WEBVTT 00:00:11.170 --> 00:00:13.929 Welcome to My Weekly Mixtape, a podcast that 00:00:13.929 --> 00:00:16.829 takes the classic mixtape approach to building 00:00:16.829 --> 00:00:19.230 a modern playlist. I'm your host, Brian Colburn. 00:00:19.350 --> 00:00:21.969 Joining me tonight once again as guest curator 00:00:21.969 --> 00:00:25.230 is John Lurie, drummer for both Tantric and Smile 00:00:25.230 --> 00:00:27.570 Empty Soul. John, welcome back to the show, my 00:00:27.570 --> 00:00:30.789 friend. Oh, very excited to be back. Thanks for 00:00:30.789 --> 00:00:33.469 having me, Brian. Well, tonight's topic is one 00:00:33.469 --> 00:00:36.850 that has been requested actually multiple times. 00:00:37.439 --> 00:00:41.020 And considering it's Saturday Night Live's 50th 00:00:41.020 --> 00:00:44.159 anniversary this year, there's been a ton of 00:00:44.159 --> 00:00:47.280 replays of Christopher Walken uttering that glorious 00:00:47.280 --> 00:00:51.020 line, I've got a fever and the only prescription 00:00:51.020 --> 00:00:55.939 is more cowbell. So with that being said, John, 00:00:56.079 --> 00:00:59.719 I have brought you on for the tough task of finding 00:00:59.719 --> 00:01:02.939 the ultimate cowbell anthems in rock and roll. 00:01:03.020 --> 00:01:06.340 Now, as a drummer. I'm sure there's just a little 00:01:06.340 --> 00:01:10.799 bit of cliche in that terminology. Yeah, 100%. 00:01:10.799 --> 00:01:14.439 This is like if there could be a joke that everybody 00:01:14.439 --> 00:01:18.079 beats a dead horse, this is the one. This is 00:01:18.079 --> 00:01:21.060 the one that, you know, the minute you even touch 00:01:21.060 --> 00:01:24.060 a cowbell or reference a cowbell, this is the 00:01:24.060 --> 00:01:25.879 thought that everybody goes to is the Christopher 00:01:25.879 --> 00:01:28.719 Walken, Will Ferrell thing. But it's fantastic. 00:01:28.959 --> 00:01:31.379 I think it's an underrated instrument, and I'm 00:01:31.379 --> 00:01:33.640 glad to be the guy talking about it tonight. 00:01:33.719 --> 00:01:36.099 That's for sure. Well, John, as a drummer yourself, 00:01:36.319 --> 00:01:40.579 narrowing down songs that include cowbells in 00:01:40.579 --> 00:01:45.219 a meaningful way is almost as obnoxious as me 00:01:45.219 --> 00:01:48.459 asking you to say, hey, man, tonight we're recording 00:01:48.459 --> 00:01:52.000 an episode on rock songs that have a kick drum. 00:01:53.319 --> 00:01:56.379 Yeah. But there's something about hearing the 00:01:56.379 --> 00:01:59.799 words cowbell anthems that actually narrows the 00:01:59.799 --> 00:02:03.689 list down, for me at least, immediately. What 00:02:03.689 --> 00:02:05.829 was your mindset with the songs you're going 00:02:05.829 --> 00:02:09.430 to bring to the table this evening? I think the 00:02:09.430 --> 00:02:14.009 mindset was songs that had a prominent cowbell 00:02:14.009 --> 00:02:16.710 part, number one. Something where the cowbell 00:02:16.710 --> 00:02:19.430 stands out. And that's not all of them, but it 00:02:19.430 --> 00:02:23.629 is a big part of that. Like, what is the cowbell 00:02:23.629 --> 00:02:27.159 doing in this song that... adds to the song right 00:02:27.159 --> 00:02:30.139 as a musician we want to add to the song we don't 00:02:30.139 --> 00:02:32.639 want to take away from it so these songs are 00:02:32.639 --> 00:02:35.759 mainly about that prominent cowbell part but 00:02:35.759 --> 00:02:39.620 also the party aspect we're talking about anthems 00:02:39.620 --> 00:02:43.560 here so songs that by the cowbell part you could 00:02:43.560 --> 00:02:46.439 pretty much recognize what the song is or where 00:02:46.439 --> 00:02:48.979 it's headed and i think the only thing i'll add 00:02:48.979 --> 