400 --> 0:33:04.440
<v Speaker 8>a major. And so we made the demo tape. We

0:33:04.520 --> 0:33:09.320
<v Speaker 8>shopped it around and everybody passed except Geffen came back

0:33:09.360 --> 0:33:10.040
<v Speaker 8>at the very end.

0:33:10.200 --> 0:33:11.040
<v Speaker 1>Who was the an R.

0:33:11.480 --> 0:33:13.720
<v Speaker 8>Well it was a junior guy who didn't even have

0:33:13.840 --> 0:33:16.920
<v Speaker 8>the power to sign us. His name is Todd Sullivan and.

0:33:18.320 --> 0:33:20.560
<v Speaker 1>Oh yeah, trust me, I know the entire staff there.

0:33:20.640 --> 0:33:24.160
<v Speaker 7>Yeah, So Tony Bird kind of backed him up, I think.

0:33:24.160 --> 0:33:24.600
<v Speaker 1>Right right.

0:33:25.160 --> 0:33:28.160
<v Speaker 8>So he was like the last person in LA to

0:33:28.200 --> 0:33:30.160
<v Speaker 8>actually hear the tape, and he's like, Wow, I like this,

0:33:30.360 --> 0:33:33.040
<v Speaker 8>So he went out on a limb and signed us.

0:33:33.760 --> 0:33:36.120
<v Speaker 1>What year did you record the demo tape?

0:33:36.600 --> 0:33:39.000
<v Speaker 8>Some? Oh the demo tape? Yeah, at the end of

0:33:39.080 --> 0:33:39.520
<v Speaker 8>ninety two.

0:33:40.480 --> 0:33:41.959
<v Speaker 1>Why are you doing this at ninety two?

0:33:42.160 --> 0:33:45.360
<v Speaker 3>Like how a where of you guys were of a Nirvana,

0:33:45.560 --> 0:33:48.080
<v Speaker 3>of a pearl jam of what we now know is

0:33:48.160 --> 0:33:51.000
<v Speaker 3>grunge culture, like coming around the corner because you guys

0:33:51.040 --> 0:33:51.520
<v Speaker 3>don't fit in.

0:33:52.800 --> 0:33:54.120
<v Speaker 1>Yeah, it's any of those boxes.

0:33:54.480 --> 0:33:57.520
<v Speaker 8>Well, we were well aware. So because of working at

0:33:57.560 --> 0:34:01.640
<v Speaker 8>Tower Records from nineteen ninety I was I was hipped

0:34:01.640 --> 0:34:04.200
<v Speaker 8>in Nirvana and the Pixies and Sonic Youth and all

0:34:04.240 --> 0:34:06.800
<v Speaker 8>these bands. I never would have heard any of that

0:34:06.920 --> 0:34:09.759
<v Speaker 8>stuff if I wasn't working at Tower Records. So we

0:34:09.880 --> 0:34:12.919
<v Speaker 8>actually before Weezer, Pat and I started a grunge band,

0:34:13.719 --> 0:34:19.359
<v Speaker 8>and you know, we tried to sound like Dirvana. Yeah, ish,

0:34:19.680 --> 0:34:20.080
<v Speaker 8>And so.

0:34:21.840 --> 0:34:25.440
<v Speaker 3>Can you explain to me to an outsider sort of

0:34:25.480 --> 0:34:28.560
<v Speaker 3>studying it from afar? If I hear it we're starting

0:34:28.600 --> 0:34:33.359
<v Speaker 3>a grunge band, then of course, yeah, I might play

0:34:33.400 --> 0:34:35.200
<v Speaker 3>the idiot role and just be like, okay, you guys

0:34:35.239 --> 0:34:39.640
<v Speaker 3>were flannel. What do you distinguish the genres? Because for

0:34:39.719 --> 0:34:41.920
<v Speaker 3>the longest, even when I worked at sam Goodies. In

0:34:42.000 --> 0:34:45.879
<v Speaker 3>my mind the day that Appetite for Destruction came out

0:34:46.520 --> 0:34:48.719
<v Speaker 3>and I'm working at sam Goodies when the original cover

0:34:49.360 --> 0:34:52.279
<v Speaker 3>was If you remember, there's two covers for Guns and

0:34:52.360 --> 0:34:53.680
<v Speaker 3>Roses Appetite for Destruction.

0:34:54.080 --> 0:34:56.640
<v Speaker 1>The original one was like band. It was like a

0:34:57.000 --> 0:34:59.040
<v Speaker 1>woman some robot.

0:34:59.360 --> 0:35:05.640
<v Speaker 3>Yeah, yeah, you know, And so immediately I would just

0:35:05.760 --> 0:35:10.360
<v Speaker 3>been like heavy metal and then someone kind of a

0:35:10.880 --> 0:35:14.320
<v Speaker 3>the Jack Black figure of that particular record stores like

0:35:14.560 --> 0:35:18.680
<v Speaker 3>you know, well, actually that's you know, hard rock or

0:35:18.719 --> 0:35:20.600
<v Speaker 3>glam rock, And I was like, well, what's the difference,

0:35:20.680 --> 0:35:27.560
<v Speaker 3>Like it's loud guitars, how do you differentiate like the genres?

0:35:27.719 --> 0:35:28.680
<v Speaker 1>Yeah, none at all.

0:35:29.440 --> 0:35:32.000
<v Speaker 7>These guys are the ones that would strategize and be like,

0:35:32.440 --> 0:35:34.279
<v Speaker 7>all right, you have to cut your hair, you have

0:35:34.400 --> 0:35:37.440
<v Speaker 7>to you can't wear that, and I'm all like, but dad,

0:35:37.640 --> 0:35:39.360
<v Speaker 7>let's just fucking jam, Like, let's go.

0:35:39.640 --> 0:35:44.320
<v Speaker 8>Let'ssonically speaking, though, there is, I think there's some different

0:35:44.480 --> 0:35:47.920
<v Speaker 8>meaningful differences that that anyone would pick up on. So

0:35:48.280 --> 0:35:52.280
<v Speaker 8>grunge to me, if our band was called fuzz is much.

0:35:52.160 --> 0:35:55.080
<v Speaker 7>More blues based, patonic.

0:35:54.719 --> 0:35:58.239
<v Speaker 8>And a little more active riff wise, is pentatonic and

0:35:58.320 --> 0:36:02.080
<v Speaker 8>blues based, and then vocally I was trying to sing

0:36:02.239 --> 0:36:04.839
<v Speaker 8>more like with a scratchy type of voice, which I'm

0:36:04.880 --> 0:36:07.799
<v Speaker 8>not at all suited to sing like, I guess more

0:36:07.840 --> 0:36:09.799
<v Speaker 8>in the Black Sabbath tradition.

0:36:09.719 --> 0:36:12.480
<v Speaker 6>Almost jane Zy though, what's the lyrical content different too?

0:36:12.560 --> 0:36:17.040
<v Speaker 8>Because of yeah, there was. It was a little more,

0:36:18.280 --> 0:36:22.560
<v Speaker 8>a little more swearing, a little more abstract and impressionistic,

0:36:23.680 --> 0:36:27.000
<v Speaker 8>I think, yeah, very influenced by Jane's addiction. And then

0:36:28.080 --> 0:36:30.399
<v Speaker 8>over that the course of the first year of working

0:36:30.480 --> 0:36:34.279
<v Speaker 8>with Weezer and writing those songs, the big shift is, OK, Okay,

0:36:34.360 --> 0:36:37.000
<v Speaker 8>let's write in a major key and let's use these

0:36:37.800 --> 0:36:38.600
<v Speaker 8>common chords.

0:36:38.640 --> 0:36:42.640
<v Speaker 3>You hear so risky though, yeah, because like major keys

0:36:42.719 --> 0:36:48.839
<v Speaker 3>don't wreak of like yeah, yeah, it's not exclamation point,

0:36:48.920 --> 0:36:52.680
<v Speaker 3>even though especially like for me, the most notable thing

0:36:52.719 --> 0:36:55.640
<v Speaker 3>about uh, my name is Jonas is actually how you

0:36:55.880 --> 0:36:58.560
<v Speaker 3>end the song, you know what I mean? Like it's

0:36:58.640 --> 0:37:02.160
<v Speaker 3>it's book ended by the electric guitar is coming later,

0:37:02.360 --> 0:37:08.279
<v Speaker 3>and so I see it as wow, there's I don't

0:37:08.360 --> 0:37:10.239
<v Speaker 3>I mean, I don't know if you would say if

0:37:10.680 --> 0:37:16.439
<v Speaker 3>Brian Wilson had a super hard edge to his musical work.

0:37:16.520 --> 0:37:18.160
<v Speaker 3>But for me, it was just nothing that I've ever

0:37:18.239 --> 0:37:22.680
<v Speaker 3>heard before with someone embracing acoustic the sound like acoustic

0:37:22.719 --> 0:37:27.200
<v Speaker 3>guitar and pretty melodies and whatnot and this angst thing,

0:37:27.320 --> 0:37:28.120
<v Speaker 3>which I think.

0:37:28.080 --> 0:37:29.000
<v Speaker 1>Is also effective.

