NOW! That’s What I Call 90’s Music

On this week’s show Chris and Aaron talk about: 90’s rap, songs of the century, 90’s bands that “should have been bigger”. Please follow us on Twitter @TheWeedsmen420, Instagram @TheWeedsmenPotcast, and on Facebook at Facebook.com/TheWeedsmenPotcast/ Download the rest of our shows at ChristopherMedia.net

Episode Transcript

Speaker 1 (00:00):
Christopher Media. Let's make some noise from Asthma Corr Studios
near Detroit, Michigan. It's the Weedsman Podcast. And now you
have smoked yourself retard.

Speaker 2 (00:17):
Here are the Weedsmen. You want to get hot. Welcome
to the Weedsman Podcast.

Speaker 3 (00:21):
I'm Chris, I'm Aaron.

Speaker 2 (00:23):
It's cold.

Speaker 3 (00:24):
Welcome back.

Speaker 2 (00:25):
Yeah, it's fucking cold.

Speaker 3 (00:26):
It's so cold in the dry we are in right now.

Speaker 2 (00:29):
Yeah, it's single digits.

Speaker 3 (00:33):
And if you don't know that, the rest of the
world outside of Detroit just google now you can probably
just google so Cold on the d.

Speaker 2 (00:41):
Yeah, it's one of those videos. It's so bad, it's funny,
it's so cringe.

Speaker 3 (00:46):
It pops up, like can you just play a little
bit of it because I.

Speaker 2 (00:50):
Don't like just remember like they thought they were being serious.

Speaker 3 (00:56):
Well that's you know, we were just talking off like
about low fi music, and your comment was most of
it just sounds like, boy, if you just spent another
you know, day on this beat, you could really get
this together. But it's like, so it's not just a
clever name, but what is it low Fidel? Oh yeah, yeah,

(01:21):
but I should I'm gonna still start calling it low
f for low effort.

Speaker 2 (01:31):
I don't even like, go rent a good mic, go
just rent a good mic for two fucking hours.

Speaker 3 (01:39):
I mean like even Yeah, like this sounds like they
recorded on the mic on the laptop.

Speaker 2 (01:48):
Yeah that they didn't even like an s M fifty seven.
It's obviously digital.

Speaker 3 (01:58):
Yeah, it's like it's the beat never changes. There's nothing
to the beat. I mean actually all it is is
a beat, like there's no the baseline in the changes allegedly.
Oh yeah, there's some piano in there.

Speaker 2 (02:21):
Yeah, this song has got four chords in it. Man,
that's jazz according to lou Reed. But it doesn't.

Speaker 3 (02:30):
It doesn't even sync up right.

Speaker 2 (02:33):
Why why are you singing it that?

Speaker 4 (02:34):
Like?

Speaker 3 (02:34):
Give it to another like like was there a for
it to come back around?

Speaker 2 (02:40):
Was there a click track or did they just go hey,
just sing man?

Speaker 5 (02:43):
Yeah, it's got more loan than I thought that the obviously.

Speaker 2 (02:53):
I mean, you know, she was ambitious tea baby tried
to sing her hook and be the MC.

Speaker 3 (02:59):
Yeah, she should have got somebody else to do it, right,
did anyone pull that off? It? I mean eminem.

Speaker 2 (03:10):
No, I mean female. It was real singing.

Speaker 3 (03:13):
Yeah, I imagine nowadays like it's probably. Yeah, it seems
like there's.

Speaker 2 (03:21):
No female and legitimate female MC that can actually belt
it out like a pro. Tools you can make anyone soundly.
They can do anything now, so beyond to me, two
thousand and five is suspect.

Speaker 3 (03:33):
There's plenty of people singing on their own shit now,
but like with lots of assistance, lots of digital assistance.

Speaker 2 (03:42):
Like if there'd have been like back in the day
in eighties, some chick would have been belting it out
like a refa and then spitting it like Marshall, she'd
have been fucked. She'd own the world.

Speaker 3 (03:54):
Yeah, it kind of seems crazy that it hasn't. I mean, like, well, no,
I was gonna say, maybe Lauren Hell, but she can't
really sing that.

Speaker 2 (04:03):
Well whoa, whoa, whoa whoa? Are you serious? You mean
that Lauri you can see Yeah, have you not seen
Sister Act too? No?

Speaker 3 (04:14):
I haven't all she does.

Speaker 2 (04:16):
All of that singing. No, that's when the fujis came out.
I'm like, hey, Sister Act two is in the band.
That's for real. That's I knew who Lauren Hill was
and I was like twelve, Yeah, she's I don't know
because That's the thing that confuses me. Never really looked
into her background, but she's in the Disney movie and

(04:37):
all of a sudden, Yo, I'm a hood and I'm
from Haiti, Like are you you were singing with Whoopi
Goldberg four fucking years ago and sister act too.

Speaker 3 (04:46):
Yeah, I fell for all of that. I didn't know
any I didn't know her background or anything. But then
I took like, you know.

Speaker 2 (04:53):
There are plenty of scenes in that movie with just
her and piano and holy shit, no, she can belt
it out.

Speaker 3 (05:00):
Yeah.

Speaker 2 (05:01):
Now, they tried to make her sound like she could
rap on The Miseducation of laurn Hill, and she pulled
it off. But again, why kless producing you like? Yeah,
you know you sound good?

Speaker 3 (05:12):
Yeah?

Speaker 5 (05:12):
I kind of I.

Speaker 3 (05:14):
Especially in the nineties, but still I tend to just
take music at face value. I don't. I've never been
one to like read articles or have to know the
background but be curious. Usually I'm curious like what city
they hail from and what label are they on? And
that's pretty much all I needed to know. Any other
nonsense was just didn't pertain to the music. Like Diggable

(05:38):
Planets made that turn on their own though, like they
started out poppy.

Speaker 2 (05:43):
When hip hop bought a couple turntables.

Speaker 3 (05:45):
Yeah, I'm just saying, like there's a big difference between
that first album and Blowout com Weed. No, I don't
know what it is, but like, I mean, if you
ever like listen to Blowout com not only is that
a supremely produced album, one of my favorite hip hop
albums ever, it's like downright militant and it's i mean,

(06:08):
like the in the liner notes, they've got like pictures
of like these two jack looking black panther DIDs. Oh
whoa and uh yeah, I mean they just they became
I don't want to militant is like a.

Speaker 2 (06:22):
Hey, while we're on the subject of the early nineties
hip Yeah, I heard a song today and I didn't
check the goddamn title, but I know it's got to
be Tribe or it's got to be day Last Soul.
I know. You know what. I just describe it to you.
Uh it's fur lease the piano line fur lease. And
it's like, I can't I be anything I want, be

(06:43):
anything I want? I can't. Uh, just talking to kids,
you can be whatever you want and just h and
it's essentially and essentially like the artist storyteller and then
tell stories about people who are doing good and then
they fuck up.

Speaker 3 (06:58):
Okay, I mean that's a sound familiar at all. Yeah,
how does fair least go? Okay? Okay, then.

Speaker 2 (07:09):
That could be doing a bad job explaining because I'm white. Oh, Nas,
all right, never mind, it's not it's it's it's from
fucking two thousand and two, so it's not even from
the decade I thought. But now when you hear it,
you could see how I thought it was.

Speaker 3 (07:26):
Yeah, it was.

Speaker 2 (07:27):
Like tribe or I.

Speaker 5 (07:32):
Have Uh.

Speaker 2 (07:35):
Nope, never mind, Yeah, this is not it Wait hold on, yep.

Speaker 3 (07:47):
Yeah, I can definitely see because like, first of all,
that beat is like a nineties hip hop beat. That's
not a two thousands hip hop beat. Hip hop beat
and sampling stuff like this like classical music. I mean,
this is a total Prince Paul type of move and

(08:08):
who knows, maybe Prince Paul produced this track for him,
because this sounds like a Prince Paul tracks.

Speaker 2 (08:15):
Easy, it takes much practice, like a meadow woman.

Speaker 3 (08:19):
No, I've never heard that, but I came really late
to NAS, and I I only know like a couple albums.

Speaker 2 (08:31):
Start with ye like that is the quintessential NAS album.

