WEBVTT

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What's up, y 'all? It's me, Jarrett, from your

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favorite band, Bowling for Soup, and you are

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listening to My Weekly Mixtape with Brian Colburn,

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and you're stoked because I am awesome on this.

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What is going on, friends? Welcome to My Weekly

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Mixtape, the show that takes the classic mixtape

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approach. to building a modern playlist. I'm

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your host, Brian Colburn, and my guest today

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is pop punk royalty. He's the voice and pen behind

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the Grammy -nominated Bowling for Soup. You might

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also recognize his voice as Danny on Phineas

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and Ferb, as well as the iconic Chuck E. Cheese.

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And he's also someone who you might not know.

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On multiple occasions, whipped both my and J

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-Suite's ass in trivia. It's my honor and privilege

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to welcome the one and only Jarrett Reddick to

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My Weekly Mixtape. Jarrett, thanks for being

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here, man. Hey, man. Thanks for having me. Well,

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I'd like to start by asking you the question

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I ask all of my first -time guests, and that's,

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what does the word mixtape mean to you? Mixtape,

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for me, is probably the actual meaning of it.

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I mean, I was around when mixtapes were a thing.

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So, you know, I had a... It's funny, I had a

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girl give me a mixtape my junior year in high

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school and I still remember the songs. I listened

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to it so much that I think in the order that

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they were, it almost became its own album kind

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of thing. So yeah, a mixtape used to be this

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thing that you would make for someone either

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to let them know about what music you were listening

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to or let them know how you felt about them.

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It was a very, very powerful tool. That's a great

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way of putting it. Well, normally here's where

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I jump right into the interview stuff. But my

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cousin and a few of my friends for the last 16

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years have been hounding me about this one. So

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I'm going to start tonight by embarrassing myself.

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Back in 2009, Bowling for Soup toured with MC

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Lars and Kay Flay. And one of the tour stops

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was in Hackensack, New Jersey. So I picked up

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a four -pack of tickets, and we all decided to

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make an evening of it. Go to a steakhouse, grab

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some drinks, and go to the show. Well, the steakhouse

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had a two -and -a -half -hour wait, and we wouldn't

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be able to sit down until after the show started,

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so we said, ah, we'll hit the diner. The diner

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had no drinks, and everyone said, no worries,

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Brian, we'll grab the first round at the show.

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It's the one and only concert in my entire life

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that I ever went to that was an all -ages, non

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-alcoholic show. And for the last 16 years, they

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have been ripping me on it. Brian buzzkill. However,

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it was an amazing show. Brandon Brown of weed

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has joined you guys to close it out with a rip

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through of teenage dirt bag. And now hopefully

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they can leave me alone because I've admitted

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it to the man himself. Well, there you go. Yeah.

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Gosh, we didn't play a lot of all ages, no alcohol

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shows back then, but I mean, we still don't,

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but. Yeah, I'm sorry you did that to your friends.

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Well, now that that's out of the way, let's actually

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talk some music here. And I'd like to start and

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go all the way back and talk about a couple of

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the songs off of 1998's Rock On Honorable Ones.

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As a band for that release, you featured a horn

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section on the songs 2113, Belgium, Thespian,

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I Don't Know, and Friday. And because of that

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dynamic. This album brings kind of a different

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feel to the band. Was there a reason that horns

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weren't utilized moving forward and it was just

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that outlier? Yeah, it was honestly just sort

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of like a, it was a place in time. We had just

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moved to Denton, Texas, where North Texas University

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is. It's the big, it's one of the more popular

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jazz schools in the country. It's big, big music

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scene there or a big music section or what do

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you call it? A program. music program there and

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the guy that was managing our band at the time

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who would go on to co -manage us with me until

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2007 was actually a really high up trombone player

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and so a lot of our friends at the time and friends

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bands all had horn sections well in our kind

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of music that year real big fish was doing great

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less than jake goldfinger there were just a lot

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of bands that had horns either as part of their

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band or on certain sections and so especially

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bands like goldfinger were ones that we looked

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at like okay well they're a four -piece pop punk

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band pop punk didn't exist yet but they're a

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four -piece band doing kind of what we're doing

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we should put some horns on some stuff and so

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um i'm really glad we did it i mean again we

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used so we would perform some places and they

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would come up and play with you know locally

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but it wasn't something that we ever thought

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about making it a part of of who we were as a

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band but Yeah, again, just kind of one of those

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places in time, opportunity. And again, one of

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those things, I'm glad we did it because our

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horn, if you were to go back and listen to them,

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our horn arrangements are way, way different

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than what other people's would be or would have

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been at the time. They sound different because

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it was made by a jazz guy. And so with really

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not a lot of knowledge of what we listen to,

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you know, and so. Yeah, it's again, it's just

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a place in time. Well, since I mentioned the

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song already, let's get this out of the way.

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Belgium was recorded, like we just said, with

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horns for Rock On, Honorable Ones. It was recorded

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without horns on Tell Me When to Woe, Let's Do

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It for Johnny and songs people actually liked,

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Volume 1. It was recorded acoustically on Drunk

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Enough to Dance as an international edit on A

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Hangover You Don't Deserve. as a polka on Sorry

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for Partying, and as a solo piano ballad for

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A Nice Night for an Evening, Volume 1. So when

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can fans expect a Bowling for Soup The Best of

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Belgium release? Not to mention the elevator

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music version on Pop Drunk's Not Bread as well.

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yeah you know that is one of those organic stories

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that you know it's so basically we had done it

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for rock honorable ones and then our we had met

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our attorney who was going to be our attorney

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for many many years and he was like man i think

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y 'all need to do a version without horns because

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i think belgium could be a single and so we did

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that for tell me window whoa well then we got

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signed to jive records and they essentially wanted

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all of that ep on Let's do it for Johnny. So

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now it's on three albums. So therein is where

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the joke started. It was like, Hey, Belgium is

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on our last three albums. We should put it on,

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on a drunk enough to dance. And there was a band

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that I listened to called diesel boy who, and

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they're still around and touring now. And we're

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friends with now, but at the time I just liked

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their music, but they had a song on one of their

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albums where you can hear them. walk in the room

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and they play it acoustic and then you can hear

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them walk out. And I was just like, man, that

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would be cool. That's what I wanted to do. So

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we set it up for that. And that pretty much just

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started the snowball effect of like, okay, well,

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what's the next version of Belgium going to be?

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Well, one of the things I've always loved about

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Bowling for Soup is there are multiple layers

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to these songs. There are tracks like I want

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to be Brad Pitt, the bitch song or getting old

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sucks, but everybody's doing it. That show off

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a sense of humor. but they're balanced out with

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songs like When We Die or one of my favorite

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songs from the band Turbulence, which for someone

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like myself who struggled with anxiety for years

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has truly helped me through some rough patches

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in life. So interview aside, first off, thank

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you for putting this song out in the universe.

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Thank you for saying that. Thank you. How does

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Bowling for Soup strike a balance between the

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humor and the serious side? Yeah, you know, thanks

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for asking. What a great question. And definitely,

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you know, one of those things where there's a

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definite evolution to this. You know, I think

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really the reason we became more humorous at

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first was really because of my insecurities in

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writing songs. I really just was insecure in

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writing lyrics. So if I put a funny spin on it,

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then nobody could really take it. seriously so

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even if it was a serious song or something that

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meant a lot to me i could sort of put a funny

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spin on it at the end of it or in the bridge

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or whatever and then it'd be like oh okay well

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he's not speaking from the heart so let's not

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judge you know what it is he's saying but then

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i i wrote a song you know i guess for tell me

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when to woe called you and me And that song was

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kind of like one of those first ones where I

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was like, OK, I'm going to stick my toe in here

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and see what writing like a real heartfelt song

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feels like. And it got a really, really great

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reaction and definitely one of my favorite songs

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of Bowling for Soup's history. And then that

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started the whole deal of, you know, we're all

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metal fans. And so you remember back in the hair

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metal days, bands always had at least one power

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ballad. So I was pretty adamant at that point.

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OK, we're going to have at least one power ballad

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on every single album. And that's really what

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started us down that path. Whereas so like when

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we did Let's Do It For Johnny, you had Where

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To Begin. And then, um, wait a minute is where

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to begin on. No, where to begin is on drunken

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at the dance. I believe I don't, I don't know.

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It doesn't matter. Point is, is that, uh, no,

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cause you and me would be, it does. God damn

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it. And it's, there's a lot of albums, you know,

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but, uh, I know I've got them all sitting here,

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the whole stack. Oh, thank you. Thank you. But

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yeah, so that, you know, where to begin, I think

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was the next one. And then, uh, from there, you

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know, you've got that songs like. I mean, there's

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just there's a thousand of them now. You know,

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we just started playing Me With No You on the

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last tour. And that song's got a lot of personal

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stuff to it. So really, I just sort of had to

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find the balance internally of what I was willing

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lyrically to let out. And so with Bowling for

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Sleep, I sort of always had a barrier until songs

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like until Turbulence really, you know, when

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we die, you know, that's really in the area where

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I started going, OK, well, I'm going to. I'm

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going to let it all out and just see what happens.

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So, but yeah, and you know, which is great because

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it's an evolution into songwriting today where

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like, you know, if I'm writing for my country

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stuff, sorry to get off topic, but like I really,

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really let it out there and I'm not as worried

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about saying, you know, as many things that actually

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mean something to me. And then by having those

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other outlets, it allows me to keep Bowling for

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Soup reeled in a little bit, meaning that like,

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I don't really expect to start talking about,

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you know, again, even like let's talk about Hello

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Anxiety. Right. So like my anxiety song is a

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is kind of a silly, funny song that's actually

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kind of sad for Bowling for Soup. Right. Instead

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of whereas if you hear the country one that I

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just wrote, it's like, oh, God, you know, like

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my heart, you know, kind of thing. Well, I am

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going to jump onto the hairband thing for a moment

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because I know you're a big hair metal fan, as

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am I. My first ever concert was Poison and David

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Lee Roth on the Skyscraper tour. So this is kind

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of my wheelhouse here. Hell yeah. Knowing you're

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into the hair metal scene, Poison, Skid Row,

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Warn, and you mentioned that you always wanted

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to have a power ballad. Yeah. I've always referred

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to them as punk rock power ballads. Was that

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something that has ever, because I feel like

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Bowling for Soup is one of the few bands that

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truly embraces that moment on every album. I

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call them power ballads. I mean, we really do.

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I mean, that's always been what we call them,

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you know. And really just because of that, that's

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how it was categorized. You know, when you bought

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a Poison record, you got I Won't Forget You,

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you know, and you got Tesla, You Got Love Song.

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And, you know, you got a power ballad on every

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record, at least one. And then, you know, as

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those became like the movie soundtracks and more

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popular songs going into the 90s, sometimes you

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get two, you know. But, you know, I mean, there's

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not, you know, like on the Cinderella record,

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the one with Coming Home, A Long Cold Winter.

