April 6, 2025 • 38 mins
We delve into meaningful musical coincidences and explore music history, from supernatural car incidents to the legacy of the "More Cowbell" SNL sketch.
• Strange collision of musical omens when "I'm a Loser" by the Beatles coincides with a New York car accident
• Reflections on April 1980 as a pivotal moment in my musical awakening through WPLJ radio specials and deep music exploration
• Celebrating the 25th anniversary of SNL's "More Cowbell" sketch and its lasting cultural impact
• Behind-the-scenes look at Record Store Day 2025 and the challenges facing independent labels and artists
• Historical milestones including The Beatles' "Let It Be" reaching #1 in April 1970 and Judas Priest's "British Steel" release in April 1980
• Personal stories of musical discovery featuring Squeeze, Pavement, and Sinead O'Connor
Visit your local record store on April 12th for Record Store Day 2025 and pick up special releases, including "Songs from the Astral Plane: A Tribute to Jonathan Richmond, Volume Two" featuring The Violets and other independent artists.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:24):
He's got the feeling in his toe-toe.
Speaker 2 (00:29):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Boge, and you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 73.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
Hey, before we get started,Jimmy, I got to say the pollen
(00:52):
has just been unbelievablelately.
Speaker 1 (00:54):
It has it's setting records here in Atlanta.
Speaker 2 (00:56):
It's insane.
I have a black vehicle that isyellow.
Speaker 1 (00:59):
Yeah, it's not black anymore.
Speaker 2 (01:01):
It is not, it is yellow.
So I might have to stop everyonce in a while, just grab a
little swig to kind of clear mythroat of all this pollen.
Speaker 1 (01:08):
A swig of delicious cola.
It's Pepsi.
Okay, I wasn't sure if we weregiving them the free shout out.
Speaker 2 (01:14):
Yeah, you know, this time we're going to do it.
Speaker 1 (01:17):
All right, that one's on the house.
There you go that.
Speaker 2 (01:20):
There you go, that one is on the house.
So, jimmy, we're going to goback to August 2024, get the
show started with.
And I was visiting family I wasup in New York, my kids were
with me and we were coming off aroad onto a parkway and we had
(01:43):
the Beatles on.
We're listening to them andjust as John Lennon starts to
sing, I'm a Loser.
You know the song, I'm a Loserby the Beatles.
Yeah, I hit this huge potholeand it's so big it kind of
knocks off, like on the back ofmy vehicle, like the bumper type
(02:04):
thing.
Oh really, yes, and it's justdangling and I have to pull off
up on the grass on the side ofthe road and you know, kind of
put it back and take my hand andsmash it to get the thing back
on.
And since then, every once in awhile, I just, you know, have
to keep an eye on it, make sureit doesn't come loose if I hit
(02:25):
something, you know hard,because there's potholes all
over.
This was the monster ofpotholes.
I just got to be honest withyou.
It was like this deepentrenchment in the road.
It was crazy, it was definitelycrazy.
So that was August 2024.
So just keep that in mind,right, okay?
(03:00):
Sends a text and it says I'm ona train going through the Swiss
Alps, just opened a crisp Cokeand everybody wants to rule the
world by Tears, for Fearsstarted playing.
I'm living.
That's the text.
Speaker 1 (03:20):
She's living you know , sorry, pepsi, about the Coke
thing.
Speaker 2 (03:25):
There you go.
I take a picture of myselfbecause I'm in a vehicle, I'm a
passenger, my brother's driving,we're headed, you know, upstate
New York, and I take a pictureof myself with a Pepsi can.
Speaker 1 (03:40):
Mm-hmm.
Speaker 2 (03:41):
And I text I'm on the Northern State Parkway with a
crisp Pepsi, I'm with my brotherand I'm living the life, just
kind of a takeoff of what shehad.
She responds back with if I'm aloser, starts playing your
bumper will shortly fall off.
(04:02):
Your bumper will shortly falloff.
Yeah, as I'm reading that wecome around this curve to get on
the Long Island Expressway.
That's blind and a car has lostcontrol, hit the median.
The car in front of us comes toa complete stop, 70 to nothing
(04:24):
like that.
My brother swerves to miss thembut we end up hitting the
concrete wall to the left of us.
I'm a loser, did not come on,but she mentioned it and at that
time the bumper didn't come offbut a lot of other things on
the car did.
Speaker 1 (04:40):
That's rough.
Speaker 2 (04:41):
And I believe my brother said the car is going to
be totaled.
You know, we ended up beingable to get the car towed.
We got a rental car and we madeour merry way.
But what are the odds?
That, as I'm reading this text,if I'm a loser comes on, your
bumper will shortly fall off,that we're involved in an actual
(05:04):
wreck.
Again, I'm a passenger, I'm notdriving.
You know, I'm just reading thetext.
Boom, just like that.
What a coincidence.
Speaker 1 (05:13):
That is.
Speaker 2 (05:14):
I mean, it was just absolutely crazy.
Speaker 1 (05:17):
I'm glad you're okay.
Speaker 2 (05:19):
Well, thank you, I'm glad I'm okay also.
So check this out.
The next day we're listening tomy music playlist, just random
songs, and back to back myfuneral playlist starts coming
on Like it's not again.
Out of 4,000 songs I have on myphone, back to back were two of
(05:41):
the three songs that I wantplayed at my funeral.
I'm like, wait a minute, thisis a little creepy now.
Yeah, you know a little creepy.
So those two things were AllThings Must Pass by George
Harrison and Hell yeah by NeilDiamond.
My brother really didn't likeNeil Diamond's song.
He likes Neil Diamond but hedidn't like Hell yeah.
I was kind of surprised.
(06:02):
I think it's a good song.
But enough about this pastweekend, let's go back to April
of 1980.
And April of 1980 is really bigfor me from the standpoint of
really listening to music thatnow started to become my own and
listening to the radio, pickingout the radio stations that I
(06:24):
wanted to listen to.
And in April 80, wplj 95.5,rock station in New York at the
time, had these different, youknow, specials, live shows,
interviews, all these differentthings that they did in April.
(06:45):
And then they did it again sixmonths later, in October, and
they called it Rocktober, but itwas really cool because it
seemed like every day there wasa different thing and you could
get the calendar.
It was like a black and whitepiece of glossy paper and it
would say what specials would beon at what time or what were
(07:05):
they doing on the weekend or orwhatever.
And I can't rememberspecifically the April verse,
what they did in in Rocktober,but I remember listening to this
two-hour special on the doorsand had interviews with the band
, played music, them explainingit, and to me I was 13 at the
(07:32):
time it was just super cool,like to hear all this stuff.
Like you know, I had listenedto the radio and it always been.
You just hear all these hitsand you just hear music.
Hear all these hits and youjust hear music.
And then, you know, I startedto hear songs that I really
liked.
But now it was really kind ofgoing deep into stuff.
So I'm listening to shows,bands I've never even heard of.
(07:56):
I have no idea, but I thoughtthis was just so cool, what they
were doing.
Again, I can't remember whatwas in April, what they did in
October of 1980, but it was justreally something that really
piqued my interest and I don'tthink my interest has stopped
(08:16):
since then.
I mean, it's just been like Ilove this.
This is really just super cool.
I remember one weekend and Idon't know if it was the weekend
or maybe it was just a Sunday,but they played the Beatles, the
Rolling Stones, the who, theGrateful Dead, which always in
(08:36):
my mind I was like why theGrateful Dead?
They just didn't fit in.
It might have been the Kinks, Idon't remember who else they
played.
They played one other band.
It might have been the Kinks, Idon't remember who else they
played.
They played one other band.
But really getting to hear deeptracks, not just the hits, and
really, you know, exploring alot further than what I had up
until that point, and it wasjust really cool for me.
Speaker 1 (08:58):
Sounds like it yeah.