Speaker 3 (08:39):
Nostra Damis it's really good too. I don't know if
you've heard that one. I really like Nostra. I like
the title track on it too, but that whole album
is really good.

Speaker 2 (08:49):
You know, if I got to pick between the two
songs with this title, Sorry, Billy nas Wins, this is
New York state of Mind.

Speaker 3 (09:00):
It's like, is that okay? Oh yeah, don't make it.

Speaker 6 (09:09):
Who's who's producing this album?

Speaker 7 (09:16):
Musician flipping composition pass snip.

Speaker 2 (09:21):
Sixteen The Fantom Explained Now, pullet Holes, DJ Premiere, Pete Rock,
Chris Webber, Kanye West, a lot of the people who
have worked with Yeah, Chris Webber, Holy ship that Chris Webber. Wow,

(09:43):
he has produced some tracks.

Speaker 3 (09:44):
For not Yeah. I was gonna say this sounds like
DJ premieer type site, DJ Premier, Pete Rock. Q Tip
produced on this album. Q tips produced on a lot
of ship that might.

Speaker 2 (09:57):
I bet you's involved in that song I just played.

Speaker 3 (10:00):
I bet you he was. I bet you he was.
Q Tip is like he's been like the hip hop
assassin behind the scenes, and like.

Speaker 2 (10:10):
Hey, everyone gets old and the smart people go behind
the scenes.

Speaker 3 (10:13):
It kind of dissolved after after the death of Fife
Dog and.

Speaker 2 (10:19):
Yeah, it's not it's not trot. Yeah, you know, it's
like I say about the New Pantere.

Speaker 3 (10:26):
And you know q Tip he tried to make a
real go of a on a solo career and had
a hit single. I mean, I don't know if it
was big. I can't remember. I just remember the dance
he was doing on the video on but I have
to imagine. And this is pure conjecture, but if I'm

(10:47):
q Tip, I'm like, you know, I can do this
hip hop thing and people may or may not like
it and it sounds like it. Yeah, it was a total,
total funky track like that. I remember that one.

Speaker 2 (11:05):
This is a type and q Tip after his artist thing.
This first song that comes up.

Speaker 4 (11:10):
Yeah, real good girl, the biggest thing.

Speaker 2 (11:13):
In my idiot. But this doesn't sound up.

Speaker 3 (11:15):
But she made me feel like Wiskey. You know it
sounds like and it probably was produced by uh what's
his name?

Speaker 2 (11:25):
Uh it's got twenty four million plays. Oh no, there's
such This one was twenty Kanye Western Lil Wayne, twenty seven.
It's one I'm looking at this. This is his most favorite.

Speaker 3 (11:41):
Who is the the big spot hip hop producer and
like the two thousands will John No No No No
like produced Die and and and Sweeten.

Speaker 2 (11:55):
Doctor dre No, a couple of bangers and the beginning
Kanye No of the Parral. Oh yeah, yeah, this sounds
like Farral. I bet you this is produced by Farral.

(12:17):
What was his project before he went solo or like
really what like took off as a producer. It was.

Speaker 3 (12:25):
He had a group Neptune Neptunes, Thank you.

Speaker 2 (12:33):
Now he'll never have to work again just based on
happy Yeah, you can retire based off just that song
has been in so many movies, TVs, commercials.

Speaker 3 (12:45):
Yeah, he's he's a good producer, but he's just he's
good at well. I think the reason that Park Ranger
hats I think the I think the reason the Neptune
stood out is because they were stripping things down more.
Hip hop production had gotten insane.

Speaker 2 (13:04):
They also were using instruments, they weren't programming at all.
They were playing a lot of it too.

Speaker 3 (13:09):
Yeah, and so yeah, by having to structure it in
the in a band, you kind of have to strip
it down to its core elements. Everything that that all
your parts have to be played with these instruments.

Speaker 2 (13:22):
When I'm making stuff like I scrapped everything I made
last year and I'm just starting new this year, and
I'm making stuff like I've had to like put myself
in that space of like, hey, remember being in a band, idiot,
you don't have twenty seven people up there. Yeah, just
remember rhythm, you know, remember baseline, drum beat chords.

Speaker 3 (13:45):
You can add whatever frills you think are necessary to
your music. Sometimes it adds stuff to it, and really
dense layered tracks can be amazing, but they still have
the core of like a good rhythm, some sort of
melody or harmony that you can.

Speaker 2 (14:00):
Space when you've listened to a million times and you're
like what else? What else does? Sometimes it's sometimes when
I just you start getting into analysis paralysis sometimes like
just step away from it for a day, just like
we're done for a minute, let's go.

Speaker 3 (14:15):
Let's But that that carried over into his production where
he like doubled down on that, and the tracks that
he started producing for other artists were like really stripped down.
It was like beaten bassline and you'd get like a
stab here and there.

Speaker 2 (14:31):
Maybe it's wrong on music theory, it's crazy. No, No,
I'm with uh. I'm sure you heard. Mike Dawson once
used the phrase about Uptown Funk. He's like, it's like
the producer just said, look what I can do on
the took one track and just masturbated for the entire track. Yeah,

(14:52):
I hate that, trust me. I under I love digital production.
I think it is like, because I know how to
splice tape, if you ever had to learn how to
splice tape, you love digital audio workstations.

Speaker 3 (15:07):
But I absolutely I wouldn't be able to afford to
do what I and I sunk a lot of money
into my studio, but I wouldn't be able to afford
to do the things that I wanted you to buy
all the gear that I would want to make the
music that I want.

Speaker 2 (15:21):
But I hate when the production is just superfluous, when
it's just there to be to be exactly to be like,
look what I can do, Like it's I hate it
with a band. I hate it when it was you know,
just too much fluff you know on stage or you
know or you know, or even when I was uh,

(15:41):
you know, getting into rock music when I was younger,
it was not a disciple of guys like ing Vey
Momstein like Steve Vibe, buddy of mine, called that shit
stunt guitar. Yeah, like make it good, make it do
it for the song, don't just do it to just
do it. I hate that. Sorry, sorry for yelling.

Speaker 3 (16:06):
Yeah, actually, you know, speaking of Uptown Funk, I had
just read recently that it was named by Billboard number
two song of the Century.

Speaker 2 (16:17):
What sucks is it's a really good groove, sure is.

Speaker 3 (16:20):
But well, first of all, like the song of the century,
like this this century?

Speaker 2 (16:27):
What beat it?

Speaker 3 (16:28):
This century?

Speaker 2 (16:29):
What song by Taylor Swift's beat it?

Speaker 3 (16:32):
So, I mean, I guess we're just talking. It's just
weird to say in the Song of the Century when
we're only one quarter into Billboard. Oh Billboard. Billboard recently
released a list of the most popular songs in the
last twenty five years. So I mean we just call
it that. Yeah right, yes, but you know, they they

(16:55):
went for drama and they said, you know, Songs of
the Century. But I mean, yeah, Billboard is just that's
their whole thing is stats based on sales and spins.
So this isn't like this at least is something to analyze,

(17:16):
unlike your average rolling Stone top whatever of the blah
you know where it's just editors sitting around going, well,
Nirvana's cool, but not enough people appreciate mud Honey, so
we should put them on there too. You know, I
got the Melvins. Yeah, the Melbourne is still going at it.

(17:37):
See right here, mud Honey.

Speaker 2 (17:39):
This song like this, I don't believe it. Just watch.

Speaker 3 (17:45):
Yeah, Honestly, I feel like this song is it's fun
and it's eighties production is really kitchy and great. It's
got a nice groove to it. It's it's funny that
it's eighties production, but it's based on seventy's music writing.
But if if they just got rid of the builds,

(18:07):
it's like every techno build ruins it exactly if you
just had a groove that went and then you brought
in the horns on the chorus, you got a nice groove,
funky band, and then you bring up the horns.

Speaker 2 (18:19):
Well, I think the other part is, though, if the
build isn't there, this is just more Stay in the Time.

Speaker 3 (18:23):
Right, Yes, it absolutely is Morris Day in the Time.

Speaker 2 (18:31):
Because when I heard this, I was like, oh, is
this like more Stay in the Time coming back? And no,
oh brun O Mars song yeah.