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I think there's three. But Coming Home is just

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a gosh, what a great song. So anyway, yeah, I

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mean, we refer to them as power ballads. I try

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to do one a record at least. And we just sort

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of see where we end up. You know, I think the

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one for Pop Drunk's Not Red ended up being a

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little bit more like. retro it was more you know

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like kind of looking back um less about relationships

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and more about like hey i wouldn't change anything

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sort of like here's i'm gonna pay pay homage

00:13:20.830 --> 00:13:24.269
to what's going on but still same vibe all right

00:13:24.269 --> 00:13:26.789
before we move on top three power ballads of

00:13:26.789 --> 00:13:28.330
all time from the hair metal scene what do you

00:13:28.330 --> 00:13:31.710
got oh man okay first of all a he's putting me

00:13:31.710 --> 00:13:34.169
on the spot so i did not prep for this but i

00:13:34.169 --> 00:13:38.509
love um top three of all time well home sweet

00:13:38.509 --> 00:13:41.210
home is easily the best. I mean, you know, you

00:13:41.210 --> 00:13:43.330
can say what you want about Motley Crue. And

00:13:43.330 --> 00:13:45.970
I realize there's especially this day and age,

00:13:45.990 --> 00:13:50.129
but 80s hair metal ballads. Absolutely. That's

00:13:50.129 --> 00:13:53.490
the biggest and best of all time. The original

00:13:53.490 --> 00:13:56.769
theater of pain version or the 91 decade of decadence

00:13:56.769 --> 00:13:58.549
version where he's playing on a grand piano.

00:13:59.309 --> 00:14:01.830
I'm going to go theater of pain version just

00:14:01.830 --> 00:14:05.629
for nostalgia. OK, fair. And then. i guess for

00:14:05.629 --> 00:14:08.669
number two i'm gonna go uh living on a pri no

00:14:08.669 --> 00:14:11.730
i mean uh oh gosh uh wanted dead or alive by

00:14:11.730 --> 00:14:19.149
uh by bon jovi and then uh let's see um is that

00:14:19.149 --> 00:14:21.929
the right one is that that's the one um that's

00:14:21.929 --> 00:14:23.870
how i walk these lotus six train oh yeah yeah

00:14:23.870 --> 00:14:26.190
i got it okay so that's that one and then uh

00:14:26.190 --> 00:14:29.730
number four has to be poison um So I'm going

00:14:29.730 --> 00:14:31.730
to actually I'm going to dig deep on this one

00:14:31.730 --> 00:14:34.730
because I still think I won't forget you is just

00:14:34.730 --> 00:14:38.610
a freaking great, great. That's a punk rock song,

00:14:38.710 --> 00:14:40.710
you know, like that. That could be a punk rock

00:14:40.710 --> 00:14:43.950
song. All right. Well, one of my favorite things

00:14:43.950 --> 00:14:47.629
about the hair band scene was the vocal harmonies

00:14:47.629 --> 00:14:50.269
besides the guitar theatrics and everything else.

00:14:50.289 --> 00:14:52.490
And that's something I've always thought has

00:14:52.490 --> 00:14:56.610
been a staple of Bowling for Soup sound. What's

00:14:56.610 --> 00:15:00.509
your approach to incorporating but not over utilizing

00:15:00.509 --> 00:15:03.610
vocal harmonies throughout the band's music?

00:15:04.169 --> 00:15:06.929
Well, you know, we were literally built to be

00:15:06.929 --> 00:15:09.730
a singing band. When I started Bowling for Soup,

00:15:09.830 --> 00:15:12.269
I wanted to start what I considered to be the

00:15:12.269 --> 00:15:14.629
punk rock Beatles. And when you know, and it

00:15:14.629 --> 00:15:17.669
was very important to me. And if you listen to

00:15:17.669 --> 00:15:21.049
the first album, you know, again, we made three

00:15:21.049 --> 00:15:24.250
months into us forming. that Eric and I were

00:15:24.250 --> 00:15:26.490
both lead singers I wanted two leads I didn't

00:15:26.490 --> 00:15:28.289
even stand in the middle like we were everybody

00:15:28.289 --> 00:15:32.629
was and everybody sang and uh you know so it

00:15:32.629 --> 00:15:35.009
was the four of us singing until Lance left the

00:15:35.009 --> 00:15:37.789
band and when Gary started he really and that's

00:15:37.789 --> 00:15:40.610
you know just a few years in by the way um so

00:15:40.610 --> 00:15:43.210
but it was always the harmonies have always been

00:15:43.210 --> 00:15:47.200
a huge part and I'm very proud of that because

00:15:47.200 --> 00:15:49.700
it's still the thing that people, when they come

00:15:49.700 --> 00:15:51.840
away from our shows, even though it's just me

00:15:51.840 --> 00:15:54.820
and Rob now singing, when they come away from

00:15:54.820 --> 00:15:56.600
our shows, they're still like, man, those harmonies,

00:15:56.639 --> 00:16:01.299
holy crap. But yeah, I think you can go big and

00:16:01.299 --> 00:16:03.480
you can go over the top sometimes. And I think

00:16:03.480 --> 00:16:08.240
for me, the secret is try everything. And you

00:16:08.240 --> 00:16:11.100
can always have, as my friend Linus says, all

00:16:11.100 --> 00:16:16.470
you need is enough footage. you know and so we'll

00:16:16.470 --> 00:16:19.309
put oohs and ahs on everything we put harmonies

00:16:19.309 --> 00:16:21.649
on everything i'll put a low part an octave and

00:16:21.649 --> 00:16:23.629
blah blah blah on everything and we use some

00:16:23.629 --> 00:16:25.909
of it and we don't use some of it and so and

00:16:25.909 --> 00:16:28.309
then sometimes you you know you have a chord

00:16:28.309 --> 00:16:30.129
harmony wise where you're just like oh my god

00:16:30.129 --> 00:16:33.409
that changes how it all feels i want to reimagine

00:16:33.409 --> 00:16:35.889
now i want to reimagine that guitar part because

00:16:35.889 --> 00:16:38.330
this is stepping on that and and so you know

00:16:38.330 --> 00:16:42.080
i i really do let the vocals drive the song itself.

00:16:42.440 --> 00:16:45.000
And I think that's why we're such a band that

00:16:45.000 --> 00:16:48.320
you can sing along to. I'm very adamant about

00:16:48.320 --> 00:16:52.320
enunciating and about everybody in the band enunciating

00:16:52.320 --> 00:16:54.860
when they sing so that you can understand the

00:16:54.860 --> 00:16:57.720
words and that the melodies are easy and not

00:16:57.720 --> 00:17:00.440
confusing to sing. Because I like bands like

00:17:00.440 --> 00:17:03.299
Jellyfish and bands like that where the melodies

00:17:03.299 --> 00:17:07.190
are a little crazier. But that's not our style.

00:17:07.250 --> 00:17:09.789
Our style is I want your ear to feel real comfortable

00:17:09.789 --> 00:17:12.829
going to the each next note, you know, and and

00:17:12.829 --> 00:17:15.430
so, you know, again, it's it's very, very much

00:17:15.430 --> 00:17:18.230
a big part of of the whole song itself. And I

00:17:18.230 --> 00:17:20.609
feel like when you've rerecorded some of the

00:17:20.609 --> 00:17:23.769
songs for the compilation songs, people actually

00:17:23.769 --> 00:17:26.569
liked volume one and two. You kind of honed in

00:17:26.569 --> 00:17:28.589
and tweaked a little bit because on the bitch

00:17:28.589 --> 00:17:31.150
song. I remember the original from Let's Do It

00:17:31.150 --> 00:17:33.410
to Johnny, but one part that always jumps out

00:17:33.410 --> 00:17:35.970
to me is in the second verse when you sing, and

00:17:35.970 --> 00:17:38.029
then you're in my face telling me to grow up.

00:17:38.089 --> 00:17:41.049
I wish you'd grow up. The layers of harmonies

00:17:41.049 --> 00:17:44.150
in there makes that version feel so much bigger

00:17:44.150 --> 00:17:46.309
than the original. Was that something that you

00:17:46.309 --> 00:17:48.769
were thinking about during the re -record? We

00:17:48.769 --> 00:17:51.690
also added an energy by changing the key of it,

00:17:51.730 --> 00:17:53.690
and we sped it up a little bit. So we didn't

00:17:53.690 --> 00:17:56.690
do that to all of the songs. The bit sung for

00:17:56.690 --> 00:18:00.470
me. We had just never really gotten what the

00:18:00.470 --> 00:18:02.410
energy, you know, that, that song was what got

00:18:02.410 --> 00:18:05.009
us signed. And I, and I really, there was a lot

00:18:05.009 --> 00:18:07.630
riding on it. I never thought we nailed it, you

00:18:07.630 --> 00:18:10.069
know, and I just really, I thought the feel was

00:18:10.069 --> 00:18:12.369
just, it always felt like it was pulling back

00:18:12.369 --> 00:18:14.890
to me. And so, yeah, there was a little bit of

00:18:14.890 --> 00:18:17.470
stuff here and there. The thing about the bitch

00:18:17.470 --> 00:18:20.029
song though, the reason why there's a little

00:18:20.029 --> 00:18:22.650
bit more pizzazz to it on the rerecord is because

00:18:22.650 --> 00:18:24.829
it was recorded at a different time. We did that

00:18:24.829 --> 00:18:28.220
when we recorded Stacy's mom. for the i've never

00:18:28.220 --> 00:18:31.819
done anything like this little single and then

00:18:31.819 --> 00:18:34.200
we re -recorded the bit song so this is before

00:18:34.200 --> 00:18:36.400
we had really decided that we were going to go

00:18:36.400 --> 00:18:38.940
re -record all of the hits so that's a very good

00:18:38.940 --> 00:18:41.859
ear by you to hear that that we did a little

00:18:41.859 --> 00:18:44.420
bit more on that particular song than we did

00:18:44.420 --> 00:18:48.200
trying to keep the other songs more intact to

00:18:48.200 --> 00:18:50.259
really where they were just like sonically kind

00:18:50.259 --> 00:18:52.859
of give them a little bit of a lift so i gotta

00:18:52.859 --> 00:18:58.119
bring up stacy's mom yeah I understand that this

00:18:58.119 --> 00:19:01.619
was 2003 and this was the era of Napster and

00:19:01.619 --> 00:19:04.559
it was probably Kazaa at this point. Was that

00:19:04.559 --> 00:19:07.240
the same type of situation? Because I know there's

00:19:07.240 --> 00:19:10.039
a lot of people that say, oh, all for you, the

00:19:10.039 --> 00:19:13.240
blues traveler song. And I'm like, what? Right.