Speaker 2 (08:59):
Like you know, do you remember being in that stage
where it's kind of like you'reexploring music?
It doesn't have to be new music, it just has to be new music to
you.
Speaker 1 (09:09):
Right, yeah, and that was the case, I think, for us
in the 80s a lot, because a lotof the music on the radio wasn't
good, and so we were learningabout music from the 60s and 70s
, because you know, I wasn'tinto Donna Summer.
Speaker 2 (09:24):
And I understand what you're saying, jimmy.
You know it was.
You know for me, I knew theDoors Light my Fire.
I think everybody knows thatsong.
But I had the opportunityduring that two-hour special
where they just were playing theend.
I was about to say yeah, youknow just like all these
different things Soul Kitchenand things I didn't know
(09:58):
anything about.
I was about to say, yeah, thesedifferent bands again, I didn't
have to necessarily like them,but I listened because I said
maybe I will like them if I knowmore, if I know more than what
their hits are or whatever.
It was just a lot of fun.
And one of the bands for me inApril of 1980 that I really got
(10:19):
to like was Squeeze.
Oh yeah, argy Bargy.
I know you talked about thatalbum on A Minute With Jimmy
previously, but that albumreally was like every song is
good.
This is definitely not myparents' music, this is mine and
I just loved it and listeningto it on the radio and it was a
(10:42):
lot of fun.
It really, really was a lot offun.
And I think you know thingsthat test, you know time.
Does it still have that samefeeling, that same meaning all
these years later?
And it definitely does.
Speaker 1 (10:58):
Right, yeah, that record definitely does.
Speaker 2 (11:00):
Without a doubt.
So we are at the 45-year markof when I always say this to
people, but when I went from boymusic to becoming band music,
all right so and it's beenspecial and for me it's exciting
to talk about and hopefullypeople have had those
opportunities where things likethat have happened for them also
(11:23):
.
Speaker 1 (11:23):
It's kind of like right around that time you two
went from boy to war.
There you go.
That's Jim's journey.
Speaker 2 (11:31):
There you go.
Speaker 1 (11:32):
You were the little kid on the cover, without the
shirt on and the skinny littlearms.
And then you were that kid, buthe was a couple years older and
he's a little mad.
Wow, you sound like a pirate.
Speaker 2 (11:43):
Thanks, you're welcome.
Hey, speaking of pirates.
Speaker 1 (11:47):
I am the captain now.
Speaker 2 (11:50):
Well, since you're the captain, I'll be Tennille.
How about that?
Oh, that's good.
No muskrat love.
But what I will talk about is onApril 8, 2000, the More Cowbell
sketch aired on Saturday NightLive.
Hard to believe it's been 25years already since that came
out.
(12:10):
I think it was a funny skit.
I think it was hilarious.
A lot of visual humor.
It's kind of tough to talkabout.
You really need to watch it toreally laugh and see everything,
because there's multiple thingsthat you'll laugh at, you know,
if you watch it several times.
(12:30):
And it's based on the 1976 BlueHoist the Cult song Don't Fear
the Reaper and kind of like thefictitious recording of the song
.
But check out this cast ofcharacters that's in it.
You got Chris Parnell, jimmyFallon, chris Kattan, horatio
Sands you know they're allmembers of Blue Ice to Cult in
(12:54):
this, you know, sketch.
You got Will Ferrell as thecowbell guy Yep, great job.
And Christopher Walken as theguy that is, you know, the
fictitious producer of the song.
So they start playing the trackand Will starts playing the
cowbell so loud, just like it'sannoying everyone in the band,
(13:17):
especially the guy that was, youknow, the lead singer, and they
stop and Christopher Walkencomes in in into the studio and
he says something like the songneeds more cowbell, which is not
what the band was thinkingwhatsoever you know yeah and
they start playing it again.
(13:38):
And now um Will is just kind ofobnoxious as he's playing the
cowbell yeah, well, christopherWalken tells him to really
explore the studio space.
Speaker 1 (13:48):
Yes, he does.
Speaker 2 (13:49):
And boy did he explore it.
And so they stop.
Christopher Walken, you know,reenters and says the classic
line guess what?
I've got a fever, and the onlyprescription is more cowbell.
Jimmy, I mean, that is justunbelievable.
I think you know more cowbellis something that stayed, you
(14:11):
know, in the vernacular.
I don't think I've used thatword in many, many moons, but
I'm going to use it today.
But it really has is like youknow, if you're talking about
something, you know, yeah, it'sso-so, but more cowbell and that
song will be rocking, or thatstory will be rocking, or
whatever.
It's just a classic sketch.
(14:33):
I mean, I just absolutely loveit.
Again, I can't do it justiceyou need to watch it when Will
Ferrell has got that shirt onand it starts to come up.
Speaker 1 (14:47):
It's kind of riding up on him, yeah.
Speaker 2 (14:48):
Yeah, it's so funny.
I mean just funny.
Speaker 1 (14:52):
And I think you know sometimes if you listen to a
song and you're kind of pickingapart the instruments like oh,
like you said, sometimes I'lllisten to the bass, sometimes
I'll listen to the guitar, andin that song and some other
songs, if you listen to thecowbell sometimes it starts to
sound really loud Like anothersong.
That's like that is Vicious byLou Reed.
(15:14):
And next time you listen to itjust listen to the cowbell it's
like the loudest thing in thesong.
So I think somebody probablywas listening to Don't Fear the
Reaper.
You know one of the SNL writers, or Will Ferrell or somebody.
Speaker 2 (15:28):
It was actually Will Ferrell.
Speaker 1 (15:30):
Yeah and thought, wow , that's a lot of cowbell.
Yeah, we can do something withthis.
Speaker 2 (15:48):
Colt has said that the song used to be kind of
creepy, kind of you weren't sureabout it, but once it hit
Saturday Night Live it kind oftook the creepiness out of it
and made it fun with the cowbelland stuff.
Now they love it, they thinkit's great, but it's definitely
changed what people think of thesong.
Speaker 1 (16:00):
Yeah, it was.
It was kind of scary before.
Speaker 2 (16:03):
Right, and speaking of scary, when Stephen King was
writing the 1978 book the Stand,he developed writer's block and
he got inspiration fromlistening to Don't Fear the
Reaper.
Hmm, isn't that crazy.
That is the band the Alarm.
(16:23):
Remember them.
Speaker 1 (16:25):
Yeah.
Speaker 2 (16:25):
All right.
They got inspiration fromStephen King's book and wrote
the 1983 song, the Stand.
Speaker 1 (16:32):
Oh really.
Speaker 2 (16:34):
And it mentions some of the characters that are in
the book.
It's kind of interesting.
Now there's a bunch ofdifferent songs that have talked
about the stand and so forth,but the song the Stand by the
Alarm, I mean, you think thatthey're just giving you the.
What is that?
When you buy that little book?
(16:55):
That's the Cliff Notes orsomething.
Yeah, you know, that's kind ofwhat it is.
But, jimmy, after the sixdegrees of Don't Fear the Reaper
, I do need more cowbell.
Jimmy.
Record Store Day is April 12,2025 at Participating
(17:18):
Independent Record Stores.
And what can you tell me aboutRecord Store Day?
Speaker 1 (17:25):
Well, record Store Day was started in 2008.
There were 300 participatingindependent record stores in
2008 that did it, and the ideawas to get people physically in
the record stores rather thaneverybody consuming music online
.
Back then it was all iPods andiTunes, and so it was like, hey,
(17:49):
let's have an event that getspeople to come into the record
stores and realize, oh, this isso cool.
You can buy physical media here, you can buy vinyl and you can
get that old turntable out.
And so they have bands andlabels that do special releases
just for record store day.