Speaker 3 (18:40):
Yeah, everyone was like Bruno Mars is the next Prince,
and he's like, I want to be Morris Day. I
want to be the band that opens up for Prince.

Speaker 2 (18:49):
By the way, dude, I've dropped all the context clues.
You will keep me to sspense. What the fuck's number one?
What beat that turd?

Speaker 6 (18:56):
Let's see if I actually have a list, because this
is about that song.

Speaker 3 (19:00):
So let me see here. I don't know, I'm gonna
have to look it up.

Speaker 2 (19:04):
Trying to think. So it's Billboard, so something that had
to be what was like the last twenty what was
like every gangam style, Now that's probably top ten If
this is Billboard, it's airplay, right, No, it's got to
be something like your mom knows. It's got to be
something like that, something like senior citizens and teenagers know.

(19:26):
It's got to be something like that permeated the culture
like that.

Speaker 3 (19:29):
Yeah, this must have been the list Billboard's Top one
hundred songs of the twenty first century, based on performance
on the Billboard Hot one hundred chart from the start
of two thousand through the end of twenty twenty four.

Speaker 2 (19:44):
Okay, so the Titanic song is off the table. Yeap,
that was late nineties.

Speaker 3 (19:50):
The Weekend's Blinding Lights.

Speaker 2 (19:53):
Really that's number one.

Speaker 3 (19:55):
That's number one.

Speaker 6 (19:56):
Remind yeah, I'm sure I've heard it.

Speaker 3 (20:00):
Is it the Yeah, I don't know, blockbuster track reins
that already given by a fifty seven week run. Another
retro style huh oh this song?

Speaker 5 (20:19):
Yeah, yeah, totally.

Speaker 2 (20:23):
This is a number. This is really the last twenty
five years. This was played that much. Well, I just
remember it was in it when he did the super Bowl.
It was the song they used in the commercial. They
played that fucking commercial all the time.

Speaker 3 (20:37):
It kind of shows you what's really driving the pop charts.
It's our demo and older because it's all retro stuff
that's hitting really big.

Speaker 2 (20:47):
Just like when we were kids. What was big when
we were little fifties and then it went to sixties
and then it went to seventies.

Speaker 3 (20:53):
Yeah, yeah, so we were kids, Like people were watching
fucking Happy Days.

Speaker 2 (20:59):
It was always about twenty I want to see, it's
always about twenty to thirty years ago. No, right, like
the year I was born. Greece was the big fucking movie.

Speaker 3 (21:07):
Grace is huge. Yeah, yeah, so.

Speaker 2 (21:09):
It's always so I think it's always about twenty to
thirty years ago.

Speaker 3 (21:13):
Oh, so, what was the Francis Ford Coppola movie.

Speaker 2 (21:17):
Uh, with all.

Speaker 3 (21:20):
I want to say, it was Rumblefish. It's not Rumblefish
the Outside, No, is it The Outsiders. It's based on
a book.

Speaker 2 (21:27):
Oh yeah, that's where the brat peck started.

Speaker 3 (21:29):
Yeah, The Outsiders. That was Tom Cruise is in it. Yeah,
that was that was based in the fifties.

Speaker 2 (21:35):
Old Pony Boy Stay Gold. Yes, we had to read
that book in eighth grade.

Speaker 3 (21:41):
I never read it. My daughter read it. It's pretty gay,
is it?

Speaker 2 (21:46):
Yeah?

Speaker 3 (21:47):
Wait? Gay is in it's a book or gay as in? Well,
there's a lot of homosexual overtones in this.

Speaker 2 (21:52):
Okay, it's like you know how Eminem meant it in
the late nineties. Okay, it's someone who probably never experienced
street life writing about street life. That's how came across
to me.

Speaker 3 (22:05):
Oh okay, I gotcha.

Speaker 2 (22:07):
It was also thirteen and an idiot, So there's that.
I think the overall messages don't let bad shit that
happens to you fucking make you have a shitty outlook
on life or some shit like that.

Speaker 3 (22:20):
Okay, I'll can't find the actual list though, Oh here
we go.

Speaker 2 (22:25):
But the movie though star studded cast swazy.

Speaker 3 (22:29):
Yeah, Cruise, everybody that Chi.

Speaker 2 (22:32):
Why is the only name I can come up with next,
like Matt Dylan, Matt Dylan, Thomas holl He's pony Boy.
I mean, just oh Astevez Emilio's in it. It's like
so many people, you're like, holy crap, like what's the
payroll of this movie? And you realize it was when
they're all nothing so like twenty bucks.

Speaker 3 (22:52):
Oh yeah.

Speaker 2 (22:54):
It may have been Cruise's first movie. He's that Tom
Cruise looks like he's a little kid.

Speaker 3 (22:58):
That's how Oh yeah he is, he's the runt.

Speaker 6 (23:01):
Yeah, I think that was his first movie.

Speaker 2 (23:03):
It was like pre top Gun.

Speaker 6 (23:05):
It was wait wait, pre top Gun. It's pre risky business.

Speaker 2 (23:11):
Like Swayze. I believe he is playing a teenager. I
mean they're they're Luke Peerry, you know he's yeah, he's
doing the Luke Perry thing of playing a teenager. But
still he was still young enough for a casting director
to be like, say he's nineteen.

Speaker 6 (23:25):
All right, p Patrick Swayze.

Speaker 3 (23:28):
I feel like that was somebody who would we would
definitely be in the midst of a Patrick Swayze renaissance, right, now,
like he would be huge. He would probably you know,
maybe Tarantina would throw him in something and give him
the Travolta treatment, or he'd get some like really super

(23:49):
dramatic TV show that like.

Speaker 2 (23:52):
They'd have made a sequel to Dirty Dancing and it
wouldn't have been.

Speaker 3 (23:56):
Oh, he would have made Roadhouse again. He wouldn't let
that fucking Gillen Hall do it.

Speaker 2 (24:03):
Gay, what are we talking about the Roadhouse remake? Oh?

Speaker 3 (24:08):
Yes, it's like Jillen.

Speaker 2 (24:11):
Hall, my kid, I kid like triumph.

Speaker 3 (24:17):
Okay, I hand it up here. But Billboard's fucking site has.

Speaker 2 (24:22):
Some did they at least not present that to Dwayne
the Rock Johnson Like that is like choice number one?
How remaking Roadhouse?

Speaker 3 (24:34):
How does he? I think I'm guessing that he was
approached and turned it down because he's looking for his
own thing. He thought Black Adam was gonna be his
own thing. Like not, Yes, it's a it's a character
that comes from the comics. You know, it's not a
totally original idea, but a nobody's portrayed it yet in

(24:59):
live action until he did.

Speaker 2 (25:01):
Well, didn't go over like a fart in church. It
is not going to be another one.

Speaker 3 (25:05):
No, there's not going to be No, it was a
missed up. Yeah, but I think I think he thought
like because I I don't know that he was offered
it and turned it down, but I've heard about other
parts that the Rock has been offered and turned down.
And Helmsworth busy and he is not interested in like

(25:25):
being the remake guy.

Speaker 2 (25:29):
Being the guy who did a walking tall because that
was his first right, that was his first movie.

Speaker 3 (25:33):
Yeah, right, so there's a real danger of being stereotyped.

Speaker 2 (25:39):
Well, you go twenty five years between remakes, you won't
be pegged as the remake guy, get you. It was
Chris Hemsworth busy for the Roadhouse remake. Those are like
the first two just he would see from a point
of being jacked, I did for two guys.

Speaker 3 (25:54):
Let me start with this. I didn't watch the remake. Okay,
I seen Roadhouse so many the original I know that
movie inside and out, but I didn't watch the remake him.
That's probably a good reason why I didn't. But also,
as much as I love Jake Gillenhall, I think he's
a great actor. He's so fucking serious. He can be funny,

(26:17):
but he's not known for it. And it's not to
say that like Patrick Swayzey was funny. I mean, Roadhouse
is funny, but it's not intentionally funny. It's a really funny.
It's an entertaining movie. But Patrick Swayzey wasn't He wasn't
goofing it up. He was taking his role very, very seriously.

Speaker 2 (26:39):
We couldn't have juiced up Chris Pratt.