0:37:29.160 --> 0:37:32.520
<v Speaker 3>Like I felt like, I'm such a massive fan of

0:37:32.560 --> 0:37:36.359
<v Speaker 3>Public Enemy and I really loved the way that their

0:37:36.719 --> 0:37:41.680
<v Speaker 3>aggressive sound gave me release as a listener. I was

0:37:42.000 --> 0:37:45.960
<v Speaker 3>a very non aggressive guy, but put these headphones on

0:37:46.080 --> 0:37:49.400
<v Speaker 3>and suddenly walk is harder, you know that sort of thing,

0:37:49.520 --> 0:37:52.560
<v Speaker 3>like like you feel that, And I felt like that's

0:37:52.680 --> 0:37:55.800
<v Speaker 3>what you guys were sort of doing. But what was

0:37:55.800 --> 0:37:59.399
<v Speaker 3>the Kasokh saying at the time when you're presenting these songs.

0:37:59.160 --> 0:38:02.319
<v Speaker 7>Like, well, I mean he was a song guy all day,

0:38:03.000 --> 0:38:06.120
<v Speaker 7>and that's what attracted him to us. I think as

0:38:06.160 --> 0:38:08.600
<v Speaker 7>he heard River songs and he was like, these are

0:38:08.760 --> 0:38:11.160
<v Speaker 7>great songs, and that's where.

0:38:11.120 --> 0:38:13.000
<v Speaker 1>How'd you link up with him? Though?

0:38:13.239 --> 0:38:17.200
<v Speaker 8>Who I was todt At at Geffen at DGC was

0:38:18.200 --> 0:38:20.560
<v Speaker 8>really forced us to work with a producer we didn't

0:38:20.600 --> 0:38:24.920
<v Speaker 8>want to because growing up making demos with different engineers

0:38:24.960 --> 0:38:27.200
<v Speaker 8>and producers, they'd always start turning the knobs to where

0:38:27.200 --> 0:38:29.400
<v Speaker 8>it doesn't sound like us, or it just sounds whack,

0:38:29.520 --> 0:38:33.240
<v Speaker 8>and but he said, you got it. It's your first record,

0:38:33.360 --> 0:38:35.920
<v Speaker 8>this is a major label. You need a producer. And

0:38:36.000 --> 0:38:38.080
<v Speaker 8>then one day I was in the in the supermarket

0:38:38.200 --> 0:38:41.320
<v Speaker 8>shopping for ramen noodles or whatever, and just what I

0:38:41.400 --> 0:38:48.600
<v Speaker 8>needed by the Cars came on and d and immediately

0:38:48.640 --> 0:38:51.560
<v Speaker 8>I recognized, like, whoa, that's kind of like what weez

0:38:51.600 --> 0:38:53.919
<v Speaker 8>are supposed to be sounding, Like, let's work with that guy.

0:38:54.680 --> 0:38:57.520
<v Speaker 8>So they sent our demo tape to Rick, and Rick

0:38:58.400 --> 0:39:01.040
<v Speaker 8>responded immediately like I'm talking on the phone with ric

0:39:01.080 --> 0:39:04.680
<v Speaker 8>Ocassik from the Cars and he gets us like nobody

0:39:04.760 --> 0:39:08.120
<v Speaker 8>else in LA music industry had gotten us yet. So

0:39:08.200 --> 0:39:10.520
<v Speaker 8>it's like, yeah, this is going to be exciting.

0:39:10.920 --> 0:39:12.200
<v Speaker 1>What was he like in the studio?

0:39:12.320 --> 0:39:12.480
<v Speaker 8>Man?

0:39:12.520 --> 0:39:14.279
<v Speaker 1>Because I was I was a Cars fan, but like

0:39:14.400 --> 0:39:15.560
<v Speaker 1>what was what was he like?

0:39:15.640 --> 0:39:20.319
<v Speaker 7>Production was a sweet man, just a lovely man. Yeah,

0:39:20.360 --> 0:39:24.840
<v Speaker 7>and musically he was you know, we looked up to

0:39:24.920 --> 0:39:27.080
<v Speaker 7>him a lot, and when if he said something, we

0:39:27.120 --> 0:39:27.959
<v Speaker 7>had to be like, all right.

0:39:29.320 --> 0:39:35.400
<v Speaker 1>Yeah, since the how do you decide we're the power falls?

0:39:35.400 --> 0:39:38.080
<v Speaker 3>Because I'm still trying to determine if there's really such

0:39:38.120 --> 0:39:41.520
<v Speaker 3>a thing as a democracy or just the idea of

0:39:41.560 --> 0:39:45.960
<v Speaker 3>a democracy, like you guys meet ahead of time and

0:39:46.040 --> 0:39:50.120
<v Speaker 3>communicate before you get with Rick, or you just say, okay,

0:39:50.160 --> 0:39:53.040
<v Speaker 3>he's the leader. And because I've been in situations where

0:39:53.040 --> 0:39:55.000
<v Speaker 3>people try to like buddy up to me and sort

0:39:55.040 --> 0:39:57.960
<v Speaker 3>of you know, give their two cents and don't let

0:39:58.040 --> 0:39:59.680
<v Speaker 3>the other guys here that sort of thing.

0:40:00.040 --> 0:40:04.080
<v Speaker 1>Hmmm, Like how do you balance communication and.

0:40:04.640 --> 0:40:08.200
<v Speaker 8>You mean especially between us and the and Rick or yeah.

0:40:08.000 --> 0:40:10.359
<v Speaker 3>I'm in between you guys and Rick and just as

0:40:11.760 --> 0:40:13.520
<v Speaker 3>the group, Like is it a thing where it's like

0:40:13.680 --> 0:40:17.040
<v Speaker 3>all of you get an equal say or well, I.

0:40:17.040 --> 0:40:20.640
<v Speaker 8>Think especially at the time working working on the Blue album,

0:40:21.640 --> 0:40:24.759
<v Speaker 8>Rick he was just perfect for us. He's he knew

0:40:24.800 --> 0:40:27.320
<v Speaker 8>when to push and most of the time he just

0:40:27.440 --> 0:40:30.920
<v Speaker 8>let us do our thing. And when it came time

0:40:30.960 --> 0:40:34.800
<v Speaker 8>to push, you know, he was he was insistent and

0:40:34.880 --> 0:40:37.080
<v Speaker 8>he kept coming back and back again and again. Like,

0:40:37.880 --> 0:40:41.560
<v Speaker 8>you know, you really should consider putting Buddy Holly on

0:40:41.640 --> 0:40:43.880
<v Speaker 8>the record. No, no, no, no, that's for our second record.

0:40:44.320 --> 0:40:47.320
<v Speaker 1>So yeah, like it always happens next.

0:40:47.239 --> 0:40:49.480
<v Speaker 8>Day, Come on, man, you give it another listen. I

0:40:49.520 --> 0:40:51.960
<v Speaker 8>think you guys should really finish this one up. No, no, no,

0:40:52.040 --> 0:40:54.360
<v Speaker 8>that's for our second record, you know, but he just

0:40:54.440 --> 0:40:56.480
<v Speaker 8>kept coming back, and he was so sweet that eventually

0:40:56.480 --> 0:40:59.479
<v Speaker 8>it's like, oh, hey, let's try it. And then like dang,

0:40:59.560 --> 0:41:02.800
<v Speaker 8>he's right. And he did the same thing with my

0:41:02.880 --> 0:41:05.879
<v Speaker 8>guitar sound. I walked in like with a super muddy sound.

0:41:05.960 --> 0:41:07.319
<v Speaker 8>I was using the the.

0:41:09.200 --> 0:41:10.240
<v Speaker 7>In the neck position.

0:41:11.080 --> 0:41:13.200
<v Speaker 8>When I was writing by myself in the garage. It

0:41:13.280 --> 0:41:17.200
<v Speaker 8>sounded amazing. It was huge, fat sound, very bassy. It

0:41:17.360 --> 0:41:19.440
<v Speaker 8>just didn't work in the sound in the context of

0:41:19.480 --> 0:41:23.239
<v Speaker 8>a full band and a big studio. So he he

0:41:23.360 --> 0:41:25.239
<v Speaker 8>kept saying, why don't you try this guitar, and he'd

0:41:25.280 --> 0:41:29.600
<v Speaker 8>hand me his fifty eight Junior Gibson Junior and I

0:41:29.760 --> 0:41:32.960
<v Speaker 8>tried it. I was like, no, that's too thin, but

0:41:33.080 --> 0:41:35.560
<v Speaker 8>he just kept coming back and then eventually I hear

0:41:35.640 --> 0:41:38.000
<v Speaker 8>it all in the mix. Is h He's right again.

0:41:39.000 --> 0:41:41.000
<v Speaker 6>What was the process for finding guitar sounds? Was it

0:41:41.120 --> 0:41:42.320
<v Speaker 6>like guitar pedals?

0:41:42.400 --> 0:41:42.640
<v Speaker 1>Amp?

0:41:42.920 --> 0:41:47.239
<v Speaker 6>And like where where was the finagling done the most? Like,

0:41:47.719 --> 0:41:50.000
<v Speaker 6>because I mean the guitar sounds we are the most

0:41:50.280 --> 0:41:53.200
<v Speaker 6>iconic guitars and rocking and rolling in my opinion, it's

0:41:53.239 --> 0:41:55.480
<v Speaker 6>pretty straight in just like right, yeah, yeah, and.

0:41:55.560 --> 0:41:59.279
<v Speaker 8>That's Rick's guitar. I use it to this day and

0:42:00.680 --> 0:42:03.280
<v Speaker 8>no pedals. I was totally against petals.

0:42:04.000 --> 0:42:06.240
<v Speaker 1>You are, yeah, Marshall Stackage.

