November 29, 2024 • 49 mins
On this episode of Adventures in Vinyl, Adam and I discuss this self-titled debut studio album that was a commercial success in the late 90s. That band and album is Third Eye Blind.
Song of the Week!
Custard Pie - Led Zeppelin - Physical Graffiti
Chicago - Japandroids - Fate & Alcohol
Stump the Barron!
A-Punk - Vampire Weekend - Vampire Weekend
Third Eye Blind - Self Titled Debut Album
Genre: Alternative Rock
Release Date: April 8th, 1997
Studio(s): Toast, Skywalker Ranch, H.O.S. (San Francisco)
Producer(s): Stephen Jenkins – Eric Valentine – Ren Klyce
Label: Elektra
Length: 57:40
Number of Tracks: 14
For more information on the band Third Eye Blind you can check out their website at www.thrideyeblind.com. IF you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Song of the Week!
Custard Pie - Led Zeppelin - Physical Graffiti
Chicago - Japandroids - Fate & Alcohol
Stump the Barron!
A-Punk - Vampire Weekend - Vampire Weekend
Third Eye Blind - Self Titled Debut Album
Genre: Alternative Rock
Release Date: April 8th, 1997
Studio(s): Toast, Skywalker Ranch, H.O.S. (San Francisco)
Producer(s): Stephen Jenkins – Eric Valentine – Ren Klyce
Label: Elektra
Length: 57:40
Number of Tracks: 14
For more information on the band Third Eye Blind you can check out their website at www.thrideyeblind.com. IF you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On this episode of Adventures at Vital Adam and I
discussed this self titled debut studio album that was a
commercial success in the late nineties. That band n album
is Third Eye Blind. Thanksgiving Week Thanksgiving Week, we figured
(00:42):
we should recorded an episode so while the kids are
screaming in the back of the cars are driving, you
got something.
Speaker 2 (00:47):
To listen to, hopefully something to drawn them out with. Yeah, yeah, yeah,
what are you doing for Thanksgiving? Headed up to northwest Arkansas? Okay,
what's about it?
Speaker 1 (00:58):
Just the usual?
Speaker 2 (00:59):
No more trips down to do this, I guess, not
really anything your aunts.
Speaker 1 (01:03):
Yeah, just as yeah, nothing, nothing back down to do this.
We uh, you know, had it up because Nicole's family
is there, and Conor will head up tomorrow and then
he's got to work Friday, gotcha, But yeah, just going
up Thursday, gonna help our parents with some stuff, come
back Friday, and uh, you know, figure out the rest
of the year. I guess, I guess. Start putting up
(01:23):
the Christmas tree. Yeah, well we did that. We had
to plan that a couple of weeks ago. We actually
did that early. We're just having to plan a lot
just based on our weekends. Sure, opening up a new
business podcast. Work busy for both of us. It's like
every hour in the day, it's just like packed, pack, pack, packed,
you know. But the uh, the biggest thing is, you
know what I like about the holidays, and this is
(01:45):
what I'm doing tomorrow. So Tomorrow's the day before Thanksgiving
and I get to make pies and checks mix and
the whole my whole thing about the holidays. What I
love is pie. I'm a big thing about pie. Pie. Okay,
you like pie? Right? Do you like des pie? Well?
And I'm making two pies for Thanksgiving. Since I'm kind
of gluten sensitive, I'm doing gluten free crusts and all that.
So I got my recipes and everything. So as I
(02:08):
was thinking about this, I was writing all my grocery
list down for what to go get for pies. Right,
I was like, oh, hey, I wonder if there's top
what's the top ten songs? And google on pies. If
you google this once you get where there were some classics.
You know, you have Warrants cherry Pie, you have Honey
Pie by the Beatles, you have American Pie by you
(02:28):
know Don McLean. But you know a lot of those
are either not about pie itself or they're laced with
sexual windows. Of course. Now there's one song, however that's
not and that's by Bob Tillen. It's actually about pie,
which is which I found that So for this song
of the week, you know, I picked a I picked
a song from led Zeppelin and it's about this egg
(02:52):
heavy dish. But I'm pretty sure they're not talking about
the egg heavy dish. Okay, So this is Custard Pie.
Custard Pie by led Zeppelin. It's off the album Physical Graffiti.
It's the opening track off their six to the album
Physical Graffiti that was released in nineteen seventy five. It's
(03:13):
I just think it's funny. Like I was like, and
the thought just like entered my head. I was like,
I wonder if there's any songs about pie. And I
was like, well, that's not a song about pie. That's
not a song about pie. I was like, that's interesting.
Why would Bob Dylan write a song about a pie?
And then you had just other stuff, So custard pie.
Speaker 2 (03:31):
You know, it's funny. Of course, we're both I guess
not really as much. Kurt maybe former professional wrestling fans. Yeah,
do you ever see the segment where the rock talks about.
Speaker 1 (03:41):
Oh yeah, yeah and that. And when I read this,
when I read the sting on Google, that's exactly like
that's what popped in. And I was like, do I
have time to pull some rock sound bites and put
on the podcast today? Just wear the opening segment because
this Holidays and Pie is how the I was like, hey,
(04:01):
this may be kind of funny. I was like, I
was like, well, I'll get a kick out of it.
I figure you'd find it. So you're grinning ear to ear,
So you know, that's one good thing about rock music
is like ninety percent of it's about sexual in windows
or something, the majority of it, or or random weird stuff.
So it's really rarely ever about being normal. No, No,
I would say it's the music is the furthest for
(04:25):
being what I think society determines as normal behavior today,
rebelling against it with all that you've got. Yeah, true, true, true?
All right, So what's your song of week?
Speaker 2 (04:37):
This?
Speaker 1 (04:38):
Yeah?
Speaker 2 (04:38):
So for me, this is the it's off the fourth
and final album by this band, this is the Pandroids,
and the song it's called Chicago actually just came.
Speaker 1 (04:49):
Out a few weeks ago. Oh cool.
Speaker 2 (04:51):
Just about a month ago, I think it was October eighteenth,
the band announced that it was going to be their
fourth and final album, with no tour coming behind. And
it's apparently lead singer Brian King. He was apparently just
like a raging alcoholic and he got sober.
Speaker 1 (05:11):
But for him, I think yeah, and I think.
Speaker 2 (05:12):
His thing is I don't want to go out on
tour and be tempted to fall back into my and
my bad habits.
Speaker 1 (05:20):
Yeah.
Speaker 2 (05:20):
So the album is called Fate and Alcohol and apparently
they wrote a lot of this album several years ago.
I think he said it was like six years ago,
pre covid even, but it was just during a time
when I guess he was in the throes of his alcoholism.
Speaker 1 (05:35):
And yeah, but it's.
Speaker 2 (05:38):
I've been listening to the album and it's actually really
really solid album. Japandroids is a two piece with no
bass player, and I know you would think that is
not Adam Adam, but in reality, they write great anthemic songs.
And I'm just waiting for the musical director behind the
Bear to pick this one up and be like, hey,
we got to put this in an episode.
Speaker 1 (05:57):
I mean, it's chicaggo Chicago. Yeah, well, I was just
I was kind of wanted to bump it up just
a little bit. I was like, that's really kind of cool.
I mean, there they have you have featured. You've been
talking about Japandroids for QUAA. Yeah.
Speaker 2 (06:10):
They're one of those bands that has a gift for
making their two piece dynamics sound a lot larger than
just two instruments.
Speaker 1 (06:16):
Right, well, it sounds like we should probably do a
Japandroids episode.
Speaker 2 (06:19):
I wouldn't mind picking an album by Japandroids and doing
it for sure, especially with the band announcing like, hey,
we're done.
Speaker 1 (06:25):
Yeah, I think we should. We should probably you know
our tins of listeners Pitchers and.
Speaker 2 (06:36):
Marlsten So, yeah, go check out Chicago by Japandroids just
came out a month ago.
Speaker 1 (06:41):
Yeah it's not a great song, Yeah, great ALBUMOT to
tell you. I did add it to my list. I
was like, okay, and you sent me one the other day,
like the Brooks and Done done with it was Boots,
Scoot and Boogie, and I was like, I did an
album of reducing of their song. Yeah, and Metallica did
something similar right.
Speaker 2 (06:59):
Yeah, well they yeah, that's right they did, and they
did reload back in the two thousands like early No, No,
this was then they did a newer thing.
Speaker 1 (07:05):
They just did their song. Yeah, rather than cover, which
is exactly what Garage Incorporated was the cover thing, but
this was actually covering, Yeah, covering Brooks and Done right
and that this was it was Brooks and Done along
with They would it was a collaborating and then they
would change the song based on their musical Yeah.
Speaker 2 (07:26):
So Lizzie Hale is of course, you know, with Hailstorm,
which is a you know, metal band, and they did Boots,
Scoot and Boogie.
Speaker 1 (07:32):
It was really more than anything.
Speaker 2 (07:34):
It was like a super fast paced, rollicking metal version
of Boots, Scoot and Boogie is pretty freaking good.
Speaker 1 (07:41):
Yeah. I was like, like I said, I was like, wow,
this strangely kind of almost works, except when Brooks and
Dune's voice kind of came in. I was like, well
that kind of threw it off. But it was just
Lizzy Hale it works. I was like, I could that
would be a freaking awesome cover. I still like it though,
though it was good. Yeah, don't me wrong.
Speaker 2 (08:00):
His voice in there kind of almost like one of
these things is not like the other. But at the
same time, it's still good man, But.
Speaker 1 (08:07):
I've been obsessed with I've heard Careless Whisperer the other day. Yeah,
and you know you you've been sending a bunch of
like doing Facebook posts about Hey, a cover band that
does stuff in this style and that's what they're called. Well,
so in Careless Whisper I started, you know, the lead
in saxophone part. I was like, huh, dude, that is
totally a lead guitar part. And I was like, Careless
(08:30):
Whisper would be an awesome, awesome hard rock tune. If
you look at the lyrics and the chord progression, it
would be sick. Yeah, it would be a good lead
guitar line for sure. All right, Well, before we get
into that, say, you know it is a ladies and gentlemen,
(08:52):
it's another episode of the Ventures of Vinyl, and that
means another round of Stump the baron on. Stump the baron.
I pick a random song from a random genre, give
Adam a few clues, and with all his semi above
average musical knowledge, I love that you've downgraded it to
semi above it semi above average music of knowledge knowledge,
he attempts to guess the artist, album, and song title.
(09:12):
We used to keep score, but obviously we have no
idea right now and I just like making it up. Yeah,
with no score. So this week on Stump the baron,
we are in the year two thousand and eight, Adam,
which is the year Nicole Connor and I moved to
Arkansas from Texas. That's when you guys came from detail.
So the song is the second single from the band's
(09:32):
self titled debut album, and the band made their network
television debut by performing this song on The Late Show
with none other than David Letterman. Oh geez, I know
this song. It's in like every commercial nowadays. Oh my gosh.
(09:53):
I'll give you a little bit. I'm trying to remember
who the artist is. I mean, I've heard this song
so nad no times, and I cannot remember the band's name,
or the song or the album.
Speaker 2 (10:08):
I really I can't remember anything. I remember it all right.
So the band is Vampire Weekend. Okay, one of those
I never listened to that much.
Speaker 1 (10:15):
Yeah, and it's off their self titled debut album, Vampire Weekend.
I figured that'd be cool since its band and the
song is a punk and a punk picked at number
fifty five on the UK Single Chart, number twenty five
on the Billboard Magazine's Hot Modern Rock Tracks chart. The
single will certified gold in the US in July of
twenty thirteen. Make it in the band's first gold single.
(10:37):
Okayot a punk from Vampire Weekend off They're self titled
A punk A punk, A punk, A punk, A punk
A punk a punk A was a punk. So I'm
pronouncing it a punk as in your punk or maybe
it's a punk Okay, Okay, I don't know. If email
knows what they n you can post on our Instagram page.
(10:59):
It's you know, Adam and todter idiots. It's pronounced this okay,
please correct me. Yeah, go back to your day jobs.
We'd be like, well, that's obviously I didn't listen to
any Vampire Weekend. To speak up, well, I've never listened
to Vampire. I recognized the song, and I was looking
for a self titled debut album to go with the
theme of the Yeah that's but you recognized it, Oh yes,
instantly that that lead line. Yeah, I've heard so many
(11:21):
I'm still he recognized it, all right, man, So I'm
sure there's people screaming on the podcast weekends Vampire. Yeah,
Adam's an idiot. You just never listened to Vampire Weekend.
I just never listened to Vampire Weekend. This is true. Okay.
Speaker 2 (11:33):
So for the featured act today, Third Eye Blind, Third
Eye Blind.