Speaker 3 (26:42):
But I do believe that if you're going to try
and do a movie, I mean, I think that they've
shown that, you know these while when they want to
reboot something that people know from the eighties, because people
know it from the eighties, they go back and look
at it and they realize, oh, it was dumb. You know,

(27:03):
Starsky and Hutch was a really dumb fucking show. So
it's gonna be a real stretch if we try and
make a serious remake of this. Let's go the other route.
And that's what they should have done with it. And
that's what they should have done with Roadhouse. Not I
don't think they should have went full on comedy with it,
but just playing.

Speaker 2 (27:24):
My theory, Chris Pratt's some HG h ye.

Speaker 3 (27:27):
I think Chris Pratt would have been the better. But
but he's too much of it. I don't think he
could play like he's not scary right, So all right,
I got this look before it reloads on me again
and shows me the newest mods to add. Uh we
heard the first two Stay by kid Larroy, kid Leroy

(27:50):
Leroy and Justin biebar Uh. Party Rock Anthem by l
m f Ao. You know that one is that everybody's
gone up by to night something. I have a good time, man,
people like shitty fucking songs?

Speaker 2 (28:11):
Is neo baby? I got like Barry Gordy's nephew or
some ship?

Speaker 3 (28:15):
Oh really? Yeah? I got a feeling by the Black
Eyed Piece.

Speaker 2 (28:24):
I'd rather listen to this song than listen to that
fucking piece of ship ever again.

Speaker 3 (28:29):
Yeah, I'll give you that Shape of You by Ed Sheeran,
Last Night by Morgan Wallin. That's gotta be a country artist. Huh?
It is okay closer the Chainsmokers featuring Halsey.

Speaker 2 (28:53):
I think that's one of them, so we uh know
what if we heard it? Yeah?

Speaker 3 (29:01):
Number nine Levitating by Dua Lipa. I love that song.

Speaker 2 (29:05):
Oh cool? Alright, dude speaking again, and then make fun
of myself.

Speaker 3 (29:11):
Because that song really gets me going, I my brief stit.

Speaker 2 (29:15):
Back in the radio when I was doing the Top
forty on the internet station. This was in the power
This is in the rotation.

Speaker 3 (29:24):
And I think it's good production. Yes, it's not overdone.
It just has a it has a nice version chorus structure,
but it really blows up on the chorus. Well, and
not because it's like there's a riser and a bill,
because the chords move you to this emotional chorus.

Speaker 2 (29:46):
Yeah, a songwriter wrote this song.

Speaker 3 (29:48):
Nice little pre chorus here.

Speaker 2 (29:58):
Got I can't tell if she can sing her now, yeah,
I don't care.

Speaker 3 (30:04):
She can carry a tune, yeah, yeh yes, this is
like fun yeah, dance music, and it's it's a really
great catchy chorus that doesn't negate the verse like.

Speaker 2 (30:27):
Dance music gets a bad rap because you've got badass
rhythm sections in dance like I'm talking like eighties and
seventies and.

Speaker 3 (30:35):
Actually played it, yeah, like cool in the game.

Speaker 2 (30:37):
Yeah the band is actually playing it right. You got
drummers and bass players getting no credit for holding these
monster grooves.

Speaker 3 (30:51):
And I don't know, maybe part of it is the
fact that I, you know, because I don't listen to
pop radio. I'm don't. I don't interface with the songs
a lot. I found. I heard this song oh.

Speaker 2 (31:04):
So right when it was ten minutes.

Speaker 5 (31:08):
Yeah, But.

Speaker 3 (31:11):
A podcast that I listened to, an x Men podcast,
a very gay x Men podcast, actually was talking about
that song and they played a little snippet on them like, oh,
that's dual Lipa. And I listened to the song and
I'm like, oh my god, this is actually really good.

Speaker 2 (31:27):
Now I have yet to hear anything by her.

Speaker 3 (31:29):
I'm like, eh, yeah, and I and I like. I
like the production on her stuff too. I dig it.

Speaker 2 (31:37):
The album's called Future Nostalgia, which I thought was clever.
I was like, really, I was like, how many years
is rock Mu's have been around. No one's come out
with Future Nostalgia. It took till twenty twenty one for
someone to come with that title.

Speaker 3 (31:50):
That's a great title.

Speaker 2 (31:51):
Yeah.

Speaker 3 (31:52):
And then closing out the top ten because we're not
gonna do all one hundred. We Belonged Together by Mariah.

Speaker 2 (31:57):
Carry Waits from the nineties.

Speaker 3 (32:03):
I would think she returned to the Summit in two
thousand and five with her lost Love song that reigned
for fourteen weeks. Okay, I know we were talking about,

(32:26):
like in stripped down production, but this could just use
a little pass on the drums.

Speaker 2 (32:32):
There should have the biggest song. If I heard the.

Speaker 3 (32:40):
Song, it's great that you got Mariah Carrey to sing
on your demo, but when are you going to finish
this song? Does your plug and have reverb on it?

Speaker 4 (32:52):
Right?

Speaker 2 (33:04):
For a hook? That the most popular song in the
last twenty five years.

Speaker 3 (33:17):
She go back to the verse. I think that's the chorus.
That's the chorus. We belong, we belong together.

Speaker 2 (33:33):
I'm gonna hear a fucking Christmas song that.

Speaker 3 (33:35):
It's barely even a melody in the song. It's just
this is a person who could think just about anything,
and you're having to go, Yeah, we got Mariah Carey
in the studio. What's her range? Like octave and a
half keeth a melody in there? I was reading a

(33:59):
very strange and we were talking about these kind of
meaninglessless This was like the most meaningless and just hodgepodge
bands of the nineties that should have been huge.

Speaker 2 (34:13):
So all this writer's opinion, let's see if we agree
with it.

Speaker 3 (34:17):
Yeah, yeah, this is from I don't know it. It's
from Loudwire Chad Childers. Here are fifteen nineteen nineties rock
bands that should have been bigger, big wreck.

Speaker 2 (34:31):
I've heard of them, have you?

Speaker 3 (34:33):
I had never heard of them.

Speaker 2 (34:34):
I mean, remember I worked in a yeah a record.

Speaker 3 (34:37):
So you're seeing all the store? Well, yeah I.

Speaker 2 (34:41):
Was, and radio, so I said, let's see YouTube maps
got to get it.

Speaker 3 (34:48):
Together Breakout nineteen ninety seven single The OAF brackets My
luck is wasted.

Speaker 2 (34:56):
The OAF all right, We're not waiting for us. Don't
come back today.

Speaker 3 (35:13):
They sound like guns and Roses.

Speaker 2 (35:15):
You sound like random late nineties rock band. That's why
you didn't make it.

Speaker 6 (35:24):
Right, Yeah, says That was featured on their outstanding In
Loving Memory of debut album.

Speaker 3 (35:38):
Buffalo Tom. Do you know Buffalo Tom? I love Buffalo Tom.
I'm a fan.

Speaker 2 (35:44):
I feel I've saw it, but never.

Speaker 3 (35:46):
Tail Lights Fade would be if you knew any song
by them, that would be it. Their ship still holds up,
ringing like this song is showing up in movies.

Speaker 4 (36:10):
This.

Speaker 2 (36:10):
Yeah, this sounds like Dawson's Creek when someone's breaking up.

Speaker 3 (36:13):
Ye yeah, I lost. Yeah, this is kind of This
is pretty sappy. This is a song that uh probably
hit the biggest for them early on, but actually the
whole album, This whole album is really good for just

(36:34):
like good nineties rock band stuff. Dude's add Yeah, it's
a picture of an old dude. But if you play like,
uh oh uh something roof, what is it called?

Speaker 2 (36:48):
Uh, Late at Night has the next place?

Speaker 3 (36:53):
Yeah, Late at Night soda jerk, but Velvet roof that
song's the damn.

Speaker 2 (37:15):
See why they didn't again the same problem as last band.
You sound like Random Midnight.

Speaker 3 (37:23):
I just think that their singles weren't the best representation
of their work. I think they suffered from maybe whether
they themselves or record labels, trying to shape them into
something that could be marketable. Absolutely, you know, I think
they Told the Wet Sprocket's another example of that. Yeah,

(37:45):
told the Wet Sprocket actually had some interesting stuff going
on on their albums, but the songs that hit were
like those super stappy ones Crackers on this list too.
Cracker were pretty big, weren't they.