00:19:13.559 --> 00:19:17.240
Were you guys attributed to Stacey's mom because

00:19:17.240 --> 00:19:21.160
of file sharing or how did this happen? Well,

00:19:21.200 --> 00:19:23.869
there's. there's a lot of theories i i think

00:19:23.869 --> 00:19:26.970
probably limelire and nabster and that stuff

00:19:26.970 --> 00:19:31.809
is probably a good part of it but also i think

00:19:31.809 --> 00:19:34.170
it's actually a little later than that because

00:19:34.170 --> 00:19:36.069
it's it's because i really feel like it really

00:19:36.069 --> 00:19:40.710
happened when 1985 was on we were on vh1 every

00:19:40.710 --> 00:19:44.049
day and stacy's mom was on vh1 every day and

00:19:44.049 --> 00:19:47.859
our band was very like out there and personal

00:19:47.859 --> 00:19:49.839
and stuff whereas fountains of wayne were a little

00:19:49.839 --> 00:19:52.140
bit more cool and they they were you know their

00:19:52.140 --> 00:19:55.579
video like they're uh you know in black and white

00:19:55.579 --> 00:19:57.579
and like looking at the camera at different angles

00:19:57.579 --> 00:19:59.039
and stuff you really didn't come away knowing

00:19:59.039 --> 00:20:01.380
what they looked like well you knew exactly what

00:20:01.380 --> 00:20:04.099
we looked like so i think we were in everybody's

00:20:04.099 --> 00:20:06.319
heads i think the songs were kind of neck and

00:20:06.319 --> 00:20:09.339
neck and going in the same places and then i

00:20:09.339 --> 00:20:11.599
think there's the mislabeling of the files as

00:20:11.599 --> 00:20:13.480
well you know i think it's the perfect storm

00:20:14.180 --> 00:20:16.519
And then the fact that we sort of kept going

00:20:16.519 --> 00:20:19.599
down that same path, whereas they didn't really

00:20:19.599 --> 00:20:22.180
write a lot more songs like that. Fountains of

00:20:22.180 --> 00:20:24.559
Wayne, you know, Fountains of Wayne is one of

00:20:24.559 --> 00:20:27.220
those bands, bands, you know, where Adam Schlesinger,

00:20:27.339 --> 00:20:31.259
God rest his soul, was a genius. But they weren't

00:20:31.259 --> 00:20:33.660
setting out to write pop punk hits. They were

00:20:33.660 --> 00:20:35.480
being Fountains of Wayne, right? I mean, and

00:20:35.480 --> 00:20:39.140
we, again, it's unfair of me to say that we weren't

00:20:39.140 --> 00:20:41.420
just being Bowling for Soups. I definitely wasn't

00:20:41.420 --> 00:20:43.819
trying to write hits. I loved what I was doing.

00:20:44.279 --> 00:20:46.559
But yeah, I think it's a big combination of all

00:20:46.559 --> 00:20:48.759
of it. And then also like where we were playing

00:20:48.759 --> 00:20:50.200
at the time, you know, we're starting to get

00:20:50.200 --> 00:20:52.640
into like where we were getting to play at more

00:20:52.640 --> 00:20:55.500
like citywide things where little kids were able

00:20:55.500 --> 00:20:58.539
to come to see our shows. And so again, just

00:20:58.539 --> 00:21:01.400
this perfect storm of a wild misinformation.

00:21:02.819 --> 00:21:05.960
And, you know, it's one of those things where

00:21:05.960 --> 00:21:08.119
we still joke about it all the time. I mean,

00:21:08.140 --> 00:21:11.359
but again, I meet my kids. friends parents and

00:21:11.359 --> 00:21:13.839
i'm like i what do you do i'm in bowling for

00:21:13.839 --> 00:21:17.200
soup yeah stacy's mom no we're 1985 but i get

00:21:17.200 --> 00:21:20.720
it well i do want to touch on the grammys because

00:21:20.720 --> 00:21:23.279
you had mentioned that in your music videos you

00:21:23.279 --> 00:21:26.940
guys had a look and while you did not win the

00:21:26.940 --> 00:21:30.339
grammy for best pop performance by a duo or group

00:21:30.339 --> 00:21:34.339
with vocal for girls all the bad guys want You

00:21:34.339 --> 00:21:36.880
did win, and I'm using quote marks in the air

00:21:36.880 --> 00:21:39.759
when I say this, worse dressed from Joan Rivers,

00:21:39.960 --> 00:21:43.079
which, I mean, she was dot matrix at Spaceballs.

00:21:43.119 --> 00:21:45.380
So as far as I'm concerned, that's kind of a

00:21:45.380 --> 00:21:48.680
W right there. Well, not to mention, you know,

00:21:48.700 --> 00:21:51.960
People Magazine, too. And so, you know, it was

00:21:51.960 --> 00:21:54.940
that was a weird thing where some people would

00:21:54.940 --> 00:21:59.220
see as a negative. And for us, it was this legitimizing

00:21:59.220 --> 00:22:01.519
thing to where it's like, oh, we're in the magazine

00:22:01.519 --> 00:22:04.470
that our grandparents. Our grandmas are looking

00:22:04.470 --> 00:22:06.869
through at the hair salon on Wednesdays, getting

00:22:06.869 --> 00:22:10.029
their their wet set. Like we're on Joan Rivers.

00:22:10.170 --> 00:22:12.089
They know what that is. They know what Joan Rivers

00:22:12.089 --> 00:22:14.910
is. And so things had started happening for us

00:22:14.910 --> 00:22:16.549
in another country. And it's like, you know,

00:22:16.549 --> 00:22:20.289
and there's no real digital age yet. So honestly,

00:22:20.450 --> 00:22:22.609
what they saw is, you know, these a couple of

00:22:22.609 --> 00:22:25.069
a few guys that have college educations and a

00:22:25.069 --> 00:22:27.589
couple of other dudes like going around and not

00:22:27.589 --> 00:22:31.349
using what they have available to them to go

00:22:31.349 --> 00:22:34.809
in. and get a real life and all of a sudden okay

00:22:34.809 --> 00:22:38.890
well we're on the grammys and now my grandmother

00:22:38.890 --> 00:22:40.730
can show everybody at the beauty shop that we're

00:22:40.730 --> 00:22:44.410
in people magazine and you know so there was

00:22:44.410 --> 00:22:46.789
uh you know it's you know the the old saying

00:22:46.789 --> 00:22:50.269
all press is good press is really not i mean

00:22:50.269 --> 00:22:53.089
it it really is you know all press is good press

00:22:53.089 --> 00:22:54.970
and especially if it's sort of light -hearted

00:22:54.970 --> 00:22:57.210
and fun like that right like where people would

00:22:57.210 --> 00:23:00.740
go oh man but you know you guys got Joan Rivers

00:23:00.740 --> 00:23:02.880
worst dress I'm like yeah you know what that

00:23:02.880 --> 00:23:05.460
got us I mean that got Chris pointed out on Jimmy

00:23:05.460 --> 00:23:08.140
Kimmel and then when we went on Jimmy Kimmel

00:23:08.140 --> 00:23:10.640
Jimmy Kimmel had to fess up to the fact that

00:23:10.640 --> 00:23:12.880
he had just said this about Chris you know what

00:23:12.880 --> 00:23:15.019
I mean like it we got so many miles out of all

00:23:15.019 --> 00:23:18.339
of that not to mention Brad Paisley who we had

00:23:18.339 --> 00:23:21.079
never met walking with us on the red carpet he

00:23:21.079 --> 00:23:23.039
goes can I just hang with you guys y 'all look

00:23:23.039 --> 00:23:26.759
fun we were like hell yeah I get to say I did

00:23:26.759 --> 00:23:29.759
my first ever really big red carpet walk with

00:23:29.759 --> 00:23:31.619
Brad Paisley, one of the greatest guitar players

00:23:31.619 --> 00:23:34.319
that ever lived. Oh, my God. I think he's one

00:23:34.319 --> 00:23:37.119
of the most underrated. People don't put him

00:23:37.119 --> 00:23:40.140
in the top pantheon of guitarists and listen

00:23:40.140 --> 00:23:42.920
to a track like Time Warp and your mind is going

00:23:42.920 --> 00:23:45.859
to be blown. Well, you have to go see him. Because

00:23:45.859 --> 00:23:48.119
if you go see him, he does this thing. Well,

00:23:48.200 --> 00:23:50.460
I mean, of course, I haven't seen him in probably

00:23:50.460 --> 00:23:52.799
15 years, but he used to do this thing where

00:23:52.799 --> 00:23:55.259
he would switch amps and he would start playing

00:23:55.259 --> 00:23:57.640
metal and his band would sort of join. He didn't

00:23:57.640 --> 00:23:59.559
sing or anything, but he would just shred for

00:23:59.559 --> 00:24:01.539
a while. But then he goes back into chicken picking,

00:24:01.680 --> 00:24:04.480
which people don't understand. Country guitar

00:24:04.480 --> 00:24:08.640
is way harder at that level. Country guitar is

00:24:08.640 --> 00:24:12.279
so hard. There's a reason why Paul Gilbert from

00:24:12.279 --> 00:24:14.259
Racer X, one of the greatest guitar players that

00:24:14.259 --> 00:24:16.769
ever lived. studies bluegrass. I was going to

00:24:16.769 --> 00:24:19.789
say Mr. Big, but Racer X works too. That's right.

00:24:19.890 --> 00:24:22.369
Yeah. So as one of the good things that came

00:24:22.369 --> 00:24:25.650
out of that. Now, the actual Grammy nod itself,

00:24:25.710 --> 00:24:27.349
because that seems like it's something that's

00:24:27.349 --> 00:24:31.430
commonly used as a benchmark in terms of a band's

00:24:31.430 --> 00:24:33.250
success. That's the top of the mountain. It's

00:24:33.250 --> 00:24:36.470
the Grammys. Did it move the needle or open new

00:24:36.470 --> 00:24:39.309
doors for Bowling for Soup outside of the press

00:24:39.309 --> 00:24:43.230
aspect of it? Again, there's a legitimacy to

00:24:43.230 --> 00:24:46.039
it. Girl, the bad guys want had been on rock

00:24:46.039 --> 00:24:49.500
radio and was failing miserably. And what happened

00:24:49.500 --> 00:24:52.640
was, is that a guy named David Edgar, Pittsburgh

00:24:52.640 --> 00:24:55.819
Steelers fan, by the way, was at in Indianapolis

00:24:55.819 --> 00:24:59.759
at a station called Radio Now and had decided

00:24:59.759 --> 00:25:02.420
this is a pop song. And he started playing it.

00:25:02.500 --> 00:25:04.359
And by the time we went into the Christmas break,

00:25:04.440 --> 00:25:06.920
which for the listener, basically the industry

00:25:06.920 --> 00:25:09.779
shuts down from around mid -December to mid -January.