Speaker 1 (11:37):
They are nineteen ninety seven debut album, Third Eye Blind. Yeah.
Do you like Steven Jenkins? I am not a big
Stephen Jenkins fan. Okay.
Speaker 2 (11:46):
So here's the thing, man, I I don't disagree with you.
I think he's a great songwriter. Yes, I think he's
a good musician. I think he has a talent for
arranging and producing. I don't like his voice. That's really it.
When I saw them live, So were you there when
we went and saw them with Tonic and was it
(12:08):
Verve Pipe?
Speaker 1 (12:09):
No? I was not at that show. But that was
the one where like he pulled the recliner out on stage.
It was Local and Barnhill or something.
Speaker 2 (12:15):
It was in Barnhill. It's the one where Donnie met
the Devil. Yeah, yeah, yeah, that's that was the first encounter.
Was No, I had a test?
Speaker 1 (12:22):
You had a test. I'm pretty sure I was. So
I was in the Bell Engineering. It was on the.
Speaker 2 (12:29):
Blue Tour, so it was on the tour of the
second album, Tonic was the midliner and they crushed it.
Speaker 1 (12:35):
I mean, I honestly I thought they blew third Eyeblind
off the stage. Yeah, I mean they were that good.
But no.
Speaker 2 (12:42):
So I saw them like that go back on the
tour for Blue and it struck me how Stephen Jenkins
was totally off key.
Speaker 1 (12:52):
Yeah, so many songs. It was like he couldn't hit
his own notes. Well, what was interesting, right is I
you mentioned that, not not to interrupt, but like he
on this Rick Biatto interview that he did, he was
focused so much on the recording of this album and
he talked about how hard they worked because there was
no auto tune the heap of Shit studio in San
Francisco that they they tracked. Huh, some of the stuff
(13:15):
in you know, they had to really focus on being
into it. But I could see based on his voice, right,
he does seem to be off key quite a bit
on live performance.
Speaker 2 (13:24):
I don't think he has like a at this point.
If you listen to and I think back to that tour, Yeah,
he wasn't like a super practiced singing vocalist for years
and years and years, right, He was more like a
rapper right before Third Eye Blind started, like that was
his thing was he was in a hip hop duo
I think it was. Was it called like Puck and
Natty or something like that. Like that's what he did
(13:45):
before he you know, hooked up with Kevin Cadagan and
started Third Third Eye Blind. I also was not a fan,
and this was a big thing, but one of my
best friends back in the day he was a huge, massive, massive,
massive Third Eye Blind fan. And I remember when Kevin
Cadogan left Third Eye Blind and how that went down,
(14:06):
and that kind of set me against Stephen Jenkins too,
because one of the things that Stephen Jenkins did was
he the night that the band was being signed, he
started an LLC and put full ownership of the band in.
Speaker 1 (14:15):
His own name.
Speaker 2 (14:16):
Yeah, it was kind of shitty and it was a
shitty thing to do, you know, like it really I
just was like, man, I don't like that.
Speaker 1 (14:22):
I think that's ridiculous. But anyways, well, so in the background, right,
I'm sure we'll get into Yeah, we'll get into the album.
We'll get into more of the album, but we have
Losing a Whole Year, which is off the self titled
debut album, Third Eye Blind, which was released on April eighth,
in the year nineteen ninety seven. The album consists of
fourteen tracks. It clocks in in a total length of
fifty seven minutes and forty seconds. Losing a Whole Year
(14:45):
clocks in at three minutes and twenty seconds. It was
released as the fourth single off the album in the
US on February twenty. Third nineteen ninety eight reached a
peak position of number thirteen on the US Alternative Airplay
Chart and thirty six on the US Mainstream rock charts.
I like Losing a Whole Year A fantastic album, man.
I mean, you know, we talk about the first six
tracks of an album quite a bit, and so I'm
(15:06):
interested to say, like, hey.
Speaker 2 (15:09):
Ryan Salazar, Man, this song, Man, they just it kills it.
He that distorted bass tone.
Speaker 1 (15:16):
I love it, man, And I love the way the
entire albums make. It's just it's a really I really
like the first song. It's a really fantastic song to
open the album with. But man like it.
Speaker 2 (15:25):
And again this is another one where so this album.
It was nineteen ninety seven when this came out. I
was pretty new to playing bass at this point. This
is one of those albums where like I actually played
along with it a lot to push me because a
Ryan Salazar is just a stellar bass player. One thing
about this band in particular is they are a group
of fantastic instrumentalists. And I think I really more than anything,
(15:50):
appreciated the music that they put out because it was
so different from anything else that you to hear all
the time. Yeah, you just didn't find a band like
this out there, and they didn't really exist.
Speaker 1 (16:00):
They blazed new territory and musically.
Speaker 2 (16:03):
I might not have been a Stephen Jenkins fan, but
you can't deny it that the guy wrote some fantastics.
Speaker 1 (16:07):
Well. I think a lot of the tracks on this album,
like this one, you know, Narcolepsy, the lyrical content, He
really writes about real stuff. As much as you kind
of dislike him as a businessman trying to you know,
he may have his own reason behind that. Sure, you
know these songs are really good. Yeah, like you know,
(16:29):
I mean I would have never thought that. You know, Narcolepsy,
which is the song was literally about he had a
sleep paralysis during one stage and it was like narcolepsy.
So that's what he wrote about where it's normally a
song like this, you'd be like, hey, this is some
kind of drug stuff. But this, you know, three minute,
forty eight second song, he's good at writing about. Yes,
there might be he's writing about life, yeah, and that's
(16:49):
what was interesting.
Speaker 2 (16:50):
And he'll mention drugs and things like that, But really
what he's talking about his experiences, right, And you know,
and I can appreciate that, Like he's not just picking
some flippant subject matter to cover in his songs.
Speaker 1 (16:59):
He's actually writing about experiences. Yeah, And it's what he's
experienced through his associations with everything, which I do believe
whis what makes him a good song run.
Speaker 2 (17:10):
Yeah, yeah, I would absolutely, and I think that does
show up in this album, yes, one hundred percent.
Speaker 1 (17:14):
So one thing about Third Eye Blind.
Speaker 2 (17:16):
They formed in the early nineties in San Francisco, primarily
Jenkins and Cadagan. Again, Jenkins had been in a rap
duo called Puck and Natty before they got a song
on the Beverly Hills nine O two one zero soundtrack
like I want to be your Friend or something like
that or I just want to be your friend. So
it was by Puck and Natuck and Natty and that's
how he got on the radar of record companies. Apparently,
(17:38):
though there was like a dispute over who would produce
an album. Yeah, and he wanted to produce it and
they said no, no, no, no, no, we're not doing that. He's like, okay,
find him out, and that's how you know it ended
up kind of he started moving towards forming Third Eye Blind.
Speaker 1 (17:52):
But anyways, eventually.
Speaker 2 (17:53):
They you know, he hooked up with Kevin Cadogan, They
grabbed Ryan Salazar and Michael Urbano, who was a guy
he played with Smack. He left during the recording of
the album, I'm pretty sure or before, like they'd already
written a bunch of songs with their bando recorded some
of them, and Brad Hargreaves came in after that and
he was the you know, drummer for several years thereafter.
(18:14):
But they got interest from Arista, Epic and RCA Records
before signing a deal with Electra that was reported as
the largest publishing deal ever for an unsigned artist at
the time.
Speaker 1 (18:25):
Pretty incredible.
Speaker 2 (18:26):
That is pretty incredible and makes me wonder too, like
I wonder that kind of money if that's what drove Jenkins,
who had been living in a closet. Poor it could
be to like be like yeah, because I mean, uage
my future.
Speaker 1 (18:37):
He was like broke, broke, broke, broke, broke.
Speaker 2 (18:40):
Yeah, he actually department and he rented out his room
and took the closet. Yeah, so he could like live basically. Yeah,
so I kind of get it. But at the same
time it's shady.
Speaker 1 (18:51):
Yeah. Well, I mean, you know, you'd kind of do
certain things to kind of make sure you're not in situations. Again,
I can't judge based on that, but sure, you know,
I do say if you you know, I don't know.
Speaker 2 (19:01):
Big money can do strange things to people too. So man,
this next song, good grief. This takes me right back
to my senior.
Speaker 1 (19:10):
Year and ies. Yeah. Four minutes of twenty eight second
semi Charmed Life is the first single off the album
that was released as a single on February eighteenth, nineteen
ninety seven. This is one of those kind of power
pop songs. You could tell that, you know, Jenkins has
some rap background, You could spit.
Speaker 2 (19:28):
Some lyrics, the simplest of riffs. Yeah, I mean it's
so simple. It's basically like a g d AD nine
c AD nine that's.
Speaker 1 (19:38):
Really all a catchy man. It's a super catchy song, right.
It's really popular in the US, at a peak position
number one on the Billboard Pop Chart and Alternative Weekly charts. Yeah,
so it peaked at number one. It was a mega hit.
It was all over the freaking radio, man, I mean
could like every hour. It's like, oh, there's so much
on life.
Speaker 2 (19:54):
I mean, over twenty five years later, this song is
still finding airplay.
Speaker 1 (19:58):
Well that's because you always want something else to get
you through this charm kind of life.
Speaker 2 (20:03):
That was terrible. Okay, that drum lick intro is just iconic.
By now you hear that, you're like, you know exactly
what song you're listening to. Rick Biatto recently did a
breakdown of this song like what makes this Yeah, and
I think he actually has a different mix of it
than than the radio mix because when you hear him
breaking it down.
Speaker 1 (20:23):
It's like, this does not sound like the actual radio mix.
It sounds different.
Speaker 2 (20:28):
But it's a great dive into the little things about
the song that they do really well and what makes
it stand out.
Speaker 1 (20:34):
Yeah.
Speaker 2 (20:36):
I mean, man, these guys they killed it with this song.
This really established them. It was all over the radio
for years.
Speaker 1 (20:43):
I mean, but still all of a sudden, like you'll
be on just a new mainstream rock channel, right, and
then all of a sudden, you're like, charm Life, come on,
it's any alternative. It's a very timeless song. Yeah, it's
it's all over the place.
Speaker 2 (21:00):
And so I mean again, this really drove the album.
The album itself was it was what the best I'm saying.
Semi charm Life was Best Modern Rock Track in nineteen
ninety seven for the Billboard Music Awards. It won several bammis,
which is like the California Music Award. I think it
originally used to be the Bay Area Music Awards, but
it was from San Francisco. He's from San Francisco, exactly.
(21:21):
They've won so many like California based music awards, you know.
Speaker 1 (21:25):
I yeah, And I think I remember reading about Semi
Charmed Life. Is he hung out with four non blondes
Perry lead to Perry oh yeah, yea yeah, yeah yeah yeah,
And like she during this he did, like he would
play Semi Charmed Life and get her feedback. She would
play What's going On? And they like traded notes. Interesting circle. Yeah.
(21:52):
I think they just you know, they hung out together,
they played each other's songs. Hey, that's cool. That's cool,
you know. I think there was some some of that
and some back and forth. Yeah, yeah, back and forth.
I thought that was pretty interesting because we talked about
Leeta Perry earlier during the Encomium episode. Yeah, she's brilliant.
Speaker 2 (22:08):
Oh yeah, really fantastic, great voice too. One of the
things about this song too, is it's it's this super poppy,
upbeat song and then you dive.
Speaker 1 (22:17):
Into the lyrics and you're like, this is dark, really dark.
It's really dark stuff. I mean, let's talk about a
guy like with a crystal meth addiction, and it's an
entitled guy with the crystal meth addiction. So it's like
the issues that he's writing about are very apparent and
I think Middle American.
Speaker 2 (22:34):
And it's just a it's a very contrasting song. Like
you have the super poppy, upbeat song talking about this
super dark subject matter, and that's that juxtaposition is really
what I think makes this song last. It's like there's
substance to this. He's creating like an ironic theme here,
(22:57):
the super poppy, up beat thing.
Speaker 1 (22:58):
Talking about methy. Yeah wow, Okay, Yeah, and that same
kind of thought process goes into the next track too.
I mean, when we're talking about kind of another mega
and another mega hit, this song was huge, right, we're
talking about the fifth single and final single off the
album that clocks in in four minutes and thirty two seconds.
(23:19):
It was released as a single on August fourth, in
the year nineteen ninety eight. It's pretty obvious what the
song is. It's a jumper. It's about a guy who
jumped off the corn ott Of Bridge and killed himself.