Speaker 2 (37:57):
They had but they were here and then they had
one album where they were huge and then you know,
just farting to wind.

Speaker 3 (38:07):
Yeah, they never did they have a like a follow up.

Speaker 2 (38:13):
See this song. When this song was Holy shit. This
song was on every half hour.

Speaker 3 (38:19):
Yeah, people love this song, but I was more a
fan of I get it, it's a good song. I'm
more a fan of take the Skinheads, Bowling his old
band Camper Van Beethoven.

Speaker 2 (38:34):
Sometimes you see.

Speaker 3 (38:37):
I liked the follow up single, Oh yeah, I remember
this one. Yeah, talk Box, that's nice. I had forgotten
about this. We changed and they're almost like, uh they

(39:02):
were this kind of reminds me more of like screaming trees,
like sixties kind of throwback grungy.

Speaker 2 (39:08):
So they were like country rock.

Speaker 3 (39:11):
Yeah, yeah, which I don't I don't get. I mean,
I think because you've got acoustic guitars and a guy
with like a you know, not a traditionally you know,
pretty voice. He's got, you know, just kind of a gruff,
not a lot of range, talks most of his lines.

Speaker 2 (39:31):
Yeah, yes, talk Box outside of Peter Frampton. Bonus points.
All right, finally agree with the writer on one band far.

Speaker 3 (39:45):
I don't like this the opposite, yeah near what was
their song?

Speaker 6 (39:52):
Nineteen ninety six album Tin Kansas Strings to You is
credited in the emergence of.

Speaker 3 (39:57):
Squeam O Music. Oh God, Well, so their album was
called tin cans with strings to you, So that would
probably be your keyword search.

Speaker 2 (40:08):
There, lucky.

Speaker 5 (40:14):
Lucky, every word.

Speaker 2 (40:17):
We all.

Speaker 3 (40:24):
That's deep, just like Elvis, we all die.

Speaker 2 (40:28):
I don't think I could not be this band. I
found this album all right, go the first track supposed
to be your best representation back in the day, or
one of them. Okay, I mean so far.

Speaker 3 (40:55):
Kind of sounds like the next band on this list.

Speaker 2 (40:58):
But with what you said, I don't hold out much
hope for the vocals.

Speaker 3 (41:04):
Yeah. Yeah, it sounds like they borrowed the snare from
this band Helmet, but they sound like well, they sound
just like Helmet, only gear using that word on on

(41:30):
this pot.

Speaker 2 (41:31):
Hey, Hamilton's actually gay.

Speaker 3 (41:32):
You can't get I know. I'd dislike to say it
this time that no malice is meant behind the use
of the word.

Speaker 2 (41:48):
Okay, we get away with it. H What do you
think that you say we're roasting them?

Speaker 3 (41:53):
Yeah, that's your out now, Okay.

Speaker 5 (41:55):
Yeah, not bad.

Speaker 2 (42:01):
Yeah, I guess Helmet was next. Yeah Helmet, yet both
bands sound in the same.

Speaker 3 (42:08):
Yeah, but that's that sounded like Diet Helmet.

Speaker 2 (42:12):
Diet Helmet.

Speaker 3 (42:13):
That was like Crystal Helmet.

Speaker 2 (42:16):
That definitely sounds like a drink you can market the
gig eggs diet. Helmet Sounds had a long fucking intro.

Speaker 3 (42:39):
I saw some footage of them playing like some late
night show in the nineties, like not one of the mainstays,
but like like maybe Dennis Miller's Show or something like that.
I like Helmet. I've seen the live Good act that

(43:04):
that album and Betty it's really good their follow up, all.

Speaker 2 (43:08):
Right so far. Hey, we're uped more hits than Missus
now on this guy's list.

Speaker 3 (43:12):
Monster Bangnet, you know Monster Magnet.

Speaker 2 (43:15):
Fuck yeah, And I'm not gonna play everybody. They had
one they hit with space Lord. I'm not playing that one.

Speaker 3 (43:23):
Base Lord, Mother Mother. This is they've got much better song.

Speaker 2 (43:27):
This was my first exposure to him, and this is
my favorite Monster Magnet song. Yes.

Speaker 3 (43:35):
You know Grant Morrison who is a writer who's written
a lot of amazing I've read some of his books too,
but he's mostly done comic book writing. And he took
over The X Men in the two thousands and did
a big revamp and introduced some original characters, and one
of them is called teenage negasnic Warhead.

Speaker 2 (43:58):
Nice.

Speaker 3 (44:08):
Yeah, that song rocks.

Speaker 2 (44:09):
Fuck yeah. It does, and it was played on the
radio for a hot minute. Yeah, a hot minute. It's
definitely later at night when the younger people were.

Speaker 8 (44:20):
Listening the Nixons. Oh god, I don't remember the Nixons.
You will remember, well, I don't know, sister, and you.

Speaker 2 (44:32):
Might have been raven. But dude, no, this song. When
this song was out, this song was on the radio
ever fucking twenty minutes. Oh Jesus that yeah, exactly, you
knew it and you're like, oh god, this song. Yeah,
the fucking.

Speaker 3 (44:54):
Yeah you mean this isn't live?

Speaker 2 (44:56):
Yeah?

Speaker 5 (44:57):
Right?

Speaker 3 (44:58):
The band? Yeah, yeah, I gotta hate this song. Quicksand
is the next one on the list. Another one I
can Yeah, you know Quicksand.

Speaker 2 (45:16):
I know Quicksand by finger Leven that's on rules.

Speaker 3 (45:18):
Oh no, Quicksand, remember the band.

Speaker 2 (45:20):
I remember seeing this album a lot, and I don't
think I have.

Speaker 3 (45:23):
Oh the album is great. But actually both Slip and
Mannic Compression are really really good albums worn by Gorilla
Biscuits frontman Walter Shrifles.

Speaker 2 (45:38):
Yeah, I don't hate it. Steady Outdoor.

Speaker 5 (45:55):
Differ.

Speaker 2 (46:00):
You know what they sound like? They remind me of
I'm giving a candlebox vibe, like God Why do you
say such a thing Because they're straddling the line between
hair and grunge, is what it sounds like.

Speaker 3 (46:13):
Yeah, maybe they do a great cover of how Soon
Is Now by the Smiths, but I don't know, like
they they go heavier, they they lean way more metal.

Speaker 2 (46:33):
You know why they didn't hit because society already went,
we have a sound guard.

Speaker 3 (46:38):
Yeah, that's basically it. Yeah, it sounds like and their
stuff was a little it. It sounds like early sound guard,
like like Helmet. They were kind of on a movement
that wasn't It wasn't really grunge, but it was what
would eventually become math rock, you know, riff based rock,

(47:04):
really choppy, and so you know what Soundgarden had in
spades was hooks, and they didn't really have that. They
had cool, choppy, you know, guitar riffs that were really fun,
but they didn't have the hooks that that Soundgarden had,
that Kim Thale had.

Speaker 2 (47:24):
And I've read about why the change in songwriting between
super Unknown and uh uh Bad motor Finger. Oh and
even before a Bad Motive Finger the dude song You're
Going and even the change between Bad Motifinger Louder than love.
So the producer said, told Cornell, start writing songs you'd

(47:47):
want to hear. They said their thing in their first
few albums they were trying to write songs for the
people that were coming to see their shows. Yes, the
producer went, write songs you want to hear. And after
that boomoff sudden, you get shipped like black Holes. Yes
you should like black Hole Sun, you know.

Speaker 3 (48:02):
Right, because their their early stuff is fun, but it's
not good. Like if that's all they ever did, then
they'd just be another Mother love Bone. You're like, okay,
I can see the influence, but like they weren't there.
They were still rooted in that glam scene. Yeah, you know,
they were just they wanted to be well I think

(48:23):
maybe they didn't know what they wanted to be, but
they acted like they wanted to be part of the
la scene. You know, they wanted to be contemporaries of
the children.

Speaker 2 (48:31):
Music still said Seattle.

