257. Super 7 San Diego

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_05 (00:00):
185 miles south dot

SPEAKER_02 (00:03):
com smash that patreon

SPEAKER_05 (00:27):
button 185 miles south a hardcore punk rock
podcast.

(01:00):
What's up, everyone?
We are back and talkinghardcore.
Helping out.
You know him.
You love him.
He is the best-dressed man onthe pod.
He is Daniel Sant.
What's up, Dan?
It's on fire! Dude, San DiegoClassic.
Also helping out, it is AnthonyPappalardo.
What's up, Pops?

SPEAKER_06 (01:17):
What's up, 185ers?
Thanks for having me.

SPEAKER_05 (01:20):
What up, what up?
And back again, it's Rob Moran.
What's up, dude?
Hey guys, how

SPEAKER_00 (01:25):
are you?
Happy to be here.

SPEAKER_05 (01:27):
Okay, so this time around we are doing a Super 7 on
San Diego, California.
Rob's hometown, my transplanttown, Dan's landing ground for a
minute before he abandoned us,and a town where Pops enjoys the
music from.
So Dan, overall thoughts, punkin San Diego.

SPEAKER_01 (01:47):
San Diego is low-key legendary on punk and hardcore.
And the thing that is shockingabout putting all this thought
into your favorite San Diegosongs is is the sad fact that
there is so much good San Diegomusic that is not on Spotify.

(02:09):
Generally, we like to pull fromSpotify because then it gives
the listener and ourselves areally good playlist to go back
to.
So I'm going to stick with theSpotify method, but I'm really
sad that there's some reallyclassic San Diego stuff that is
not on the...
Is it Swedish?

(02:31):
Or is it Danish?
The Swedish overlords have notacknowledged all the great San
Diego stuff.

SPEAKER_05 (02:40):
Yeah, but by no means is anyone tied to the
corporate digital overlords.
So you can pick anything youwant.
And we are going to do a Patreonepisode where we will talk some
of the other stuff thatoverflows out of here because
San Diego is so important to us.
Rob, thoughts?
San Diego, punk and hardcore.

SPEAKER_00 (02:59):
Diverse.
interesting, groundbreaking,political.
It really is a true melting pot,I think, between military
transplants, the militarycomplex that surrounds the
military transplants, beingproximity to the border, being

(03:19):
proximity to Los Angeles.
I think that a lot of vitalmusic came out of this city.
And to Dan's point earlier, nota lot of it got a lot of
attention.
Some of it's not even onSpotify, but it is critical and
crucial nonetheless.

(03:39):
I mean, I think it's what makesthe San Diego music scene so
beautiful, especially for punk.
Pops, thoughts on San Diego?

SPEAKER_06 (03:48):
Yeah, San Diego's always been a scene I was super
interested in.
Probably a lot of folks...
you know, entry points of like,whether it's skateboarding or
later, like gravity records.
But I think the thing that'sreally interesting to me as an
outsider is that lack ofdocumentation keeps me digging.

(04:10):
And there's always like newnuggets that I keep picking up
on or stuff that I'll hearmentioned in an interview and
start looking up.
And, and, um, there aren't, Imean, I'm sure you could say
that for a lot of places, but Ithink that, you know, without
there being like 27 books anddah, dah, dah, dah.
Like I liked it.
There's still stuff I can findout and kind of piece it

(04:31):
together in the family tree ofwhere it fits in.
So, um, yeah, it just, just, um,just in its inspiring place.
I think that the impact SanDiego had in the early nineties
specifically on me, like therewas very few places where I, I
was like, Oh, I want to see whatthat's like.
I want to meet people from therebased on their ideologies, their

(04:56):
aesthetics.
And yeah, that's my San Diegosoliloquy.

SPEAKER_05 (05:01):
I love San Diego, obviously.
I ended up here.
Second best city in America.
And I have a connection herevery early in my hardcore run.
So my first hardcore band, thisband called Voice of Defiance, I
was just chatting up some foo onAOL.
And Like I convinced him to putout our record.
Like he didn't really put itout.
He gave me the money and justwanted half the record.

(05:22):
So basically like, you know, myfirst hardcore seven inch came
out because of that.
And he lived in Solana beach andstuff.
And, uh, he got us a show.
Our first show down here was atthe Soma side stage and we
played to no one, but it wasstill great.
And then the second time that weplayed was out on Coronado at
some teen center.
And we played with the setupand, uh, I believe that might

(05:44):
have been when I met Don, and Idon't know if I met you or not,
Dan, but I started meeting theSan Diego people.
And then I started coming toshows down here often because I
really liked straightforwardhardcore when I got into it.
And in the 90s in SouthernCalifornia, it was kind of a
barren desert for stuff thatwasn't either metalcore or

(06:05):
soaked in emo.
And I loved the band Powerhouse.
I loved Ignite.
And I loved a band from SanDiego called built to last.
And we would drive down and seethem.
And, and, you know, sometimes Ithink that they played with
good, clean fun once.
And we drove down and just sawbuilt to last and left.
And like, when we got home, wewere like, God damn, we just
like sat in a car for six hoursto see one band.

(06:28):
Like, this is fucking wild.
What are we doing?
You know?
But like, that's like beingyoung and into hardcore and
loving it, you know?
So, uh, yeah, very important tome.
And then of course, you know,built to last like the time, uh,
kind of went away and then overmy dead body came out and in
control played a bunch of showsof over my dead body, which is
Dan and Rob on this podcast.
So, Hey, Hey, it all ties in.

(06:50):
And, uh, it's nice that we'reall friends and all that still.
So very good.
Dan, let everyone know what asuper seven is and the order
that we're picking in.

SPEAKER_01 (07:00):
Okay.
So a super seven is a way thatwe pick, uh, in a fantasy
football style draft, uh, We goround by round, each selecting a
song.
The same band can be chosen, butthe same song can't.
So as soon as you've taken asong, that's off the table.
And then by the time we get tothe end, we have seven songs

(07:23):
each, and then we put it up tothe 185 listeners to vote for
who they think had the bestplaylist.
Okay, Dan, let's go to you foryour favorite Unbroken song.
Actually, I'm going to bestrategic right now because
having got the first pick, I'mgoing to go with, because
there's only a couple of them onSpotify, and I said that for the

(07:47):
listeners...
For my people out there, I'mgoing to keep it Spotify so they
can enjoy all these songs on theplaylist.
I'm going with Turn Away byBuilt to Last.

SPEAKER_05 (07:59):
Oh, a swoop.
I had this.
Oh, did you?

SPEAKER_01 (08:03):
Yeah.
It's off of the CaliforniaHardcore compilation.
What label did that come out on?

SPEAKER_05 (08:09):
I want to say, wasn't this the Eric Ozine comp?
This wasn't the CaliforniaHardcore comp.
This was that Our Own Wayrecord.
Okay, yeah.
I have the notes here because Iwas going to take this.
It came out on the Our Own Waycompilation in 1998, and that is
on Blackout Records, actually.
It wasn't Eric O'Zane's.
He did a different one.

SPEAKER_01 (08:30):
Yeah.
It's the Blackout comp that abunch of California hardcore
bands are on it, but it's notexclusively California hardcore
bands.
But the great thing about thisversion, like, Built to Last
recorded this two times, Ithink, and this version just...
it's the best they ever sounded.
I feel like Bert's voice is justperfect on this song.

(08:56):
And it's got that, it's got thatthing that built to last and
Ensign both did well, which ishaving playing like
straightforward, hard, hardcorewith a bit of melody.
And it's, It's still building toa good breakdown, but being

(09:16):
catchy riff-wise as well asvocally.
Built to Last, for those likemany...
Hopefully only a few peoplelistening that may not have
known is Built to Last was anincredibly important hardcore
band for the straightforward,like, you know, right down the

(09:37):
lane, sick of it all style,hardcore, New York, hardcore
tinged, especially on the demo.
They were very NYHC, but they...
they were, uh, the band for notjust San Diego, like in Southern
California, like them.
And like, as Zach said before,ignite and then powerhouse, that
was kind of like the, the threestops on the, the road down to

(10:01):
California.
If you wanted to playstraightforward, hardcore, have
pylons, have singalongs, likebuilt to last, did it better
than most.
And, and, uh, Miss them greatly.
And this is a great song.

SPEAKER_05 (10:13):
People might be familiar with them because they
were on the 1999 version of Onlythe Strong as well.
And I believe that these are theonly two songs that are on
streaming from them.
So yeah, Rob, what do you think?

SPEAKER_00 (10:25):
Yeah, I mean, I agree with Dan.
I mean, I think that in SanDiego, there was this big lull
for a couple of years.
I mean, it was, you kind of hadmore of the locust kind of angel
hair VSS, uh, at the drive-inkind of scene, but there wasn't
really anything that was juststraightforward, hardcore.
And I think, you know, 97, 98 iswhen built to last came around

(10:49):
and really brought back juststraightforward meat and
potatoes, hardcore.
And they, and they did itreally, really well.
They were great live, nicepeople, uh, Yeah, and this is a
great pick.
The song is everything that youwould want to hear in a great
hardcore band.

(11:09):
And I think they did it reallywell.
So I think it's a good pick.
Wouldn't be my first pick, but Ido think that it's important to
San Diego because they ignitedkind of a whole spark of
hardcore kind of coming back toSan Diego.
They were definitely the flagbearers around that 97, 98
timeframe.

SPEAKER_05 (11:30):
Yeah.
Yeah.
Just to talk to the song alittle bit, because I took notes
on it, like killer drum fill toopen.
And then you're in on like aguitar ring out over like a slow
fast beat.
And this is, this is actually areally cool beat.
It's kind of like that integrityClevo style fast beat.
It's just got a vibe to it.
And Dan and Rob have both saidlike these dudes, they're out of
like the sick of it all likevein of, of New York hardcore

(11:52):
and, and did it really well.
The chorus on this nice built tolast sick ass band.
I love it.
Great first pick.
Okay.
Dan, I am going to take mynumber one and...
Jesus, Unbroken gets snubbedagain.
I'm going to take The Zero'sWild Weekend.
Dude, this is the OG San Diegoband.
Technically out of Chula Vista,but the OG punk band out of San

(12:15):
Diego.
This is off their second 7-inch.
The first 7-inch, Don't Push MeAround, is 1977 on Bomp.
And this is 1978, also on Bomp.
And...
Dude, this one smokes the firstone, in my opinion.
It's just so much more up-tempo.
And...
Even their own write-up, theycompare themselves to the

(12:38):
Ramones, which I think is veryapt.
If you think about the up-tempoRamones songs, it's like that.
Although in the vocals, itreminds me a lot more of the
Saints.
So if you consider aconglomeration between the
Ramones and the Saints, I thinkyou land on the zeros.
It's just a super early band,dude.
It's so sick.
And this song is so up-tempo.

(12:59):
It's about as fast as you can bedown-strumming.
which is like my favorite tempoin punk.
So I love their shit.
What do you think, Dan?

SPEAKER_01 (13:06):
I love the zeros.
I knew this was going firstround.
Maybe not.
I thought maybe don't push mearound, but either way, like I
think that, I mean, legends,absolute legends.
They were colloquially known asthe Mexican Ramones, obviously
due to sound and due to beingproud of, you know, being

(13:31):
Mexicana's fans.
from Chula.
Dan, Mexicanos.
You just called them chicks.
Did I say Mexicanos?
I said Mexicanos.
I heard Canas.
Ay, ay, ay.

SPEAKER_04 (13:46):
Caramba.

SPEAKER_01 (13:49):
Straight up, the thing that's brilliant about
them, you hear the Saints more.
I hear Buzzcocks a little bitmore.
But either way, they'reoperating at the same time that
those bands are operating intheir own things.
And they're only probablygetting a tiny sprig of it to

(14:10):
influence them.
A lot of this is just coming outof just their own creativity and
their own passion for greatmelody and hooks.
It's just fantastic stuff.

SPEAKER_05 (14:23):
What do you think, Pops?

SPEAKER_06 (14:24):
I was going to ask more of a question being the...
pod outsider on the topic.
Like how, how are the zeros seenin, are they like San Diego
royalty?
Like, you know, I think they'reprobably like outside of that.
Like, it's like kind of a killedby death, like rare thing to
like, but like, how are theyseen within like San Diego music

(14:47):
history and celebrated?

SPEAKER_00 (14:48):
Yeah.
I mean, absolutely celebratedwritten about, talked about, I
mean, I'm, I went to the samehigh school as those guys and
not, obviously I think 20 yearslater, but you know, but I
absolutely part of, of the punklore, the music lore ground zero

(15:09):
for a lot of things.
I mean, you know, I, I, I havethem on my list as well, but
they, they were kicking around75, 76 before that well before
that bump EP, the first one evencame out.
So I, they were playing parties,like backyard parties and things
like that.
And they kind of got spotted bysome folks, sent demos around,

(15:33):
early demos.
And songs like Don't Push MeAround, Beat Your Heart Out,
that was written.
Those were the first songswritten before the band was even
formed by one of the members ofthe band.
And then once they got going, Imean, thinking about the fact
that they got invited to L.A.
to play with the germs and theweirdos, like that was their

(15:54):
first out of town show.
Like, imagine being from ChulaVista and someone says, hey, do
you want to open for the germsand the weirdos?
Like, that's wild.
Right.
So, I mean, I think they'rethey're they're absolutely
critical, like ground zero.
You know, I think.
Every scene kind of has thosebands.
They were the ones that kind ofignited things.

(16:17):
There was other bands aroundthat time, too, that, you know,
we'll probably talk about moreon the Patreon.
But, you know, I do think thatthey are well regarded as ground
zero for independent, like SanDiego punk music and rock.
To think that they were arounddoing this stuff when the
Ramones were barely putting outtheir first record.