00:25:09.779 --> 00:25:12.880
And radio stations, as far as. their playlists

00:25:12.880 --> 00:25:15.880
are concerned are locked. Now they stopped playing

00:25:15.880 --> 00:25:17.839
Christmas songs and stuff like this, but still

00:25:17.839 --> 00:25:20.579
it's like everything is locked in. So like charting

00:25:20.579 --> 00:25:22.599
wise, everything stays the same for, for this

00:25:22.599 --> 00:25:24.740
amount of time. Well, he had put the song into

00:25:24.740 --> 00:25:27.980
power. So we come back after the break, we had

00:25:27.980 --> 00:25:30.319
gotten nominated for a Grammy for the song and

00:25:30.319 --> 00:25:32.700
it's in power rotation at one of the leading

00:25:32.700 --> 00:25:35.359
reporting stations in the country. That's a pop

00:25:35.359 --> 00:25:39.339
station. So. that's really what it did was it

00:25:39.339 --> 00:25:41.700
got everybody else going oh okay well maybe we

00:25:41.700 --> 00:25:43.339
need to be playing this and then so then this

00:25:43.339 --> 00:25:45.200
song added it and this this station added this

00:25:45.200 --> 00:25:47.160
station and then the next thing you know we had

00:25:47.160 --> 00:25:50.799
a legitimate hit and then you know i mean again

00:25:50.799 --> 00:25:53.480
as as far as you know one of those things is

00:25:53.480 --> 00:25:56.740
we had been doing this for 10 years in a van

00:25:56.740 --> 00:26:00.160
not joking eric and i lived in it for two of

00:26:00.160 --> 00:26:04.660
those 10 years and a grammy is like a doctorate

00:26:04.859 --> 00:26:06.559
You know, I mean, I'm going to be Grammy nominated

00:26:06.559 --> 00:26:11.039
forever. So it's one of those things where they're

00:26:11.039 --> 00:26:15.259
just I'm overusing the word legitimacy. But this

00:26:15.259 --> 00:26:16.920
is sort of what we're talking about. Right. Is

00:26:16.920 --> 00:26:20.140
like when these things started to become, hey,

00:26:20.259 --> 00:26:22.099
this feels this way, this feels this way. Well,

00:26:22.140 --> 00:26:24.599
that is a deal where it's just like, you know,

00:26:24.599 --> 00:26:27.559
my mom could say to her friends, oh, yeah, he's

00:26:27.559 --> 00:26:29.160
I don't know, he's traipsing around the country,

00:26:29.240 --> 00:26:31.000
but they got nominated for a Grammy. Right. Like

00:26:31.000 --> 00:26:34.160
so. But that's really what it did. And then again,

00:26:34.259 --> 00:26:37.099
it's one of those things where we were asked

00:26:37.099 --> 00:26:42.960
about it all the time. And again, I hold it very,

00:26:43.059 --> 00:26:46.680
very, very, very near and dear to my heart that

00:26:46.680 --> 00:26:49.559
we got to experience that. Now, before we move

00:26:49.559 --> 00:26:51.400
on, I just want to remind anybody listening,

00:26:51.539 --> 00:26:53.539
if you want to hear all the songs we're talking

00:26:53.539 --> 00:26:56.180
about in this interview tonight, just head over

00:26:56.180 --> 00:26:59.559
to the episode page. You can find it at myweeklymixtape

00:26:59.559 --> 00:27:03.970
.com. Well, being a huge fan of cover songs like

00:27:03.970 --> 00:27:06.849
I am, Bowling for Soup has always scratched that

00:27:06.849 --> 00:27:10.410
itch for me. As far back as Summer of 69 from

00:27:10.410 --> 00:27:13.450
Let's Do It for Johnny to your version of Fergie's

00:27:13.450 --> 00:27:16.990
London Bridge to your latest cover being a rendition

00:27:16.990 --> 00:27:19.589
of Taylor Swift's Actually Romantic. Can you

00:27:19.589 --> 00:27:21.849
talk about what the band likes to bring to these

00:27:21.849 --> 00:27:24.130
interpretations or songs? Because I never feel

00:27:24.130 --> 00:27:27.009
like a Bowling for Soup cover is a color by numbers

00:27:27.009 --> 00:27:30.599
cover. Well, the idea is always to make it sound

00:27:30.599 --> 00:27:33.160
like us, you know, with exception of the Britney

00:27:33.160 --> 00:27:35.220
Spears song, which is a different story because

00:27:35.220 --> 00:27:37.259
we didn't really have any control over that.

00:27:37.299 --> 00:27:38.799
And just to give you some insight into that.

00:27:38.839 --> 00:27:42.980
So when we did Baby One More Time, that was already

00:27:42.980 --> 00:27:46.680
temped into the movie Freaky Friday at that.

00:27:47.069 --> 00:27:50.789
tempo in that in that key and they had already

00:27:50.789 --> 00:27:53.230
filmed the actors singing along to it so they

00:27:53.230 --> 00:27:55.210
were like we have to do it at this tempo this

00:27:55.210 --> 00:27:59.789
this key so when we started playing it it coming

00:27:59.789 --> 00:28:02.250
out like this big like sort of heavy rock song

00:28:02.250 --> 00:28:06.130
wasn't our it really that was not our idea but

00:28:06.130 --> 00:28:08.910
once it did happen we embraced it other than

00:28:08.910 --> 00:28:12.829
that the covers the idea is to make them sound

00:28:12.829 --> 00:28:16.740
like us i mean i think there's a few like maybe

00:28:16.740 --> 00:28:19.400
the social distortion where we just pretty much

00:28:19.400 --> 00:28:21.400
just played the song. Cause you don't want to

00:28:21.400 --> 00:28:25.259
do any disrespect to social distortion. Um, but

00:28:25.259 --> 00:28:26.960
you know, when you go out and you do a kid Cuddy

00:28:26.960 --> 00:28:29.779
song or, um, you know, as I said, we, you know,

00:28:29.779 --> 00:28:31.599
we've done this Taylor Swift song or whatever.

00:28:31.700 --> 00:28:34.440
I kind of want to make it our own, but keep the

00:28:34.440 --> 00:28:36.539
song intact and you'd never want to disrespect

00:28:36.539 --> 00:28:40.240
the songwriter or the artist. And, uh, even if

00:28:40.240 --> 00:28:42.019
you're doing it for a bit of a laugh, you know,

00:28:42.039 --> 00:28:44.950
which I. i i can't really think of any of them

00:28:44.950 --> 00:28:47.109
off the top of my head that we did for a laugh

00:28:47.109 --> 00:28:50.049
but you know because honestly when flowers by

00:28:50.049 --> 00:28:52.470
miley cyrus came out i mean i i saw that on a

00:28:52.470 --> 00:28:56.430
video from a friend who was across the world

00:28:56.430 --> 00:29:00.369
and i had never heard it and i just went holy

00:29:00.369 --> 00:29:03.750
we've got to cover this song right and so we

00:29:03.750 --> 00:29:06.180
covered it we got it out really quick And the

00:29:06.180 --> 00:29:09.059
Taylor Swift one was really input from other

00:29:09.059 --> 00:29:11.140
people going, guys, this sounds like you guys.

00:29:11.200 --> 00:29:13.119
Y 'all should cover this song. So we did it that

00:29:13.119 --> 00:29:16.539
way. So again, all with respect to the artist

00:29:16.539 --> 00:29:20.640
and to the original people who do it. And never

00:29:20.640 --> 00:29:23.259
as anything other than just like, hey, we're

00:29:23.259 --> 00:29:25.299
going to make this song our own because we think

00:29:25.299 --> 00:29:27.839
the song is cool. Well, you mentioned Freaky

00:29:27.839 --> 00:29:30.799
Friday. So I want to go down that. Disney rabbit

00:29:30.799 --> 00:29:33.019
hole for a second. The band recently wrapped

00:29:33.019 --> 00:29:35.839
up a weekend of shows at Walt Disney World in

00:29:35.839 --> 00:29:38.420
Orlando, a setting where you had to keep things

00:29:38.420 --> 00:29:41.440
PG like the 2009 show I mentioned at the top

00:29:41.440 --> 00:29:44.000
of the interview. Yeah. Kind of foreign to anyone

00:29:44.000 --> 00:29:46.420
who's seen you many a times like I have, but

00:29:46.420 --> 00:29:49.259
Bowling for Soup has a long history with Disney

00:29:49.259 --> 00:29:54.000
as Radio Disney used to air clean versions of

00:29:54.000 --> 00:29:57.019
songs like Almost, High School Never Ends, 1985.

00:29:58.140 --> 00:30:01.099
and Punk Rock 101. Then you have, of course,

00:30:01.200 --> 00:30:03.519
the band performing today is going to be a great

00:30:03.519 --> 00:30:06.420
day, the theme for Phineas and Ferb. Along with

00:30:06.420 --> 00:30:08.940
that, you've also recorded Disney covers over

00:30:08.940 --> 00:30:11.559
the years, including The Bare Necessities from

00:30:11.559 --> 00:30:14.740
The Jungle Book, and most recently, Friend Like

00:30:14.740 --> 00:30:18.319
Me from Aladdin for the A Whole New Sound compilation.

00:30:18.880 --> 00:30:21.960
How did that Disney relationship kind of come

00:30:21.960 --> 00:30:24.420
together initially and continue to thrive over

00:30:24.420 --> 00:30:27.680
the decades? Well, the relationships with the

00:30:27.680 --> 00:30:29.759
channel and the radio station are different.

00:30:29.980 --> 00:30:32.420
Radio Disney was actually located in Dallas.

00:30:32.680 --> 00:30:36.960
And we had a guy that worked for Jive that had

00:30:36.960 --> 00:30:39.279
a vision that was just like, man, I think Bowling

00:30:39.279 --> 00:30:42.980
for Soup is perfect for this. And he took us

00:30:42.980 --> 00:30:44.980
out to lunch. And the program director at the

00:30:44.980 --> 00:30:48.579
time, Robin Jones, was a little bit iffy, but

00:30:48.579 --> 00:30:52.099
gave Punk Rock 101 a shot. And it just did so

00:30:52.099 --> 00:30:54.319
great. And it just kept going and kept going

00:30:54.319 --> 00:30:56.950
that. We developed a really great relationship

00:30:56.950 --> 00:31:01.089
and still friends to this day. And at that point

00:31:01.089 --> 00:31:04.430
we would do like full on radio version, radio

00:31:04.430 --> 00:31:07.930
Disney versions of our next two albums. You know,

00:31:07.930 --> 00:31:10.430
so we would do a Boeing pursuit. We did our version.