00:02:52.060 to that is The songs that I've chosen tonight, 00:02:52.280 --> 00:02:55.439 if you were to remove the cowbell from the song, 00:02:55.680 --> 00:02:58.699 it would make that song a completely different 00:02:58.699 --> 00:03:01.400 experience. So I'm not saying that the cowbell 00:03:01.400 --> 00:03:06.719 is 100 % essential to the song, but if you remove 00:03:06.719 --> 00:03:10.300 it, the song loses a lot of what makes it what 00:03:10.300 --> 00:03:14.009 it is. Totally. And there's also, people don't 00:03:14.009 --> 00:03:17.090 realize it's not just one cowbell that exists. 00:03:17.150 --> 00:03:20.289 There are multiple different styles of even playing 00:03:20.289 --> 00:03:23.389 a cowbell that can add or take away from a song. 00:03:23.430 --> 00:03:26.169 And these songs that we're picking tonight definitely 00:03:26.169 --> 00:03:30.599 add to these tunes. Well, let's get down to business 00:03:30.599 --> 00:03:32.840 tonight. As I mentioned at the top of the show, 00:03:33.039 --> 00:03:35.699 John and I will be curating the ultimate cowbell 00:03:35.699 --> 00:03:38.319 anthems mixtape, and we'll use the old cassette 00:03:38.319 --> 00:03:41.120 deck approach. John, as my special guest, will 00:03:41.120 --> 00:03:43.780 begin side A with his first song choice, and 00:03:43.780 --> 00:03:46.159 then I'll add a song that I feel best follows 00:03:46.159 --> 00:03:48.560 up that choice. We'll then flip -flop choosing 00:03:48.560 --> 00:03:51.719 songs until we've mapped out 10 songs for side 00:03:51.719 --> 00:03:54.520 A. We'll then give our mixtape a proverbial flip. 00:03:54.860 --> 00:03:56.960 And we'll map outside. Be only this time, I'll 00:03:56.960 --> 00:04:00.020 kick things off with John choosing second. Our 00:04:00.020 --> 00:04:02.280 overall goal for the episode is to craft the 00:04:02.280 --> 00:04:05.819 best Cowbell Anthems mixtape possible through 00:04:05.819 --> 00:04:08.620 only 20 songs. At the end of the show, you can 00:04:08.620 --> 00:04:11.340 take our conversation to the next level by visiting 00:04:11.340 --> 00:04:14.240 the episode page at myweeklymixtape .com to give 00:04:14.240 --> 00:04:17.379 our final mixtape a listen via the embedded playlist. 00:04:17.949 --> 00:04:19.769 And if you like what you're hearing on the show, 00:04:19.930 --> 00:04:22.050 you can help me out by either telling a friend, 00:04:22.209 --> 00:04:24.370 leaving the show a five -star review wherever 00:04:24.370 --> 00:04:27.370 you're tuning in, or becoming a part of the Patreon 00:04:27.370 --> 00:04:30.850 mixtaper community at patreon .com forward slash 00:04:30.850 --> 00:04:34.310 My Weekly Mixtape. There you'll find ad -free 00:04:34.310 --> 00:04:36.970 episodes of the show, gain immediate access to 00:04:36.970 --> 00:04:39.889 future My Weekly Mixtape episodes, hear exclusive 00:04:39.889 --> 00:04:42.750 bonus banter clips, chime in on upcoming show 00:04:42.750 --> 00:04:45.610 topics, become a future guest, and so much more. 00:04:45.949 --> 00:04:48.290 And a few of the Patreon mixtapers chimed in 00:04:48.290 --> 00:04:50.610 with the songs they would use to kick things 00:04:50.610 --> 00:04:52.509 off tonight. And I want to give a quick shout 00:04:52.509 --> 00:04:55.310 out to a few of those. Brandon from Virginia 00:04:55.310 --> 00:04:58.949 chimed in with Clutch's DC Sound Attack, saying 00:04:58.949 --> 00:05:01.930 this peon to our nation's capital and our homegrown 00:05:01.930 --> 00:05:06.089 sound, go -go, needs to be included. Tom Hutchinson 00:05:06.089 --> 00:05:08.250 chimed in with Little Sister by Queens of the 00:05:08.250 --> 00:05:11.209 Stone Age. Philip Bergman chimed in saying Blue 00:05:11.209 --> 00:05:13.589 Oyster Cult's