WEBVTT 00:00:00.000 --> 00:00:03.020 Welcome to the Deep Dive. If you ever had a catchy, 00:00:03.160 --> 00:00:05.799 slightly sarcastic song about high school regrets 00:00:05.799 --> 00:00:09.699 or maybe early 2000s nostalgia stuck in your 00:00:09.699 --> 00:00:11.820 head, there's a really good chance that song 00:00:11.820 --> 00:00:14.060 belongs to the band we're diving into today. 00:00:14.679 --> 00:00:17.489 Bowling for Soup. We're definitely talking about 00:00:17.489 --> 00:00:19.949 the masters of the humorous pop punk earworm. 00:00:20.089 --> 00:00:22.629 For three decades now, this band from Wichita 00:00:22.629 --> 00:00:25.750 Falls, Texas, has been navigating, well, everything. 00:00:25.870 --> 00:00:28.629 The major label system, independent fan funding, 00:00:28.890 --> 00:00:31.489 international devotion, all while keeping this 00:00:31.489 --> 00:00:33.509 incredible sense of humor. Yeah, they really 00:00:33.509 --> 00:00:35.189 are the definition of rock and roll resilience, 00:00:35.310 --> 00:00:37.740 aren't they? Totally. Our mission today, it goes 00:00:37.740 --> 00:00:40.899 way beyond just their massive hits like 1985 00:00:40.899 --> 00:00:43.880 or Girl, All the Bad Guys Want. We're really 00:00:43.880 --> 00:00:46.579 doing a deep dive into the architecture of their 00:00:46.579 --> 00:00:48.640 whole career. We're talking 11 studio albums, 00:00:48.859 --> 00:00:51.020 constant touring, and this kind of parallel, 00:00:51.159 --> 00:00:53.399 multifaceted empire built by frontman Jarrett 00:00:53.399 --> 00:00:55.679 Reddick. We really want to understand how a band 00:00:55.679 --> 00:00:58.859 like this survives and even thrives when the 00:00:58.859 --> 00:01:00.759 whole music industry shifts underneath their 00:01:00.759 --> 00:01:02.820 feet. And there's some fascinating threads to 00:01:02.820 --> 00:01:05.060 pull on here, things that show just how deep 00:01:05.060 --> 00:01:08.040 their culture is. reach actually goes. We'll 00:01:08.040 --> 00:01:09.900 definitely unpack that moment where Redick seemed 00:01:09.900 --> 00:01:13.219 happier about winning Worst Dressed from Joan 00:01:13.219 --> 00:01:15.379 Rivers than, you know, the actual Grammy nomination. 00:01:15.659 --> 00:01:19.099 That's amazing. And the truth behind that infamous 00:01:19.099 --> 00:01:23.439 UK farewell tour that, well, clearly wasn't a 00:01:23.439 --> 00:01:25.680 farewell at all. Right. Plus, the surprising 00:01:25.680 --> 00:01:28.000 connection they have to both Phineas and Ferb, 00:01:28.040 --> 00:01:30.359 and get this, the voice of Chuck E. Cheese. Okay, 00:01:30.459 --> 00:01:32.500 I'm hooked already. Let's unpack this journey, 00:01:32.640 --> 00:01:35.859 starting right at the beginning. Mid -90s Texas, 00:01:36.040 --> 00:01:38.760 which feels pretty far removed from the usual 00:01:38.760 --> 00:01:41.140 pop punk scenes. Yeah, the narrative for pop 00:01:41.140 --> 00:01:43.060 punk usually centers on Southern California, 00:01:43.219 --> 00:01:45.700 maybe Florida sometimes. But Bowling for Soup's 00:01:45.700 --> 00:01:48.400 origin story is like firmly rooted in Texas, 00:01:48.640 --> 00:01:51.500 Wichita Falls specifically. The band officially 00:01:51.500 --> 00:01:55.260 formed on June 4, 1994. And what's really remarkable, 00:01:55.379 --> 00:01:57.519 I think, is just how long these guys knew each 00:01:57.519 --> 00:01:59.599 other before the band even started. This wasn't 00:01:59.599 --> 00:02:02.939 some ad in the paper. This was like the combination 00:02:02.939 --> 00:02:06.099 of a local music scene. Jarrett Reddick and the 00:02:06.099 --> 00:02:08.300 original drummer, Lance Morrill, they first met 00:02:08.300 --> 00:02:12.620 way, way back in 1976. Wow. And Reddick and the 00:02:12.620 --> 00:02:14.879 founding guitarist, Chris Burney, they met in 00:02:14.879 --> 00:02:17.699 high school back in 1986. Reddick himself was 00:02:17.699 --> 00:02:19.759 already playing music way before that. It started 00:02:19.759 --> 00:02:22.479 around 85 when he was just, what? 13 so looking 00:02:22.479 --> 00:02:25.120 at those dates i mean they were practically lifelong 00:02:25.120 --> 00:02:27.439 friends before they even landed on the bfs name 00:02:27.439 --> 00:02:30.939 that kind of deep history, it probably helped 00:02:30.939 --> 00:02:33.199 them handle lineup changes later on, you'd think. 00:02:33.340 --> 00:02:35.419 Oh, absolutely. It really speaks to that tight 00:02:35.419 --> 00:02:37.939 -knit Texas scene they came out of. And interestingly, 00:02:38.259 --> 00:02:41.000 their musical influences, they kind of reflected 00:02:41.000 --> 00:02:43.699 that environment, too. Oh, so? Well, while we 00:02:43.699 --> 00:02:46.080 know them for that fast, catchy punk stuff, you 00:02:46.080 --> 00:02:48.340 know, like the Ramones or Green Day later on, 00:02:48.439 --> 00:02:51.340 they actually grew up surrounded by the big, 00:02:51.340 --> 00:02:53.939 commercially successful heavy metal of the 80s. 00:02:53.939 --> 00:02:57.039 Oh, okay. The Quiet Riot, R -A -T -T, Muttley 00:02:57.039 --> 00:02:59.300 Crew. That kind of stuff. Yeah. So they had this 00:02:59.300 --> 00:03:01.979 ability to absorb the catchy hooks and like the 00:03:01.979 --> 00:03:04.539 guitar flackiness of 80s metal and then combine 00:03:04.539 --> 00:03:07.280 it with the speed and the humor of punk. It gave 00:03:07.280 --> 00:03:09.539 them this really unique Texas flavor, I think. 