(16:38):
How did they even get on thatwavelength?
How did they get on that Saintsand Buzzcocks wavelength when
everything was just so new?
It's pretty interesting.
But yeah, they had a majorimpact here.
And about two years ago, therewas a big article that came out
in a local magazine specificallyabout...
chula vista and a big piece ofit was about the zeros and what

(17:02):
they did for san diego music sothey're they're pretty well
regarded and you know robertlopez aka elvez he's still
around doing bands and you knowsee him around town all the
times he's still activelyinvolved in rock and roll and a
bit of punk in san diego forsure the one thing that drives

SPEAKER_01 (17:20):
me a bit crazy though is you Lots of write-ups
about this band historicallyhave classified them as LA, and
that drives me fucking crazy.

SPEAKER_00 (17:29):
Yeah, I mean, I think that's just because of
Bomp and, you know, their firstreal exposure to punk was the LA
scene, right?
So there wasn't...
really much of a punk scene inSan Diego.
When they first started, it wasall Los Angeles.
So I think that's why they'vekind of been adopted as an LA
band, but they're absolutelyfrom Chula Vista national city.

SPEAKER_05 (17:51):
I mean, think about the contemporaries in San Diego
at the time, right?
Like for instance, like thedeals, like they cut out before
they do their first records, youknow, like they're just, I don't
know if there was a lot in SanDiego.
There's two things I want to sayon the zeros before we get past
this.
First of all, there is a great,LP, like compilation of their
early stuff that's out that iskind of essential.

(18:12):
It's called Don't Push MeAround.
It's pretty easy to get.
I still see it in the stores allthe time.
So I think that people shouldcheck that out.
Also, it's interesting.
They had a second life.
So in the 90s, they startedplaying again and they put out a
couple records, I believe on aSpanish label.
and has some popularity likeover in Europe so and those

(18:32):
records are good too just kindof like up-tempo indie rock it's
not that far of a departure fromthe early stuff because I mean
the band is just basicallystripped down rock and roll so
yeah It's cool.
They seem like nice guys.
I've seen them in the last, Imean, last 10 years now, I
guess.
And they were great when I sawthem.
So they might have a weird thinggoing on with a name or maybe
there's a dispute because theyplayed Casbah this year and it

(18:55):
was like the zeros of like theirversion of the zeros jam.
You know what I mean?
So I don't know what's going onwith that, but hell yeah.
Living legends, we should say.
And okay, let's go to you popsfor your number one.

SPEAKER_06 (19:09):
Cool.
I'm going to stay in the zoneand fast forward.
several years and take amenitythis is our struggle not down
mix um just amenity was like iknew battalion of saints but
amenity was sort of myintroduction to san diego
hardcore as a sound and theythey toured so that like really

(19:32):
if you toured back in the early90s that was like a very like
legit thing right like thatlegitimized your band more than
like something you'd see in thebins.
And then fast forward when wewere, when Nathan and I were
putting together radio silence,we kind of had a hard stop after
all this time compiling thingswhere we just needed to get the

(19:56):
book done and the publisherwanted it done.
And I got a call from this guywith a really gruff voice who I
couldn't, he was talking a milea minute and, you know, like a
couple of minutes into it, I'mlike, I guess I'm talking to
Mike down.
He didn't really say like, hi,this is Mike down.
And he said he had all thisstuff for the book.
And that was like a very common,like people would come in really

(20:19):
hot with like, I got all thisstuff.
And then he overnighted like abox of all the downside records
and posters and flyers.
And Mike just became a friend ofmine when he moved to New York.
So I, I was thinking about thisand just how, like, I couldn't
even pick like, one succinctstory about being around that

(20:42):
dude because they're all soridiculous and elaborate but i
just i had to pick that firstand it's a great song it might
not even be my favorite amenitysong it's the most anthemic but
the one the one thing i wantedto say that i wrote down was
like amenity i know there's likedifferent incarnations of the
band but around like the 89 90amenity i know they're getting

(21:04):
the slower tempos from a badbrain influence but they they're
groove innovators and there'slike a lot of like heavy groove
that I don't think they getcredited for.
And I say groove in a, in a coolway, not in like a funky way.
But they, they have a bunch ofsongs that are slower tempos
that I think are really cool andpowerful and great lyrics.

(21:25):
And yep, that's, that's my pick.

SPEAKER_05 (21:27):
Yeah.
I don't think that this is thebest song, but I do think it's
like the song that, Right.
It is their classic.
So it's a great one to take,especially if people have not
heard Amenity before, it's goingto be the one that grabs you.
And Indecision just did a fulldiscography.
So everyone check that out.
And it is available onstreaming.

(21:48):
So that rules.
Hell yeah.
Rob, what do you think?

SPEAKER_00 (21:52):
Yeah.
Yeah.
Amenity is my ground zero in SanDiego, right?
I lived, all those guys livedwithin a two, three block radius
of me.
When they originally started,the original singer Robin lived
on the same street as I, and sodid Barry, and Sergio and Tim
lived a few blocks over.

(22:13):
But those guys, along with Bobfrom Vano Communications,
changed san diego foreverforever i mean they put out
their own music they put ontheir own shows they brought
bands like soulside and verbalassault and reason to believe
and hard stance and inside outthey brought all these bands
around to san diego and exposeda lot of us kids to a lot of

(22:36):
great hardcore in the late 80sand early 90s and it was just
amazing to me that you knowgrowing up and first getting
into punk and seeing it seemedso unattainable.
And it's like, oh, there's theseguys right on my street that are
in a band and they just put outa 45.
It was so inspiring.

(22:56):
And without a doubt, withoutAmenity and Vinyl
Communications, I wouldn't havebeen inspired to want to play an
instrument.
I wouldn't have been inspired towant to do bands.
And yeah, without amenity,there's no one broken, like
hands down.
They are critical for me and Ithink critical for a lot of

(23:19):
other people.
And it opened the doors for alot of other things like, you
know, forced down and gravityrecords and all these different
bands.
And I think that Mike's energyand artistic vision drove a lot
of of how Amenity feels.
It wasn't just the music.

(23:39):
Anthony's spot on.
There was a heavy Bad Brainsinfluence, a lot of eye against
eye, quickness, groove to it.
And I think that while Tim andSergio and Barry had the music
on lock, Mike was a visionarywith how things looked
aesthetically.
So he made sure that when yougot a record, it wasn't just a

(24:00):
record.
There was art.
associated with it,hand-stamped, all these
different things.
And I think it was just ascritical as the music, what Mike
and those guys did.

SPEAKER_05 (24:12):
Yeah, the Bad Brains love is super apparent,
especially when you consider theband that Tim does after this,
right?
He does a band called House ofSuffering, which is great as
well.
Dan, what do you think aboutthis?

SPEAKER_01 (24:22):
Yeah, I love that you all touch on the groove
because that and the anthemicsound part of that groove.
Like it is a different thingthan just call and response
hardcore.
It is arguably, it comes overwith even more gravitas and
meaning in a lot of theseamenity songs than some of that

(24:45):
other quote unquote youth crewstuff that we absolutely adore.
And Rob talking about likeamenity music, Downside Records
etc going on to like it'screated a legacy all the way
through San Diego lots ofhandmade pressings lots of you

(25:08):
know 3-1-G carried it on andthen other like all of us have
done hand things because it isjust part of the legacy the
thing about this song inparticular being chosen though
the thing that's so importantZach and I always talk about
this there's not enoughanti-racist songs and there's
not enough of that sentimenteven though there can always be

(25:32):
more there is lots of them butsome of them just rise to the
top of being so important andthis song really you know It
just gets that across.
It's absolutely perfect.
And, you know, OMDB interpolatedit into one of our songs because
we wanted to pay homage to this.
And we basically did the This IsOur Struggle refrain at the end

(25:55):
of one of our songs.

SPEAKER_05 (25:56):
Okay, let's go to you, Rob, for your number one.

SPEAKER_00 (25:59):
Yeah, I am going to go and take a little bit of a
different tact and move northinto North County and take
Antioch Arrow, Lightning Bolt.
I think...
that you know what we've talkedabout is very important but that
first antioch arrow ep isabsolutely critical to kind of

(26:23):
picking up where heroin left offbut pushing it in a direction
that nobody saw coming you knowand that song is just absolutely
relentless like you know, theywere wild live, super intense.
You know, if you ran like MossIcon and Fugazi on triple speed,

(26:44):
that's kind of what you get outof Antioch Arrow.
I think that there's a verybursting at the seams, DC
franticness to everything thatthose first couple Antioch
records do.
Super off-kiltered vocaldelivery like Moss Icon style.
And I think, again, the handmadeaesthetics carries through,

(27:06):
right?
I was there when they were spraypainting the stencils for the
record and I actually have thestencil itself for the first
Antioch LP or 12-inch EP andThat record is so important to
me because it changed how Ilooked at music.
I think heroin is important notto discount anything like that.

(27:27):
You know, that was kind of thefirst go around at this type of
stuff.
But you can draw directcorrelations from things like
Antioch Arrow to bands likeOrchid, you know, and some later
dead and gone stuff.
I don't know.
I feel that this band, you know,is absolutely critical to San
Diego.

(27:48):
What do

SPEAKER_05 (27:48):
you think pops?

SPEAKER_06 (27:49):
They're kind of the OG mysterious guy band in the
fucking best way.
Like when they came toMassachusetts, they played one
of the worst shows I've everseen in my life.
Like it was in the basement ofsomething.
I don't even know.
It's like a weird warehouse andit was super low energy
daylight, like just the worstenvironment for a show.
And they just came in and playedlike, i would say like 15 to 20

(28:13):
minutes without stopping andnone of the songs anyone knew
which rules like i i miss kindof like going in with an
expectation getting somethingdifferent and then maybe
recognizing the stuff later onon like the next record and
being like oh i kind of knowthat um but i i think the thing
about like stuff You know, likeAntioch Arrow specifically and

(28:37):
the stuff that came a littlebefore, it felt like a reset
through a modern lens.
Like they were reallyemphasizing like a lot more of
like a vibe than like, oh, we'retrying to be like super
syncopated, even though they,you know, it's not, it's, you

(28:58):
know, the common word likechaotic, like it is all over the
place, but it is cohesive.
But I think it's more almostlike going back to the germs or
something where it feels likepeople are all doing this
different thing, but they're inthe same mind and it totally
works.
And it doesn't matter if thevocal drags a little bit or the

(29:19):
guitar line is a little...
Things don't have to be soperfect.
And if you contrast that, andthis isn't...
slagging at all it's not beingnegative at all but if you
contrast that with like snapcase or earth crisis where like
it's all about things beingsuper syncopated and tight like

(29:40):
it was really cool and also theylooked cool like i think that's
a i don't want to overemphasizethe fashion aspect but a band
that presents himself as a bandis very cool to me so they were
just like hugely influential andi definitely i had some uh
Somewhere at my mom's house,there's a fucking parka with an

(30:00):
Antioch arrow screen on theback.
So maybe she can dig it out forme.
I'll put it on the gram.

SPEAKER_05 (30:07):
Dude, that's so sick.
What's your take, Dan?

SPEAKER_01 (30:10):
What I loved, before I even knew what they sounded
like, I just heard the name.
And I bought the 7-incheswhenever I saw them, and I kept
buying the same 7-inch again andagain because they're all
handmade, and they're allslightly different.

(30:31):
They're all different spraypaints, different watercolors on
them, and it's cool.
So I've got six of that 7-inch.
But to me, they were striving todo something different, like
striving to push this...
This element of what we love alittle bit further and a little

(30:54):
bit into a different realm.
And it sounded like it couldfall apart at any moment.
But like Anthony and both Robsaid, it was incredibly
influential to bands all overthe world.

SPEAKER_05 (31:10):
All right, Dan, let's go back to you for your
number two.

SPEAKER_01 (31:12):
okay well now we're getting into it because i i got
strategic now i'm going end of alifetime unbroken

SPEAKER_04 (31:22):
now

SPEAKER_01 (31:25):
i i i could select one of 15 unbroken songs easily
but there's always beensomething about end of a
lifetime that has alwaysresonated with me both on the
musical and lyrical aspect.
We only get seven songs.

(31:46):
I might be tempted to takeUnbroken again later, but I'll
try and get a bunch of otherstuff on instead.
But I may come knocking back atthe Unbroken door.
The thing about End of aLifetime, it's talking about
someone...
Well, literally at the end oftheir life and the sadness that

(32:11):
is associated with that, butalso this element of acceptance,
which it's incredibly viscerallyrically to me, you know, but
I'm not dead yet, like thatelement of it, but Also
musically, the...

(32:33):
Like those builds and then thebreaks into the other parts,
like just to start the song,it's just so incredible.
And the way the first line comesin, like stiff shoulders and
cracking bones.
Everything about it is sovisceral and it has been the one

(32:54):
unbroken song that...
has probably been at the top ofmy list from the minute i heard
it even though there's so manyother incredible ones and this
doesn't always come up on lotsof other people's you know top
two or three songs but it'salways been the one for me um

(33:14):
but god i you can throw a dartat the track listing on this lp
and both seven inches and you'regonna have an absolute winner

SPEAKER_05 (33:22):
this is the first unbroken song that like peaked
my ears when someone was playingthe cd you know it's like oh
what you know because likelyrically it can grab you like
that so yeah not my favorite ofthe unbroken songs although very
very good and uh a great pickbecause yeah this this was the
one that grabbed me because likelyrically it's like what you

(33:43):
know and then it's like oh thelyrics are sick so good way to
write it because you know likewe all love hip hop and it's
like, you love storytelling andyou don't get that a lot in
hardcore songs.
So like anytime that someonetakes like a lyrical approach,
it's a little different and it'snot like too arty for me, you
know, it's sick.
So what do you think pops?

