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September 11, 2025 28 mins
In 2014 the underground metal core band Of Mice & Men put out their first album with new singer and bassist Aaron Pauley, and the band never looked back. That album along spawning a couple top 20 rock songs. Since then Of Mice & Men have been a proper metal band, but don't think they don't have any surprises up their sleeves. Their latest single "Wake Up" has an acoustic guitar and Aaron tells us that they wanted Alanis Morissette to duet on the song, but her manager said no. 

Look for Of Mice & Men's new album Another Miracle due out November 14th. 
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Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Attention please, and no.

Speaker 2 (00:02):
It cutters rock cat.

Speaker 3 (00:05):
Oh my god, it's Aaron Polly it is.

Speaker 1 (00:09):
It's not AI. It's not AI chatbot.

Speaker 3 (00:11):
It's not Ai. Aaron Poully, Ai, Aaron interview Bot.

Speaker 1 (00:15):
You know what I mean. I don't.

Speaker 2 (00:16):
I don't.

Speaker 1 (00:17):
I don't pay enough for that subscription or whatnot.

Speaker 3 (00:20):
That's not part of my Gemini package.

Speaker 1 (00:22):
Yeah.

Speaker 2 (00:23):
No, it'll just come up with like brilliant answers for you.

Speaker 1 (00:25):
It's like, oh, that's.

Speaker 3 (00:27):
Great, Yeah, hold on ask that question one more time.

Speaker 1 (00:32):
Oh yeah, so good.

Speaker 2 (00:34):
Jeez.

Speaker 3 (00:35):
The world of AI is a scary place. Let's not
let's not go there too much. I don't think you
guys haven't used it at all, have I mean, like
as okay, actually no, let's go there as a songwriter
and as a you know, I mean you guys work
on your own recordings and co producing and all of that.
How do you handle kind of this world of Okay,

(00:56):
these tools are here, they exist. It's tempting, but then
go there.

Speaker 2 (01:02):
I like using available tools as far as like AI
goes like Gemini or things like that. The only time
I've used it so far, and where it's actually been
really interesting is after the record was done.

Speaker 1 (01:15):
You know, there's always with press or with.

Speaker 2 (01:18):
Anything or with the label or like they always want
some sort of blurb about like what's the record about?
And I think when you're an artist just making art,
it's like you don't really know what you're making until
you're done with it. I once I heard I can't
remember who the quote is attributed to, but somebody said that,
you know, the difference between an artist and an artist

(01:40):
and is like an artistan sort of knows what they're
going to build before they do it, you know, like
a stonemason knows what they're going to do and then
uses their craft. But it's like an artist doesn't know
what they've made until after they've made it, which is
why a lot of times painters or songwriters don't typically
name songs until they're done, you know, like for us,
we don't really we don't even name albums until they're done,

(02:02):
and then that's when it becomes really difficult. Uh. And
I remember I fed all the lyrics into uh into
Google's in the Gemini and I was like, can you
come up with album names? And it listed like twenty
of them, and they were all like awful, like just
really bad.

Speaker 3 (02:19):
So another miracle wasn't one of those.

Speaker 2 (02:21):
No no, that was actually one of just one of
the song titles. But what was actually really where it
was really valuables is I fed all the lyrics and
I was like, can you sort of find consistent themes
or can you sort of break down for me like
my own writing style. So it was kind of it
was an interesting mirror to sort of like go over

(02:44):
my own work with it, you know, not not to
change anything, but just to sort of, you know, try
and glean a better understanding sort of gauge.

Speaker 3 (02:51):
Where you're at as a as a writer and as
a yeah and.

Speaker 2 (02:55):
Just and just yeah and just comparatively, like what what
would it compare to you know, other authors you know,
or are there any sort of books you think that
that sort of would resonate with this kind of writing
style or what sort of because I really love using
you know, metaphor and imagery, Like for me, it's easier
to do that than it is to just like write

(03:17):
a straight out sentence. For some reason that it's just
easier for me to try and like the things like
like like.

Speaker 3 (03:26):
A whole page yeah.

Speaker 2 (03:29):
And it's well and it's I guess it's just a
way of being like less not personal, but just like
making it all about me, like I am sad.

Speaker 1 (03:37):
It's like you could.

Speaker 2 (03:38):
Figure out like more more clever ways of wording that.
I think.

