September 25, 2025 • 25 mins
When are we doing the c0c@in3 again? Debating Linkin Park, blasting Stabbing Westward, haunted barns, and debating the best songs from 1996.
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Episode Transcript
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Speaker 1 (00:00):
We are back. It's another episode, another edition, another year,
the Rock ninety five five Top five with the Rock
ninety five five crew. Everybody's in the house. Hey there, Okay,
and the year. What's the year? This year? Somebody? What
do we got? Nineteen ninety six?
Speaker 2 (00:17):
Ninety six?
Speaker 1 (00:18):
Wow? What a year? What a year? All right, so
let's go around the room. We're gonna pick out our
favorite I'm sure she'll explain. All right, So we're gonna
go around the room. Everybody's gonna pick their favorite song
from nineteen ninety six. And let's start to the left. Michael,
Oh you hear you? Come over? Hey guys, No, I'm okay.
(00:39):
I think we're all right. I chose blow up the
outside World, Bye bye. I never heard of it? Soundgarden, Yes,
a desire to destroy your distance oneself from the confusing,
often overwhelming external world to create a personal space for comfort. Right,
what you got out of that song?
Speaker 3 (01:00):
Any explanation needed?
Speaker 1 (01:01):
Because I made that upright on the spot. No, actually
that's the what the song means.
Speaker 4 (01:06):
But this isn't my choice, it's yours. But I will
say my all time favorite male rock vocalist is mister
Chris Well. Did you hear about the new album. Yeah,
I did.
Speaker 1 (01:15):
What do you think? I don't know how I feel
about him. It's his voice, he recorded it, he recorded
the stuff. They were working on this stuff. I don't
have a problem with it. I guess you know. It's like,
let's hear I mean, the guy is so iconic, right,
and he was working on this, whether it's audio slave,
his solo stuff. He's got that voice that just sounds
like I do want to I do want to hear it.
(01:36):
But what was the hold up with Vicky Cornell? I'm
wondering why she was Yeah, there's a weird a state thing.
Who knows what happens with that, But it is a
bad record. I don't Yeah, right, I want to hear it.
I want to hear what's going on, what they've been
working on. And we will and we won't get it
before the induction to the Rock and Roll Hall of Fame,
but I'm thinking next year we will get sound Guard
and also performing at the induction. Yeah, and it's gonna
(01:59):
be really curious to I don't want to see a hologram. No,
it won't be a hologram. I think it's gonna be this.
Speaker 5 (02:05):
It's a projection on a screen that is not a hologram.
Speaker 1 (02:08):
I think it's going to be this woman.
Speaker 6 (02:09):
Uh.
Speaker 1 (02:09):
I can't think of her first name, but her last
name is Shepard. She sang with them recently. She did
that Naked Dragons thing with them in Seattle, and she
sings with Duff on his style and she is great.
And I don't mind that.
Speaker 4 (02:21):
I like a female singer playing or not playing along,
but like singing those lyrics.
Speaker 1 (02:27):
I think it. I mean it worked with Lincoln Park,
I think. And so it's like I actually think that
that's the way to uh think sexist.
Speaker 6 (02:35):
Thank you for joining us Sound Garden, blow up the
outside world my pick.
Speaker 1 (02:40):
Yeah.
Speaker 4 (02:41):
But the other side of that is I don't think
Lincoln Park should have gotten together. I mean, that's that's
not Lincoln Park.
Speaker 7 (02:46):
Whoa.
Speaker 1 (02:50):
I mean Emily Armstrong.
Speaker 8 (02:52):
You know what.
Speaker 1 (02:52):
Emily Armstrong is just channeling Chester Bennington's vibe. It's not her.
That's so wrong though. Did you listen to Dead Era?
Speaker 5 (03:00):
Yeah?
Speaker 1 (03:00):
I did, And you don't think that she channeled that
same kind of energy because I did, right, And you
know Mike Snoda was she has made it her own.
Speaker 4 (03:12):
Yes, No, No, she's with Lincoln Park, and of course
you feel that vibe. If I'm in the room with
a bunch of cocaine addicts, guess what I'm gonna do cocaine?
Speaker 3 (03:22):
Well, I agree, there.
Speaker 2 (03:30):
Is the cocaine part, that's for sure.
Speaker 5 (03:31):
Podcast, I could.
Speaker 2 (03:34):
Not disagree with you more.
Speaker 6 (03:35):
I think what makes Emily Armstrong special is that she
does sound like herself, but she can do the Chester
Beddington parts and it keeps the integrity of those old
songs but doesn't alienate.
Speaker 4 (03:45):
And how you can say integrity when she's a copycat,
You're just wrong.
Speaker 1 (03:56):
This is the cleaner show happens three o'clock. I do
have Lincoln Park. I just feel like it was kind
of a money grab.
Speaker 5 (04:04):
I disagree.
Speaker 1 (04:06):
Doesn't need the money, None of those guys do.
Speaker 5 (04:08):
It got to be about money, and why does a
man have to end when somebody's gone. A band has
every right to grow and change, and it should. What
good would it be if we all stayed the same band.
Speaker 4 (04:18):
I do appreciate what you said, because William Devall with
Alison Chains I think is awesome.
Speaker 8 (04:23):
So go.
Speaker 1 (04:24):
But William Devall is his own vibe.
Speaker 4 (04:26):
He is not channeling Lane Staley and I just feel
like when I this is a personal thing. Music is
very personal, and I appreciate your opinions, But when I
hear Emily singing those songs, I feel like, fuck, she's
just watching a video of Chester and then duplicating that.
Speaker 8 (04:41):
So have you have you listened to the songs where
it's just Emily by herself? Yeah album? How do you
feel about those?
Speaker 1 (04:48):
Mm hmm, that's fair. I'm just not you'll warm up.
I think Emily is very talented, but I one hundred
percent agree with Clinger.
Speaker 8 (04:58):
Okay, I don't.
Speaker 4 (05:00):
I'm not talking about Yeah, like the original? Do you
feel like she is talented? One hundred percent? We're not
even talking about talent. I'm just sorry when she's with
the band that is Lincoln Park's gonna weir.
Speaker 2 (05:14):
I know what you're doing.
Speaker 5 (05:17):
The year is nineteen six, and when are we doing
the cocaine again?
Speaker 1 (05:25):
That's all right, So my man, cheap chap chat. What
do you got for the year nineteen ninety six?