(34:04):
I

SPEAKER_06 (34:04):
was just going to say like, as a, as a whole, I
think there was a, there wassort of a period of time in the
early nineties where there was abunch of bands who kind of
delivered on things that peoplewanted.
Like, you know, cause you'recoming from, you have all of the
eighties and it's kind of likeall these different ideas have

(34:25):
happened.
And then I wasn't in a hardcorein 1982.
So I'm, I'm coming up in adifferent world and there's
different things I like, whetherit's metal or goth music or
whatever, there's differentsounds I like.
And to hear that getincorporated in a really fresh,
way is exciting and i think justby the reception of the band it

(34:48):
spoke to people like i don'tknow it's hard to articulate
when there's sort of somethingin the ether and and a group of
people get together and nail itand it's like yeah that's that's
what we wanted we wanted thatheaviness we wanted that
introspection we wanted itsounds corny to say we like i'm
speaking for like uhcongregation or something but

(35:10):
it's like you know there's likethis way to do like dark heavy
music that is still rooted inhardcore that isn't spooky and
and it's like there is somethinguplifting about that and so to
me it was like really a bandthat uh reflected just this

(35:31):
beautiful contrast and balanceand that that's what that meant
to me then and and still carrieson when I go back to the
records.

SPEAKER_05 (35:39):
Everyone, if for some chance you haven't checked
it out, episode 203 of 185 MileSouth, we do a whole episode on
life, love, regret, and everyonefrom the band goes in and
discusses every single song.
So check that out.
But Rob, for the lazy, what isyour take?

SPEAKER_00 (35:56):
For the lazy?
I mean, I think that you guysget it.
I mean, we were all...
between the ages of 17 and 22and so that song particularly is
about watching a family memberor loved one pass on right and
and and so i think that it's uhyou know to anthony's point we

(36:21):
were very much like we need toget away from the typical kind
of youth crew anthems of, youknow, you have a racism, a
drug-free, a sexism.
You know, you have all theseisms of songs to speak about.
And with Ritual, we kind oftackled all that.
And Life Will Regret, like, wasmore pure emotion.

(36:44):
Like, the band was...
hanging on by a thread.
If you go back and listen tothat episode, um, you know, Eric
had left the band and the tourin 93 in DC.
And we, uh, Brian from meanseason filled in on second
guitar for the last two weeks ofthe tour.
And we didn't know if we weregoing to be a band when we got
home and we kind of got ittogether and, and went to go

(37:07):
record the record, um, a fewmonths after that tour.
And so the band, um, You cantell the band was barely hanging
on, I think, lyrically andmusically.
That kind of shines through onthat record.
And it's cool that that's whatyou guys picked up on, because
that's exactly what it is.
There's no mystery to it.

(37:29):
It's just pure, raw emotion ofkids dealing with loved ones
dying.
That's what that song's about.

SPEAKER_05 (37:37):
All right, I'm going to take my number two, and I am
going...
To take Battalion of Saints, thesong Animal in Man, came out on
their LP in 1984.
They had previously put outtheir 12-inch EP in 82, and then
in 83, they did a second 7-inch,or I guess their first 7-inch

(37:58):
second EP.
This song, dude, is so iconic tome, like just the way that the
toms start and you know what'scoming, right?
And it's like the toms and thenthat– Kind of simple-ass guitar
riff over the top of it, andthen layering the vocals.
And then when it kicks, it'sfucking on point, dude.
I mean, early 80s hardcore is myfavorite shit there is.

(38:23):
This is prime.
This is one of the best bands.
This LP rips.
And the lyrics are great aswell.
As well as it being very catchy.
The animals that run the worldwill make you, they all will
die.
You know, so fucking sick, dude.
And the lyrics on that thirdverse are really good.
Like that, if you want to be agod...

(38:44):
look where it got him hanging onthe cross.
Only man could do such things.
God damn, dude.
And then you have that one, likerefrain part too.
That's like, man will beextinct.
Man will be instinct.
Man will be extinct.
That's a weird part, dude, totuck in the middle of like a
straight, like early mideighties, hardcore song.

(39:06):
So sick, dude, this isexcellent.
And, you know, I think it'sCanon for a lot of people that,
uh, take the plunge intoeighties hardcore, but there are
definitely going to be somepeople listening to this that
aren't big battalion of saintsfans.
And I would say peep this song.
And I think you will fall inlove with the band pops.
What do you think?

SPEAKER_06 (39:26):
Great song, great name, great logo and a band that
genuinely looked like badpeople, which scores a lot of
points for me, you know, like asa young person, I had a roommate
who was like kind of a, like anearlier hardcore mentor, like a
fill-in-the-cracks-er type dude.

(39:47):
And I want to say this isprobably like an early Curtis
Casella, Tang poaching, likewhen they did that discography
when Tang moved to San Diego,which is worth, that's my only
connection, right?
Boston to San Diego.
But I remember just being reallyhyped that there was, like when

(40:08):
things would come out on CD andgetting like, What was it
called?
Death R Us CD or whatever.
But yeah, it's a band that themore I go on seeing how
important it is to other peoplewhose music I really respect,
from people in the punk andhardcore scene to people outside
who cite that band, they're justa fascinating band to me.

(40:32):
I think one thing that just putsit over the top is that the way
the vocals will sort of...
They have a lot of character andthey break.
And like you said, the layering,it's just a top shelf version.
I would hate for people to writethis band off because it's a top

(40:53):
shelf early hardcore band to me.

SPEAKER_05 (40:56):
Yeah, yeah.
It's an A-tier hardcore band forsure.

SPEAKER_00 (41:00):
Absolute A-tier hardcore.
I mean, it is...
Everything you love about early80s punk, it's angry, it's
aggressive, it's political, it'santi-religious, kind of sounds
like Discharge, kind of soundslike GBH.
They're great.
Chris Smith from Chula Vista,went to Chula Vista Junior in
high school.
He also moved to New York laterto play in Kraut.

(41:23):
I mean...
you know, these guys have alasting influence and legacy in
punk.
I mean, even when we just wentto Europe, we did a Fighting
Boys tribute shirt, right?
Because I just love that band somuch.
Everyone in Unbroken does.
I mean, they're ground zero fora lot of people.

(41:44):
I mean, kind of like what thezeros were for the seventies,
but Tynus Saints was for theeighties.
I mean, they were part of that,another state of mind tour, you
know, even though they weren'ton film, they were part of that
whole thing, you know, and itwas interesting.
They, I mean, they like, youknow, The Damned, you know, had
a million members.
I mean, everyone from MarioRubicava to Matt Anderson from

(42:06):
Heroin has played in Battalionof Saints.
They have a million peopleplaying the band.
But what was really cool is, youknow, they were...
Every now and again, get backtogether and play, and I've seen
a few different iterations.
They weren't that good, but inthe early 2000s, Matt and Scott
from Heroin were actually partof the backing band for
Battalion of Saints, and theywere playing a lot of shows in
the early 2000s, and they wereso fucking great.

(42:29):
I never got to see them until,jeez, 89, 90, and by that point,
it wasn't that great.
So I never got to see thatearly...
incarnation of battalion ofsaints but i what i saw in the
early 2000s with those guysbacking him definitely it was
probably as close as it probablycould have been because it just

(42:51):
sounded so cool they haveendless amounts of great songs
on those first few records imean absolutely critical to san
diego

SPEAKER_05 (42:58):
just a quick historical correction they
weren't on like the the youthbrigade social detour they did a
separate one with aggressionaround the same time period and
it was also a bus tour andBecause it was like kind of BYO
related.
The two get kind of mixed up.
For clarification, everyone canjump in those archives again.

(43:18):
Episode 220, I interview theBattalion of Saints, Rhodey
Dick, who was on that tour.
And we go into detail of allthat.
Now, one of my bands, maybe 10years ago, we played with them
at Ventura Theater.
And...
He was a wild man, dude.
Hanging with him backstage waswild.
He was literally like RodneyDangerfield.

(43:39):
That shit was fucking crazy.
Pound a beer, accidentally blowit on the roof, and then burp,
and then pound another one.
That kind of weirdo, wacko shit.
So I loved it.
And they were killers.
So obviously, I never saw themin their prime.
But like...
I don't know.
These older bands, sometimesthey can get a good backing
group, kind of what Rob alludedto.

(44:00):
It was all young dudes in theband.
It was just sick to hear thesesongs live and get to see them,
dude.
Dan, what do you think?

SPEAKER_01 (44:10):
Yeah, I love the lyrics to this song.
I'm really glad you dissectedthem.
They're a band that I can pickall my favorite songs out.
And then, because I had thissong and Bombs on my list.
I mean, is there a back of aleather jacket look cooler than

(44:31):
a Battalion of Saints backdesign?

SPEAKER_05 (44:35):
Pops, let's go to you for your number two.

SPEAKER_06 (44:37):
Okay, so for number two, I'm going to sort of build
off the influence of GravityRecords and Antioch Arrow
Records.
but in a different way.
It felt like there was this soupin the 90s of the presentation
and chaos of Nation Ulysses andthen this other band, Drive Like

(45:00):
Jehu, who are so name-checkedfor that chaotic, discordant
music.
It's almost hard to pin down.
I think they're an interestingband because there's this
internal...
push-pull, where half the banddoesn't want to be very arty,
and the other half of the bandis pushing them for longer songs

(45:23):
and more time signatures.
And if you hear, especiallyinterviews with Rick Froberg and
John Rhys, they kind of justwanted to do what they ended up
doing with Hot Snakes.
But I'll pick the song BulletTrain to Vegas, one of their
most up-tempo songs, and it kindof embodies this fast...

(45:43):
sort of ramshackle shreddyvocals, but still in like a,
like a, a punk context too.
You know, like it's not, it'sdefinitely not a hardcore song,
but it's a, it's a amped up punksong.
And I also liked that Rick'svocals, like his lyrics, you
know, it could be a song likeluau where you're not even

(46:04):
really fucking sure what he'stalking about.
And then, but there's somethingabout the delivery that
resonates.
Like I was listening to thatsong today and like, I believe
the first line is failures inspace and that kind of felt
relevant.
But it, yeah, just bullet trainto Vegas, such a rad song.
And, and something I learnedlater is like part of the guitar

(46:26):
line is, is taken from a missionof Burma song that I believe is
called.
He said, she said, and it'sreally cool that they like
reached that far back for anhomage.
So great EP, but I would checkout all their stuff.
If you're not familiar.

SPEAKER_01 (46:41):
Yeah, Drive Like Jehu was on my list for sure.
But maybe now that they've beenmentioned, I'll try and get some
other SD stuff on.
But I absolutely love Jehu.
I love Rocket from the Crypttoo.
So right around this time, I wasdiscovering both because they
were both going full blast atthe time.

(47:02):
And they were two sides of onecoin, even though...
know the only member they sharedwas john reese but they were the
two flag bearers for san diegomusic that was like getting
bigger at the time and they bothwere so incredible live but jehu

(47:24):
like rick froberg's voice andthe way jehu would be able to
this sounds might sound cheesybut the way that they kind of
would jam something out would beso atmospheric and so like
powerful but the riffs areincredible i actually like the

(47:44):
song i would have chose is doyou compute i i love yank crime
even more than the first recordbut i would say most people who
are Jehu Stans love both butlike the first one more but for
some reason Yank Crime it justhit me at the right point of
time in my life right when I was18 and I absolutely love it I

(48:10):
love the way Rick Froberg'svoice sounds because it comes
across aggressive and cutsthrough really well but is also
extremely tuneful and doesn'tsound like anyone else it's
fantastic and someone who hasgone far too soon.
What's your take, Rob?

SPEAKER_00 (48:30):
Yeah, great song.
I had them on my list as well.
Not this song, but yeah, thistrack is up-tempo.
It's gritty.
The lyrics are kind of funny,but the delivery of it it's just
so critical and superinfluential for a lot of bands

(48:51):
in san diego you know rocketdefinitely has a place in san
diego for sure but i wasdefinitely more of a jehu and
pitchfork fan and um and for meyou know jehu this song in
particular really set a tone oflike what you can kind of do
with punk and punk adjacent andstill be aggressive without

(49:12):
being metal or being aggressivewithout being too in your face.
I mean, it has a real, realangry vibe about it without
being all razor blades and pissand vinegar.
It's just a really good, angryrock and roll song.
Super influential, especiallythe last couple of Broken 7
Inches were heavily influencedby Jehu and Pitchfork.

(49:36):
And this song in particular wassomething that resonated with
Steve and Eric.
And yeah.
not enough great things you cansay about how good this band is.
They were great live.
They would play with interestingbands.
I would see them with House ofSuffering and Crash Worship,

(49:57):
which is like a hippie noiseindustrial ensemble from around
here.
And so they would play mixedbills all the time.
And it was cool.
They weren't afraid to playhardcore shows and punk shows or
noise shows.
And they kind of fit into allthose things.
But yeah, great pick.

SPEAKER_05 (50:19):
All right.
Let's go to you for your numbertwo.

SPEAKER_00 (50:21):
Oh, to me for my number two.
Okay.
Let's see.
I have Battalion of Saints.
I had Amenity.
I had some other stuff.
So I'm going to pick somethingthat hasn't really been talked
about, and that is the infamousGehenna.
First Blood is a track that I'mgoing with.
Absolutely raging, shreddedhardcore from the East County of

(50:46):
San Diego.
Just ear-splitting live shows,super wild.
You know, absolutely alwaysgoing to be one of the most
favorite bands of mine from SanDiego.
Drawing on influences from kindof like early Bathory, but then
kind of sounding like a littlebit of GBH and Motorhead.

(51:09):
You know, just tons of EPs,singles and comps to choose
from.
But I think First Blood's just areally good introduction to the
band Gehenna.
And I, you know, not thatthey're the most popular band in
the world.
I mean, most bands from SanDiego aren't.
But I do think that they areabsolutely critical for what

(51:34):
they did and how...
influential they were for thebands to come after.
Dan,

SPEAKER_05 (51:41):
you're usually just big upping the demo.
How do you feel about this?
First song off a 2000 CD.