Don't Fear the Reaper is obvious, 00:05:13.870 --> 00:05:17.689 then asks if a half -measure cowbell solo counts, 00:05:17.910 --> 00:05:20.629 while adding The Turtles' She'd Rather Be With 00:05:20.629 --> 00:05:24.310 Me as one of his song choices. Seeker chimed 00:05:24.310 --> 00:05:26.129 in with Blame It on the Love of Rock and Roll 00:05:26.129 --> 00:05:29.670 by Bon Jovi. Sean Goff said because he, quote, 00:05:29.910 --> 00:05:32.550 can never get enough, he would start with Night 00:05:32.550 --> 00:05:35.980 Train by Guns N' Roses. And Chad LaMassa chimed 00:05:35.980 --> 00:05:39.459 in with Cake's short skirt, long jacket, as it's 00:05:39.459 --> 00:05:41.759 the theme song for his all -time favorite show, 00:05:42.040 --> 00:05:45.120 Chuck. Once again, if you'd like to chime in 00:05:45.120 --> 00:05:47.899 for future My Weekly Mixtape episodes, come join 00:05:47.899 --> 00:05:50.899 the mixtaper community at patreon .com forward 00:05:50.899 --> 00:05:55.139 slash myweeklymixtape. And now, John, I'm officially 00:05:55.139 --> 00:05:58.600 pressing the record button on our Cowbell Anthems 00:05:58.600 --> 00:06:02.579 mixtape, and you are officially free to explore 00:06:02.579 --> 00:06:05.939 the space. With your first cowbell anthem of 00:06:05.939 --> 00:06:08.740 the evening. That's beautiful. That's really 00:06:08.740 --> 00:06:12.889 well said. I love that. The first one that I 00:06:12.889 --> 00:06:16.170 have to go with is probably my all -time favorite 00:06:16.170 --> 00:06:20.490 cowbell groove, honestly, ever. Maybe tied for 00:06:20.490 --> 00:06:23.810 first. I'm going with Dance the Night Away by 00:06:23.810 --> 00:06:27.529 Van Halen. Alex Van Halen, once again on one 00:06:27.529 --> 00:06:30.709 of my mixtapes. But he has to be there, especially 00:06:30.709 --> 00:06:34.910 this cowbell part. That kicks off the whole song. 00:06:35.250 --> 00:06:39.399 And like we said, it's... It's becoming a party. 00:06:39.459 --> 00:06:42.519 The cowbell introduction makes this thing a party. 00:06:42.660 --> 00:06:45.620 And so with that starting it, it's like you're 00:06:45.620 --> 00:06:47.879 setting the tone for the rest of this song and 00:06:47.879 --> 00:06:50.019 the reintroduction of the cowbell that comes 00:06:50.019 --> 00:06:55.160 in the very middle of it. From 1979's Van Halen 00:06:55.160 --> 00:06:58.319 2, the song reached number 15 on the Billboard 00:06:58.319 --> 00:07:02.699 US Hot 100, number 28 on the Canada RPM chart. 00:07:03.379 --> 00:07:07.850 Ted Templeman's Wall of Sound production. is 00:07:07.850 --> 00:07:12.990 on full display in this monster of a jam. There's 00:07:12.990 --> 00:07:16.529 something about Dance the Night Away that David 00:07:16.529 --> 00:07:19.850 Lee Roth just brought that party energy to the 00:07:19.850 --> 00:07:24.069 sound. And Dance the Night Away really took it 00:07:24.069 --> 00:07:26.709 to that next level. If you listen to the songs 00:07:26.709 --> 00:07:30.129 on Van Halen 1, you know, Running with the Devil 00:07:30.129 --> 00:07:32.730 is not your party anthem. Janie's Crying is not 00:07:32.730 --> 00:07:35.810 your party anthem. This was Van Halen realizing 00:07:35.810 --> 00:07:38.360 that they could kind of lean into what diamond 00:07:38.360 --> 00:07:40.879 Dave brings to the table. I think, I think the 00:07:40.879 --> 00:07:43.060 original name of this song was supposed to be 00:07:43.060 --> 00:07:47.839 dance Lolita dance, but then Eddie decided that 00:07:47.839 --> 00:07:49.639 dance the night away would be a little bit more 00:07:49.639 --> 00:07:51.800 accessible. I think he hit the nail right on 00:07:51.800 --> 00:07:54.939 the head with that one. Now, if you're a Scott 00:07:54.939 --> 