Speaker 3 (48:33):
Right this one, oh yeah, splendor, I don't remember them
uh anthemic sing along single. Yeah, whatever wasn't that.

Speaker 2 (48:44):
Most Yeah we can give ahead?

Speaker 3 (48:54):
What do you I don't remember this at all.

Speaker 2 (49:05):
I never heard this song till right now.

Speaker 3 (49:07):
Yeah, I think This is the first time I'm ever
hearing it. I was, you know, the much better Yeah,
whatever song? Isn't that the song by Move?

Speaker 4 (49:16):
Yeah?

Speaker 3 (49:16):
Whatever makes you happy? You don't know that song?

Speaker 2 (49:20):
M O E V.

Speaker 3 (49:22):
That was a big an i X song.

Speaker 2 (49:25):
Yeah, sounds like a big game manager.

Speaker 3 (49:28):
Yeah, it's total industrial. This song is awesome.

Speaker 2 (49:33):
I don't know if I had to be black Eye
Shadow in the house.

Speaker 3 (49:38):
Now you go down to city club and stomp your
Doc Martins to this one.

Speaker 2 (49:43):
Try to pick up a fetch you.

Speaker 5 (49:47):
Like a.

Speaker 2 (49:54):
God. I'm having like flashbacks.

Speaker 3 (49:56):
I think I think they're a Canadian. They were a
lot of good. That's probably why they only got playing
eighty i X Stabbing Westward.

Speaker 2 (50:05):
They were.

Speaker 3 (50:05):
They were Canadian, a.

Speaker 2 (50:06):
Couple of big hits on rock radio. I know you.

Speaker 3 (50:10):
Violent mood swings and nothing. I have never cared for
Stabbing Westward.

Speaker 2 (50:16):
Really, they don't bring up this one, dude. This song
was fucking everywhere. What's this Stabbing Westward? No?

Speaker 3 (50:24):
What's the song? Okay, I remember it too. They mentioned
it on here because I thought I wrote this.

Speaker 2 (50:31):
Riff, and then they came out on the radio. Motherfucker,
throw that one out. It's the fuck this is another

(50:51):
for every ten minutes it was on the fucking radio.

Speaker 3 (51:01):
Considering all the music that came after, Yeah, they should
have been bigger. I don't like it, but you know
you're telling me that, Like they didn't make it, but
three eleven did.

Speaker 2 (51:12):
Three eleven simply a touring Yeah, that's what three eleven was.
One of those relentless touring bands, right, that's how they
made it.

Speaker 3 (51:21):
Stroke nine. Does that sound familiar to you?

Speaker 2 (51:24):
Yep?

Speaker 3 (51:25):
For one little black backpack.

Speaker 2 (51:29):
It's a fun song. But I wouldn't say they should
have had a career based on this song. This song
wasn't a huge hit. And I don't get this intro
because it turns into a completely different song. It's a shame.

(51:51):
Yeah yeah, yeah, you're emotionally different songs. Just bouncy little ditty.
It's a want a song about it?

Speaker 3 (52:09):
Okay, it takes quite the turn. It's like the song
some Velvet Morning. It's like you got two different songs
there and you just made them into one.

Speaker 5 (52:25):
Okay.

Speaker 2 (52:30):
That's what they did with the Day in the Life.
Oh yeah, those are two different songs John and Paul
were working on. They put him together a bunch of
different songs.

Speaker 3 (52:40):
It's all suite of songs.

Speaker 2 (52:44):
No, but like the main parts that I read the
news today, it was a different song, and the Woke Up,
Fell out of bed that was a different song, and
they put them together to one great, awesome.

Speaker 3 (52:55):
Song, The Toadies.

Speaker 6 (52:58):
I still love that Tody song may but.

Speaker 2 (53:02):
If you listen to the lyrics as an adult.

Speaker 3 (53:05):
No, that's horrible. Yeah, it's absolutely horrible.

Speaker 2 (53:08):
Listen you want to fuck because if not, I'm gonna
kill you.

Speaker 6 (53:12):
Yeah, I could just leave you here in the swamp.

Speaker 2 (53:15):
You have two choices, the fuck or I'm going to
kill you. That is that is the plotline of that song.

Speaker 3 (53:20):
Yeah, I think it's meant to be written from a
villain perspective.

Speaker 2 (53:26):
I guess, but I definitely there would be a couple
of group people younger than us that would label that
song problematic if it came out nowadays.

Speaker 3 (53:35):
What about Tonic? Oh my no, it's that name, but yeah,
Open up your Eyes No No, and the crossover smash
if only you could see Yes, wait a minute, they
were on a theme there, open up your Eyes and
if only you could see Oh that's wait, this isn't
duncan Chic?

Speaker 2 (53:56):
Nope?

Speaker 3 (53:57):
What song is Duncan sheet then he's barely breathing. Oh yes,
it's not the same song.

Speaker 2 (54:03):
Nope, Are you sure? Yes?

Speaker 3 (54:09):
If I much prefer this one that well, this is
open up your Eyes.

Speaker 2 (54:27):
You know your feedback drone intro standard nineties, you're protocol.

Speaker 3 (54:33):
Oh yeah, I remember this song.

Speaker 2 (54:35):
If this song's much more listenable and wasn't on the
radio every ten minutes, Yeah, it's.

Speaker 3 (54:42):
Not bad, all right.

Speaker 2 (54:46):
I'd see a theme that they're going with here. It's
Collective Soul on this list.

Speaker 3 (54:50):
No, because I think they made it, did they because.

Speaker 2 (54:53):
I put Collective Soul in? Well, I guess Tonic had
one album. Collective Soul had like two or three, but
Collective So I was like everywhere and then poof turned
the year two thousand and that was it. I don't know.
I was talking about that with another band the other day.
I was like, what this band was fucking just they

(55:13):
were what god damn it, what band was it?

Speaker 3 (55:17):
I can tell you I was when I was in
Kalamazoo from that would have been around two thousand and four,
two thousand and five. They were still some just missed
each other. They still had a lot of fans out there.
Who Collective Soul?

Speaker 2 (55:32):
Oh yeah, I know it was from programming the radio
stations and yeah it was no because they I know
how they were programmed them. Yeah, Collective Stole was still
getting tons of airplay from their their catalog so to speak.

Speaker 3 (55:45):
Belly makes the list, eh, really strange one Feed the
Tree with that big. I love Belly and uh that
especially that first album is just phenomenal. Uh sometimes as
I skip Feed the Tree because it's just it's okay.
Geppetto that's a much better. So that was their follow

(56:07):
up single, do you know that one? Hey Gee, Pato,
where are you run to now? And Slow Dog, Slow
Dog's the damn and I uh, low red Moon, Low
Red Moon talking to decord a little bit there for

(56:37):
some movement. If you heard this song, it doesn't get

(57:08):
to the real chorus until the second time around those
you decapitated all my dolls.

Speaker 2 (57:31):
Oh my god, sing a hook. I can tell you
why you weren't bigger than you were bigger? Yeah, there
it is. Yes, I've heard this song.

Speaker 3 (57:43):
I think they're I mean, they are a great alternative,
I guess and put the quotes there band that I
think they got as big as they should have gone right.
I don't think they were. I don't there's no like
crossover that they were supposed to do Days of the New.

Speaker 2 (58:02):
No, if you don't know, that is a classic story
of someone torpedoing themselves. Getting money too quick, too famous,
too quickly.

Speaker 3 (58:12):
Yeah, getting money.

Speaker 2 (58:13):
The guy was nineteen when he got a record contract.
The songs were being played on the radio. Yeah, he
was fucking like nineteen, you can't even know yet. So
he got rich. Travis Meeks sound meth. He turned into
a dick and fired his band.

Speaker 3 (58:27):
Or maybe it is the dick all along, Yeah right.

Speaker 2 (58:30):
But yeah, fired his band. They go on to become Tantric.
They probably ended up having more success than he did. No,
not really, but there.

Speaker 3 (58:39):
Are conflicting reports, according to Loudwire, as to whether singer
Travis Meeks fired the rest of the band or whether
they left on their own accord to form what would
become Tantric.

Speaker 2 (58:50):
I mean the lyrics of touch people, it sounds like
a love song to Heroin.