SPEAKER_01 (51:46):
Yeah, this is an awesome track.
Yes, I'm 100%, or should I say83% in love with the demo.
The demo is my thing, and it mayget revisited shortly.
We shall see.
But this is an amazing song andthe one thing that can't be said

(52:07):
enough about Gehenna is they'reknown as the infamous Gehenna
for a reason there is someserious infamy that goes on with
this band and that's somethingthat has come somewhat slipped
away in hardcore for a bit youknow these days you'll hear some
things but you know with theinternet and cell phones etc

(52:31):
there's you know there's notthat great telephone of stories
but there were many greatstories that would get
telephoned around the sceneabout gehenna and i love that so
i probably i'm going to revisitthis to the demo

SPEAKER_05 (52:47):
Yeah.
Dan still believes that Mikecheese stabbed someone with a
frozen hot dog.
That's what he's getting atpeople.
It's not true.
And Mike, don't stab me, please.
We should say like this band hashad a long and awesome run
because their LP that they putout in 2022 was so good, you

(53:07):
know?
So, and I know a lot of peoplelike dabble in black metal these
days or love it.
And like, Gehenna does liketasteful black metal shit
sometimes, but it's like mixedwith like punk and hardcore.
So like it's palatable for me.
And generally the songs arepretty short.
Like, cause some black metalstuff is fucking painful because

(53:28):
like, it's like lo-fi.
It sounds good.
Like they got that part, right.
But then it's like a sevenminute fucking song.
And it's like, why am Ilistening to this music that is
like this super stripped downthing?
And your song is seven minutes,you know?
So like, I think that, Gehennashould get credit for like
taking a style and like applyingbrevity to it, which is like
very important for my brain.

(53:49):
But hell yeah.
Great pick Rob.
And let's go to you, Dan, foryour number three.

SPEAKER_01 (53:54):
Okay.
This has got to sort ofpiggyback off a, Anthony's pick
because I was going to take DoYou Compute by Drive Like Jehu,
but while this song is stillavailable, I'm going to take
Plenty For All by Hot Snakes.
This song has, I think, on adifferent Super 7, had been

(54:16):
chosen for the year that we did,and I was really bummed out that
Clevo swooped me on it becausethis is one of the best guitar
riffs ever.
This is so catchy.
And also the way that Rick singsover this super, super catchy
riff with the staccato catchyvocals that, like I said about

(54:42):
his voice earlier, they just cutthrough, but they're so tuneful
at the same time.
It's a...
an absolute fantastic song.
And it just has this like justgreat driving beat running
through it.
This is a, this is an absolute,you know, it's the last song on

(55:05):
the record and, you know, intrue streaming era, like where
bands are putting things outduring like as streaming has
been a thing.
So like bands have recorded andstuff.
lots of people front load therecords, but back in the day,
like you used to get likesomething really good to set it

(55:26):
off.
And then something in the middleof side one, something to start
side B, something in the middleof side B, and then maybe the
bands like all timer as the lastsong on the record, like in a
strong structure, you know, astruck sequencing of LPs.
And, um, This song is the besthot snake song for me and one of

(55:51):
San Diego's best songs.

SPEAKER_05 (55:52):
Dan, is this the California song?
Yeah.
Yeah, okay.
You picked it on something elseand I never heard this.
Oh, Clevo picked it onsomething.
Yeah, so I'd never heard this.
I listened to it on thatplaylist and yeah, this song
kicks ass, dude.
Killer song.
Good to have it on here.
What do you think, Pops?

SPEAKER_06 (56:10):
I think the...
tourist commission should makecommercials with this song for
sure put some money in theirpockets it's such a there's kind
of like the wipery version ofhot like the wipery hot snake
songs which are rad and thenthey come up with stuff like
this that's just totallydifferent and amazing and that's
not i like all all hot snakesbut um yeah just the sometimes

(56:36):
someone comes up with a riff andI could just imagine being in
practice being like, play thatagain.
And like how cool it must'vefelt to come up with that.
I also think between like HotSnakes, Rocket from the Crypt
and Jehu, like all those bandskind of created people too.
There's like a Rocket from theCrypt, like a Rocket from the

(56:57):
Cryptian person, a Jehuianperson and like a Hot Snaker.
A Hot Snaker is a little morelike a door guy.
Like...
Like hot snake dude, we'll checkyour ID and like probably tell
you where the barber is orsomething like that.
But it's just, it's just coolthat those bands were able to do
that.

(57:17):
And I don't know if we're goingto talk about rocking from the
crypt at all tonight, but I'mgoing to put out there that
they're San Diego's Boston'sfight me.

SPEAKER_05 (57:28):
I love it.
I love it.
Okay.
Let's see here.
What am I going to take?
I am going to take the, the songinternal by the band crossed
out.
We talk on the pod a lot.
I am a poser of many genres andpower violence is definitely one
of them.
I only like the best stuff oflike that, you know, whatever

(57:50):
the original five years, youknow what I'm saying?
Like I like this crossed outseven inch.
I like infest.
I like no comment.
I like capitalist casualties anddude that I'm jumping off the
train, but this seven inch is sosick.
It's, And I think that it isbetter as the sum of all parts.
It's hard to pull a song off itreally, because I don't know,

(58:15):
the whole thing just flows.
And that's kind of how powerviolence is.
Like even I think infest haslike the biggest hits of all,
like the power violence bandsand even them, I think like the
songs are best in the context ofa full record.
So, but I love this, like, uh,That little guitar, it's like

(58:35):
that's the hook in the guitar.
This song exemplifies theirability to go fast to slow,
although I guess this isn't thatslow.
It's fast to bounce.
Really quick.
That's kind of what this banddoes.
It's like their lane of powerviolence, I guess.
Going...

(58:56):
Opposed to Infest, which is justkind of like sped up, straight
up hardcore songs.
So I fucking love this dude.
And I would like the 7-inch.
If anybody has it, I would enjoyit.
And Kevin Hare needs one too.
So two crossed out 7-inches,please.
Pops, what do you think?

SPEAKER_06 (59:14):
just ripper band.
Like again, like another,another band that took things
back to like this super likecaveman, brutal blown out sound.
Like all the recordings soundlike just better than what you
make in a practice space in thebest way.
And yeah, I mean, I have that, Ihave crossed out on my list and

(59:39):
it's like, I kind of, you justlisten to all the songs in a
stream kind of, right?
Like you just want to get, youwant to get beaten up.
You want to bounce.
You want to get beaten up.
You want to bounce, bounce,blast, beat up, like killer
band.
My, my introduction, I think thefirst time I ever heard them was
that split five inch, which isjust a wild format.
Like my record player wouldn'teven play the whole thing.

(59:59):
It just, it would cut off like,cause the arm was automatic and
I would, I didn't even have, Ihad to tape it to listen to the
whole thing.
But yeah, just, fucking awesome.
Not, not overrated, not, and notname checked enough.

SPEAKER_05 (01:00:14):
Yeah.
And to clarify for everyone,this is the first song of the
seven inch.
So sometimes if you can't decidea song, dude, you're kind of
just voting for that needledrop.
And unfortunately for me, I'mjust, it's that, uh, iPhone play
for the fuck.
Cause I don't have the record,you know what I mean?
But this was a staple on my, uh,iPod for, for many years.

(01:00:35):
So there's that Rob, what do youthink?

SPEAKER_00 (01:00:37):
Yeah, I think they were a great band.
They're from North County onSlappaham.
And I think the Five Inches,that Dead and Gone split seven
inch, I have that too.
Same thing.
Couldn't listen to the wholething.
My tone arm would stop.
So bi-coastal fuckery.
But that's like Slappaham, youknow, like Chris Dodge and

(01:00:57):
Sticky and all that stuff.
It had a sense of humor aboutwhat they were doing.
I only ever got to see CrossedOut once.
It was maybe a 15, 20 minuteset.
And I remember it being prettydamn good, super fast and
aggressive.
But yeah, it's a great song.
It has a great intro.
But yeah, this band, I agree,they don't get name checked

(01:01:20):
enough.
I think maybe because they'renot still around at all, like
Infest.
you know, for as far inNeanderthal, that type of stuff
that was around for like thepower violence, like, you know,
that wave, you know, they kindof disappeared and, you know,
infest used to play all the timeand there'd be like 20 people 50

(01:01:41):
people watching them and youknow and then they kind of
disappeared into obscurity andkind of got popularized again
and unfortunately for crossedout it seemed like it never
really happened for them i don'tthink it's kind of like people
just go to infest and just stopwhen there's all these other
really cool bands especially onslap a ham records i mean
there's a lot of great stuff inthe power violence vein that and

(01:02:03):
crossed out one of those bandsthat i think people should go
back and check out they have alot of great songs

SPEAKER_05 (01:02:09):
i don't know if they're underrated at all i
think that anyone that likedabbles in power violence like
this is a a top five band thatgets name checked um and then
also you don't think so i

SPEAKER_00 (01:02:21):
don't see them on lists i mean even like anthony
said i mean i don't i meanpeople kind of talk about them
but i never hear everyone anyoneraving about them i don't maybe
i don't read enough wild weekendscenes maybe

SPEAKER_05 (01:02:33):
that's right but i i will say this like So when
Ceremony put out that first LPand it was like the hottest shit
going, they were powerviolence-y.
If I was going to relate them toan original power violence band,
they're the most crossed outopposed to the other power

(01:02:54):
violence bands.
So I think that they got namechecked then a lot.
Am I tripping on this?

SPEAKER_00 (01:03:01):
I don't know.
I mean, maybe, you know, Ross orAnthony or someone can kind of
kind of speak more on that withthe name check.
I'm not saying they, they didn'tknow about crossed out, but you
know, I,

SPEAKER_05 (01:03:13):
but that was more of the style, like the slow to fast
instead of like the, the infestjust being like wild.
So I don't know.
Anyway.
Um, let's go to you pops foryour number three.

SPEAKER_06 (01:03:26):
I'll do another needle drop.
Um, I'll take off the secondheroine seven inch, AKA the
paper bag, seven inch, the songleave.
I love the whole thing, but tome, this is like, you know, time
capsule quintessential, youknow, building off 80 late

(01:03:48):
eighties, hardcore and doingsomething totally different,
doing something differentaesthetically, you know, looking
at the, just as like an object,like not really knowing at first
what's on the cover.
I think that the lyrics areactually pretty simple in a good
way, like for how sort ofspastic and noisy the music can

(01:04:10):
be.
But I think of like all thosebands, like Heroin definitely
always sounded the most hardcoreto me for obvious reasons.
And I think this is likeabsolute classic and I'm stoked
that it was what Southern Lordthat did the discography and put
everything out properly again.
But yeah, just, uh, it's one ofmy favorite seven inches.

(01:04:31):
It's a very like time and placeto song leave.

SPEAKER_05 (01:04:35):
Pops.
You love it because it's theheroin song that sounds the most
like a slap shot.
No friend of mine.

SPEAKER_06 (01:04:40):
Yeah, exactly.
That's of course, everythinggoes back to, uh, meathead
Boston, um, working class musicfor me.

SPEAKER_05 (01:04:49):
That's right.
Uh, Rob, what do you think aboutthis?

UNKNOWN (01:04:52):
Um,

SPEAKER_00 (01:04:52):
Yeah, no, it is a, it is a great song.
And, and, and again, it's one ofthose things like similar to
downside records, you know, Mattwas doing a lot of interesting
things with like silkscreenpaper bags as covers and
silkscreen jackets and stickers.
And, you know, that was part ofthat aesthetic that was coming
out of San Diego was that wholehandmade way of doing things.

(01:05:17):
It was kind of a, an artisticlayer of the DIY of, of, of
putting out records.
And yeah, it's a great song.
Great band.
I just love that there's astraight edge band called
Heroin.
How cool is that?
But they were great live.
Got to see them so many timesand played with them a couple of

(01:05:38):
times when we were firststarting.
And always a great live show.
Very intense.
Matt's voice is so good.
And, uh, yeah, leave is afantastic track.
So good.
Hey Rob, quick

SPEAKER_06 (01:05:55):
question.
Did you, I only saw heroin.
I think I only saw them once,but they sounded so different
live to me in a good way.
And I don't know if you had likeany thoughts on that, like their
recorded output versus how theywere live.

SPEAKER_00 (01:06:10):
Yeah.
To me, they sounded faster.
And I think it was like a littlemore chaotic and, and, um, kind
of bursting at the seams thanrecorded.
I think recording, like you geta little bit of that for sure,
but it seemed way morecontrolled.
And then when they got out ofthe studio, it was just like

(01:06:30):
this unbridled energy.
I mean, you know, guitarsflying, Aaron's drumming is just
like wild, you know, and Matt,It was kind of like stoic but
angry vocal delivery.
I always thought they were waymore wild than the records let
on.
At least that was my experience.

SPEAKER_05 (01:06:51):
Dan, what's your take?

SPEAKER_01 (01:06:52):
Yeah, this is a great track choice because it's
got probably some of the mostmelody in the things with it
being– really good speed andaggression.
Heroin, I feel like, I mean, toanyone out there that dabbles in
this and enjoys this, get thatdiscography that came out a

(01:07:15):
couple years ago.
It is so fantastic and it's gota really great written stuff on
it too.
What Heroin were for me...
But beyond being enjoyed intheir own right and really
loving it, they were kind oflike a gateway band for me to go

(01:07:39):
into things like Fingerprint andAnasarka and a lot of that, IG88
and things that...
They were the...
what seemed like from maybe mylimited understanding of a very
influential band that started alot of what would technically be

(01:08:00):
called Screamo later on butHeroin was like what everyone
wanted to be like and it startedall of these bands that went off
in interesting ways where theywould incorporate really pretty
riffs but with absoluteemotion-filled screaming, and I

(01:08:23):
feel Heroin, even though theywere, like Rob says, a
straight-edge band that wasdoing something different, they
kind of kick-started this thing,or maybe that's just the way I
experienced it all, but I loveHeroin.
Don't clip that soundbite.
I love Heroin.