Speaker 1 (03:42):
Plus it's just fun.

Speaker 2 (03:43):
I like, I like the idea of like words creating
you know, pictures in your head. But it was really
cool to sort of just feed it the album and
then I fed at all of the album's lyrics and
I was like, sort of, what are the themes from
our band, Like, what are the themes that you've from
like songs that I've written versus songs before I was

(04:04):
in the band and things like that. Like it, I
don't know, it's just it's it's a really really interesting
way of sort of getting another perspective immediately. But I
think if you try and just utilize it like that,
then it's not I don't know, you're not gonna like
bastardize your art or whatever.

Speaker 3 (04:23):
Well, right, that's a tool for understanding your own self versus.

Speaker 2 (04:27):
Yeah, yeah, yeah right, versus like yeah yeah, versus generating
like AI content. No, we do that on the road though,
we use like Sora or whatever, the music generator one.
It's really good but it's like you could just tell,
like you'd always tell if something say or not.

Speaker 1 (04:42):
It's just it's just impossible.

Speaker 2 (04:46):
You know.

Speaker 3 (04:47):
My morning show does a broadcast in a tropical destination
every year, and last year we were in Costa Rica
and there were there was a couple that got engaged
on the trip, so we had is it Sora or
sort whatever? Yeah, we fed it its name, that's what
it is. We fed uh. We fed the names of

(05:09):
the couple and where they got engaged and where they're from,
and sort of a little personality. Dude. It wrote us
a two and a half minute rock and roll banger.
It was awesome. Oh yeah, I played that on the air.

Speaker 1 (05:19):
I'm like, there you go, remixed and mastered.

Speaker 3 (05:21):
Yeah, like thinks this sounds thirty times better than the
first demo I ever recorded. That's great. Oh yeah, awesome.

Speaker 2 (05:30):
I think though people like music because of the human connection,
I don't think they like it because of how it sounds.
I've always said this, like, you got a thing, dude.
A good portion of the population's tone deaf, like can't
you know, can't carry a tune in a bucket, right,
But they still love the music. And I think it's

(05:50):
because of the human connection. So I think just because
it's made by machines, if there isn't sort of that
other human on the other side, you kind of just know,
you know what I mean, it's sort of just like a.

Speaker 1 (06:02):
I don't know, it's sort of like social media.

Speaker 2 (06:04):
If you've ever interacted with a bot, we're like, I
just know that there's not like a person there. You know,
it's kind of the same thing, but you're just you're
just more in tune with it. I think I suppose
you can sort of tell that.

Speaker 1 (06:17):
Being said, I love it. It's like amazing.

Speaker 2 (06:20):
You want to create, you want to create a funny,
funny or inappropriate song.

Speaker 3 (06:25):
You know, well listen Aaron Paula of course Bassis vocalist, lyricist, songwriter,
apparently author. What if it compared you to like what
if it had compared you to some like author from
like mid eighteenth century Croatia or something, you know, like
it turns out you're actually just a reincarnate of this person.

Speaker 2 (06:46):
That'd be crazy. Like if I if I just like
ripped off everything from this person, I would feel like, Okay,
well that makes a little bit of sense because I've
always said like I don't really feel like I ever
write anything as much, which is I feel like I
hear it in my head, and I've practiced long enough
to be able to take what I hear in my

(07:06):
head and you know, bring it into material reality through
like you know, uh, logic and recording software and things
like that and just a lifetime of tinkering. But yeah,
it's always something I just hear in my head, you know,
or or I'm listening to one of the other guys's
ideas and then I hear a lyric, or I hear
something and it's like, I don't know that I'm I'm

(07:28):
coming up with that as much as like it's either
getting sent to me or you know, kind of like
a radio antenna, you know, hird, just because somebody's not
tuned into the station doesn't mean you're not broadcasting.

Speaker 1 (07:40):
Get all esoteric and weird right now. I like that
the audience is like, I don't know what to do
with this.

Speaker 3 (07:44):
As a radio DJ, I really like it.

Speaker 2 (07:46):
Yeah, yeah, you know, well.

