WEBVTT 00:00:10.830 --> 00:00:14.009 What is going on, everybody? Welcome to My Weekly 00:00:14.009 --> 00:00:17.210 Mixtape, the show that takes the classic mixtape 00:00:17.210 --> 00:00:20.710 approach to building a modern playlist. I'm your 00:00:20.710 --> 00:00:23.809 host, Brian Colburn. And just in case you missed 00:00:23.809 --> 00:00:26.989 last week's announcement, My Weekly Mixtape is 00:00:26.989 --> 00:00:31.440 returning next week for season two. And if you 00:00:31.440 --> 00:00:33.640 want to hear all the details surrounding the 00:00:33.640 --> 00:00:36.399 hiatus and the return, go back and check out 00:00:36.399 --> 00:00:39.299 last week's episode. But for now, I am focusing 00:00:39.299 --> 00:00:42.600 on the future. Now, why am I here today? Well, 00:00:42.719 --> 00:00:45.259 there's a week in between last week's announcement 00:00:45.259 --> 00:00:48.619 and next week's return for season two. So I felt 00:00:48.619 --> 00:00:51.700 like it was a little anticlimactic to have this 00:00:51.700 --> 00:00:54.299 little break in between the announcement and 00:00:54.299 --> 00:00:56.890 the return. So I thought it'd be a lot of fun 00:00:56.890 --> 00:00:59.950 to revisit an episode that I had a great time 00:00:59.950 --> 00:01:02.829 doing with the incredible Emily Wolfe, where 00:01:02.829 --> 00:01:06.609 we dove into all the amazing female artists and 00:01:06.609 --> 00:01:10.890 bands of the 90s to put together a killer female 00:01:10.890 --> 00:01:14.980 20 song playlist. and talk about all the amazing 00:01:14.980 --> 00:01:18.459 female artists from the nineties. Now, in the 00:01:18.459 --> 00:01:21.180 meantime, between this week and next week, I 00:01:21.180 --> 00:01:24.180 am still getting things prepped. So if you have 00:01:24.180 --> 00:01:27.519 playlist ideas that you want to send my way for 00:01:27.519 --> 00:01:30.739 me to try to tackle on future episodes of my 00:01:30.739 --> 00:01:35.060 weekly mixtape, I am all ears and eyes. Hit me 00:01:35.060 --> 00:01:38.540 up with an email, my weekly mixtape at gmail 00:01:38.540 --> 00:01:42.879 .com. or on any of the social media haunts at 00:01:42.879 --> 00:01:46.540 My Weekly Mixtape. You can also head to patreon 00:01:46.540 --> 00:01:50.939 .com forward slash My Weekly Mixtape, where it's 00:01:50.939 --> 00:01:54.079 free to sign up and join and become a part of 00:01:54.079 --> 00:01:57.099 the Patreon Mixtaper community. There's also 00:01:57.099 --> 00:01:59.519 some tiers there if you want to take the extra 00:01:59.519 --> 00:02:02.609 step. but none of that is required. And of course, 00:02:02.609 --> 00:02:06.510 myweeklymixtape .com, all of those avenues. I 00:02:06.510 --> 00:02:09.210 am looking for your suggestions. And next week, 00:02:09.210 --> 00:02:11.990 we are going to start by throwing all of them 00:02:11.990 --> 00:02:15.590 into an online randomizer. And I am going to 00:02:15.590 --> 00:02:20.330 do my best to create serviceable playlists. based 00:02:20.330 --> 00:02:23.810 on your topics, suggestions, and feedback. And 00:02:23.810 --> 00:02:26.949 so far, I have got a lot of fantastic ones coming 00:02:26.949 --> 00:02:29.990 in, and I am looking forward to seeing what else 00:02:29.990 --> 00:02:33.569 the fellow mixtapers send my way. You guys never 00:02:33.569 --> 00:02:36.469 disappoint when it comes to stuff like this, 00:02:36.509 --> 00:02:39.110 so thank you, thank you, thank you. But without 00:02:39.110 --> 00:02:42.310 further ado... Let's take a trip in the My Weekly 00:02:42.310 --> 00:02:45.509 Mixtape time capsule to listen to this fun and 00:02:45.509 --> 00:02:48.710 in -depth discussion I had with Emily as we build 00:02:48.710 --> 00:02:52.610 the ultimate 90s female rock playlist. Enjoy 00:02:52.610 --> 00:02:57.110 the throwback. Joining me tonight as guest curator 00:02:57.110 --> 00:03:00.009 is the incredible singer -songwriter Emily Wolfe. 00:03:00.030 --> 00:03:02.389 Emily, thank you so much for joining me on the 00:03:02.389 --> 00:03:05.060 show tonight. Thanks for having me. I'm excited. 00:03:05.219 --> 00:03:08.800 I love a mixtape and I love an old version of 00:03:08.800 --> 00:03:12.199 a mixtape. So this is great. Well, then you just 00:03:12.199 --> 00:03:15.240 leaned right into my first time guest question. 00:03:15.259 --> 00:03:18.419 And that is, what does the word mixtape mean 00:03:18.419 --> 00:03:23.479 to you? Oh, my gosh. It means, well, when I think 00:03:23.479 --> 00:03:26.500 about a mixtape, I actually have a prop here 00:03:26.500 --> 00:03:29.699 with me. But when I first started recording myself, 00:03:29.939 --> 00:03:33.879 I had this. tape recorder from the 90s. Nice. 00:03:34.360 --> 00:03:37.360 And a tape. And that was how I started recording 00:03:37.360 --> 00:03:39.800 myself in middle school and high school and stuff. 00:03:39.919 --> 00:03:42.879 And I would make my own mixtapes of my own stuff 00:03:42.879 --> 00:03:46.500 to see if it was any good. And then, yeah, I 00:03:46.500 --> 00:03:50.419 mostly burned CDs and stuff in high school. And 00:03:50.419 --> 00:03:52.280 after a while, they all kind of started to be 00:03:52.280 --> 00:03:56.400 the same song over and over again. I guess I'm 00:03:56.400 --> 00:03:58.800 a creature of habit. But yeah, I love a mixtape. 00:03:58.800 --> 00:04:00.800 It was like. Back when I was in high school and 00:04:00.800 --> 00:04:03.599 stuff, it was how you expressed all your emotions. 00:04:03.860 --> 00:04:05.500 You know, if you had a crush on somebody, you 00:04:05.500 --> 00:04:08.460 made a mixtape or a mix CD or all that. And now 00:04:08.460 --> 00:04:11.219 it's playlist, which is fine. But I did enjoy 00:04:11.219 --> 00:04:15.159 the physical media part of that. I have to say, 00:04:15.219 --> 00:04:18.199 when you gave somebody a mixtape or even a mix 00:04:18.199 --> 00:04:22.860 CD, that person knew you put. some time into 00:04:22.860 --> 00:04:25.519 it especially the cassette form because that 00:04:25.519 --> 00:04:28.420 was real time and if you were one of the high 00:04:28.420 --> 00:04:31.860 -end people who had the high speed dubbers maybe 00:04:31.860 --> 00:04:35.379 half time but with a playlist sometimes i feel 00:04:35.379 --> 00:04:37.660 like you could just drag 10 songs onto it and 00:04:37.660 --> 00:04:40.259 send it out it's like how much thought really 00:04:40.259 --> 00:04:43.459 went into this yeah yeah were you thinking about 00:04:43.459 --> 00:04:49.600 this person for 10 seconds or 10 hours with trying 00:04:49.600 --> 00:04:53.199 to put an actual tape together, you know? Well, 00:04:53.220 --> 00:04:55.139 tonight we're going to try to find a cross of 00:04:55.139 --> 00:04:57.600 that. And you and I are going to be co -curating 00:04:57.600 --> 00:05:01.079 a mixtape together with songs that we feel are 00:05:01.079 --> 00:05:05.420 the best 90s female rock songs out there. What 00:05:05.420 --> 00:05:08.139 were you looking to bring to the table with your 00:05:08.139 --> 00:05:11.480 song choices for this evening? Oh my gosh. I 00:05:11.480 --> 00:05:15.319 was looking to bring all the female artists of 00:05:15.319 --> 00:05:20.939 the 90s that just exhibit their rage so gracefully 00:05:20.939 --> 00:05:24.160 and there's no boundaries with the rage like 00:05:24.160 --> 00:05:26.959 uh the first song i picked was uh seether by 00:05:26.959 --> 00:05:29.420 veruca salt because that song is literally about 00:05:29.420 --> 00:05:32.860 female rage being right under the surface at 00:05:32.860 --> 00:05:36.379 all times and yeah it's if somebody says 90s 00:05:36.379 --> 00:05:39.399 female rock that's what i think of first and 00:05:39.399 --> 00:05:42.879 for me it's definitely the rage the angst it's 00:05:42.879 --> 00:05:47.439 the The time in my life where I felt like female 00:05:47.439 --> 00:05:51.560 musicians truly had their own voice. I felt like 00:05:51.560 --> 00:05:55.060 the female artists took it upon themselves to 00:05:55.060 --> 00:05:57.899 say, this is the kind of music that's out there. 00:05:57.939 --> 00:05:59.300 We're going to do it and we're going to do it 00:05:59.300 --> 00:06:01.740 just as good as anybody else out there and even 00:06:01.740 --> 00:06:04.920 better. And there were so many moments throughout 00:06:04.920 --> 00:06:08.120 the 90s that proved that point over and over 00:06:08.120 --> 00:06:10.680 again. I'm really excited to dive into this tonight. 