(01:08:44):
I love Heroin.

SPEAKER_02 (01:08:46):
I love Heroin.
I love heroin I love heroin

SPEAKER_00 (01:09:00):
No, you're spot on, Daniel.
I mean, I definitely would saythat those pretty screamy parts,
I think, were super influential.
I mean, you could hear some ofthat on bands like Thursday and
early Thursday records and stufflike that.
I mean, I think that...

SPEAKER_05 (01:09:19):
Let's not insult heroin.
Let's not insult heroin here.
Jeez.
jesus christ

SPEAKER_00 (01:09:27):
no but i'm just saying like i i do think that
daniel is is pretty spot on imean i i would say that like
heroin is is part of that earlyincarnation of of screamo but
they were very punk it wasn'tpop you know with with just
pretty parts they would havethese jangly parts that would
just get real angry and realfast and um i don't know i i

(01:09:52):
think daniel is is is right thatI do think that they influenced
a lot of that screamo stuff thatwas to come a few years later.

SPEAKER_05 (01:10:01):
Rob, let's go to you for number three.

SPEAKER_00 (01:10:03):
I'm going with a band much like Built to Last
that kind of did a lot forhardcore in the late 90s.
This band, Run for Your FuckingLife, did a lot for punk in San
Diego in the late 90s and reallybrought back that punk...

(01:10:24):
basement show, ask a punk to getto the show vibe.
So the song is Hold Your Breathby Run For Your Fucking Life.
I think that they are criticalto San Diego.
3-1-G did a discography on themrecently.
I mean, they to me they kind ofsound like dead and gone meets

(01:10:47):
the verrukers it's just like theperfect blend like you can get a
little bit of that uk 82 83 punkbut then you get that like real
dark dirgy punk like dead andgone um you know i i don't know
i live jason was so intense liveum you know I don't even know

(01:11:09):
how many times I saw this band,but they were milling around the
same time built to last was.
And, and I feel that they werekind of adjacent in for what
they did for their respectivegenres.
What, what built to last did forhardcore, I think run for your
fucking life did a lot tokickstart punk again in San
Diego in the late, you know, midto late nineties, you know,

(01:11:33):
bands like find him and kill himand, and, and other locals, I
think thrived off of what theseguys started.
So very important band of SanDiego.

SPEAKER_05 (01:11:43):
Dan, what's your take?

SPEAKER_01 (01:11:45):
Yeah.
I mean, if you want to know whathardcore punk sounds like, like
shoot a run for your fuckinglife record into space, um, this
is punk as fuck, but alsochanneling, um, things as as far
as you know the germs dischargeetc it's all in there and it is

(01:12:08):
so aggressive and it was so realbecause you know to be
completely honest like you knowthere was definite like heroin
problems and stuff that had goneon with these guys in this band
and them taking that on andsinging about it and and and

(01:12:30):
because for me i was going totake the song the straw that
broke the camel's back but whenthis record came out like they
did the seven inch but when theum lp came out it it leveled san
diego like they were anincredibly amazing band live

(01:12:53):
incredibly generous too they'dplay with anyone they'd put you
on when Rob sold his record shopJeff the drummer from this band
kind of took it over at theEmpire Club and would be doing
shows there all the time too andthe best thing about Run For
Your Fucking Life is the samething that like was kind of

(01:13:16):
mentioned about Drive Like Jehuearlier they'd play with any
style of band And they'd just befucking down because they cared
about San Diego punk and SanDiego hardcore.
I mean, they were theinstigators or they were part of
the instigating crew that woulddo the shows in the, um, sewers,

(01:13:38):
um, take a generator down andplay in a storm drain in the
sewer.
And, um, I mean, can it get morepunk than that?
Run For Your Fucking Life,incredibly important San Diego
band.
And Jason is someone we lost toosoon too.
This is really sad talking aboutlike San Diego bands and then
saying like, you know, all ofthese great singers are gone.

(01:14:02):
Because if you ever went toPokies and were like, it was an
absolute treat to be served byand chat to Jason for the time
being.
eating those delicious tofufajitas.

SPEAKER_05 (01:14:18):
Just don't order fajitas.
If it's Dan's birthday, thatwould be rude.
Yeah, this is, this is great.
And everyone, there's a playlistfor every episode, 185 miles
south.com.
Click that playlist link at thetop of the page, or just find us
on Spotify.
If you haven't heard any of thisstuff, there is a playlist and
it is all about the music.
So check it out.

(01:14:38):
This rules, this LP rules.
It's pretty easy to get.
I mean, abolition had it.
up to, I think a few years agofor like five bucks still.
So this is kind of a no brainerto just have in your collection.
So hell yeah.
Okay.
Let's go back to you, Dan, foryour number four.

SPEAKER_01 (01:14:55):
Okay.
For number four, I'm going to gowith, I'm going to go with kill
holiday meant to let you down.
Now this is, I, I enjoy theentire discography of kill
holiday and, quite considerably.
And I love that from the firstrelease to the LP, there is an

(01:15:21):
absolute evolution of theirsound.
And every step along the way, Ienjoy it all.
But Meant to Let You Down, it isjust the catchiest punk song
song it's unbelievable it's inthe era of the band where I

(01:15:47):
think Todd had then startedplaying bass and I think Barry
was still in the band but Oscarhad left and it is just like
Steve had obviously written thisjust amazing song and it is It's
definitely, you know, just likethey can't get away from it, but

(01:16:09):
there is a little bit ofMorrissey-esque channeling when
writing these lyrics andbringing that in a punk way is
really great.
Like, meant to let you down andI'll probably do it again,
essentially, is what this issaying.
And I love that kind of honesty.

(01:16:30):
It's...
paired with an absolute classicriff.
This riff is almost as good asthat Hot Snakes riff.
They're both so fucking greatguitar-wise.
And still to this day, SteveMiller is one hell of a
musician.
Just plays...

(01:16:51):
writes great riffs all throughmy record collection.
So, um, I absolutely love thissong and it's criminal that
there was just a kill holiday,um, compilation put out on
indecision and this song wasn'ton it.
And I, I shake my head at that.

SPEAKER_05 (01:17:10):
Uh, probably not Dave's fault, dude, because he
is the King of the, uh, theanthology.
He does a great job.
So who knows, Rob,

SPEAKER_00 (01:17:18):
is

SPEAKER_05 (01:17:18):
this

SPEAKER_00 (01:17:19):
still your era

SPEAKER_05 (01:17:19):
right here?

SPEAKER_00 (01:17:20):
No, I only played on the first 7-inch, so this was
after me.
There was a few records inbetween this one, a split with
Dempsey, a record on Simba, Ibelieve, and then this came out
in a contract.

SPEAKER_01 (01:17:37):
This is the one on Simba, right?

SPEAKER_00 (01:17:38):
Yeah, yeah.
So, no, but, you know, if I letyou down, my friend, well, I
know I'll let you down again ishow it goes.
But, yeah, this...
This is one of those songs whereit's like Steve really shines as
a songwriter.
He very much, you know, Rocket,Jehu, meets like Teenage Fan

(01:18:01):
Club and The Smiths.
I mean, he's...
channeling all these differentinfluences, some from San Diego,
some from abroad, and he's ableto put that into a digestible,
catchy riff.
He's such a great songwriter.
Lyrically, it's a really strongsong.
This is one of the songs that Iwish I would have stuck around

(01:18:21):
to be a part of.
That and the LP on Rev were thetwo things that I always tell
him I wish I would have stayedin the band for that LP and a
couple other songs that cameafter I left.
After the first EP, because Ifelt that that's when Steve
became a, you know, a goodsongwriter to a great
songwriter.

(01:18:41):
And this is absolutely one ofthose songs and, you know, is
worth talking about and worthexploring.
Yeah, I don't know why it's noton the comp either.
So I don't know.
You have to ask Dave and Oscarabout that.

SPEAKER_05 (01:18:55):
Yeah, and for the people that don't understand
what we're talking about here,so this is Kill Holiday.
This is a post-Unbroken band,and initially they have three of
the dudes from Unbroken in it.
And on this, there's still twoof the guys from Unbroken
because Rob's not in the bandanymore.
So that's interesting for theUnbroken lovers out there.
This is the dudes taking more ofa– I don't know.

(01:19:16):
What do you want to say?
Indie rock-ish, emo-ish typeband.
Pops, what do you

SPEAKER_06 (01:19:22):
think?
I think all the– the killholiday stuff was really
ambitious and it's cool to seelike a band have space to evolve
and, and just learn how tostretch out, write songs.
I like all this stuff.
I think I, I really want to saythat I, the first time I ever

(01:19:42):
talked to Steve was like, it'slike, uh, I was sound checking
at a show and, probably playinglike a swizz riff or something
and then we just talked aboutthat like he's something about
like playing swizz riffs orsomething like that and it was
just such an organic like kindof nothing conversation and then

(01:20:05):
he he was in new york for likecmj at the same time i was and
it was just cool to hear himlike really talk about
songwriting and just be so likeobsessed with his band and and
he would send me tapes and stufflike that and I don't know.
I think it's just like a reallyambitious band that probably
there wasn't much.

(01:20:27):
I think even at that time, therewas sort of like these tiers of
bands where I don't think therewas a lot of other peers to Kill
Holiday where it was like, oh,you just slide in and play with
this.
Because to me, sonically, wherethey fit in was more in the
teenage fan club realm.
Indies or not the teenage fanclub was an indie band at the

(01:20:49):
time, but like this othercircuit that was, that felt so
far from hardcore.
And now like, it's almost likewith the festification and, and
streaming of everything thatthings are a lot closer
together.
And I'm almost like surprise.
There isn't like a kill holidayresurgence because of that.
Cause it's great stuff.

SPEAKER_05 (01:21:07):
Yeah.
Great point pops.
Like the people that are intolike the alt hardcore, the
hardcore adjacent bands, likethey could really, get down with
this stuff and, and really allthat nineties rev stuff.
You know, I'm surprised that ithasn't like had like a big
resurgence as well.
Okay.
I'm going to take, uh, The songWalks of Life by Take Offense

(01:21:28):
came out initially on theirPeace and Death 7-inch from
2008.
It was also re-recorded on their2011 LP Tables Will Turn.
That is going to be the versionon the playlist because Peace
and Death is not on streaming.
I'm choosing this because Ithink this is the first great
Take Offense song.

(01:21:48):
So they start, they're like yourbasic teenage, fast, hardcore
band played a lot of shows andreally, you know, in the time
after, when the body went away,like how they were talking
about, like there was a lullbefore built to last, like there
was kind of a lull here, I thinktoo.
Right.
And, and it, it sounds weird tosay this now, but like that band

(01:22:10):
PC death squad really was likea, a catalyst for a lot of
things like fortunately orunfortunately, but like, they
played shows in fun places andbrought a lot of kids out.
And they were kind of the onethat influenced take offense.
And Guzman was in that band too,who was kind of a already, you

(01:22:31):
know, probably in his earlytwenties, like a scene elder to
all these teenagers.
And so like, they kind of wentin that crossover direction.
They did a split seven inch withPC does squad.
And then on this seven inchpiece and death, they kind of
come into their own.
And this song is, is so sickdude like out the gate like that
first riff you know what it isand then like it comes in on

(01:22:54):
kind of like a slow beat and forthem to be so young and to be
not in a hurry to like get tothe next part it just it sounds
like very mature for like whatis like a hardcore punk or a
this is kind of their theirentry in like their crossover
stage but Everything about thisis so sick.
It picks up to a mid tempo.
It's got great gang vocals.

(01:23:16):
And then the solo on this isbeautiful.
It's pretty amazing to mebecause like, you know, when
you're young, the years are alot, You know, and so you think
about like them putting out theseven inch in 2008 when they
rerecord the song in 2011, likemost bands, like that three year
gap, they would like fuck up thesong, right?
Like they're tired of playing itor whatever.

(01:23:37):
They got to try to like fancy itup, you know, but like it's
almost exactly the same.
And that kind of like just goesto show how dope it was in the
first place.
Yeah.
their 2011 lp tables will turnis probably the lp that people
know them for the most and dudecrossover like took off since

(01:23:58):
then right like take offense andpower trip like these were bands
that kind of like pushed itforward and you know really
paved the way for maybe a bandlike mind force that's around
today like just killing it youknow i mean so yeah you got to
give them their due and and Ifyou ask me, this is where it all
started.
2008, the Peace and Death7-inch, and this song,

SPEAKER_00 (01:24:20):
Walks of Life.

SPEAKER_05 (01:24:21):
What do you think, Rob?

SPEAKER_00 (01:24:22):
Yeah, Greg is a prolific musician, prolific
songwriter.
very talentedmulti-instrumentalists.
And yeah, to your point, are-recorded version that just
somehow sounds even better thanthe original and it's not fucked
up is a testament to his visionas a musician.

(01:24:43):
I think Take Offense came in ata really interesting time.
It was like the mid-2000s, kindof the over-ended body, no
reply, built to last era.
um you know all these socalbands that were a lot of times
playing in san diego um you knowin control etc that era had kind

(01:25:03):
of started to end and these guyscame in and they were like kind
of the new new wave of chulavista kids starting bands and
you know to me you know i thinkthis is a great song but um um
power in our hands is absolutelyum my favorite Take Offense

(01:25:23):
song.
I think that's on their bestrecord.
Yeah, they pushed the envelopefor Crossover in a very tasteful
way, much like Power Trip didand opened the doors for a lot
of people.
You know, there's direct linesto some of the stuff they've
done, whether it's the earlystuff or later stuff, you know,
to like Dispersed and Hereditaryand Sumo, all this new wave of

(01:25:45):
San Diego bands.
You know, some of that stuff,you know, is directly connected
inspired by, or at leastadjacent to a scene that, that
take offense helped kickstartagain, right.
And breathe new life into, intothe Chula Vista scene.
And a lot of bands came out ofthe South Bay, um, because of

(01:26:06):
what these guys started.
So I take offense is a veryimportant band.
I have them on my list as well.
Um, very, very important band toSan Diego.