Speaker 3 (58:54):
It was probably one of those you guys are fired
and they're like, yeah, no problem.

Speaker 2 (58:58):
Yeah, cool news. This makes this meeting less awkward.

Speaker 3 (59:10):
I remember this one. They're trying to pick up where
Alice and Chain's left off follow I can't get with
that voice though. He's just putting it on too much.

(59:34):
You know, he's really pushing his voice. Mike Clark might say,
this guy's pushing his voice fastball the way you know
that one.

Speaker 2 (59:47):
I love that song.

Speaker 3 (59:49):
That song was everywhere too. You're saying they weren't big enough,
but but it was the most of it isn't They
should have been bigger. It's like that song was everywhere
and they could never follow up to it.

Speaker 2 (01:00:02):
Yeah.

Speaker 3 (01:00:04):
Yeah, it's not a bad song.

Speaker 2 (01:00:05):
That's a well written little rock song. Yeah, and it's
based on a true story. Some couple in Texas did
this ship. Yeah they there was like mental illness involved
in ship and they both had it.

Speaker 3 (01:00:21):
But no, they both just I remember exactly what happens
in the song.

Speaker 2 (01:00:26):
Two people just get in the car and start fucking driving.

Speaker 3 (01:00:29):
Yeah, and that's it, okay.

Speaker 2 (01:00:31):
And they just they went on a road trip until
the fucking I think they were found dead in their
car on the side of the fucking highway or some shit.

Speaker 3 (01:00:41):
Okay. They didn't stop to eat, they didn't they didn't
leave a note or nothing.

Speaker 2 (01:00:46):
They're like family was looking for him and ship.

Speaker 3 (01:00:51):
Grantly Buffaloes on the list.

Speaker 2 (01:00:54):
I remember seeing posters and hanging up posters for it,
and I never heard them look of these dudes' music,
or if I did, it didn't impress me.

Speaker 3 (01:01:04):
Well. Grantlee Buffalo was mostly singer Grantly Phillips, but there
was another person in that band that helped drive the sound,
mister Jeff Tweety.

Speaker 2 (01:01:16):
Oh, mister Wilco himself.

Speaker 3 (01:01:18):
Yes, which they don't even mention it. How have you
not mentioned that? Like the grant the grant you this
is a list of bands that should have been big
because one of the members went on to be one
of the biggest rock bands not today, and you don't
mention that.

Speaker 2 (01:01:38):
Okay, I don't think Wilco holds the cash that it
used to.

Speaker 3 (01:01:42):
I guess not.

Speaker 2 (01:01:43):
But they still I mean, they still draw the crowds,
they still play big ass shows. They're fucking our rage.

Speaker 3 (01:01:50):
Yeah, but I don't know. I I remember buying the
Grant Lee Buffalo albums and liking it, but when I
heard the will COO album, I was like, no, this
is what I'm all about. That first, especially that first

(01:02:11):
will Co album where they are just they're just doing
the all country thing. But they're doing it really fucking well.

Speaker 2 (01:02:18):
About to have my gen X credentials called in the
question here?

Speaker 3 (01:02:22):
Yeah not.

Speaker 2 (01:02:26):
I don't see what the big deal is about Wilco.
I think, you know, I understand their influence. I just
whenever I've heard I've never heard anything by them that
has moved me.

Speaker 3 (01:02:40):
Oh yeah, no, I have definitely. I mean all of
Yankee Hotel Foxtrot is still an amazing album that really
holds up. I think maybe they might be getting up
there on asks a little bit. But whatever, Coolest Shaker
what not? You don't remember cool at Shaker?

Speaker 2 (01:02:58):
Oh that's a song?

Speaker 3 (01:02:59):
Yes, no, that's the band.

Speaker 2 (01:03:03):
This is their most played songcorn to Ballad of a
Thin Man can't be Oh, whatever's going on? I'm interested.

Speaker 4 (01:03:21):
You walk into the room with the old pencil in
your head, You see somebody naked, and you say, who
is that man?

Speaker 2 (01:03:35):
Top song? Oh there you go, Hush.

Speaker 3 (01:03:37):
Tatsuva and Govinda.

Speaker 2 (01:03:43):
The song's got eight million plays.

Speaker 3 (01:03:47):
That's a cover. It's the deep Purple song.

Speaker 2 (01:03:50):
Oh, oh there you go go, Vinda. Well, who the
fuck is this band? I haven't hated anything I've heard.

Speaker 3 (01:04:16):
This Reddit user says in response to thoughts on k
by Koola Shaker Genius love It old school psychedelia meets
noisy nineties. Always felt like it was an album that
would have been a lot more popular had it been
released in the early seventies. George Harrison, Pink Floyd Bowie,
and Deep Purple appeared to be influences for Koula Here.

(01:04:42):
I like their sound. They don't sound like overcompressed pretty
nineties guitars.

Speaker 2 (01:04:50):
People. If you like this, says you would also like Supergrass,
Primal Scream, the Charlatans, Stone Roses, the verb Richard.

Speaker 3 (01:04:58):
Okay I do.

Speaker 2 (01:04:59):
I'm gonna check these guys out.

Speaker 3 (01:05:01):
They got me. Yeah, Yeah, I don't think I've ever
given a fair shake everything.

Speaker 2 (01:05:07):
I've not hated it.

Speaker 3 (01:05:08):
Yeah, I'm very interested. Actually, this is one of those
bands where I was like aware of them, but I
don't know if I ever like really said making music.

Speaker 2 (01:05:18):
They put out something last year. It was just like
when the Beatles did Within Without You.

Speaker 3 (01:05:33):
No, I think that's just their thing.

Speaker 2 (01:05:38):
No, because this is four very white dudes in this picture.

Speaker 5 (01:05:42):
Yeah.

Speaker 2 (01:05:55):
I's song from Saint album called hate Dude.

Speaker 5 (01:05:59):
Yeah one in English.

Speaker 2 (01:06:06):
Two. Well it mocked the name, but God damn, I'll
be checking this band out.

Speaker 3 (01:06:20):
Nice rhythm section, right, hold.

Speaker 4 (01:06:35):
It.

Speaker 2 (01:06:43):
Yeah, if you're in the like mid late nineties britpop,
this is right up. You're fucking down.

Speaker 3 (01:06:47):
Yeah, the sun by where it goes. All right, we'll finish.
We're almost done with this list, and then we can
wrap up this podcast about music. I guess right, this
one is the real puzzling one. I don't know what
it's doing on this list, and it stands like out

(01:07:10):
like a sore thumb. Nelson Nelson, Nelson, like the Nelson brothers.

Speaker 2 (01:07:17):
Like this fucking Nelson.

Speaker 3 (01:07:20):
Yeah what band arrived in nineteen ninety and they were
on the tail end of like Ricky Nelson's Kids.

Speaker 9 (01:07:34):
Yeah, yeah, yeah, thanks, we're back to gay.

Speaker 3 (01:07:51):
She understands they've issued seven albums to date.

Speaker 2 (01:08:00):
Oh my god, I'm just I am getting like sixth
grade flashbacks right now. Yeah, that's probably the last time
I heard this fucking song. I got a sixth grade dance.

Speaker 3 (01:08:18):
Oh yeah, this list is longer than I thought. All right,
real quickly, the rentals are on here, wouldn't it just
like the rentals Weezer offshoot Yep, it's one of the
guys from Weezer also members of that Dog who were uh,
but that had was nuh.

Speaker 2 (01:08:37):
That's the original Weezer bass player and he left, right.
Did he be in the Rentals?

Speaker 3 (01:08:43):
No, I don't think so. It was always a side surprise.
I think he's still in the band.

Speaker 2 (01:08:47):
Oh, I thought it was an original member and he bounced.

Speaker 3 (01:08:50):
I don't think so. Matt Sharp, Oh no, yeah, he's
in the band. Yeah, that same dude. That was his
side project. So again, like that's a weird one to
put in there. So his main project became one of
the biggest acts in alternative rock Weezer, right, but your
side project should have been bigger. He got his come up,

(01:09:10):
and I think the rentals were as big as they
were meant to be, which is not very and they're fun.

Speaker 2 (01:09:17):
That's going. Hey, a perfect circle should have been bigger.