00:07:58.560 punk fan, the forces of evil, which is a side 00:07:58.560 --> 00:08:01.939 project of real big fishes, Aaron Barrett covers 00:08:01.939 --> 00:08:06.129 the song. as a ska punk tune on their Friend 00:08:06.129 --> 00:08:09.569 or Foe album, complete with horn section. Highly 00:08:09.569 --> 00:08:12.410 recommended, but absolutely love the pick to 00:08:12.410 --> 00:08:15.329 start things off for tonight. So following that 00:08:15.329 --> 00:08:18.470 up, I like the way that you opened your first 00:08:18.470 --> 00:08:20.850 pick of the evening with a song that starts on 00:08:20.850 --> 00:08:24.430 Cowbell. So I think I'm going to copy that. Only 00:08:24.430 --> 00:08:27.670 Dance the Night Away started off kind of musical. 00:08:27.889 --> 00:08:30.509 Like Alex was kind of like getting you into the 00:08:30.509 --> 00:08:33.360 groove already. Yeah. But on Mountains Mississippi 00:08:33.360 --> 00:08:37.159 Queen, Corky Lang is just counting the band in, 00:08:37.299 --> 00:08:40.539 hitting that cowbell seven times so hard that 00:08:40.539 --> 00:08:43.700 you would think he was trying to murder it. And 00:08:43.700 --> 00:08:48.120 that aggressive opening, the way he's hitting 00:08:48.120 --> 00:08:51.169 that cowbell. You know, you're about to get a 00:08:51.169 --> 00:08:54.350 monster of a song. And it absolutely was from 00:08:54.350 --> 00:08:58.289 1970s climbing. It reached number 21 on the Billboard 00:08:58.289 --> 00:09:01.750 U .S. Hot 100, making it the band's highest ever 00:09:01.750 --> 00:09:05.350 charting single. Spin magazine has called this 00:09:05.350 --> 00:09:09.830 the cowbell jam to end all cowbell jams. And 00:09:09.830 --> 00:09:13.370 Spin also ranked it number one on their 2004 00:09:13.370 --> 00:09:16.929 list of the 15 greatest cowbell songs of all 00:09:16.929 --> 00:09:19.980 time. Then, because we're talking You Know Me 00:09:19.980 --> 00:09:23.360 and cover songs, Ozzy Osbourne on his undercover 00:09:23.360 --> 00:09:26.740 album did a version that features Leslie West 00:09:26.740 --> 00:09:29.879 from Mountain. And then, John, I know you know 00:09:29.879 --> 00:09:33.700 this one. Blackstone Cherry on the FYE exclusive 00:09:33.700 --> 00:09:38.820 edition of their album Kentucky, they do a massive, 00:09:38.919 --> 00:09:41.379 earth -shattering cover of Mississippi Queen. 00:09:41.600 --> 00:09:46.220 I almost went with that, but... I have a song 00:09:46.220 --> 00:09:49.419 from Blackstone Cherry in my list for tonight. 00:09:50.019 --> 00:09:52.100 So I kind of want to leave that door open if 00:09:52.100 --> 00:09:54.440 we go down that direction. So following up Dance 00:09:54.440 --> 00:09:57.259 the Night Away, Mississippi Queen. That's a great 00:09:57.259 --> 00:10:00.240 track. And especially like you said, when we're 00:10:00.240 --> 00:10:03.000 talking about the nuance of Cowbell, sure, something 00:10:03.000 --> 00:10:05.600 like Dance the Night Away is great because it's 00:10:05.600 --> 00:10:09.120 a more musical version of the Cowbell. But Mississippi 00:10:09.120 --> 00:10:13.000 Queen as the point of just counting off the band 00:10:13.000 --> 00:10:16.340 and being this blistering quarter note Cowbell 00:10:16.340 --> 00:10:20.720 part is perfect for what this song then brings 00:10:20.720 --> 00:10:23.240 in. And then all those covers that you listed 00:10:23.240 --> 00:10:25.440 as well, especially the Blackstone Cherry one 00:10:25.440 --> 00:10:28.919 is. fantastic and they stay true to that cowbell 00:10:28.919 --> 00:10:31.899 part being in there on that song so great choice 00:10:31.899 --> 00:10:34.519 love it so what are you gonna follow that up 00:10:34.519 --> 00:10:37.980 with for track three i'd like to go with something 00:10:37.980 --> 00:10:41.240 that's more of a buried cowbell part and maybe 00:10:41.240 --> 00:10:44.320 not something that starts off with a cowbell 00:10:44.889 --> 00:10:47.710 And I always have to throw this band in on pretty 00:10:47.710 --> 00:10:51.389 much every list that we've done. But I'm going 00:10:51.389 --> 00:10:54.730 to go with Good Times, Bad Times by Led Zeppelin. 