You can't buy them online, youcan't buy them through the mail,
(18:12):
you can only get them, uh, inthe store, and so like, for
example, they, they might issue500 of a particular special, you
know record by a band, andevery record store only gets one
or two copies.
And so people line up outsidethe store before it opens up and
(18:34):
then they'll have a limit ofokay, you can buy this many
things or whatever it is, andonly this many people are
allowed in the store at a time.
It's a big deal at a lot ofrecord stores that people get
very excited about record storeday and buy a lot of stuff, and
that was kind of the originalidea.
Now it's gotten to the pointwhere the major labels have
(18:56):
realized oh well, this is agreat way for us to get our
major label artists and sothey'll, you know, put out a
special colored vinyl.
David bowie album from the past, or lady gaga, or somebody will
put something out, and and it'sedged out the independent
labels that were the founders ofit, and so along that, those
(19:20):
lines, I've been a part ofseveral releases over the years.
There's a record store calledCrooked Beat Records in the DC
area and it's an old friend ofmine named Bill Daly that owns
it, and he was in a band calledInsurgents back when I was in
the Violets, like 30 somethingyears ago.
Speaker 2 (19:40):
Both in Athens.
Speaker 1 (19:42):
No, they were out of Raleigh, okay, and so we met
them in Charleston, them inCharleston, uh, playing a gig
together where we just got kindof put on the same bill and
ended up hitting it off.
And so we played more showswith them.
He put out our records and, uh,he started doing these special
record store day releases.
The first one was the clash hadan, an album called Cut the
(20:07):
Crap.
Speaker 2 (20:08):
Yes, without Mick Jones.
Speaker 1 (20:10):
Without Mick Jones right and without Topper right.
Speaker 2 (20:16):
Correct, topper had been gone.
Speaker 1 (20:17):
Yes, so, yeah, it was Joe Strummer and Paul Simonon
and Bernie Rhodes was theirmanager.
Well, they only got abouthalfway through recording this
album and they broke up like the.
The last two guys were like no,we're we're done with this.
Well, bernie Rhodes, themanager, thought oh no, no, no,
(20:39):
we've already recorded somestuff.
Let's just piece this togetherand put it out so we can sell it
.
So this was back in like 1984,I think, and so he mixed it,
like all the Clash records hadsuch good producers and mixers
and great guitar sounds andstuff and this is just like the
worst sounding record.
(21:00):
And he put all thesesynthesizers on it and things
were missing drums, and so hewould just put a drum machine
and you know that really cheesysounding 80s drum machine on
certain things.
So it was just widely known aslike a really bad attempt at a
clash record.
Like the songs were good, therecordings were awful.
(21:22):
So bill daly's idea was we willmake a record called recutting
the crap.
And he got all these bands thathe knows to redo, to remake a
song.
And so the violets did a songcalled cool under heat.
That was from cut the crap andit did pretty well on Record
(21:47):
Store Day.
It got some good press.
Then the following year or twoyears later I think, we did
Volume 2.
Because there were more songsthat weren't on Cut the Crap,
that were on some demos, and sopeople would choose from those,
we put out a second LP,recutting the Crap, volume 2.
Then the next project that billdid, which was several years
(22:10):
ago, was a Jonathan Richmondalbum, and you might know
Jonathan Richmond and the modernlovers road runner road runner.
Yeah, In fact the violets didroad runner.
Speaker 2 (22:25):
Really.
Speaker 1 (22:26):
Yeah, it was the first song on on the album and
uh, bill called it songs fromthe astral plane and a tribute
to jonathan richmond.
So everybody did jonathanrichmond songs and uh, it
actually charted it.
It was, uh, on the billboardcompilations chart the week that
(22:46):
it came out, sold out inpre-orders and was an official
record store day release and didgreat.
So then this year bill says,hey, we've got uh, songs from
the astral plane, a tribute tojonathan richmond, volume two
ready to.
You know, put that one out andrecord store day.
Powers that be were like no,we've already got all the
(23:09):
official releases.
You know, uh, whatever taylor,swift or somebody's got to put
something out.
So here, independent bill andand crooked beat records
couldn't get the official recordstore day release.
And you realize, well, maybeit's kind of better I just put
it out on record store day.
Anyway, it's an unofficialrelease, I've got all the
(23:31):
distribution, I'll get it in thesame stores.
So that's what he he did andit's coming out on record store
day um, all across the world anduh, you should check it out if
go to your local record storeand ask for it.
The violets did a song calleddodge vege-o-matic on this one
and you should check it out.
Go to your local record storeand ask for it.
The Violets did a song calledDodge Vegomatic.
Speaker 2 (23:52):
On this one, you heard it.
I was going to say I'veactually heard it.
Speaker 1 (23:55):
I enjoyed it so what year did you record that?
I think that might have beenlike 2021.
I think it was 2022.
We thought it was going to comeout that year, and that's
another problem with recordstore day and the major labels
getting back into vinyl afterthey had abandoned it is that
(24:17):
they take up all of the pressingplant space because there
aren't as many record pressingplants as there were back in the
old days when everybody boughtvinyl, and so if you want to
press something as anindependent label, you have to
give them like nine months ormore of lead time for them to
actually press your record wowit's, it's crazy, or you have to
(24:41):
pay big fees that end up makingit unprofitable to pay to jump
the line, and so, yeah, hedidn't make it for the deadline
that year and it just kind ofgot postponed, and here we are
in 2025.
Record Store Day is April 12th,right?
Speaker 2 (25:02):
That is correct April 12th.
Speaker 1 (25:04):
So I will tell you some of the other bands that are
on this.
It's got Too Much Joy.
California band.
Tall Ships, also fromCalifornia, violets from Athens,
georgia.
Geisha Hit Squad, also fromGeorgia.
Peele Wimberly that was thedrummer of the connells has uh,
(25:29):
has a project on there.
Washington dc artist eric huey,uh, joint effort with eric
roscoe.
Amble from the dell lords,daily combat, teething veils and
silent island are the bands onit.
Speaker 2 (25:46):
Well, that sounds pretty good.
I hope people go out andsupport their local record store
and get something like thatalbum that the Violets are on.
Speaker 1 (25:56):
Yeah, it's on red vinyl too.
Speaker 2 (25:58):
Wow.
Speaker 1 (25:59):
It looks really cool.
Speaker 2 (26:00):
I bet it does.
You know it's funny.
You mentioned the ConnellsComing into the studio.
I was closing the door.
I was singing 74-75.
You were yeah, yeah it's funnythat you know it's coincidences.
That's the whole key toeverything today.
Well, that was pretty good,jimmy.
Thank you for that update onRecord Store Day.
Speaker 1 (26:20):
No prob.
Speaker 2 (26:27):
Let's revisit some great music from the past.
On April 11th 1970, theBeatles' Let it Be peaked at
number one on the Billboard Hot100 charts, written and sung by
Paul McCartney.
There were two versions thealbum version and the single
(26:47):
version.
I like the album version better.
George Harrison's guitar solosare different in both of them
and it's more rocking on thealbum version than it is on the
single.
It's kind of wimpy on thesingle.
It's not.
You know nothing to write homeabout, but the album one is so
good much better version andgrowing up, let it Be was one of
(27:11):
the first albums I had.
So I always listened to thealbum and I remember one day
hearing on the radio I'm likewhat is that?
That's different.
I don't have that.
Well, that's because the singlewas different and a lot of band
singles are different than theregular album.
April 11th, 10 years later,judas Priest releases British
(27:33):
Steel Great metal album with RobHalford's vocals, kk Downing
and Glenn Tip, fire metal, gods,the rage and of course, the
(27:54):
classic metal songs Breaking theLaw and Living After Midnight
We've mentioned before.
The album was recorded in RingoStarr's house in Ringo Starr's
house.
So just a quick recap.