SPEAKER_05 (01:26:16):
Yeah.
And not just for the music, butlike the heart of the scene,
like shifted and they were doinga lot of shows in Chula Vista as
well as bringing in like lots ofnational bands.
So yeah, super sick.
And then, you know, when theystarted touring, like basically
full time, um, That was kind ofanother shift for the scene,

(01:26:38):
right?
It's like Take Offense hadcarried it on their back for
several years and now they'reoff on tour all the time.
What's going on?
And then it kind of shifted overto Lemon Grove for a while with
a new crop of kids again.
Dan, what's your take on this?

SPEAKER_01 (01:26:51):
Yeah, to piggyback off what you were just saying,
Take Offense went around theworld and sang out San Diego's
name, you know, all over andgave people a new perspective on
what San Diego sounded like.
And this song in particular,it's my second favorite Take
Offense song.
I was going to take, and I mightstill, I don't know how this is

(01:27:14):
all going to stack up, but I wasgoing to go T.O.
Zone just because It's just soepic.
And for me, normally I wouldn'tlike that vocal style that much,
but I love it on that song.
But this, the part of the songwhere it, like after when it
breaks and he goes like, andthen it goes into the, part

(01:27:35):
where it sounds so af the wayhe's singing with the backups
going

SPEAKER_03 (01:27:41):
walked off live

SPEAKER_01 (01:27:43):
it sounds like you know af crossover af like done
perfectly i i mean take offenseget so much respect from me um
because of the longevity oftheir band and like zach said
they put on for many other bandsand brought in lots of touring

(01:28:07):
bands and would like supportlike their friends who they
played with in their town theywould return the favor in San
Diego and really make sure thatthe show would be really great
for their friends bands who weretouring and coming through San
Diego and um you know they'reall around and all legit like

(01:28:29):
great Coleman.

SPEAKER_05 (01:28:30):
Yeah, it's not past tense either because Greg and
Ricky still do a lot of the bigshows around here.
So much respect.

SPEAKER_00 (01:28:38):
Yeah, I just want to add something.
I mean, I think that what youboth are saying about putting on
for bands, I mean, that's thattradition that started so long
ago, right?
In the 80s and 90s, bands thatwent to tour brought other
bands, helped put on bands, putlocals on.
Take Offense did that from dayone.
They would go out Give new bandsa chance.

(01:29:01):
Bring in touring acts.
They went on the road.
I mean, those guys have a lot tobe proud of.
Did a lot for San Diego in thelast 10, 15 years and still do,
you know, putting on shows.
And that's one thing that I loveso much about those guys is they
never forgot how important it isto give new bands a chance and
do your best to try to get, youknow, bigger bands to come

(01:29:23):
through town.
So they definitely are importantpart of the San Diego legacy.

SPEAKER_05 (01:29:28):
Hell yeah.
Okay, Pops, let's go to you fornumber four.

SPEAKER_06 (01:29:31):
Okay, I'm going to do this.
This song is almost like knownin skateboarding the way big
star is known by normies fromwatching that 70 show.
It's this on a lot less by subsociety.
There's a couple of versions.
There's one on the Iceman seveninch, which has become pretty

(01:29:52):
collectible in the past fewyears.
But it's like, if you were alate eighties watching VHS skate
videos in the late eighties andyou you skated, you probably
like Matt Hensley and he skatedto the song and Hocus Pocus in
the H street video.
It's kind of weird.
Like it's almost, it's, I guessI would call it pop punk, but

(01:30:13):
it's not totally pop punk.
A lot of their songs aren't inthat sort of like simple
three-chordy way.
Like even the song's main riff,it has like a, like a pull-off
riff to it.
It's not totallystraightforward, but it is a
pretty simple song.
And it, it almost like, Itactually sounds like a bit of an
outlier for 1990 when it cameout.

(01:30:35):
It doesn't sound of the time.
But then the one thing I justwant to say real quick is that
the singer, was it MichaelSteinman?
He had gone on to this band thatI think is fantastic, at least
their first two records, Inch.
And if you haven't heardStressor or...
uh, dot class C, which RickFroberg did the artwork for dot

(01:30:56):
class C.
Those are really cool posthardcore records, but yeah,
this, this song, it's just likea, I would just call it like a
skate rock classic.
And if you hear it once, you'veheard it.
If you never heard it, as soonas you hear it, it's like in
your head, it's just like one ofthose little, you know, punky
earworm songs.

SPEAKER_05 (01:31:14):
I love it.

SPEAKER_00 (01:31:16):
I love this band.
I love this song.
Um, Yeah, Stymie, rest in peace,was a really nice guy, very
talented songwriter, really goodvocalist.
And Sub Society, like other SanDiego bands, played all kinds of
different shows.
I saw them play for chemicalpeople and all, but then they

(01:31:39):
would play with Amenity andHeart's Dance or play with
Soulcide.
I mean, they kind of playedeverything.
all over open to open to allkinds of music and this song is
by far their greatest song youknow a lot of us were introduced
a lot of people were introducedyou know like like Pop said, to

(01:31:59):
do the 8th Street videos, butlocally it was just because they
were playing punk and hardcoreshows.
This song in particular is justa perfect example of classic
skate rock.
I would give anything to seethem one more time, which will
never happen, but...
They were so great live, superfun, just great pop punk, you

(01:32:19):
know, kind of in the vein oflike all Descendants style
stuff, but very, very good band.

SPEAKER_05 (01:32:24):
Yeah, it's not on streaming, everyone, but we'll
play it on the Patreon if weremember.
And yeah, it's on the 7-inchcalled Iceman.
You can try to track it down.
but good luck.
I think it's going for a fairamount of money now.
Yeah.
Five copies starting at 150bucks and the median value has
been 75.
So this song, like I'd neverheard of this band before pops

(01:32:45):
brought them up in the groupchat.
And it sounds like dated in likethe best way.
You know, like where you hearit, it's like, oh, this is sick.
And like, there is no way youcould ever replicate this.
Like a band could like sit in astudio for a year trying to like
do this.
And it's like, nope, it'll neverhappen again, dude.

(01:33:06):
It's just, it's a time and aplace.
And like, you know, everyonethat listens to this pod is like
a pretty extreme music lover, Ithink.
And so like, you just got toappreciate when like you come
across songs like that, that arejust like, damn, this is
something.
So there's that.
Okay.
Let's go to you, Rob, for yearnumber four.

SPEAKER_00 (01:33:23):
The flag is soaked in bullshit and lies in the
decrement of a million dead.
Welcome to America.
You have the right to be beaten.
I'm going with struggle.
Red, White, and You.
While I don't think Struggle isby any means JP's best band, I
prefer The Locust and Swing Kidsand stuff like that, I do feel

(01:33:47):
Struggle is very important toSan Diego.
Again, another band, basementshows, DIY artwork, you know,
hand-screened shirts themselves,you know, playing in basements
and backyards and...
you know, created an entiremovement of politics in San

(01:34:08):
Diego, you know, did a splitseven inch with Undertow.
I mean, this band is veryimportant to San Diego.
And I do think they deserve tobe on this list for what they
brought, I think, aesthetically,politically, lyrically, and
musically.
They did a lot in the early 90sand were very influential to us

(01:34:30):
as a band.
I mean, we shared a band memberat one point.
So, you know, but I do thinkThat sometimes they get
overlooked because people kindof go more for the Locust or
Swing Kids when it comes to kindof the JP era bands.
But, you know, during this era,but I think Struggle's
importance cannot be understatedfor San Diego at this time.

(01:34:52):
You know, again, much likeAmenity and Heroin, you know,
there was visionary aestheticsthere.
There was a look about them.
There was a vibe about them.
It wasn't just music.
There was a lot of art involved.
And it definitely was kind ofDC, like a heavier, you know, DC

(01:35:15):
kind of vibe.
Probably not 1.5, but maybe justbefore that to them.
And I think they had a very...
good slant to their music idon't know there's a lot of
things i can say i don't wantthis to run too long because i
know we have other things totalk about but i i do think
struggle is very important tosan diego and they deserve to be

(01:35:38):
on this list

SPEAKER_05 (01:35:39):
what do you think

SPEAKER_01 (01:35:40):
dan this is this was my first my first experience
with a band that was so this isyou know right as i'm getting
into like I'm listening to lotsof punk, but this is like...
My first Chase show ever wasStruggles Last Show.
And this is the first band thatwas slapping me in the face with

(01:36:02):
upfront politics.
And I didn't even necessarily...
I went along with my soon-to-begirlfriend and her
then-boyfriend at the time tothis show.
And I was floored by...
This is taking the transitionfrom like being someone who
listens to lots of pop punk andlots of like 77 punk and stuff

(01:36:28):
like that.
And then going into this kind ofspace and seeing this raw, not
just them, but especially them,like the raw politics and the
way Rob said, like, welcome toAmerica, you have the right to
be beaten.
Like that line is, We'llsometimes use that in a funny

(01:36:53):
sense because it does stand outso much.
But if you actually really thinkabout it, the way that line and
the following line go, it's soclever and it is so catchy and
it stands out so much.
And Struggle were really, reallybringing...
an extreme political conscienceto aggressive music from San

(01:37:18):
Diego and they have their placein the SD Hall of Fame.

SPEAKER_05 (01:37:24):
Yeah, and to me it sounds like a continuation too
of the back end of the amenitycatalog, very bouncy, but has
fast parts kind of like theearlier amenity.
This is my favorite JustinPearson stuff probably by far.
In fact, it might be the onlystuff I like, but I enjoy this a
lot.
So, and it's, it's easy to gettoo.

(01:37:45):
So people grab the records.
What do you think pops?

SPEAKER_06 (01:37:48):
I got this record at a show.
Me and my friend both bought itand I called him and was like,
dude, I fucking love thatrecord.
And you know, it's, I don't wantto sound oldie timey, but it,
there was something like coolabout the ephemeral nature of
like all the inserts and, youknow, like Kent McClard would

(01:38:09):
write something and it's noteven like, his music, you know
what I mean?
Like adding his own commentaryto records and just having so
much to like go over.
It felt like you're certainlygetting your$2 and 50 cents
worth.
But I remember telling my friendhow much I liked it and he was
like, yeah, I don't know.
And I went to his house likelater that week and there was

(01:38:31):
something, we're getting intorecord player follies again.
There was something wrong withthe tracking on his record
player.
So he's playing it too slow.
But then I actually was like,fuck this record sounds really
sick on a slower speed too.
And it's like, I taped it.
I had it in my car, the fullseven inch on two different
speeds.
That's how much I liked it.

(01:38:51):
So there's like the melt.
I like like the Melvin's versiontoo.

SPEAKER_05 (01:38:56):
So

SPEAKER_06 (01:38:56):
sick.
So I don't know.
Maybe I'll upload it to YouTubeor something, but yeah, just
awesome.
Another like a time capsule of,of early nineties that I think
was like really important to,again, aesthetically.
The other thing, too, is a lotof people, if you were late

(01:39:16):
teens or in your teens, youprobably weren't that
well-versed on a lot of the punkbefore.
Maybe it was your first timeseeing that kind of layout that
maybe was more akin to crass orsomething.
I think that it works in tworeally cool ways because it
might make you interested in youknow, political music that comes

(01:39:38):
with or even just likepersonally political ideas and
expression.
And then it might make you digback to look with, you know, how
people express themselvesbeforehand and have an
appreciation for something thatyou might not have as well.
So, yeah, I kind of think likeif you're going to experience
it, you should experience thewhole thing as it was because

(01:39:59):
you'll get more out of it.

SPEAKER_05 (01:40:00):
I love it.
Okay, we are to the speedrounds.
Dan, what is your number five?
And a couple sentences only onit.

SPEAKER_01 (01:40:09):
Since they've already been mentioned, I'll
take them in the speed round.
But I am going to say The BottomLine by Gehenna.
Oh my God, this is off the demo.
I've just got to say, this bandsounds, on this demo, sounds
like Chain of Strength.
If they...
were recorded at mars studiowith satan at the board draw

(01:40:33):
back the hammer to write yourname in hell straight edge i win
again

SPEAKER_05 (01:40:37):
i'm gonna take the neighbor's song sometimes this
came out of the punk suckscompilation in 1995 and i'm
taking this just because whenyou get into you know I mean, I
guess I'd been into it for likea couple of years at this point.
And it's like, there comes atime when you decide, are you
going to be like a surfacelistener?

(01:40:58):
Are you going to dig deeper?
And like CDs were kind ofexpensive and teenagers don't
have money, you know?
And so like these CDcompilations kind of meant a
lot.
I mean, this was a record thathad like 30 songs on it.
I think there was a funeraloration song on it that I hadn't
heard before.
So that's probably why I boughtit.
And like most punk comps in thenineties, um, Most of it sucks,
dude.

(01:41:19):
But this song by The Neighborsis so sick, dude.
We talk about YOLO on the pod.
Well, here it is.
Check out this solo.
Check out how it goes fast onthe solo.
And then when it goes fast, it'sjust fucking out of control.
So that wasn't very speedy ofme.
But yeah, The Neighbors,sometimes.
Everyone check it out on theplaylist.
Pops, let's go to you for yournumber five.

SPEAKER_06 (01:41:40):
Yeah, I'll go with Battalion of Saints, right or
wrong.
And...
As I said before, I thought ofBattalion of Saints as bad
people.
I think this is a very positivesong.
You know, like it's everythingyou want to hear as a young
person, like the sort of likeself-help lyrics that are so
important before the manosphereexisted and ruined self-help.

(01:42:04):
And so...
It's just, it's just awesome.
And I just love a song with alittle swing and power and then
an unhinged vocal.
Like that's my ultimate combo.