0:42:06.880 --> 0:42:08.919
<v Speaker 8>In fact, just the other day I sent a note

0:42:09.000 --> 0:42:11.959
<v Speaker 8>to the Mixture about Tom Petty cover. We just didn't

0:42:11.960 --> 0:42:14.560
<v Speaker 8>say can we hear it without the effect on that guitar? Yeah,

0:42:15.200 --> 0:42:18.960
<v Speaker 8>we're still like that, like no reverb because I don't know,

0:42:19.080 --> 0:42:22.000
<v Speaker 8>like engineers and producers, they could keep adding things like

0:42:22.120 --> 0:42:23.880
<v Speaker 8>that because they feel like they got to do something,

0:42:24.000 --> 0:42:26.719
<v Speaker 8>But I like just a straight up sound.

0:42:27.200 --> 0:42:30.040
<v Speaker 6>And one more question about my name is Jonas, Like

0:42:30.080 --> 0:42:33.520
<v Speaker 6>the arpeggiating acoustic guitar business, is that more.

0:42:33.360 --> 0:42:37.920
<v Speaker 1>Of like a in they Shredded situation? Or like was

0:42:37.960 --> 0:42:39.279
<v Speaker 1>there a classical music world?

0:42:39.440 --> 0:42:40.759
<v Speaker 6>I mean it's not really, but like you know what

0:42:40.760 --> 0:42:43.200
<v Speaker 6>I'm saying, Like it's it's more come from like Elliott

0:42:43.239 --> 0:42:45.400
<v Speaker 6>Fiskey nylany business or like.

0:42:45.520 --> 0:42:47.000
<v Speaker 1>Is it Hey, where did that come from?

0:42:47.120 --> 0:42:49.400
<v Speaker 7>It came from Jason cropp Or who was in the

0:42:49.480 --> 0:42:52.800
<v Speaker 7>band at the time, and I was his roommate and

0:42:52.920 --> 0:42:55.320
<v Speaker 7>he was just walking around with an acoustic guitar doing that.

0:42:55.440 --> 0:42:58.400
<v Speaker 7>I'm like, what is that? And he showed it to

0:42:58.480 --> 0:43:00.960
<v Speaker 7>me and I kind of rained it into a four

0:43:01.080 --> 0:43:04.400
<v Speaker 7>track demo and gave it to Rivers and he added

0:43:04.440 --> 0:43:07.160
<v Speaker 7>the climbs at the end with the Yeah.

0:43:07.239 --> 0:43:11.719
<v Speaker 8>So Jason Jason was like a little bit of the

0:43:11.760 --> 0:43:14.080
<v Speaker 8>odd man out in the band because he was a

0:43:14.080 --> 0:43:16.840
<v Speaker 8>little bit younger and he was from northern California. The

0:43:16.920 --> 0:43:20.440
<v Speaker 8>restaurants are all East Coast guys, so in Walks Jason's

0:43:20.600 --> 0:43:25.120
<v Speaker 8>it's like this big hippie guy, uh and like all

0:43:25.239 --> 0:43:27.880
<v Speaker 8>kinds of fingerpicking on acoustic and in fact, for the

0:43:27.920 --> 0:43:30.040
<v Speaker 8>first year of the band he only played acoustic.

0:43:30.560 --> 0:43:34.080
<v Speaker 7>So it's like but he was so burly that every

0:43:34.239 --> 0:43:40.160
<v Speaker 7>show one song in parent a string, so like we

0:43:40.239 --> 0:43:42.759
<v Speaker 7>were like, maybe you should play ei drag, but he

0:43:42.880 --> 0:43:43.920
<v Speaker 7>played it aggressively.

0:43:44.200 --> 0:43:44.399
<v Speaker 4>Yeah.

0:43:44.520 --> 0:43:45.240
<v Speaker 7>You what a character.

0:43:45.600 --> 0:43:46.919
<v Speaker 8>Yeah, I love that guy.

0:43:47.880 --> 0:43:51.120
<v Speaker 7>He was from He was pretty hippie.

0:43:51.400 --> 0:43:51.600
<v Speaker 4>Yeah.

0:43:56.920 --> 0:43:59.840
<v Speaker 5>How old were you when you made that first album.

0:44:00.760 --> 0:44:04.799
<v Speaker 8>Twenty three, which was the age Brian Wilson was when

0:44:04.840 --> 0:44:10.879
<v Speaker 8>they made Pet Saundy, just fifteen number one songs into their.

0:44:10.880 --> 0:44:12.239
<v Speaker 1>Career, Go Fuckers. Yeah.

0:44:13.440 --> 0:44:17.880
<v Speaker 3>Lyrically speaking, what was your mind state in terms of

0:44:18.600 --> 0:44:21.239
<v Speaker 3>because you know it's it's some of the songs are

0:44:21.640 --> 0:44:25.719
<v Speaker 3>confrontational somewhat and really a motive and expressive in a

0:44:25.760 --> 0:44:29.480
<v Speaker 3>way that I felt resonated with a particular artist that

0:44:29.680 --> 0:44:32.000
<v Speaker 3>you just didn't hear of before. And a lot has

0:44:32.040 --> 0:44:34.400
<v Speaker 3>been made of your songwriting and your lyrics, like what

0:44:34.800 --> 0:44:37.120
<v Speaker 3>is your process for your songwriting?

0:44:38.000 --> 0:44:43.160
<v Speaker 8>Definitely influenced by the Pixies and Nirvana where you can't

0:44:43.280 --> 0:44:45.120
<v Speaker 8>quite tell what they're singing about. It's not like a

0:44:45.200 --> 0:44:49.480
<v Speaker 8>traditional song lyric, and so it never sounds corny. It's

0:44:49.560 --> 0:44:54.000
<v Speaker 8>just always weird and intriguing. So I had that, Yeah,

0:44:54.239 --> 0:44:56.719
<v Speaker 8>I had that side to me for sure, and like

0:44:56.800 --> 0:44:58.680
<v Speaker 8>maybe you can hear that in the Sweater song or

0:44:58.719 --> 0:45:00.839
<v Speaker 8>Buddy Holly. It's like, what the heck is he saying?

0:45:02.000 --> 0:45:06.400
<v Speaker 8>My name is Jonas. But then I also liked really straightforward,

0:45:07.280 --> 0:45:11.719
<v Speaker 8>plain language, just talking about my emotions, what I'm going through,

0:45:12.480 --> 0:45:16.400
<v Speaker 8>and you know, is influenced by Brian Wilson. He he

0:45:16.520 --> 0:45:17.120
<v Speaker 8>did that a lot.

0:45:17.800 --> 0:45:18.120
<v Speaker 1>I can't.

0:45:18.160 --> 0:45:20.759
<v Speaker 8>They have a song called in My Room, it's just

0:45:21.280 --> 0:45:24.880
<v Speaker 8>singing about that safe place. And so what we did

0:45:24.920 --> 0:45:27.399
<v Speaker 8>a song called in the Garage kind of same thing,

0:45:27.800 --> 0:45:31.720
<v Speaker 8>talking about kiss posters and on the wall.

0:45:32.560 --> 0:45:35.759
<v Speaker 3>For you, like you represent or at least as an

0:45:35.800 --> 0:45:39.440
<v Speaker 3>example for like future creators, like in terms of using

0:45:40.080 --> 0:45:42.880
<v Speaker 3>it's almost like a it feels like a release, at

0:45:42.960 --> 0:45:44.680
<v Speaker 3>least I think so. And I don't know if any

0:45:44.719 --> 0:45:47.520
<v Speaker 3>of the songs were personal in your life or not personal,

0:45:47.680 --> 0:45:51.080
<v Speaker 3>but even like your vocal delivery, like the way that

0:45:51.160 --> 0:45:54.640
<v Speaker 3>it's delivered for me, it just felt like a cathartic

0:45:54.760 --> 0:45:59.080
<v Speaker 3>release that you really just don't hear. And you know

0:45:59.160 --> 0:46:03.200
<v Speaker 3>it's not the a power lead singer that is singing

0:46:03.680 --> 0:46:07.200
<v Speaker 3>as opposed to a mooting, which is hard to do.

0:46:07.480 --> 0:46:11.160
<v Speaker 1>So for you, how personal is this record?

0:46:11.880 --> 0:46:19.480
<v Speaker 8>It is extremely personal and cathartic and writing is just

0:46:19.640 --> 0:46:24.320
<v Speaker 8>the best feeling to get my feelings out into a

0:46:24.440 --> 0:46:28.840
<v Speaker 8>lyric and melody and feel like, yeah, that's that's it.

0:46:29.040 --> 0:46:31.400
<v Speaker 8>That's exactly what I'm feeling right now. And I just

0:46:31.560 --> 0:46:35.000
<v Speaker 8>really expressed it. I'm not good at that in normal

0:46:35.120 --> 0:46:39.040
<v Speaker 8>life in a conversation or something, or my relationships, so

0:46:39.200 --> 0:46:40.800
<v Speaker 8>to get it into a song, So you got to

0:46:40.840 --> 0:46:42.640
<v Speaker 8>get into this song to be able to hear it

0:46:42.800 --> 0:46:45.319
<v Speaker 8>back and rewind the tape, listen to it again, it's like, yes,

0:46:45.960 --> 0:46:46.360
<v Speaker 8>that is it.