John Lennon owned the housebuilt a recording studio
separate of the house and JohnLennon actually did the video
(28:18):
for Imagine there.
So if you ever see the, youknow he's on the white grand
piano.
That's from there, judas Priest.
They want to record at thestudio and they start.
They don't really like it, theygo in the house like we kind of
like the sound in the housebetter they move the instruments
and everything into the houseand they record while Ringo owns
(28:41):
it.
The last Beatles photo sessionwas taken on that property and
that's a lot of history.
Just looking at those fewthings there, I think that's
pretty cool.
First week of April 1985, theWLIR Screamer of the Week.
King, won't you Hold my Hand?
(29:03):
The Heavy Times mix Again onthe album.
Not so good, but when theyreleased the single because they
mixed it much, much better Adance song with a good beat
could be heard in Spittin'Levittown where I would hang out
.
That was my go-to club.
Won't you hold my hand now?
Won't you Hold my Hand Now?
(29:24):
These Are Heavy Times.
I worked with this guy and atthe time he owned a Trans Am and
he would play this song all thetime We'd go to lunch and it
was the first song on like ahomemade cassette that he made.
We would listen to it all thetime, loved it.
First week of April 1990, sineadO'Connor, emperor's New Clothes
(29:46):
, was the shriek of the week onWDRE, while her song Nothing
Compares to you was about to hitnumber one on the Billboard
charts.
In April of 1990, dre moved onand started playing Emperor's
(30:10):
New Clothes, a song that wasn'treleased as a single until June
of that year and it peaked atnumber 60 on Billboard in July.
It's a song she wrote aboutherself.
I mean, it's justautobiographical and it's
interesting because the drummeris her husband and it's almost
like a conversation she's havingwith her husband about kind of,
(30:30):
you know, had a baby.
Things have changed.
I'm a musician, I got popularblah, blah, blah, all these
different things, and it's funny.
He does a great job, drummingis excellent in the song, but I
just find it comical that youknow, it's almost like a
conversation to him, you know.
(30:50):
Yeah, yeah, and they divorced in, I think, 1991, but he still
stayed on and did differentthings on her albums, probably
four more albums after that.
So you know they were musicallycompatible.
But I'll tell you what'scompatible.
It's got Marco Peroni on guitarFrom Adam Ant.
(31:11):
Yes, he was Adam Ant, adam andthe Ants.
He was on four of her albums.
You know, goody, two Shoes,that guitar sound.
That's him.
One of my favorite bass players, andy Rourke of the Smiths he's
on the track and the lastminute and a half of the song is
(31:32):
just the band jamming away andit is excellent.
It's a really good song.
I really like it and I listenedto it from the beginning till a
minute and a half as one partand then the minute and a half
till the end as the second part,and it's really cool.
I really do like it.
Whoa, whoa, my watch is ringing.
(31:53):
According to it, it's minutewith jimmy.
It's time for a minute withjimmy.
Minute with jimmy.
Minute with jimmy.
It's time for a minute withjimmy.
Minute with jimmy minute withjimmy.
Speaker 1 (32:04):
All right back to Pavement talking about Wowie.
Zowie Record came out April11th 1995.
It was their third full-lengthalbum.
It's not my favorite Pavementalbum but it's a really cool
point for them where they becamemore experimental.
There's not really a realcatchy pop song on the record
(32:29):
but it has a has a lot of goodtunes that, uh, if you, if you
give them some time, they growon you.
I really like blackout grounded.
We dance father to a sister ofthought kennel district and
rattled by the rush.
Um has a lot of songs on thealbum too.
Uh, and you know their.
(32:50):
Their live performances duringthat time were always really fun
too, because you never quiteknew what to expect with
pavement.
They might be, they might bearguing with each other, they
might be doing headstands ontheir drum throne and throwing
mayonnaise sandwiches to theaudience.
Yeah, there were all kinds ofthings.
So it was always an experience.
Speaker 2 (33:13):
Yeah, they can keep the mayonnaise sandwich.
I'm not interested in that.
Speaker 1 (33:17):
So I have another short story about Pavement.
So Bob Nastanovich, that wastheir kind of background
vocalist and percussionist.
He knows my brother-in-lawthrough horse racing.
They're both in the horseracing business, and so Brant
(33:37):
figured out oh, he was inpavement and Jimmy likes
pavement.
So Bob was kind enough to sendme a record like this picture
disc that they did a speciallike limited edition record
Store Day type vinyl record, andso as a thank you I sent him
(33:59):
back a small container ofmayonnaise and two slices of
white bread in a Ziploc bag andsaid this is reminiscent of your
1992 show in London that I wentto.
Did you really?
Speaker 2 (34:08):
I did, so this guy from the band ended up getting
some old mayonnaise.
Speaker 1 (34:15):
It's not old, it's brand new mayonnaise.
Speaker 2 (34:18):
Oh, so it was in a jar.
Speaker 1 (34:19):
It was like a thing that you buy at the store.
Speaker 2 (34:21):
but the small one I'm thinking it was like some
mayonnaise put in a bag and thensent in the mail.
It was like old or something.
Speaker 1 (34:30):
No, it's fresh, unused mayonnaise.
It's unused.
Speaker 2 (34:39):
Oh, my Lord, Jimmy, oh, I don't even know what to
say to that.
I don't.
I mean, I love it.
I like how you sent somethingback and didn't just take
something without givingsomething in return.
Speaker 1 (34:50):
Yeah.
Speaker 2 (34:50):
But the fact that we're talking about unused
mayonnaise, oh that, just that'sgreat.
Speaker 1 (34:56):
That's pavement for you.
Speaker 2 (34:57):
That's pavement.
Hey, a little bit earlier thanApril 11th 1995, march 14th 1995
, collective Soul, theirself-titled second album, came
out and the first single, gel,was released in January 95.
The song December came outMarch 17th 95.
It peaked at 20 on BillboardSeptember 2nd of 1995.
(35:20):
The World I Know peaked atnumber 19 in March of 96.
Where the River Flows wasreleased in March 1996.
One of those albums that justkind of you know, hung around
for a while and it peaked atnumber one on the Billboard
mainstream rock chart, as theother three singles did.
They all made it to that.
(35:40):
I mean, that was basicallyabout what was being played on
the radio and so forth.
I saw them open for Aerosmithin September 94 at Lakewood Good
show, and then I saw them atMusic Midtown in May of 95 here
in Atlanta, and it was funnybecause I was towards the back.
(36:03):
I was kind of, you know, I wasseeing other bands and then I
kind of got there and I was likeafter the whole day I just
didn't want to go into the frontand get squished.
So I hung out kind of towardsthe back and there were these
two guys behind me and my buddyand they were talking loud, like
you know when people talk loudbecause they want you to hear
them and they're talking aboutoh, they're our cousins and we
(36:28):
know them well and we hang outwith them, and they're going on
and on and on.
Where it was just like oh,please just shut up, show starts
.
I forget about it.
I don't know how many songs in,but Ed Rowland, lead singer of
Collective Soul, at one pointsays yes, there are people out
(36:50):
there that are saying they areour cousins, but they are not.
Oh, wow, it was the funniestthing, because we turned around.
There are people out there thatare saying they are our cousins
but they are not.
Oh, wow, it was the funniestthing because we turned around.
I literally turned around.
We turn around and we look atthem and it was like no man, we
really are their cousins.
Yeah, sure, you are Sure.
It was funny to hear him saythat.
Speaker 1 (37:09):
How did that get around to Ed Roland?
Speaker 2 (37:13):
I have no idea, but there we were thousands of
people in downtown Atlanta atMusic Midtown.
Speaker 1 (37:21):
It's crazy.
Speaker 2 (37:22):
Hey, listen.
If you want to contact usbecause you're interested in
knowing some mayonnaise tipsfrom Jimmy, you can at
musicinmyshoes at gmailcom.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages.