00:06:10.939 --> 00:06:14.209 Yeah. And a few of the Patreon mixtapers chimed 00:06:14.209 --> 00:06:17.170 in with songs they would use to kick things off 00:06:17.170 --> 00:06:19.329 tonight. And I want to give a few quick shout 00:06:19.329 --> 00:06:22.829 outs. Brandon from Virginia chimed in with Ani 00:06:22.829 --> 00:06:26.769 DiFranco's shameless, untouchable face or dilate 00:06:26.769 --> 00:06:29.810 saying her picking style and guitar tone was 00:06:29.810 --> 00:06:33.490 unprecedented and that he saw her at the 930 00:06:33.490 --> 00:06:37.290 Club in the late 90s with Maceo Parker and he 00:06:37.290 --> 00:06:40.870 came out to jam on the diner. Tom Hutchinson 00:06:40.870 --> 00:06:43.889 chimed in with Bikini Kill's Suck My Left One, 00:06:44.069 --> 00:06:47.790 saying Kathleen Hanna's energy is simply fantastic. 00:06:48.569 --> 00:06:51.649 Ben from the Too Vague podcast chimed in saying 00:06:51.649 --> 00:06:54.889 that this was a difficult topic because, as he 00:06:54.889 --> 00:06:58.350 put it, quote, the 90s were the decade that women 00:06:58.350 --> 00:07:01.569 rockers broke the glass ceiling, or at the very 00:07:01.569 --> 00:07:05.370 least, left it severely damaged. But he ended 00:07:05.370 --> 00:07:09.050 up choosing PJ Harvey's Down by the Water. Philip 00:07:09.050 --> 00:07:11.670 Bergman chimed in with Voice of the Beehive's 00:07:11.670 --> 00:07:14.670 Scary Kisses from their Sex and Misery album. 00:07:15.209 --> 00:07:17.850 Seeker from Australia couldn't decide between 00:07:17.850 --> 00:07:21.170 the Baby Animal's Early Warning or the Breeders' 00:07:21.170 --> 00:07:24.610 Cannonball. Jason Doncic chimed in saying we 00:07:24.610 --> 00:07:28.129 can't have this list without Liz Phair's Supernova, 00:07:28.290 --> 00:07:31.629 but he's also a fan of Poe's Trigger Happy Jack. 00:07:32.009 --> 00:07:35.110 Chris Pizica chimed in with both the Cranberry 00:07:35.110 --> 00:07:39.160 Zombie and No Doubt's Just a Girl. Sean Goff 00:07:39.160 --> 00:07:41.459 chimed in saying he agreed that there were so 00:07:41.459 --> 00:07:44.540 many great options for this topic tonight, but 00:07:44.540 --> 00:07:48.860 he chose not an addict by Kay's choice. And finally, 00:07:48.899 --> 00:07:51.860 Chad LaMassa was going to chime in with Garbage's 00:07:51.860 --> 00:07:54.939 Stupid Girl, but Emily, when he saw that you 00:07:54.939 --> 00:07:57.360 were going to be the guest tonight, as a bit 00:07:57.360 --> 00:08:01.379 of synergy here, he changed his pick to Veruca 00:08:01.379 --> 00:08:05.459 Salt's Seether because it leans more towards 00:08:05.459 --> 00:08:08.000 the guitar. Once again, if you'd like to chime 00:08:08.000 --> 00:08:10.959 in for future My Weekly Mixtape episodes, come 00:08:10.959 --> 00:08:13.939 join the fellow mixtapers at patreon .com forward 00:08:13.939 --> 00:08:18.199 slash My Weekly Mixtape. Now, Emily, we know 00:08:18.199 --> 00:08:21.060 your first song is Veruca Salt Seether, just 00:08:21.060 --> 00:08:24.180 the way Chad LaMassa chimed in with. Let's hear 00:08:24.180 --> 00:08:26.500 why you're kicking things off with that track 00:08:26.500 --> 00:08:31.120 tonight. Great. Yeah. You know what? I chose 00:08:31.120 --> 00:08:34.379 this song because it is one of those songs that 00:08:34.379 --> 00:08:37.240 could come out today and it would be relevant 00:08:37.240 --> 00:08:40.519 and make sense just forever. I think it's an 00:08:40.519 --> 00:08:43.059 amazing song. It's one of my favorites. I love 00:08:43.059 --> 00:08:46.740 the guitar tones. I love Louise Post. Actually, 00:08:46.779 --> 00:08:49.080 one time I gave Louise Post a guitar because 00:08:49.080 --> 00:08:52.820 her trailer got stolen on tour and she was rolling 00:08:52.820 --> 00:08:56.000 through Austin. Yeah. And I know her drummer 00:08:56.000 --> 00:08:59.049 and he texted me and he said, hey. all of our 00:08:59.049 --> 00:09:01.549 gear got stolen. Do you happen to have an SG 00:09:01.549 --> 00:09:03.730 for Louise Post? And I was like, dude, I have 00:09:03.730 --> 00:09:08.289 got one. Yes. So I brought an SG to her and it 00:09:08.289 --> 00:09:10.830 was like such a cool moment because Veruca Salt, 00:09:10.929 --> 00:09:13.909 they have such an impact on my music, especially 00:09:13.909 --> 00:09:17.470 my latest record. But yeah, this is just, this 00:09:17.470 --> 00:09:19.929 song is everything to me in terms of 90s female 00:09:19.929 --> 00:09:22.799 rock. Couldn't agree more. It reached number 00:09:22.799 --> 00:09:25.820 eight on the U .S. Billboard Modern Rock Tracks 00:09:25.820 --> 00:09:28.860 chart and also charted in Australia and the UK, 00:09:28.960 --> 00:09:32.419 written by the incredible Nina Gordon, who I 00:09:32.419 --> 00:09:34.779 would have also thought to include some stuff 00:09:34.779 --> 00:09:37.259 from her solo album, Tonight and the Rest of 00:09:37.259 --> 00:09:41.090 My Life. But it came out in 2000, so alas, did 00:09:41.090 --> 00:09:43.490 not make the cut. I mean, how could you not love 00:09:43.490 --> 00:09:46.830 a band who has an EP named Blow It Out Your Ass, 00:09:46.929 --> 00:09:49.870 It's Baruch Assault? Like, that is the vibe we're 00:09:49.870 --> 00:09:52.649 going for tonight. And in a little bit of synergy, 00:09:53.029 --> 00:09:56.590 it's been shown love over the years as the band's 00:09:56.590 --> 00:10:00.460 seether. covered the song Seether on their Greatest 00:10:00.460 --> 00:10:04.519 Hits album if you really want to hear a gender 00:10:04.519 --> 00:10:08.159 -flipped reimagining of the track. So once again, 00:10:08.240 --> 00:10:11.259 shout out to Patreon mixtaper Chad LaMassa, who 00:10:11.259 --> 00:10:14.360 also chimed in with this one. Chad has seen you 00:10:14.360 --> 00:10:17.899 perform recently in Maryland, and he had mentioned 00:10:17.899 --> 00:10:20.580 to me that you might remember him as he's the 00:10:20.580 --> 00:10:25.100 guy who has your wolf shirt tattooed on his arm. 00:10:25.179 --> 00:10:28.700 Oh, yeah, yeah, Chad. That's awesome. Dang. What's 00:10:28.700 --> 00:10:33.139 up, Chad? Yeah, that guy rules. Yeah, he's awesome. 00:10:33.299 --> 00:10:35.600 He's a huge supporter of the show. He loves your 00:10:35.600 --> 00:10:38.000 music. And he was the one who said, hey, Brian, 00:10:38.080 --> 00:10:40.500 if there's any chance you can ever get Emily 00:10:40.500 --> 00:10:42.179 Wolfe on the show, I'm like, dude, I'm going 00:10:42.179 --> 00:10:43.960 to make it happen. I love her music. Let's make 00:10:43.960 --> 00:10:46.759 this happen. That's awesome. I'm excited that 00:10:46.759 --> 00:10:49.320 this is happening tonight. And following up Veruca 00:10:49.320 --> 00:10:52.740 Salt, I have to give another Patreon shout out 00:10:52.740 --> 00:10:56.269 because Seeker chimed in with this one. I've 00:10:56.269 --> 00:10:59.409 talked about this song five times in 90 episodes 00:10:59.409 --> 00:11:01.669 of my weekly mixtape, and there's a reason for 00:11:01.669 --> 00:11:05.809 that. When a song is just iconic to the point 00:11:05.809 --> 00:11:09.830 that you hear a second of a bass line and you 00:11:09.830 --> 00:11:13.620 immediately know the song. It just is embedded 00:11:13.620 --> 00:11:17.679 in my musical DNA. The first time I heard the 00:11:17.679 --> 00:11:21.059 opening bass line to the Breeders' Cannonball, 00:11:21.179 --> 00:11:23.519 I was immediately sucked in as a bass player 00:11:23.519 --> 00:11:26.879 myself. I mean, Kim Deal's vocals are amazing. 00:11:27.220 --> 00:11:30.620 Don't get me wrong. It's powerful. It kicks through 00:11:30.620 --> 00:11:33.340 the song, the distortion, the energy, the power. 00:11:34.519 --> 00:11:37.679 Josephine Wig's bass line is just so iconic. 00:11:38.019 --> 00:11:41.860 It's a perfect snapshot of early 90s rock. The 00:11:41.860 --> 00:11:44.740 song reached number 44 on the U .S. Billboard 00:11:44.740 --> 00:11:49.379 Hot 100. And I have to admit, I love seeing modern 00:11:49.379 --> 00:11:52.639 artists who are having their major moment showing 00:11:52.639 --> 00:11:56.080 love to artists to help them get there. Because 00:11:56.080 --> 00:11:59.279 Olivia Rodrigo... brought the breeders out on 00:11:59.279 --> 00:12:02.600 tour this year for their 30th anniversary of 00:12:02.600 --> 00:12:05.679 Last Splash. And that's introducing the breeders 00:12:05.679 --> 00:12:08.539 to a brand new generation of people who might, 00:12:08.679 --> 00:12:12.080 who definitely didn't experience them the first 00:12:12.080 --> 00:12:14.019 time around. So I absolutely love when things 00:12:14.019 --> 00:12:17.059 like that happen. Yeah, me too. That's awesome. 00:12:17.240 --> 00:12:20.539 I think Olivia Rodrigo also covered Seether. 00:12:20.700 --> 00:12:23.379 Did she? Like at a show, yeah. Because I went 00:12:23.379 --> 00:12:25.730 and saw them and... I noticed a lot of Jin's 00:12:25.730 --> 00:12:29.690 ears. I was like, what is this? And then, yeah, 00:12:29.850 --> 00:12:32.330 Buddy was like, oh yeah, no, Olivia Rodrigo covered 00:12:32.330 --> 00:12:35.490 Seether, which is awesome. So that's great. But 00:12:35.490 --> 00:12:38.230 yeah, that bass line in Cannonball, I also love 00:12:38.230 --> 00:12:40.570 that it mimics a drum part just so completely. 