Speaker 7 (05:36):
Thank you, You're welcome.
Speaker 3 (05:39):
Mcans on, Hello, everybody, Hello, it's always nice to see everybody. Absolutely,
nineteen ninety six. It was it was an important time
because it was a change. Uh and there was a
band from the Illinois area that was a part of that.
Speaker 1 (05:54):
Change, Smashing Pumpkins.
Speaker 3 (05:57):
Not Smashing Pumpkins, but they all from around here. No,
it turns out Walter is in a band called Stabbing Westward.
I had a gold record whether in blister Burn and
peel Burn and Peel and I have a song called
what do I Gotta Do? What can I Do? What?
(06:18):
What will I do?
Speaker 1 (06:19):
What? What do I have?
Speaker 3 (06:21):
What do I have to do? What I like about
it is has punctuation. I knew you would know it.
I just learned he was in a band like a
couple of.
Speaker 1 (06:31):
Months ago, at least I was. I was only in
I've been in.
Speaker 3 (06:36):
Many fabulous bands. You haven't heard of any of them. Well,
actually was in a band called I Peeled over and
over and over again. Anyway. It's really dark and beautiful
and haunting. Chris's voice is incredible. There's these tones behind it.
I don't know how they made it, but it's like
ominous but then also romantic at the same time. It's
(06:58):
a really beautiful song. It's it's called what What What
can I Do with You?
Speaker 1 (07:03):
What do I Have to Do?
Speaker 3 (07:06):
I love that song? Nineteen ninety six, Congratulations Walks amazing.
Speaker 5 (07:11):
Oh, it's one of my favorite albums of the year, though, brother,
for real, I can't tell you how many times I'd
be cruising around in my old two forty Z with
that CD and the dash and I would just make
it tracks two and three on repeat, over and over
and over. What year was year two forty nineteen seventy
three and a half?
Speaker 1 (07:29):
Nice black? Uh metallic?
Speaker 3 (07:33):
Yeah, nineteen ninety six, in nineteen ninety six.
Speaker 4 (07:40):
In nineteen ninety six, I was playing that song at
the Crow and Daytona Beach.
Speaker 1 (07:46):
Is that a strip club? No?
Speaker 4 (07:48):
No, No, that's the Shark the Shark Lounge.
Speaker 3 (07:52):
There was no cocaine in the.
Speaker 6 (07:55):
But actually, well, can you give us some insight on
that song, like like fun tidbit that we wouldn't.
Speaker 1 (08:01):
Know it was recorded in a haunted barn. Okay, go on, Yeah, Okay,
So it was our drummer brought us the song. And
then it had a previous incarnation with the band Exotic Birds,
which was a band that also featured Trent Reznor of
nine Inch Nails. Yeah, and then Andy the drummer, who
(08:24):
was also in He was the singer in Exotic Birds.
He wrote the song. He brought it into us, We
added guitar riffs, and we Stabbing westwardized it, and but
you know when Christopher sings that, it really becomes stabbing
Westward and so so we had that and then we
followed that up with Shame Off that record and we
(08:44):
were off to the races. Two buzzworthy clips on MTV
that year. Why the Haunted Barn? Did you get off that?
We recorded the album in Bearsville's Todd Runggren Studio in Woodstock,
New York, Bearsville, and it has a haunted barn which
two kids died in a fire and they're very mischievous,
(09:05):
and we stayed in. Actually the very first night I
stayed in Spook Central and it was the I actually
felt really creeped out in this room. I had no idea.
We just rolled in at like ten o'clock at night,
picked some rooms. I went into this room had a
four poster bed, and I'm like, man, this is just
kind of creepy. So I slept with the lights on
(09:25):
the next day, I moved into the loft area of
the barn where the recording studios downstairs, and then there
were beds upstairs in the loft areas. But things would
happen like we'd all be downstairs in the recording studio
part of the barn, and the TV upstairs would turn
on and just gradually get louder with static and Andy
(09:46):
saw Mike's stand pick up, rotate, set back down, you know,
and then we would just like go to sleep with
bottles of wine and just I just had. We created
a show called Spooked Time Theater, which became our publishing company.
Speaker 2 (10:02):
I mean, it's just a spook Time Theater.
Speaker 1 (10:05):
I love a story like that.
Speaker 2 (10:07):
Can we resurrect spook Time Theater?
Speaker 3 (10:10):
The puppets over there? But he's not using them.
Speaker 1 (10:13):
See that did involve puppets, and we do have puppets now,
so maybe we will. Maybe we will resurrect spook Time Theater.
You heard it here, Yes on the Rock ninety five
to five Top five for the year nineteen nineties.
Speaker 8 (10:29):
Oday.
Speaker 1 (10:30):
Okay, all right.
Speaker 5 (10:32):
With more cocaine.
Speaker 2 (10:34):
Speaking of haunted barnes, what does a ghost caw?
Speaker 3 (10:36):
Say?
Speaker 2 (10:37):
Boo?
Speaker 1 (10:38):
Clinger nineteen ninety six hits the bell for that, don't help?
Speaker 2 (10:44):
Wait, what do you mean, Clinger?
Speaker 1 (10:46):
I'm sorry?
Speaker 3 (10:48):
Wow, I got it, Raady, I was better when it's
just men, that's just proven.
Speaker 5 (10:56):
That's scientific surprise, ladies and gentlemen, and now and it's
bigger than all yo.
Speaker 2 (11:06):
Okay, ninety six what a year for me.
Speaker 6 (11:09):
Solid Food got it down, fucking crashing it.
Speaker 2 (11:16):
Okay.
Speaker 6 (11:16):
So the song that I have chosen did not come
to me through the original band because I was lame
still when I found it and I was watching Panic
at the Disco. They released this live DVD of one
of their concerts. At that concert, they covered two songs
that introduced me to two huge bands. One was Radiohead,
the other was Smashing Pumpkins. They covered Tonight Tonight.
Speaker 2 (11:38):
First time I'd ever heard it, I was like, this
is cool. I really liked the lyrics.
Speaker 6 (11:41):
Oh my god, went and checked it out, heard Billy
Corgan's voice for the first time, and that was an experience.
Speaker 2 (11:48):
But the music video of.
Speaker 6 (11:49):
It was so cool, and if you watch it, it's
like very nineteen twenties, like silent movie style ish and
I saw this thing was probably a TikTok of the
director for that video and they were like, we could
only put the camera in one place and we were
working with two d things and trying to like figure
out how to move them so that it showed up
(12:12):
on screen correctly, because like you couldn't really go turn
at any angle because it would show like the cardboard
backing because they used all those props they painted it
like really cool.