0:46:47.400 --> 0:46:52.040
<v Speaker 3>Were you guys at all shocked at how it caught on,

0:46:52.760 --> 0:46:55.080
<v Speaker 3>like no one goes in here and saying okay, it's

0:46:55.080 --> 0:46:57.839
<v Speaker 3>going to be a multi platinum record, like or did

0:46:57.880 --> 0:47:00.280
<v Speaker 3>you figure that this is going to catch onto?

0:47:01.239 --> 0:47:03.399
<v Speaker 8>I had both voices in my head at the same time.

0:47:04.120 --> 0:47:06.279
<v Speaker 8>Part of me is thinking, you know, we're gonna sell

0:47:06.280 --> 0:47:08.640
<v Speaker 8>a hundred copies to our friends and family. That's gonna

0:47:08.640 --> 0:47:10.120
<v Speaker 8>be it. I'm gonna go back and get my job

0:47:10.120 --> 0:47:13.560
<v Speaker 8>guit our records. That was cool, but it's over. But

0:47:13.719 --> 0:47:16.480
<v Speaker 8>part of me is thinking, this album is amazing and

0:47:16.880 --> 0:47:20.120
<v Speaker 8>this band is amazing, and once the right audience picks

0:47:20.200 --> 0:47:23.600
<v Speaker 8>up on it, this is gonna be huge and it's

0:47:23.680 --> 0:47:25.400
<v Speaker 8>going to go on to be an important album for

0:47:25.440 --> 0:47:28.120
<v Speaker 8>a long time. So I had both those voices.

0:47:27.920 --> 0:47:28.319
<v Speaker 5>In my head.

0:47:29.239 --> 0:47:32.040
<v Speaker 3>What were those early shows like promoting once the album

0:47:32.120 --> 0:47:35.000
<v Speaker 3>came out, like how many? Well it was Also it

0:47:35.120 --> 0:47:39.000
<v Speaker 3>was also you know the period of us as Americans

0:47:39.080 --> 0:47:42.279
<v Speaker 3>getting to know the festival or this whole new way

0:47:42.360 --> 0:47:45.680
<v Speaker 3>of presenting your music, Like what was the process of

0:47:45.800 --> 0:47:46.320
<v Speaker 3>promoting it?

0:47:46.480 --> 0:47:48.600
<v Speaker 1>Like who do they pair you with? And yeah, what

0:47:48.719 --> 0:47:49.480
<v Speaker 1>was the circuit? Yeah?

0:47:49.680 --> 0:47:56.000
<v Speaker 7>Yeah, the key was honestly K Rock and MTV. That

0:47:56.200 --> 0:48:01.160
<v Speaker 7>was the two big levers that we we're fortunate enough

0:48:01.239 --> 0:48:02.000
<v Speaker 7>to be involved in.

0:48:02.719 --> 0:48:06.920
<v Speaker 8>Yeah, first bigger tour was with Lush. We were opening

0:48:06.960 --> 0:48:10.080
<v Speaker 8>for Lush and that was just kind of cool. Was like, WHOA,

0:48:10.200 --> 0:48:12.640
<v Speaker 8>that's a really cool band and it's great to be

0:48:12.719 --> 0:48:15.400
<v Speaker 8>out with them. And then then we went out with

0:48:15.520 --> 0:48:18.120
<v Speaker 8>Live for a couple months and that was great because

0:48:18.120 --> 0:48:21.480
<v Speaker 8>they were had a much bigger audiences or bigger venues.

0:48:22.400 --> 0:48:25.920
<v Speaker 7>And at this time undone over the summer had been

0:48:26.239 --> 0:48:29.480
<v Speaker 7>a thing. And then were we at the Buddy Holly

0:48:30.040 --> 0:48:31.000
<v Speaker 7>stage at that point?

0:48:31.480 --> 0:48:31.719
<v Speaker 1>Yeah?

0:48:32.640 --> 0:48:35.640
<v Speaker 7>And then the save ain't so after that, lots of

0:48:35.760 --> 0:48:36.600
<v Speaker 7>radio shows too.

0:48:38.880 --> 0:48:40.799
<v Speaker 1>I remember once having an argument with.

0:48:42.320 --> 0:48:46.160
<v Speaker 3>One of our video directors because I didn't realize, well,

0:48:46.239 --> 0:48:51.600
<v Speaker 3>obviously the Sweater song had to be tracked with the

0:48:51.719 --> 0:48:53.799
<v Speaker 3>song was twice as fast, right, yeah, you guys are

0:48:53.840 --> 0:48:54.840
<v Speaker 3>doing it on forty.

0:48:54.600 --> 0:48:56.880
<v Speaker 1>Five because I couldn't.

0:48:57.040 --> 0:49:01.160
<v Speaker 3>For me, the coolest part of the Sweater video was

0:49:01.320 --> 0:49:04.600
<v Speaker 3>how I don't know if who's the one step?

0:49:04.760 --> 0:49:10.839
<v Speaker 1>Is Scott snapping his fingers Matt right right, just right?

0:49:12.560 --> 0:49:16.279
<v Speaker 3>I kept I kept micromanaging our director, like no, man,

0:49:16.440 --> 0:49:18.640
<v Speaker 3>like we need to I want a cool moment.

0:49:18.719 --> 0:49:20.800
<v Speaker 1>Look like I don't see the cool moment, Like we

0:49:20.920 --> 0:49:22.240
<v Speaker 1>don't look cool, we don't look.

0:49:22.120 --> 0:49:25.239
<v Speaker 8>At and comparing yourself to Weezer you were.

0:49:28.480 --> 0:49:32.040
<v Speaker 3>To that you don't understand, Like I it's almost like

0:49:32.120 --> 0:49:34.600
<v Speaker 3>I wish there was a tail or two cities or

0:49:34.760 --> 0:49:39.480
<v Speaker 3>kind of a sliding doors kind of story of both

0:49:39.520 --> 0:49:42.920
<v Speaker 3>the Roots and Weezer, because I feel like we were

0:49:42.960 --> 0:49:45.919
<v Speaker 3>doing the exact opposite of what you guys were doing,

0:49:46.160 --> 0:49:49.680
<v Speaker 3>even though I almost feel as though we were in

0:49:50.400 --> 0:49:54.799
<v Speaker 3>sort of adjacent or or these these boxes of commonalty.

0:49:55.840 --> 0:50:01.000
<v Speaker 3>But no, all the time at the label, like especially

0:50:01.040 --> 0:50:03.319
<v Speaker 3>when it caught like right before Buddy Holly came out,

0:50:03.520 --> 0:50:09.080
<v Speaker 3>like all the interns, all the uh just the everyday

0:50:09.120 --> 0:50:12.600
<v Speaker 3>workers at DGC or whatever, like you guys were their hero.

0:50:12.760 --> 0:50:13.880
<v Speaker 1>It's always like Weezer, and.

0:50:13.920 --> 0:50:16.200
<v Speaker 3>Then they would you know, it's time to choose video

0:50:16.280 --> 0:50:19.200
<v Speaker 3>directors or whatever. Okay, well we'll show you all the

0:50:19.320 --> 0:50:21.239
<v Speaker 3>video directors that we are looked at, and da da

0:50:21.320 --> 0:50:24.040
<v Speaker 3>da da, and we can't afford Spike Jones or whatever.

0:50:24.080 --> 0:50:26.080
<v Speaker 3>And we didn't have a relationship with them at the time,

0:50:26.280 --> 0:50:29.800
<v Speaker 3>so you know, I hated the video process.

0:50:29.920 --> 0:50:31.840
<v Speaker 1>But how did you guys hook up with Spike?

0:50:32.160 --> 0:50:34.880
<v Speaker 8>Yeah, I mean we felt the same way. I remember

0:50:35.080 --> 0:50:36.920
<v Speaker 8>when we turned in the records, we just said, we're

0:50:36.960 --> 0:50:39.200
<v Speaker 8>not We're not making a video forget it, and.

0:50:40.200 --> 0:50:42.439
<v Speaker 7>Why we had a lot of requirements.

0:50:42.600 --> 0:50:48.680
<v Speaker 8>Yeah, I just I thought videos were stupid. But and

0:50:48.800 --> 0:50:51.520
<v Speaker 8>they sent us a whole bunch of treatments that these

0:50:51.560 --> 0:50:57.840
<v Speaker 8>are like those yeah, treatments, and they and every single

0:50:57.880 --> 0:50:59.840
<v Speaker 8>one had something to do with the sweater and it's like,

0:51:00.280 --> 0:51:04.520
<v Speaker 8>come on. But then then we got one from Spike

0:51:05.000 --> 0:51:07.520
<v Speaker 8>and it was like two sentences or something. You know,

0:51:07.640 --> 0:51:11.080
<v Speaker 8>you guys are playing in front of a blue background,

0:51:11.239 --> 0:51:15.080
<v Speaker 8>and halfway through a pack of dogs runs across the screen.

0:51:15.080 --> 0:51:20.000
<v Speaker 8>It's like and it's all in one Okay, that sounds cool.

0:51:20.840 --> 0:51:23.520
<v Speaker 3>How many how many takes did that take? I'm very

0:51:23.560 --> 0:51:27.919
<v Speaker 3>obsessed with that video and especially when the dogs won't

0:51:28.000 --> 0:51:33.399
<v Speaker 3>run by and damn it like something so simple being

0:51:33.520 --> 0:51:34.400
<v Speaker 3>like super effective.

0:51:34.400 --> 0:51:36.319
<v Speaker 1>How many How many takes was that for you guys?