00:10:54.950 --> 00:10:58.350 Zeppelin One. We've talked so much about Zeppelin 00:10:58.350 --> 00:11:01.090 One. I feel like just you and I have talked over 00:11:01.090 --> 00:11:03.990 the years about Zeppelin One so much. And not 00:11:03.990 --> 00:11:08.190 just that this part is the drum part that turned 00:11:08.190 --> 00:11:10.850 heads off of Zeppelin One, because everybody's 00:11:10.850 --> 00:11:13.149 like, what's he doing with that bass drum? But 00:11:13.149 --> 00:11:15.169 not only that, it's... It's not something that 00:11:15.169 --> 00:11:18.950 is on the hi -hat or a cliche drum instrument. 00:11:19.029 --> 00:11:21.649 He's playing that part, the verse part, on the 00:11:21.649 --> 00:11:24.669 cowbell, a very small little cowbell, and it 00:11:24.669 --> 00:11:28.200 works perfectly for the verse of this song. Oh 00:11:28.200 --> 00:11:30.960 my God. The opening track to you hit me with 00:11:30.960 --> 00:11:33.980 the Led Zeppelin bomb and the opening album track. 00:11:34.080 --> 00:11:37.639 I love it. It reached number 80 on the U S billboard, 00:11:37.679 --> 00:11:41.340 hot 100 number 64 on the Canada top singles chart 00:11:41.340 --> 00:11:45.740 and number 17 on the Netherlands single top 100. 00:11:46.100 --> 00:11:49.679 Of course you scooped me. on john bottom i mean 00:11:49.679 --> 00:11:52.100 i think we're up to i don't think there's been 00:11:52.100 --> 00:11:54.679 an episode that we've done even the eric church 00:11:54.679 --> 00:11:57.779 playlist wars episode i think somehow led zeppelin 00:11:57.779 --> 00:12:00.600 came up i don't know i don't quite know how but 00:12:00.600 --> 00:12:04.220 i had two songs from led zeppelin in my bank 00:12:04.220 --> 00:12:07.960 for tonight good times bad times just from the 00:12:07.960 --> 00:12:11.360 opening of the do do do do do do do do do because 00:12:11.360 --> 00:12:15.779 it's so rhythmic it's John Bonham playing the 00:12:15.779 --> 00:12:19.799 drums, but also percussion simultaneously. I'm 00:12:19.799 --> 00:12:22.019 not a drummer, but I feel like what he's doing 00:12:22.019 --> 00:12:24.940 is incorporating the drum beat and the percussion 00:12:24.940 --> 00:12:27.460 together in the opening of the song. Right now. 00:12:27.500 --> 00:12:31.559 And I totally maybe I misspoke, but not not being 00:12:31.559 --> 00:12:33.779 the thing that necessarily counts off the song 00:12:33.779 --> 00:12:36.679 was where I was going with that. It is a musical 00:12:36.679 --> 00:12:43.049 part of this, especially that. Bam, bam. And 00:12:43.049 --> 00:12:47.470 then he kicks it with the bam, bam. That little 00:12:47.470 --> 00:12:50.429 counter rhythm there over top of everything else 00:12:50.429 --> 00:12:53.009 is just fantastic. And yeah, that definitely 00:12:53.009 --> 00:12:57.370 it's a testament to Bonham's musicality on the 00:12:57.370 --> 00:12:59.590 kid. Oh, my God. He's one of the best. I actually 00:12:59.590 --> 00:13:02.009 had, like I said, two songs from them. Good Times, 00:13:02.110 --> 00:13:05.149 Bad Times from Led Zeppelin one. And I had Moby 00:13:05.149 --> 00:13:08.230 Dick from Led Zeppelin two because it's also 00:13:08.230 --> 00:13:12.100 used really well throughout that song. It drives 00:13:12.100 --> 00:13:16.299 that song's kind of rhythm as well. And I can't 00:13:16.299 --> 00:13:19.320 picture, like I said, either one of these Led 00:13:19.320 --> 00:13:21.840 Zeppelin songs without the cowbell. It would 00:13:21.840 --> 00:13:23.879 certainly take something away from the song not 00:13:23.879 --> 00:13:26.620 having them in there. Right. I totally agree. 