Speaker 2 (23:30):
Yeah, yeah, I mean it's crazy too. I feel weird
saying this right after you just said that, But I
always loved the bridge in the song, the instrumental bridge
in this song. It's fantastic, thank you very much. Yes, yes, yes,
boo boo, yes, but no, I really do. I love
(23:55):
that bridge because you've got the bass that drives the bridge.
Speaker 1 (23:58):
Have we Todd still over there? Laugh? That was a
good from But I love like the little interplay, how
like how it starts with the drums and the bass,
and then the guitar comes back in and the lead
guitar comes in in the end of.
Speaker 2 (24:11):
It, and then his vocals Yeah yeah, yeah, yeah, yeah
drives it into Yeah.
Speaker 1 (24:15):
I mean it's it's a really song man. I mean
you were in the fourth song, right, Yeah. And it
was a single that was released, right, and it did well.
It was all over it was featured, I mean, huge song. Yeah.
And Jim Carrey played it in Yes Man. Yeah, that's
right right. It was a part of that movie, which
is just hilarious. Oh it's a great movie. I mean,
(24:36):
that's like a clause to watch Yes Man.
Speaker 2 (24:39):
He says yes to everything because he was always saying
no and he needed to change his dynamic.
Speaker 1 (24:44):
Great movie. Yeah, and he just takes it to the
But to me, the next song, the next song is
my very favorite song. You know, I would I would
agree with that because when you talk about just the
ninety seven ninety eight, you know, this was all over
the radio. It was all over the movies we watched,
(25:05):
you know.
Speaker 2 (25:05):
And I like, you're playing the original mix. Yeah, you're
playing the original mix right now. There's a remix of
it that has vocals before can I graduate? Yeah, I
don't like the remixed version. I like the original mix.
And this was out on the radio at the time.
Yeah man, graduate, Yeah, And.
Speaker 1 (25:20):
This was the second single was released on July fifteenth,
nineteen ninety seven, clocks in at three minutes and nine seconds.
It reached twenty six on the Hot Mainstream Rock Tracks
chart in the US, number fourteen on the Hot Modern
Rock Tracks chart. You may remember this song from when
we did the Can't Hardly Wait Yeah soundtrack super popular.
So make sure I know we extensively talked about graduate
(25:45):
on that. This one's for graduating, Miss Lacroix is for graduate.
I know. I think we were popping the popping something
way more than in nineteen nineties Zo no vodka going
into this Lacroix.
Speaker 2 (25:57):
Sorry, folks, Oh, we were like, I mean, it was like,
it's Tuesday, It's Tuesday.
Speaker 1 (26:02):
You know. Here's a cool thing about this one, right,
So one cool thing is the band played this song
at the twenty fifth Annual American Music Awards and changed
some of the lyrics, so instead can I Graduate? They
replaced it with a certain thing that correct And if
(26:22):
you were a teenager, you know you engaged in plenty
of that.
Speaker 2 (26:27):
Yeah, I mean, super punchy low end in this song,
everyone hitting in rhythm with one another during the verse.
Speaker 1 (26:34):
I love that Cadogan's guitar tone in this song. It's
just what I even like just the heavy guitar. I
graduate is probably one of my.
Speaker 2 (26:44):
My favorite dude, it's it's it's probably. Yeah, It's definitely
my favorite song on the album. And I'd say it's
one of my favorite third Eye Blind songs period.
Speaker 1 (26:52):
There's a couple on Blue.
Speaker 2 (26:53):
That I like almost as much, if not just as much.
But man, this song on this album is just and
it's in a great spot. It's it's like, what's the
fifth song on the album. I mean, man, it just
it slams and it kind of keeps the momentum going
started by the first four songs.
Speaker 1 (27:09):
Yeah, well you have five tracks that are super catchy. Yeah, right,
Number six, number six another mega hit, another mega hit,
man another single, six track off the album. In third single,
there's at least on October twentieth, nineteen ninety seven, we're
talking about how's it going to be?
Speaker 2 (27:27):
Yeah, so again another one that was a huge hit.
Not my favorite third Eyeline song.
Speaker 1 (27:32):
I like it. I mean I can't say that, you know.
I was thinking as I was listening to this album,
I was like, first six songs, singles popular on the charts,
you know, make Jenkins a you know mft amount of money. Yeah,
you know. I mean that's just the sales how it went.
(27:53):
I think it was like six times platinum, yeah album.
Speaker 2 (27:56):
I think it's because he does more traditional singing than
on previous tracks in this particular song.
Speaker 1 (28:02):
And again, I'm not a huge fan of his vocals.
Speaker 2 (28:05):
It's just not my thing exactly, and so I think
he comes across his flat a lot. To be honest
with you, again, controversial hot take might rub some people
the wrong way, but I've just never been a fan
of his singing and this song is kind of a
prime example of that.
Speaker 1 (28:20):
You know, it's funny when you say that. So in
the Rick Biatto thing interview, he was mentioning he would
sing out loud in the car when he was kid
and his parents would tell the show man. So his
parents may agree with you there. I don't know. I
don't know.
Speaker 2 (28:35):
I'm sure he's taking good care of them. They're probably
not complaining at no.
Speaker 1 (28:38):
I'm sure they're like, you could sing all you want, son,
thanks for that indoor pool.
Speaker 2 (28:42):
But it's just yeah, this song, it's it's good musically,
it's a good song. It's a good song. I think
it's his vocals that just get me on this one. Man,
it's not my thing. So again, you mentioned in the
beginning six tracks in this is an incredibly strong side
one so far. I mean I don't remember how many
(29:02):
songs there are on the album fourteen fourteen, so I
guess then you have to include Thanks a lot is
number seven on one side. Yeah, I will get there,
But so far, man, I mean you can't. Really, it's
hard to beat this, Yeah, I say side one side
A yeah, I mean you're roughly halfway through the album.
The album links fourteen tracks fifty seven minutes and forty seconds, right,
it's a pretty good link, all of.
Speaker 1 (29:26):
Them placed well. I mean, I think that just shows
you the success of the album. Yeah. Like I was like,
why would I have this on vinyl? You know, And
after I started listening to it, I was like, Wow,
maybe I should just have this. It's a really nineteen
ninety seven. I think this is the album of nineteen
nineties up.
Speaker 2 (29:43):
If you put it in its context, this album was
a revolution in a lot of ways.
Speaker 1 (29:47):
It really opened the door to like you. At the time.
Speaker 2 (29:52):
You also had you know, bands like the Deaf Tones
coming up. You had the new metal starting to hit yep.
But yeah, the kind of said, hey, like you can
do like really catchy poppy stuff, but you can also
do it in freaking rock at the same time. Yeah,
And I think that that's they opened the door to
a lot of bands of this ILK.
Speaker 1 (30:11):
In a good way.
Speaker 2 (30:12):
And you know, there was a lot of like Third
Eye Blind kind of copies that came out at the time,
but none of that really had the impact that Third
Eyeblind did.
Speaker 1 (30:19):
So.
Speaker 2 (30:19):
But man, let's move on to the you know, the
final song. I guess on what you'd call Side A,
which is thanks a Lot.
Speaker 1 (30:25):
Yeah, clock center foremautes and fifty seven seconds, seven track
off the album. Yeah, so really unique verse riff. I
like this intro house slides in and you're looking at
you know, this is probably you said that it's the
end of side one, Yes, end of sideway and Sadeday
side one way we want to call Siday, We'll call
it Saday. So would this being the end of side A.
(30:45):
I think it's really appropriate. It's still fairly strong. I
think it's a great song. Yeah, yeah, I mean the
guitars are really powerful in the song. I love the
bass tone.
Speaker 2 (30:53):
Yeah, the outro sounds fantastic with the guitar and the bass,
like both distorted and hitting hard. It's just to me,
this is a quintessential deep cut. I never skipped this song.
I think it's fantastic.
Speaker 1 (31:06):
I think it plays well when you're doing a track
by track play. Yeah, I think it works well if
you just a if you got it on vinyl and
you're listening, I think all you know all the track.
I was really surprised at how much I enjoyed the album,
and I didn't really. I was trying to remember the
(31:26):
last time I actually listened through the entire thing. Years
for me, yeah, I mean twenty plus years. Yeah, I
mean it's in my CD collection. I tell you, I
found an old CD player.
Speaker 2 (31:37):
I have a whole bunch of them up in my attic.
I've got a little bit and not players but CDs. Yeah,
I still have all my CDs. I don't have all
the jewel cases anymore. I have no jewel cases, but
I do have.
Speaker 1 (31:48):
But I bought I found a like old DVD player
and I plugged the audio into my record player setup,
you know, with that pre amp, so it has two inputs. Great,
and I was like, now I can listen to so
like over the Thanksgiving holiday, I got a wire in
the electrical I just got to.
Speaker 2 (32:03):
I think, if you're a real music fan, a true
audio file one thing that never will really go out
of style is the audio stack. Yeah, and where you
have like a record player at the top, you've got
a CD player and well, right now you don't cassette player.
Speaker 1 (32:15):
You've got a receiver. Well, and now you don't really
need the if you have a pre amp and you've
got like a headphone amp and you've got some of
these powered speakers, you don't have to have like the
whole receiver bit. No, no, But but you do still
need your media players.
Speaker 2 (32:32):
Yeah, no, I think you like you'll have those stacked units,
but there's not really another way to do them.
Speaker 1 (32:37):
Yeah, it's just the record players are getting so good.
I mean for the cost CD players, they're even the
cheap ones are good. Yeah, and you can find a
cheap technology was perfected.
Speaker 2 (32:47):
I mean it's yeah, man, great song, but yeah, let's
move on to the next one, number eight.
Speaker 1 (32:54):
Yeah, so number eight we're at burning Man. So it's
one of the short probably the shortest track off the
album at two minutes in fifty nine seconds. You know,
I was listening to this and I was like, I
didn't even know what he was talking about. I don't either,
but that was like that it was something else. Yeah,
this one's always been kind of quirky and weird to me,
(33:15):
but I like this kind of that hook. Yeah right there.
That's what I like about the song, because like you're
sit there and you're listening to it when it if
you're listening to a track like I listened to in
the car on the way back from camping camping, Yeah,
and I was like, wow, sounds of how good this
It's a good song.
Speaker 2 (33:31):
I mean it's quirky and it's weird and not in
a bad way, not, you know, it's just it just is.
I think it's good to kind of mix things up
at this point in the album. I think it has it,
it has a place, it fits where it is. Uh,
it's never it was never going to be a single,
it's never going to be a classic.
Speaker 1 (33:49):
But it's good. Yeah. Yeah, that's good. I mean it's
like your starting track, A side load's all really good. Yeah.
Track number nine, good for You, three minutes of fifty
two seconds, very similar type of sound as the rest
of the album the well I could see what it's
not a mainstream kind of single, it's still good. Yeah,
(34:12):
it just it slows down. The intro's good, but kinds up.
Loves the bassline in this one. Yeah, he's kind of
all over the place. It sounds great.
Speaker 2 (34:19):
I mean, get Kevin Caddagan's guitar work and his guitar
tone really kind of like spacey vibe.
Speaker 1 (34:24):
It's really cool. You know they recorded some of these
songs at Skywork Skywalker Ranch. Yeah, right, there's there's actually
a record across three studios. Yes, you had toast Skywalker Ranch,
which apparently to get the demos, they snuck into Skywalker Ranch,
acted like they knew what they were doing and just
started doing stuff and they were like heyeay, yeah, just
(34:45):
charge it. And then they had and then when they
were like, hey, there's bills, but he's like yeah, yeah,
we'll talk to the record company. And then they bolted
because they liked they liked what Skywalker Ranch had, so
they stuck on. Well, he came back, he's like, hey,
we're gonna hey, I kind of did this, and they're like, hey,
if you record the full album here and you know,
you're all good. Yeah, so they But but the HOS
(35:08):
studio was like it's called a heap of shit and
it was basically this old console. So the whole album
was like mixed on this so no auto tune, no,
you know, really old school analog. And when I when
I found that fact out and I re listened to
the album, I was like, wow, this is really good
album because they didn't have pro tools. There was no
(35:30):
pro tools. No, there was no auto tune. There was
no you know, virtual instrument type of creation. Yeah, this
is old school. This is amps, right, it's mic and
stuff up. It's making sure your acoustics in the room
are good and you're mixing.
Speaker 2 (35:46):
And you're forty eight track plus mixers, huge boards in
power amps, all that stuff, and it really does sound fantastic.
Speaker 1 (35:54):
Yeah, I mean I think yeah, and that's and I
find that on every single track. Sure it's just a
great sound. Yeah, absolutely, all right, moving on. All right,
We're in London, which is the tenth track, a little
bit heavier. It's three minutes and seven seconds, so kind
of a rockier, heavier track than the rest, but still
(36:16):
pretty good.