00:31:11.210 --> 00:31:13.509
which is just the version that's out a clean

00:31:13.509 --> 00:31:15.730
version and then we would do radio disney version

00:31:15.730 --> 00:31:17.670
because you can't just cut the cuss words in

00:31:17.670 --> 00:31:19.849
the radio disney versions you gotta like change

00:31:19.849 --> 00:31:22.430
the words so instead of one prozac a day one

00:31:22.430 --> 00:31:24.609
workout a day right so you know something that's

00:31:24.609 --> 00:31:27.869
urban mama do and then honestly everything else

00:31:27.869 --> 00:31:30.529
is just super organic i mean the uh phineas and

00:31:30.529 --> 00:31:33.170
ferb came because the creators were big fans

00:31:33.170 --> 00:31:37.390
of the band and that's been a really cool relationship

00:31:37.390 --> 00:31:40.599
to continue to work with and then Them hiring

00:31:40.599 --> 00:31:42.940
us finally this year. We've been working on trying

00:31:42.940 --> 00:31:46.759
to get in to Eat to the Beat for a while. And

00:31:46.759 --> 00:31:48.660
they had us there this year at Epcot. And it

00:31:48.660 --> 00:31:51.059
just went so great. And we're so happy to be

00:31:51.059 --> 00:31:54.680
doing it. I think with shows like that, it's

00:31:54.680 --> 00:31:58.200
hard to convince a promoter who can get online

00:31:58.200 --> 00:32:02.740
and see us playing at clubs and doing off -color

00:32:02.740 --> 00:32:06.039
humor and making that such a big part of our

00:32:06.039 --> 00:32:08.450
show and a lot of swear words and stuff. you

00:32:08.450 --> 00:32:10.809
have to be able to show them like, oh, okay,

00:32:10.950 --> 00:32:14.130
we can do this kind of show too. And we've been

00:32:14.130 --> 00:32:16.390
playing state fairs and things like that for

00:32:16.390 --> 00:32:18.670
many, many years. And so keeping it clean is

00:32:18.670 --> 00:32:21.549
not that difficult. I had a lot of fun with it

00:32:21.549 --> 00:32:23.309
this time because a lot of times what we'll do,

00:32:23.410 --> 00:32:26.170
most of the state fairs and stuff, and you can

00:32:26.170 --> 00:32:28.049
say the words, you just don't cuss in between

00:32:28.049 --> 00:32:30.289
songs. But with Disney, they were just like,

00:32:30.349 --> 00:32:32.920
they kind of frowned upon that. I just changed

00:32:32.920 --> 00:32:35.619
the words to all the songs just, you know, as

00:32:35.619 --> 00:32:38.180
I went. And so I'm just trying to make the audience

00:32:38.180 --> 00:32:41.240
laugh as much as I'm making myself laugh. And

00:32:41.240 --> 00:32:43.180
we had a good time doing it. It was, it was a

00:32:43.180 --> 00:32:44.599
lot of fun. It's been, it was a great weekend.

00:32:45.220 --> 00:32:48.700
So I have to ask, did the Disney connection and

00:32:48.700 --> 00:32:52.200
your role with Phineas and Ferb have any bearing

00:32:52.200 --> 00:32:54.500
on you becoming the voice for Chuck E. Cheese

00:32:54.500 --> 00:32:57.880
back in 2012? No, there's, there's no, there's

00:32:57.880 --> 00:33:00.380
no tie in there. That's all a separate thing.

00:33:01.740 --> 00:33:05.359
Yeah, I've lent the mouse my voice now since

00:33:05.359 --> 00:33:09.039
2012. And it's one of my favorite things on the

00:33:09.039 --> 00:33:12.299
planet. I love him so much. And it's one of my

00:33:12.299 --> 00:33:15.500
favorite jobs. And I grew up going to the restaurants

00:33:15.500 --> 00:33:19.619
and playing the games. But I was doing improv

00:33:19.619 --> 00:33:23.779
comedy here in Dallas. And the guy that got the

00:33:23.779 --> 00:33:27.589
relaunch account happened to... see me but and

00:33:27.589 --> 00:33:29.730
knew the band and was just like i think this

00:33:29.730 --> 00:33:32.910
guy would be the guy and uh and it just worked

00:33:32.910 --> 00:33:37.210
out and so man i i i feel so blessed to be able

00:33:37.210 --> 00:33:39.230
to do that because it's just because chucky is

00:33:39.230 --> 00:33:42.730
just such a huge part of nostalgia and culture

00:33:42.730 --> 00:33:46.450
and and uh you know of a lot of people's childhood

00:33:46.450 --> 00:33:49.849
and so you know the fact that since gosh for

00:33:49.849 --> 00:33:53.890
13 years or so i've been your kids chucky cheese

00:33:54.750 --> 00:33:57.470
it means a lot to me and, uh, and I'm, I'm super

00:33:57.470 --> 00:33:59.809
happy about it. Yeah. I grew up in North Jersey.

00:33:59.829 --> 00:34:01.769
So there was the battle between Chuck E. Cheese

00:34:01.769 --> 00:34:04.670
and the Rockafire explosion from showbiz pizza.

00:34:04.809 --> 00:34:07.569
So you had the dueling thing there. Does that

00:34:07.569 --> 00:34:10.050
Chuck E. Cheese gig get you like lifetime game

00:34:10.050 --> 00:34:11.949
tokens? Are you like, can you walk in and pull

00:34:11.949 --> 00:34:13.670
that card with them and be like, do you know

00:34:13.670 --> 00:34:17.670
who I am? I never asked. Uh, I, uh, my kids are

00:34:17.670 --> 00:34:19.309
a little older now, but when they were little,

00:34:19.429 --> 00:34:21.590
we went there just like everybody else. And,

00:34:21.590 --> 00:34:23.809
uh, you know, there was one year where they gave

00:34:23.809 --> 00:34:27.449
me a, a golden band that, uh, that got free games

00:34:27.449 --> 00:34:30.269
for a while. But, uh, but now I never, you know,

00:34:30.269 --> 00:34:32.869
they, uh, they treat me well enough to where

00:34:32.869 --> 00:34:35.269
I don't mind going in there and supporting the

00:34:35.269 --> 00:34:37.650
restaurant. And, uh, and, and, you know, I, I

00:34:37.650 --> 00:34:40.289
don't really like to make a big deal about me

00:34:40.289 --> 00:34:42.449
being in there. I mean, sometimes I'll get recognized

00:34:42.449 --> 00:34:44.929
or whatever. And, uh, and they'll come up and

00:34:44.929 --> 00:34:46.710
be like, we listened to your voice all day. And,

00:34:46.750 --> 00:34:49.150
and, uh, sometimes a kid will just hear me talk

00:34:49.150 --> 00:34:51.989
and go Chucky, you know, actually that happened

00:34:51.989 --> 00:34:54.780
to me at the airport yesterday. I was just talking

00:34:54.780 --> 00:34:57.539
to Gary, my drummer, and a guy just walked by

00:34:57.539 --> 00:35:00.019
and he just goes, you sound like Chuck E. Cheese.

00:35:00.159 --> 00:35:02.659
And then I turned around and he goes, oh my God,

00:35:02.679 --> 00:35:06.599
you are. And so, but yeah, that's, you know,

00:35:06.619 --> 00:35:08.519
I definitely don't mind having a very recognizable

00:35:08.519 --> 00:35:12.280
voice. Well, I want to bring up something that

00:35:12.280 --> 00:35:14.559
is something I know you've talked about before,

00:35:14.639 --> 00:35:16.619
but for the listeners of the show who might not

00:35:16.619 --> 00:35:19.000
know, I want to bring up one of the band's biggest

00:35:19.000 --> 00:35:23.130
hits, which is 1985. Now, along with Bowling

00:35:23.130 --> 00:35:26.989
for Soup, I'm also a big fan of SR71, whose third

00:35:26.989 --> 00:35:29.789
album, Here We Go Again, was originally released

00:35:29.789 --> 00:35:35.670
in Japan only in May of 2004. So you can imagine

00:35:35.670 --> 00:35:39.030
my surprise when two months later, Bowling for

00:35:39.030 --> 00:35:42.050
Soup released your version of the track. Over

00:35:42.050 --> 00:35:45.130
the years, I've read a lot of conflicting stories.

00:35:45.369 --> 00:35:49.550
One, that you heard SR71's version and you asked

00:35:49.550 --> 00:35:53.320
to cover it. Two, that Mitch Allen from SR71

00:35:53.320 --> 00:35:57.079
called you and offered it up. And three, Butch

00:35:57.079 --> 00:36:00.480
Walker, the incredible producer, singer, songwriter,

00:36:00.519 --> 00:36:03.519
and front man of The Marvelous Three, had some

00:36:03.519 --> 00:36:05.599
connection to it. Would you mind shedding some

00:36:05.599 --> 00:36:07.739
light on this once and for all? Yeah, absolutely.

00:36:07.960 --> 00:36:10.000
And also, if you want to hear the full story,

00:36:10.179 --> 00:36:13.019
it's pinned at the top of my TikTok. But yeah,

00:36:13.119 --> 00:36:15.139
it's a very simple story. We were done recording

00:36:15.139 --> 00:36:16.900
Hangover You Don't Deserve. Mitch and I had known

00:36:16.900 --> 00:36:20.380
each other forever. We were in Butch Walker's

00:36:20.380 --> 00:36:23.239
studio, but Butch was not even there. We had

00:36:23.239 --> 00:36:26.400
stayed there to finish the album after he produced

00:36:26.400 --> 00:36:29.519
the first three tracks. And then we stayed there

00:36:29.519 --> 00:36:32.659
and finished the record. And it was his manager,

00:36:32.840 --> 00:36:34.840
Donathan Daniel, who's still his manager today,

00:36:35.000 --> 00:36:38.300
manages Train as well, Butch's new band. And

00:36:38.300 --> 00:36:41.059
Donathan Daniel called and was just like, you

00:36:41.059 --> 00:36:43.440
got to hear this song because Mitch Allen just

00:36:43.440 --> 00:36:45.639
sent me and they knew one another because Butch

00:36:45.639 --> 00:36:50.340
had produced their big hit right now. So he just

00:36:50.340 --> 00:36:52.639
said, man, I just got sent this song. And the

00:36:52.639 --> 00:36:55.079
thing was, is that Mitch wasn't looking for anything

00:36:55.079 --> 00:36:58.179
for SR 71. He was looking for management as a

00:36:58.179 --> 00:37:01.260
songwriter or as a solo artist. And so this was

00:37:01.260 --> 00:37:04.039
just on his reel. Jonathan Daniel had the foresight