00:12:40.710 --> 00:12:42.690 So it's like got so much rhythm and it's like, 00:12:42.730 --> 00:12:47.409 you know, it's just like so cool. And the tone 00:12:47.409 --> 00:12:50.049 of it, I don't think there's any other song that 00:12:50.049 --> 00:12:53.220 I know. where it's like the baseline is just 00:12:53.220 --> 00:12:55.840 the coolest part of the song, you know? And as 00:12:55.840 --> 00:12:58.240 a bass player, for me, that just puts a little 00:12:58.240 --> 00:13:02.240 extra smile on my face because let's be honest, 00:13:02.279 --> 00:13:04.220 the bass players don't always get the love. And 00:13:04.220 --> 00:13:07.480 when there's a baseline that's so iconic that 00:13:07.480 --> 00:13:09.799 decades later, we're still talking about it. 00:13:09.799 --> 00:13:13.779 Bravo. Yeah, for sure. All right. So now you 00:13:13.779 --> 00:13:16.720 get to follow up a one -two punch of Ruka Salt 00:13:16.720 --> 00:13:20.149 Seether and the Breeders' Cannonball. How do 00:13:20.149 --> 00:13:22.970 we keep this energy going? You got to keep it 00:13:22.970 --> 00:13:25.750 going with Tracy Bonham, Mother Mother. Yes. 00:13:25.950 --> 00:13:30.370 That song is crazy. It is so wild. Just like 00:13:30.370 --> 00:13:34.149 the first part of it, just acoustic strumming 00:13:34.149 --> 00:13:37.009 and like then out of nowhere, it's just like 00:13:37.009 --> 00:13:39.809 band, you know, like the tension is broken and 00:13:39.809 --> 00:13:42.570 you didn't even expect it. And it's like the 00:13:42.570 --> 00:13:46.159 most climactic chorus. It's so cool. The entire 00:13:46.159 --> 00:13:49.419 album, 1996 is the burdens of being upright is 00:13:49.419 --> 00:13:52.539 amazing, but. To me, this might be one of the 00:13:52.539 --> 00:13:56.620 most visceral screams of the decade. The everything's 00:13:56.620 --> 00:13:59.799 fine. I mean, I actually heard that she had to 00:13:59.799 --> 00:14:03.100 cancel some shows on her tour because she blew 00:14:03.100 --> 00:14:06.019 her voice out and had to learn how to scream 00:14:06.019 --> 00:14:09.240 it properly so she could do it night after night 00:14:09.240 --> 00:14:12.480 and be able to deliver it. Because you listen 00:14:12.480 --> 00:14:14.980 to that album and that cuts through your soul, 00:14:15.159 --> 00:14:18.519 that scream. You feel it. And the song topped 00:14:18.519 --> 00:14:21.799 the U .S. Modern Rock Tracks chart in the U .S. 00:14:21.820 --> 00:14:25.919 and also charted in Australia, Canada, and New 00:14:25.919 --> 00:14:29.279 Zealand, among several other countries. Interesting 00:14:29.279 --> 00:14:32.820 fact about Mother Mother. It was the last song 00:14:32.820 --> 00:14:37.580 by a female solo artist to top that chart until 00:14:37.580 --> 00:14:43.080 Lord's Royals in 2013. as the modern rock tracks 00:14:43.080 --> 00:14:47.200 chart was then renamed to the Billboard Alternative 00:14:47.200 --> 00:14:51.159 Songs chart. So there was almost a 20 -year span 00:14:51.159 --> 00:14:54.840 where a female artist didn't top the chart. Wow. 00:14:55.220 --> 00:14:59.120 That is wild. I did not know that. And way too 00:14:59.120 --> 00:15:02.240 long, to be perfectly honest. Yeah, for sure. 00:15:02.519 --> 00:15:06.360 But to follow that, I'm going to break down the 00:15:06.360 --> 00:15:09.279 visceralness, if that's even a word, just a little 00:15:09.279 --> 00:15:12.639 bit. And I'm going to bring up a song that I 00:15:12.639 --> 00:15:16.639 had the honor back on episode 44 of diving into 00:15:16.639 --> 00:15:19.279 a lot deeper than I'm going to go into tonight. 00:15:19.679 --> 00:15:24.440 But off of their 1993 album, Aurora Goriales, 00:15:24.860 --> 00:15:28.019 we have to go with Letters to Cleo here and now. 00:15:28.340 --> 00:15:31.059 A lot of people were introduced to this song 00:15:31.059 --> 00:15:33.639 via the Melrose Place soundtrack. But if you 00:15:33.639 --> 00:15:37.620 were into the indie punk scene in 1993, you were 00:15:37.620 --> 00:15:40.960 already familiar with this. Kay Hanley joined 00:15:40.960 --> 00:15:44.759 me for episode 44, and we did a deep dive into 00:15:44.759 --> 00:15:49.019 Aurora Goriales, as well as all the amazing things 00:15:49.019 --> 00:15:53.539 she has done in music, all the way from the 10 00:15:53.539 --> 00:15:55.799 Things I Hate About You soundtrack, Josie and 00:15:55.799 --> 00:15:59.279 the Pussycats, Star Trek. She has done so much 00:15:59.279 --> 00:16:02.620 for music. I just highly suggest going back and 00:16:02.620 --> 00:16:04.539 listening to that episode if you want to hear 00:16:04.539 --> 00:16:08.450 more about Letters to Cleo. a completely underrated 00:16:08.450 --> 00:16:12.610 band in the 90s how they weren't massive blows 00:16:12.610 --> 00:16:16.289 my mind because consistency straight through 00:16:16.289 --> 00:16:20.490 every album every song and k is just an absolute 00:16:20.490 --> 00:16:24.049 delight yeah letters to cleo super underrated 00:16:24.049 --> 00:16:28.330 i first heard letters to cleo actually on a radio 00:16:28.330 --> 00:16:30.710 station i was like what is this how come i have 00:16:30.710 --> 00:16:34.870 never heard this before And yeah, I loved it. 00:16:34.889 --> 00:16:37.210 I think it was a girl to be kind is what I heard 00:16:37.210 --> 00:16:39.830 on the radio, but yeah, here now is an incredible 00:16:39.830 --> 00:16:43.529 song too. Very underrated. So how do we follow 00:16:43.529 --> 00:16:50.389 that up? Oh, whole celebrity skin. Yes. One of 00:16:50.389 --> 00:16:53.450 my favorite recordings ever. I don't know what 00:16:53.450 --> 00:16:56.309 it is. It's just like something about the, the 00:16:56.309 --> 00:16:59.809 sonics and the tones and like the bass tone is 00:16:59.809 --> 00:17:03.059 huge. I think they used like some kind of like 00:17:03.059 --> 00:17:06.440 sub octaver, like rack mount sub octaver for 00:17:06.440 --> 00:17:08.880 that bass. Cause it's like, if you really like 00:17:08.880 --> 00:17:11.299 chime into it, it's just like, there's so much 00:17:11.299 --> 00:17:13.799 sub bass. And then all the guitars just fill 00:17:13.799 --> 00:17:17.380 in this mid range so well. And it's so sarcastic 00:17:17.380 --> 00:17:20.299 and just so great. I love that song. Reached 00:17:20.299 --> 00:17:23.279 number 85 on the Billboard US Hot 100. Personally, 00:17:23.519 --> 00:17:25.799 I thought it would have been a lot higher than 00:17:25.799 --> 00:17:29.059 that, but it did top the US alternative airplay 00:17:29.059 --> 00:17:32.380 charts and also charted in Australia, Canada, 00:17:32.779 --> 00:17:35.880 Europe, France, and a bunch of other countries. 00:17:36.400 --> 00:17:39.279 Easily their most commercially successful track. 00:17:39.460 --> 00:17:42.640 And it's been in... countless movies, TV shows 00:17:42.640 --> 00:17:45.200 and video games. Believe it or not, the song 00:17:45.200 --> 00:17:48.160 was co -written by Billy Corgan of the Smashing 00:17:48.160 --> 00:17:50.799 Pumpkins. He's the one who Courtney Love said 00:17:50.799 --> 00:17:54.500 came up with the guitar riff for the song. So 00:17:54.500 --> 00:17:57.019 that's a pretty cool collaboration. And then 00:17:57.019 --> 00:18:00.259 while we're talking female fronted rock acts, 00:18:00.400 --> 00:18:04.279 the band Garbage, the lyrics from Celebrity Skin 00:18:04.279 --> 00:18:07.680 actually inspired the name of their third album, 00:18:07.880 --> 00:18:11.799 Beautiful Garbage. came from the lyrics of celebrity 00:18:11.799 --> 00:18:17.819 skin wow i didn't know that yeah yeah wow cool 00:18:17.819 --> 00:18:20.259 so there's a lot of love going on between some 00:18:20.259 --> 00:18:22.299 of the artists we're talking about tonight i'm 00:18:22.299 --> 00:18:24.200 gonna guess we're not gonna get through 20 songs 00:18:24.200 --> 00:18:27.339 without talking about garbage but for now we 00:18:27.339 --> 00:18:31.240 haven't talked about them yet but to follow that 00:18:31.240 --> 00:18:34.359 up i want to bring a little bit of the punk side 00:18:34.359 --> 00:18:37.460 of things into this yeah And when I think of 00:18:37.460 --> 00:18:40.940 female punk in the 90s, one of the first bands 00:18:40.940 --> 00:18:44.460 that comes to my mind are the Muffs. But I'm 00:18:44.460 --> 00:18:46.819 not going to go off their self -titled. As much 00:18:46.819 --> 00:18:49.319 as I love that song, I could have easily gone 00:18:49.319 --> 00:18:52.140 with Lucky Guy or Big Mouth. I love that album. 00:18:53.259 --> 00:18:56.680 A movie that really resonated with me in the 00:18:56.680 --> 00:18:59.839 90s was a movie called Angus. And that soundtrack 00:18:59.839 --> 00:19:04.119 was something that... I played nonstop when I 00:19:04.119 --> 00:19:08.180 was in college. And along with the Angus soundtrack, 00:19:08.480 --> 00:19:12.079 this song was also featured on their 1995 album 00:19:12.079 --> 00:19:15.420 Blonder and Blonder. And the song is called Funny 00:19:15.420 --> 00:19:19.980 Face. Kimberly Shattuck had such a unique voice. 