Speaker 2 (36:17):
Uh well, I do like the guitar riff. This is
one of those songs I could never really get into.
I admittedly skip it.
Speaker 1 (36:24):
It's a skipper.
Speaker 2 (36:25):
It's a skipper for me. It's just I don't know.
I was never into it. Yeah, it's not a deep track,
but it's like it's not bad.
Speaker 1 (36:32):
It's not bad, but it's not great to me. Well,
I think on it. When you look at the first
seven songs, you're like, in the context, yeah, this is
a B side at best. Sure, right, it's a B
side at best. Yeah.
Speaker 2 (36:48):
I want to say it even was a B side
song on one of the singles it was. I think
it was maybe memory Serves and I have to fact
check myself there, but yeah, all.
Speaker 1 (36:57):
Right, moving on. You know, I've meant to wonder, like
how many times they played that live? I forgot to look.
But this is a little bit of a better track
with Tracktumery Levens. I Want You. I like the little
acoustic intro. I I kind of dig the vibe of
this one. It's a good, you know, four and a
half minutes. It's kind of a pleasant song. I like it.
Speaker 2 (37:15):
It's a great just kind of grooving, yeah, laid back tune, yeah,
type of type of track.
Speaker 1 (37:20):
And I think that comes good after London. I can
see why you would skip London and say, oh, I'll
get on to I Want You.
Speaker 2 (37:25):
It's a bore So the drums and guitar and the
intro really set the tone of the song. Yeah, really well,
I think the word for this one is definitely groove.
It's got a groove to it. The keys work mixed
in in this really makes it pop. I mean it's
a great song. The key tone they use right here,
what does that remind you of? Think of a song
(37:47):
that has that tone.
Speaker 1 (37:49):
I'm not sure which one. Walking on the Sun? Oh yeah,
I can see where.
Speaker 2 (37:58):
It has that same tone into it. When I every
time I hear that, I honestly think of Walking on
the Sun, which actually I think came out around the
same time.
Speaker 1 (38:08):
Probably there was a lot of weird stuff you had,
like uh, Mark McGrath and Sugar Ray Ray. You had
smash Mouth, you had Shrek which was super popular, which
was weird. Yeah, there's just a odd The late nineties
were odd. Late nineties were odd.
Speaker 2 (38:25):
I will say Sugar Ray, I don't I think they
get a bad rap in some ways because fourteen fifty nine.
Speaker 1 (38:31):
I love that album. Yeah, I love that album.
Speaker 2 (38:34):
You know, a knock on the fifteen minutes of fame
and how they came up just short of fifteen minutes.
Speaker 1 (38:37):
Hey, but Mart McGrath man, he milked every single mill second.
It's worse. It still is to this day. Man.
Speaker 2 (38:45):
Anyways, Okay, but this is a great song, just a fun,
great groovy song.
Speaker 1 (38:51):
I love the guitar effects. He did some cool stuff.
It's a great song. Agree, another deep cut? Yeah, I
think it's a it's a good deep cut off all right,
moving on, all right, we're at number twelve, which is
called the background.
Speaker 2 (39:05):
This modulated bassline is really cool. Yeah, that is kind
of neat. Yeah, it sounds like the bass to me.
I could be wrong. It may be a baritone, but no,
it has kind of be the bass. Yeah, it's either
like a really watery chorus on the guitar.
Speaker 1 (39:23):
It just seems thicker. It just sounds thicker. It's got that.
Speaker 2 (39:26):
I love that intro though. It's just a really cool
well and this is a good watery sound. This is
a good deep cut too.
Speaker 1 (39:33):
Oh for sure. I think this the background could carry
it so as a single. Yeah maybe so, I don't
I don't know that I personally I wouldn't agree with
maybe it's just a deep cut.
Speaker 2 (39:44):
I think it's just a deep cut. It's a great song,
it's a dynamic song. But I just think there's better
ones on the album. I think they chose well when
they chose their singles. There's even a couple of other
songs I think they could have added into the singles
mix if you wanted to.
Speaker 1 (39:59):
Talk about it. But this is a really just a cool,
laid back start to the song and then it picks
up later. I really like this song. Yeah, Yeah, that's cool,
all right, all right, So the next one is a banger. Yeah.
Motorcycle drive By is the thirteenth track off the album,
which clock's in at for minutes in twenty two seconds.
(40:22):
On May twenty ninth of twenty twenty, there was a
documentary short that was called Motorcycle drive By. It's released
on YouTube, and it's actually a short documentary that focuses
on the backstory of this particular song. Yeah, I've so,
I've been meaning to watch that. I haven't. I have
not yet, but I knew it.
Speaker 2 (40:42):
I know it's out there. I haven't seen it, but man,
I love how this starts really low key builds it's
a dynamic huge and then exits. Generally, it's a dynamic song.
Speaker 1 (40:53):
It's a very dynamic song, very well written song. Yeah.
Speaker 2 (40:58):
Yeah, go check out the documentary. I think it's out
on YouTube.
Speaker 1 (41:01):
And I like at the part where he goes, I've
never been so alive and then it starts to build. Yeah,
that's right here, so alone. Yeah, and.
Speaker 2 (41:14):
So that's your first building point, all right, And there's
another one later on around the same line.
Speaker 1 (41:21):
Man.
Speaker 2 (41:22):
Just a really excellent song, and it does showcase Stephen
Jenkins's talent for lyric writing.
Speaker 1 (41:28):
Yeah. I think he's an excellent lyrics songwriter. Yeah.
Speaker 2 (41:33):
And I think the fast pace of the song really
actually fits his voice. Well, he's not singing as much.
They're singing in there, but it's a little bit more
of like a rappie kind of cadence throughout.
Speaker 1 (41:43):
Just an excellent song. Yeah.
Speaker 2 (41:45):
I mean another one that I think they could have
been a single if you didn't have a dearth of
singles at the beginning of the album.
Speaker 1 (41:52):
I mean, when your first six tracks off the album
are singles, how many singles are you going to have?
You know? So you know the for a couple of
bonus points, just because I like the song, I want
to play more of it in the background. The Stephen
Jenkins appeared in what film? Film? He had a supporting
(42:13):
cast role in a film? It wasn't Okay, so not
School of Rock?
Speaker 2 (42:18):
No?
Speaker 1 (42:18):
No? Was it Rockstar? Yes? With Wahlberg.
Speaker 2 (42:22):
Yes, Yeah, I'm thinking I'm trying to remember which part
that he played. He played the replacement singer.
Speaker 1 (42:30):
That's right, the guy in the crowd that brought No,
it was a different guy. There was when the band
fired him, right, and he was like and then he
threw this hissy fit. This is my Mike Stan, This
is my mex Stan. I wasn't that Mike Stan.
Speaker 2 (42:43):
Was that Jason Fleming? Like whenever he was turned out
to be gay and like they didn't want him to
be in the band.
Speaker 1 (42:48):
Because he was gay? No?
Speaker 2 (42:50):
Uh, because that was that actor. Is Jason Fleming at
the beginning? Their original singer for this?
Speaker 1 (42:55):
Yeah? Yeah, well it was so Rockstar was kind of
based on Iron Maiden a little bit loosely around that.
I think George Clooney directed that film, believe it or not. Really, Yeah,
and maybe why it's kind of like kind of good.
It's like a you're kind of like, it's an interesting film.
But it's interesting. It's kind of good. It's just interesting. Yeah. Well,
(43:18):
because there's like a burp pipe song. There's things I
like about it. There's film that I really don't like. Yeah, yeah,
that's interesting. But anyway, I didn't remember that he was
in there. He was like yeah, and he's like, oh,
you know, my dad had all this money. He brought
a pa and Mark Walls like the character Mark Wallbach's
character is great, right because it shows his immaturity. Well,
this is my Mike's Dan, this is my band takes
(43:40):
his mike stand away and then he's like five minutes
later he's like, I'm the lead singer of this band
and I sing whatever they tell me to. It's all right.
So moving on last song. Last song, track fourteen, is
called God of Wine five minutes and seventeen seconds. It
is officially the longest track of the album.
Speaker 2 (44:03):
Yeah, so this is a good one, and I think
a good one to close the album out with. Yeah,
I mean, as far as songs on the album that
I like, this was pretty far down the list. But
it's a profound song from a lyrical perspective, talking about
like breaking addiction, musically, it's it's good on an album
full of really great songs. So again, I'm not saying
(44:23):
it's a bad song at all. Put it in context though,
and the bangers that you got in front of it,
It's like, it's kind of easy to overlook this one
because of the fact that you got so many great
songs ahead of it, and by the time you get
to it, you're almost kind of like, all right, I'm
almost done here.
Speaker 1 (44:38):
Yeah. Yeah, but it's a good song. Yeah. Yeah, it's
a good song. So what'd you think of the album
as a whole. I gave it a nine out of ten. Yeah,
I think it's that good. Yeah. Yeah, I's a couple though,
were I'm just kind of iffy on.
Speaker 2 (44:54):
But I mean it's a landmark album of that late nineties,
like post grunge boom. Yeah, it really helped set the
tone for popular rock music going forward. Yeah, it's got
a strong legacy. I mean, I think it's an album
that people will still be listening to thirty years from now.
Speaker 1 (45:10):
Yeah, you know, I I was really surprised. I just
as I got into depth of the album and I
listened to it three or four times, and I started
reading on the album and I listened this, you know,
the Rick Piotto thing with Steven Jenkins. I was like,
you know, as much crap as I give Third Eye Blind,
(45:34):
this is a damn good album. It's a solid nine.
It's a great album. It's a no. It is like
a solid nine. I think you can rank it lower
than I. Yeah, And because really there's London maybe good
for you. You know, there's like a couple of tracks
where it's like, eh, you know, you maybe don't need
sure one. You know, you take away London, maybe you
got a nine and a half, you take away one more,
(45:55):
you may have a ten. Yeah, you know, it's it's
kind of that close.
Speaker 2 (45:58):
Yeah, honestly, I think if if you you take away London,
ah man, like trying to think of another one.
Speaker 1 (46:06):
Yeah, maybe Man good for you maybe, but like maybe
burning Man. I don't know.
Speaker 2 (46:10):
There's just a lot of there's a lot of great
songs on here. It just happens to be that there's
like one or two that are just less great.
Speaker 1 (46:16):
Than the other. Yeah. Yeah, so it's a solid nine,
solid nine, But I think that's Yeah, I think it
has to go on the I gotta pick it up.
Have Yeah, if they do like one hundred and eighty
gram version. I could certainly see. Well, they they have,
I think tracks out there. I think there's versions of
it out there. But yeah, I'll have to put that
on the discogs list of one stuff to go get
(46:38):
absolutely and added to my wishless carton Amazon. Yeah all right, man,
that's a solid nine all across the line. Yeah, Third
Eye Blind, Third Eye Blind, Go listen to this one.
Go listen to Blue as well, them that came out
after it. They also had a great song on the
American Pie soundtrack New Girl. Yeah.
Speaker 2 (46:55):
I mean they man, I mean a pretty prolific band,
But their early stuff I'm not as much into, like
the albums that came later. In all fairness, House, I
didn't listen to most of the albums that came later.
I think was Out of the Vein was the third album,
and I have a copy of it somewhere. I didn't
really listen to it that much. But Blue and the
self titled and great.
Speaker 1 (47:15):
Albums I would want to, you know, the one thing
just before we kind of close out, the one thing
I noticed, you know, I was looking at some of
our episode reviews and things like that, just over the
past year and a half that will be officially doing
the podcast at the end of the year. I noticed that,
you know, the Cross Canadian Ragweed episode is increasing in
the downloads and you know why because CCR is.
Speaker 2 (47:35):
Going to tour again. Wow, okay, they're gonna tour again.
They're at least doing a show. And I think I
slammed that album, didn't I?
Speaker 1 (47:43):
You sure did? You slammed Soul Gravy like uh, cream
gravy on mashed potatoes at Thanksgiving.
Speaker 2 (47:51):
I did not give it a good I was. I
wasn't necessarily unkind to the band. I was mindes to
the album. There's a difference.
Speaker 1 (47:59):
Yeah, so hey, hey, if you like the band Third
Day Blind, you can check out the website at www.
Thirdy Blind dot com. If you enjoyed this podcast, be
sure to check us out on our website at www.
Dot Adventures in Vinyl dot com, where you and if
you go to the sports section, you can find a
spot where you can order your very own semi okay
(48:19):
Adventures of Vinyl T shirt.
Speaker 2 (48:21):
Semi okay, I love you're setting the bar low, you know,
heybe will pleasantly surprise you with the quality of the shirt.