00:37:04.039 --> 00:37:06.599
to go. And that sounds like a bowling for soup

00:37:06.599 --> 00:37:11.079
song and send it over. And quite frankly, their

00:37:11.079 --> 00:37:15.420
version is pretty harsh. It's kind of mean. And

00:37:15.420 --> 00:37:18.269
so at first I didn't really get it. you know

00:37:18.269 --> 00:37:21.050
and uh it list a couple of listens with gary

00:37:21.050 --> 00:37:22.969
and gary going man it's pretty good and gary

00:37:22.969 --> 00:37:26.130
doesn't really ever he doesn't say anything unless

00:37:26.130 --> 00:37:28.510
he means it and so then then it was a conversation

00:37:28.510 --> 00:37:30.530
between me and mitch and me just going hey man

00:37:30.530 --> 00:37:32.469
can i just have my way with it he goes you can

00:37:32.469 --> 00:37:35.170
do whatever you want with it and uh yeah the

00:37:35.170 --> 00:37:37.449
rest is history i was able to make a few changes

00:37:37.449 --> 00:37:39.929
here and there butch coached me through some

00:37:39.929 --> 00:37:42.449
of that as the producer he came back produced

00:37:42.449 --> 00:37:45.750
that track and uh and we had a big hit with it

00:37:45.750 --> 00:37:48.880
and everybody's happy You know, because it's

00:37:48.880 --> 00:37:51.940
like, I think some people will hear, you know,

00:37:51.940 --> 00:37:53.920
like, oh, well, that's an SR -71 song. Yeah,

00:37:53.980 --> 00:37:57.340
kind of. I mean, you know, Mitch and I and John,

00:37:57.539 --> 00:38:00.420
the other writer who was the drummer by then

00:38:00.420 --> 00:38:04.440
in SR -71, considered a collaboration. And it

00:38:04.440 --> 00:38:06.920
certainly wouldn't be the song that it is unless

00:38:06.920 --> 00:38:11.019
all of those things. had happened so if all of

00:38:11.019 --> 00:38:13.400
those things hadn't happened so a lot had to

00:38:13.400 --> 00:38:15.940
happen um you know we needed to be on the right

00:38:15.940 --> 00:38:18.099
label we had to go make the right video i mean

00:38:18.099 --> 00:38:20.519
that the video was such a huge part of the success

00:38:20.519 --> 00:38:24.639
of that but everybody involved deserves all the

00:38:24.639 --> 00:38:26.579
credit because there's there's you know there's

00:38:26.579 --> 00:38:29.320
mitch you know and john writing the song and

00:38:29.320 --> 00:38:31.440
then mitch being cool about it and jonathan daniel

00:38:31.440 --> 00:38:33.800
and then butch and then our and our guy howie

00:38:34.269 --> 00:38:36.670
you know, being even open to the idea and, you

00:38:36.670 --> 00:38:38.630
know, just, just a lot of moving parts that had

00:38:38.630 --> 00:38:41.030
to happen to make that song a hit. And so, but

00:38:41.030 --> 00:38:42.969
yeah, you know, I think sometimes people will

00:38:42.969 --> 00:38:45.909
kind of look at it as like a negative thing that,

00:38:45.929 --> 00:38:48.710
oh, well they covered an SR 71 song and, and,

00:38:48.710 --> 00:38:50.829
you know, to me, it's like, I don't think they

00:38:50.829 --> 00:38:54.969
understand how much it benefited SR 71 and how

00:38:54.969 --> 00:38:57.789
much they wanted this to happen, you know, as

00:38:57.789 --> 00:39:00.829
well. And, uh, and I think, and another thing

00:39:00.829 --> 00:39:02.849
you're, you're a, you're a, you know, a guy that's

00:39:02.849 --> 00:39:05.360
talking about songs. I think you'd be surprised

00:39:05.360 --> 00:39:08.699
how many people don't write their big hits, you

00:39:08.699 --> 00:39:13.119
know? And I think, you know, just the general

00:39:13.119 --> 00:39:16.000
person on TikTok, they like to point out, you

00:39:16.000 --> 00:39:18.920
know, oh, SR71. Yeah, SR71. That's great. You

00:39:18.920 --> 00:39:21.099
know, but, you know, I don't take that as a negative.

00:39:21.179 --> 00:39:24.840
You know, it's a positive thing. And we all got

00:39:24.840 --> 00:39:27.239
a bunch of plaques on the wall from that song.

00:39:27.769 --> 00:39:30.090
Now, you were mentioning the collaborative effort

00:39:30.090 --> 00:39:32.849
of 1985, and I want to dive into that a little

00:39:32.849 --> 00:39:36.650
bit more because you recorded a cover of Hanson's

00:39:36.650 --> 00:39:39.909
Where's the Love with the members of Hanson as

00:39:39.909 --> 00:39:42.829
a single for the Don't Mind If We Do album. You

00:39:42.829 --> 00:39:46.190
also did a split EP with Kelly Ogden and the

00:39:46.190 --> 00:39:49.250
Dolly Rots, which is the Dolly Rots versus Bowling

00:39:49.250 --> 00:39:51.449
for Soup, where you each covered each other's

00:39:51.449 --> 00:39:54.909
music. You also worked with Poison. We were talking

00:39:54.909 --> 00:39:57.250
hair bands before. Poison's Bret Michaels on

00:39:57.250 --> 00:40:00.210
a cover of Sublime's What I Got. And you collaborated

00:40:00.210 --> 00:40:02.710
with, I mentioned them earlier, Blues Traveler

00:40:02.710 --> 00:40:05.449
on I Know Right and Right Here Waiting for You

00:40:05.449 --> 00:40:09.190
on their 2015 album, Blow Up the Moon. Can you

00:40:09.190 --> 00:40:12.590
talk about how these collaborations come together

00:40:12.590 --> 00:40:15.849
in a traditional sense and maybe what all the

00:40:15.849 --> 00:40:19.349
bands take away from the crossovers and the cross

00:40:19.349 --> 00:40:24.150
-pollinization of genres here? I mean, that's

00:40:24.150 --> 00:40:26.250
a super complicated question because every one

00:40:26.250 --> 00:40:28.530
of those things you listed is a completely different

00:40:28.530 --> 00:40:31.510
story, different relationship. Fair. You know,

00:40:31.590 --> 00:40:34.909
I mean, it's, you know, it's for us and the Dolly

00:40:34.909 --> 00:40:37.690
Rots, you know, doing a split seven inch around

00:40:37.690 --> 00:40:39.750
a tour, you know, that's kind of where that,

00:40:39.809 --> 00:40:42.449
I had done that before. We had, we did a tour

00:40:42.449 --> 00:40:44.210
with the Dolly Rots and a band called Patent

00:40:44.210 --> 00:40:47.369
Pending, Rob's original band. And we actually

00:40:47.369 --> 00:40:50.000
did a whole album of that. where we all put a

00:40:50.000 --> 00:40:52.360
new song and we covered one of each of the other

00:40:52.360 --> 00:40:54.559
band's songs. Is that the One Big Happy compilation?

00:40:55.000 --> 00:40:58.320
One Big Happy, yeah. And so each one of those

00:40:58.320 --> 00:41:02.119
is its own thing. With Brett, his guitar player

00:41:02.119 --> 00:41:04.699
Pete Evick is a good friend of mine, and I met

00:41:04.699 --> 00:41:07.579
him because Pete is a really big Bowling Pursuit

00:41:07.579 --> 00:41:11.219
fan, and thus Brett became a fan, and I got asked

00:41:11.219 --> 00:41:15.780
to be a part of that. Blues Traveler, all of

00:41:15.780 --> 00:41:19.199
those songs on that record are all collaboration.

00:41:19.579 --> 00:41:21.659
So they went and worked with 303 and they went

00:41:21.659 --> 00:41:24.360
and worked with a lot of different other bands.

00:41:24.460 --> 00:41:27.000
And so when they came in, I had them for two

00:41:27.000 --> 00:41:31.760
days and I got to write with John and we wrote

00:41:31.760 --> 00:41:34.000
one song the first day and we recorded it. We

00:41:34.000 --> 00:41:35.579
wrote one song the next day and recorded it.

00:41:35.840 --> 00:41:38.320
And everybody in our bands played on them and

00:41:38.320 --> 00:41:41.000
stuff like that. And I got to produce freaking

00:41:41.000 --> 00:41:44.250
John Popper in the studio, which was great. You

00:41:44.250 --> 00:41:45.590
know, a lot of times it's about relationships

00:41:45.590 --> 00:41:48.429
and sometimes it's about ideas. You know, I think

00:41:48.429 --> 00:41:51.289
a lot of times you've got a smart manager or

00:41:51.289 --> 00:41:53.570
smart and our person that puts two people together

00:41:53.570 --> 00:41:57.750
for me. most of these have have been most of

00:41:57.750 --> 00:41:59.929
my stuff most most of my collaborations have

00:41:59.929 --> 00:42:02.329
been about relationships whether it's just you

00:42:02.329 --> 00:42:04.070
know wanting to do something with a friend or

00:42:04.070 --> 00:42:06.210
you know being asked to do something by a friend

00:42:06.210 --> 00:42:09.469
or you know somebody's kid is a fan and they're

00:42:09.469 --> 00:42:12.010
like i get this guy to do this you know so um

00:42:12.010 --> 00:42:15.550
so it just varies but you know i think collaboration

00:42:15.550 --> 00:42:19.889
is one of the one of the key components to to

00:42:19.889 --> 00:42:23.250
to it all like you learn so much just from writing

00:42:23.250 --> 00:42:26.440
songs with other people and i think also fans

00:42:26.440 --> 00:42:29.599
love to know that their that their favorite bands

00:42:29.599 --> 00:42:31.900
like each other and stuff it's a reason why you

00:42:31.900 --> 00:42:34.739
know when you go see a tour you know you always

00:42:34.739 --> 00:42:37.719
almost always see one of the bands come out on

00:42:37.719 --> 00:42:39.780
stage with one of the other bands and stuff because

00:42:39.780 --> 00:42:43.119
that shows this camaraderie that shows that oh

00:42:43.119 --> 00:42:45.119
man that's so cool that they do that and that

00:42:45.119 --> 00:42:46.900
they know each other and that they love one another

00:42:46.900 --> 00:42:49.760
and you know and all that and so i think that's

00:42:49.760 --> 00:42:52.019
one of the it's very special aspect of the whole

00:42:52.019 --> 00:42:56.110
the whole darn thing Well, I could honestly go

00:42:56.110 --> 00:42:58.769
album by album asking you questions about all

00:42:58.769 --> 00:43:00.809
my favorite Bowling for Soup songs, but out of

00:43:00.809 --> 00:43:03.369
respect for your time, I'd like to touch on a

00:43:03.369 --> 00:43:07.170
trio of songs. The first one being my daughter's,

00:43:07.190 --> 00:43:09.289
both of my daughter's favorite Bowling for Soup

00:43:09.289 --> 00:43:11.429
songs. So if I don't ask about this, I'm going

00:43:11.429 --> 00:43:14.030
to get in trouble. And they're both teenagers,

00:43:14.250 --> 00:43:16.809
so they will hold this against me now. You don't

00:43:16.809 --> 00:43:19.909
want any part of that. No, I most certainly don't.

00:43:19.929 --> 00:43:22.829
And that song is a really cool dance song from

00:43:22.829 --> 00:43:26.500
Sorry for Partying. Do you consider Bowling for

00:43:26.500 --> 00:43:30.179
Soup a band that, quote unquote, has no boundaries

00:43:30.179 --> 00:43:32.300
when it comes to recording? Because to kick off

00:43:32.300 --> 00:43:35.659
an album with a song that is literally a dance

00:43:35.659 --> 00:43:38.460
song and you're screaming, it's our new sound.

00:43:38.719 --> 00:43:41.099
That takes a lot of brass, man. But I got to

00:43:41.099 --> 00:43:42.920
admit, it was a home run right out of the gate.