00:03:09.620 --> 00:03:12.830 I hadn't really put together how important. that 00:03:12.830 --> 00:03:16.250 sort of 80s metal hook sensibility was to their 00:03:16.250 --> 00:03:18.870 DNA. And before they became the BFS, we know, 00:03:19.009 --> 00:03:20.729 they were cycling through a bunch of different 00:03:20.729 --> 00:03:23.430 bands and names in the local clubs, right? Oh, 00:03:23.430 --> 00:03:25.229 yeah, absolutely. Yeah. We should definitely 00:03:25.229 --> 00:03:28.810 mention that list of apprenticeship bands. The 00:03:28.810 --> 00:03:31.090 Wichita Falls scene was totally their proving 00:03:31.090 --> 00:03:34.469 ground. There was this coffee house, The Refuge, 00:03:34.550 --> 00:03:36.530 owned by Chris Burney's family that was kind 00:03:36.530 --> 00:03:39.409 of central. Okay. And before the BFS name stuck, 00:03:39.949 --> 00:03:42.430 The core members were in groups with just fantastic 00:03:42.430 --> 00:03:46.389 names. Ready? The Persecuted, the Folka Dots, 00:03:46.569 --> 00:03:49.889 Slaw, Terminal Seasons, Cool Four. Cool Four. 00:03:50.110 --> 00:03:52.110 Yeah. And Rubberneck. It was actually Rubberneck 00:03:52.110 --> 00:03:54.129 that kind of morphed into Bowling for Soup. This 00:03:54.129 --> 00:03:56.909 wasn't an overnight success. It was years of 00:03:56.909 --> 00:03:59.590 playing, writing, iterating. And the name itself, 00:03:59.770 --> 00:04:01.789 Bowling for Soup, it always felt a bit random, 00:04:01.990 --> 00:04:04.189 kind of goofy. Where did that actually come from? 00:04:04.349 --> 00:04:07.210 Well, the origin is surprisingly... Maybe a bit 00:04:07.210 --> 00:04:09.930 more cultured or at least derives from legendary 00:04:09.930 --> 00:04:11.949 comedy. Oh, really? Yeah. The name comes from 00:04:11.949 --> 00:04:14.870 the phrase bowling for shit. It was part of a 00:04:14.870 --> 00:04:17.189 comedy routine by Steve Martin. No way. Steve 00:04:17.189 --> 00:04:20.149 Martin. Yeah. So they took that kind of humorous, 00:04:20.149 --> 00:04:22.589 slightly absurd concept and just cleaned it up 00:04:22.589 --> 00:04:24.529 a bit. Made it distinctively their own. That's 00:04:24.529 --> 00:04:27.290 brilliant. So, okay. 1994, they're established, 00:04:27.389 --> 00:04:29.810 they've got the name, but Wichita Falls probably 00:04:29.810 --> 00:04:32.610 felt a bit small after a while. Yeah, exactly. 00:04:32.769 --> 00:04:34.629 They made the strategic move to Denton, Texas 00:04:34.629 --> 00:04:38.930 in 1996. And this period, it was just defined 00:04:38.930 --> 00:04:42.029 by pure DIY hustle. They put out a split album, 00:04:42.209 --> 00:04:45.129 Cellmates, that same year, and their first full 00:04:45.129 --> 00:04:48.569 -length rock on Honorable Ones in 98. They were 00:04:48.569 --> 00:04:51.089 just grinding, selling CDs out of their van at 00:04:51.089 --> 00:04:53.430 shows. But the real turning point, the moment 00:04:53.430 --> 00:04:55.329 that really changed things for them, it was... 00:04:55.149 --> 00:04:57.129 It wasn't a big tour or some corporate deal, 00:04:57.269 --> 00:05:00.870 right? It was the success of their EP from 98, 00:05:01.089 --> 00:05:04.129 Tell Me When to Woe. That EP is the absolute 00:05:04.129 --> 00:05:07.029 definition of grassroots success. Somehow they 00:05:07.029 --> 00:05:09.170 managed to sell over 10 ,000 copies completely 00:05:09.170 --> 00:05:11.470 independently. Wow. Think about that for a second. 00:05:11.670 --> 00:05:14.970 1998, it's still mostly CDs, right? Napster hadn't 00:05:14.970 --> 00:05:17.009 totally blown things up yet. Distribution was 00:05:17.009 --> 00:05:19.399 physical sales and just pure legwork. Selling 00:05:19.399 --> 00:05:22.519 10 ,000 units like that without major label backing, 00:05:22.720 --> 00:05:25.220 it proved there was a massive demand already 00:05:25.220 --> 00:05:28.100 there. And that success, that's what directly 00:05:28.100 --> 00:05:30.689 led Jive Records to sign them. They basically 00:05:30.689 --> 00:05:33.009 built the audience themselves first. That's incredible. 00:05:33.129 --> 00:05:35.089 They essentially walked into Jive saying, look, 00:05:35.230 --> 00:05:37.870 we already have proof of concept documented fans. 00:05:38.050 --> 00:05:40.069 Exactly. And even while they were starting down 00:05:40.069 --> 00:05:42.389 that more professional path, Reddick and the 00:05:42.389 --> 00:05:44.870 original bassist, Eric Chandler, they kept that 00:05:44.870 --> 00:05:46.949 grassroots connection going with acoustic shows, 00:05:47.069 --> 00:05:49.689 didn't they? They did, yeah. From about 1999 00:05:49.689 --> 00:05:53.790 right up until 2018, they did these acoustic 00:05:53.790 --> 00:05:57.459 gigs billed simply as Jared and Eric. Mostly 00:05:57.459 --> 00:06:00.399 BFS songs, just stripped down. It's a perfect 00:06:00.399 --> 00:06:02.620 example of how Reddick is constantly juggling 00:06:02.620 --> 00:06:04.779 these multiple streams of performance, you know, 00:06:04.779 --> 00:06:06.879 always staying connected to the fans who got 00:06:06.879 --> 00:06:08.899 them there in the first place. So the shift to 00:06:08.899 --> 00:06:10.819 Jive Records, that really kicked off their commercial 00:06:10.819 --> 00:06:13.800 ascent, their major label debut, Let's Do It 00:06:13.800 --> 00:06:17.100 For Johnny. in 2000 was mostly a pretty smart 00:06:17.100 --> 00:06:20.220 move. They re -recorded their best earlier material 00:06:20.220 --> 00:06:22.519 for that bigger audience. Right. And they threw 00:06:22.519 --> 00:06:26.199 in that fun cover of Bryan Adams' Summer of 69. 