Speaker 2 (12:21):
Anyway, that's the music.
Speaker 6 (12:23):
Video of the song itself, recorded with the Chicago Symphony
Orchestra Let's Go, and just the lyrics of it, the
feeling of it.
Speaker 2 (12:31):
I think it's just so.
Speaker 1 (12:32):
Cool and recorded with a guy named Flood who was
on top of his game at the time, and a
double record a very very big undertaking for the Smashing Pumpkins,
following up Sime's Dream with a double album Melancholy.
Speaker 4 (12:46):
So wasn't that one of, if not today, the biggest
selling double record of all time.
Speaker 1 (12:50):
I think it definitely was at the time time.
Speaker 6 (12:52):
Yeah, yeah, yeah, Now he's like, let's just do a
three album, a thirty song rock opera and that's fine.
Speaker 1 (12:59):
And full circle at Lyric Opera House in November.
Speaker 2 (13:03):
Yeah, yeah, I think with the CSA, right or.
Speaker 1 (13:06):
Some I don't know exactly which orchestra, but yeah, there's
it's going to be an.
Speaker 2 (13:10):
Orchestra, you guys know, right, I found.
Speaker 1 (13:13):
Out what year? What year are we doing?
Speaker 9 (13:19):
All right, So my altime favorite, my ultimate vocalist is
Chris Cornell, and there was a record actually to get
to nineteen ninety six.
Speaker 4 (13:32):
I got to start with my band in nineteen ninety
four that released You Were in a Band.
Speaker 3 (13:38):
My Mind is Blue right off my shows.
Speaker 4 (13:41):
That released a record called Jarflies in ninety four. This
particular song I'm thinking of was sort of sort of
a sleeper for a few years until Allison Chain sat
down for MTV Unplugged and Nutshell came to life for
me and I love that song. Turns out that this
was one of the final performances that Lane Staley had
(14:03):
before dying five years later, which is just incredible to
me and super sad but so haunting, and I to
this day my all time favorite song from from Alison
James is Nutshell. But I only really gravitated towards it
when I heard them play it and see them play
it for MTV Unplugged.
Speaker 1 (14:21):
They opened with that one. That's the song that they
would that they came out on that performance.
Speaker 4 (14:26):
I love that song so much, and then the rest
of his story sort of goes downhill from there, and
it's super sad and you know it took him a
couple of weeks to find him in two thousand and two.
But I love that song so much, and I feel
like that sort of he sort of man, you feel it.
Speaker 1 (14:42):
It's a very really very emotional I mean, they, you know,
evoke that emotion of just you know, kind of loneliness. Yeah,
and you get that feeling it, which is an awesome
weird thing because that they come out with that song,
and they come out one by one, pick up their
instrument on the unplugged version, and then they are all
playing together at the end, and then it just sounds
beautiful and hunting at the same time.
Speaker 4 (15:04):
I agree, and I love that song so much. It's
my all time favorite Alisa Chain song. And the other
day on my six o'clock High five feature where I
do a musical autopsy or pull the curtain back? Are
you on the Radio, one of the things that I
talked about was how a song was one way on
a record right and then really became under the spotlight
(15:24):
in a live setting. And that's that was the example
that I talked about.
Speaker 1 (15:27):
So, yeah, good one. Alisa Chain's Nutshell got.
Speaker 2 (15:31):
It okay, So no cocaine, okay, not yet.
Speaker 8 (15:38):
Maris uh, staying in line with a lot of Chicago
themes here. Wow, I gotta go with local age. Oh
bound for the floor. Yeah, that pulls you in, it
keeps you there. And there's this one word everybody at
school would just say all the time, and we thought
we were so cool using it everywhere asthetic.
Speaker 1 (16:03):
Did we know what it meant?
Speaker 7 (16:04):
A ton nuts.
Speaker 8 (16:07):
Who they're freewhere and local. It's just a skillful use
of the word, the rhyme scheme copastic pathetic.
Speaker 6 (16:17):
You know who does know the definition to copaesetic is Mikey. Mikey,
can you come here and give us the definition of copoesetic?
Speaker 7 (16:21):
Yeah?
Speaker 1 (16:22):
Cool?
Speaker 8 (16:28):
But yeah, I gotta gotta shout out a great two
piece from Chicago.
Speaker 1 (16:31):
Seriously, I mean like they brought it. Uh, just those
two guys when they would play, we would do festivals
with them, and the energy that Scott brings. He's such
a talented musician. Yeah, so great.
Speaker 4 (16:44):
And that's kind of a simple but cool, recognizable guitar
riff to go along with.
Speaker 1 (16:49):
Yeah. Yeah then, and if you listen to even deeper
tracks from Local h Man, they just keep on going.
I mean they're really an underrated band. I think we
all we all know that we know that song, but
listen more because there's some great stuff on their records
that I think if you're a fan of that song,
or a fan of a lot of the bands in
that genre, you're gonna gravitate to.
Speaker 3 (17:11):
What do we hear from somebody who plays a guitar? Pat,
what do you think about that particular record? Do you
like the guitar work?
Speaker 1 (17:17):
Local Age? Who are they?
Speaker 2 (17:20):
They're a local band.
Speaker 5 (17:22):
They couldn't get a bass player or something, right, Isn't
that what I was? You know? I like the fact,
but what I really liked about Local Age was the
rawness right, like that punk rock vibe to it. It
wasn't overproduced. It was pretty simple and raw, and it
just allowed that energy to translate in the track.
Speaker 2 (17:37):
Yeah.
Speaker 1 (17:38):
I mean, like you'll see today and things are like
super produced. I think I.
Speaker 4 (17:42):
Think this is a is a way that I don't
really like it. You can so many of the current
active rock bands, and I love them in concert, but
god almighty, it's it's so compressed and overproduced. It sort
of sounds like it's all done with the same I
don't I don't like that. I'm surprised more man don't
(18:03):
have an ear to say, hey, I don't we don't
really want that sound.