Speaker 1 (48:27):
Yeah, we got some work to do, but we just
need more listeners.
Speaker 2 (48:31):
Yes, the tens and tens, the tens, and we need
to at least turn you into dozen, dozens.
Speaker 1 (48:35):
And dozens, not tens and tens. Yeah. You can follow
us on Instagram at Adventures dot n dot Vinyl and
be sure to subscribe to the podcast and leave a
review on your favorite platform or choice. Adams on Instagram,
you follow him at at eat dot prey dot orm
bar and myself at Todd David Ward. And with that,
I'm Todd Ward and I'm Adam Barron and we will
(48:55):
see you next time on another episode of Adventures in Vinyl.
And be sure to check out last Jeers Thanksgiving episode.
Both put an Instagram post out there to remind you.
There you go.
On this episode of Adventures at Vital Adam and I
discussed this self titled debut studio album that was a
commercial success in the late nineties. That band n album
is Third Eye Blind. Thanksgiving Week Thanksgiving Week, we figured
(00:42):
we should recorded an episode so while the kids are
screaming in the back of the cars are driving, you
got something.
Speaker 2 (00:47):
To listen to, hopefully something to drawn them out with. Yeah, yeah, yeah,
what are you doing for Thanksgiving? Headed up to northwest Arkansas? Okay,
what's about it?
Speaker 1 (00:58):
Just the usual?
Speaker 2 (00:59):
No more trips down to do this, I guess, not
really anything your aunts.
Speaker 1 (01:03):
Yeah, just as yeah, nothing, nothing back down to do this.
We uh, you know, had it up because Nicole's family
is there, and Conor will head up tomorrow and then
he's got to work Friday, gotcha, But yeah, just going
up Thursday, gonna help our parents with some stuff, come
back Friday, and uh, you know, figure out the rest
of the year. I guess, I guess. Start putting up
(01:23):
the Christmas tree. Yeah, well we did that. We had
to plan that a couple of weeks ago. We actually
did that early. We're just having to plan a lot
just based on our weekends. Sure, opening up a new
business podcast. Work busy for both of us. It's like
every hour in the day, it's just like packed, pack, pack, packed,
you know. But the uh, the biggest thing is, you
know what I like about the holidays, and this is
(01:45):
what I'm doing tomorrow. So Tomorrow's the day before Thanksgiving
and I get to make pies and checks mix and
the whole my whole thing about the holidays. What I
love is pie. I'm a big thing about pie. Pie. Okay,
you like pie? Right? Do you like des pie? Well?
And I'm making two pies for Thanksgiving. Since I'm kind
of gluten sensitive, I'm doing gluten free crusts and all that.
So I got my recipes and everything. So as I
(02:08):
was thinking about this, I was writing all my grocery
list down for what to go get for pies. Right,
I was like, oh, hey, I wonder if there's top
what's the top ten songs? And google on pies. If
you google this once you get where there were some classics.
You know, you have Warrants cherry Pie, you have Honey
Pie by the Beatles, you have American Pie by you
(02:28):
know Don McLean. But you know a lot of those
are either not about pie itself or they're laced with
sexual windows. Of course. Now there's one song, however that's
not and that's by Bob Tillen. It's actually about pie,
which is which I found that So for this song
of the week, you know, I picked a I picked
a song from led Zeppelin and it's about this egg
(02:52):
heavy dish. But I'm pretty sure they're not talking about
the egg heavy dish. Okay, So this is Custard Pie.
Custard Pie by led Zeppelin. It's off the album Physical Graffiti.
It's the opening track off their six to the album
Physical Graffiti that was released in nineteen seventy five. It's
(03:13):
I just think it's funny. Like I was like, and
the thought just like entered my head. I was like,
I wonder if there's any songs about pie. And I
was like, well, that's not a song about pie. That's
not a song about pie. I was like, that's interesting.
Why would Bob Dylan write a song about a pie?
And then you had just other stuff, So custard pie.
Speaker 2 (03:31):
You know, it's funny. Of course, we're both I guess
not really as much. Kurt maybe former professional wrestling fans. Yeah,
do you ever see the segment where the rock talks about.
Speaker 1 (03:41):
Oh yeah, yeah and that. And when I read this,
when I read the sting on Google, that's exactly like
that's what popped in. And I was like, do I
have time to pull some rock sound bites and put
on the podcast today? Just wear the opening segment because
this Holidays and Pie is how the I was like, hey,
(04:01):
this may be kind of funny. I was like, I
was like, well, I'll get a kick out of it.
I figure you'd find it. So you're grinning ear to ear,
So you know, that's one good thing about rock music
is like ninety percent of it's about sexual in windows
or something, the majority of it, or or random weird stuff.
So it's really rarely ever about being normal. No, No,
I would say it's the music is the furthest for
(04:25):
being what I think society determines as normal behavior today,
rebelling against it with all that you've got. Yeah, true, true, true?
All right, So what's your song of week?
Speaker 2 (04:37):
This?
Speaker 1 (04:38):
Yeah?
Speaker 2 (04:38):
So for me, this is the it's off the fourth
and final album by this band, this is the Pandroids,
and the song it's called Chicago actually just came.
Speaker 1 (04:49):
Out a few weeks ago. Oh cool.
Speaker 2 (04:51):
Just about a month ago, I think it was October eighteenth,
the band announced that it was going to be their
fourth and final album, with no tour coming behind. And
it's apparently lead singer Brian King. He was apparently just
like a raging alcoholic and he got sober.
Speaker 1 (05:11):
But for him, I think yeah, and I think.
Speaker 2 (05:12):
His thing is I don't want to go out on
tour and be tempted to fall back into my and
my bad habits.
Speaker 1 (05:20):
Yeah.
Speaker 2 (05:20):
So the album is called Fate and Alcohol and apparently
they wrote a lot of this album several years ago.
I think he said it was like six years ago,
pre covid even, but it was just during a time
when I guess he was in the throes of his alcoholism.
Speaker 1 (05:35):
And yeah, but it's.
Speaker 2 (05:38):
I've been listening to the album and it's actually really
really solid album. Japandroids is a two piece with no
bass player, and I know you would think that is
not Adam Adam, but in reality, they write great anthemic songs.
And I'm just waiting for the musical director behind the
Bear to pick this one up and be like, hey,
we got to put this in an episode.
Speaker 1 (05:57):
I mean, it's chicaggo Chicago. Yeah, well, I was just
I was kind of wanted to bump it up just
a little bit. I was like, that's really kind of cool.
I mean, there they have you have featured. You've been
talking about Japandroids for QUAA. Yeah.
Speaker 2 (06:10):
They're one of those bands that has a gift for
making their two piece dynamics sound a lot larger than
just two instruments.
Speaker 1 (06:16):
Right, well, it sounds like we should probably do a
Japandroids episode.
Speaker 2 (06:19):
I wouldn't mind picking an album by Japandroids and doing
it for sure, especially with the band announcing like, hey,
we're done.
Speaker 1 (06:25):
Yeah, I think we should. We should probably you know
our tins of listeners Pitchers and.
Speaker 2 (06:36):
Marlsten So, yeah, go check out Chicago by Japandroids just
came out a month ago.
Speaker 1 (06:41):
Yeah it's not a great song, Yeah, great ALBUMOT to
tell you. I did add it to my list. I
was like, okay, and you sent me one the other day,
like the Brooks and Done done with it was Boots,
Scoot and Boogie, and I was like, I did an
album of reducing of their song. Yeah, and Metallica did
something similar right.
Speaker 2 (06:59):
Yeah, well they yeah, that's right they did, and they
did reload back in the two thousands like early No, No,
this was then they did a newer thing.
Speaker 1 (07:05):
They just did their song. Yeah, rather than cover, which
is exactly what Garage Incorporated was the cover thing, but
this was actually covering, Yeah, covering Brooks and Done right
and that this was it was Brooks and Done along
with They would it was a collaborating and then they
would change the song based on their musical Yeah.
Speaker 2 (07:26):
So Lizzie Hale is of course, you know, with Hailstorm,
which is a you know, metal band, and they did Boots,
Scoot and Boogie.
Speaker 1 (07:32):
It was really more than anything.
Speaker 2 (07:34):
It was like a super fast paced, rollicking metal version
of Boots, Scoot and Boogie is pretty freaking good.
Speaker 1 (07:41):
Yeah. I was like, like I said, I was like, wow,
this strangely kind of almost works, except when Brooks and
Dune's voice kind of came in. I was like, well
that kind of threw it off. But it was just
Lizzy Hale it works. I was like, I could that
would be a freaking awesome cover. I still like it though,
though it was good. Yeah, don't me wrong.
Speaker 2 (08:00):
His voice in there kind of almost like one of
these things is not like the other. But at the
same time, it's still good man, But.
Speaker 1 (08:07):
I've been obsessed with I've heard Careless Whisperer the other day. Yeah,
and you know you you've been sending a bunch of
like doing Facebook posts about Hey, a cover band that
does stuff in this style and that's what they're called. Well,
so in Careless Whisper I started, you know, the lead
in saxophone part. I was like, huh, dude, that is
totally a lead guitar part. And I was like, Careless
(08:30):
Whisper would be an awesome, awesome hard rock tune. If
you look at the lyrics and the chord progression, it
would be sick. Yeah, it would be a good lead
guitar line for sure. All right, Well, before we get
into that, say, you know it is a ladies and gentlemen,
(08:52):
it's another episode of the Ventures of Vinyl, and that
means another round of Stump the baron on. Stump the baron.
I pick a random song from a random genre, give
Adam a few clues, and with all his semi above
average musical knowledge, I love that you've downgraded it to
semi above it semi above average music of knowledge knowledge,
he attempts to guess the artist, album, and song title.
(09:12):
We used to keep score, but obviously we have no
idea right now and I just like making it up. Yeah,
with no score. So this week on Stump the baron,
we are in the year two thousand and eight, Adam,
which is the year Nicole Connor and I moved to
Arkansas from Texas. That's when you guys came from detail.
So the song is the second single from the band's
(09:32):
self titled debut album, and the band made their network
television debut by performing this song on The Late Show
with none other than David Letterman. Oh geez, I know
this song. It's in like every commercial nowadays. Oh my gosh.
(09:53):
I'll give you a little bit. I'm trying to remember
who the artist is. I mean, I've heard this song
so nad no times, and I cannot remember the band's name,
or the song or the album.
Speaker 2 (10:08):
I really I can't remember anything. I remember it all right.
So the band is Vampire Weekend. Okay, one of those
I never listened to that much.
Speaker 1 (10:15):
Yeah, and it's off their self titled debut album, Vampire Weekend.
I figured that'd be cool since its band and the
song is a punk and a punk picked at number
fifty five on the UK Single Chart, number twenty five
on the Billboard Magazine's Hot Modern Rock Tracks chart. The
single will certified gold in the US in July of
twenty thirteen. Make it in the band's first gold single.
(10:37):
Okayot a punk from Vampire Weekend off They're self titled
A punk A punk, A punk, A punk, A punk
A punk a punk A was a punk. So I'm
pronouncing it a punk as in your punk or maybe
it's a punk Okay, Okay, I don't know. If email
knows what they n you can post on our Instagram page.
(10:59):
It's you know, Adam and todter idiots. It's pronounced this okay,
please correct me. Yeah, go back to your day jobs.
We'd be like, well, that's obviously I didn't listen to
any Vampire Weekend. To speak up, well, I've never listened
to Vampire. I recognized the song, and I was looking
for a self titled debut album to go with the
theme of the Yeah that's but you recognized it, Oh yes,
instantly that that lead line. Yeah, I've heard so many
(11:21):
I'm still he recognized it, all right, man, So I'm
sure there's people screaming on the podcast weekends Vampire. Yeah,
Adam's an idiot. You just never listened to Vampire Weekend.
I just never listened to Vampire Weekend. This is true. Okay.
Speaker 2 (11:33):
So for the featured act today, Third Eye Blind, Third
Eye Blind.
Speaker 1 (11:37):
They are nineteen ninety seven debut album, Third Eye Blind. Yeah.
Do you like Steven Jenkins? I am not a big
Stephen Jenkins fan. Okay.
Speaker 2 (11:46):
So here's the thing, man, I I don't disagree with you.
I think he's a great songwriter. Yes, I think he's
a good musician. I think he has a talent for
arranging and producing. I don't like his voice. That's really it.
When I saw them live, So were you there when
we went and saw them with Tonic and was it
(12:08):
Verve Pipe?
Speaker 1 (12:09):
No? I was not at that show. But that was
the one where like he pulled the recliner out on stage.
It was Local and Barnhill or something.