00:06:26.540 --> 00:06:28.439 But the world didn't really take notice in a 00:06:28.439 --> 00:06:31.279 huge way until 2002, right? With Drunk Enough 00:06:31.279 --> 00:06:33.959 to Dance. That had the track that just like perfectly 00:06:33.959 --> 00:06:35.860 captured their whole vibe. Girl, all the bad 00:06:35.860 --> 00:06:38.600 guys want. Oh, totally. And that song, it didn't 00:06:38.600 --> 00:06:41.040 just cement their sound. It launched them into, 00:06:41.199 --> 00:06:43.399 well, the highest levels of the music world, 00:06:43.459 --> 00:06:46.160 really. In 2003, it gets a Grammy nomination 00:06:46.160 --> 00:06:50.100 for best pop performance by a duo or group with 00:06:50.100 --> 00:06:53.139 vocal. Which is huge for any artist. Massive 00:06:53.139 --> 00:06:56.120 career highlight. Enormous. But here's the quintessential 00:06:56.120 --> 00:06:57.660 Bowling for Soup moment. This is where it gets 00:06:57.660 --> 00:06:59.959 really interesting. Okay. Jarrett Reddick, when 00:06:59.959 --> 00:07:02.660 he talks about that experience, he often highlights 00:07:02.660 --> 00:07:05.699 not the nomination itself. But the fact that 00:07:05.699 --> 00:07:08.060 he won the title of worst dressed from Joan Rivers 00:07:08.060 --> 00:07:12.439 on the red carpet. No, seriously. Seriously. 00:07:12.759 --> 00:07:15.600 That anecdote just perfectly encapsulates their 00:07:15.600 --> 00:07:18.160 whole brand. They're the kind of anti -establishment 00:07:18.160 --> 00:07:21.279 underdogs who prioritize a great story and a 00:07:21.279 --> 00:07:24.180 laugh over, you know, industry prestige. It's 00:07:24.180 --> 00:07:26.870 what makes them so damn likable. Only BFS could 00:07:26.870 --> 00:07:28.810 spin a fashion critique into the main event. 00:07:29.209 --> 00:07:31.470 That's amazing. And the album's success was so 00:07:31.470 --> 00:07:34.129 big that when they re -released it in 2003, they 00:07:34.129 --> 00:07:36.089 added more hits, right? Yeah, they added Punk 00:07:36.089 --> 00:07:39.730 Rock 101 and that now -famous cover of A Slock 00:07:39.730 --> 00:07:43.009 of Seagulls, I Ran, so far away. And that cover 00:07:43.009 --> 00:07:45.110 became kind of key for them, didn't it, in terms 00:07:45.110 --> 00:07:46.949 of getting their music out there in different 00:07:46.949 --> 00:07:49.610 ways? It absolutely did. Yeah. It served as the 00:07:49.610 --> 00:07:52.189 opening theme for the Saint Seiya, nice of the 00:07:52.189 --> 00:07:55.000 Zodiac anime in North America. which exposed 00:07:55.000 --> 00:07:57.839 them to this completely different fan base. Animation 00:07:57.839 --> 00:08:01.379 fans, comic fans. Smart move. Their commercial 00:08:01.379 --> 00:08:04.139 peak, though, really hit with A Hangover You 00:08:04.139 --> 00:08:06.879 Don't Deserve in 2004. That was the band's only 00:08:06.879 --> 00:08:08.939 album to actually break into the top 40, which 00:08:08.939 --> 00:08:10.839 is pretty remarkable for a pop punk band back 00:08:10.839 --> 00:08:13.399 then. And that was almost entirely powered by 00:08:13.399 --> 00:08:17.660 one song, 1985. That track reached number 23 00:08:17.660 --> 00:08:20.279 on the Billboard Hot 100, became their biggest 00:08:20.279 --> 00:08:23.420 U .S. hit by far. But the story behind 1985, 00:08:23.680 --> 00:08:25.579 it's actually a fascinating look at how songs 00:08:25.579 --> 00:08:27.360 travel in the music world. Right, because it 00:08:27.360 --> 00:08:30.180 wasn't purely a BFS original, was it? No, it 00:08:30.180 --> 00:08:32.419 wasn't. The song was originally written by Mitch 00:08:32.419 --> 00:08:37.009 Allen from the band SR -71. Alan, who was kind 00:08:37.009 --> 00:08:39.409 of their peer in that scene, he essentially gave 00:08:39.409 --> 00:08:42.370 the song to BFS because he felt it just fit their 00:08:42.370 --> 00:08:45.230 lyrical style and their whole persona so perfectly. 00:08:45.429 --> 00:08:48.230 That raises a good point. In pop punk, authenticity 00:08:48.230 --> 00:08:51.409 can be a big deal. Yeah. Did they get any flack 00:08:51.409 --> 00:08:53.429 for their biggest hit being written by someone 00:08:53.429 --> 00:08:55.889 outside the band? You know, not really, because 00:08:55.889 --> 00:08:58.289 they just embraced it completely. It wasn't like 00:08:58.289 --> 00:09:00.429 a secret cover version. It felt like a collaboration. 00:09:01.210 --> 00:09:03.289 Alan sang backing vocals, he was in the music 00:09:03.289 --> 00:09:05.250 video. It actually showed a kind of maturity, 00:09:05.409 --> 00:09:07.929 I think. They recognized a perfect song for them, 00:09:07.929 --> 00:09:10.289 no matter where it came from, and they just nailed 00:09:10.289 --> 00:09:12.870 it. That willingness to collaborate, instead 00:09:12.870 --> 00:09:16.110 of maybe clinging to sole authorship, that feels 00:09:16.110 --> 00:09:19.309 like a key piece of their longevity puzzle. And 00:09:19.309 --> 00:09:21.190 that album also gave us Almost, and that great 00:09:21.190 --> 00:09:24.830 Texas anthem, Ohio, Come Back to Texas. Definitely. 00:09:25.070 --> 00:09:27.710 And this whole era, it just saw them... completely 00:09:27.710 --> 00:09:29.509 dominate the soundtrack space. Like you'd turn 00:09:29.509 --> 00:09:32.309 on a movie or a show and there they were. They 00:09:32.309 --> 00:09:34.190 popped up in the Britney Spears movie Crossroads 00:09:34.190 --> 00:09:37.070 in 2002 playing at a graduation party. I remember 00:09:37.070 --> 00:09:39.850 that. They covered Modern English's I Melt With 00:09:39.850 --> 00:09:42.409 You, the Disney movie Sky High. Yeah. They were 00:09:42.409 --> 00:09:44.309 just everywhere. And their connection with kids 00:09:44.309 --> 00:09:46.490 media started pretty early too. They did the 00:09:46.490 --> 00:09:48.870 theme song for the Nickelodeon movie Jimmy Neutron, 00:09:49.090 --> 00:09:52.690 Boy Genius back in 2001. But their most enduring 00:09:52.690 --> 00:09:55.509 and maybe most successful multimedia partnership. 