Speaker 3 (07:50):
Listen, man, I'm glad to hear it. Listen the new albums.
Of course I mentioned it before. It's called another Miracle
that's going to be out in November. There's a couple
of new songs out, including this on wake Up. We'll
talk about in a second. Since since the mid twenty fifteen's,
how do you say it, mid mid twenties, the twenty mideens,

(08:12):
at some point we're going to figure out how to
look back at the decade and figure out how to
say it right. You know, you can't say the nineties,
you can't say the eighties, you can't say the twenties.

Speaker 1 (08:19):
Yeah, people are like the twenty tens, like mid.

Speaker 3 (08:22):
Mid twenty tens as Men have been a straight ahead
nobs kind of metal band, and I think so almost
unapologetically so. And I loved every second of it, whether
it's some thrashy stuff, some metal core stuff, you know,
it's it's uh, it's it's straight ahead heavy metal, like

(08:46):
it's been a traditional almost heavy metal wake Up is
not that song?

Speaker 1 (08:52):
Oh No.

Speaker 2 (08:53):
I mean the records have always like sort of teetered
on the balance of it, like we we like taking that.
I think that straightforward metal element is sort of like
the most basic bass model of Mice and Men can be,
and then we sort of just tinker with different sort
of musical modules.

Speaker 1 (09:13):
If you will.

Speaker 2 (09:13):
You know, like a lot of what Echo was was
we were messing with sampling and taking ideas, recording them,
flipping them backwards and then recording guitars over it, and
just doing weird stuff because you know, we've done so
many records and we're all old now and that's exciting
and as well, we know, as long as there's that
sort of base of mice element that we can sort

(09:35):
of get away with that. But you know, what we've
always come back to is that any of the ideas
that we've always found like really exciting. So if there's
something that either one of us comes up with and
then presents it or the four of us come up with,
once we all get together and hear it, and there's

(09:56):
that mutual level of excitement, there's that same sort of
like we all just sort of calibrate that at zero
and we're like, all right, let's build from there. Those
songs are always really special, and I think whether or
not they have a particular sound, Like I said, I
don't know that people like music for the sound, and
that's really frustrating as somebody who makes their living making

(10:20):
sound and writing songs. You know, it's like I get
caught up in that. Sometimes, you know, doing the production
or the technical side of records, I can forget, like
people aren't going to care how this sounds as much
as I care about how it sounds on the technical end.
But there's just something about music being a language. You know,

(10:40):
that's like the age old cliche music is the universal language. Well,
it's true if you play, if you go anywhere in
the world and you play somebody a sad song on
a violin, and they're going to know, like what that
feels like, and it's very bizarre.

Speaker 1 (10:54):
They might not have ever even heard that style of
music before, but they'll be able to pick up on.

Speaker 3 (10:58):
It and it evokes an emotion one hundred percent.

Speaker 2 (11:00):
And it being a language, language is used for communication,
So there is a sort of give and take with
the audience, you know, when you're expressing yourself in music,
and then somebody who's listening to your song is expressing
themselves or they're hearing their story being expressed, and there's
that sort of you know, resonance of connection with people.

(11:24):
And that's also part of the reason why I don't
think musicians ever have to worry about AI taking over
their jobs. I mean, maybe if you like you write
jingles or something. Maybe if you're if your niche isn't
in expressing yourself but it's in some other form of
commercial music maybe, But like I don't know, I think
as long as you are doing something expressive, like people

(11:44):
are going to resonate with that.

Speaker 3 (11:46):
You know, Hey, man, most of the people who make
livings in music and you know this are commercial writers there.

Speaker 1 (11:53):
That's very true. But here's the thing.

Speaker 2 (11:55):
I don't know what to do about it, right because
it's like covered wagon makers. It's like, yeah, once the
model t rolls out, it's like yeah, but most these
people make wagons and it's like yeah, I get that,
and I and I myself am a wagon maker. But
I don't know what to say about it other than
like get a model tea, you know what I mean. Like,

(12:16):
but no, I haven't found myself utilizing it yet. Because
that's the other thing too, is like I really love
making music, and I think if I got to a
point where it's like I didn't like it, it's like, dude,
there are other ways of, you know, of making a living.
And as you know, this music is not like financially

(12:37):
stable and things like that. So it's like, if I
ever stopped enjoying this, it would be the perfect reason
to go and get an office job with benefits, you know,
and things like that. Benefits, but yeah, what Yeah, No,
benefits are the things in your dressing room, you know when.