As always, feel free to sharethe podcast with anyone that you
know, your friends on socialmedia, and we are appreciative
(37:46):
for those of you that have.
That's it for episode 73 ofMusic In my Shoes.
I'd like to thank Jimmy Guthrie, show producer and owner of
Arcade 160 Studios located righthere in Atlanta, georgia, and
Vic Thrill for our podcast music.
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
(38:07):
Until then, live life and keepthe music playing.
He's got the feeling in his toe-toe.
Speaker 2 (00:29):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Boge, and you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 73.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
Hey, before we get started,Jimmy, I got to say the pollen
(00:52):
has just been unbelievablelately.
Speaker 1 (00:54):
It has it's setting records here in Atlanta.
Speaker 2 (00:56):
It's insane.
I have a black vehicle that isyellow.
Speaker 1 (00:59):
Yeah, it's not black anymore.
Speaker 2 (01:01):
It is not, it is yellow.
So I might have to stop everyonce in a while, just grab a
little swig to kind of clear mythroat of all this pollen.
Speaker 1 (01:08):
A swig of delicious cola.
It's Pepsi.
Okay, I wasn't sure if we weregiving them the free shout out.
Speaker 2 (01:14):
Yeah, you know, this time we're going to do it.
Speaker 1 (01:17):
All right, that one's on the house.
There you go that.
Speaker 2 (01:20):
There you go, that one is on the house.
So, jimmy, we're going to goback to August 2024, get the
show started with.
And I was visiting family I wasup in New York, my kids were
with me and we were coming off aroad onto a parkway and we had
(01:43):
the Beatles on.
We're listening to them andjust as John Lennon starts to
sing, I'm a Loser.
You know the song, I'm a Loserby the Beatles.
Yeah, I hit this huge potholeand it's so big it kind of
knocks off, like on the back ofmy vehicle, like the bumper type
(02:04):
thing.
Oh really, yes, and it's justdangling and I have to pull off
up on the grass on the side ofthe road and you know, kind of
put it back and take my hand andsmash it to get the thing back
on.
And since then, every once in awhile, I just, you know, have
to keep an eye on it, make sureit doesn't come loose if I hit
(02:25):
something, you know hard,because there's potholes all
over.
This was the monster ofpotholes.
I just got to be honest withyou.
It was like this deepentrenchment in the road.
It was crazy, it was definitelycrazy.
So that was August 2024.
So just keep that in mind,right, okay?
(03:00):
Sends a text and it says I'm ona train going through the Swiss
Alps, just opened a crisp Cokeand everybody wants to rule the
world by Tears, for Fearsstarted playing.
I'm living.
That's the text.
Speaker 1 (03:20):
She's living you know , sorry, pepsi, about the Coke
thing.
Speaker 2 (03:25):
There you go.
I take a picture of myselfbecause I'm in a vehicle, I'm a
passenger, my brother's driving,we're headed, you know, upstate
New York, and I take a pictureof myself with a Pepsi can.
Speaker 1 (03:40):
Mm-hmm.
Speaker 2 (03:41):
And I text I'm on the Northern State Parkway with a
crisp Pepsi, I'm with my brotherand I'm living the life, just
kind of a takeoff of what shehad.
She responds back with if I'm aloser, starts playing your
bumper will shortly fall off.
(04:02):
Your bumper will shortly falloff.
Yeah, as I'm reading that wecome around this curve to get on
the Long Island Expressway.
That's blind and a car has lostcontrol, hit the median.
The car in front of us comes toa complete stop, 70 to nothing
(04:24):
like that.
My brother swerves to miss thembut we end up hitting the
concrete wall to the left of us.
I'm a loser, did not come on,but she mentioned it and at that
time the bumper didn't come offbut a lot of other things on
the car did.
Speaker 1 (04:40):
That's rough.
Speaker 2 (04:41):
And I believe my brother said the car is going to
be totaled.
You know, we ended up beingable to get the car towed.
We got a rental car and we madeour merry way.
But what are the odds?
That, as I'm reading this text,if I'm a loser comes on, your
bumper will shortly fall off,that we're involved in an actual
(05:04):
wreck.
Again, I'm a passenger, I'm notdriving.
You know, I'm just reading thetext.
Boom, just like that.
What a coincidence.
Speaker 1 (05:13):
That is.
Speaker 2 (05:14):
I mean, it was just absolutely crazy.
Speaker 1 (05:17):
I'm glad you're okay.
Speaker 2 (05:19):
Well, thank you, I'm glad I'm okay also.
So check this out.
The next day we're listening tomy music playlist, just random
songs, and back to back myfuneral playlist starts coming
on Like it's not again.
Out of 4,000 songs I have on myphone, back to back were two of
(05:41):
the three songs that I wantplayed at my funeral.
I'm like, wait a minute, thisis a little creepy now.
Yeah, you know a little creepy.
So those two things were AllThings Must Pass by George
Harrison and Hell yeah by NeilDiamond.
My brother really didn't likeNeil Diamond's song.
He likes Neil Diamond but hedidn't like Hell yeah.
I was kind of surprised.
(06:02):
I think it's a good song.
But enough about this pastweekend, let's go back to April
of 1980.
And April of 1980 is really bigfor me from the standpoint of
really listening to music thatnow started to become my own and
listening to the radio, pickingout the radio stations that I
(06:24):
wanted to listen to.
And in April 80, wplj 95.5,rock station in New York at the
time, had these different, youknow, specials, live shows,
interviews, all these differentthings that they did in April.
(06:45):
And then they did it again sixmonths later, in October, and
they called it Rocktober, but itwas really cool because it
seemed like every day there wasa different thing and you could
get the calendar.
It was like a black and whitepiece of glossy paper and it
would say what specials would beon at what time or what were
(07:05):
they doing on the weekend or orwhatever.
And I can't rememberspecifically the April verse,
what they did in in Rocktober,but I remember listening to this
two-hour special on the doorsand had interviews with the band
, played music, them explainingit, and to me I was 13 at the
(07:32):
time it was just super cool,like to hear all this stuff.
Like you know, I had listenedto the radio and it always been.
You just hear all these hitsand you just hear music.
Hear all these hits and youjust hear music.
And then, you know, I startedto hear songs that I really
liked.
But now it was really kind ofgoing deep into stuff.
So I'm listening to shows,bands I've never even heard of.
(07:56):
I have no idea, but I thoughtthis was just so cool, what they
were doing.
Again, I can't remember whatwas in April, what they did in
October of 1980, but it was justreally something that really
piqued my interest and I don'tthink my interest has stopped
(08:16):
since then.
I mean, it's just been like Ilove this.
This is really just super cool.
I remember one weekend and Idon't know if it was the weekend
or maybe it was just a Sunday,but they played the Beatles, the
Rolling Stones, the who, theGrateful Dead, which always in
(08:36):
my mind I was like why theGrateful Dead?
They just didn't fit in.
It might have been the Kinks, Idon't remember who else they
played.
They played one other band.
It might have been the Kinks, Idon't remember who else they
played.
They played one other band.
But really getting to hear deeptracks, not just the hits, and
really, you know, exploring alot further than what I had up
until that point, and it wasjust really cool for me.
Speaker 1 (08:58):
Sounds like it yeah.
Speaker 2 (08:59):
Like you know, do you remember being in that stage
where it's kind of like you'reexploring music?
It doesn't have to be new music, it just has to be new music to
you.
Speaker 1 (09:09):
Right, yeah, and that was the case, I think, for us
in the 80s a lot, because a lotof the music on the radio wasn't
good, and so we were learningabout music from the 60s and 70s
, because you know, I wasn'tinto Donna Summer.
Speaker 2 (09:24):
And I understand what you're saying, jimmy.
You know it was.