00:09:56.220 --> 00:09:58.399 That came from their long run with Disney on 00:09:58.399 --> 00:10:01.059 Phineas and Ferb. Yes, the theme song. They co 00:10:01.059 --> 00:10:04.080 -wrote and sang that absolutely ubiquitous theme 00:10:04.080 --> 00:10:06.860 song. Today is going to be a great day. And just 00:10:06.860 --> 00:10:09.399 like their Grammy nod, it got high level industry 00:10:09.399 --> 00:10:12.929 recognition to an Emmy nomination in 2008. So 00:10:12.929 --> 00:10:16.169 by the late 2000s, they weren't just like a successful 00:10:16.169 --> 00:10:18.330 touring band. They were kind of woven into the 00:10:18.330 --> 00:10:20.809 cultural fabric, especially for younger audiences, 00:10:21.090 --> 00:10:23.250 which really set the stage for the next phase, 00:10:23.350 --> 00:10:25.490 right? Independence and Jared Reddick becoming 00:10:25.490 --> 00:10:29.090 this force. Exactly. They even took control of 00:10:29.090 --> 00:10:30.990 their touring world by starting the Get Happy 00:10:30.990 --> 00:10:33.789 Tour in 2006, partnering with bands like Army 00:10:33.789 --> 00:10:36.509 of Freshmen, really solidifying their own place 00:10:36.509 --> 00:10:39.610 in that whole touring ecosystem. Yeah, if the 00:10:39.610 --> 00:10:41.970 first decade was really about establishing Bowling 00:10:41.970 --> 00:10:44.190 for Soup, the second decade feels like it was 00:10:44.190 --> 00:10:46.450 about establishing Jarrett Reddick as this like 00:10:46.450 --> 00:10:49.460 self -sustaining creative engine. And with the 00:10:49.460 --> 00:10:51.500 founding guitarist Chris Burney set to retire 00:10:51.500 --> 00:10:54.639 in 2025, Reddick becomes the last original member 00:10:54.639 --> 00:10:57.100 standing, which just underscores the fact that 00:10:57.100 --> 00:10:59.600 he is the engine, the constant songwriter, the 00:10:59.600 --> 00:11:01.720 business guy, the voice of the whole thing. His 00:11:01.720 --> 00:11:03.899 work with Phineas and Ferb is such a perfect 00:11:03.899 --> 00:11:06.519 example of that diversification. It went way 00:11:06.519 --> 00:11:08.679 beyond just singing the theme song. He actually 00:11:08.679 --> 00:11:11.039 voiced a character, didn't he? He did. He voiced 00:11:11.039 --> 00:11:14.120 Danny, the lead singer of that fictional 80s 00:11:14.120 --> 00:11:16.340 rock band Love Handle. Love Handle, I remember 00:11:16.340 --> 00:11:18.799 them. And it wasn't just a quick voice cameo 00:11:18.799 --> 00:11:21.039 either. Reddick wrote several songs for the show, 00:11:21.159 --> 00:11:23.820 like Bouncin' Around the World. The showrunners 00:11:23.820 --> 00:11:26.740 clearly put immense creative trust in him. The 00:11:26.740 --> 00:11:28.759 whole band even showed up in cartoon form in 00:11:28.759 --> 00:11:31.659 one episode. Phidias and Ferb's Quantum Boogaloo 00:11:31.659 --> 00:11:34.340 just cemented their animated legacy. Okay, so 00:11:34.340 --> 00:11:36.840 voicing a cartoon rock star for Disney is one 00:11:36.840 --> 00:11:40.440 thing, but his next big voice acting gig? This 00:11:40.440 --> 00:11:44.789 one is... maybe the most strategically brilliant 00:11:44.789 --> 00:11:47.830 and kind of hilarious move of his career. I totally 00:11:47.830 --> 00:11:50.710 agree. Since 2012, Jarrett Reddick has been the 00:11:50.710 --> 00:11:53.529 official voice of the Chuck E. Cheese mascot. 00:11:53.789 --> 00:11:56.159 Get it out! The mouse. The mouse himself took 00:11:56.159 --> 00:11:58.159 over as part of a big character revamp. And the 00:11:58.159 --> 00:12:00.740 irony is just delicious, right? The voice of 00:12:00.740 --> 00:12:03.000 a guy singing these self -deprecating songs about 00:12:03.000 --> 00:12:05.259 teenage angst and dating is now the official 00:12:05.259 --> 00:12:07.840 voice telling kids to eat pizza and have birthdays. 00:12:08.120 --> 00:12:10.480 But strategically, it's genius. That kind of 00:12:10.480 --> 00:12:13.080 high profile, steady voice work. It gives you 00:12:13.080 --> 00:12:16.179 exposure, probably decent residual income. It 00:12:16.179 --> 00:12:18.019 offers this financial stability that's totally 00:12:18.019 --> 00:12:19.720 separate from the ups and downs of the music 00:12:19.720 --> 00:12:21.720 industry. Exactly. It's a brilliant parallel 00:12:21.720 --> 00:12:24.340 career. It secures funding. that lets him keep 00:12:24.340 --> 00:12:27.399 the band going for purely artistic reasons, you 00:12:27.399 --> 00:12:29.899 know, not just because they have to tour. His 00:12:29.899 --> 00:12:31.960 voice pops up in video games too, right? Yeah, 00:12:32.039 --> 00:12:34.919 his versatility keeps going. He sang lead vocals 00:12:34.919 --> 00:12:37.299 and co -wrote lyrics for the theme song of the 00:12:37.299 --> 00:12:40.659 game Sonic Unleashed. The song was called Endless 00:12:40.659 --> 00:12:43.519 Possibility. His voice is just fundamentally 00:12:43.519 --> 00:12:46.820 tied to pop culture on all these different, sometimes 00:12:46.820 --> 00:12:49.620 really contradictory levels. But he wasn't just 00:12:49.620 --> 00:12:53.549 content. being like a voice for hire, he clearly 00:12:53.549 --> 00:12:55.929 needed control over the whole creative process, 00:12:56.049 --> 00:12:58.830 the distribution, which led him to start building 00:12:58.830 --> 00:13:01.529 his own infrastructure. This is where you really 00:13:01.529 --> 00:13:04.509 see his entrepreneurial brain working. He set 00:13:04.509 --> 00:13:06.509 up Jaronis, which was a songwriting and production 00:13:06.509 --> 00:13:09.549 team with Linus of Hollywood. That started around 00:13:09.549 --> 00:13:11.190 the time their relationship with Jive Records 00:13:11.190 --> 00:13:14.309 was getting kind of rocky. Ah, okay. This duo, 00:13:14.429 --> 00:13:16.690 Jaronis, they worked on the band's Sorry for 00:13:16.690 --> 00:13:19.509 Partying album. And they even successfully crowdfunded 00:13:19.509 --> 00:13:21.889 their own album together called Rhymes with Vaginas. 