0:51:36.520 --> 0:51:37.200
<v Speaker 7>It was one day?

0:51:37.640 --> 0:51:40.719
<v Speaker 8>Yeah, it was a lot of takes a different.

0:51:41.320 --> 0:51:45.400
<v Speaker 3>Later because I figure, like your level of silly, like

0:51:45.480 --> 0:51:46.960
<v Speaker 3>when you're dancing at the drum set or.

0:51:46.920 --> 0:51:48.680
<v Speaker 7>Whatever, you can't look at it.

0:51:50.600 --> 0:51:53.360
<v Speaker 1>Was there was there any editing trickery or was that

0:51:53.680 --> 0:51:54.360
<v Speaker 1>actually like.

0:51:54.440 --> 0:51:56.000
<v Speaker 7>No, it's all one take. It's one guy with a

0:51:56.040 --> 0:51:59.200
<v Speaker 7>steady cam and he was it was a lot of work,

0:51:59.440 --> 0:52:02.600
<v Speaker 7>like he was and exhausted by the yea, yeah, it

0:52:02.760 --> 0:52:02.880
<v Speaker 7>was it.

0:52:02.960 --> 0:52:04.719
<v Speaker 1>Choy graphed the same way each time.

0:52:05.000 --> 0:52:07.400
<v Speaker 7>He sort of had a circuit that he would do.

0:52:08.000 --> 0:52:11.480
<v Speaker 7>And I think they've the one we wound up using

0:52:11.640 --> 0:52:13.400
<v Speaker 7>was you know, the one, Yeah.

0:52:13.280 --> 0:52:14.959
<v Speaker 8>One of that was probably one of the last ones.

0:52:16.480 --> 0:52:19.279
<v Speaker 9>I want to ask about. The Guitar Hero and my

0:52:19.480 --> 0:52:22.880
<v Speaker 9>name is Jonas going in that. What made y'all decide

0:52:22.920 --> 0:52:25.600
<v Speaker 9>to do that, man, because that opened up a whole

0:52:25.760 --> 0:52:29.040
<v Speaker 9>new generation. Oh yeah, you guys music like my kids,

0:52:29.280 --> 0:52:31.640
<v Speaker 9>me and my boys, like we would play that all

0:52:31.680 --> 0:52:32.000
<v Speaker 9>the time.

0:52:33.360 --> 0:52:33.480
<v Speaker 1>Uh.

0:52:34.000 --> 0:52:37.320
<v Speaker 8>Sadly, I think I didn't know what Guitar Hero was

0:52:37.640 --> 0:52:40.239
<v Speaker 8>or I don't. I wasn't part of that decision. It's like,

0:52:41.120 --> 0:52:42.960
<v Speaker 8>uh sure if you guys think that would be cool,

0:52:43.120 --> 0:52:46.719
<v Speaker 8>and it did turn out to be massive for us. Yeah,

0:52:47.040 --> 0:52:48.360
<v Speaker 8>bringing in a whole new generation.

0:52:48.840 --> 0:52:53.120
<v Speaker 7>I think. Also we haven't touched on is the Windows

0:52:53.239 --> 0:52:58.000
<v Speaker 7>ninety five install CD had a folder called videos on

0:52:58.160 --> 0:53:01.120
<v Speaker 7>it and this was back you remember, like nobody watched

0:53:01.120 --> 0:53:03.759
<v Speaker 7>the video on their computer. That was a like what

0:53:04.000 --> 0:53:05.960
<v Speaker 7>what is this? Sorcery?

0:53:06.120 --> 0:53:06.640
<v Speaker 1>Like what is this.

0:53:08.800 --> 0:53:11.799
<v Speaker 7>That so many people say, like, yeah, the Bunny Holly

0:53:11.920 --> 0:53:14.320
<v Speaker 7>video on there is amazing. So just all kinds of

0:53:14.360 --> 0:53:16.040
<v Speaker 7>stuff like that. We're huge for us.

0:53:16.760 --> 0:53:19.680
<v Speaker 3>I used to work at uh An actual Big Ols.

0:53:20.080 --> 0:53:21.879
<v Speaker 3>You know, at one point big Ows had his own

0:53:21.960 --> 0:53:22.640
<v Speaker 3>restaurant chain.

0:53:22.760 --> 0:53:25.920
<v Speaker 1>Really, why, why are you're shame of me?

0:53:26.280 --> 0:53:26.320
<v Speaker 4>No?

0:53:26.520 --> 0:53:28.440
<v Speaker 1>I mean I didn't know that. You didn't know that

0:53:28.719 --> 0:53:30.839
<v Speaker 1>it's big Al from Days.

0:53:30.880 --> 0:53:33.160
<v Speaker 5>I assume you're talking about what are you talking about

0:53:33.160 --> 0:53:33.839
<v Speaker 5>from Happy Days?

0:53:33.960 --> 0:53:35.440
<v Speaker 1>Yeah? Yeah, Big Ols?

0:53:36.120 --> 0:53:40.440
<v Speaker 3>There there was an actual before what's the the actual

0:53:40.520 --> 0:53:44.640
<v Speaker 3>for these restaurants like Johnny Rockets now, right, But before

0:53:44.760 --> 0:53:48.640
<v Speaker 3>Johnny Rockets, there was I guess back in eighty eight

0:53:48.719 --> 0:53:53.080
<v Speaker 3>or eighty nine, like well not several a few of

0:53:53.239 --> 0:53:57.600
<v Speaker 3>these themed restaurants or whatever. Like at the time when

0:53:57.680 --> 0:54:01.080
<v Speaker 3>that video came out, Like how convinced were you guys

0:54:01.160 --> 0:54:04.040
<v Speaker 3>that this wasn't because that could have been a hit

0:54:04.120 --> 0:54:07.080
<v Speaker 3>or miss situation, Like and I'm not thinking that he's

0:54:07.160 --> 0:54:11.560
<v Speaker 3>going to nail the perfect you know, television filter and

0:54:12.800 --> 0:54:14.760
<v Speaker 3>complete with the commercial and all that stuff.

0:54:14.880 --> 0:54:17.760
<v Speaker 1>Like at the time, what were you guys.

0:54:17.680 --> 0:54:23.120
<v Speaker 3>Thinking about the idea of recreating the Happy Days theme

0:54:23.200 --> 0:54:24.080
<v Speaker 3>for Buddy Holly?

0:54:24.520 --> 0:54:27.640
<v Speaker 8>Well, I certainly I think all of us felt that

0:54:28.080 --> 0:54:31.640
<v Speaker 8>from the moment we heard the idea, this is going

0:54:31.680 --> 0:54:33.200
<v Speaker 8>to be the greatest video of all time.

0:54:34.200 --> 0:54:35.000
<v Speaker 1>That's so cool.

0:54:35.360 --> 0:54:36.319
<v Speaker 7>You love happy days?

0:54:36.560 --> 0:54:39.600
<v Speaker 1>Okay? Was he was Spike your first choice to the director?

0:54:39.680 --> 0:54:41.160
<v Speaker 8>Did you see it was his idea?

0:54:41.320 --> 0:54:41.520
<v Speaker 1>Yeah?

0:54:41.600 --> 0:54:44.200
<v Speaker 8>Yeah, I mean we yeah, we only want to work

0:54:44.239 --> 0:54:48.560
<v Speaker 8>with Spike to this day, but he's making movies and

0:54:48.600 --> 0:54:52.520
<v Speaker 8>all that. We actually knew him from before any of

0:54:52.600 --> 0:54:54.600
<v Speaker 8>us had made it too. He was kind of part

0:54:54.640 --> 0:54:56.560
<v Speaker 8>of the same circle of friends.

0:54:56.440 --> 0:54:57.640
<v Speaker 7>Sort of like a skate thing.

0:54:58.200 --> 0:54:59.640
<v Speaker 1>Yeah, you guys are skaters.

0:55:00.160 --> 0:55:04.000
<v Speaker 8>No, but our older brother band they were called Wax.

0:55:04.320 --> 0:55:05.359
<v Speaker 1>This is in La.

0:55:06.320 --> 0:55:09.600
<v Speaker 8>He made their video. I think that may have been

0:55:09.680 --> 0:55:12.719
<v Speaker 8>his first video. And when we saw that with a.

0:55:12.800 --> 0:55:18.719
<v Speaker 7>Slow motion guy on fire No no, no, Philly also.

0:55:19.480 --> 0:55:24.799
<v Speaker 8>Hush, it was like them in a kid's playground. Oh yes, yeah, and.

0:55:24.880 --> 0:55:27.360
<v Speaker 3>Actually thought the guy I initially thought that video of

0:55:27.360 --> 0:55:29.400
<v Speaker 3>the guy on fire videos you guys as well, but

0:55:29.560 --> 0:55:35.120
<v Speaker 3>I didn't what group was that wa Legends by then

0:55:35.560 --> 0:55:39.000
<v Speaker 3>once it catches on. Because I kind of want to

0:55:39.080 --> 0:55:43.200
<v Speaker 3>end the episode really obsessing with what made you guys go.

0:55:43.960 --> 0:55:47.640
<v Speaker 3>Quasi left with Pinkerton because I do have a belief

0:55:47.760 --> 0:55:53.880
<v Speaker 3>that maybe subconsciously, some acts might try to like, I mean,

0:55:53.920 --> 0:55:56.759
<v Speaker 3>do you consider yourselves like, Okay, we actually became like

0:55:56.880 --> 0:56:02.400
<v Speaker 3>a mainstream standard band instead of the underdogs or the

0:56:02.480 --> 0:56:03.879
<v Speaker 3>nerds that you were supposed.