Speaker 2 (12:15):
It was in Barnhill. It's the one where Donnie met
the Devil. Yeah, yeah, yeah, that's that was the first encounter.
Was No, I had a test?
Speaker 1 (12:22):
You had a test. I'm pretty sure I was. So
I was in the Bell Engineering. It was on the.
Speaker 2 (12:29):
Blue Tour, so it was on the tour of the
second album, Tonic was the midliner and they crushed it.
Speaker 1 (12:35):
I mean, I honestly I thought they blew third Eyeblind
off the stage. Yeah, I mean they were that good.
But no.
Speaker 2 (12:42):
So I saw them like that go back on the
tour for Blue and it struck me how Stephen Jenkins
was totally off key.
Speaker 1 (12:52):
Yeah, so many songs. It was like he couldn't hit
his own notes. Well, what was interesting, right is I
you mentioned that, not not to interrupt, but like he
on this Rick Biatto interview that he did, he was
focused so much on the recording of this album and
he talked about how hard they worked because there was
no auto tune the heap of Shit studio in San
Francisco that they they tracked. Huh, some of the stuff
(13:15):
in you know, they had to really focus on being
into it. But I could see based on his voice, right,
he does seem to be off key quite a bit
on live performance.
Speaker 2 (13:24):
I don't think he has like a at this point.
If you listen to and I think back to that tour, Yeah,
he wasn't like a super practiced singing vocalist for years
and years and years, right, He was more like a
rapper right before Third Eye Blind started, like that was
his thing was he was in a hip hop duo
I think it was. Was it called like Puck and
Natty or something like that. Like that's what he did
(13:45):
before he you know, hooked up with Kevin Cadagan and
started Third Third Eye Blind. I also was not a fan,
and this was a big thing, but one of my
best friends back in the day he was a huge, massive, massive,
massive Third Eye Blind fan. And I remember when Kevin
Cadogan left Third Eye Blind and how that went down,
(14:06):
and that kind of set me against Stephen Jenkins too,
because one of the things that Stephen Jenkins did was
he the night that the band was being signed, he
started an LLC and put full ownership of the band in.
Speaker 1 (14:15):
His own name.
Speaker 2 (14:16):
Yeah, it was kind of shitty and it was a
shitty thing to do, you know, like it really I
just was like, man, I don't like that.
Speaker 1 (14:22):
I think that's ridiculous. But anyways, well, so in the background, right,
I'm sure we'll get into Yeah, we'll get into the album.
We'll get into more of the album, but we have
Losing a Whole Year, which is off the self titled
debut album, Third Eye Blind, which was released on April eighth,
in the year nineteen ninety seven. The album consists of
fourteen tracks. It clocks in in a total length of
fifty seven minutes and forty seconds. Losing a Whole Year
(14:45):
clocks in at three minutes and twenty seconds. It was
released as the fourth single off the album in the
US on February twenty. Third nineteen ninety eight reached a
peak position of number thirteen on the US Alternative Airplay
Chart and thirty six on the US Mainstream rock charts.
I like Losing a Whole Year A fantastic album, man.
I mean, you know, we talk about the first six
tracks of an album quite a bit, and so I'm
(15:06):
interested to say, like, hey.
Speaker 2 (15:09):
Ryan Salazar, Man, this song, Man, they just it kills it.
He that distorted bass tone.
Speaker 1 (15:16):
I love it, man, And I love the way the
entire albums make. It's just it's a really I really
like the first song. It's a really fantastic song to
open the album with. But man like it.
Speaker 2 (15:25):
And again this is another one where so this album.
It was nineteen ninety seven when this came out. I
was pretty new to playing bass at this point. This
is one of those albums where like I actually played
along with it a lot to push me because a
Ryan Salazar is just a stellar bass player. One thing
about this band in particular is they are a group
of fantastic instrumentalists. And I think I really more than anything,
(15:50):
appreciated the music that they put out because it was
so different from anything else that you to hear all
the time. Yeah, you just didn't find a band like
this out there, and they didn't really exist.
Speaker 1 (16:00):
They blazed new territory and musically.
Speaker 2 (16:03):
I might not have been a Stephen Jenkins fan, but
you can't deny it that the guy wrote some fantastics.
Speaker 1 (16:07):
Well. I think a lot of the tracks on this album,
like this one, you know, Narcolepsy, the lyrical content, He
really writes about real stuff. As much as you kind
of dislike him as a businessman trying to you know,
he may have his own reason behind that. Sure, you
know these songs are really good. Yeah, like you know,
(16:29):
I mean I would have never thought that. You know, Narcolepsy,
which is the song was literally about he had a
sleep paralysis during one stage and it was like narcolepsy.
So that's what he wrote about where it's normally a
song like this, you'd be like, hey, this is some
kind of drug stuff. But this, you know, three minute,
forty eight second song, he's good at writing about. Yes,
there might be he's writing about life, yeah, and that's
(16:49):
what was interesting.
Speaker 2 (16:50):
And he'll mention drugs and things like that, But really
what he's talking about his experiences, right, And you know,
and I can appreciate that, Like he's not just picking
some flippant subject matter to cover in his songs.
Speaker 1 (16:59):
He's actually writing about experiences. Yeah, And it's what he's
experienced through his associations with everything, which I do believe
whis what makes him a good song run.
Speaker 2 (17:10):
Yeah, yeah, I would absolutely, and I think that does
show up in this album, yes, one hundred percent.
Speaker 1 (17:14):
So one thing about Third Eye Blind.
Speaker 2 (17:16):
They formed in the early nineties in San Francisco, primarily
Jenkins and Cadagan. Again, Jenkins had been in a rap
duo called Puck and Natty before they got a song
on the Beverly Hills nine O two one zero soundtrack
like I want to be your Friend or something like
that or I just want to be your friend. So
it was by Puck and Natuck and Natty and that's
how he got on the radar of record companies. Apparently,
(17:38):
though there was like a dispute over who would produce
an album. Yeah, and he wanted to produce it and
they said no, no, no, no, no, we're not doing that. He's like, okay,
find him out, and that's how you know it ended
up kind of he started moving towards forming Third Eye Blind.
Speaker 1 (17:52):
But anyways, eventually.
Speaker 2 (17:53):
They you know, he hooked up with Kevin Cadogan, They
grabbed Ryan Salazar and Michael Urbano, who was a guy
he played with Smack. He left during the recording of
the album, I'm pretty sure or before, like they'd already
written a bunch of songs with their bando recorded some
of them, and Brad Hargreaves came in after that and
he was the you know, drummer for several years thereafter.
(18:14):
But they got interest from Arista, Epic and RCA Records
before signing a deal with Electra that was reported as
the largest publishing deal ever for an unsigned artist at
the time.
Speaker 1 (18:25):
Pretty incredible.
Speaker 2 (18:26):
That is pretty incredible and makes me wonder too, like
I wonder that kind of money if that's what drove Jenkins,
who had been living in a closet. Poor it could
be to like be like yeah, because I mean, uage
my future.
Speaker 1 (18:37):
He was like broke, broke, broke, broke, broke.
Speaker 2 (18:40):
Yeah, he actually department and he rented out his room
and took the closet. Yeah, so he could like live basically. Yeah,
so I kind of get it. But at the same
time it's shady.
Speaker 1 (18:51):
Yeah. Well, I mean, you know, you'd kind of do
certain things to kind of make sure you're not in situations. Again,
I can't judge based on that, but sure, you know,
I do say if you you know, I don't know.
Speaker 2 (19:01):
Big money can do strange things to people too. So man,
this next song, good grief. This takes me right back
to my senior.
Speaker 1 (19:10):
Year and ies. Yeah. Four minutes of twenty eight second
semi Charmed Life is the first single off the album
that was released as a single on February eighteenth, nineteen
ninety seven. This is one of those kind of power
pop songs. You could tell that, you know, Jenkins has
some rap background, You could spit.
Speaker 2 (19:28):
Some lyrics, the simplest of riffs. Yeah, I mean it's
so simple. It's basically like a g d AD nine
c AD nine that's.
Speaker 1 (19:38):
Really all a catchy man. It's a super catchy song, right.
It's really popular in the US, at a peak position
number one on the Billboard Pop Chart and Alternative Weekly charts. Yeah,
so it peaked at number one. It was a mega hit.
It was all over the freaking radio, man, I mean
could like every hour. It's like, oh, there's so much
on life.
Speaker 2 (19:54):
I mean, over twenty five years later, this song is
still finding airplay.
Speaker 1 (19:58):
Well that's because you always want something else to get
you through this charm kind of life.
Speaker 2 (20:03):
That was terrible. Okay, that drum lick intro is just iconic.
By now you hear that, you're like, you know exactly
what song you're listening to. Rick Biatto recently did a
breakdown of this song like what makes this Yeah, and
I think he actually has a different mix of it
than than the radio mix because when you hear him
breaking it down.
Speaker 1 (20:23):
It's like, this does not sound like the actual radio mix.
It sounds different.
Speaker 2 (20:28):
But it's a great dive into the little things about
the song that they do really well and what makes
it stand out.
Speaker 1 (20:34):
Yeah.
Speaker 2 (20:36):
I mean, man, these guys they killed it with this song.
This really established them. It was all over the radio
for years.
Speaker 1 (20:43):
I mean, but still all of a sudden, like you'll
be on just a new mainstream rock channel, right, and
then all of a sudden, you're like, charm Life, come on,
it's any alternative. It's a very timeless song. Yeah, it's
it's all over the place.
Speaker 2 (21:00):
And so I mean again, this really drove the album.
The album itself was it was what the best I'm saying.
Semi charm Life was Best Modern Rock Track in nineteen
ninety seven for the Billboard Music Awards. It won several bammis,
which is like the California Music Award. I think it
originally used to be the Bay Area Music Awards, but
it was from San Francisco. He's from San Francisco, exactly.
(21:21):
They've won so many like California based music awards, you know.
Speaker 1 (21:25):
I yeah, And I think I remember reading about Semi
Charmed Life. Is he hung out with four non blondes
Perry lead to Perry oh yeah, yea yeah, yeah yeah yeah,
And like she during this he did, like he would
play Semi Charmed Life and get her feedback. She would
play What's going On? And they like traded notes. Interesting circle. Yeah.
(21:52):
I think they just you know, they hung out together,
they played each other's songs. Hey, that's cool. That's cool,
you know. I think there was some some of that
and some back and forth. Yeah, yeah, back and forth.
I thought that was pretty interesting because we talked about
Leeta Perry earlier during the Encomium episode. Yeah, she's brilliant.
Speaker 2 (22:08):
Oh yeah, really fantastic, great voice too. One of the
things about this song too, is it's it's this super poppy,
upbeat song and then you dive.
Speaker 1 (22:17):
Into the lyrics and you're like, this is dark, really dark.
It's really dark stuff. I mean, let's talk about a
guy like with a crystal meth addiction, and it's an
entitled guy with the crystal meth addiction. So it's like
the issues that he's writing about are very apparent and
I think Middle American.
Speaker 2 (22:34):
And it's just a it's a very contrasting song. Like
you have the super poppy, upbeat song talking about this
super dark subject matter, and that's that juxtaposition is really
what I think makes this song last. It's like there's
substance to this. He's creating like an ironic theme here,
(22:57):
the super poppy, up beat thing.
Speaker 1 (22:58):
Talking about methy. Yeah wow, Okay, Yeah, and that same
kind of thought process goes into the next track too.
I mean, when we're talking about kind of another mega
and another mega hit, this song was huge, right, we're
talking about the fifth single and final single off the
album that clocks in in four minutes and thirty two seconds.
(23:19):
It was released as a single on August fourth, in
the year nineteen ninety eight. It's pretty obvious what the
song is. It's a jumper. It's about a guy who
jumped off the corn ott Of Bridge and killed himself.
Speaker 2 (23:30):
Yeah, yeah, I mean it's crazy too. I feel weird
saying this right after you just said that, But I
always loved the bridge in the song, the instrumental bridge
in this song. It's fantastic, thank you very much. Yes, yes, yes,
boo boo, yes, but no, I really do. I love
(23:55):
that bridge because you've got the bass that drives the bridge.
Speaker 1 (23:58):
Have we Todd still over there? Laugh? That was a
good from But I love like the little interplay, how
like how it starts with the drums and the bass,
and then the guitar comes back in and the lead
guitar comes in in the end of.
Speaker 2 (24:11):
It, and then his vocals Yeah yeah, yeah, yeah, yeah
drives it into Yeah.
Speaker 1 (24:15):
I mean it's it's a really song man. I mean
you were in the fourth song, right, Yeah. And it
was a single that was released, right, and it did well.
It was all over it was featured, I mean, huge song. Yeah.