00:13:23.279 --> 00:13:25.519 Jaronis then basically became the foundation 00:13:25.519 --> 00:13:28.419 for their own independent label ventures. They 00:13:28.419 --> 00:13:31.259 co -founded Crappy Records, partnering with Oglio 00:13:31.259 --> 00:13:33.659 Records. I mean, this is textbook vertical integration, 00:13:33.960 --> 00:13:35.879 right? If the labels aren't doing it right, just 00:13:35.879 --> 00:13:37.779 build your own thing. Totally. If you can't join 00:13:37.779 --> 00:13:39.480 them, beat them by building your own system. 00:13:39.700 --> 00:13:42.759 Exactly. And Crappy Records became this platform 00:13:42.759 --> 00:13:45.200 not just for BFS, but for other artists they 00:13:45.200 --> 00:13:48.320 like, like MC Lars and The Leftovers. Reddit 00:13:48.320 --> 00:13:51.620 got complete creative control, totally bypassing 00:13:51.620 --> 00:13:53.370 the gatekeepers who'd show up. their last major 00:13:53.370 --> 00:13:55.730 label record. And then he took it even further 00:13:55.730 --> 00:13:59.110 by co -founding Built by Ninjas with Heath Balderston. 00:13:59.190 --> 00:14:01.529 That's a music video production group. So let 00:14:01.529 --> 00:14:03.610 me get this straight. He went from singing the 00:14:03.610 --> 00:14:05.710 song to writing the song to producing the song 00:14:05.710 --> 00:14:08.870 to directing the music video for the song to 00:14:08.870 --> 00:14:11.809 owning the label that releases the song. Pretty 00:14:11.809 --> 00:14:14.210 much. It's an end -to -end operation. And it 00:14:14.210 --> 00:14:16.190 shows this really deep strategic understanding 00:14:16.190 --> 00:14:18.710 of the modern music business that honestly not 00:14:18.710 --> 00:14:22.250 many musicians have. And somehow he also found 00:14:22.250 --> 00:14:24.570 time to explore completely different musical 00:14:24.570 --> 00:14:27.809 styles. Right. The side bands. There was a People 00:14:27.809 --> 00:14:30.370 on Vacation in 2010 with Ryan Hamilton, which 00:14:30.370 --> 00:14:32.309 was more straightforward rock. They put out some 00:14:32.309 --> 00:14:36.049 EPs like the Carry On EP. But the most drastic 00:14:36.049 --> 00:14:39.549 shift came just recently in 2022 with his first 00:14:39.549 --> 00:14:41.929 solo album, Just Woke Up. There's a country album. 00:14:42.139 --> 00:14:44.120 Full on country. Yep. Going right back to those 00:14:44.120 --> 00:14:46.820 deep Texas roots, but leaning into a totally 00:14:46.820 --> 00:14:49.480 different lyrical style, different sound. It 00:14:49.480 --> 00:14:51.440 just shows that under the pop punk front man 00:14:51.440 --> 00:14:54.299 thing, Reddick is fundamentally a songwriter 00:14:54.299 --> 00:14:56.980 who loves melody and stories, whatever the genre. 00:14:57.360 --> 00:14:59.659 Although, interestingly, the sources do say that 00:14:59.659 --> 00:15:02.340 even this country project is set to be put on 00:15:02.340 --> 00:15:05.500 hold at the end of 2025. Oh, really? Yeah, suggesting 00:15:05.500 --> 00:15:08.039 his main focus is really shifting back to the 00:15:08.039 --> 00:15:10.639 core BFS operation, especially now during this 00:15:10.639 --> 00:15:12.580 big transition period for the band. And that 00:15:12.580 --> 00:15:14.440 move towards Reddick building his own independent 00:15:14.440 --> 00:15:16.600 world, that was pretty much kicked off directly 00:15:16.600 --> 00:15:18.440 by that big disappointment with Jive Records 00:15:18.440 --> 00:15:21.519 in 2009. Tell us about the whole sorry for party 00:15:21.519 --> 00:15:24.019 end situation. Oh, it's a really rough transition 00:15:24.019 --> 00:15:26.600 for them. The album comes out on Jive, but then 00:15:26.600 --> 00:15:29.419 after only four weeks on sale, the label essentially 00:15:29.419 --> 00:15:32.740 just shelved it. pulled the plug they didn't 00:15:32.740 --> 00:15:35.440 even push a single to radio wow four weeks four 00:15:35.440 --> 00:15:38.740 weeks it was a super clear sign that the band's 00:15:38.740 --> 00:15:40.679 vision and what the label wanted commercially 00:15:40.679 --> 00:15:44.259 had just completely diverged like irreconcilably 00:15:44.259 --> 00:15:46.799 and that failure basically forced their hand 00:15:46.799 --> 00:15:49.259 right made them pivot completely towards independence 00:15:49.259 --> 00:15:51.679 and they became pretty early adopters of fan 00:15:51.679 --> 00:15:54.779 funding they totally did they jumped onto platforms 00:15:54.779 --> 00:15:57.259 like pledge music pretty early on to fund new 00:15:57.259 --> 00:16:00.460 records And that model, it wasn't just about 00:16:00.460 --> 00:16:02.659 getting the cash. It fundamentally changed the 00:16:02.659 --> 00:16:04.259 relationship with their fans and made people 00:16:04.259 --> 00:16:06.759 feel included in actually making the record. 00:16:06.860 --> 00:16:09.600 And it let the band completely bypass any major 00:16:09.600 --> 00:16:12.639 label restrictions or interference. That fan 00:16:12.639 --> 00:16:15.279 -first approach led directly to successful projects 00:16:15.279 --> 00:16:19.210 like Lunch. Drunk, Love in 2018, and Drunk Dynasty 00:16:19.210 --> 00:16:21.809 in 2016. And we also saw them kind of taking 00:16:21.809 --> 00:16:23.889 control of their own history around that time 00:16:23.889 --> 00:16:26.090 too with the songs people actually liked projects. 