Speaker 1 (12:52):
You get there.

Speaker 2 (12:53):
Yeah, exactly, when you get to a show.

Speaker 1 (12:56):
That's the benefits.

Speaker 3 (12:57):
I certain water instead of the cheap stuf. Right.

Speaker 1 (13:02):
No, but it's a blessing honestly.

Speaker 2 (13:03):
It's like if you you know, I enjoy doing this,
and we all enjoy doing it. So that's part of
the reason why we haven't found ourselves like in that
rabbit hole, which and I think it's so new that
I don't I don't know that I have like a
moral judgment on it yet.

Speaker 3 (13:19):
Yeah, it's hard. It's hard to get a gauge to
go back to the song wake Up, because I thought
it was interesting that you yourself described this song as a
shoegazer song.

Speaker 2 (13:31):
Yeah, it's kind of shoegazy. It's kind of, well, kind
of it is a little bit shoegaze, Yeah, I guess
because of some of the effects, but it is it's
a very like nineties sort of. I don't know, it
just feels like the nineties To me, I don't hate,
but I don't know what that means because I was
like eleven, you know what I mean. So like, I
don't know. I guess I feel it feels like hitting

(13:53):
a sick rollerblade trick, like when you're eleven in the.

Speaker 3 (13:55):
Nineties song all right, new new quote for the song
wake Up? Yeah, this song, So what feels like hitting
a sick trick on rollerblades and then getting dumped by
your girlfriend?

Speaker 2 (14:08):
Yeah, but it's cool because laser tags are things, so
don't worry about it the snow, cell phones or social media.

Speaker 1 (14:15):
Yet it's fine, Like you're good.

Speaker 3 (14:16):
Nobody is gonna know the bad thing. No.

Speaker 1 (14:18):
N sixty four just came out. It's rad.

Speaker 2 (14:21):
Alanis Moore sets trending towards number one. We asked her
to sing on this song. She said no, No, is
that real? That's one hundred percent real.

Speaker 3 (14:31):
You asked Alanis Morrisette to sing on wake Up? Mhm okay.

Speaker 2 (14:37):
I think it got as far as I don't know
that she said no herself, but it did get as
far as her management, and then we did get a
We did get a no from from her management.

Speaker 3 (14:46):
Yeah, was it a nicely written no, or I mean, oh,
or was it like I don't know who you are?
Stop it? You know?

Speaker 2 (14:54):
No, truthfully, I don't know. I never saw the actual
copy of it.

Speaker 3 (14:58):
Oh, okay, just curious. I was curious.

Speaker 1 (15:01):
No.

Speaker 2 (15:01):
I was just bugging my manager about it and I
was like, Stu, did we hear anything.

Speaker 1 (15:04):
He's like, yeah, mate, it's a no.

Speaker 3 (15:06):
And I was like, what what made you think? Alanis Morissett?
And I honestly like to have that thought of it
work with people a lot, but when you do, it's
going to be as Morris set.

Speaker 2 (15:15):
She's a big She's a big inspiration for me, and
then also for Tino. Tino is the one who came
up with the first sort of intro music bit and
then whatever and then what became.

Speaker 1 (15:28):
Sort of the verse. It was.

Speaker 2 (15:31):
It was like a one minute loop that he'd put
in the drop box and I heard it and it
was like, you know I talk about the mutual excitement thing.
It was like the ding ding ding ding went off
and I was like, oh, I want to turn this
into something and Tino was like, well, I don't know
if it's going to fit the album or not. And
I was like, well, whether it fits the album or not,
I don't care, Like step in this out, send it
to me, and I want to like add a baseline

(15:52):
to it, like kind of like structure it out into
a song, and then we The demo of that was
always called Alis because it just the acoustic guitar and
for some reason it just reminded me of that, So
it's like that was always the demo of it. So
then we always talked about once we get this, like
we should just like we're going to manifest alanis Morset
singing on it, because that would a be like a

(16:14):
really really unexpected collaboration. But be her voice is like
phenomenal and her songwriting is phenomenal, and just to like
be a part of anything she does would be sick,
especially if it was like something as cool as like
what this thing that was sort of like almost didn't
make the cut but then became like a really special song.

(16:36):
But yeah, it didn't, it didn't happen. Maybe if it
goes to number one, then then we can do like
a redux version, because what I imagined that she would
have done in the second verse is cooler than what
I did in the second verse.