Speaker 1 (18:06):
Well, yeah, it's one of those things where it becomes
the trend and it's the trend that works, and so
you kind of chase it. So I mean it was like, look,
we have a whole nother podcast on if you want
to talk about the music business and how it's upside
down these days. But I mean that's probably one of
one of the reasons is people are chasing whereas I
think it was a pure time for lack of a
(18:26):
better word, when in the from the seventies into the
eighties into the nineties and then things kind of started, yeah,
turning upside down. But yeah, I agree Local Age had that. Yeah,
it did.
Speaker 5 (18:39):
And that's what I think really stood out about them,
And when you see them live, it translates that same way, right,
That raw is what jumps out of the speakers with them. Yeah,
still to this day, great bandman, So.
Speaker 1 (18:49):
Pat, since you were on the microphone, what is uh?
Speaker 5 (18:52):
And I want to make it clear that in nineteen
ninety six the cocaine.
Speaker 3 (18:56):
Was so much better. My me floorda.
Speaker 5 (19:00):
Nineteen ninety six there right, the Dollhouse now let me
tell you this. So me out to drink that night
and no, all right, I can't go into that. That
was good, all right, So all right, I'm gonna stay
with uh there's so many cool things in nineteen ninety six,
Like we all know the big bands, right, Smashing Pumpkins,
(19:21):
Sound Garden, but there was also these little fun bands
that would have one song or two songs that would track.
And uh so I was kind of debating, right like,
how do I like I'm mother Earth one more Astronaut?
Speaker 1 (19:33):
Right?
Speaker 6 (19:33):
Like?
Speaker 5 (19:33):
I love that jam. It's kind of like a guilty pleasure.
But if I had to really lock in on a
song and a band from nineteen ninety six that stood
out to me, it was Tools Anima, you know what
I mean, because we got to see you know, and
we were just talking about local ahs, the Rawness and
that kind of an energy. But then you flip it
(19:54):
upside down and you get Tool, right, Like, does it
need to be so cerebral?
Speaker 1 (19:59):
No, but it is. It's also not early produced.
Speaker 5 (20:02):
No it's not. And and once again a Chicago guitar
player in the mix. So let's give the props where
the props is do?
Speaker 1 (20:10):
Right?
Speaker 4 (20:10):
Like it could have easily turned out to be overproduced
too good. I mean, like you could add a lot
of stuff in there.
Speaker 1 (20:15):
But yeah, I mean it's like you can hear if
you listen, you can hear each individual instrument guitar, bass,
and drums, and then Maynard and that's there's nothing else
to it. Maybe there's an overdubbed guitar in there, but
I mean, that is it. There's no uh, and it has.
Speaker 5 (20:31):
To be that way, right, because there's so much going
on which each of those musicians and the melody lines,
and forget about the timing changes. It's nuts. You know.
It was funny because I often wondered, you know, how
does Maynard keep track of that live? When you're live
on stage right right, that's a whole other game. You're
not going to be sitting there counting all right, this
is seven six, this is you know, and flipping those
(20:53):
time signatures. So I found out that what happens is Danny.
So watch them when they're live now, and you're going
to see it all the time. I have Dannie will
just ting the ride cymbol on the bell a couple
of times, ting ting, and that signals Maine or when
the vocals come in and now that I've said it,
you're gonna listen and see that live and you're getting
leave me.
Speaker 4 (21:12):
To somebody who could be one of the single best
drummers in the world.
Speaker 1 (21:16):
Yeah, one of them. Yeah, sure to.
Speaker 4 (21:17):
Do that as a little like I want. It'd be
interesting to know did he come up with that? Did
they work on it?
Speaker 5 (21:22):
They had to put it together because Maner said he
was having trouble and days like, I'll just do it,
and so Maner says, I tell him to give me
a ting ting.
Speaker 1 (21:31):
That's that's amazing. So you learn things on this pot.
Speaker 5 (21:34):
That's what we tried to and cocaine was better. It
came from Colombia and this big square break.
Speaker 1 (21:42):
It was really all right. So in nineteen ninety six,
I'm kind of going off of off the mainstream playlist.
That's a big I mean, I could obviously say an
(22:03):
important record for me. Obviously that year was with a Blister,
Burn and Peel and are there the singles that were
released that year. It was our first gold record, So
I mean, you can nobody can ever take that away.
The president of Columbia Records, when he was giving us
the record said, I always love giving a band their
very first gold record. It's better than multi platinum or
(22:25):
all of this because it's your first and I'm like,
oh man, that makes so much sense, that's so poignant,
and so this record was that So ninety six an
important year, big year for me for sure. But there
is a band from Los Angeles that is a musician's band,
and you might have to do some homework to dig
into this, but I am. I'm choosing the song Stuck
(22:49):
on You by Failure, and if you're not familiar with Failure,
you gotta go check them out because they bring it. Actually,
we just did a show with them. They were at
Louder than Life this past week. In didn't get to
see them because I was bartending another story, but it
was an incredible They're an incredible band with this record
fantastic Planet that came out in the year ninety six
(23:12):
and Stuck On You kind of wiggled its way into
radio just a little bit. But guitar, bassed, drums and
occasionally a keyboard sound, but it just hits like a
ton of break in the same vein as maybe a
local h or you know, the grungier rock bands of
the time. But if you get a chance. And there's
like fourteen songs on the record, and there's a bunch
of interludes in between the songs. But Sergeant Politeness, so
(23:34):
many great songs on the Fantastic Planet record. So Failure
is your homework. Go check them out. You're gonna find
songs that you like.
Speaker 4 (23:40):
I think for the ending or to trail us out
in post production, you should have that particular song playing
on the way out.
Speaker 3 (23:48):
Because it kind of folded.
Speaker 1 (23:51):
We can't even failure. That's word medio.
Speaker 5 (24:00):
Axe Chapman looks exactly like Tommy TV from Willy Wonka.
Speaker 7 (24:05):
Get back over here.
Speaker 1 (24:23):
This has been a lot of fun, maybe too much fun,
and now it's now it's a little coquaine. So while
we do an old nineteen nineties buffet, you guys can
check out all of the all of the music that
we talked about and get ready for another podcast because
(24:46):
we've got another year coming next month. I can't wait
to bring it to you and we love these round tables.
Thanks for checking it out, and be sure you listen.
Speaker 4 (24:52):
To all the sponsor Shony's Breakfast Bar, try the Salisbury Steak.
Speaker 1 (25:00):
No, No, I don't not around here. No, No, it.
Speaker 3 (25:05):
Was genuinely shocked. When he said he had a sponsa.
I was like, oh my god, finally.
Speaker 5 (25:12):
Won't happen.