And Jim Carrey played it in Yes Man. Yeah, that's
right right. It was a part of that movie, which
is just hilarious. Oh it's a great movie. I mean,
(24:36):
that's like a clause to watch Yes Man.
Speaker 2 (24:39):
He says yes to everything because he was always saying
no and he needed to change his dynamic.
Speaker 1 (24:44):
Great movie. Yeah, and he just takes it to the
But to me, the next song, the next song is
my very favorite song. You know, I would I would
agree with that because when you talk about just the
ninety seven ninety eight, you know, this was all over
the radio. It was all over the movies we watched,
(25:05):
you know.
Speaker 2 (25:05):
And I like, you're playing the original mix. Yeah, you're
playing the original mix right now. There's a remix of
it that has vocals before can I graduate? Yeah, I
don't like the remixed version. I like the original mix.
And this was out on the radio at the time.
Yeah man, graduate, Yeah, And.
Speaker 1 (25:20):
This was the second single was released on July fifteenth,
nineteen ninety seven, clocks in at three minutes and nine seconds.
It reached twenty six on the Hot Mainstream Rock Tracks
chart in the US, number fourteen on the Hot Modern
Rock Tracks chart. You may remember this song from when
we did the Can't Hardly Wait Yeah soundtrack super popular.
So make sure I know we extensively talked about graduate
(25:45):
on that. This one's for graduating, Miss Lacroix is for graduate.
I know. I think we were popping the popping something
way more than in nineteen nineties Zo no vodka going
into this Lacroix.
Speaker 2 (25:57):
Sorry, folks, Oh, we were like, I mean, it was like,
it's Tuesday, It's Tuesday.
Speaker 1 (26:02):
You know. Here's a cool thing about this one, right,
So one cool thing is the band played this song
at the twenty fifth Annual American Music Awards and changed
some of the lyrics, so instead can I Graduate? They
replaced it with a certain thing that correct And if
(26:22):
you were a teenager, you know you engaged in plenty
of that.
Speaker 2 (26:27):
Yeah, I mean, super punchy low end in this song,
everyone hitting in rhythm with one another during the verse.
Speaker 1 (26:34):
I love that Cadogan's guitar tone in this song. It's
just what I even like just the heavy guitar. I
graduate is probably one of my.
Speaker 2 (26:44):
My favorite dude, it's it's it's probably. Yeah, It's definitely
my favorite song on the album. And I'd say it's
one of my favorite third Eye Blind songs period.
Speaker 1 (26:52):
There's a couple on Blue.
Speaker 2 (26:53):
That I like almost as much, if not just as much.
But man, this song on this album is just and
it's in a great spot. It's it's like, what's the
fifth song on the album. I mean, man, it just
it slams and it kind of keeps the momentum going
started by the first four songs.
Speaker 1 (27:09):
Yeah, well you have five tracks that are super catchy. Yeah, right,
Number six, number six another mega hit, another mega hit,
man another single, six track off the album. In third single,
there's at least on October twentieth, nineteen ninety seven, we're
talking about how's it going to be?
Speaker 2 (27:27):
Yeah, so again another one that was a huge hit.
Not my favorite third Eyeline song.
Speaker 1 (27:32):
I like it. I mean I can't say that, you know.
I was thinking as I was listening to this album,
I was like, first six songs, singles popular on the charts,
you know, make Jenkins a you know mft amount of money. Yeah,
you know. I mean that's just the sales how it went.
(27:53):
I think it was like six times platinum, yeah album.
Speaker 2 (27:56):
I think it's because he does more traditional singing than
on previous tracks in this particular song.
Speaker 1 (28:02):
And again, I'm not a huge fan of his vocals.
Speaker 2 (28:05):
It's just not my thing exactly, and so I think
he comes across his flat a lot. To be honest
with you, again, controversial hot take might rub some people
the wrong way, but I've just never been a fan
of his singing and this song is kind of a
prime example of that.
Speaker 1 (28:20):
You know, it's funny when you say that. So in
the Rick Biatto thing interview, he was mentioning he would
sing out loud in the car when he was kid
and his parents would tell the show man. So his
parents may agree with you there. I don't know. I
don't know.
Speaker 2 (28:35):
I'm sure he's taking good care of them. They're probably
not complaining at no.
Speaker 1 (28:38):
I'm sure they're like, you could sing all you want, son,
thanks for that indoor pool.
Speaker 2 (28:42):
But it's just yeah, this song, it's it's good musically,
it's a good song. It's a good song. I think
it's his vocals that just get me on this one. Man,
it's not my thing. So again, you mentioned in the
beginning six tracks in this is an incredibly strong side
one so far. I mean I don't remember how many
(29:02):
songs there are on the album fourteen fourteen, so I
guess then you have to include Thanks a lot is
number seven on one side. Yeah, I will get there,
But so far, man, I mean you can't. Really, it's
hard to beat this, Yeah, I say side one side
A yeah, I mean you're roughly halfway through the album.
The album links fourteen tracks fifty seven minutes and forty seconds, right,
it's a pretty good link, all of.
Speaker 1 (29:26):
Them placed well. I mean, I think that just shows
you the success of the album. Yeah. Like I was like,
why would I have this on vinyl? You know, And
after I started listening to it, I was like, Wow,
maybe I should just have this. It's a really nineteen
ninety seven. I think this is the album of nineteen
nineties up.
Speaker 2 (29:43):
If you put it in its context, this album was
a revolution in a lot of ways.
Speaker 1 (29:47):
It really opened the door to like you. At the time.
Speaker 2 (29:52):
You also had you know, bands like the Deaf Tones
coming up. You had the new metal starting to hit yep.
But yeah, the kind of said, hey, like you can
do like really catchy poppy stuff, but you can also
do it in freaking rock at the same time. Yeah,
And I think that that's they opened the door to
a lot of bands of this ILK.
Speaker 1 (30:11):
In a good way.
Speaker 2 (30:12):
And you know, there was a lot of like Third
Eye Blind kind of copies that came out at the time,
but none of that really had the impact that Third
Eyeblind did.
Speaker 1 (30:19):
So.
Speaker 2 (30:19):
But man, let's move on to the you know, the
final song. I guess on what you'd call Side A,
which is thanks a Lot.
Speaker 1 (30:25):
Yeah, clock center foremautes and fifty seven seconds, seven track
off the album. Yeah, so really unique verse riff. I
like this intro house slides in and you're looking at
you know, this is probably you said that it's the
end of side one, Yes, end of sideway and Sadeday
side one way we want to call Siday, We'll call
it Saday. So would this being the end of side A.
(30:45):
I think it's really appropriate. It's still fairly strong. I
think it's a great song. Yeah, yeah, I mean the
guitars are really powerful in the song. I love the
bass tone.
Speaker 2 (30:53):
Yeah, the outro sounds fantastic with the guitar and the bass,
like both distorted and hitting hard. It's just to me,
this is a quintessential deep cut. I never skipped this song.
I think it's fantastic.
Speaker 1 (31:06):
I think it plays well when you're doing a track
by track play. Yeah, I think it works well if
you just a if you got it on vinyl and
you're listening, I think all you know all the track.
I was really surprised at how much I enjoyed the album,
and I didn't really. I was trying to remember the
(31:26):
last time I actually listened through the entire thing. Years
for me, yeah, I mean twenty plus years. Yeah, I
mean it's in my CD collection. I tell you, I
found an old CD player.
Speaker 2 (31:37):
I have a whole bunch of them up in my attic.
I've got a little bit and not players but CDs. Yeah,
I still have all my CDs. I don't have all
the jewel cases anymore. I have no jewel cases, but
I do have.
Speaker 1 (31:48):
But I bought I found a like old DVD player
and I plugged the audio into my record player setup,
you know, with that pre amp, so it has two inputs. Great,
and I was like, now I can listen to so
like over the Thanksgiving holiday, I got a wire in
the electrical I just got to.
Speaker 2 (32:03):
I think, if you're a real music fan, a true
audio file one thing that never will really go out
of style is the audio stack. Yeah, and where you
have like a record player at the top, you've got
a CD player and well, right now you don't cassette player.
Speaker 1 (32:15):
You've got a receiver. Well, and now you don't really
need the if you have a pre amp and you've
got like a headphone amp and you've got some of
these powered speakers, you don't have to have like the
whole receiver bit. No, no, But but you do still
need your media players.
Speaker 2 (32:32):
Yeah, no, I think you like you'll have those stacked units,
but there's not really another way to do them.
Speaker 1 (32:37):
Yeah, it's just the record players are getting so good.
I mean for the cost CD players, they're even the
cheap ones are good. Yeah, and you can find a
cheap technology was perfected.
Speaker 2 (32:47):
I mean it's yeah, man, great song, but yeah, let's
move on to the next one, number eight.
Speaker 1 (32:54):
Yeah, so number eight we're at burning Man. So it's
one of the short probably the shortest track off the
album at two minutes in fifty nine seconds. You know,
I was listening to this and I was like, I
didn't even know what he was talking about. I don't either,
but that was like that it was something else. Yeah,
this one's always been kind of quirky and weird to me,
(33:15):
but I like this kind of that hook. Yeah right there.
That's what I like about the song, because like you're
sit there and you're listening to it when it if
you're listening to a track like I listened to in
the car on the way back from camping camping, Yeah,
and I was like, wow, sounds of how good this
It's a good song.
Speaker 2 (33:31):
I mean it's quirky and it's weird and not in
a bad way, not, you know, it's just it just is.
I think it's good to kind of mix things up
at this point in the album. I think it has it,
it has a place, it fits where it is. Uh,
it's never it was never going to be a single,
it's never going to be a classic.
Speaker 1 (33:49):
But it's good. Yeah. Yeah, that's good. I mean it's
like your starting track, A side load's all really good. Yeah.
Track number nine, good for You, three minutes of fifty
two seconds, very similar type of sound as the rest
of the album the well I could see what it's
not a mainstream kind of single, it's still good. Yeah,
(34:12):
it just it slows down. The intro's good, but kinds up.
Loves the bassline in this one. Yeah, he's kind of
all over the place. It sounds great.
Speaker 2 (34:19):
I mean, get Kevin Caddagan's guitar work and his guitar
tone really kind of like spacey vibe.
Speaker 1 (34:24):
It's really cool. You know they recorded some of these
songs at Skywork Skywalker Ranch. Yeah, right, there's there's actually
a record across three studios. Yes, you had toast Skywalker Ranch,
which apparently to get the demos, they snuck into Skywalker Ranch,
acted like they knew what they were doing and just
started doing stuff and they were like heyeay, yeah, just
(34:45):
charge it. And then they had and then when they
were like, hey, there's bills, but he's like yeah, yeah,
we'll talk to the record company. And then they bolted
because they liked they liked what Skywalker Ranch had, so
they stuck on. Well, he came back, he's like, hey,
we're gonna hey, I kind of did this, and they're like, hey,
if you record the full album here and you know,
you're all good. Yeah, so they But but the HOS
(35:08):
studio was like it's called a heap of shit and
it was basically this old console. So the whole album
was like mixed on this so no auto tune, no,
you know, really old school analog. And when I when
I found that fact out and I re listened to
the album, I was like, wow, this is really good
album because they didn't have pro tools. There was no
(35:30):
pro tools. No, there was no auto tune. There was
no you know, virtual instrument type of creation. Yeah, this
is old school. This is amps, right, it's mic and
stuff up. It's making sure your acoustics in the room
are good and you're mixing.
Speaker 2 (35:46):
And you're forty eight track plus mixers, huge boards in
power amps, all that stuff, and it really does sound fantastic.
Speaker 1 (35:54):
Yeah, I mean I think yeah, and that's and I
find that on every single track. Sure it's just a
great sound. Yeah, absolutely, all right, moving on. All right,
We're in London, which is the tenth track, a little
bit heavier. It's three minutes and seven seconds, so kind
of a rockier, heavier track than the rest, but still
(36:16):
pretty good.
Speaker 2 (36:17):
Uh well, I do like the guitar riff. This is
one of those songs I could never really get into.
I admittedly skip it.
Speaker 1 (36:24):
It's a skipper.
Speaker 2 (36:25):
It's a skipper for me. It's just I don't know.
I was never into it. Yeah, it's not a deep track,
but it's like it's not bad.
Speaker 1 (36:32):
It's not bad, but it's not great to me. Well,
I think on it. When you look at the first
seven songs, you're like, in the context, yeah, this is
a B side at best. Sure, right, it's a B
side at best. Yeah.
Speaker 2 (36:48):
I want to say it even was a B side
song on one of the singles it was. I think
it was maybe memory Serves and I have to fact
check myself there, but yeah, all.