00:19:20.259 --> 00:19:24.809 Yeah. Such a distinct. There was a gravel to 00:19:24.809 --> 00:19:27.789 it, but also a beauty and a softness to it. Yeah. 00:19:27.890 --> 00:19:30.109 And I think because we talked about them before, 00:19:30.190 --> 00:19:33.869 there's an amazing acoustic cover that Kim performed 00:19:33.869 --> 00:19:37.289 with both Nina Gordon and Louise Post of Veruca 00:19:37.289 --> 00:19:43.210 Salt prior to Kim's tragic passing from ALS. 00:19:43.230 --> 00:19:46.089 And the three of them harmonizing on that song 00:19:46.089 --> 00:19:49.569 together, I literally have the hair on my arm 00:19:49.569 --> 00:19:52.319 standing up. with goosebumps just talking about 00:19:52.319 --> 00:19:55.359 it. I'm going to embed the performance on the 00:19:55.359 --> 00:19:58.440 episode page at myweeklymixtape .com because 00:19:58.440 --> 00:20:01.980 hearing those three voices together is just absolute 00:20:01.980 --> 00:20:05.059 perfection to me. And yeah, we have to talk funny 00:20:05.059 --> 00:20:08.680 face tonight. Yeah. Such an interesting song. 00:20:09.079 --> 00:20:11.759 And yeah, like I watched that acoustic cover 00:20:11.759 --> 00:20:16.180 and it was so crazy. Like just, I don't know. 00:20:16.200 --> 00:20:18.339 There's, I wish that I knew the right word for 00:20:18.339 --> 00:20:21.769 this song because it's like, It almost like pokes 00:20:21.769 --> 00:20:24.549 fun at pain for some, I don't know if that makes 00:20:24.549 --> 00:20:27.430 a lot of sense, but it's just like funny face. 00:20:27.549 --> 00:20:30.309 I mean, it's like, you know, taking like not 00:20:30.309 --> 00:20:33.710 taking things as seriously as, as you may feel 00:20:33.710 --> 00:20:36.970 them, I guess. But yeah, the muffs, that's another 00:20:36.970 --> 00:20:40.049 one that I heard on a radio station along with 00:20:40.049 --> 00:20:41.569 letters to Cleo. I was like, what is this? How 00:20:41.569 --> 00:20:44.289 come I haven't heard this before? But yeah, that's 00:20:44.289 --> 00:20:47.519 a great choice. Thank you. So now I'm going to 00:20:47.519 --> 00:20:50.700 throw it back to you. We are up to track seven 00:20:50.700 --> 00:20:55.740 on side A. Great. I went with Sheryl Crow, If 00:20:55.740 --> 00:21:00.700 It Makes You Happy, which I, yeah, I know that, 00:21:00.700 --> 00:21:05.680 you know, Sheryl Crow's less grunge than a lot 00:21:05.680 --> 00:21:09.339 of these songs, but those lyrics are grunge as 00:21:09.339 --> 00:21:12.799 hell. If you really listen to them, because the 00:21:12.799 --> 00:21:15.819 first verse doesn't really make sense. And then 00:21:15.819 --> 00:21:18.920 she straight up says like, well, I'm just making 00:21:18.920 --> 00:21:22.819 this up. And then she like, I don't know, it's 00:21:22.819 --> 00:21:26.799 just very like middle finger, but it's also really 00:21:26.799 --> 00:21:30.039 beautiful, which I think is it's one of my favorite 00:21:30.039 --> 00:21:34.559 things in a song is when the lyrics are a little 00:21:34.559 --> 00:21:38.019 bit juxtaposed with the music. I think it makes 00:21:38.019 --> 00:21:40.619 things really interesting. That it does, from 00:21:40.619 --> 00:21:44.119 her 1996 eponymous release. Reached number 10 00:21:44.119 --> 00:21:47.759 on the Billboard US Hot 100, number 9 on the 00:21:47.759 --> 00:21:51.400 UK Singles Chart, and number 1 on Canada's Top 00:21:51.400 --> 00:21:54.720 Singles Chart. Also a hit in Australia, Germany, 00:21:55.000 --> 00:21:57.660 Europe, France, and several other countries. 00:21:58.500 --> 00:22:01.599 Shockingly, though, If It Makes You Happy was 00:22:01.599 --> 00:22:06.319 Sheryl Crow's final top 10 solo hit in the US. 00:22:07.099 --> 00:22:09.319 And you think about all the hits she had after 00:22:09.319 --> 00:22:13.059 that. Soak Up the Sun only reached number 17. 00:22:13.460 --> 00:22:16.599 The First Cut is the Deepest only reached 14. 00:22:17.119 --> 00:22:20.299 The only other time she cracked the top 10 after 00:22:20.299 --> 00:22:24.160 If It Makes You Happy was with Kid Rock and the 00:22:24.160 --> 00:22:28.660 Picture Duet. To me, that makes zero sense. And 00:22:28.660 --> 00:22:32.940 this is my all -time favorite Sheryl Crow song. 00:22:33.160 --> 00:22:36.380 It checks off all the boxes for me musically. 00:22:36.990 --> 00:22:41.150 emotionally, lyrically. When my band, Colburn 00:22:41.150 --> 00:22:44.910 & Company, jams on this track, I absolutely cheat 00:22:44.910 --> 00:22:47.650 because our female singer does the verses and 00:22:47.650 --> 00:22:51.329 I love the lyrics so much. I actually half -step 00:22:51.329 --> 00:22:54.009 harmonize the verses, even though they don't 00:22:54.009 --> 00:22:58.150 belong. I just love the song so much. I just 00:22:58.150 --> 00:23:01.029 enjoy adding that little layer because people 00:23:01.029 --> 00:23:03.509 don't expect to hear it and it's a lot of fun. 00:23:03.849 --> 00:23:07.579 And the song just... It gets you in the feels. 00:23:07.640 --> 00:23:10.920 It really does. Yeah. Yeah. There's like a defeat 00:23:10.920 --> 00:23:14.200 in the lyrics. And it's like one of those types 00:23:14.200 --> 00:23:16.200 of defeat that you're like, yeah, I've been there. 00:23:16.299 --> 00:23:18.740 I know what you're talking about. Great song. 00:23:18.940 --> 00:23:21.880 And I'm going to follow up that defeat with another 00:23:21.880 --> 00:23:24.380 song that Colburn and Company performs. It's 00:23:24.380 --> 00:23:27.759 probably one of my favorite songs of the 90s. 00:23:27.759 --> 00:23:31.140 And when we talk about underrated, this band, 00:23:31.240 --> 00:23:34.779 I think, has to. be in discussion. Yes, they've 00:23:34.779 --> 00:23:38.140 had hits. And this song reached number 19 on 00:23:38.140 --> 00:23:41.619 the Billboard U .S. Hot 100, number four on Canada's 00:23:41.619 --> 00:23:44.099 top singles chart, and number two in Australia. 00:23:44.460 --> 00:23:47.700 It also topped the Billboard U .S. Modern Rock 00:23:47.700 --> 00:23:52.339 Tracks chart. However, it's the only song to 00:23:52.339 --> 00:23:56.099 crack the U .S. Hot 100 for Concrete Blonde. 00:23:56.099 --> 00:24:00.259 And that is Joey from 1990s Bloodletting. That 00:24:00.259 --> 00:24:04.500 makes zero sense to me. God is a Bullet, Someday, 00:24:04.579 --> 00:24:07.279 their cover of Leonard Cohen's Everybody Knows 00:24:07.279 --> 00:24:10.720 from the Pump Up the Volume soundtrack. To me, 00:24:10.740 --> 00:24:13.720 it's shocking that this band wasn't massive. 00:24:13.980 --> 00:24:17.619 Jeanette Napolitano has such a unique and distinct 00:24:17.619 --> 00:24:22.740 voice. I can't fathom how the label didn't get 00:24:22.740 --> 00:24:26.519 behind them more because this song is just, every 00:24:26.519 --> 00:24:28.680 time it's on, it stops me dead in my tracks. 00:24:29.380 --> 00:24:34.660 Yeah, I know. It's crazy. I feel like this song 00:24:34.660 --> 00:24:37.279 should have been as big as like, what's that 00:24:37.279 --> 00:24:40.099 police song? The big police song. Every Breath 00:24:40.099 --> 00:24:43.000 You Take? Yeah. Yeah. It's got like, I don't 00:24:43.000 --> 00:24:45.299 know. Like to me, it feels like it should have 00:24:45.299 --> 00:24:47.799 been that big. This is the kind of song that 00:24:47.799 --> 00:24:50.519 if you were to bust out a cover at one of your 00:24:50.519 --> 00:24:53.539 shows, I would love to hear your rendition of 00:24:53.539 --> 00:24:56.740 because I feel like your voice really could channel 00:24:56.740 --> 00:25:00.369 that. energy and that angst that she brings through 00:25:00.369 --> 00:25:04.890 in that song but also the depth and the vulnerability 00:25:04.890 --> 00:25:07.970 that the song shares i feel like is something 00:25:07.970 --> 00:25:10.329 that you could really hone not that i'm throwing 00:25:10.329 --> 00:25:13.049 cover song ideas out there you know what i'm 00:25:13.049 --> 00:25:15.490 gonna do it that's an awesome idea and i love 00:25:15.490 --> 00:25:17.910 that song and i'm so glad that you mentioned 00:25:17.910 --> 00:25:20.970 that because like yeah the line that they were 00:25:20.970 --> 00:25:24.670 she says like if you're hurting so am i god it 00:25:24.670 --> 00:25:28.069 just gets me every time you know It's just an 00:25:28.069 --> 00:25:30.690 amazing song. And her voice. She played bass 00:25:30.690 --> 00:25:34.369 too, right? Yeah. Yeah. More love for bassists. 00:25:34.410 --> 00:25:37.430 I know. A lot of bass. Honestly, dude, 90s bass 00:25:37.430 --> 00:25:42.849 tones, the best tones. I love 90s bass. Agreed. 