0:56:03.560 --> 0:56:06.359
<v Speaker 7>To be, or like the dog caught the car.

0:56:07.800 --> 0:56:11.200
<v Speaker 8>I mean like, yeah, no, I didn't feel like that.

0:56:12.080 --> 0:56:15.600
<v Speaker 8>That that doesn't feel like why I took the turn

0:56:15.719 --> 0:56:20.160
<v Speaker 8>I took. In fact, I felt like we never quite

0:56:20.320 --> 0:56:23.960
<v Speaker 8>made it because the same year that Weezer came out,

0:56:24.239 --> 0:56:28.680
<v Speaker 8>the Offspring came out and they were like, yeah, five

0:56:28.760 --> 0:56:32.279
<v Speaker 8>times as big as us, Green Day came out five

0:56:32.440 --> 0:56:33.399
<v Speaker 8>six times as big.

0:56:33.320 --> 0:56:36.200
<v Speaker 1>As us, and there were you still felt like the underdog.

0:56:36.719 --> 0:56:40.359
<v Speaker 8>Yeah, we felt like we didn't quite hit it over

0:56:40.440 --> 0:56:41.120
<v Speaker 8>the fence, did we?

0:56:42.239 --> 0:56:42.759
<v Speaker 7>So yeah?

0:56:43.360 --> 0:56:47.080
<v Speaker 8>I mean to this day, so yes, even to this

0:56:47.480 --> 0:56:48.360
<v Speaker 8>But I feel.

0:56:48.200 --> 0:56:50.440
<v Speaker 6>Like now we're like, like we interviewed Adam Levine from

0:56:50.440 --> 0:56:53.120
<v Speaker 6>Maroon five, who sighted you cited Weezer is one of

0:56:53.160 --> 0:56:54.400
<v Speaker 6>his favorite bands of all time, Like what does it

0:56:54.440 --> 0:56:55.600
<v Speaker 6>feel like now when you're out on the road and

0:56:55.680 --> 0:56:57.759
<v Speaker 6>like you're still playing these songs and like you are

0:56:57.840 --> 0:57:03.160
<v Speaker 6>influential to a generation of bands and sounds and whatever.

0:57:03.239 --> 0:57:04.960
<v Speaker 6>I mean, does that does that affect you.

0:57:05.880 --> 0:57:09.000
<v Speaker 8>Yeah, that's amazing, azing, but again, he's like ten times

0:57:09.040 --> 0:57:09.600
<v Speaker 8>as big as.

0:57:13.400 --> 0:57:13.800
<v Speaker 1>My money.

0:57:16.560 --> 0:57:21.320
<v Speaker 3>The first day record, the first thing he said without

0:57:21.360 --> 0:57:23.920
<v Speaker 3>putting it out there, I guess I can see your

0:57:23.960 --> 0:57:28.640
<v Speaker 3>point of view. I had a very brief, albeit kind

0:57:28.680 --> 0:57:35.440
<v Speaker 3>of eye opening conversation with Tom Yorke about Coldplay.

0:57:36.280 --> 0:57:41.880
<v Speaker 1>Oh my god, yeah, that go. But that's the thing.

0:57:42.040 --> 0:57:45.960
<v Speaker 3>His perception was like, you know, we're not as big

0:57:46.000 --> 0:57:50.240
<v Speaker 3>as Coldplay. And the thing is is that I started

0:57:50.280 --> 0:57:52.440
<v Speaker 3>to do what I hate for the fan base to

0:57:52.520 --> 0:57:55.520
<v Speaker 3>do to me, because in my mind I was like, oh, well,

0:57:55.520 --> 0:57:57.080
<v Speaker 3>you guys don't want to be cold Play. You guys

0:57:57.120 --> 0:58:00.000
<v Speaker 3>are Radiohead, You've you've been it cool you and people

0:58:00.080 --> 0:58:02.439
<v Speaker 3>will always come up to me like, oh man, y'all

0:58:02.520 --> 0:58:04.000
<v Speaker 3>care about getting paid or making hits?

0:58:04.080 --> 0:58:06.720
<v Speaker 1>Like you guys just make whatever type of record you

0:58:06.800 --> 0:58:10.040
<v Speaker 1>want to. You don't give a fucking I'm like, I

0:58:10.160 --> 0:58:17.960
<v Speaker 1>give a mortgage, right dude. And this is like this

0:58:18.160 --> 0:58:19.600
<v Speaker 1>before it Hell did the Thief.

0:58:19.880 --> 0:58:25.760
<v Speaker 3>This was like prime kid, a prime amnesiac, can't get

0:58:25.840 --> 0:58:29.480
<v Speaker 3>no bigger like you guys have made it critically, couldn't

0:58:29.480 --> 0:58:32.280
<v Speaker 3>get no yeah right. But they were also playing stadiums

0:58:32.360 --> 0:58:34.640
<v Speaker 3>like it was it was unfurly, but.

0:58:36.600 --> 0:58:40.840
<v Speaker 1>You know, in his mind didn't make it. Yeah, it's like, well,

0:58:40.920 --> 0:58:43.240
<v Speaker 1>you know, we're still the underdogs.

0:58:43.280 --> 0:58:45.520
<v Speaker 9>And I was like, I don't think so, like I

0:58:45.600 --> 0:58:47.880
<v Speaker 9>think it's I think it was something you said earlier

0:58:47.880 --> 0:58:50.120
<v Speaker 9>about you know, you had those conversations with Kiss and

0:58:50.200 --> 0:58:52.320
<v Speaker 9>maybe it was Jeane and he was saying basically how

0:58:52.320 --> 0:58:55.160
<v Speaker 9>you should piss off your fan base, well your diehard fans,

0:58:55.440 --> 0:58:57.880
<v Speaker 9>and for me getting into you guys.

0:58:57.920 --> 0:59:01.920
<v Speaker 1>Music, Yeah, no problem, DoD Man, for you guys music.

0:59:01.800 --> 0:59:03.840
<v Speaker 9>Like Blue Album came out. I was in high school

0:59:04.080 --> 0:59:06.919
<v Speaker 9>and so I had a homie of mine. I played

0:59:06.960 --> 0:59:09.400
<v Speaker 9>football where he was into like all of that stuff,

0:59:09.480 --> 0:59:11.360
<v Speaker 9>like cause I came from mostly hip hop, R and

0:59:11.480 --> 0:59:12.280
<v Speaker 9>B background, and.

0:59:12.320 --> 0:59:13.800
<v Speaker 1>So he would always run.

0:59:13.840 --> 0:59:15.280
<v Speaker 9>He would put me on like he was running like

0:59:15.400 --> 0:59:18.760
<v Speaker 9>back and like uh wean and I used to get

0:59:18.880 --> 0:59:21.600
<v Speaker 9>Ween and Weezer comfused. I was like, okay, which one is?

0:59:21.720 --> 0:59:23.800
<v Speaker 9>Which you know what I'm saying, And so he would

0:59:23.840 --> 0:59:25.680
<v Speaker 9>put me on you stuff, you got stuff, and so

0:59:26.320 --> 0:59:27.160
<v Speaker 9>I knew just.

0:59:27.520 --> 0:59:29.000
<v Speaker 1>Of course, buddy, Hollywood was everywhere.

0:59:29.360 --> 0:59:32.280
<v Speaker 9>But I listened to Pinkerton for the first time last night,

0:59:32.520 --> 0:59:35.120
<v Speaker 9>and so this is my first time ever hearing it,

0:59:35.520 --> 0:59:37.760
<v Speaker 9>just you know whatever, that shit is amazing.

0:59:37.840 --> 0:59:38.040
<v Speaker 7>Dog.

0:59:38.320 --> 0:59:41.800
<v Speaker 9>So like just somebody from outside of I guess the

0:59:41.880 --> 0:59:44.800
<v Speaker 9>core fan base to me that record that shit slapped,

0:59:44.920 --> 0:59:47.160
<v Speaker 9>you know, so whatever that means.

0:59:48.600 --> 0:59:50.680
<v Speaker 1>I was like, oh shit, So you know what I mean?

0:59:51.120 --> 0:59:53.440
<v Speaker 1>What did you create it? Yeah?

0:59:55.000 --> 0:59:55.240
<v Speaker 4>Yeah?

0:59:55.400 --> 0:59:57.360
<v Speaker 1>Were you trying to build and destroy?

0:59:57.760 --> 1:00:00.680
<v Speaker 8>Or I thought it was gonna be huge? I know

1:00:00.760 --> 1:00:02.400
<v Speaker 8>that sounds crazy really yeah.

1:00:02.760 --> 1:00:06.880
<v Speaker 3>See so here's the thing, though, it wasn't used in

1:00:07.000 --> 1:00:08.880
<v Speaker 3>the way that you thought it was going to be huge,

1:00:08.960 --> 1:00:12.400
<v Speaker 3>But of your entire canon, and we're not even going

1:00:12.520 --> 1:00:15.720
<v Speaker 3>through you know, there's what you guys are on your

1:00:15.800 --> 1:00:20.560
<v Speaker 3>seventeenth including the EPs right now, I don't know. Yeah,

1:00:20.760 --> 1:00:24.280
<v Speaker 3>you're close to seventeen, I'm not certain. But what is

1:00:24.360 --> 1:00:29.040
<v Speaker 3>your personal top of the Cannon album? And then what

1:00:29.200 --> 1:00:32.960
<v Speaker 3>do you feel as though your piece of resistance is

1:00:33.520 --> 1:00:34.240
<v Speaker 3>to your fan base?