00:16:26.509 --> 00:16:30.149 Yes. That was such a brilliant move of reclaiming 00:16:30.149 --> 00:16:32.970 their catalog. They put out Volume 1 in 2014 00:16:32.970 --> 00:16:36.929 and then Volume 2 just recently in 2023. These 00:16:36.929 --> 00:16:38.850 albums are basically re -recorded versions of 00:16:38.850 --> 00:16:41.200 their biggest hits. Why re -record them, though? 00:16:41.480 --> 00:16:44.059 Specifically to replace the official label -released 00:16:44.059 --> 00:16:47.519 compilation from 2011, Playlist. The band felt 00:16:47.519 --> 00:16:49.399 like they had zero input on that one, that it 00:16:49.399 --> 00:16:51.539 wasn't representative. So this was the band saying, 00:16:51.620 --> 00:16:53.820 look, if you want the definitive BFS greatest 00:16:53.820 --> 00:16:56.519 hits curated by us, sounding how we want them 00:16:56.519 --> 00:16:59.700 to sound now, you buy our versions. Taking back 00:16:59.700 --> 00:17:02.299 control. Makes sense. Their fan loyalty, especially 00:17:02.299 --> 00:17:04.720 outside the U .S., is just legendary. We really 00:17:04.720 --> 00:17:06.480 have to talk about the U .K. phenomenon. Their 00:17:06.480 --> 00:17:08.480 following over there is just immense, right? 00:17:08.539 --> 00:17:11.200 Like a level of devotion few American bands ever 00:17:11.200 --> 00:17:13.059 really achieved. Oh, their commitment to the 00:17:13.059 --> 00:17:14.980 U .K. market is absolutely unmatched. They've 00:17:14.980 --> 00:17:18.200 done so many U .K.-specific acoustic tours, multiple 00:17:18.200 --> 00:17:20.680 runs of the Get Happy Tour over there. And all 00:17:20.680 --> 00:17:23.279 that dedication led to one of the most confusing 00:17:23.279 --> 00:17:25.460 but also kind of endearing contradictions in 00:17:25.460 --> 00:17:28.420 their whole history, the 2013 bid U .K. farewell. 00:17:28.589 --> 00:17:31.670 tour. Right. The farewell tour that wasn't a 00:17:31.670 --> 00:17:35.430 farewell at all. Exactly. Reddick made the announcement, 00:17:35.589 --> 00:17:38.509 citing personal reasons, financial reasons, basically 00:17:38.509 --> 00:17:40.390 suggesting they just couldn't keep up the grind 00:17:40.390 --> 00:17:44.210 of those long annual UK tours anymore. But crucially, 00:17:44.289 --> 00:17:47.109 he was really quick to confirm the band was absolutely 00:17:47.109 --> 00:17:50.470 not splitting up. The farewell was specifically 00:17:50.470 --> 00:17:53.390 aimed at the logistics of that annual, months 00:17:53.390 --> 00:17:56.970 -long tour format. Not a farewell to the UK fans 00:17:56.970 --> 00:17:59.230 themselves. But the fans and maybe the band, 00:17:59.289 --> 00:18:01.329 too, just couldn't let that connection die, could 00:18:01.329 --> 00:18:03.569 they? Because they kept coming back. They absolutely 00:18:03.569 --> 00:18:06.009 did. They proved that resilience by continuing 00:18:06.009 --> 00:18:09.450 to tour the UK pretty regularly, 2016, 2018, 00:18:09.690 --> 00:18:13.069 2020. And all that loyalty, it culminates in 00:18:13.069 --> 00:18:15.569 this massive headline show they booked for Wembley 00:18:15.569 --> 00:18:18.930 Arena in December 2025. I mean, playing Wembley, 00:18:18.930 --> 00:18:21.390 that's a testament to an enduring, powerful relationship, 00:18:21.569 --> 00:18:23.720 not our retirement. Definitely not. And that 00:18:23.720 --> 00:18:25.799 Wembley news came alongside some pretty major 00:18:25.799 --> 00:18:27.900 personnel news, too. There have been significant 00:18:27.900 --> 00:18:30.359 lineup changes recently. Yeah, big shifts. Back 00:18:30.359 --> 00:18:32.720 in 2019, the original bassist, Derek Chandler, 00:18:32.799 --> 00:18:35.539 he departed for personal reasons. He was replaced 00:18:35.539 --> 00:18:38.079 by Rob Filicetti. And Filicetti wasn't exactly 00:18:38.079 --> 00:18:40.000 a stranger. He was already kind of integrated 00:18:40.000 --> 00:18:42.640 into their world. He'd played drums or percussion 00:18:42.640 --> 00:18:45.420 for them as a touring member before. And they 00:18:45.420 --> 00:18:47.480 knew him well from his time in other bands like 00:18:47.480 --> 00:18:50.759 Patent Pending and The Ataris. A familiar face. 00:18:50.900 --> 00:18:53.819 And then the most recent shift, the really seismic 00:18:53.819 --> 00:18:56.960 one, was the official retirement of founding 00:18:56.960 --> 00:18:59.619 guitarist Chris Burney, announced in January 00:18:59.619 --> 00:19:02.839 2025. Yeah, Burney stepped away due to some medical 00:19:02.839 --> 00:19:06.099 developments, ending his, as he put it, 30 years 00:19:06.099 --> 00:19:10.259 of rocking balls. Chuckles. And the band handled 00:19:10.259 --> 00:19:13.019 this just perfectly, I think. They made a very 00:19:13.019 --> 00:19:15.619 definitive decision not to replace him. Their 00:19:15.619 --> 00:19:18.059 official statement was really powerful. You cannot 00:19:18.059 --> 00:19:20.769 replace a legend. Wow. Instead, they announced 00:19:20.769 --> 00:19:23.609 they would officially continue as a trio. Reddick, 00:19:23.650 --> 00:19:26.910 drummer Gary Wiseman, and Rob Filicetti. It takes 00:19:26.910 --> 00:19:29.589 huge confidence to intentionally downsize the 00:19:29.589 --> 00:19:32.190 lineup after three decades like that. But despite 00:19:32.190 --> 00:19:34.509 these changes, their recent output really proves 00:19:34.509 --> 00:19:36.869 they still have their finger on the pulse, culturally 00:19:36.869 --> 00:19:39.789 speaking. Oh, yeah. The pop -drunk, snot -bred 00:19:39.789 --> 00:19:42.150 era, starting around 2022, is a great example. 