00:25:43.029 --> 00:25:46.549 All right. Well, we now each have one song left 00:25:46.549 --> 00:25:49.609 for Side A. What do you have for track nine? 00:25:50.250 --> 00:25:53.890 Track nine. We got to Garbage finally. All right. 00:25:54.250 --> 00:25:58.319 Yeah. Only happy when it rains. One of my favorite 00:25:58.319 --> 00:26:03.259 garbage songs. I love this song. Yeah. It's just 00:26:03.259 --> 00:26:06.500 like admitting like, yeah, I kind of like when 00:26:06.500 --> 00:26:10.220 things hurt. I don't, I'm not afraid to admit 00:26:10.220 --> 00:26:13.799 it. And just the vocal take is amazing. I just 00:26:13.799 --> 00:26:17.140 love that vocal take. This song is an absolute, 00:26:17.279 --> 00:26:21.680 I use this term a lot, but this song is a vibe. 00:26:21.880 --> 00:26:25.450 Yeah, it sure is. They captured what Butch Vig 00:26:25.450 --> 00:26:28.210 was able to put together with Garbage and the 00:26:28.210 --> 00:26:30.069 talent that he had in that group. And then you 00:26:30.069 --> 00:26:34.130 add Shirley's perfect voice for the landscape 00:26:34.130 --> 00:26:38.509 that is the music bed underneath this song. Pour 00:26:38.509 --> 00:26:42.970 your misery down on me. It just works so perfectly. 00:26:43.710 --> 00:26:46.410 It's the follow -up to Stupid Girl. Personally, 00:26:46.809 --> 00:26:49.829 and I might piss off some Garbage fans here, 00:26:49.910 --> 00:26:52.640 but I think it's the better of the two. reach 00:26:52.640 --> 00:26:56.839 number 55 on the billboard us hot 100 also charted 00:26:56.839 --> 00:27:00.420 in australia the uk and canada not a top 40 hit 00:27:00.420 --> 00:27:04.579 absolute mistake i mean this song has been covered 00:27:04.579 --> 00:27:08.579 by everyone from hailstorm to new year's day 00:27:08.579 --> 00:27:12.740 to metallica who covered the song acoustically 00:27:12.740 --> 00:27:16.400 at the 2007 neil young bridge school benefits 00:27:16.400 --> 00:27:20.559 show wow if metallica is taking time out of their 00:27:20.559 --> 00:27:24.799 set to acoustically reimagine a song you know 00:27:24.799 --> 00:27:28.559 this song has hit on a different level and i 00:27:28.559 --> 00:27:32.099 think this is a perfect example of why that is 00:27:32.099 --> 00:27:36.380 this song is just amazing yeah and classic too 00:27:36.380 --> 00:27:39.440 every time it comes on i don't know i just think 00:27:39.440 --> 00:27:42.599 if this was their debut song right now today 00:27:42.599 --> 00:27:45.900 people would be all about it you know i just 00:27:45.900 --> 00:27:48.109 feel like Yeah, totally. It's just timeless. 00:27:48.430 --> 00:27:51.930 And now I'm going to close outside with a song 00:27:51.930 --> 00:27:55.089 that I also feel is timeless, but this is going 00:27:55.089 --> 00:27:58.309 to be one that might draw some eyebrows because 00:27:58.309 --> 00:28:01.390 believe it or not, some critics have rated this 00:28:01.390 --> 00:28:06.369 song poorly, which I am going to disagree with 00:28:06.369 --> 00:28:09.230 at the highest level. And we're going to go back 00:28:09.230 --> 00:28:12.190 to 1992 and their album, bigger, better, faster, 00:28:12.230 --> 00:28:15.049 and more. And I'm going to go with Four Non Blondes 00:28:15.049 --> 00:28:17.809 What's Up to close out Side A. Reached number 00:28:17.809 --> 00:28:22.329 14 on the Billboard US Hot 100, but it was number 00:28:22.329 --> 00:28:25.650 one in a dozen countries, including Ireland, 00:28:25.829 --> 00:28:28.930 Germany, Austria, Norway, and Sweden, among others. 00:28:29.470 --> 00:28:33.509 It's a worldwide hit. Wow. Modern country artist 00:28:33.509 --> 00:28:36.150 Lainey Wilson, who's a country artist I am a 00:28:36.150 --> 00:28:39.309 huge fan of, covered the track on her 2022 album, 00:28:39.410 --> 00:28:41.750 Bell -Bottomed Country. So the song is still 00:28:41.750 --> 00:28:45.710 getting love. Linda Perry is a pop songwriting 00:28:45.710 --> 00:28:49.230 force. She's penned hits for Pink, Christina 00:28:49.230 --> 00:28:53.309 Aguilera, Celine Dion, Alicia Keys, Miley Cyrus, 00:28:53.910 --> 00:28:57.289 Gwen Stefani. And she's also written rock songs 00:28:57.289 --> 00:29:00.230 for Cheap Trick, Unwritten Law, and like you 00:29:00.230 --> 00:29:04.190 mentioned before, whole Courtney Love. To me, 00:29:04.390 --> 00:29:06.809 What's Up was the tip of the iceberg for Linda 00:29:06.809 --> 00:29:10.049 Perry songwriting. And this song actually holds 00:29:10.049 --> 00:29:12.430 a little bit of a personal meaning for me when 00:29:12.430 --> 00:29:15.430 I think back to when I first got the song on 00:29:15.430 --> 00:29:18.109 cassette. I was on a road trip from New Jersey 00:29:18.109 --> 00:29:21.130 to Maine and we stopped off at a gas station 00:29:21.130 --> 00:29:23.089 and there just happened to be a Coconuts music 00:29:23.089 --> 00:29:26.329 store across the street from the gas station. 00:29:26.690 --> 00:29:29.529 So I asked my parents if I can run across the 00:29:29.529 --> 00:29:32.009 street and grab a couple of cassette singles 00:29:32.009 --> 00:29:35.109 for my Walkman. And they were kind enough to 00:29:35.109 --> 00:29:37.000 give me the... because they had the three for 00:29:37.000 --> 00:29:40.059 $10 cassette single sale. And I grabbed Four 00:29:40.059 --> 00:29:43.279 Nom Blondes, What's Up, The Proclaimers, I Would 00:29:43.279 --> 00:29:47.220 Walk 500 Miles, and DJ Jazzy Jeff and the Fresh 00:29:47.220 --> 00:29:50.960 Prince, Boom Shake the Room. And we played What's 00:29:50.960 --> 00:29:54.000 Up probably 500 times in the car over and over 00:29:54.000 --> 00:29:57.819 again. For me, it's the summer of 1993 encapsulated 00:29:57.819 --> 00:30:01.859 in cassette form. I love her voice. I love her 00:30:01.859 --> 00:30:05.279 songwriting. And I know the song gets put on 00:30:05.279 --> 00:30:07.420 these worst song ever lists and I just don't 00:30:07.420 --> 00:30:11.700 get it. I just don't get it. Yeah. It's so interesting 00:30:11.700 --> 00:30:15.539 because people who love this song, love it with 00:30:15.539 --> 00:30:18.319 every fiber of their being. People who hate the 00:30:18.319 --> 00:30:21.099 song, hate it so much. And it's really interesting 00:30:21.099 --> 00:30:24.900 how divided people are on it because it's like, 00:30:24.940 --> 00:30:29.650 to me, the melody. of the the vocal part of this 00:30:29.650 --> 00:30:32.789 song is so beyond fearless that i can't even 00:30:32.789 --> 00:30:35.849 like i can't even explain like how i mean she 00:30:35.849 --> 00:30:39.210 goes all over the scale it's like crazy where 00:30:39.210 --> 00:30:41.730 she goes and then in the chorus there's like 00:30:41.730 --> 00:30:46.250 a big release like that big huh like way like 00:30:46.250 --> 00:30:50.029 just out there and i think that's cool i've always 00:30:50.029 --> 00:30:52.349 thought it's cool how fearless her melodies are 00:30:52.779 --> 00:30:56.920 Amen. And that, mixtapers, concludes side A of 00:30:56.920 --> 00:31:00.220 the ultimate 90s female rock mixtape, which consists 00:31:00.220 --> 00:31:04.259 of Veruca Salt Seether, The Breeders' Cannonball, 00:31:04.559 --> 00:31:07.720 Tracy Bonham's Mother Mother, Letters to Cleo 00:31:07.720 --> 00:31:11.279 Here and Now, Hull's Celebrity Skin, The Muffs' 00:31:11.359 --> 00:31:14.440 Funny Face, Sheryl Crow's If It Makes You Happy, 00:31:14.759 --> 00:31:18.140 Concrete Blonde's Joey, Garbage, Only Happy When 00:31:18.140 --> 00:31:21.700 It Rains, and For Non Blondes, What's Up. Head 00:31:21.700 --> 00:31:24.440 over to myweeklymixtape .com to hear all the 00:31:24.440 --> 00:31:27.339 songs we've discussed in this mix through the 00:31:27.339 --> 00:31:31.680 playlist embedded on the episode page. So now 00:31:31.680 --> 00:31:34.299 we're flipping this proverbial mixtape over to 00:31:34.299 --> 00:31:36.539 side B and I'm going to kick things off and I'm 00:31:36.539 --> 00:31:40.579 going to go a little bit different for my first 00:31:40.579 --> 00:31:43.079 choice. And this is actually the third time I'm 00:31:43.079 --> 00:31:47.450 choosing this song. for a my weekly mixtape playlist 00:31:47.450 --> 00:31:50.430 and damn it i'll choose it a fourth time if i 00:31:50.430 --> 00:31:52.170 can get a chance because it's just one of those 00:31:52.170 --> 00:31:56.769 songs that it rocks and yet you kind of want 00:31:56.769 --> 00:32:01.029 to dance to it it's a stadium anthem but there's 00:32:01.029 --> 00:32:04.670 a guitar riff that's undeniable and saffron's 00:32:04.670 --> 00:32:08.619 vocals from republica's ready to go from their 00:32:08.619 --> 00:32:12.700 self -titled 1996 album lend themselves to this 00:32:12.700 --> 00:32:16.279 unique crossover which was unlike anything i'd 00:32:16.279 --> 00:32:19.339 ever heard in the decade this band had two hits 00:32:19.339 --> 00:32:22.519 from that album drop dead gorgeous which reached 00:32:22.519 --> 00:32:27.480 number 93 on the u .s billboard hot 100 and then 00:32:27.480 --> 00:32:31.680 ready to go reach number 56 wasn't a top 40 hit 00:32:31.680 --> 00:32:37.029 but was inescapable in 1996 and is inescapable 00:32:37.029 --> 00:32:40.950 in 2024 because go to a football game, go to 00:32:40.950 --> 00:32:44.549 a baseball game. This song is playing. This is 00:32:44.549 --> 00:32:47.509 a stadium anthem, but there's just something 00:32:47.509 --> 00:32:50.529 about it that you could play it in a dance club 00:32:50.529 --> 00:32:53.049 and you could play it in a rock band and it'd 00:32:53.049 --> 00:32:56.750 work in both places. And there's just a uniqueness 00:32:56.750 --> 00:32:59.829 to it that I absolutely love. So Republic is 00:32:59.829 --> 00:33:02.829 ready to go to kick off side B plus ready to 00:33:02.829 --> 00:33:07.210 go. Feels like a kickoff song. Yeah. This song 00:33:07.210 --> 00:33:09.650 is awesome. I don't know. It's just like it's 00:33:09.650 --> 00:33:11.869 one of those hits because at some point in your 00:33:11.869 --> 00:33:14.250 life, everybody's ready to go, you know, do something. 