00:13:26.860 --> 00:13:29.960 And just to throw in my covers, Ace Frehley, 00:13:30.100 --> 00:13:34.700 Godsmack, Beth Hart, and Cracker have all covered 00:13:34.700 --> 00:13:37.320 this song. And they're all actually pretty solid 00:13:37.320 --> 00:13:41.730 ones as well. All right. Coming out of Led Zeppelin, 00:13:41.870 --> 00:13:44.190 I have to give a hat tip to one of the fellow 00:13:44.190 --> 00:13:47.210 mixtapers, and I am going to go with Sean Goff's 00:13:47.210 --> 00:13:51.049 pick of the night. From 1987's Appetite for Destruction, 00:13:51.210 --> 00:13:54.870 we are going Guns N' Roses' Night Train. Reached 00:13:54.870 --> 00:13:57.690 number 93 on the Billboard US Hot 100, number 00:13:57.690 --> 00:14:01.669 17 on the UK singles chart, number 61 in Australia, 00:14:01.909 --> 00:14:04.389 and number two in Ireland, among some others. 00:14:05.110 --> 00:14:08.330 Night Train is not the first song people mention. 00:14:08.830 --> 00:14:11.049 When you say, hey, name a song you like off Appetite 00:14:11.049 --> 00:14:14.149 for Destruction. However, don't let that fool 00:14:14.149 --> 00:14:18.970 you. Because in 2017, Paste ranked Night Train 00:14:18.970 --> 00:14:21.610 number three on their list of the 15 greatest 00:14:21.610 --> 00:14:26.169 Guns N' Roses songs. And in 2020, Kerrang! ranked 00:14:26.169 --> 00:14:30.659 it five on their list of GNR's 20 greatest. So 00:14:30.659 --> 00:14:34.100 this is a fan favorite song. It didn't hit the 00:14:34.100 --> 00:14:36.879 charts the way Welcome to the Jungle, Sweet Child 00:14:36.879 --> 00:14:39.860 of Mine, and Paradise City did. But you cannot 00:14:39.860 --> 00:14:42.600 remove Night Train from Appetite for Destruction. 00:14:42.679 --> 00:14:45.919 It makes it a lesser album. And you cannot remove 00:14:45.919 --> 00:14:49.500 Steven Adler's Cowbell from this song. Again, 00:14:49.559 --> 00:14:51.519 I'm using it kind of in a count -off fashion. 00:14:52.379 --> 00:14:55.039 But he also uses it in that open rhythm that 00:14:55.039 --> 00:14:57.899 kind of drives the song and keeps it going. And 00:14:57.899 --> 00:15:00.200 you pull that cowbell out and you do that on 00:15:00.200 --> 00:15:03.480 a ride cymbal or a hi -hat. And I think it changes 00:15:03.480 --> 00:15:06.039 the groove of the song. And one thing that why 00:15:06.039 --> 00:15:09.000 I personally feel that out of all the drummers, 00:15:09.059 --> 00:15:12.019 Steven Adler was the perfect fit for Guns N' 00:15:12.120 --> 00:15:16.580 Roses was his feel and his swagger. His timing 00:15:16.580 --> 00:15:19.980 is like a human metronome and his swing that 00:15:19.980 --> 00:15:22.740 he brings to the songs is something that not 00:15:22.740 --> 00:15:25.539 a lot of drummers throughout the years of Guns 00:15:25.539 --> 00:15:27.820 N' Roses have been able to do. I'm not saying 00:15:27.820 --> 00:15:30.700 that they're not hell of... Look, anybody who's 00:15:30.700 --> 00:15:32.899 sitting behind the kit for Guns N' Roses is an 00:15:32.899 --> 00:15:35.679 incredible drummer. But there was something about 00:15:35.679 --> 00:15:39.960 Steven Adler's swing that he brought to the songs 00:15:39.960 --> 00:15:41.539 on Appetite for Destruction that I don't think 00:15:41.539 --> 00:15:44.440 has ever been replicated. Yeah, I totally agree. 