You know for me, I knew theDoors Light my Fire.
I think everybody knows thatsong.
But I had the opportunityduring that two-hour special
where they just were playing theend.
I was about to say yeah, youknow just like all these
different things Soul Kitchenand things I didn't know
(09:58):
anything about.
I was about to say, yeah, thesedifferent bands again, I didn't
have to necessarily like them,but I listened because I said
maybe I will like them if I knowmore, if I know more than what
their hits are or whatever.
It was just a lot of fun.
And one of the bands for me inApril of 1980 that I really got
(10:19):
to like was Squeeze.
Oh yeah, argy Bargy.
I know you talked about thatalbum on A Minute With Jimmy
previously, but that albumreally was like every song is
good.
This is definitely not myparents' music, this is mine and
I just loved it and listeningto it on the radio and it was a
(10:42):
lot of fun.
It really, really was a lot offun.
And I think you know thingsthat test, you know time.
Does it still have that samefeeling, that same meaning all
these years later?
And it definitely does.
Speaker 1 (10:58):
Right, yeah, that record definitely does.
Speaker 2 (11:00):
Without a doubt.
So we are at the 45-year markof when I always say this to
people, but when I went from boymusic to becoming band music,
all right so and it's beenspecial and for me it's exciting
to talk about and hopefullypeople have had those
opportunities where things likethat have happened for them also
(11:23):
.
Speaker 1 (11:23):
It's kind of like right around that time you two
went from boy to war.
There you go.
That's Jim's journey.
Speaker 2 (11:31):
There you go.
Speaker 1 (11:32):
You were the little kid on the cover, without the
shirt on and the skinny littlearms.
And then you were that kid, buthe was a couple years older and
he's a little mad.
Wow, you sound like a pirate.
Speaker 2 (11:43):
Thanks, you're welcome.
Hey, speaking of pirates.
Speaker 1 (11:47):
I am the captain now.
Speaker 2 (11:50):
Well, since you're the captain, I'll be Tennille.
How about that?
Oh, that's good.
No muskrat love.
But what I will talk about is onApril 8, 2000, the More Cowbell
sketch aired on Saturday NightLive.
Hard to believe it's been 25years already since that came
out.
(12:10):
I think it was a funny skit.
I think it was hilarious.
A lot of visual humor.
It's kind of tough to talkabout.
You really need to watch it toreally laugh and see everything,
because there's multiple thingsthat you'll laugh at, you know,
if you watch it several times.
(12:30):
And it's based on the 1976 BlueHoist the Cult song Don't Fear
the Reaper and kind of like thefictitious recording of the song
.
But check out this cast ofcharacters that's in it.
You got Chris Parnell, jimmyFallon, chris Kattan, horatio
Sands you know they're allmembers of Blue Ice to Cult in
(12:54):
this, you know, sketch.
You got Will Ferrell as thecowbell guy Yep, great job.
And Christopher Walken as theguy that is, you know, the
fictitious producer of the song.
So they start playing the trackand Will starts playing the
cowbell so loud, just like it'sannoying everyone in the band,
(13:17):
especially the guy that was, youknow, the lead singer, and they
stop and Christopher Walkencomes in in into the studio and
he says something like the songneeds more cowbell, which is not
what the band was thinkingwhatsoever you know yeah and
they start playing it again.
(13:38):
And now um Will is just kind ofobnoxious as he's playing the
cowbell yeah, well, christopherWalken tells him to really
explore the studio space.
Speaker 1 (13:48):
Yes, he does.
Speaker 2 (13:49):
And boy did he explore it.
And so they stop.
Christopher Walken, you know,reenters and says the classic
line guess what?
I've got a fever, and the onlyprescription is more cowbell.
Jimmy, I mean, that is justunbelievable.
I think you know more cowbellis something that stayed, you
(14:11):
know, in the vernacular.
I don't think I've used thatword in many, many moons, but
I'm going to use it today.
But it really has is like youknow, if you're talking about
something, you know, yeah, it'sso-so, but more cowbell and that
song will be rocking, or thatstory will be rocking, or
whatever.
It's just a classic sketch.
(14:33):
I mean, I just absolutely loveit.
Again, I can't do it justiceyou need to watch it when Will
Ferrell has got that shirt onand it starts to come up.
Speaker 1 (14:47):
It's kind of riding up on him, yeah.
Speaker 2 (14:48):
Yeah, it's so funny.
I mean just funny.
Speaker 1 (14:52):
And I think you know sometimes if you listen to a
song and you're kind of pickingapart the instruments like oh,
like you said, sometimes I'lllisten to the bass, sometimes
I'll listen to the guitar, andin that song and some other
songs, if you listen to thecowbell sometimes it starts to
sound really loud Like anothersong.
That's like that is Vicious byLou Reed.
(15:14):
And next time you listen to itjust listen to the cowbell it's
like the loudest thing in thesong.
So I think somebody probablywas listening to Don't Fear the
Reaper.
You know one of the SNL writers, or Will Ferrell or somebody.
Speaker 2 (15:28):
It was actually Will Ferrell.
Speaker 1 (15:30):
Yeah and thought, wow , that's a lot of cowbell.
Yeah, we can do something withthis.
Speaker 2 (15:48):
Colt has said that the song used to be kind of
creepy, kind of you weren't sureabout it, but once it hit
Saturday Night Live it kind oftook the creepiness out of it
and made it fun with the cowbelland stuff.
Now they love it, they thinkit's great, but it's definitely
changed what people think of thesong.
Speaker 1 (16:00):
Yeah, it was.
It was kind of scary before.
Speaker 2 (16:03):
Right, and speaking of scary, when Stephen King was
writing the 1978 book the Stand,he developed writer's block and
he got inspiration fromlistening to Don't Fear the
Reaper.
Hmm, isn't that crazy.
That is the band the Alarm.
(16:23):
Remember them.
Speaker 1 (16:25):
Yeah.
Speaker 2 (16:25):
All right.
They got inspiration fromStephen King's book and wrote
the 1983 song, the Stand.
Speaker 1 (16:32):
Oh really.
Speaker 2 (16:34):
And it mentions some of the characters that are in
the book.
It's kind of interesting.
Now there's a bunch ofdifferent songs that have talked
about the stand and so forth,but the song the Stand by the
Alarm, I mean, you think thatthey're just giving you the.
What is that?
When you buy that little book?
(16:55):
That's the Cliff Notes orsomething.
Yeah, you know, that's kind ofwhat it is.
But, jimmy, after the sixdegrees of Don't Fear the Reaper
, I do need more cowbell.
Jimmy.
Record Store Day is April 12,2025 at Participating
(17:18):
Independent Record Stores.
And what can you tell me aboutRecord Store Day?
Speaker 1 (17:25):
Well, record Store Day was started in 2008.
There were 300 participatingindependent record stores in
2008 that did it, and the ideawas to get people physically in
the record stores rather thaneverybody consuming music online
.
Back then it was all iPods andiTunes, and so it was like, hey,
(17:49):
let's have an event that getspeople to come into the record
stores and realize, oh, this isso cool.
You can buy physical media here, you can buy vinyl and you can
get that old turntable out.
And so they have bands andlabels that do special releases
just for record store day.
You can't buy them online, youcan't buy them through the mail,
(18:12):
you can only get them, uh, inthe store, and so like, for
example, they, they might issue500 of a particular special, you
know record by a band, andevery record store only gets one
or two copies.
And so people line up outsidethe store before it opens up and
(18:34):
then they'll have a limit ofokay, you can buy this many
things or whatever it is, andonly this many people are
allowed in the store at a time.
It's a big deal at a lot ofrecord stores that people get
very excited about record storeday and buy a lot of stuff, and
that was kind of the originalidea.