SPEAKER_05 (01:42:15):
Dude, I almost took this because it's the BOS Posse
song.
This is like their seven secondsong.
So respect.
Rob, number five.

SPEAKER_00 (01:42:23):
All the waste I see, all the waste I'll never be.
Follow by Amenity.
It's perfect.
My favorite Amenity song kind ofhas that early Verbal Assault
vibe.
It was fun to sing along tolive, and I know they've already
been picked.
We pontificated on Amenity, soI'm not going to go too deep on
this, but just incredible track,incredible song, fantastic

(01:42:47):
lyrics, really good songwriting.
So yeah, that's my number five.
I love it.
Dan, number six.

SPEAKER_01 (01:42:55):
Okay, God, I wasn't prepared for you to come back to
me.
I'm going to go with a band thatwe talked about a lot in 2023.
They made a lot of the end ofthe year lists, but I'm going
with a song of theirs from theearlier 2000s, a song called
Mirrors by the band Crocodiles.

(01:43:15):
This is like absolutely apexpower pop music.
And this has a long intro thatlasts almost like two minutes.
So Zach is going to shoot me inthe head for this.
But the intro is so atmosphericand so building.
And then it launches into one ofthe catchiest songs about music
criticism that is telling peopleto go fuck themselves because

(01:43:37):
all they do is write about itand they don't feel it.
Mirrors by Crocodiles, abrilliant song.
I love

SPEAKER_05 (01:43:44):
it.
I'm taking the setup byUnbroken, my favorite Unbroken
song.
The way it builds up to thescissor beat parts is out of
this world.
It just, it sounds like it waswritten in the room, which is
like a rarity these days wheneverything is written remote or,
you know, the songwriter in theband is able to like kind of
track everything at home.

(01:44:04):
I just think, you know, wetalked about that sub-society
song that you lock someone in aroom for a year, they can't like
recreate it.
Like, the life of regret recordis, is definitely that.
And I think if you locked allthe same people in the room,
they couldn't recreate it.
Right.
I mean, even if they did, did ita month after they recorded, you
couldn't do it.
It was like, it was a specialtime and like it bleeds through.

(01:44:27):
It's like one of the raritieswhere like, you know, it really
captured a band on record.
So unbroken the setup, let's goto you pops.
Number six.

SPEAKER_06 (01:44:36):
I'm going to go with another hand stamped record.
From the region, I'm going withthe song Tap and Die by Forced
Down.
Again, as an outsider, ForcedDown was another band that I
highly associated with SanDiego.
And this song, there's thisstyle of guitar playing.

(01:44:56):
It's progressive, hardcore, butnot in a King Crimson way or
something.
It's like...
When guitar players just add alittle sauce to the riff, I'm a
sucker for it and the vocals goperfectly with it.
So I just wanted to give ForceDown a little shine because I
love them.
Rob, number six.

SPEAKER_00 (01:45:16):
Number six, I'm going with another Batayna
Saints song.
I'm going with Fighting Boys.
Great riff.
I love the vocal pattern.
I love the solo.
Great mid-tempo stomper.
It's catchy as fuck.
I am...
Yeah, I love this song so much.
Right or Wrong is my favorite,but it was already picked.

(01:45:38):
But Fighting Boys was my numbertwo.
So I'm going with that.

SPEAKER_05 (01:45:43):
All right.
We are to the heartbreak round.
And Dan, I have to presentsomething to you.
But first, dude, so this iswild.
You said Battalion of Saints,the song Bombs, almost made your
list.
I was like, what song is that,dude?
And so I've been...
I don't have that much time tolook because I'm juggling all
this stuff right now, but ittook me this long.
Apparently, that came out on a7-inch from 2015.

(01:46:05):
Apparently, they still got it.

SPEAKER_01 (01:46:09):
That song is so good.
Check it out.
It's really good.

SPEAKER_05 (01:46:13):
I can't wait to hear it.
I was like, what?
They got their whole discographyup online, so that's super sick.
To our next conundrum, myheartbreak round was either
going to be Tilt Wheel, the songoff the Cinema Beer Goggles
comp, or Over my Dead Body.
So if you want me to take Overmy Dead Body, that means you got

(01:46:36):
to take Tilt Wheel.
So here's the situation you'rein, Dan.

SPEAKER_01 (01:46:41):
Well, you know what?
We're going to have a San Diego–lists that omdb doesn't get
taken and that because rob won'ttake it and i know pops was was
uh probably has something elsein mind dude

SPEAKER_05 (01:46:57):
i'm begging you for the chance to take over my body
here in number seven i had itall set up but we got to get
beer goggles on here

SPEAKER_00 (01:47:06):
This is like the total reversal of not picking
Minor Threat and the StraightEdge Challenge.
You've got to pick yourself.
That's

SPEAKER_01 (01:47:18):
ridiculous.
I'm not going to be able to doit, but I do have a lot of great
things that didn't make the listthat I'm going to happily read
off in the things, but I've gotto come back to Unbroken, and
I've got to choose AbsenteeDebate.
I've got to...
You know, the fact that thissong is not on the best of San

(01:47:40):
Diego would be criminal for itto not be there.
So, you know, Zach, you wantedme to take other things so your
conscience could be clear.
But you know what?
I got to give you three wordsthat I will say.
I love.
don't care although i will bebummed that omdp is not on the
sd list but you know there'slots of great bands so it's okay

(01:48:05):
and cinema beer goggles is youknow is uh is quite pod lore-ish
this song and the repetition ofthe riff is channeling both
rocket from the crypt drivelight jehu and swizz all at once
and it then is encapsulated byUnbroken doing it to a higher

(01:48:27):
level than all of those, in myopinion.
This is the perfect wheneverything falls apart at the
end of a set.
When you've seen Unbroken inrecent years, that generally is
happening.
People are losing their mindsand their lunch and their
emotions and maybe even check afew people's undies.

(01:48:49):
They may have lost their lunchthat way too and then did a
stage nap.
Do a stage dive like the shitBomber Deer did on Rob's head at
Chain Reaction, that we shouldask him for that story when it
gets around to his thing at aseven-second show.
But what I will say is this songis incredible.

(01:49:09):
It has a very long outro that isplanned and done to perfection,
but the rest of the song isvery, to use a Zack word,
exemplifies brevity perfectly.
and has incredible drumming andthe...
Like the way it starts is justso rocking.

(01:49:33):
I know that word soundsterrible, but I've got to use it
in this sense.
This song is perfect.
And I'm really bummed that Fallon Proverbs is not on this list
by anyone.
But, you know, you take what youcan get.

SPEAKER_05 (01:49:47):
This is great.
It has to be on the San DiegoSuper 7, right?
It's...
I mean, it might be the Unbrokensong, although it's a weird
thing about Unbroken's catalog,right?
Everyone agrees that Life, Love,Regret is the album, but then
this might be the hit.
So strange.
I love this song too, althoughit's one of those things where I

(01:50:07):
love it, but anything that triesto sound like it, I pretty much
hate, you know, like kind of thesame with like sublime and
Pennywise, right?
Like I love these bands, butanyone that tries to sound like
them are fucking terrible, youknow?
So, but this is a, it's a greatpick.
It had to be here.

SPEAKER_00 (01:50:24):
Yeah.
I mean, it's, it's why we alwaysplay it last.
It's, it's the hit.
It's everything falls apart, uh,emotionally, musically.
I mean, it, yeah, that, thatsong has an emotional weight
that I don't think we, uh,thought about when it was
recorded and it was interestingto see the reaction that song

(01:50:49):
got you know years later whenpeople kind of latched on to it
you know even though yeah mostpeople prefer a life full of
regret but there's other peoplewhere the last two seven inches
are what they prefer but thatone song in particular is is you
know i i agree with with dan itmakes All of us in the band and

(01:51:11):
including people watching itkind of just melt down.
And I think that's the kind ofthe intention, you know.

SPEAKER_05 (01:51:18):
So there's a band called Tilt Wheel from here and
they're still around and stillactive and all that.
So much respect.
Again, kind of like theNeighbors.
you know, it was like in thatera when like, it's like, okay,
am I only going to like badreligion Pennywise or am I going
to like figure out some otherstuff?
And so like you get compilationsand you find your new favorite
bands often.

(01:51:38):
Right.
And cinema beer goggles havesome bands that like, became
some of my favorite bands at thetime.
Funeral Ration, 80 FingersLouie, 10 Foot Pole, Bullwheels,
No Use for a Name.
I loved it.
So while the in effect VHS mightbe the best hardcore VHS, dude,
I got to put Cinema Pyrotechnicsthere.
It's one of my personalfavorites.
And this Tilt Wheel song was oneof my favorites too, because it

(01:51:59):
was the most budget video onthere.
They probably just made it witha normal ass camcorder, right?
It had a stupid storyline, likea dude finds a 40 in a It's got
woes.
It starts out kind of likeemo-ish or like
singer-songwriter style.
And then it kicks fast and thenhas nice woes, which I loved at

(01:52:20):
the time and all that.
And then also the very firstpunk show that I ever booked was
Friday, October 4th, 1996.
And that was Tilt Wheel, F.A.Y.,My Band Against All Odds, Last
Chance, Old Todd Jones Band, anda band called Unknown Truth,
also a Jones band with him ondrums.
So yeah, like very important.
But I'll tell you what, TiltWheel, no show, dude.
So I'm not taking them.

(01:52:41):
I'm taking Overrated Body, BeThere.
So that is my choice.
It's over my dead body sevenseconds esque song really no
runner seven inch very goodespecially side a you pull
anything off that there's theNazi fight song there's like the
straight edge anthem and there'sbe there which is the seven
seconds you won it's what I'mtaking Dan don't cry you never
know showed a show that I bookedso much respect what do you

(01:53:04):
think you made the list how doyou feel

SPEAKER_01 (01:53:08):
oh I feel like Susan Lucci finally won her Emmy

SPEAKER_05 (01:53:13):
yeah Good.

SPEAKER_01 (01:53:15):
The great thing about this song is it's a song
about friendship wrote by twofriends who are still best
friends to this day.
Rob and I wrote this song.
The When I Saw You part waswritten by Rob because he was
channeling Lost by Morrissey andbringing that into this.
And it's really cool that yousay, you know, Cause it was

(01:53:40):
intentionally, we need to dosomething very seven seconds
ish.
So it does have a line in itthat I cringe to this day, which
I put as a placeholder and thennever replaced.
And it's just in there is the,you are the definition of
friendship and unity.
It was like the placeholder linethat just got recorded.

(01:54:03):
And, you know, people don'tnotice that it's cheesy as much
as the, person who wrote it likei uh my skin crawls at that but
other than that you know i lovethe fact that people had
throughout our time would pileon each other to sing along to

(01:54:23):
this song and those are some ofthe best times of my entire

SPEAKER_00 (01:54:27):
life yeah it's a really fun song um i i love how
it just goes right in super fastand then just breaks down into
into classic mosh beat um superfun i mean the way this song
came about too we were writingthe ep and we were aaron and i
were talking about writing musicand you know when we were

(01:54:48):
starting to put stuff togetherfor the seven inch and i said oh
you know one of the things thati that i like to do is is see if
i can write a song with one riffthe entire way through but
change it change the tempo oryou know um and so that's what
be there is it is literally oneset of chords played over and

(01:55:13):
over and even the mosh part isthe same riff played so it's one
riff played the entire waythrough just at different speeds
and after it was done and wekind of demoed it at the
practice space he was like holyshit you can actually do that he
was tripped out by it you knowand I think Daniel's delivery is
fantastic on it it's like wasmade for singing along and made

(01:55:36):
for fun and pylons and yeah Ilove this song this will always
be one of my favorite OMDB songs

SPEAKER_05 (01:55:45):
had he never heard young till I die

SPEAKER_00 (01:55:47):
A

SPEAKER_05 (01:55:50):
semi-famous song that also does that.

SPEAKER_00 (01:55:53):
It probably has one riff the whole way through.

SPEAKER_05 (01:55:55):
Exactly.
Yeah.
Okay.
Let's go to you, Pops, for yourheartbreak round.
Number seven.

SPEAKER_06 (01:56:02):
I'm going to go with a song from the album Waikiki by
Fluff called The Gift Of.
It actually has a...
A riff that's more grungy, butit's actually kind of a similar
pattern to Plenty for All by HotSnakes.
But Fluff is like another bandthat had that like skate

(01:56:23):
connection due to OtisBartholomew.
But I think they're like areally, they have a lot of like
uptempo, more generically likeHusker Du sounding songs, but
they kind of do some interestingtunings.
And they're just like a greatunderrated band.
And I wanted to put them inthere.

SPEAKER_05 (01:56:40):
I love it.
Dan, what do you think?

SPEAKER_01 (01:56:41):
Yeah, so, I mean, we've just touched on a few
different San Diego singers thatare gone too soon, and it is
tragic.
And O being gone is too soon.
Unbelievable.
Like, when you think about SanDiego music scene, that is the
person through music and throughthe skate connection knew

(01:57:06):
everyone.
now when i first started goingto shows and fluff were on the
shows i'd be like oh my god thisband is playing forever i'm so
sick of this you know and thenthrough my time going to shows
like year after year after yeari started to really appreciate
them a lot more and um And alsojust loved seeing him at shows

(01:57:32):
and having a chat with him allthe time because it's one of the
nicest people and one of thebest knowledgeable, really cool
people.
uh, San Diego Star Wars.
Like, I mean, if you think inSan Diego music Rushmore of like
actual people, he definitely beone of them.

SPEAKER_05 (01:57:51):
Oh yeah.

SPEAKER_00 (01:57:53):
Yeah, I, I agree.
They, he was a prolific personin San Diego from photography,
skating, music, um, just waseverywhere, everywhere, all at
once.
I mean, he, I, I, you would go,sometimes I'd go to a couple of
different shows in one night andyou would see him, you know,
He'd be at the Shea takingphotos, and you'd see him later

(01:58:14):
that night at the Casbah takingphotos.
I mean, he was just everywhere,always taking photos, supporting
new bands, catching up with oldbands, That aside, yes, Fluff is
a great band, very much in thatMission of Burma, Husker Du,
early Husker Du vibe, even kindof Jawbreakery.