00:15:44.600 --> 00:15:47.539 And with this song being that blistering, like 00:15:47.539 --> 00:15:50.440 it almost works as an opener. I've never seen 00:15:50.440 --> 00:15:53.820 Guns N' Roses live, which I'm very ashamed that 00:15:53.820 --> 00:15:56.919 I haven't. But this would work as like the opening 00:15:56.919 --> 00:15:59.840 song to kick off a concert for sure. And it is 00:15:59.840 --> 00:16:03.220 a fan favorite. I've got cousins that love Night 00:16:03.220 --> 00:16:06.320 Train. This is the jam. This is the pump up song. 00:16:06.500 --> 00:16:09.720 And that cowbell not being there would make it 00:16:09.720 --> 00:16:11.720 a lesser song. I definitely agree with that. 00:16:12.250 --> 00:16:14.350 All right, so with that, we are throwing it back 00:16:14.350 --> 00:16:17.850 to you for track five. Yeah, if we're on this 00:16:17.850 --> 00:16:21.149 80s kick, we might as well stay there for a little 00:16:21.149 --> 00:16:25.710 bit because one of the other great cowbell intros 00:16:25.710 --> 00:16:29.970 is Twisted Sisters, We're Not Gonna Take It. 00:16:30.190 --> 00:16:32.950 That's like when you're a drum student and you 00:16:32.950 --> 00:16:35.289 finally get that cowbell, you're like, how do 00:16:35.289 --> 00:16:38.330 I figure out how to play that groove? Because 00:16:38.330 --> 00:16:41.899 it's not your straight... cowbell groove. It's 00:16:41.899 --> 00:16:44.419 not your straight count off. It's got this great 00:16:44.419 --> 00:16:52.500 tripleted. It's just a fantastic cowbell part. 00:16:52.639 --> 00:16:55.240 Like you said with Night Train, had you put something 00:16:55.240 --> 00:16:58.980 like this on a ride cymbal or on the hi -hat, 00:16:59.039 --> 00:17:01.820 it would be a lesser song. Something about it 00:17:01.820 --> 00:17:04.839 being that beat you over the head with a cowbell 00:17:04.839 --> 00:17:08.759 sound is fantastic for a song about not taking 00:17:08.759 --> 00:17:12.119 anything from nobody. Oh, the drums are pounded 00:17:12.119 --> 00:17:15.160 in that song like they owe rent money like that. 00:17:15.240 --> 00:17:21.319 Yeah. From 1984's Stay Hungry, the song reached 00:17:21.319 --> 00:17:24.829 number 21 on the Billboard U .S. Hot 100. Twisted 00:17:24.829 --> 00:17:27.690 Sister's highest charting song. It also hit number 00:17:27.690 --> 00:17:30.910 six in Canada and Australia, number 58 in the 00:17:30.910 --> 00:17:35.109 UK, number 10 in Sweden, number two in New Zealand. 00:17:35.170 --> 00:17:37.589 In terms of cover songs, I mentioned them once 00:17:37.589 --> 00:17:40.809 already. Real Big Fish interpolated the melody 00:17:40.809 --> 00:17:44.470 of We're Not Gonna Take It in their song Everybody's 00:17:44.470 --> 00:17:48.730 Drunk to We're All Gonna Get Drunk, We're All 00:17:48.730 --> 00:17:51.990 Gonna Get Drunk, Oh Wait, We're Already, Long 00:17:51.990 --> 00:17:56.740 Pause, Drunk. Anyway, Weird Al also used the 00:17:56.740 --> 00:18:00.079 song in his hooked on pokas. Well, polka that 00:18:00.079 --> 00:18:03.339 was featured on Dare to be Stupid and Twisted 00:18:03.339 --> 00:18:07.579 Sister themselves re -recorded the song as O 00:18:07.579 --> 00:18:10.740 Come O Ye Faithful for their A Twisted Christmas 00:18:10.740 --> 00:18:14.819 CD, which I love that so much. I mix that right 00:18:14.819 --> 00:18:17.779 in with the holiday classics. And every year 00:18:17.779 --> 00:18:19.599 when that happens, my wife looks at me and she's 00:18:19.599 --> 00:18:22.140 like, really? And I'm like, it's so good. It's 00:18:22.140 --> 00:18:26.680 so, so good. Yeah, totally. And all of those 00:18:26.680 --> 00:18:30.660 are great covers of them, too. Not to mention, 00:18:30.740 --> 00:18:33.880 though, that I do agree with that. That Twisted 00:18:33.880 --> 00:18:38.480 Christmas record is fantastic. They were a party 00:18:38.480 --> 00:18:42.920 band, not to be taken seriously in their image, 00:18:42.960 --> 00:18:45.900 but maybe in their musicianship and how they 00:18:45.900 --> 00:18:50.240 played these songs. Fantastic group. Underrated. 