00:19:42.309 --> 00:19:45.210 The single Alexa Bliss, which is about the WWE 00:19:45.210 --> 00:19:47.890 wrestler. Right. It was just this timely, funny, 00:19:48.069 --> 00:19:49.849 super kitschy track that went kind of viral. 00:19:50.029 --> 00:19:52.930 The music video had Alexa Bliss herself in it, 00:19:52.950 --> 00:19:56.690 and it got almost 6 million views by 2023. They 00:19:56.690 --> 00:19:59.269 still absolutely know how to write that perfect, 00:19:59.329 --> 00:20:01.430 immediate hook. Touring in the last couple of 00:20:01.430 --> 00:20:03.269 years hasn't been without its challenges, though. 00:20:03.390 --> 00:20:06.890 During that 2022 Surf the UK tour, drummer Gary 00:20:06.890 --> 00:20:09.289 Wiseman had some kind of health scare. Yeah, 00:20:09.309 --> 00:20:12.470 he suffered a mysterious illness mid -tour, which 00:20:12.470 --> 00:20:15.299 forced them to pivot really quickly. The rest 00:20:15.299 --> 00:20:17.319 of the dates had to be played either acoustically 00:20:17.319 --> 00:20:20.059 or in this kind of mixed format. They relied 00:20:20.059 --> 00:20:22.460 heavily on help from their friends, like members 00:20:22.460 --> 00:20:24.759 of the Dolly Rots and Lit Stepping In. Wow. It 00:20:24.759 --> 00:20:26.519 really underscores how much they rely on that 00:20:26.519 --> 00:20:28.819 tight -knit pop -punk community. Everyone's always 00:20:28.819 --> 00:20:30.839 ready to help each other out when needed. And 00:20:30.839 --> 00:20:32.660 finally, let's touch on their latest recordings, 00:20:32.779 --> 00:20:34.559 because there seems to be this interesting push 00:20:34.559 --> 00:20:37.839 towards audio quality. Their most recent single, 00:20:38.019 --> 00:20:40.079 Holding On To That Hate, which came out in September 00:20:40.079 --> 00:20:43.079 2025, apparently made a significant technical 00:20:43.079 --> 00:20:46.559 jump. Yeah. This is a detail that audio nerds, 00:20:46.559 --> 00:20:49.039 like us maybe, should pay close attention to. 00:20:49.140 --> 00:20:51.720 Okay. That track was one of the first things 00:20:51.720 --> 00:20:53.920 they recorded using something called the SSL 00:20:53.920 --> 00:20:57.640 Revival 4000. SSL Solid State Logic. The big 00:20:57.640 --> 00:21:00.579 studio consoles. Exactly. The 4000 series is 00:21:00.579 --> 00:21:03.359 legendary in the recording industry. It's that 00:21:03.359 --> 00:21:06.420 classic, massive analog studio desk sound from 00:21:06.420 --> 00:21:09.579 the 70s and 80s. The revival part is key here. 00:21:09.680 --> 00:21:12.079 It means they are actively chasing that really 00:21:12.079 --> 00:21:15.180 rich, thick, warm analog sound and definition. 00:21:15.500 --> 00:21:18.079 They're calling it the latest leap forward in 00:21:18.079 --> 00:21:20.839 analog sound. So even 30 years into their career, 00:21:20.900 --> 00:21:22.960 while they're embracing modern stuff like fan 00:21:22.960 --> 00:21:24.779 funding and multimedia, they're simultaneously 00:21:24.779 --> 00:21:27.099 leaning back towards these really high -quality, 00:21:27.160 --> 00:21:30.000 classic analog recordings. That's a fascinating 00:21:30.000 --> 00:21:32.279 combination. You know, when you really try to 00:21:32.279 --> 00:21:35.299 analyze the BFS sound, you realize why they're 00:21:35.299 --> 00:21:37.160 kind of hard to pin down with just one label. 00:21:37.400 --> 00:21:40.099 People always say pop punk, but that feels, I 00:21:40.099 --> 00:21:42.069 don't know, a bit limiting. given everything 00:21:42.069 --> 00:21:43.849 else that's in there. Our music had a pretty 00:21:43.849 --> 00:21:45.569 good description, I thought. They called it a 00:21:45.569 --> 00:21:48.269 feverishly catchy and humorous blend of power 00:21:48.269 --> 00:21:51.710 pop, ska, punk, and hardcore. That's pretty good. 00:21:52.009 --> 00:21:54.029 And it's that blend, especially the emphasis 00:21:54.029 --> 00:21:57.049 on power pop, you know, the melody, the hooks, 00:21:57.150 --> 00:21:59.349 that really sets them apart from some of the 00:21:59.349 --> 00:22:01.890 more straightforwardly aggressive punk bands 00:22:01.890 --> 00:22:04.210 they often get compared to or list as influences. 00:22:04.589 --> 00:22:06.690 And speaking of influences, you can really see 00:22:06.690 --> 00:22:08.950 that blend when you look at who they cite, right? 00:22:08.970 --> 00:22:10.809 Of course, you've got the foundational. punk 00:22:10.809 --> 00:22:14.130 acts in there. Green Day, the Ramones, Bad Religion, 00:22:14.349 --> 00:22:18.170 NOFX, Descendants, usual suspects. But then Reddick 00:22:18.170 --> 00:22:20.109 will also throw in names like Elvis Costello. 00:22:20.460 --> 00:22:24.339 Ah, okay, the melodic sense. Exactly, whose melodic 00:22:24.339 --> 00:22:27.140 and lyrical smarts are clearly key to their success. 00:22:27.559 --> 00:22:29.640 And he even mentions Willie Nelson sometimes, 00:22:29.940 --> 00:22:32.380 which speaks again to that kind of genre -fluid 00:22:32.380 --> 00:22:34.500 Texas thing they absorbed growing up. So they 00:22:34.500 --> 00:22:36.779 took the speed of punk, the big hooks maybe from 00:22:36.779 --> 00:22:40.400 80s metal, the lyrical focus of power pop, filtered 00:22:40.400 --> 00:22:42.519 it all through this specific lens of Texas humor, 00:22:42.660 --> 00:22:45.380 and basically created a sound that's just uniquely 00:22:45.380 --> 00:22:48.789 theirs. Yep. But the future of that sound, that's 00:22:48.789 --> 00:22:50.809 the big question now, isn't it? Especially now 00:22:50.809 --> 00:22:53.730 that they are officially, intentionally a trio. 00:22:53.890 --> 00:22:56.710 The commitment seems absolute. Reddick on vocals 00:22:56.710 --> 00:23:00.279 and rhythm guitar, Wiseman on drums. and Fulicetti 00:23:00.279 --> 00:23:03.940 on bass. But crucially, Rob Fulicetti, who came 00:23:03.940 --> 00:23:07.000 in on bass, is now officially taking on the studio 00:23:07.000 --> 00:23:09.779 lead guitar duties as of 2025. That's a huge 00:23:09.779 --> 00:23:12.140 shift. It's massive. It suggests they're really 00:23:12.140 --> 00:23:14.819 reengineering their whole musical dynamic, relying 00:23:14.819 --> 00:23:17.400 on Fulicetti's versatility to fill the space 00:23:17.400 --> 00:23:20.000 left by a founding guitarist like Bernie. It'll 00:23:20.000 --> 00:23:21.420 be interesting to hear how that changes things. 