1:00:35.000 --> 1:00:35.360
<v Speaker 1>What to you?

1:00:36.080 --> 1:00:38.240
<v Speaker 5>I'll give you time to think about it. Well, because

1:00:38.680 --> 1:00:41.960
<v Speaker 5>I have this theory that every band tries to do

1:00:42.080 --> 1:00:46.680
<v Speaker 5>their pet sounds. So as an aside to his question,

1:00:48.160 --> 1:00:50.520
<v Speaker 5>did you try and do your pet sounds? And it's

1:00:50.520 --> 1:00:51.320
<v Speaker 5>Pinkerton that I.

1:00:51.360 --> 1:00:55.320
<v Speaker 7>Guess I'm curious, I'll ask you how different did Pinkerton

1:00:55.400 --> 1:00:57.280
<v Speaker 7>turn out from what you thought it was going to

1:00:57.360 --> 1:00:58.760
<v Speaker 7>turn out, because it feels.

1:00:58.480 --> 1:00:59.920
<v Speaker 1>Like he's got three questions on it.

1:01:00.080 --> 1:01:06.720
<v Speaker 7>Play it feels like the I mean, we weren't we

1:01:06.840 --> 1:01:11.000
<v Speaker 7>were burnt from touring a lot and everything, and I

1:01:11.120 --> 1:01:14.200
<v Speaker 7>hear a lot of like to me, that's like van

1:01:14.320 --> 1:01:17.080
<v Speaker 7>Halen's fair warning, Like there's a lot there's a lot

1:01:17.120 --> 1:01:19.960
<v Speaker 7>of angst and anger in the music itself, like in

1:01:20.080 --> 1:01:23.880
<v Speaker 7>the playing of it. So I'm curious if it turned

1:01:23.920 --> 1:01:25.400
<v Speaker 7>out the way you thought it was gonna be.

1:01:26.800 --> 1:01:27.000
<v Speaker 1>Yeah.

1:01:27.080 --> 1:01:32.120
<v Speaker 8>Absolutely, I was totally satisfied. I'm more than satisfied.

1:01:32.160 --> 1:01:33.320
<v Speaker 1>I was in love with it.

1:01:33.760 --> 1:01:38.240
<v Speaker 8>But I do remember on a mixing day, ric Ocassik

1:01:38.480 --> 1:01:40.920
<v Speaker 8>came to LA and came came to the studio and

1:01:41.240 --> 1:01:43.160
<v Speaker 8>we played him a few of the songs we'd already mixed,

1:01:44.440 --> 1:01:50.440
<v Speaker 8>and he didn't show any reaction, and I that was

1:01:50.480 --> 1:01:52.920
<v Speaker 8>the first moment I was like, oh, wait a minute,

1:01:53.760 --> 1:01:55.680
<v Speaker 8>maybe this isn't going to go like how I think

1:01:55.720 --> 1:01:56.200
<v Speaker 8>it's going to go.

1:01:57.040 --> 1:02:00.800
<v Speaker 1>Wow. Yeah, so did you I finally say something.

1:02:02.480 --> 1:02:06.000
<v Speaker 8>No, he never gave an opinion on that. But what

1:02:06.160 --> 1:02:08.920
<v Speaker 8>the way I took that was like this this just

1:02:09.120 --> 1:02:11.520
<v Speaker 8>didn't turn out great and it could have been better,

1:02:12.160 --> 1:02:13.400
<v Speaker 8>and it's hard.

1:02:13.520 --> 1:02:14.439
<v Speaker 1>Did you take that the heart?

1:02:15.960 --> 1:02:19.440
<v Speaker 8>I don't want to say like that was the big

1:02:19.560 --> 1:02:21.880
<v Speaker 8>wound of the Pingerton era because there were so many,

1:02:23.360 --> 1:02:27.240
<v Speaker 8>so many bigger ones actually, but that was the first moment.

1:02:27.800 --> 1:02:29.200
<v Speaker 1>How long was it to realize?

1:02:29.280 --> 1:02:33.080
<v Speaker 3>Like example, you know, like Prince rushed off stage in

1:02:33.160 --> 1:02:36.760
<v Speaker 3>Purple Rine like absolutely feeling like he just blew it

1:02:37.440 --> 1:02:40.040
<v Speaker 3>and had to stop for a moment and heard them

1:02:40.120 --> 1:02:42.560
<v Speaker 3>cheering and was like, oh, they did get it, Like

1:02:42.640 --> 1:02:45.440
<v Speaker 3>did you ever have that redemption moment of like, yeah,

1:02:45.440 --> 1:02:46.400
<v Speaker 3>wait a minute, I think I'll have.

1:02:46.440 --> 1:02:46.880
<v Speaker 2>It at now.

1:02:47.040 --> 1:02:47.600
<v Speaker 1>It seems like.

1:02:49.520 --> 1:02:52.120
<v Speaker 8>It took a while, and so the album came out

1:02:52.120 --> 1:02:56.680
<v Speaker 8>in ninety six and bombed. So by the end of

1:02:56.760 --> 1:03:00.640
<v Speaker 8>ninety seven, I totally lost my confidence and just kind

1:03:00.640 --> 1:03:02.600
<v Speaker 8>of went off and lived by myself and was trying

1:03:02.640 --> 1:03:05.560
<v Speaker 8>to write a third record. But years went by and

1:03:05.840 --> 1:03:08.400
<v Speaker 8>I couldn't figure it out. I just didn't know what

1:03:08.560 --> 1:03:11.920
<v Speaker 8>to do. And one of my friends was in another

1:03:12.040 --> 1:03:14.720
<v Speaker 8>band and he had been touring around the States. So

1:03:14.840 --> 1:03:16.720
<v Speaker 8>at the end of ninety nine he came back and

1:03:16.800 --> 1:03:19.760
<v Speaker 8>he said, you know, Rivers, there's a new generation of

1:03:19.920 --> 1:03:23.880
<v Speaker 8>kids out there. Who love Pinkerton, and that was like

1:03:24.480 --> 1:03:27.480
<v Speaker 8>shocking to me. I had no idea, and he said, yeah,

1:03:27.800 --> 1:03:32.800
<v Speaker 8>it's called Emo and that's their album. So then we

1:03:32.960 --> 1:03:35.360
<v Speaker 8>got the band back together and we went out and

1:03:35.480 --> 1:03:37.200
<v Speaker 8>we just jumped on a few shows of the two

1:03:37.240 --> 1:03:43.960
<v Speaker 8>thousand Warped tour and like before we walked on the stage,

1:03:44.040 --> 1:03:47.640
<v Speaker 8>there would be another band playing and like twenty thousand

1:03:47.720 --> 1:03:50.680
<v Speaker 8>kids would be chanting Weezer, Weezer, you know. And we

1:03:50.800 --> 1:03:53.960
<v Speaker 8>walked out there and at this point Pinkerton wasn't even

1:03:54.280 --> 1:03:55.960
<v Speaker 8>in our set list because we're like, oh, well, nobody

1:03:56.120 --> 1:03:59.240
<v Speaker 8>liked that one, but there were you know, chanting for

1:03:59.360 --> 1:04:02.640
<v Speaker 8>those songs. So that's when we you know, it really

1:04:02.720 --> 1:04:03.080
<v Speaker 8>hit us.

1:04:03.600 --> 1:04:06.640
<v Speaker 7>But I remember playing like the Ranch Bowl, like was

1:04:06.680 --> 1:04:09.080
<v Speaker 7>it at Oklahoma or something in the middle of the

1:04:09.160 --> 1:04:12.080
<v Speaker 7>somewhere in the middle of the country on that tour

1:04:12.240 --> 1:04:16.720
<v Speaker 7>on Pinkerton and kids being super pumped and knowing all

1:04:16.840 --> 1:04:19.000
<v Speaker 7>the lyrics to the Deep Cuts, And that was my

1:04:19.120 --> 1:04:22.640
<v Speaker 7>first clue was like, why, Wow, they know all these songs.

1:04:22.840 --> 1:04:25.080
<v Speaker 7>I don't know if you were hip to that, no,

1:04:26.400 --> 1:04:27.080
<v Speaker 7>I could have.

1:04:27.080 --> 1:04:32.040
<v Speaker 1>Told you, yeah, you're right next week, right, you were

1:04:32.120 --> 1:04:32.680
<v Speaker 1>like right there?

1:04:34.240 --> 1:04:34.439
<v Speaker 2>Nah.

1:04:34.560 --> 1:04:36.760
<v Speaker 9>It was for me, like hearing that work again. My

1:04:36.840 --> 1:04:39.120
<v Speaker 9>first time ever hearing it was last night, I'm just

1:04:39.280 --> 1:04:41.680
<v Speaker 9>you know, just running it. And so for me it

1:04:42.000 --> 1:04:44.600
<v Speaker 9>was I could tell how I mean, of course there

1:04:44.640 --> 1:04:46.320
<v Speaker 9>was a difference between the Blue Album to this, but

1:04:46.840 --> 1:04:48.919
<v Speaker 9>it wasn't as stark a difference of like, it wasn't

1:04:48.960 --> 1:04:52.440
<v Speaker 9>like the first album was like a Radiohead reck like

1:04:52.480 --> 1:04:55.000
<v Speaker 9>a you know, Pablo Honey or whatever, and then the

1:04:55.120 --> 1:04:56.960
<v Speaker 9>second album was kid a where it was just this

1:04:57.520 --> 1:05:00.120
<v Speaker 9>complete one eighty where it's like, what the fuck is this?