00:33:14.589 --> 00:33:17.390 So it's like no matter what, you can just throw 00:33:17.390 --> 00:33:20.089 it on when you're ready to go. You know, I'm 00:33:20.089 --> 00:33:22.930 ready to go to the grocery store or I'm ready 00:33:22.930 --> 00:33:26.769 to go kill this day or I'm ready to go win the 00:33:26.769 --> 00:33:29.789 championship. It's just like genius to me that 00:33:29.789 --> 00:33:33.710 it's so simple and it's so clear. And yeah, it's. 00:33:34.059 --> 00:33:35.859 It just gets me pumped every time I hear it. 00:33:36.259 --> 00:33:38.500 All right. So what are we going to go with for 00:33:38.500 --> 00:33:43.900 track two? Garbage. Number one, crush. Oh, double 00:33:43.900 --> 00:33:47.799 dose of garbage in this episode. All right. Amazing. 00:33:48.359 --> 00:33:52.440 I would die for you is like the most amazing 00:33:52.440 --> 00:33:57.200 lyric. It's just like, like it's so intense and 00:33:57.200 --> 00:34:01.640 it's like so much. And I love it because it's, 00:34:01.640 --> 00:34:05.039 it just goes so deep because. That is just so 00:34:05.039 --> 00:34:08.920 fearless, like that she's going to say what everybody 00:34:08.920 --> 00:34:12.940 is scared to say about their crush. I would die 00:34:12.940 --> 00:34:19.440 for you. That is incredible to me. 1996 is Romeo 00:34:19.440 --> 00:34:22.539 and Juliet. I was working at a record shop around 00:34:22.539 --> 00:34:25.360 that time, and I feel like this was one of those 00:34:25.360 --> 00:34:29.039 soundtracks that almost eclipsed the popularity 00:34:29.039 --> 00:34:31.940 of the movie itself between number one crush. 00:34:32.750 --> 00:34:36.829 Love Fool by the Cardigans, Local God from Everclear, 00:34:36.929 --> 00:34:40.929 and Talk Show Host by Radiohead. This was a soundtrack 00:34:40.929 --> 00:34:43.849 that everyone needed to get their hands on. This 00:34:43.849 --> 00:34:46.469 was originally released as a B -side to their 00:34:46.469 --> 00:34:49.730 single Vow, but then remixed for the soundtrack 00:34:49.730 --> 00:34:52.929 where it topped the Billboard US Alternative 00:34:52.929 --> 00:34:56.250 Airplay chart and Canada Rock and Alternative 00:34:56.250 --> 00:34:59.250 chart. Shocked it didn't make the self -titled 00:34:59.250 --> 00:35:01.980 album because this is just a... perfect garbage 00:35:01.980 --> 00:35:05.780 track yeah the drums love the drums in this song 00:35:05.780 --> 00:35:09.340 butch vig was a master it is a master not was 00:35:09.340 --> 00:35:13.679 it is a master yeah true yeah killer song so 00:35:13.679 --> 00:35:16.260 to follow that up for track three we got almost 00:35:16.260 --> 00:35:18.380 this little bit of a groove going here it's a 00:35:18.380 --> 00:35:21.480 little dancier than side a so i'm gonna lean 00:35:21.480 --> 00:35:25.440 into that and go with a bit of a controversial 00:35:25.440 --> 00:35:30.650 pick because yes this song is a bit more Britpop 00:35:30.650 --> 00:35:36.989 than rock. But to me, Britpop has always, sorry, 00:35:37.050 --> 00:35:42.130 I can't resist, blurred the lines. When you think 00:35:42.130 --> 00:35:45.179 about bands like Blur and Oasis, Britpop. But 00:35:45.179 --> 00:35:48.760 this track has controversy on top of that. And 00:35:48.760 --> 00:35:51.739 this is Elastica's connection from their 1995 00:35:51.739 --> 00:35:55.280 self -titled album. Reached number 53 on the 00:35:55.280 --> 00:35:58.960 Billboard US Hot 100, as well as number 17 in 00:35:58.960 --> 00:36:02.360 the UK, with the highest peak being number nine 00:36:02.360 --> 00:36:06.119 on Canada's top singles chart. However, the main 00:36:06.119 --> 00:36:11.059 guitar riff is strikingly similar to Wire's three 00:36:11.059 --> 00:36:14.699 -girl rumba, to the point... where an out -of 00:36:14.699 --> 00:36:17.739 -court settlement was reached and the songwriting 00:36:17.739 --> 00:36:20.960 credits were changed. But regardless of all of 00:36:20.960 --> 00:36:25.239 that, I just adore Justine Fritchman's voice 00:36:25.239 --> 00:36:29.099 on the track. And to me, 1995 was my senior year 00:36:29.099 --> 00:36:32.340 in high school. So this song was just a snapshot 00:36:32.340 --> 00:36:36.940 of that year for me. And it keeps that kind of 00:36:36.940 --> 00:36:42.460 dance rock vibe that you're getting. from Republica 00:36:42.460 --> 00:36:44.739 and garbage. It kind of keeps that vibe going. 00:36:44.960 --> 00:36:47.920 Yeah. And it's like, um, have you seen the video? 00:36:48.119 --> 00:36:51.460 Oh yeah. Music video videos. Cool. It's just 00:36:51.460 --> 00:36:55.599 them. Just, just staring at you. It's awesome. 00:36:55.639 --> 00:36:59.179 They're looking into your soul. Yeah. Yeah. I 00:36:59.179 --> 00:37:02.760 know it's a killer song. All right. Track four. 00:37:02.820 --> 00:37:06.099 We're back to you. Oh my gosh. Another Veruca 00:37:06.099 --> 00:37:10.699 salt, uh, volcano girls. Perfect. Yeah. this 00:37:10.699 --> 00:37:13.619 one is another one that's heavily inspired me 00:37:13.619 --> 00:37:17.480 i just love the sarcasm in it and i love like 00:37:17.480 --> 00:37:22.559 the you know there's like immense power underneath 00:37:22.559 --> 00:37:27.460 this like kind of kitschy like little lady pop 00:37:27.460 --> 00:37:30.860 thing going on and it's just i don't know there's 00:37:30.860 --> 00:37:33.480 so much rage underneath it and i love it it's 00:37:33.480 --> 00:37:37.059 like you just peel back layer after layer with 00:37:37.059 --> 00:37:41.010 this song 1997's Eight Arms to Hold You. For 00:37:41.010 --> 00:37:44.510 me, this is my personal favorite Baruch assault 00:37:44.510 --> 00:37:48.269 song. So when you chose Seether, I had this in 00:37:48.269 --> 00:37:50.550 my bank and I was like, oh, I guess we're not 00:37:50.550 --> 00:37:53.090 going to get to it. But here we are. Reach number 00:37:53.090 --> 00:37:55.809 eight on the Billboard Modern Rock Tracks chart 00:37:55.809 --> 00:37:59.269 and number four on the Canada Alternative 30 00:37:59.269 --> 00:38:02.590 chart. It also charted in Sweden, Australia, 00:38:02.789 --> 00:38:05.820 and the UK. What else needs to be said about 00:38:05.820 --> 00:38:08.179 Veruca Salt? We've talked about them several 00:38:08.179 --> 00:38:12.739 times tonight already, but God, I'm stoked we're 00:38:12.739 --> 00:38:14.860 including this one tonight along with Seether 00:38:14.860 --> 00:38:19.360 because the callback to Seether in Volcano Girls 00:38:19.360 --> 00:38:25.760 just works so well. How often does a band call 00:38:25.760 --> 00:38:29.159 back their... hit from there. Like that's something 00:38:29.159 --> 00:38:32.139 that never happened before. And that just shows 00:38:32.139 --> 00:38:36.300 such a swagger to it. It's a musical chef's kiss. 00:38:36.480 --> 00:38:38.900 Yeah. Because you're right. You love the original, 00:38:39.039 --> 00:38:42.340 but here's the new hit, but guess what? We're 00:38:42.340 --> 00:38:44.019 going to give you a little taste of the original 00:38:44.019 --> 00:38:47.099 just to take it over the top. It literally is 00:38:47.099 --> 00:38:50.579 a spinal tap 11 moment for me. Yeah, totally. 00:38:51.139 --> 00:38:54.400 Yeah. It's like, Oh shit. Yeah. No, I love that. 00:38:54.500 --> 00:38:57.619 And then, um, I love the lyrics, too. Like, I 00:38:57.619 --> 00:39:00.300 don't want to go. You know, that's so cool that 00:39:00.300 --> 00:39:03.840 they just said it. I don't want to go. It's awesome. 00:39:04.360 --> 00:39:07.760 Well, I'm going to follow that up with what can 00:39:07.760 --> 00:39:12.059 only be described as a flying giant friction 00:39:12.059 --> 00:39:17.400 blast. An alternative rock ode to sex from 1994's 00:39:17.400 --> 00:39:21.360 Whipsmart, Liz Phair's Supernova. Reached number 00:39:21.360 --> 00:39:24.920 78 on the Billboard U .S. Hot 100, number 59 00:39:24.920 --> 00:39:28.739 on Canada's Top Singles, and number 43 in Australia. 