Now it's gotten to the pointwhere the major labels have
(18:56):
realized oh well, this is agreat way for us to get our
major label artists and sothey'll, you know, put out a
special colored vinyl.
David bowie album from the past, or lady gaga, or somebody will
put something out, and and it'sedged out the independent
labels that were the founders ofit, and so along that, those
(19:20):
lines, I've been a part ofseveral releases over the years.
There's a record store calledCrooked Beat Records in the DC
area and it's an old friend ofmine named Bill Daly that owns
it, and he was in a band calledInsurgents back when I was in
the Violets, like 30 somethingyears ago.
Speaker 2 (19:40):
Both in Athens.
Speaker 1 (19:42):
No, they were out of Raleigh, okay, and so we met
them in Charleston, them inCharleston, uh, playing a gig
together where we just got kindof put on the same bill and
ended up hitting it off.
And so we played more showswith them.
He put out our records and, uh,he started doing these special
record store day releases.
The first one was the clash hadan, an album called Cut the
(20:07):
Crap.
Speaker 2 (20:08):
Yes, without Mick Jones.
Speaker 1 (20:10):
Without Mick Jones right and without Topper right.
Speaker 2 (20:16):
Correct, topper had been gone.
Speaker 1 (20:17):
Yes, so, yeah, it was Joe Strummer and Paul Simonon
and Bernie Rhodes was theirmanager.
Well, they only got abouthalfway through recording this
album and they broke up like the.
The last two guys were like no,we're we're done with this.
Well, bernie Rhodes, themanager, thought oh no, no, no,
(20:39):
we've already recorded somestuff.
Let's just piece this togetherand put it out so we can sell it
.
So this was back in like 1984,I think, and so he mixed it,
like all the Clash records hadsuch good producers and mixers
and great guitar sounds andstuff and this is just like the
worst sounding record.
(21:00):
And he put all thesesynthesizers on it and things
were missing drums, and so hewould just put a drum machine
and you know that really cheesysounding 80s drum machine on
certain things.
So it was just widely known aslike a really bad attempt at a
clash record.
Like the songs were good, therecordings were awful.
(21:22):
So bill daly's idea was we willmake a record called recutting
the crap.
And he got all these bands thathe knows to redo, to remake a
song.
And so the violets did a songcalled cool under heat.
That was from cut the crap andit did pretty well on Record
(21:47):
Store Day.
It got some good press.
Then the following year or twoyears later I think, we did
Volume 2.
Because there were more songsthat weren't on Cut the Crap,
that were on some demos, and sopeople would choose from those,
we put out a second LP,recutting the Crap, volume 2.
Then the next project that billdid, which was several years
(22:10):
ago, was a Jonathan Richmondalbum, and you might know
Jonathan Richmond and the modernlovers road runner road runner.
Yeah, In fact the violets didroad runner.
Speaker 2 (22:25):
Really.
Speaker 1 (22:26):
Yeah, it was the first song on on the album and
uh, bill called it songs fromthe astral plane and a tribute
to jonathan richmond.
So everybody did jonathanrichmond songs and uh, it
actually charted it.
It was, uh, on the billboardcompilations chart the week that
(22:46):
it came out, sold out inpre-orders and was an official
record store day release and didgreat.
So then this year bill says,hey, we've got uh, songs from
the astral plane, a tribute tojonathan richmond, volume two
ready to.
You know, put that one out andrecord store day.
Powers that be were like no,we've already got all the
(23:09):
official releases.
You know, uh, whatever taylor,swift or somebody's got to put
something out.
So here, independent bill andand crooked beat records
couldn't get the official recordstore day release.
And you realize, well, maybeit's kind of better I just put
it out on record store day.
Anyway, it's an unofficialrelease, I've got all the
(23:31):
distribution, I'll get it in thesame stores.
So that's what he he did andit's coming out on record store
day um, all across the world anduh, you should check it out if
go to your local record storeand ask for it.
The violets did a song calleddodge vege-o-matic on this one
and you should check it out.
Go to your local record storeand ask for it.
The Violets did a song calledDodge Vegomatic.
Speaker 2 (23:52):
On this one, you heard it.
I was going to say I'veactually heard it.
Speaker 1 (23:55):
I enjoyed it so what year did you record that?
I think that might have beenlike 2021.
I think it was 2022.
We thought it was going to comeout that year, and that's
another problem with recordstore day and the major labels
getting back into vinyl afterthey had abandoned it is that
(24:17):
they take up all of the pressingplant space because there
aren't as many record pressingplants as there were back in the
old days when everybody boughtvinyl, and so if you want to
press something as anindependent label, you have to
give them like nine months ormore of lead time for them to
actually press your record wowit's, it's crazy, or you have to
(24:41):
pay big fees that end up makingit unprofitable to pay to jump
the line, and so, yeah, hedidn't make it for the deadline
that year and it just kind ofgot postponed, and here we are
in 2025.
Record Store Day is April 12th,right?
Speaker 2 (25:02):
That is correct April 12th.
Speaker 1 (25:04):
So I will tell you some of the other bands that are
on this.
It's got Too Much Joy.
California band.
Tall Ships, also fromCalifornia, violets from Athens,
georgia.
Geisha Hit Squad, also fromGeorgia.
Peele Wimberly that was thedrummer of the connells has uh,
(25:29):
has a project on there.
Washington dc artist eric huey,uh, joint effort with eric
roscoe.
Amble from the dell lords,daily combat, teething veils and
silent island are the bands onit.
Speaker 2 (25:46):
Well, that sounds pretty good.
I hope people go out andsupport their local record store
and get something like thatalbum that the Violets are on.
Speaker 1 (25:56):
Yeah, it's on red vinyl too.
Speaker 2 (25:58):
Wow.
Speaker 1 (25:59):
It looks really cool.
Speaker 2 (26:00):
I bet it does.
You know it's funny.
You mentioned the ConnellsComing into the studio.
I was closing the door.
I was singing 74-75.
You were yeah, yeah it's funnythat you know it's coincidences.
That's the whole key toeverything today.
Well, that was pretty good,jimmy.
Thank you for that update onRecord Store Day.
Speaker 1 (26:20):
No prob.
Speaker 2 (26:27):
Let's revisit some great music from the past.
On April 11th 1970, theBeatles' Let it Be peaked at
number one on the Billboard Hot100 charts, written and sung by
Paul McCartney.
There were two versions thealbum version and the single
(26:47):
version.
I like the album version better.
George Harrison's guitar solosare different in both of them
and it's more rocking on thealbum version than it is on the
single.
It's kind of wimpy on thesingle.
It's not.
You know nothing to write homeabout, but the album one is so
good much better version andgrowing up, let it Be was one of
(27:11):
the first albums I had.
So I always listened to thealbum and I remember one day
hearing on the radio I'm likewhat is that?
That's different.
I don't have that.
Well, that's because the singlewas different and a lot of band
singles are different than theregular album.
April 11th, 10 years later,judas Priest releases British
(27:33):
Steel Great metal album with RobHalford's vocals, kk Downing
and Glenn Tip, fire metal, gods,the rage and of course, the
(27:54):
classic metal songs Breaking theLaw and Living After Midnight
We've mentioned before.
The album was recorded in RingoStarr's house in Ringo Starr's
house.
So just a quick recap.
John Lennon owned the housebuilt a recording studio
separate of the house and JohnLennon actually did the video
(28:18):
for Imagine there.
So if you ever see the, youknow he's on the white grand
piano.
That's from there, judas Priest.
They want to record at thestudio and they start.
They don't really like it, theygo in the house like we kind of
like the sound in the housebetter they move the instruments
and everything into the houseand they record while Ringo owns
(28:41):
it.
The last Beatles photo sessionwas taken on that property and
that's a lot of history.
Just looking at those fewthings there, I think that's
pretty cool.
First week of April 1985, theWLIR Screamer of the Week.