Speaker 1 (25:13):
Thanks for checking out another Rock ninety five to five
top five. We'll see you next month.
We are back. It's another episode, another edition, another year,
the Rock ninety five five Top five with the Rock
ninety five five crew. Everybody's in the house. Hey there, Okay,
and the year. What's the year? This year? Somebody? What
do we got? Nineteen ninety six?
Speaker 2 (00:17):
Ninety six?
Speaker 1 (00:18):
Wow? What a year? What a year? All right, so
let's go around the room. We're gonna pick out our
favorite I'm sure she'll explain. All right, So we're gonna
go around the room. Everybody's gonna pick their favorite song
from nineteen ninety six. And let's start to the left. Michael,
Oh you hear you? Come over? Hey guys, No, I'm okay.
(00:39):
I think we're all right. I chose blow up the
outside World, Bye bye. I never heard of it? Soundgarden, Yes,
a desire to destroy your distance oneself from the confusing,
often overwhelming external world to create a personal space for comfort. Right,
what you got out of that song?
Speaker 3 (01:00):
Any explanation needed?
Speaker 1 (01:01):
Because I made that upright on the spot. No, actually
that's the what the song means.
Speaker 4 (01:06):
But this isn't my choice, it's yours. But I will
say my all time favorite male rock vocalist is mister
Chris Well. Did you hear about the new album. Yeah,
I did.
Speaker 1 (01:15):
What do you think? I don't know how I feel
about him. It's his voice, he recorded it, he recorded
the stuff. They were working on this stuff. I don't
have a problem with it. I guess you know. It's like,
let's hear I mean, the guy is so iconic, right,
and he was working on this, whether it's audio slave,
his solo stuff. He's got that voice that just sounds
like I do want to I do want to hear it.
(01:36):
But what was the hold up with Vicky Cornell? I'm
wondering why she was Yeah, there's a weird a state thing.
Who knows what happens with that, But it is a
bad record. I don't Yeah, right, I want to hear it.
I want to hear what's going on, what they've been
working on. And we will and we won't get it
before the induction to the Rock and Roll Hall of Fame,
but I'm thinking next year we will get sound Guard
and also performing at the induction. Yeah, and it's gonna
(01:59):
be really curious to I don't want to see a hologram. No,
it won't be a hologram. I think it's gonna be this.
Speaker 5 (02:05):
It's a projection on a screen that is not a hologram.
Speaker 1 (02:08):
I think it's going to be this woman.
Speaker 6 (02:09):
Uh.
Speaker 1 (02:09):
I can't think of her first name, but her last
name is Shepard. She sang with them recently. She did
that Naked Dragons thing with them in Seattle, and she
sings with Duff on his style and she is great.
And I don't mind that.
Speaker 4 (02:21):
I like a female singer playing or not playing along,
but like singing those lyrics.
Speaker 1 (02:27):
I think it. I mean it worked with Lincoln Park,
I think. And so it's like I actually think that
that's the way to uh think sexist.
Speaker 6 (02:35):
Thank you for joining us Sound Garden, blow up the
outside world my pick.
Speaker 1 (02:40):
Yeah.
Speaker 4 (02:41):
But the other side of that is I don't think
Lincoln Park should have gotten together. I mean, that's that's
not Lincoln Park.
Speaker 7 (02:46):
Whoa.
Speaker 1 (02:50):
I mean Emily Armstrong.
Speaker 8 (02:52):
You know what.
Speaker 1 (02:52):
Emily Armstrong is just channeling Chester Bennington's vibe. It's not her.
That's so wrong though. Did you listen to Dead Era?
Speaker 5 (03:00):
Yeah?
Speaker 1 (03:00):
I did, And you don't think that she channeled that
same kind of energy because I did, right, And you
know Mike Snoda was she has made it her own.
Speaker 4 (03:12):
Yes, No, No, she's with Lincoln Park, and of course
you feel that vibe. If I'm in the room with
a bunch of cocaine addicts, guess what I'm gonna do cocaine?
Speaker 3 (03:22):
Well, I agree, there.
Speaker 2 (03:30):
Is the cocaine part, that's for sure.
Speaker 5 (03:31):
Podcast, I could.
Speaker 2 (03:34):
Not disagree with you more.
Speaker 6 (03:35):
I think what makes Emily Armstrong special is that she
does sound like herself, but she can do the Chester
Beddington parts and it keeps the integrity of those old
songs but doesn't alienate.
Speaker 4 (03:45):
And how you can say integrity when she's a copycat,
You're just wrong.
Speaker 1 (03:56):
This is the cleaner show happens three o'clock. I do
have Lincoln Park. I just feel like it was kind
of a money grab.
Speaker 5 (04:04):
I disagree.
Speaker 1 (04:06):
Doesn't need the money, None of those guys do.
Speaker 5 (04:08):
It got to be about money, and why does a
man have to end when somebody's gone. A band has
every right to grow and change, and it should. What
good would it be if we all stayed the same band.
Speaker 4 (04:18):
I do appreciate what you said, because William Devall with
Alison Chains I think is awesome.
Speaker 8 (04:23):
So go.
Speaker 1 (04:24):
But William Devall is his own vibe.
Speaker 4 (04:26):
He is not channeling Lane Staley and I just feel
like when I this is a personal thing. Music is
very personal, and I appreciate your opinions, But when I
hear Emily singing those songs, I feel like, fuck, she's
just watching a video of Chester and then duplicating that.
Speaker 8 (04:41):
So have you have you listened to the songs where
it's just Emily by herself? Yeah album? How do you
feel about those?
Speaker 1 (04:48):
Mm hmm, that's fair. I'm just not you'll warm up.
I think Emily is very talented, but I one hundred
percent agree with Clinger.
Speaker 8 (04:58):
Okay, I don't.
Speaker 4 (05:00):
I'm not talking about Yeah, like the original? Do you
feel like she is talented? One hundred percent? We're not
even talking about talent. I'm just sorry when she's with
the band that is Lincoln Park's gonna weir.
Speaker 2 (05:14):
I know what you're doing.
Speaker 5 (05:17):
The year is nineteen six, and when are we doing
the cocaine again?
Speaker 1 (05:25):
That's all right, So my man, cheap chap chat. What
do you got for the year nineteen ninety six?
Speaker 7 (05:36):
Thank you, You're welcome.