Speaker 1 (36:57):
Right, moving on. You know, I've meant to wonder, like
how many times they played that live? I forgot to look.
But this is a little bit of a better track
with Tracktumery Levens. I Want You. I like the little
acoustic intro. I I kind of dig the vibe of
this one. It's a good, you know, four and a
half minutes. It's kind of a pleasant song. I like it.
Speaker 2 (37:15):
It's a great just kind of grooving, yeah, laid back tune, yeah,
type of type of track.
Speaker 1 (37:20):
And I think that comes good after London. I can
see why you would skip London and say, oh, I'll
get on to I Want You.
Speaker 2 (37:25):
It's a bore So the drums and guitar and the
intro really set the tone of the song. Yeah, really well,
I think the word for this one is definitely groove.
It's got a groove to it. The keys work mixed
in in this really makes it pop. I mean it's
a great song. The key tone they use right here,
what does that remind you of? Think of a song
(37:47):
that has that tone.
Speaker 1 (37:49):
I'm not sure which one. Walking on the Sun? Oh yeah,
I can see where.
Speaker 2 (37:58):
It has that same tone into it. When I every
time I hear that, I honestly think of Walking on
the Sun, which actually I think came out around the
same time.
Speaker 1 (38:08):
Probably there was a lot of weird stuff you had,
like uh, Mark McGrath and Sugar Ray Ray. You had
smash Mouth, you had Shrek which was super popular, which
was weird. Yeah, there's just a odd The late nineties
were odd. Late nineties were odd.
Speaker 2 (38:25):
I will say Sugar Ray, I don't I think they
get a bad rap in some ways because fourteen fifty nine.
Speaker 1 (38:31):
I love that album. Yeah, I love that album.
Speaker 2 (38:34):
You know, a knock on the fifteen minutes of fame
and how they came up just short of fifteen minutes.
Speaker 1 (38:37):
Hey, but Mart McGrath man, he milked every single mill second.
It's worse. It still is to this day. Man.
Speaker 2 (38:45):
Anyways, Okay, but this is a great song, just a fun,
great groovy song.
Speaker 1 (38:51):
I love the guitar effects. He did some cool stuff.
It's a great song. Agree, another deep cut? Yeah, I
think it's a it's a good deep cut off all right,
moving on, all right, we're at number twelve, which is
called the background.
Speaker 2 (39:05):
This modulated bassline is really cool. Yeah, that is kind
of neat. Yeah, it sounds like the bass to me.
I could be wrong. It may be a baritone, but no,
it has kind of be the bass. Yeah, it's either
like a really watery chorus on the guitar.
Speaker 1 (39:23):
It just seems thicker. It just sounds thicker. It's got that.
Speaker 2 (39:26):
I love that intro though. It's just a really cool
well and this is a good watery sound. This is
a good deep cut too.
Speaker 1 (39:33):
Oh for sure. I think this the background could carry
it so as a single. Yeah maybe so, I don't
I don't know that I personally I wouldn't agree with
maybe it's just a deep cut.
Speaker 2 (39:44):
I think it's just a deep cut. It's a great song,
it's a dynamic song. But I just think there's better
ones on the album. I think they chose well when
they chose their singles. There's even a couple of other
songs I think they could have added into the singles
mix if you wanted to.
Speaker 1 (39:59):
Talk about it. But this is a really just a cool,
laid back start to the song and then it picks
up later. I really like this song. Yeah, Yeah, that's cool,
all right, all right, So the next one is a banger. Yeah.
Motorcycle drive By is the thirteenth track off the album,
which clock's in at for minutes in twenty two seconds.
(40:22):
On May twenty ninth of twenty twenty, there was a
documentary short that was called Motorcycle drive By. It's released
on YouTube, and it's actually a short documentary that focuses
on the backstory of this particular song. Yeah, I've so,
I've been meaning to watch that. I haven't. I have
not yet, but I knew it.
Speaker 2 (40:42):
I know it's out there. I haven't seen it, but man,
I love how this starts really low key builds it's
a dynamic huge and then exits. Generally, it's a dynamic song.
Speaker 1 (40:53):
It's a very dynamic song, very well written song. Yeah.
Speaker 2 (40:58):
Yeah, go check out the documentary. I think it's out
on YouTube.
Speaker 1 (41:01):
And I like at the part where he goes, I've
never been so alive and then it starts to build. Yeah,
that's right here, so alone. Yeah, and.
Speaker 2 (41:14):
So that's your first building point, all right, And there's
another one later on around the same line.
Speaker 1 (41:21):
Man.
Speaker 2 (41:22):
Just a really excellent song, and it does showcase Stephen
Jenkins's talent for lyric writing.
Speaker 1 (41:28):
Yeah. I think he's an excellent lyrics songwriter. Yeah.
Speaker 2 (41:33):
And I think the fast pace of the song really
actually fits his voice. Well, he's not singing as much.
They're singing in there, but it's a little bit more
of like a rappie kind of cadence throughout.
Speaker 1 (41:43):
Just an excellent song. Yeah.
Speaker 2 (41:45):
I mean another one that I think they could have
been a single if you didn't have a dearth of
singles at the beginning of the album.
Speaker 1 (41:52):
I mean, when your first six tracks off the album
are singles, how many singles are you going to have?
You know? So you know the for a couple of
bonus points, just because I like the song, I want
to play more of it in the background. The Stephen
Jenkins appeared in what film? Film? He had a supporting
(42:13):
cast role in a film? It wasn't Okay, so not
School of Rock?
Speaker 2 (42:18):
No?
Speaker 1 (42:18):
No? Was it Rockstar? Yes? With Wahlberg.
Speaker 2 (42:22):
Yes, Yeah, I'm thinking I'm trying to remember which part
that he played. He played the replacement singer.
Speaker 1 (42:30):
That's right, the guy in the crowd that brought No,
it was a different guy. There was when the band
fired him, right, and he was like and then he
threw this hissy fit. This is my Mike Stan, This
is my mex Stan. I wasn't that Mike Stan.
Speaker 2 (42:43):
Was that Jason Fleming? Like whenever he was turned out
to be gay and like they didn't want him to
be in the band.
Speaker 1 (42:48):
Because he was gay? No?
Speaker 2 (42:50):
Uh, because that was that actor. Is Jason Fleming at
the beginning? Their original singer for this?
Speaker 1 (42:55):
Yeah? Yeah, well it was so Rockstar was kind of
based on Iron Maiden a little bit loosely around that.
I think George Clooney directed that film, believe it or not. Really, Yeah,
and maybe why it's kind of like kind of good.
It's like a you're kind of like, it's an interesting film.
But it's interesting. It's kind of good. It's just interesting. Yeah. Well,
(43:18):
because there's like a burp pipe song. There's things I
like about it. There's film that I really don't like. Yeah, yeah,
that's interesting. But anyway, I didn't remember that he was
in there. He was like yeah, and he's like, oh,
you know, my dad had all this money. He brought
a pa and Mark Walls like the character Mark Wallbach's
character is great, right because it shows his immaturity. Well,
this is my Mike's Dan, this is my band takes
(43:40):
his mike stand away and then he's like five minutes
later he's like, I'm the lead singer of this band
and I sing whatever they tell me to. It's all right.
So moving on last song. Last song, track fourteen, is
called God of Wine five minutes and seventeen seconds. It
is officially the longest track of the album.
Speaker 2 (44:03):
Yeah, so this is a good one, and I think
a good one to close the album out with. Yeah,
I mean, as far as songs on the album that
I like, this was pretty far down the list. But
it's a profound song from a lyrical perspective, talking about
like breaking addiction, musically, it's it's good on an album
full of really great songs. So again, I'm not saying
(44:23):
it's a bad song at all. Put it in context though,
and the bangers that you got in front of it,
It's like, it's kind of easy to overlook this one
because of the fact that you got so many great
songs ahead of it, and by the time you get
to it, you're almost kind of like, all right, I'm
almost done here.
Speaker 1 (44:38):
Yeah. Yeah, but it's a good song. Yeah. Yeah, it's
a good song. So what'd you think of the album
as a whole. I gave it a nine out of ten. Yeah,
I think it's that good. Yeah. Yeah, I's a couple though,
were I'm just kind of iffy on.
Speaker 2 (44:54):
But I mean it's a landmark album of that late nineties,
like post grunge boom. Yeah, it really helped set the
tone for popular rock music going forward. Yeah, it's got
a strong legacy. I mean, I think it's an album
that people will still be listening to thirty years from now.
Speaker 1 (45:10):
Yeah, you know, I I was really surprised. I just
as I got into depth of the album and I
listened to it three or four times, and I started
reading on the album and I listened this, you know,
the Rick Piotto thing with Steven Jenkins. I was like,
you know, as much crap as I give Third Eye Blind,
(45:34):
this is a damn good album. It's a solid nine.
It's a great album. It's a no. It is like
a solid nine. I think you can rank it lower
than I. Yeah, And because really there's London maybe good
for you. You know, there's like a couple of tracks
where it's like, eh, you know, you maybe don't need
sure one. You know, you take away London, maybe you
got a nine and a half, you take away one more,
(45:55):
you may have a ten. Yeah, you know, it's it's
kind of that close.
Speaker 2 (45:58):
Yeah, honestly, I think if if you you take away London,
ah man, like trying to think of another one.
Speaker 1 (46:06):
Yeah, maybe Man good for you maybe, but like maybe
burning Man. I don't know.
Speaker 2 (46:10):
There's just a lot of there's a lot of great
songs on here. It just happens to be that there's
like one or two that are just less great.
Speaker 1 (46:16):
Than the other. Yeah. Yeah, so it's a solid nine,
solid nine, But I think that's Yeah, I think it
has to go on the I gotta pick it up.
Have Yeah, if they do like one hundred and eighty
gram version. I could certainly see. Well, they they have,
I think tracks out there. I think there's versions of
it out there. But yeah, I'll have to put that
on the discogs list of one stuff to go get
(46:38):
absolutely and added to my wishless carton Amazon. Yeah all right, man,
that's a solid nine all across the line. Yeah, Third
Eye Blind, Third Eye Blind, Go listen to this one.
Go listen to Blue as well, them that came out
after it. They also had a great song on the
American Pie soundtrack New Girl. Yeah.
Speaker 2 (46:55):
I mean they man, I mean a pretty prolific band,
But their early stuff I'm not as much into, like
the albums that came later. In all fairness, House, I
didn't listen to most of the albums that came later.
I think was Out of the Vein was the third album,
and I have a copy of it somewhere. I didn't
really listen to it that much. But Blue and the
self titled and great.
Speaker 1 (47:15):
Albums I would want to, you know, the one thing
just before we kind of close out, the one thing
I noticed, you know, I was looking at some of
our episode reviews and things like that, just over the
past year and a half that will be officially doing
the podcast at the end of the year. I noticed that,
you know, the Cross Canadian Ragweed episode is increasing in
the downloads and you know why because CCR is.
Speaker 2 (47:35):
Going to tour again. Wow, okay, they're gonna tour again.
They're at least doing a show. And I think I
slammed that album, didn't I?
Speaker 1 (47:43):
You sure did? You slammed Soul Gravy like uh, cream
gravy on mashed potatoes at Thanksgiving.
Speaker 2 (47:51):
I did not give it a good I was. I
wasn't necessarily unkind to the band. I was mindes to
the album. There's a difference.
Speaker 1 (47:59):
Yeah, so hey, hey, if you like the band Third
Day Blind, you can check out the website at www.
Thirdy Blind dot com. If you enjoyed this podcast, be
sure to check us out on our website at www.
Dot Adventures in Vinyl dot com, where you and if
you go to the sports section, you can find a
spot where you can order your very own semi okay
(48:19):
Adventures of Vinyl T shirt.
Speaker 2 (48:21):
Semi okay, I love you're setting the bar low, you know,
heybe will pleasantly surprise you with the quality of the shirt.
Speaker 1 (48:27):
Yeah, we got some work to do, but we just
need more listeners.
Speaker 2 (48:31):
Yes, the tens and tens, the tens, and we need
to at least turn you into dozen, dozens.
Speaker 1 (48:35):
And dozens, not tens and tens. Yeah. You can follow
us on Instagram at Adventures dot n dot Vinyl and
be sure to subscribe to the podcast and leave a
review on your favorite platform or choice. Adams on Instagram,
you follow him at at eat dot prey dot orm
bar and myself at Todd David Ward. And with that,
I'm Todd Ward and I'm Adam Barron and we will
(48:55):
see you next time on another episode of Adventures in Vinyl.
And be sure to check out last Jeers Thanksgiving episode.
Both put an Instagram post out there to remind you.
There you go.
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