Speaker 1 (16:49):
Her voice in the bridge would be better than mine,
just my opinion.

Speaker 3 (16:52):
I mean, you know, Aaron, you are a fine singer,
you are a very good bass player, but you.

Speaker 1 (16:56):
Are not I appreciate you.

Speaker 2 (16:57):
But oh yeah, you know you're you're you are honest.
You are as honest as you are handsome. I appreciate it,
all right.

Speaker 3 (17:05):
So on my cutting discountdown show, the song wake Up
by Mice of Men. It hits number one. We're checking
back in to see if to see if it happens.

Speaker 2 (17:16):
Yeah.

Speaker 1 (17:16):
Maybe it might also just be like a more firm
no see.

Speaker 2 (17:21):
And that's well, that's the thing, right, is Like the
people say, it's like, well, the worst somebody will tell
you is like no, and it's like that's not necessarily true.

Speaker 1 (17:31):
It could be way worse than that.

Speaker 2 (17:32):
It could be like no, please, don't ever like, don't
ever mention this ever again.

Speaker 3 (17:38):
The thing is, though, if you I mean, you said
a gout. As far as management, you know this, Sometimes
the artist is more into it than the manager is,
so find about it. You know, she might go, why
did you say no to that? I would totally do that.

Speaker 1 (17:53):
Oh, and then it creates this whole other thing.

Speaker 3 (17:54):
Yeah, I mean, you never know you never know.

Speaker 2 (17:58):
You never know, you really do know in this day
and age. But no, that is a true little factoid.

Speaker 3 (18:05):
That's interesting.

Speaker 1 (18:07):
Is there too late?

Speaker 3 (18:08):
Is there anybody in reality that you reached out to
to work on on a song on this upcoming of
Mice and Men album? Another miracle do out in November fourteenth?
There's your plug.

Speaker 1 (18:19):
Yes, there, we did reach out.

Speaker 2 (18:23):
There. There are no features on the record though, sort
of a bit and they all said no, yeah, so
so zero yeah, all right, next question. Here's the thing, right,
it's the ninth one and we've never had a feature,
so it's like, I know, it's consistent at this point.
We actually like we were down for it and we

(18:45):
were like, all right, let's do it. Let's go out
on a limb. Then you get like shot down.

Speaker 3 (18:50):
It's like tenth tenth studio album from of Mice and
Men fruitless. But you know, maybe go back to other
heroes that they started, like Gavin Rossdale, he's still doing
stuff in our world. Start there's and then work your way.

Speaker 2 (19:03):
Up, you know, bush sure that'd be cool. You know,
maybe the record's done now, but like for the next one.

Speaker 3 (19:11):
Well right, that's what I'm saying. For the tenth studio
album of Mice and Men, then maybe you can get there.
You know, it would be sick.

Speaker 2 (19:18):
It would be sick to collab with Jacoby from popa
Roach just because we're from the same hometown.

Speaker 1 (19:23):
So that would just be a cool, little, cool, little
vacaville thing.

Speaker 3 (19:26):
Yeah, but I think if you reached down to Jakobe,
he would do it in a heartbeat.

Speaker 2 (19:30):
Oh, I'm sure, but that's just that would take me
having like the nerves to do that. All right, cool, yeah.

Speaker 3 (19:39):
All right, next time he's here, I'm gonna be like
okay to Kobe.

Speaker 2 (19:42):
When I'm ready, and when I have a track, I'll
be like, yo, can you can hit him up and
just ask on your on the air.

Speaker 1 (19:48):
So there's just like that, you know.

Speaker 3 (19:49):
Well, then there's the awkward you have to say yes because.

Speaker 1 (19:51):
All the way exactly. Yeah, you can't be the guy
that's like, no, I love.

Speaker 3 (19:55):
It, I love it. You guys are going out on
the road before this album comes out in Europe? What's
up for the States of Mice and Men for touring.

Speaker 2 (20:06):
I've seen a preliminary routing for next year for a
headlining tour, which would be cool. The thing that I
know though, is until it is a poster that's published,
you don't see it. I don't trust that anything is
actually happening the way that it either is told that
it's happening or that I.

Speaker 1 (20:26):
Think that it's happening. Is it more pressure aroong half
the time?