00:23:21.559 --> 00:23:23.240 And they aren't exactly sitting around figuring 00:23:23.240 --> 00:23:25.539 it out. Their schedule looks packed, starting 00:23:25.539 --> 00:23:28.099 with kind of celebrating their history. That's 00:23:28.099 --> 00:23:30.339 right. There's a new live album coming out, A 00:23:30.339 --> 00:23:32.660 Hangover You Definitely Deserve. Nice callback 00:23:32.660 --> 00:23:36.359 title. Sent for release in October 2025. It was 00:23:36.359 --> 00:23:38.660 recorded during their show in Manchester back 00:23:38.660 --> 00:23:42.000 in February 2024. So a chance to capture their 00:23:42.000 --> 00:23:44.910 current live energy as a trio, basically. And 00:23:44.910 --> 00:23:46.890 in a huge nod to the scene that helped build 00:23:46.890 --> 00:23:49.569 them, they're one of the first acts announced 00:23:49.569 --> 00:23:52.990 for the big 2025 revival of the Warped Tour. 00:23:53.150 --> 00:23:55.869 Yeah. And to mark that announcement, they released 00:23:55.869 --> 00:23:59.980 a cover of Blink -182's The Rock Show. perfectly 00:23:59.980 --> 00:24:02.220 linking their past and their future right back 00:24:02.220 --> 00:24:04.539 into that pop punk landscape. So looking even 00:24:04.539 --> 00:24:07.160 further ahead, their creative drive seems completely 00:24:07.160 --> 00:24:09.500 unstoppable. It really does. They're apparently 00:24:09.500 --> 00:24:11.359 working on two separate recording projects right 00:24:11.359 --> 00:24:13.880 now. One is their 12th studio album, All New 00:24:13.880 --> 00:24:16.079 Material, and the other is a separate dedicated 00:24:16.079 --> 00:24:19.299 pop punk covers album. They just refused to slow 00:24:19.299 --> 00:24:21.160 down even after losing a founding member and 00:24:21.160 --> 00:24:23.059 decided to carry on as three. It's pretty remarkable. 00:24:23.579 --> 00:24:25.559 Hashtag outro. So what does all this mean for 00:24:25.559 --> 00:24:29.019 you, the listener? Well, Bowling Pursuit's 30 00:24:29.019 --> 00:24:31.380 -year career, it really serves as this kind of 00:24:31.380 --> 00:24:33.859 master class in modern music industry survival. 00:24:34.240 --> 00:24:36.599 They built on these tight, lifelong friendships 00:24:36.599 --> 00:24:39.619 from Texas. They found massive mainstream success 00:24:39.619 --> 00:24:42.240 with Grammy nominations and Soundtrack Gold. 00:24:42.660 --> 00:24:45.460 And then, crucially, they managed to successfully 00:24:45.460 --> 00:24:48.519 pivot to complete self -sufficiency after getting 00:24:48.519 --> 00:24:50.980 dropped by the major label system. That's the 00:24:50.980 --> 00:24:53.920 really key part, I think. Absolutely. Their story 00:24:53.920 --> 00:24:55.940 is just such a powerful lesson in diversification. 00:24:56.420 --> 00:24:58.720 Jarrett Reddick's relentless output, all those 00:24:58.720 --> 00:25:00.920 strategic side ventures, voicing Chucky, Cheese, 00:25:01.160 --> 00:25:04.019 doing stuff for Phineas and Ferb, running crappy 00:25:04.019 --> 00:25:06.160 records that provides the stability, the foundation 00:25:06.160 --> 00:25:08.680 that allows the main band, Bowling for Soup, 00:25:08.839 --> 00:25:11.900 to keep thriving artistically. And the fact that 00:25:11.900 --> 00:25:13.960 they chose to continue as an officially defined 00:25:13.960 --> 00:25:15.980 three -piece after Chris Burney's retirement, 00:25:16.220 --> 00:25:18.460 instead of just trying to plug the gap with someone 00:25:18.460 --> 00:25:21.750 new. That shows this real commitment to authenticity 00:25:21.750 --> 00:25:24.349 and a deep trust in the dynamic they have right 00:25:24.349 --> 00:25:27.109 now. And finally, maybe a provocative thought 00:25:27.109 --> 00:25:30.029 for you to chew on. Given Jarrett Reddick's proven 00:25:30.029 --> 00:25:32.589 ability to constantly shift between genres and 00:25:32.589 --> 00:25:35.250 musical personalities, combined with their newly 00:25:35.250 --> 00:25:38.230 declared desire to chase that really rich, warm 00:25:38.230 --> 00:25:42.109 analog sound using that classic SSL Revival 4000 00:25:42.109 --> 00:25:45.079 console, How is that blend going to shape their 00:25:45.079 --> 00:25:49.119 upcoming 12th studio album? You've got this state 00:25:49.119 --> 00:25:51.180 -of -the -art analog sound meeting their enduring 00:25:51.180 --> 00:25:53.680 pop -punk humor. Yeah, what does that even sound 00:25:53.680 --> 00:25:56.059 like? Exactly. After three whole decades, they 00:25:56.059 --> 00:25:58.099 are still fundamentally searching for the latest 00:25:58.099 --> 00:26:00.839 leap forward, even if it means looking back technologically. 00:26:01.140 --> 00:26:03.700 You might find yourself Googling the SSL Revival 00:26:03.700 --> 00:26:06.220 4000 next, just trying to imagine what kind of 00:26:06.220 --> 00:26:08.460 warmth is about to hit their next record. That's 00:26:08.460 --> 00:26:10.779 all for this deep dive into the long and fascinating 00:26:10.779 --> 00:26:13.319 career of Bowling for Soup. Thanks so much for 00:26:13.319 --> 00:26:14.480 listening. We'll see you next time.