Speaker 3 (05:39):
Mcans on, Hello, everybody, Hello, it's always nice to see everybody. Absolutely,
nineteen ninety six. It was it was an important time
because it was a change. Uh and there was a
band from the Illinois area that was a part of that.
Speaker 1 (05:54):
Change, Smashing Pumpkins.
Speaker 3 (05:57):
Not Smashing Pumpkins, but they all from around here. No,
it turns out Walter is in a band called Stabbing Westward.
I had a gold record whether in blister Burn and
peel Burn and Peel and I have a song called
what do I Gotta Do? What can I Do? What?
(06:18):
What will I do?
Speaker 1 (06:19):
What? What do I have?
Speaker 3 (06:21):
What do I have to do? What I like about
it is has punctuation. I knew you would know it.
I just learned he was in a band like a
couple of.
Speaker 1 (06:31):
Months ago, at least I was. I was only in
I've been in.
Speaker 3 (06:36):
Many fabulous bands. You haven't heard of any of them. Well,
actually was in a band called I Peeled over and
over and over again. Anyway. It's really dark and beautiful
and haunting. Chris's voice is incredible. There's these tones behind it.
I don't know how they made it, but it's like
ominous but then also romantic at the same time. It's
(06:58):
a really beautiful song. It's it's called what What What
can I Do with You?
Speaker 1 (07:03):
What do I Have to Do?
Speaker 3 (07:06):
I love that song? Nineteen ninety six, Congratulations Walks amazing.
Speaker 5 (07:11):
Oh, it's one of my favorite albums of the year, though, brother,
for real, I can't tell you how many times I'd
be cruising around in my old two forty Z with
that CD and the dash and I would just make
it tracks two and three on repeat, over and over
and over. What year was year two forty nineteen seventy
three and a half?
Speaker 1 (07:29):
Nice black? Uh metallic?
Speaker 3 (07:33):
Yeah, nineteen ninety six, in nineteen ninety six.
Speaker 4 (07:40):
In nineteen ninety six, I was playing that song at
the Crow and Daytona Beach.
Speaker 1 (07:46):
Is that a strip club? No?
Speaker 4 (07:48):
No, No, that's the Shark the Shark Lounge.
Speaker 3 (07:52):
There was no cocaine in the.
Speaker 6 (07:55):
But actually, well, can you give us some insight on
that song, like like fun tidbit that we wouldn't.
Speaker 1 (08:01):
Know it was recorded in a haunted barn. Okay, go on, Yeah, Okay,
So it was our drummer brought us the song. And
then it had a previous incarnation with the band Exotic Birds,
which was a band that also featured Trent Reznor of
nine Inch Nails. Yeah, and then Andy the drummer, who
(08:24):
was also in He was the singer in Exotic Birds.
He wrote the song. He brought it into us, We
added guitar riffs, and we Stabbing westwardized it, and but
you know when Christopher sings that, it really becomes stabbing
Westward and so so we had that and then we
followed that up with Shame Off that record and we
(08:44):
were off to the races. Two buzzworthy clips on MTV
that year. Why the Haunted Barn? Did you get off that?
We recorded the album in Bearsville's Todd Runggren Studio in Woodstock,
New York, Bearsville, and it has a haunted barn which
two kids died in a fire and they're very mischievous,
(09:05):
and we stayed in. Actually the very first night I
stayed in Spook Central and it was the I actually
felt really creeped out in this room. I had no idea.
We just rolled in at like ten o'clock at night,
picked some rooms. I went into this room had a
four poster bed, and I'm like, man, this is just
kind of creepy. So I slept with the lights on
(09:25):
the next day, I moved into the loft area of
the barn where the recording studios downstairs, and then there
were beds upstairs in the loft areas. But things would
happen like we'd all be downstairs in the recording studio
part of the barn, and the TV upstairs would turn
on and just gradually get louder with static and Andy
(09:46):
saw Mike's stand pick up, rotate, set back down, you know,
and then we would just like go to sleep with
bottles of wine and just I just had. We created
a show called Spooked Time Theater, which became our publishing company.
Speaker 2 (10:02):
I mean, it's just a spook Time Theater.
Speaker 1 (10:05):
I love a story like that.
Speaker 2 (10:07):
Can we resurrect spook Time Theater?
Speaker 3 (10:10):
The puppets over there? But he's not using them.
Speaker 1 (10:13):
See that did involve puppets, and we do have puppets now,
so maybe we will. Maybe we will resurrect spook Time Theater.
You heard it here, Yes on the Rock ninety five
to five Top five for the year nineteen nineties.
Speaker 8 (10:29):
Oday.
Speaker 1 (10:30):
Okay, all right.
Speaker 5 (10:32):
With more cocaine.
Speaker 2 (10:34):
Speaking of haunted barnes, what does a ghost caw?
Speaker 3 (10:36):
Say?
Speaker 2 (10:37):
Boo?
Speaker 1 (10:38):
Clinger nineteen ninety six hits the bell for that, don't help?
Speaker 2 (10:44):
Wait, what do you mean, Clinger?
Speaker 1 (10:46):
I'm sorry?
Speaker 3 (10:48):
Wow, I got it, Raady, I was better when it's
just men, that's just proven.
Speaker 5 (10:56):
That's scientific surprise, ladies and gentlemen, and now and it's
bigger than all yo.
Speaker 2 (11:06):
Okay, ninety six what a year for me.
Speaker 6 (11:09):
Solid Food got it down, fucking crashing it.
Speaker 2 (11:16):
Okay.
Speaker 6 (11:16):
So the song that I have chosen did not come
to me through the original band because I was lame
still when I found it and I was watching Panic
at the Disco. They released this live DVD of one
of their concerts. At that concert, they covered two songs
that introduced me to two huge bands. One was Radiohead,
the other was Smashing Pumpkins. They covered Tonight Tonight.
Speaker 2 (11:38):
First time I'd ever heard it, I was like, this
is cool. I really liked the lyrics.
Speaker 6 (11:41):
Oh my god, went and checked it out, heard Billy
Corgan's voice for the first time, and that was an experience.
Speaker 2 (11:48):
But the music video of.
Speaker 6 (11:49):
It was so cool, and if you watch it, it's
like very nineteen twenties, like silent movie style ish and
I saw this thing was probably a TikTok of the
director for that video and they were like, we could
only put the camera in one place and we were
working with two d things and trying to like figure
out how to move them so that it showed up
(12:12):
on screen correctly, because like you couldn't really go turn
at any angle because it would show like the cardboard
backing because they used all those props they painted it
like really cool.