Speaker 2 (20:29):
And then b you know it's it's it's the Book
of Lies until it's on paper, you know?

Speaker 3 (20:35):
Is it more or less pressure to go on tour
as the headlining act versus an opener for maybe a
bigger package or even a direct support.

Speaker 1 (20:48):
That's a good question. I don't know. For me, I.

Speaker 2 (20:53):
This sounds like really jaded, but it's been a long
time since I've felt pressure in the traditional sense of like,
oh no, we need to like like really go out
and be impressive. But I do remember when we were
direct support for the Lincoln Park tour, which was like
ten years ago. I definitely remember being in those arenas
being like, oh man, we gotta like I gotta not

(21:15):
mess up, like I really gotta not like like crack
like a high note, you know what I mean.

Speaker 1 (21:20):
Like there's a lot of like.

Speaker 2 (21:23):
And it's more psychological pressure because it's it playing mechanically.
Is no different if you're like you can close your
eyes and you're doing it the same. But the psychological
pressure of like oh if I mess up in front
of all of these people, or even worse when you
notice that they're like watching you side stage. Like there
was a funny uh there's a video of it of

(21:45):
us playing our song another You, and it just starts
off with me like singing this really high like angelic
falsetto thing, and then Alan playing clean guitar and he's
playing the riff and he turns over and he sees
that Mike shoud notice standing there and he just hits
the wrong chord one fret, just one fret down.

Speaker 1 (22:05):
It was like bomb bomb.

Speaker 2 (22:07):
And it was just like what the hell? And it's
you know, it's it's one of those chords that's that's
like noting out for a for a whole note, you know,
So you just gotta you just gotta sit there and
own own the wrong note for a good three seconds
till it's time to hit the next chord. But yeah,
I don't know, it's it's it's it's always fun when

(22:29):
you're playing a headlining set, though, because we have the
ability to play more songs, you know, yeah, nine decads
and you get to play at most. It's like if
you're not gonna bore your audience or like kill them,
it's like, let's say you play seventeen songs, which is
a lot. That's a really long set. We have nine albums.

(22:50):
It's like two albums is twenty songs. So it's like
it's really hard to make set lists that aren't just
cherry picking from the Spotify top songs. And then I
think about it like in terms of a of a
restaurant again, like me going back to metaphors and things,
but it's like, well, if these are the top ordered
ordered dishes, then this is what we should focus on.

(23:13):
So it's like you kind of just go down the
Spotify playlist and the Apple Music playlist and it's like, hright,
this is what they listen to the most.

Speaker 3 (23:20):
Hmmm. I guess. I guess doing it that way makes
it a little bit easier to put together the set list.

Speaker 2 (23:25):
Yeah, it does, but then it makes it kind of boring, right,
like what about what about this song that he cares
about it?

Speaker 1 (23:31):
Apparently?

Speaker 3 (23:32):
You know, like, well, then there's always a new album
to promote, so you got to play three, four, songs
from that, that's true. Yep, throw throwing, a gem throwing,
you know, a random track seven from I don't know?
Uh why am I mind blinking into your complete discography
all of a sudden that I was literally just looking
at right before we meet too.

Speaker 1 (23:52):
Who even cares?

Speaker 3 (23:53):
You know?

Speaker 1 (23:54):
Kidding?

Speaker 3 (23:58):
No?

Speaker 1 (23:58):
I feel you though, and we do. We do do that.

Speaker 2 (24:01):
There are like a couple of choice jams that we
selfishly play because we're like, you know what, we like
these and we hope you do and if you don't,
then it's it'll give us a moment.

Speaker 3 (24:10):
You're allowed, I think you're allowed to do that. You
wrote the songs.

Speaker 1 (24:14):
Yeah, it's artistic.

Speaker 3 (24:16):
Yeah, well I did good luck with everything, man, And
you know, when the new tour gets announced, obviously we'll
be we'll be on board with it.

Speaker 2 (24:24):
And hey, thank you so much.

Speaker 3 (24:26):
Another miracle from out on November fourteenth. Throughout the years,
Thank you for all the support throughout the years. Honest course, man,
always it has been. It has been because it's the
first time I actually talked to you guys was probably
twenty thirteen. Yeah, something like that. That was like two
years ago, dude. Yeah, it was busy. That was not

(24:46):
twelve years ago. I don't know what you're talking about, Aaron.