00:43:43.340 --> 00:43:46.900
Yeah, you know, that song, it just it's one of

00:43:46.900 --> 00:43:50.639
those things where it was that time. You know,

00:43:50.639 --> 00:43:53.840
in that time in 2008, 2009, when I was I was

00:43:53.840 --> 00:43:56.940
I came up with that idea. You know, I was I was

00:43:56.940 --> 00:43:59.460
writing my very first songs with my best friend,

00:43:59.599 --> 00:44:01.800
Linus of Hollywood, who would go on to produce

00:44:01.800 --> 00:44:05.179
most of almost every Bowling for Sleep song until

00:44:05.179 --> 00:44:08.460
today. And it was our first time writing together.

00:44:08.920 --> 00:44:12.519
And I was like, I got this idea for a song. And

00:44:12.519 --> 00:44:14.900
it's basically making fun of everybody else in

00:44:14.900 --> 00:44:18.119
my genre because everybody has added all these

00:44:18.119 --> 00:44:21.000
keyboards and he calls them bleep, bleep, bloop,

00:44:21.000 --> 00:44:23.340
bloops. And I'm like, they're all like putting

00:44:23.340 --> 00:44:25.179
the four on the floor beat. You know what I mean?

00:44:25.199 --> 00:44:28.280
Like everybody was doing that. And so it really

00:44:28.280 --> 00:44:30.900
kind of goes back to our reaction with the horns,

00:44:31.059 --> 00:44:33.719
you know, back in the late 90s. It's like, well,

00:44:33.840 --> 00:44:36.519
why don't we just do it? But in this way, let's

00:44:36.519 --> 00:44:38.780
be a little bit silly about it. Let's go in and

00:44:38.780 --> 00:44:41.380
go, hey. We're going to change our whole sound

00:44:41.380 --> 00:44:45.280
to this. And it just couldn't have worked out

00:44:45.280 --> 00:44:48.619
any perfect. I remember we had had the beat down

00:44:48.619 --> 00:44:50.599
and we had already written all the lyrics and

00:44:50.599 --> 00:44:54.519
stuff. And the first time he went, and I was

00:44:54.519 --> 00:44:57.159
just like, oh my God, that's perfect. And so,

00:44:57.239 --> 00:45:00.900
yeah, a song. honestly written to make fun of

00:45:00.900 --> 00:45:03.059
the genre that we hold so near and dear to our

00:45:03.059 --> 00:45:05.800
hearts um you know fortunately we're all back

00:45:05.800 --> 00:45:08.179
out of that i think now i don't think anybody's

00:45:08.179 --> 00:45:10.380
really still doing that anymore but you know

00:45:10.380 --> 00:45:12.860
a place that's up and i think my i don't think

00:45:12.860 --> 00:45:15.300
any of my peers were like upset about it because

00:45:15.300 --> 00:45:18.539
everybody knows who we are you know it's it's

00:45:18.539 --> 00:45:20.880
all in good fun it's definitely one of those

00:45:20.880 --> 00:45:23.570
ones where anytime a dance song is on My girls

00:45:23.570 --> 00:45:25.789
will literally say to me, we are dancing. This

00:45:25.789 --> 00:45:28.610
is awesome. We are dancing and we're dancing,

00:45:28.670 --> 00:45:30.809
dancing because I can't dance for shit. So they

00:45:30.809 --> 00:45:32.829
love to throw that in my face. Well, you can

00:45:32.829 --> 00:45:36.030
tell them this about all of that is all ad -libbed.

00:45:36.070 --> 00:45:40.960
So that's all just like we. all of that is just

00:45:40.960 --> 00:45:44.000
me fucking around at the end of a song and i'd

00:45:44.000 --> 00:45:46.980
had a few beers and and uh you know it's just

00:45:46.980 --> 00:45:49.619
uh you know you got to do do what's called a

00:45:49.619 --> 00:45:52.280
an ad lib section or whatever and and then so

00:45:52.280 --> 00:45:54.900
in all of it and it just damn we're back like

00:45:54.900 --> 00:45:58.760
all of that is just uh it's yeah it's great it's

00:45:58.760 --> 00:46:01.219
funny for me to listen to now because i remember

00:46:01.760 --> 00:46:04.280
laughing about that for days afterwards you know

00:46:04.280 --> 00:46:06.300
and that's that's sort of how most of the stuff

00:46:06.300 --> 00:46:09.340
like even the thing like if i'm talking usually

00:46:09.340 --> 00:46:13.199
in a song for example if only you were here or

00:46:13.199 --> 00:46:15.420
here's your freaking song or whatever almost

00:46:15.420 --> 00:46:18.039
every single one of those is first take because

00:46:18.039 --> 00:46:21.000
i'm really weird about things starting to sound

00:46:21.000 --> 00:46:24.539
rehearsed so i just get up on the mic and do

00:46:24.539 --> 00:46:27.960
what it is i want to do and normally it sticks

00:46:29.389 --> 00:46:32.909
Well, now for the only Brian would ask this question

00:46:32.909 --> 00:46:35.690
portion of the interview. So I apologize in advance,

00:46:35.929 --> 00:46:39.090
but at the beginning of a friendly goodbye from

00:46:39.090 --> 00:46:41.889
the great burrito extortion case, you yell out

00:46:41.889 --> 00:46:44.829
freeze frame as the song kicks in. And I've listened

00:46:44.829 --> 00:46:47.309
to that song a million times and I'm like, this

00:46:47.309 --> 00:46:49.730
doesn't sound like the Jay Giles band. I'm trying

00:46:49.730 --> 00:46:52.190
to picture the keyboard. Is there some connection

00:46:52.190 --> 00:46:55.150
or did you just, was that another ad lib? Hold

00:46:55.150 --> 00:46:57.920
on ad lib. And, uh, You know, we were having

00:46:57.920 --> 00:47:01.219
so much fun making that record. There's a lot

00:47:01.219 --> 00:47:05.059
of Easter eggs like that. And so, no, absolutely

00:47:05.059 --> 00:47:08.280
no real reason why I would have said that. It's

00:47:08.280 --> 00:47:11.940
just don't I say something after that or say

00:47:11.940 --> 00:47:14.039
something before it? I say something and then

00:47:14.039 --> 00:47:17.840
I say freeze frame. But yeah, all ad lib and.

00:47:18.829 --> 00:47:20.869
You know, again, no rhyme, no reason to that.

00:47:20.989 --> 00:47:22.889
OK, so I'm not crazy because I sat there going

00:47:22.889 --> 00:47:25.030
like I'm trying to put the keyboards from freeze

00:47:25.030 --> 00:47:27.250
frame over the guitar. And I'm like, these are

00:47:27.250 --> 00:47:29.510
different keys. What the hell? Thank you for

00:47:29.510 --> 00:47:32.949
clearing that up for me. And now, as my youngest

00:47:32.949 --> 00:47:37.389
and I are both big WWE fans, I'll assume you

00:47:37.389 --> 00:47:41.030
are as well, given the track Alexa Bliss. Why

00:47:41.030 --> 00:47:42.969
the hell hasn't she used that for her entrance

00:47:42.969 --> 00:47:46.349
music yet? You know, I don't know how much control

00:47:46.349 --> 00:47:48.989
she has over that. I mean, you know, I can't

00:47:48.989 --> 00:47:50.730
really speak for her, but I can tell you, you

00:47:50.730 --> 00:47:54.289
know, the WWE is its thing. I mean, it controls

00:47:54.289 --> 00:47:59.610
a lot or all of everything. You know, what I

00:47:59.610 --> 00:48:03.469
can tell you is that, you know, that was a very,

00:48:03.489 --> 00:48:07.469
very lucky relationship because I'm so blessed

00:48:07.469 --> 00:48:09.929
that we're friends and she ended up marrying.

00:48:10.750 --> 00:48:13.449
a friend of mine from back you know me and ryan

00:48:13.449 --> 00:48:15.230
cabrera have known each other since he was a

00:48:15.230 --> 00:48:19.170
kid and because he's from here but you know actually

00:48:19.170 --> 00:48:24.050
i my son who's now 19 had gotten into wrestling

00:48:24.050 --> 00:48:27.010
and so i liked wrestling when i was a kid but

00:48:27.010 --> 00:48:29.070
i'm from texas i like the von eric's you know

00:48:29.070 --> 00:48:32.050
you guys would call the texas tornado but we

00:48:32.050 --> 00:48:34.170
call them carrie von eric the modern day warrior

00:48:34.170 --> 00:48:37.050
and of course now you can see the movie and you

00:48:37.050 --> 00:48:40.250
know that but The Von Eriks were, in fact, if

00:48:40.250 --> 00:48:42.269
you don't know this, I actually used Von Erik

00:48:42.269 --> 00:48:44.889
as my stage name for the first four or five albums.

00:48:45.389 --> 00:48:48.650
And Kevin has made me an honorary Von Erik. So

00:48:48.650 --> 00:48:51.389
it's all legit. But gosh, I can't get to the

00:48:51.389 --> 00:48:54.050
answer to the question. I'm just keep adding

00:48:54.050 --> 00:48:59.150
to this. But yeah, I had seen someone had tagged

00:48:59.150 --> 00:49:02.789
me on Twitter that there was a wrestler who like

00:49:02.789 --> 00:49:06.190
way back in the day had said something about

00:49:06.190 --> 00:49:09.400
us. You know, and I couldn't quite remember who

00:49:09.400 --> 00:49:11.440
it was. And I just sort of put it back there

00:49:11.440 --> 00:49:13.820
or whatever. Well, then me and my son are at

00:49:13.820 --> 00:49:17.739
a wrestling thing here in Dallas. And Alexa Bliss

00:49:17.739 --> 00:49:21.119
comes out and I go, hey, I think that girl. I'm

00:49:21.119 --> 00:49:22.840
not sure how to help you with that. Alexa off.

00:49:23.940 --> 00:49:27.960
I can't say her name anymore. You should have

00:49:27.960 --> 00:49:29.559
heard it when I was recording that song because

00:49:29.559 --> 00:49:31.280
they're everywhere all over this house, by the

00:49:31.280 --> 00:49:34.880
way. So. I said, I think she likes my band. He's

00:49:34.880 --> 00:49:37.420
like, no way. And so I look her up and sure enough,

00:49:37.460 --> 00:49:39.360
I found the tweets. But not only that, I found

00:49:39.360 --> 00:49:42.360
pictures that would turn out to be her final

00:49:42.360 --> 00:49:45.860
photo shoot before she left for training for

00:49:45.860 --> 00:49:48.099
the WWE. And she was wearing a Bowling for Soup

00:49:48.099 --> 00:49:51.440
shirt. And so I just sent her a message in her

00:49:51.440 --> 00:49:54.579
DMs and she messaged right back. Like, hey, are

00:49:54.579 --> 00:49:56.400
you coming backstage? I'm like, no, I'm in the

00:49:56.400 --> 00:49:59.800
nosebleeds up here. Anyway, long story short,

00:49:59.920 --> 00:50:03.079
we met, and it turns out she's a big fan of Bowling

00:50:03.079 --> 00:50:06.880
for Soup, and she's just such a lovely, lovely

00:50:06.880 --> 00:50:09.280
girl, and they have such a beautiful family.