1:05:00.600 --> 1:05:03.040
<v Speaker 9>It felt, and to me it felt in many ways

1:05:03.120 --> 1:05:05.640
<v Speaker 9>like an extension. It didn't I don't know, it just

1:05:05.640 --> 1:05:07.760
<v Speaker 9>didn't feel like it was such a big jump. And

1:05:08.560 --> 1:05:10.560
<v Speaker 9>listen to it now, I'm just like, what was.

1:05:10.600 --> 1:05:13.120
<v Speaker 1>The big Why was everybody so pissed off? Like the

1:05:13.200 --> 1:05:15.080
<v Speaker 1>ship go hard? What was the problem?

1:05:15.520 --> 1:05:17.160
<v Speaker 7>But brilling Stone was mad?

1:05:19.040 --> 1:05:22.960
<v Speaker 8>Yeah, they all the critics there rated it the second

1:05:23.000 --> 1:05:23.960
<v Speaker 8>worst album of the year.

1:05:24.760 --> 1:05:27.680
<v Speaker 1>Serious, Uh, what was the worst? I remember that?

1:05:29.400 --> 1:05:35.880
<v Speaker 5>Yeah, So it sounds like it took like four five

1:05:35.960 --> 1:05:40.000
<v Speaker 5>years to catch on to the next generation.

1:05:40.200 --> 1:05:43.400
<v Speaker 3>Man, So if it weren't for you having knowledge that

1:05:43.640 --> 1:05:48.640
<v Speaker 3>perhaps uh, there's someone out there that is latching to it.

1:05:50.200 --> 1:05:52.760
<v Speaker 3>Did you guys think that it was over by the

1:05:52.800 --> 1:05:53.400
<v Speaker 3>second album?

1:05:53.560 --> 1:05:57.520
<v Speaker 7>Like I would go visit him in Massachusetts. He lived

1:05:57.920 --> 1:06:01.080
<v Speaker 7>five five years correct, Yeah, living on the East Coast

1:06:01.120 --> 1:06:03.400
<v Speaker 7>and I was in out West, and I would go

1:06:03.880 --> 1:06:06.120
<v Speaker 7>visit and we would try and get stuff together. But

1:06:07.120 --> 1:06:09.000
<v Speaker 7>it was a transitional period, you know.

1:06:10.560 --> 1:06:13.080
<v Speaker 9>I want to ask what the record you guys did

1:06:13.280 --> 1:06:15.600
<v Speaker 9>with Polo to Don and Lil Wayne? Oh yeah, how

1:06:15.640 --> 1:06:16.400
<v Speaker 9>did that come together?

1:06:17.400 --> 1:06:21.200
<v Speaker 8>So we had this song Can't Stop Partying, And originally

1:06:21.240 --> 1:06:24.960
<v Speaker 8>it was like this very somber acoustic thing. The head

1:06:24.960 --> 1:06:28.400
<v Speaker 8>of the record company, Jimmy Iovine, had like this star

1:06:28.560 --> 1:06:34.720
<v Speaker 8>producer on his team, poloded on and he asked me

1:06:34.760 --> 1:06:37.200
<v Speaker 8>if I would be up for giving it to Polo

1:06:37.280 --> 1:06:40.240
<v Speaker 8>and seeing seeing what happened. And I remember being in

1:06:40.280 --> 1:06:41.720
<v Speaker 8>the studio the first time I heard it and just

1:06:42.000 --> 1:06:45.600
<v Speaker 8>like my head was blown off. It sounded amazing and

1:06:45.720 --> 1:06:49.000
<v Speaker 8>I was a massive little Wayne fan. So yeah, when

1:06:49.000 --> 1:06:53.920
<v Speaker 8>they suggested that, I was all in and course Weezer

1:06:53.960 --> 1:06:55.040
<v Speaker 8>and Weezy, I had to hear.

1:06:54.960 --> 1:06:57.760
<v Speaker 1>You Weezer baby.

1:07:00.000 --> 1:07:04.160
<v Speaker 3>Alright, right, how do you guys, Because I know most

1:07:04.280 --> 1:07:07.760
<v Speaker 3>rockers hate looking in the rear view mirror in terms

1:07:07.800 --> 1:07:09.320
<v Speaker 3>of not want to be seen.

1:07:09.160 --> 1:07:11.800
<v Speaker 1>As a legacy act or that sort of thing. Okay,

1:07:12.520 --> 1:07:18.360
<v Speaker 1>our Vegas run. How are you guys planning the celebration

1:07:18.520 --> 1:07:19.480
<v Speaker 1>of the thirtieth tour?

1:07:19.520 --> 1:07:24.000
<v Speaker 8>Wise, we could have planned like a very retro nostalgia

1:07:24.080 --> 1:07:28.240
<v Speaker 8>thing and do it very ninety four style, but that

1:07:28.360 --> 1:07:32.640
<v Speaker 8>would be boring so for us, So we're going to

1:07:32.880 --> 1:07:35.640
<v Speaker 8>come up with some kind of crazy production and theme

1:07:35.720 --> 1:07:37.880
<v Speaker 8>and I think it's going to involve a space voyage

1:07:37.920 --> 1:07:39.360
<v Speaker 8>where we're going to this blue planet.

1:07:39.480 --> 1:07:39.680
<v Speaker 4>Yeah.

1:07:39.680 --> 1:07:42.120
<v Speaker 1>I was going to say, like with the teasers that

1:07:42.240 --> 1:07:43.160
<v Speaker 1>you guys are putting on.

1:07:44.080 --> 1:07:47.400
<v Speaker 8>Yeah, So musically it's going to be the Blue Album,

1:07:48.120 --> 1:07:52.439
<v Speaker 8>the hits and some like nineties B sides, stuff those

1:07:52.520 --> 1:07:55.800
<v Speaker 8>fans really want. But there's going to be an element

1:07:55.880 --> 1:07:58.080
<v Speaker 8>of production that we never would have tried back then.

1:07:58.520 --> 1:08:00.600
<v Speaker 8>And yeah, I think, yeah, that makes it fun and

1:08:00.720 --> 1:08:01.400
<v Speaker 8>interesting for me.

1:08:02.320 --> 1:08:04.920
<v Speaker 1>Okay, all right, I'm excited to hear that.

1:08:05.520 --> 1:08:08.600
<v Speaker 3>Well, thank you guys for you know, sitting with us

1:08:08.680 --> 1:08:15.160
<v Speaker 3>and sharing your experiences with the Blue Album. And you know, again,

1:08:15.440 --> 1:08:18.639
<v Speaker 3>thank you guys for saving a nerd that you probably

1:08:18.680 --> 1:08:19.600
<v Speaker 3>didn't realize that.

1:08:20.520 --> 1:08:25.800
<v Speaker 5>Yeah, don't steal the mugs anyone, Thank you guys, and

1:08:26.360 --> 1:08:27.400
<v Speaker 5>we appreciate you coming.

1:08:27.880 --> 1:08:33.439
<v Speaker 1>Thank you, thank you, and uh yeah.

1:08:35.640 --> 1:08:38.960
<v Speaker 3>Yeah we do our own sound effects, yeah, uh yeah

1:08:39.000 --> 1:08:42.160
<v Speaker 3>when we have Sugar, Steve, Bill and Fan Segelo and

1:08:42.360 --> 1:08:44.960
<v Speaker 3>like yeah, this is Quest Love and we will see

1:08:44.960 --> 1:08:45.639
<v Speaker 3>you next week.

1:08:45.680 --> 1:08:46.000
<v Speaker 1>All right.

1:08:50.680 --> 1:08:52.439
<v Speaker 7>Thank you guys, our pleasure.

1:08:55.040 --> 1:08:57.360
<v Speaker 6>Thank you for listening to Quest Love Supreme. This podcast

1:08:57.479 --> 1:09:02.360
<v Speaker 6>is hosted by Mere Quest Love, Thompson, Saint Clair, Fante Coleman, Sugar,

1:09:02.439 --> 1:09:06.360
<v Speaker 6>Steve Mandell, and myself unpaid Bill Scherm. The executive producers

1:09:06.439 --> 1:09:09.240
<v Speaker 6>are Mere who just walked into the goddamn room, Thompson,

1:09:09.600 --> 1:09:13.320
<v Speaker 6>Sean g and Brian Calhoun. Produced by Britney Benjamin, Jake

1:09:13.400 --> 1:09:16.479
<v Speaker 6>Paine and Liiah Sinclair. Edited by Alex Conroy I Know

1:09:16.560 --> 1:09:19.679
<v Speaker 6>Alex Conroy. Produced for iHeart by Noel Brown.

1:09:22.200 --> 1:09:28.640
<v Speaker 1>West Love Supreme is a production of iHeart Radio. For

1:09:28.800 --> 1:09:33.000
<v Speaker 1>more podcasts from iHeart Radio, visit the iHeartRadio app, Apple Podcasts,

1:09:33.439 --> 1:09:35.120
<v Speaker 1>or wherever you listen to your favorite shows.