Speaker 2 (24:49):
No time passes. No, somebody just reminded me. They're like, oh, yeah,
next year, you're going to go to the the reunion.
And I was like, which one and they're like the
high school. I was like, the twenty year. No, we
just graduated, like I don't know, four or five years ago,
you know, I just I skipped a year of college
and you.

Speaker 3 (25:06):
Know, but yeah, this day, I'm not I've never reunion.

Speaker 1 (25:12):
Yeah, I don't know. I think I'm gonna go, but
I don't know what I'm gonna what I'm gonna do.

Speaker 3 (25:17):
And there's Aaron Pauley, he's a rock stars.

Speaker 1 (25:20):
Like, no, no, no, I'm just chilling.

Speaker 3 (25:22):
In your old English teachers and be like, no, you're not.

Speaker 2 (25:25):
Yeah, no, straight up, he said, to be like, told you, like,
told me what. No, all my teachers were really supportive
in high school because, honestly, yeah, because we came from
the town that Poppa Roach came from and I went
to the same high school and all my teachers, you say,
you remind me of Jacoby And it was funny because, like,
you know, I was friends with his younger brother Bryson
growing up and stuff. So it's like I'd always known

(25:46):
the guys and things like that, but because they'd like
made a mark on the world and they were from
the town, it was like kids like me sort of
got a break because of Poppa.

Speaker 1 (25:55):
Roach, you know what I mean.

Speaker 2 (25:56):
So they were like, yeah, you just which is kind
of cool. All my teachers were.

Speaker 3 (25:59):
All, you know how there are certain people that you
just have you feel sort of a connection with because
you got into you got into a thing at the
same time. Yeah, my first when I first started in radio,
it was the year two thousand, so it was and
I was a teenager, but like Papa Roach was just hitting.

(26:20):
So yeah, oh dude, I have felt this a kinship
with with with the guys and for quite a long
time because we were a brand new active rock radio
station playing Corn and Papa Roach and not Ah, you know,
and uh and Rob Zombie, Oh my god, and uh
now that's all obviously it's classic rock now some of that.

(26:40):
But uh no, yes, no, no, no, no, it is.
I can prove it, but I'm not going to right
here anyway. My point is is, for the last twenty
five years, I've had plenty of run ins with Jacoby Shaddocks.
And you know who doesn't remind me of Jacoby Shaddocks,
Aaron Pawley. Oh, you guys are so different that I

(27:01):
would have never saw her that.

Speaker 1 (27:04):
No, that's true. I didn't say this like my teacher.

Speaker 3 (27:07):
I know your teacher.

Speaker 2 (27:08):
So it's just funny cool.

Speaker 3 (27:10):
No, No, he's that's awesome to have a teacher recognize
that and do that.

Speaker 2 (27:13):
He is always on a hundred, Like he exists on
one hundred all the time, and I am, like, I
think somewhere in the zero to thirty energy range most
of the.

Speaker 1 (27:26):
Time, you know what I mean.

Speaker 2 (27:28):
Like, but he is just activated and he's he's like
one of the best and like just kindest people on
top of being magnanimous, he is just kind.

Speaker 3 (27:38):
Okay, Rise Against tour is about to end. So next
year when Papa Roachs released a new ten more songs
and after of Mice and Men, do the do your
headlining tour for the new album and of the Miracle,
then there's the popa Roach of Mice and Men tour.

Speaker 2 (27:54):
Oh I would love that, Colin. I would love that,
And we could do a whole thing where it's like
all like infestation related, you know, because mice, right, mice infestation,
then roaches, we could do some of I don't know,
there's something there, you know.

Speaker 3 (28:09):
I think there is there really truly is.

Speaker 2 (28:12):
The Exterminate tour. Ah, there you go, that's very that's
you want to talk about mid two thousands.

Speaker 3 (28:19):
And in the middle and in the middle an acoustic
guitar and the light shines and you guys do a
cover of Uninvited per perfect.

Speaker 1 (28:28):
There you go, oh, perfect perfect.

Speaker 3 (28:30):
Thank you for the time, Aaron. I truly appreciate it, man,
Oh appreciate you so much.

Speaker 2 (28:35):
Cutter's Rock Cast, don't forget to tune in exactly
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