00:50:09.340 --> 00:50:13.500
But the song is because all of these bands just

00:50:13.500 --> 00:50:15.559
have these cock rock songs, you know, what a

00:50:15.559 --> 00:50:17.059
lot of people would call, what do you call it?

00:50:17.619 --> 00:50:20.260
ass rock or any i would call it cock rock but

00:50:20.260 --> 00:50:23.019
which is great but to me they all sound the same

00:50:23.019 --> 00:50:25.260
so i was like why wouldn't this girl who is like

00:50:25.260 --> 00:50:28.639
so set up she suits she sets herself apart so

00:50:28.639 --> 00:50:31.059
well from everything else and she loves pop punk

00:50:31.059 --> 00:50:33.500
like why wouldn't she have a pop punk song and

00:50:33.500 --> 00:50:37.780
so we did the song and wwe was amazing she was

00:50:37.780 --> 00:50:40.420
more amazing and helping get it through but literally

00:50:40.420 --> 00:50:43.079
let her come to my house be in character use

00:50:43.079 --> 00:50:46.860
the suit be in the video like as her like i mean

00:50:47.280 --> 00:50:49.280
I don't know how much you know about the red

00:50:49.280 --> 00:50:51.539
tape that is the WWE, but you could probably

00:50:51.539 --> 00:50:54.059
imagine that was not fucking easy to pull off.

00:50:54.280 --> 00:50:56.579
And she spearheaded that and made sure it happened.

00:50:56.780 --> 00:50:59.780
And there was rumors that we would get to play

00:50:59.780 --> 00:51:02.880
her out at WrestleMania. And then the pandemic

00:51:02.880 --> 00:51:05.900
happened. And so then it's kind of been lost

00:51:05.900 --> 00:51:08.059
in the, and you know, she's in and out of wrestling

00:51:08.059 --> 00:51:11.320
and, and you know, building her family and stuff

00:51:11.320 --> 00:51:13.400
like that. And so I think it probably missed

00:51:13.400 --> 00:51:15.579
the window on it being her walkout song, but.

00:51:16.079 --> 00:51:18.659
To be honest, I'm just happy that the song exists.

00:51:19.059 --> 00:51:22.280
And I'm so happy that, you know, she's a part

00:51:22.280 --> 00:51:26.079
of our lives. And we're really, really lucky.

00:51:26.159 --> 00:51:29.280
As I said, I feel very, very lucky that just

00:51:29.280 --> 00:51:31.780
that one interaction that my kid took and that,

00:51:31.780 --> 00:51:34.380
you know, that ended up, that we ended up building

00:51:34.380 --> 00:51:37.199
this friendship just based on that one, me remembering

00:51:37.199 --> 00:51:40.699
that there was a tweet. Well, in the spirit of

00:51:40.699 --> 00:51:43.800
my weekly mixtape. If you had to choose three

00:51:43.800 --> 00:51:46.119
Bowling for Soup songs that resonate with you

00:51:46.119 --> 00:51:48.159
the most. Now, I'm not talking about the hits

00:51:48.159 --> 00:51:51.940
or the fan favorites. I'm talking about the tracks

00:51:51.940 --> 00:51:55.440
that mean the most to you, Jarrett Reddick, the

00:51:55.440 --> 00:51:58.440
songwriter. Which three would you choose and

00:51:58.440 --> 00:52:04.909
why? Friends of mine. That song is really, really

00:52:04.909 --> 00:52:07.989
important to me and the band and really sums

00:52:07.989 --> 00:52:12.889
up how much I just absolutely love them and what

00:52:12.889 --> 00:52:16.889
we do. Turbulence, because of the lives that

00:52:16.889 --> 00:52:19.449
it's impacted, including mine, and what that

00:52:19.449 --> 00:52:22.369
song will continue to do as long as I'm talking

00:52:22.369 --> 00:52:24.809
about mental health and that song gets associated

00:52:24.809 --> 00:52:29.489
with me and my cause with that, with depression

00:52:29.489 --> 00:52:35.280
and anxiety. and all of that uh and then um i

00:52:35.280 --> 00:52:38.900
mean i really have to say girl the bad guys want

00:52:38.900 --> 00:52:41.039
is just is one of the most special songs in the

00:52:41.039 --> 00:52:43.579
world because the bitch song got us a record

00:52:43.579 --> 00:52:46.519
deal but girl the bad guys want gave us a career

00:52:46.519 --> 00:52:49.980
you know i mean if if it weren't for that you

00:52:49.980 --> 00:52:51.920
know if the bitch song we got to make a record

00:52:51.920 --> 00:52:54.960
and then it did well in the uk but and if it

00:52:54.960 --> 00:52:56.260
weren't for that we wouldn't have got to make

00:52:56.260 --> 00:53:01.050
a second record but had we not had that hit on

00:53:01.050 --> 00:53:03.510
pop radio and crossed over and got the grammy

00:53:03.510 --> 00:53:05.969
nomination and went out and met all these radio

00:53:05.969 --> 00:53:08.750
stations and people and fans and all these things

00:53:08.750 --> 00:53:12.090
because of that song then we would have never

00:53:12.090 --> 00:53:14.530
had the chance to make hangover you don't deserve

00:53:14.530 --> 00:53:17.730
which is you know the the album that that you

00:53:17.730 --> 00:53:22.190
know it's it's it changed our lives and so uh

00:53:22.190 --> 00:53:26.769
you know again it's it's it's funny i a kid i

00:53:26.769 --> 00:53:29.530
just did an interview with a kid before you and

00:53:29.530 --> 00:53:32.269
he he did this thing where he just goes, you

00:53:32.269 --> 00:53:34.050
know, you, you started the band and then you

00:53:34.050 --> 00:53:37.070
had a hit. He did this. Like how, how, how was

00:53:37.070 --> 00:53:39.030
all that or whatever? And I just go, you, that

00:53:39.030 --> 00:53:44.070
is a lot of time. That's a lot of time. But from

00:53:44.070 --> 00:53:45.909
the time we started the band to the time girl,

00:53:45.949 --> 00:53:48.429
the bad guys want was out was nine years. So

00:53:48.429 --> 00:53:51.489
he hit 10 years in 10 years is a third of the

00:53:51.489 --> 00:53:55.590
time we've been a band, you know? So it's. you

00:53:55.590 --> 00:53:58.289
know nothing none of this was was easy so you

00:53:58.289 --> 00:54:01.429
you kind of look back for me i look back on the

00:54:01.429 --> 00:54:03.550
work that those songs did if that makes sense

00:54:03.550 --> 00:54:06.989
and oh wait oh i should tell you this that's

00:54:06.989 --> 00:54:09.949
my first ever like real co -write so i'd only

00:54:09.949 --> 00:54:12.369
written songs either by myself or a few with

00:54:12.369 --> 00:54:15.230
you know the guys in my band me and butch set

00:54:15.230 --> 00:54:17.210
and wrote girl the bad guys want which opened

00:54:17.210 --> 00:54:19.489
up the whole world to me as far as co -writing

00:54:19.489 --> 00:54:21.789
is concerned you know it's just like as i i really

00:54:21.789 --> 00:54:25.010
like that in my life now. So a lot of the material

00:54:25.010 --> 00:54:28.289
wouldn't even exist. So yeah, those are definitely,

00:54:28.469 --> 00:54:31.070
I think those are a safe three and definitely,

00:54:31.170 --> 00:54:34.610
you know, I'll stamp it. All right. So before

00:54:34.610 --> 00:54:37.369
we close out, what does Bowling for Soup have

00:54:37.369 --> 00:54:40.389
in store for 2026 and beyond? Is the most recent

00:54:40.389 --> 00:54:42.789
single holding onto that hate the first taste

00:54:42.789 --> 00:54:45.730
of a new Bowling for Soup album? Absolutely.

00:54:45.829 --> 00:54:48.110
We went and did holding onto that hate with really

00:54:48.110 --> 00:54:51.329
no plans to get in the studio. And once we came

00:54:51.329 --> 00:54:53.730
out of there, It was obvious that we got the

00:54:53.730 --> 00:54:55.710
fever. So we're going up to the Poconos. We're

00:54:55.710 --> 00:54:58.309
going to record a new record in February. We

00:54:58.309 --> 00:55:00.190
have tour dates in Australia with Frank Turner

00:55:00.190 --> 00:55:04.090
already announced. We have plans for the UK and

00:55:04.090 --> 00:55:09.010
the USA and hopefully Japan. And also more releases

00:55:09.010 --> 00:55:11.670
that we already have in the can as well that

00:55:11.670 --> 00:55:15.250
I can't talk about. But so much good stuff. And,

00:55:15.250 --> 00:55:17.989
you know, it's just a true blessing to be able

00:55:17.989 --> 00:55:21.670
to do this still 31 years in. and through band

00:55:21.670 --> 00:55:24.210
member changes and band retirements and to still

00:55:24.210 --> 00:55:28.170
be on the road with my best friends. And, you

00:55:28.170 --> 00:55:30.349
know, I just feel very, very lucky. And, you

00:55:30.349 --> 00:55:32.230
know, and even sitting here talking to you, man,

00:55:32.329 --> 00:55:35.130
it's a true blessing. Well, the honor's been

00:55:35.130 --> 00:55:37.230
all mine. I've been looking forward to sitting

00:55:37.230 --> 00:55:39.289
down with you for a long time. Thank you for

00:55:39.289 --> 00:55:42.090
the many smiles, the many laughs, and the many

00:55:42.090 --> 00:55:44.510
heartfelt moments with Bowling for Soup's music.

00:55:44.690 --> 00:55:47.869
It means the world to me. And thank you for joining

00:55:47.869 --> 00:55:50.610
me on my weekly mixtape. Thanks for having me,

00:55:50.630 --> 00:56:13.860
brother. If you have a suggestion for a future

00:56:13.860 --> 00:56:16.699
episode or you want to chime in on this interview,

00:56:16.880 --> 00:56:19.420
you can hit me up on all the social media haunts

00:56:19.420 --> 00:56:23.659
at My Weekly Mixtape. And you can also join the

00:56:23.659 --> 00:56:27.340
Mixtaper community over at patreon .com forward

00:56:27.340 --> 00:56:30.880
slash My Weekly Mixtape. It's free to join. And

00:56:30.880 --> 00:56:32.760
there's tiers if you'd like to support the show

00:56:32.760 --> 00:56:36.019
on another level. Once again, my name is Brian

00:56:36.019 --> 00:56:38.599
Colburn. This has been my weekly mixtape, and

00:56:38.599 --> 00:56:41.360
I hope you enjoy going down the Bowling for Soup

00:56:41.360 --> 00:56:43.679
rabbit hole because I sure as hell certainly

00:56:43.679 --> 00:56:46.119
have. Thank you all for listening, and we'll

00:56:46.119 --> 00:56:46.800
see you next week.