Speaker 2 (12:21):
Anyway, that's the music.
Speaker 6 (12:23):
Video of the song itself, recorded with the Chicago Symphony
Orchestra Let's Go, and just the lyrics of it, the
feeling of it.
Speaker 2 (12:31):
I think it's just so.
Speaker 1 (12:32):
Cool and recorded with a guy named Flood who was
on top of his game at the time, and a
double record a very very big undertaking for the Smashing Pumpkins,
following up Sime's Dream with a double album Melancholy.
Speaker 4 (12:46):
So wasn't that one of, if not today, the biggest
selling double record of all time.
Speaker 1 (12:50):
I think it definitely was at the time time.
Speaker 6 (12:52):
Yeah, yeah, yeah, Now he's like, let's just do a
three album, a thirty song rock opera and that's fine.
Speaker 1 (12:59):
And full circle at Lyric Opera House in November.
Speaker 2 (13:03):
Yeah, yeah, I think with the CSA, right or.
Speaker 1 (13:06):
Some I don't know exactly which orchestra, but yeah, there's
it's going to be an.
Speaker 2 (13:10):
Orchestra, you guys know, right, I found.
Speaker 1 (13:13):
Out what year? What year are we doing?
Speaker 9 (13:19):
All right, So my altime favorite, my ultimate vocalist is
Chris Cornell, and there was a record actually to get
to nineteen ninety six.
Speaker 4 (13:32):
I got to start with my band in nineteen ninety
four that released You Were in a Band.
Speaker 3 (13:38):
My Mind is Blue right off my shows.
Speaker 4 (13:41):
That released a record called Jarflies in ninety four. This
particular song I'm thinking of was sort of sort of
a sleeper for a few years until Allison Chain sat
down for MTV Unplugged and Nutshell came to life for
me and I love that song. Turns out that this
was one of the final performances that Lane Staley had
(14:03):
before dying five years later, which is just incredible to
me and super sad but so haunting, and I to
this day my all time favorite song from from Alison
James is Nutshell. But I only really gravitated towards it
when I heard them play it and see them play
it for MTV Unplugged.
Speaker 1 (14:21):
They opened with that one. That's the song that they
would that they came out on that performance.
Speaker 4 (14:26):
I love that song so much, and then the rest
of his story sort of goes downhill from there, and
it's super sad and you know it took him a
couple of weeks to find him in two thousand and two.
But I love that song so much, and I feel
like that sort of he sort of man, you feel it.
Speaker 1 (14:42):
It's a very really very emotional I mean, they, you know,
evoke that emotion of just you know, kind of loneliness. Yeah,
and you get that feeling it, which is an awesome
weird thing because that they come out with that song,
and they come out one by one, pick up their
instrument on the unplugged version, and then they are all
playing together at the end, and then it just sounds
beautiful and hunting at the same time.
Speaker 4 (15:04):
I agree, and I love that song so much. It's
my all time favorite Alisa Chain song. And the other
day on my six o'clock High five feature where I
do a musical autopsy or pull the curtain back? Are
you on the Radio, one of the things that I
talked about was how a song was one way on
a record right and then really became under the spotlight
(15:24):
in a live setting. And that's that was the example
that I talked about.
Speaker 1 (15:27):
So, yeah, good one. Alisa Chain's Nutshell got.
Speaker 2 (15:31):
It okay, So no cocaine, okay, not yet.
Speaker 8 (15:38):
Maris uh, staying in line with a lot of Chicago
themes here. Wow, I gotta go with local age. Oh
bound for the floor. Yeah, that pulls you in, it
keeps you there. And there's this one word everybody at
school would just say all the time, and we thought
we were so cool using it everywhere asthetic.
Speaker 1 (16:03):
Did we know what it meant?
Speaker 7 (16:04):
A ton nuts.
Speaker 8 (16:07):
Who they're freewhere and local. It's just a skillful use
of the word, the rhyme scheme copastic pathetic.
Speaker 6 (16:17):
You know who does know the definition to copaesetic is Mikey. Mikey,
can you come here and give us the definition of copoesetic?
Speaker 7 (16:21):
Yeah?
Speaker 1 (16:22):
Cool?
Speaker 8 (16:28):
But yeah, I gotta gotta shout out a great two
piece from Chicago.
Speaker 1 (16:31):
Seriously, I mean like they brought it. Uh, just those
two guys when they would play, we would do festivals
with them, and the energy that Scott brings. He's such
a talented musician. Yeah, so great.
Speaker 4 (16:44):
And that's kind of a simple but cool, recognizable guitar
riff to go along with.
Speaker 1 (16:49):
Yeah. Yeah then, and if you listen to even deeper
tracks from Local h Man, they just keep on going.
I mean they're really an underrated band. I think we
all we all know that we know that song, but
listen more because there's some great stuff on their records
that I think if you're a fan of that song,
or a fan of a lot of the bands in
that genre, you're gonna gravitate to.
Speaker 3 (17:11):
What do we hear from somebody who plays a guitar? Pat,
what do you think about that particular record? Do you
like the guitar work?
Speaker 1 (17:17):
Local Age? Who are they?
Speaker 2 (17:20):
They're a local band.
Speaker 5 (17:22):
They couldn't get a bass player or something, right, Isn't
that what I was? You know? I like the fact,
but what I really liked about Local Age was the
rawness right, like that punk rock vibe to it. It
wasn't overproduced. It was pretty simple and raw, and it
just allowed that energy to translate in the track.
Speaker 2 (17:37):
Yeah.
Speaker 1 (17:38):
I mean, like you'll see today and things are like
super produced. I think I.
Speaker 4 (17:42):
Think this is a is a way that I don't
really like it. You can so many of the current
active rock bands, and I love them in concert, but
god almighty, it's it's so compressed and overproduced. It sort
of sounds like it's all done with the same I
don't I don't like that. I'm surprised more man don't
(18:03):
have an ear to say, hey, I don't we don't
really want that sound.
Speaker 1 (18:06):
Well, yeah, it's one of those things where it becomes
the trend and it's the trend that works, and so
you kind of chase it. So I mean it was like, look,
we have a whole nother podcast on if you want
to talk about the music business and how it's upside
down these days. But I mean that's probably one of
one of the reasons is people are chasing whereas I
think it was a pure time for lack of a
(18:26):
better word, when in the from the seventies into the
eighties into the nineties and then things kind of started, yeah,
turning upside down. But yeah, I agree Local Age had that. Yeah,
it did.