00:39:29.199 --> 00:39:32.420 Song was nominated for a Grammy for Best Female 00:39:32.420 --> 00:39:37.380 Rock Performance in 1995. Inescapable on radio. 00:39:37.739 --> 00:39:40.679 And what might come as a surprise to some people, 00:39:40.719 --> 00:39:43.139 because I'll be honest, when I was reading up 00:39:43.139 --> 00:39:46.679 on this song, it shocked me. Supernova was not 00:39:46.679 --> 00:39:50.150 Liz Phair's highest charting single. That would 00:39:50.150 --> 00:39:54.110 actually go to Why Can't I from her 2003 self 00:39:54.110 --> 00:39:58.690 -titled album. Wow. Exactly. I had no idea. I 00:39:58.690 --> 00:40:01.590 was like, what? How the hell is Supernova not 00:40:01.590 --> 00:40:04.750 her biggest charting hit? Why can't I chart it 00:40:04.750 --> 00:40:08.349 higher? But regardless, this is a 90s mixtape, 00:40:08.570 --> 00:40:12.130 so Supernova had to be in the fold. Shout out 00:40:12.130 --> 00:40:15.110 to Patreon mixtaper Jason Donchus, who also chimed 00:40:15.110 --> 00:40:18.469 in with this one. A classic. Absolute classic. 00:40:18.829 --> 00:40:22.840 Yeah. Classic. I love Liz Phair. That's so interesting 00:40:22.840 --> 00:40:27.599 about her top hit, because like this one kicks 00:40:27.599 --> 00:40:31.699 ass. Supernova is so killer. And then, you know, 00:40:31.760 --> 00:40:38.039 why can't I is it's it's good. You know, I know 00:40:38.039 --> 00:40:41.440 I probably make some people upset, but I that's 00:40:41.440 --> 00:40:43.539 my opinion. I think it was a top 40 hit. It hit 00:40:43.539 --> 00:40:48.300 number 32. Why can't I? And 78 for Supernova. 00:40:48.730 --> 00:40:50.989 I love both songs. Don't get me wrong. I'm not 00:40:50.989 --> 00:40:55.449 knocking. Why can't I? Yeah. But Supernova, I 00:40:55.449 --> 00:40:59.030 was a different age in 1994. That song hit differently 00:40:59.030 --> 00:41:03.309 back then. Yeah. Yeah, for sure. Well, we are 00:41:03.309 --> 00:41:05.769 now back to you for track six. We got the second 00:41:05.769 --> 00:41:08.670 half of Side B. We're picking up the energy a 00:41:08.670 --> 00:41:12.329 little bit here. Where do we go? Yeah. You Oughta 00:41:12.329 --> 00:41:16.329 Know by Alanis Morissette. Of course. Yes. Had 00:41:16.329 --> 00:41:19.869 to do it. Had to do it. That's my favorite song 00:41:19.869 --> 00:41:23.989 of the 90s. That one and Caesar. It's just like, 00:41:24.030 --> 00:41:26.710 I don't know what happened there, but she struck 00:41:26.710 --> 00:41:30.190 gold emotionally there. Well, and financially. 00:41:30.469 --> 00:41:36.099 Yeah, of course. Yeah. Banger. Some guy named 00:41:36.099 --> 00:41:40.519 Flea playing bass on the track. The lead single 00:41:40.519 --> 00:41:42.639 from, I'm going to call Jagged Little Pill a 00:41:42.639 --> 00:41:45.639 masterpiece. Is that okay? Do you agree? 100%. 00:41:45.639 --> 00:41:48.000 Yeah. Absolute masterpiece. Number six on the 00:41:48.000 --> 00:41:51.320 Billboard US Hot 100, as well as on the Canada 00:41:51.320 --> 00:41:54.579 Top Singles chart. Given Alanis is from Canada, 00:41:54.619 --> 00:41:57.280 I'm actually shocked it didn't chart higher in 00:41:57.280 --> 00:42:00.239 Canada, but it also charted in the UK, Europe, 00:42:00.320 --> 00:42:03.360 Australia, and several other countries. I mean, 00:42:03.949 --> 00:42:06.429 Weird Al put his stamp on it on the alternative 00:42:06.429 --> 00:42:09.530 polka from the Bad Hair Day album. And when Weird 00:42:09.530 --> 00:42:11.849 Al acknowledges the song, you know it's gold. 00:42:12.230 --> 00:42:14.929 I had the chance to catch the Jagged Little Pill 00:42:14.929 --> 00:42:19.110 tour in 1996 at the Raleigh Civic Center in Raleigh, 00:42:19.110 --> 00:42:22.570 North Carolina. If my memory serves me correct, 00:42:22.869 --> 00:42:25.730 the venue held about a thousand people at the 00:42:25.730 --> 00:42:29.650 time. And this was 1996. People would mosh to 00:42:29.650 --> 00:42:32.719 anything. People would mosh the blues traveler 00:42:32.719 --> 00:42:36.059 around this time. And the lineup was Loud Lucy 00:42:36.059 --> 00:42:39.400 and Alanis Morissette. And in the 90s, I was 00:42:39.400 --> 00:42:43.940 in pits from bands from Metallica to Green Day. 00:42:44.199 --> 00:42:50.019 And I never saw carnage like I saw at that Alanis 00:42:50.019 --> 00:42:53.119 Morissette pit. I was getting kicked in the face, 00:42:53.380 --> 00:42:57.920 bodies flying everywhere. It was complete insanity. 00:42:59.079 --> 00:43:02.619 This song had just exploded the crowd. I think 00:43:02.619 --> 00:43:06.079 they oversold it. It was just a sea of people. 00:43:06.239 --> 00:43:09.000 You couldn't move around. But when you did, it 00:43:09.000 --> 00:43:11.980 was just it was the most violent show I'd ever 00:43:11.980 --> 00:43:14.699 been to in my life. And in hindsight, it's also 00:43:14.699 --> 00:43:17.539 bittersweet because it was the first time I got 00:43:17.539 --> 00:43:20.539 to see Taylor Hawkins of the Foo Fighters on 00:43:20.539 --> 00:43:23.760 drums because he was Alanis' touring drummer 00:43:23.760 --> 00:43:27.289 at the time. Yeah. A staple of the 90s. I think 00:43:27.289 --> 00:43:30.309 people would be yelling at us if we didn't include 00:43:30.309 --> 00:43:34.849 this song. So I love it. So now I'm going to 00:43:34.849 --> 00:43:36.409 go with something that's going to pivot a little 00:43:36.409 --> 00:43:39.030 bit here. Because we've been talking a lot of 00:43:39.030 --> 00:43:40.909 the alternative, a lot of the heavier stuff. 00:43:41.389 --> 00:43:43.670 And there's a voice that I feel like deserves 00:43:43.670 --> 00:43:47.610 to be on this playlist. But it's not alternative. 00:43:48.010 --> 00:43:50.510 But it certainly rocks. Because when I think 00:43:50.510 --> 00:43:53.989 about rock voices of the 90s. This song originally 00:43:53.989 --> 00:43:57.750 didn't catch fire in the U .S. for this artist. 00:43:57.829 --> 00:44:01.690 However, after Come to My Window became a hit, 00:44:01.869 --> 00:44:05.250 the song was re -released and peaked higher, 00:44:05.389 --> 00:44:08.550 reaching No. 8 on the Billboard U .S. Hot 100 00:44:08.550 --> 00:44:12.409 and No. 1 on the Billboard U .S. Adult Contemporary 00:44:12.409 --> 00:44:17.530 Chart. Also hit No. 12 in Canada, making it Melissa 00:44:17.530 --> 00:44:20.329 Etheridge's biggest hit. I'm going to go with 00:44:20.329 --> 00:44:23.460 I'm the Only One. If you want to hear an incredible 00:44:23.460 --> 00:44:27.599 Melissa Etheridge story, episode 55, the ultimate 00:44:27.599 --> 00:44:31.679 modern blues rock playlist with Jax Hollow, as 00:44:31.679 --> 00:44:35.179 she talks about her show opening for Melissa 00:44:35.179 --> 00:44:38.059 at the Ryman Ornatorium. It's a really cool story. 00:44:38.400 --> 00:44:42.659 This was a time in 90s radio where the radio 00:44:42.659 --> 00:44:46.659 was a musical smorgasbord. You can have Melissa 00:44:46.659 --> 00:44:50.519 Etheridge. followed up by The Breeders, followed 00:44:50.519 --> 00:44:54.280 up by 10 ,000 Maniacs, followed up by Sheryl 00:44:54.280 --> 00:44:58.079 Crow, followed up by Mazzy Star. That was 1993 00:44:58.079 --> 00:45:02.840 for you. And yet it all worked. They all fell 00:45:02.840 --> 00:45:07.019 together into this category of just rock. So 00:45:07.019 --> 00:45:09.539 yeah, it feels weird putting Melissa Etheridge 00:45:09.539 --> 00:45:13.639 after Alanis because it's blues rock. But for 00:45:13.639 --> 00:45:17.139 some reason in the 90s, radio was just like, 00:45:17.530 --> 00:45:20.429 all encompassing and it just everybody fit in 00:45:20.429 --> 00:45:23.170 and it was a beautiful moment in music and i 00:45:23.170 --> 00:45:25.869 feel like this song just has to be there yeah 00:45:25.869 --> 00:45:29.349 this is an incredible song the vocal take and 00:45:29.349 --> 00:45:33.130 performance of that whole thing like especially 00:45:33.130 --> 00:45:37.610 that chorus unreal so so good one of my favorite 00:45:37.610 --> 00:45:40.829 songs well following that up we've got only a 00:45:40.829 --> 00:45:45.969 few left here three left three left yeah i picked 00:45:46.860 --> 00:45:50.179 A little subdued one. Mazzy Star, Fade Into You. 00:45:50.559 --> 00:45:55.039 Ooh. Yeah. Taking it down a notch. Yeah, gotta 00:45:55.039 --> 00:45:57.119 take it down, you know? Because we're like, bam, 00:45:57.219 --> 00:45:59.619 bam, bam. Gotta put a little slow one in there, 00:45:59.679 --> 00:46:02.440 you know? This song is another timeless one. 00:46:02.579 --> 00:46:06.019 It's amazing. I love it. Vocal take is just like, 00:46:06.119 --> 00:46:09.880 it just sits in my ears so perfectly. Every time 00:46:09.880 --> 00:46:15.179 I hear it, I just feel calm. And great. Oh, yeah. 00:46:15.800 --> 00:46:18.920 Is it wrong to call it like sultry? I just feel 00:46:18.920 --> 00:46:21.760 like there's just such a beauty to the vocal 00:46:21.760 --> 00:46:25.880 performance on this track. And once again, number 00:46:25.880 --> 00:46:29.320 44 on the Billboard U .S. Top 100, not a top 00:46:29.320 --> 00:46:34.199 40 hit. How is that humanly? The United States 00:46:34.199 --> 00:46:36.739 got it wrong. Yeah, this should have been a number 00:46:36.739 --> 00:46:41.420 one hit. This is a snapshot of 1993 like no other. 