Speaker 3 (01:09:20):
Yeah.

Speaker 9 (01:09:21):
Uh.

Speaker 3 (01:09:21):
Seven Mary three and the Spin Doctors are also on here.
The Spin Doctors were big. They just couldn't sus sink
one song.

Speaker 2 (01:09:29):
Yeah, it's just like seven Mary three. They a lot
of one hit wonders on this.

Speaker 3 (01:09:34):
List, and the last one on there. UK Assault agreed. Yeah,
I don't think i'd like like I thought, See, there
was a fun song, but like nothing else that I
heard from them really grabbed me.

Speaker 2 (01:09:49):
So I do a lot of run into this song.
This song comes up a lot. You don't know the
other one?

Speaker 3 (01:10:01):
What's the other one? I'm sure I know I've heard it.
Then they kind of change up their sound for the
second album.

Speaker 2 (01:10:07):
No, not at all.

Speaker 3 (01:10:10):
Oh yeah, I remember this song. Yeah, I remember this
Volcano girls.

Speaker 5 (01:10:15):
Yeah.

Speaker 3 (01:10:16):
You know what they should have put on this list,
The Vines.

Speaker 2 (01:10:20):
Well, they weren't at that decade, but I agree.

Speaker 3 (01:10:23):
Oh yeah they were in nineties, were they?

Speaker 2 (01:10:26):
No, just I remember because I was in radio when
they came out. They played Get Free. Yeah, and then
the one that came after it that sounded like a
straight up Beatles rip.

Speaker 3 (01:10:35):
Off the I don't know if I remember that one.

Speaker 2 (01:10:38):
The Yeah, you'd remember because I remember going like wow,
just not even trying to like not pretend you're ripping
off the Beatles.

Speaker 3 (01:10:47):
Yeah.

Speaker 2 (01:10:48):
I think I thought something else was the Vines the
whole time, And it's not them, but whatever, I want
to play this because it's some rules.

Speaker 3 (01:10:59):
Oh this is get Free? Yeah, so you're gonna play
the other song?

Speaker 2 (01:11:03):
I think I think it's I think that's.

Speaker 3 (01:11:04):
What the other song, The Arctic Monkeys. No, okay, super Grass,
this is I love this song and the video is
really fun. Do you remember the video for it.

Speaker 2 (01:11:24):
No, they're just.

Speaker 3 (01:11:26):
They're standing on a hill playing their song out in
the open, and a storm starts you see, like the
clouds for me. As they're doing the the uh the
verse and they get to the chorus and lightning starts
striking and it's striking them and just sending them flying
out into the air.

Speaker 2 (01:11:45):
Oh that sounds cool. Oh this song.

Speaker 3 (01:11:47):
They're just getting zapped.

Speaker 2 (01:11:48):
From bands in that period that didn't get big this thing.

Speaker 3 (01:11:51):
Yeah, if we're doing like early early hots bands that
should have been bigger. I heard the song the other day.
I was like, oh, this is just the Rolling Stones, Yes, yeah, absolutely.

Speaker 5 (01:12:02):
Yeah.

Speaker 3 (01:12:03):
The Hives are are a fun act too.

Speaker 2 (01:12:07):
Like this was. I was like, I was like, this
is a song McKeon Keith forgot to write.

Speaker 3 (01:12:11):
And I think, you know, I think there's probably still
as popular as they ever were. They just had a
momentary boom in the US with this song.

Speaker 2 (01:12:20):
In Sweden, right.

Speaker 3 (01:12:21):
Yeah, but I think they're like, yeah, they're still playing
and they're like a total cult band even outside of
they had.

Speaker 2 (01:12:28):
Another one because I was reminded this morning was a boom. Yeah,
essentially that song played like sideways. Yeah that's at the
stupid beginning.

Speaker 3 (01:12:43):
Yeah, I had to hear it to remind myself how
it was different. Another rolling Stone song. Yeah, yeah, they
I mean if you took if you played the rolling
Stone Rolling Stone song like the Ramones played their instruments,
you'd have the hives.

Speaker 2 (01:13:03):
Like I can totally hear pick Jaggers singing this song.

Speaker 3 (01:13:06):
Yeah, they're just doing punk R and B.

Speaker 2 (01:13:08):
Yeah, liked not this would be like early Stones mm hm,
you know Jumping Jack Flash era.

Speaker 3 (01:13:22):
I prefer the makeup when it comes to that type
of rock and roll.

Speaker 2 (01:13:27):
The makeup.

Speaker 3 (01:13:28):
Are you familiar with the makeup?

Speaker 2 (01:13:31):
Is that that's what the cool kids call hairy metal?

Speaker 3 (01:13:34):
No, that's the band. Okay, last thing, we'll play a
little makeup for you, and then we can get out
of here. We can wrap up our our seasonal music podcast.

Speaker 2 (01:13:44):
I'm gonna go with its two words because I'm not.

Speaker 3 (01:13:46):
Getting the make dash up.

Speaker 2 (01:13:49):
Try that they are whoa only six hundred and ninety
four subscribers. That really here's their most popular song.

Speaker 3 (01:13:58):
Uh okay, yeah, we can do that. One that's a later,
later period one. Yeah, this one, this one's really a
slow builder. I don't think this is a good representation. Yeah,
this is all from the same album Where's Uh You

(01:14:22):
Come the Judge? Play a little bit of that.

Speaker 2 (01:14:45):
From the album the makeup destination of.

Speaker 3 (01:14:49):
Yeah, this was it's a fake live album that they did.
They went into the studio and then added a little
bit of croud noise here and there and too much
reverb garage rock. Yeah, yeah, straight up garage rock. And

(01:15:23):
how old is this? Nineties ninety seven? I want to
say this one came out? Yeah there, Uh is there

(01:15:45):
something off of this?

Speaker 2 (01:15:50):
Oh?

Speaker 3 (01:15:50):
Their cover of Hajoe is really good, but I won't
recommend it for listening now. Yeah, do off of in
mass mind play h h gospel music. That's where he's
really doing a full because he's kind of like it,

(01:16:11):
kind of squeals and howls like Prince.

Speaker 7 (01:16:25):
Yeah, it's cultural appropriation.

Speaker 3 (01:16:42):
Or you know, there's two songs about oral sex on Hey,
you might prefer step up to the microphone. Yeah, play

(01:17:05):
a little bit of step up to the microphone. That's
a fact.

Speaker 2 (01:17:07):
Microphone right after it.

Speaker 5 (01:17:09):
Yeah.

Speaker 3 (01:17:11):
Yeah, Yeah, it's basically like get on your knees.

Speaker 2 (01:17:19):
You like that face?

Speaker 3 (01:17:30):
Yeah, nice little envelope filter on. There another great live act.

(01:17:53):
They've since like kind of broken up and reformed as
Uh Weird War. And then there's another project that Ian
Savonius is doing now I can't remember what it's called.
Off fan like Weird War goes full on into like

(01:18:16):
the psychedelic part of like, yeah wants me a Grady's Ripple?
What's no? What's Grady's Ripple?

Speaker 2 (01:18:25):
That was his band from a long time.

Speaker 3 (01:18:28):
Really, you never heard Grades and I never heard Grady's Ripple.

Speaker 2 (01:18:32):
It was crazy. Is in that kind of vein? But
like not the ear? Yeah, get doing cocaine.

Speaker 3 (01:18:41):
Oh they were I think more heroin. Actually, if you've
seen pictures of the band, you'd be like, no, it's
more heroin.

Speaker 2 (01:18:47):
I'll talk about Grady's Ripple. Yeah, hearing some of the
funk it was going down.

Speaker 3 (01:18:53):
Yeah. All right, So there's a little road trip through
UH music, nineties and early at music.

Speaker 2 (01:19:02):
Yeah. Yeah, I was trying to come up with a
clever pun for come up to the microphone.

Speaker 3 (01:19:11):
He already did them all.

Speaker 2 (01:19:12):
Yeah, haf the ways before twenty on social media Christopher
Media dot net you can get all the shows and
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Speaker 3 (01:19:28):
Stay hi.

Speaker 1 (01:20:11):
Thank you for visiting Christopher Media dot yet