Speaker 5 (18:39):
And that's what I think really stood out about them,
And when you see them live, it translates that same way, right,
That raw is what jumps out of the speakers with them. Yeah,
still to this day, great bandman, So.
Speaker 1 (18:49):
Pat, since you were on the microphone, what is uh?
Speaker 5 (18:52):
And I want to make it clear that in nineteen
ninety six the cocaine.
Speaker 3 (18:56):
Was so much better. My me floorda.
Speaker 5 (19:00):
Nineteen ninety six there right, the Dollhouse now let me
tell you this. So me out to drink that night
and no, all right, I can't go into that. That
was good, all right, So all right, I'm gonna stay
with uh there's so many cool things in nineteen ninety six,
Like we all know the big bands, right, Smashing Pumpkins,
(19:21):
Sound Garden, but there was also these little fun bands
that would have one song or two songs that would track.
And uh so I was kind of debating, right like,
how do I like I'm mother Earth one more Astronaut?
Speaker 1 (19:33):
Right?
Speaker 6 (19:33):
Like?
Speaker 5 (19:33):
I love that jam. It's kind of like a guilty pleasure.
But if I had to really lock in on a
song and a band from nineteen ninety six that stood
out to me, it was Tools Anima, you know what
I mean, because we got to see you know, and
we were just talking about local ahs, the Rawness and
that kind of an energy. But then you flip it
(19:54):
upside down and you get Tool, right, Like, does it
need to be so cerebral?
Speaker 1 (19:59):
No, but it is. It's also not early produced.
Speaker 5 (20:02):
No it's not. And and once again a Chicago guitar
player in the mix. So let's give the props where
the props is do?
Speaker 1 (20:10):
Right?
Speaker 4 (20:10):
Like it could have easily turned out to be overproduced
too good. I mean, like you could add a lot
of stuff in there.
Speaker 1 (20:15):
But yeah, I mean it's like you can hear if
you listen, you can hear each individual instrument guitar, bass,
and drums, and then Maynard and that's there's nothing else
to it. Maybe there's an overdubbed guitar in there, but
I mean, that is it. There's no uh, and it has.
Speaker 5 (20:31):
To be that way, right, because there's so much going
on which each of those musicians and the melody lines,
and forget about the timing changes. It's nuts. You know.
It was funny because I often wondered, you know, how
does Maynard keep track of that live? When you're live
on stage right right, that's a whole other game. You're
not going to be sitting there counting all right, this
is seven six, this is you know, and flipping those
(20:53):
time signatures. So I found out that what happens is Danny.
So watch them when they're live now, and you're going
to see it all the time. I have Dannie will
just ting the ride cymbol on the bell a couple
of times, ting ting, and that signals Maine or when
the vocals come in and now that I've said it,
you're gonna listen and see that live and you're getting
leave me.
Speaker 4 (21:12):
To somebody who could be one of the single best
drummers in the world.
Speaker 1 (21:16):
Yeah, one of them. Yeah, sure to.
Speaker 4 (21:17):
Do that as a little like I want. It'd be
interesting to know did he come up with that? Did
they work on it?
Speaker 5 (21:22):
They had to put it together because Maner said he
was having trouble and days like, I'll just do it,
and so Maner says, I tell him to give me
a ting ting.
Speaker 1 (21:31):
That's that's amazing. So you learn things on this pot.
Speaker 5 (21:34):
That's what we tried to and cocaine was better. It
came from Colombia and this big square break.
Speaker 1 (21:42):
It was really all right. So in nineteen ninety six,
I'm kind of going off of off the mainstream playlist.
That's a big I mean, I could obviously say an
(22:03):
important record for me. Obviously that year was with a Blister,
Burn and Peel and are there the singles that were
released that year. It was our first gold record, So
I mean, you can nobody can ever take that away.
The president of Columbia Records, when he was giving us
the record said, I always love giving a band their
very first gold record. It's better than multi platinum or
(22:25):
all of this because it's your first and I'm like,
oh man, that makes so much sense, that's so poignant,
and so this record was that So ninety six an
important year, big year for me for sure. But there
is a band from Los Angeles that is a musician's band,
and you might have to do some homework to dig
into this, but I am. I'm choosing the song Stuck
(22:49):
on You by Failure, and if you're not familiar with Failure,
you gotta go check them out because they bring it. Actually,
we just did a show with them. They were at
Louder than Life this past week. In didn't get to
see them because I was bartending another story, but it
was an incredible They're an incredible band with this record
fantastic Planet that came out in the year ninety six
(23:12):
and Stuck On You kind of wiggled its way into
radio just a little bit. But guitar, bassed, drums and
occasionally a keyboard sound, but it just hits like a
ton of break in the same vein as maybe a
local h or you know, the grungier rock bands of
the time. But if you get a chance. And there's
like fourteen songs on the record, and there's a bunch
of interludes in between the songs. But Sergeant Politeness, so
(23:34):
many great songs on the Fantastic Planet record. So Failure
is your homework. Go check them out. You're gonna find
songs that you like.
Speaker 4 (23:40):
I think for the ending or to trail us out
in post production, you should have that particular song playing
on the way out.
Speaker 3 (23:48):
Because it kind of folded.
Speaker 1 (23:51):
We can't even failure. That's word medio.
Speaker 5 (24:00):
Axe Chapman looks exactly like Tommy TV from Willy Wonka.
Speaker 7 (24:05):
Get back over here.
Speaker 1 (24:23):
This has been a lot of fun, maybe too much fun,
and now it's now it's a little coquaine. So while
we do an old nineteen nineties buffet, you guys can
check out all of the all of the music that
we talked about and get ready for another podcast because
(24:46):
we've got another year coming next month. I can't wait
to bring it to you and we love these round tables.
Thanks for checking it out, and be sure you listen.
Speaker 4 (24:52):
To all the sponsor Shony's Breakfast Bar, try the Salisbury Steak.
Speaker 1 (25:00):
No, No, I don't not around here. No, No, it.
Speaker 3 (25:05):
Was genuinely shocked. When he said he had a sponsa.
I was like, oh my god, finally.
Speaker 5 (25:12):
Won't happen.
Speaker 1 (25:13):
Thanks for checking out another Rock ninety five to five
top five. We'll see you next month.
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