King, won't you Hold my Hand?
(29:03):
The Heavy Times mix Again onthe album.
Not so good, but when theyreleased the single because they
mixed it much, much better Adance song with a good beat
could be heard in Spittin'Levittown where I would hang out
.
That was my go-to club.
Won't you hold my hand now?
Won't you Hold my Hand Now?
(29:24):
These Are Heavy Times.
I worked with this guy and atthe time he owned a Trans Am and
he would play this song all thetime We'd go to lunch and it
was the first song on like ahomemade cassette that he made.
We would listen to it all thetime, loved it.
First week of April 1990, sineadO'Connor, emperor's New Clothes
(29:46):
, was the shriek of the week onWDRE, while her song Nothing
Compares to you was about to hitnumber one on the Billboard
charts.
In April of 1990, dre moved onand started playing Emperor's
(30:10):
New Clothes, a song that wasn'treleased as a single until June
of that year and it peaked atnumber 60 on Billboard in July.
It's a song she wrote aboutherself.
I mean, it's justautobiographical and it's
interesting because the drummeris her husband and it's almost
like a conversation she's havingwith her husband about kind of,
(30:30):
you know, had a baby.
Things have changed.
I'm a musician, I got popularblah, blah, blah, all these
different things, and it's funny.
He does a great job, drummingis excellent in the song, but I
just find it comical that youknow, it's almost like a
conversation to him, you know.
(30:50):
Yeah, yeah, and they divorced in, I think, 1991, but he still
stayed on and did differentthings on her albums, probably
four more albums after that.
So you know they were musicallycompatible.
But I'll tell you what'scompatible.
It's got Marco Peroni on guitarFrom Adam Ant.
(31:11):
Yes, he was Adam Ant, adam andthe Ants.
He was on four of her albums.
You know, goody, two Shoes,that guitar sound.
That's him.
One of my favorite bass players, andy Rourke of the Smiths he's
on the track and the lastminute and a half of the song is
(31:32):
just the band jamming away andit is excellent.
It's a really good song.
I really like it and I listenedto it from the beginning till a
minute and a half as one partand then the minute and a half
till the end as the second part,and it's really cool.
I really do like it.
Whoa, whoa, my watch is ringing.
(31:53):
According to it, it's minutewith jimmy.
It's time for a minute withjimmy.
Minute with jimmy.
Minute with jimmy.
It's time for a minute withjimmy.
Minute with jimmy minute withjimmy.
Speaker 1 (32:04):
All right back to Pavement talking about Wowie.
Zowie Record came out April11th 1995.
It was their third full-lengthalbum.
It's not my favorite Pavementalbum but it's a really cool
point for them where they becamemore experimental.
There's not really a realcatchy pop song on the record
(32:29):
but it has a has a lot of goodtunes that, uh, if you, if you
give them some time, they growon you.
I really like blackout grounded.
We dance father to a sister ofthought kennel district and
rattled by the rush.
Um has a lot of songs on thealbum too.
Uh, and you know their.
(32:50):
Their live performances duringthat time were always really fun
too, because you never quiteknew what to expect with
pavement.
They might be, they might bearguing with each other, they
might be doing headstands ontheir drum throne and throwing
mayonnaise sandwiches to theaudience.
Yeah, there were all kinds ofthings.
So it was always an experience.
Speaker 2 (33:13):
Yeah, they can keep the mayonnaise sandwich.
I'm not interested in that.
Speaker 1 (33:17):
So I have another short story about Pavement.
So Bob Nastanovich, that wastheir kind of background
vocalist and percussionist.
He knows my brother-in-lawthrough horse racing.
They're both in the horseracing business, and so Brant
(33:37):
figured out oh, he was inpavement and Jimmy likes
pavement.
So Bob was kind enough to sendme a record like this picture
disc that they did a speciallike limited edition record
Store Day type vinyl record, andso as a thank you I sent him
(33:59):
back a small container ofmayonnaise and two slices of
white bread in a Ziploc bag andsaid this is reminiscent of your
1992 show in London that I wentto.
Did you really?
Speaker 2 (34:08):
I did, so this guy from the band ended up getting
some old mayonnaise.
Speaker 1 (34:15):
It's not old, it's brand new mayonnaise.
Speaker 2 (34:18):
Oh, so it was in a jar.
Speaker 1 (34:19):
It was like a thing that you buy at the store.
Speaker 2 (34:21):
but the small one I'm thinking it was like some
mayonnaise put in a bag and thensent in the mail.
It was like old or something.
Speaker 1 (34:30):
No, it's fresh, unused mayonnaise.
It's unused.
Speaker 2 (34:39):
Oh, my Lord, Jimmy, oh, I don't even know what to
say to that.
I don't.
I mean, I love it.
I like how you sent somethingback and didn't just take
something without givingsomething in return.
Speaker 1 (34:50):
Yeah.
Speaker 2 (34:50):
But the fact that we're talking about unused
mayonnaise, oh that, just that'sgreat.
Speaker 1 (34:56):
That's pavement for you.
Speaker 2 (34:57):
That's pavement.
Hey, a little bit earlier thanApril 11th 1995, march 14th 1995
, collective Soul, theirself-titled second album, came
out and the first single, gel,was released in January 95.
The song December came outMarch 17th 95.
It peaked at 20 on BillboardSeptember 2nd of 1995.
(35:20):
The World I Know peaked atnumber 19 in March of 96.
Where the River Flows wasreleased in March 1996.
One of those albums that justkind of you know, hung around
for a while and it peaked atnumber one on the Billboard
mainstream rock chart, as theother three singles did.
They all made it to that.
(35:40):
I mean, that was basicallyabout what was being played on
the radio and so forth.
I saw them open for Aerosmithin September 94 at Lakewood Good
show, and then I saw them atMusic Midtown in May of 95 here
in Atlanta, and it was funnybecause I was towards the back.
(36:03):
I was kind of, you know, I wasseeing other bands and then I
kind of got there and I was likeafter the whole day I just
didn't want to go into the frontand get squished.
So I hung out kind of towardsthe back and there were these
two guys behind me and my buddyand they were talking loud, like
you know when people talk loudbecause they want you to hear
them and they're talking aboutoh, they're our cousins and we
(36:28):
know them well and we hang outwith them, and they're going on
and on and on.
Where it was just like oh,please just shut up, show starts
.
I forget about it.
I don't know how many songs in,but Ed Rowland, lead singer of
Collective Soul, at one pointsays yes, there are people out
(36:50):
there that are saying they areour cousins, but they are not.
Oh, wow, it was the funniestthing, because we turned around.
There are people out there thatare saying they are our cousins
but they are not.
Oh, wow, it was the funniestthing because we turned around.
I literally turned around.
We turn around and we look atthem and it was like no man, we
really are their cousins.
Yeah, sure, you are Sure.
It was funny to hear him saythat.
Speaker 1 (37:09):
How did that get around to Ed Roland?
Speaker 2 (37:13):
I have no idea, but there we were thousands of
people in downtown Atlanta atMusic Midtown.
Speaker 1 (37:21):
It's crazy.
Speaker 2 (37:22):
Hey, listen.
If you want to contact usbecause you're interested in
knowing some mayonnaise tipsfrom Jimmy, you can at
musicinmyshoes at gmailcom.
Please like and follow theMusic in my Shoes Facebook and
Instagram pages.
As always, feel free to sharethe podcast with anyone that you
know, your friends on socialmedia, and we are appreciative
(37:46):
for those of you that have.
That's it for episode 73 ofMusic In my Shoes.
I'd like to thank Jimmy Guthrie, show producer and owner of
Arcade 160 Studios located righthere in Atlanta, georgia, and
Vic Thrill for our podcast music.
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
(38:07):
Until then, live life and keepthe music playing.
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