00:46:42.170 --> 00:46:46.010 And hell, I just mentioned it with Melissa Etheridge 00:46:46.010 --> 00:46:49.130 as being part of that group of female artists 00:46:49.130 --> 00:46:51.650 that were all on the radio at the same time. 00:46:51.750 --> 00:46:55.130 How was this not bigger? I don't know. It's crazy. 00:46:55.389 --> 00:46:58.389 It's so crazy what's massive and what's not, 00:46:58.489 --> 00:47:02.210 even still today. I don't get it. Well, I'm going 00:47:02.210 --> 00:47:05.030 to go one year later for my last song pick of 00:47:05.030 --> 00:47:08.130 the night. And I'm going to go with a name that, 00:47:08.210 --> 00:47:10.789 like some of the others we've talked about tonight, 00:47:11.659 --> 00:47:13.940 I feel like we'd be doing a disservice if we 00:47:13.940 --> 00:47:15.980 don't bring to the conversation. And this song 00:47:15.980 --> 00:47:19.360 reached number one on the Billboard U .S. Alternative 00:47:19.360 --> 00:47:22.980 Airplay chart and topped the charts in Australia, 00:47:23.239 --> 00:47:27.360 Zimbabwe, Belgium, France, Germany, Denmark, 00:47:27.659 --> 00:47:31.219 and Iceland. Similar to the Veruca Salt cover 00:47:31.219 --> 00:47:33.079 we talked about at the beginning of the night, 00:47:33.179 --> 00:47:37.849 in 2017, Bad Wolves recorded a gender flipped 00:47:37.849 --> 00:47:40.869 cover that would go on to be a hit version as 00:47:40.869 --> 00:47:45.130 well from 1994's No Need to Argue, The Cranberry 00:47:45.130 --> 00:47:49.750 Zombie. Dolores O 'Rourke was supposed to sing 00:47:49.750 --> 00:47:53.329 on Bad Wolves version, but sadly passed before 00:47:53.329 --> 00:47:57.900 that collaboration took place. Her along with 00:47:57.900 --> 00:48:00.280 Sinead O 'Connor, I would say, were two of the 00:48:00.280 --> 00:48:04.420 most recognizable voices of the 90s, where as 00:48:04.420 --> 00:48:07.659 soon as you heard a song, you're like, oh, that's 00:48:07.659 --> 00:48:11.260 the Cranberries. And God, she'll forever be missed. 00:48:11.460 --> 00:48:16.440 Her voice was just such a force. Yeah. And this 00:48:16.440 --> 00:48:19.360 song means so much to so many people. And it 00:48:19.360 --> 00:48:23.570 just invokes. A joy, even though the song is 00:48:23.570 --> 00:48:28.389 alternative and dark and heavy, people just gravitate 00:48:28.389 --> 00:48:32.469 to this song and it just captures your attention 00:48:32.469 --> 00:48:35.409 and never lets go. I got to give a shout out 00:48:35.409 --> 00:48:37.789 to Patreon mixtape or seeker who chimed in from 00:48:37.789 --> 00:48:41.130 Australia with this one as well. Just a perfect 00:48:41.130 --> 00:48:44.250 song. It is. It's weird. It's one of those songs 00:48:44.250 --> 00:48:46.690 that like unlock something in you that you didn't 00:48:46.690 --> 00:48:50.739 know was there. Like, um, I don't know. It's 00:48:50.739 --> 00:48:52.940 just a bunch of different emotions, like all 00:48:52.940 --> 00:48:55.219 wrapped into one. And then for some reason you 00:48:55.219 --> 00:48:58.699 end up screaming the chorus every time, you know, 00:48:58.699 --> 00:49:01.800 no matter where you're at. So it's a great choice. 00:49:02.039 --> 00:49:05.039 Well, thank you for that. And Emily, you have 00:49:05.039 --> 00:49:09.559 the pleasure or fear. You have to close out the 00:49:09.559 --> 00:49:12.639 night. We've been talking about so many amazing 00:49:12.639 --> 00:49:15.619 artists tonight. What do you think is going to 00:49:15.619 --> 00:49:19.760 put the final stamp on our 90s female rock playlist 00:49:19.760 --> 00:49:23.840 this evening? I had to go with PJ Harvey, Down 00:49:23.840 --> 00:49:27.940 by the Water. Nice. One of my favorites. Another 00:49:27.940 --> 00:49:31.960 timeless one. I love that song. That's another 00:49:31.960 --> 00:49:34.360 one that's a vibe, like you said. You put it 00:49:34.360 --> 00:49:38.920 on and you just feel a certain type of way. All 00:49:38.920 --> 00:49:42.559 the instrument, the recording is so cool. Every 00:49:42.559 --> 00:49:45.210 little... Little thing that they put in there, 00:49:45.329 --> 00:49:48.090 all the production stuff is awesome. And PJ Harvey 00:49:48.090 --> 00:49:51.449 is just, you know, one of my favorites. Absolutely 00:49:51.449 --> 00:49:54.010 incredible. Once again, showing my age here, 00:49:54.050 --> 00:49:57.400 snapshot of my senior year in high school. Reach 00:49:57.400 --> 00:49:59.900 number two on the Billboard Modern Rock Tracks 00:49:59.900 --> 00:50:03.500 chart. Number 84 on the Australian Singles chart. 00:50:03.719 --> 00:50:08.699 Number 78 on the Canadian RMP Top 100. Number 00:50:08.699 --> 00:50:12.639 38 on the UK Singles chart. And number 28 on 00:50:12.639 --> 00:50:16.869 the Irish Singles chart. World. Wide hit. Shout 00:50:16.869 --> 00:50:19.469 out to Patreon mixtaper Ben from the Too Vague 00:50:19.469 --> 00:50:22.949 podcast, who also chimed in with this one, which 00:50:22.949 --> 00:50:26.670 Brandon from Virginia echoed, calling it fantastic 00:50:26.670 --> 00:50:31.429 and haunting. And I couldn't agree more. A perfect 00:50:31.429 --> 00:50:36.010 way to close out this eclectic and diverse 90s 00:50:36.010 --> 00:50:40.070 female rock playlist, which Side B kicked off 00:50:40.070 --> 00:50:43.929 with Republica's Ready to Go, Garbage's Number 00:50:43.929 --> 00:51:06.340 One Crush, Head over to MyWeeklyMixtape .com 00:51:06.340 --> 00:51:08.440 to hear all the songs we've discussed in this 00:51:08.440 --> 00:51:11.699 mix through the playlist embedded on the episode 00:51:11.699 --> 00:51:15.360 page. Well, Emily, this has been an absolute 00:51:15.360 --> 00:51:17.900 pleasure. Thank you so much for joining me on 00:51:17.900 --> 00:51:20.340 my weekly mixtape. Yeah, thanks for having me. 00:51:20.360 --> 00:51:24.610 It's been so fun. Great mixtape. And be sure 00:51:24.610 --> 00:51:27.550 to check out Emily Wolf's music over on her website, 00:51:27.869 --> 00:51:31.289 emilywolfmusic .com. She is currently in the 00:51:31.289 --> 00:51:34.630 studio with Gavin Brown, working on her follow 00:51:34.630 --> 00:51:37.769 -up to 2023's The Blowback, which, according 00:51:37.769 --> 00:51:40.010 to her social media, is going to be dropping 00:51:40.010 --> 00:51:43.630 sometime in 2026. So be on the lookout for that, 00:51:43.750 --> 00:51:46.070 as well as when she tours through your area. 00:51:46.210 --> 00:51:48.769 She is one hell of a musician and performer, 00:51:48.949 --> 00:51:52.349 and I promise you will enjoy what you hear from 00:51:52.349 --> 00:51:55.969 her music. And just as a reminder, we are back 00:51:55.969 --> 00:51:58.829 next week with the first brand new episode of 00:51:58.829 --> 00:52:01.849 My Weekly Mixtape of the new season. So if you 00:52:01.849 --> 00:52:04.929 have suggestions for episode topics, send them 00:52:04.929 --> 00:52:09.409 my way, myweeklymixtape at gmail .com, on social 00:52:09.409 --> 00:52:13.550 media at myweeklymixtape, over on the Patreon 00:52:13.550 --> 00:52:18.219 site, which is patreon .com. forward slash myweeklymixtape 00:52:18.219 --> 00:52:22.579 or myweeklymixtape .com. I am available on all 00:52:22.579 --> 00:52:25.380 those platforms. I look forward to hearing the 00:52:25.380 --> 00:52:27.980 suggestions you send my way. I'm going to add 00:52:27.980 --> 00:52:30.860 them into the online randomizer. And next week, 00:52:30.880 --> 00:52:34.840 we're going to spin the wheel and see just what 00:52:34.840 --> 00:52:37.880 comes of it. It could be lightning in a bottle. 00:52:37.980 --> 00:52:40.019 It could be a complete train wreck. Who knows? 00:52:40.079 --> 00:52:43.199 But I am excited to see what the future has in 00:52:43.199 --> 00:52:45.920 store for the show. And once again, I thank you 00:52:45.920 --> 00:52:49.079 all for celebrating music with me, joining in 00:52:49.079 --> 00:52:51.800 the discussion and going down that playlisting 00:52:51.800 --> 00:52:54.920 rabbit hole with me week in and week out. Once 00:52:54.920 --> 00:52:58.739 again, my name is Brian Colburn. This is my weekly 00:52:58.739 --> 00:53:01.400 mixtape, and I will see you next week for the 00:53:01.400 --> 00:53:04.940 premiere of season two. But until then, enjoy 00:53:04.940 --> 00:53:05.480 the tunes.