(01:58:36):
They were great lives, superloud, super fun.
Yeah, they would play a longtime, sometimes a good 45
minutes sometimes, I remember.
But that being said, I mean,they were great and absolutely
critical to kind of that, like,punk post-punk adjacent stuff
that was like starting to go onwith like, you know, Jehu and

(01:58:58):
rock in that early cargo, um,rounds, you know, of, of bands.
Um, yeah, they were great liveand really good bands.
Great people.

SPEAKER_05 (01:59:09):
All right, Rob, let's go to you for the final
pick of the night.
A

SPEAKER_00 (01:59:13):
lot of choices.
Some bands haven't been picked,but I'll probably going to save
them for my honorables.
I, I, I would be, um, I missedif I didn't pick another Zeros
track because to me this isquintessential 70s punk,
especially very early days ofGround Zero stuff.
So I'm going with Beat YourHeart Out.

(01:59:35):
Again, we talked a lot aboutthem earlier.
I don't want to go too much moreinto it, but to me, this was
always my favorite Zero song.
I love how catchy it is.
It gives that kind of New YorkDolls, Ramones.
And this song was kind ofwritten before the band fully
developed, and that's what's sointeresting to me, is that they

(01:59:57):
couldn't really channel theRamones, because the Ramones
weren't really doing anything,so it was probably more like you
know, MC five, New York dolls,you know, maybe Johnny thunders
kind of stuff going on, but itwas, I don't know.
I love this song.
I love how catchy it is to me.
This is perfect.

(02:00:18):
Perfect.
Apex seventies punk.
This song.

SPEAKER_05 (02:00:21):
Yeah.
This is the other side of thesong that I picked.
I love this song too.
So the wild weekend song is kindof like the song that kicks ass.
And then this one is like earlycatchy rock and roll.
It's very melodic and poppy, andit's great.
It's like the perfect B-side forthe other one.
So I love this.
This is a great pick.

(02:00:42):
Okay, Dan, we will give youlonger than 30 seconds, even
though you were coming at meaggressively in the chat room.
But we'll let it slide at SanDiego.
Let it rip, dude.
Honorable mentions.

SPEAKER_01 (02:00:55):
Okay.
Identity Crisis by KlikatatIkatawi, Ditch Digger and Savoir
Faire by Rocket from the Crypt,Do You Compute, Drive Like Jehu,
Fall on Proverb, Unbroken,Impel, Amenity, The Straw That
Broke the Camel's Back, Run forYour Fucking Life, Woodmaker and
83% by Gehenna, You Can't Fuckwith the Kids by Find Him and

(02:01:16):
Kill Him, I Wanna Kill Tonight,Crocodiles.
Now this song, I'm reallysurprised didn't make my seven.
43 Seconds by Swing Kids.
Just another kid on the beat.
That song is so good.
Indecision by Heroin.
Dead 80s, Mrs.
Magician.
Dead Alive and Drug-Free Adult,OMDB.
Deceptor, Cold Stare.

(02:01:37):
Social Spit, Social Spit.
Don't Push Me Around and Hungryby The Zeros.
I Hate You by Ever Ready.
Failure by Therapy.
Bright Side and Extinction bythe Muslims that then became the
Soft Pack, but I really lovedthem when they were the Muslims.
T.O.
Zone, Take Offense, Smoking atthe Pump, Somali Pirates.

(02:01:58):
Now that is a fucking popbanger.

SPEAKER_05 (02:02:02):
What up?

SPEAKER_01 (02:02:03):
Red White and You, Struggle, Moth-Eating Deerhead,
The Locust.
This has a riff in it that isplayed on keyboard, which might
be the best mosh part ever.
Smart Probes, Rat's Eyes.
Rat City Riot by Rat City Riot.
Red Alert and San Diego'sBurning by Agent 51.
Of course you know I've got tohave Anthem Part 2, Reckless

(02:02:26):
Abandon, and Dick Lips byBlink-182.
And don't get at me, I lovethem.
Candy Flip by Violencia,Eutanasia by Violencia, Digital
Death, Crashing Forward, FalsePride, Cheap Sex, and then Chaos
Kids by Swindle.
The fact that Swindle is not onSpotify is absolutely criminal.

(02:02:48):
Someone make it happen.

SPEAKER_05 (02:02:49):
Pops, honorable mentions.

SPEAKER_06 (02:02:51):
Sure.
I'll go with a band I sent alittle slander towards earlier.
I'll go Rocket from the Crypt,Short Lip, Fuser, and French
Guy, as well as Sturdy Wrist,Pitchfork, Burn Pigs Burn, and
Thin Ice, End of the Line,Burning Down, and Trapped.
Anything from Blood Lake you canfind.
Just jam...
All the candle material youcould find.

(02:03:13):
I mentioned Inch earlier, thatSpace Horse.
Space Horse, I think it's acassette and a 12-inch EP.
And underrated Hot Snakes trackbecause I think it's only on a
live record and a Swami comp.
U.S.
Mint, unfortunately, anotherangry song with lyrics that
shouldn't still be relevant.

(02:03:33):
But yeah, that's what I got.

SPEAKER_05 (02:03:35):
Rob, honorable mentions.

SPEAKER_00 (02:03:37):
Yeah, I just got a few.
Jehu, Do You Compute, CrocodileSunday, Find Him and Kill Him,
60 Second Class Reunion, TakeOffense, Power in Our Hands, and
Force Down Fucking Texas.
That's what I have for myhonorable mentions.

SPEAKER_05 (02:03:52):
All right, Dan, get your finger off that nuclear
button.
So if you don't know thepasscode, you can't blow me up.
This is going to be a minute, soeveryone hang on.

SPEAKER_01 (02:04:02):
I need two keys.
That's right.

SPEAKER_05 (02:04:06):
The two keys and Posse Chris has the other one.
So unfortunately, you can't blowme up.
All right.
5051.
The song El Salvador.
What's up?
Old school San Diego.
Abstain.
Bleeding through your eyes.
Agonista.
Gray and dry.
All beat up.
Shattered man.
Amenity.
Breathe.
The autistics.
15 minutes.

(02:04:26):
Bayonet.
Death acceptance.
Bent blue.
Commodified existence.
Big attitude.
Pray for me.
The cardiac kids.
Get out.
Claude Coma and the IVs.
Be a bum.
Respect.
Cold path.
Hard look.
Cold stare.
Away from me.
Crashing forward.
No rights.
Crime desire.
Beyond the void.
Crossed out.

(02:04:46):
Crown of thorns was my backup.
Dispersed.
Sick as a dog.
Drug control.
Building bridges.
The executives.
Fashion.
First offense.
broken home.
This is a, a pre Jehu band, apunk rock on mystic records.
So people check it out.
Gehenna, no war, no peace.
Dude, from the latest record,what's up?

(02:05:08):
Get Pieced, B.I.G.
Mode, Headcount, Good Citizen,Heat, The Myth, Hereditary,
Can't Stop This, Heroine,Undertaking, The Hitmakers, I
Found Her.
That band is right after TheZeros.
So I think that's about as oldas it gets.
I could be wrong.
Rob, what do you know aboutthat?

SPEAKER_00 (02:05:26):
I don't know about that.

SPEAKER_05 (02:05:27):
Okay.
I think they're 78, maybe 77,77, 78.
So old, old.
Hong Kong, Fuck You, Kill aSkinhead, House of Suffering,
Draw the Line.
No shout out to POD for juststraight jacking that song and
putting on one of the records.
What the fuck?
Human Resources, Ungovernable,Impulse, Lame, The Injections,

(02:05:49):
Prison Walls, Insulates, Riot,Intercom, Pressurized,
Intermission, New Fire, Life orDeath, Day of the Rope, Mad Cow
Disease, 66619.
Dude, ska punk is not dead.
What's up?
Madrigado, Hypnosis, Manifestdestiny mother god and country
one of the early lps i got onmystic sent me down that dark

(02:06:11):
ass path kill me meat wagoncalling all cars also san diego
on mystic what's up that song ispsycho dude what is going on
here meth breath stay cleanministry of truth spitting out
misery burn mongrel off theleash negative blast trauma bond
neighborhood watch corporatecola we're going to talk that on
the patreon so stay tuned tothat smash that patreon button

(02:06:34):
no luck street dog the no-no's.
Call it A doom is a day.
Nowhere safe, so what?
The Penetrators, I5, ProjectSellout, Clock Out, Rod of
Correction, Cyrogenic Demise.
Hopefully I said that right.
Should have probably chosenanother song so I don't sound
like a fucking dumbass.
Sangre, Estamos Jodidos,Servende, The Sad Part,

(02:06:56):
Sleepwalk, Frostbite, SocialSpit, Drugs, Soldiers of
Fortune, Tell You Straight, SoulPower, Chain Drop, The Standbys,
Withdraw, Struggle, Envy, Sumo,Pride, Honor, Discipline, Sumo,
Swing Kids, Clean Shade ofDirty, The Plagues, Action,
Therapy, Void, The Tokios, DaddySays I Should Be Rich, Dude, The

(02:07:18):
Tokios, that's punk as fuck.
They had a song called CopKiller in 1979, so what's up?
Tourist, Elsewhere California,Violencia, Nuda Vida, World of
Pain, their song world of painand Indian with the
exterminators, microwaveradiation, San Diego fucking
rules.
Final thoughts, Dan.

SPEAKER_01 (02:07:38):
I think it's probably cryogenic.

SPEAKER_05 (02:07:40):
There you go.

SPEAKER_01 (02:07:41):
On that crime desire.
But yeah, San Diego does rule,you know, shout out the Che
cafe, shout out lemon Grove,shout out.
Shout out Cafe Mesopotamia.
Shout out, you know, all ofthese amazing venues and amazing
times that we've had in ourlives.
And I love that San Diego musichas gone all over the world and

(02:08:03):
influenced so many.
And even the San Diego look, itwent everywhere.
A couple different San Diegolooks, that is.
And, you know, shout out TonyGwynn.
Shout out the San Diego chicken.
We love San Diego.

SPEAKER_06 (02:08:18):
Pops, final thoughts, San Diego?
San Diego rules.
I've got you covered so much.
What more could I add?
Rob, final thoughts.

SPEAKER_00 (02:08:26):
You know, your list, you know, hearing some of those
names and, you know, some ofthem I plan on talking about on
the Patreon, you know, bandslike, you know, the executives,
you know, and, and things likethat, neighborhood watch and
just really cool to hear thislaundry list of stuff that
started back in, you know, midto late seventies and, and,

(02:08:46):
hearing bands that are of thenow, you know, the venues of,
you know, Print Shop, The Shays,The Sewers, all these other
spots.
I think it's incredible.
that this lineage that san diegohas of great punk and hardcore
and that it's not stopping it'sstill thriving and there's a lot
of great stuff going on i am soproud to be from here and i love

(02:09:10):
our scene very much

SPEAKER_05 (02:09:11):
dan i didn't hear you shout out to uh soma or
canes is that a a miss site isthat a word well this is help me
out as my editor is that a wordwhat

SPEAKER_06 (02:09:20):
the fuck if you're a copywriter you can make it up
yeah that

SPEAKER_05 (02:09:23):
qualifies there you go oh dan was there oversight on
that

SPEAKER_01 (02:09:27):
No, this is an official SOMA broadcast.
This has been approved by LenPaul.
So, you know, shout out to LenPaul.
He's

SPEAKER_05 (02:09:41):
going to call the fire marshal on this podcast,
dude.
What the fuck?

SPEAKER_04 (02:09:46):
Absolutely.

SPEAKER_05 (02:09:48):
Yeah, yeah.
Everyone, I did a scene reporton the 185 miles south sub stack
last year.
So you can dig that up.
And also I did a fanzine.
called Wild Weekend, which is...
dedicated the name you know touh to the zeros you know and i
it was a whole it was like ayearbook to 2024 san diego so
it's uh there's it's gonna begone by the time this airs so

(02:10:12):
you missed out dude bummer foryou uh dan where can where can
the people find you

SPEAKER_01 (02:10:16):
you can find me sat outside hard work coffee with my
nose in a wild weekend zine justmaking you jealous you can also
find me on on uh instagram atsouthport instagrammer

SPEAKER_05 (02:10:28):
uh pop Where can the people find you?

SPEAKER_06 (02:10:30):
Just add a.com to my name and everything's

SPEAKER_05 (02:10:33):
there.
Rob, where can the people findyou?

SPEAKER_00 (02:10:35):
Here and there, to and fro.

SPEAKER_05 (02:10:36):
Don't get at Rob is what he's saying.

SPEAKER_00 (02:10:42):
Hey, I'm around.
I

SPEAKER_05 (02:10:45):
love it.
I love it.
I'm out there.
I'm out there.
That's right.
Everyone, get at me,185milesouth at gmail.com.
I respond to everyone, exceptthose bizarro-ass press releases
that come from nowhere.
What the fuck?
But yeah, and also we're on allthe socials, 185milesouth.
And I'm on Substack sometimes,dude.
And if you want to keep thispodcast alive, smash that

(02:11:06):
Patreon button.
A lot of work goes into thisshit.
And we appreciate you all, butthe Patreons do keep this thing
alive.
We will talk to you again nextMonday there behind the dreaded
paywall.

SPEAKER_03 (02:11:17):
Peace.

UNKNOWN (02:11:49):
Thank God for you.

All Episodes

Episode Transcript

Popular Podcasts

On Purpose with Jay Shetty

24/7 News: The Latest

Crime Junkie

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}257. Super 7 San Diego

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}On Purpose with Jay Shetty

24/7 News: The Latest

Crime Junkie

All Episodes

257. Super 7 San Diego

On Purpose with Jay Shetty