00:18:50.599 --> 00:18:53.200 All right. Well, I'm going to keep us in this. 00:18:53.740 --> 00:18:56.319 80s rock vibe but i'm gonna go with a song that 00:18:56.319 --> 00:19:00.140 actually came out in 1991 and the reason i say 00:19:00.140 --> 00:19:05.039 80s rock vibe is because in 1988 1989 skid row 00:19:05.039 --> 00:19:08.819 exploded so for some reason i always equate them 00:19:08.819 --> 00:19:13.819 to that late 80s because in 1991 you had pearl 00:19:13.819 --> 00:19:17.019 jams 10 red hot chili peppers blood sugar sex 00:19:17.019 --> 00:19:20.500 magic nirvana's never mind even metallica's black 00:19:20.500 --> 00:19:23.829 album people tend to forget that the hair bands 00:19:23.829 --> 00:19:27.970 and bands that were hair band adjacent still 00:19:27.970 --> 00:19:30.450 were releasing music that was still very popular. 00:19:30.589 --> 00:19:34.650 And on 1991's Slave to the Grind, Skid Row released, 00:19:34.910 --> 00:19:38.150 which is my absolute favorite Skid Row song ever, 00:19:38.329 --> 00:19:41.789 Monkey Business, reached number 13 on the US 00:19:41.789 --> 00:19:44.450 mainstream rock chart, number 59 on the Canada 00:19:44.450 --> 00:19:47.930 top singles chart, number 19 on the UK singles 00:19:47.930 --> 00:19:50.990 chart, and number 31 on the Australia ARIA chart. 00:19:51.490 --> 00:19:54.500 I mean, When I say it's my favorite Skid Row 00:19:54.500 --> 00:19:58.819 track, it's not close. I love Skid Row's catalog, 00:19:59.000 --> 00:20:02.119 even outside of the Sebastian Bach years. I have 00:20:02.119 --> 00:20:04.079 pretty much everything they've ever released. 00:20:04.599 --> 00:20:08.099 And 1991 was a big year for me. It was eighth 00:20:08.099 --> 00:20:10.720 grade and freshman year in high school. And Monkey 00:20:10.720 --> 00:20:14.099 Business immediately became one of my workout 00:20:14.099 --> 00:20:17.660 slash pump up songs. I used it in sports. I used 00:20:17.660 --> 00:20:19.940 it. I still use it to this day when I'm on the 00:20:19.940 --> 00:20:23.619 treadmill. The song just. frigging drives my 00:20:23.619 --> 00:20:27.019 energy. Rob Fuso's drumming on this track is 00:20:27.019 --> 00:20:30.539 an absolute masterclass because he uses the cowbell 00:20:30.539 --> 00:20:33.720 to count the song in and out and he uses it to 00:20:33.720 --> 00:20:36.700 drive the heavier parts. But when the song breaks 00:20:36.700 --> 00:20:40.359 down and you have the whole, the Vaseline gypsies 00:20:40.359 --> 00:20:44.500 and silicone souls dressed to the society. He 00:20:44.500 --> 00:20:47.180 does this rhythmics very similar to what John 00:20:47.180 --> 00:20:50.039 Bonham does in Good Times, Bad Times. He does 00:20:50.039 --> 00:20:53.740 a kind of a rhythmic play on it where it's no 00:20:53.740 --> 00:20:56.579 longer driving the pacing of the song. It's being 00:20:56.579 --> 00:21:00.460 used as a fill. And that track is so massive. 00:21:00.500 --> 00:21:04.019 It's literally going to be 35 years old in one 00:21:04.019 --> 00:21:07.140 year. And I honestly think if you play that song 00:21:07.140 --> 00:21:10.519 now, any rock band breaks that song out. It feels 00:21:10.519 --> 00:21:13.359 just as modern in 2025. I feel it's timeless. 00:21:14.000 --> 00:21:16.980 Yeah, it is very much a timeless track. And I 00:21:16.980 --> 00:21:20.680 did happen to see Sebastian Bach last year on 00:21:20.680 --> 00:21:23.980 a whim. He was in town in an area that I was 00:21:23.980 --> 00:21:26.720 in Illinois. And I was like, I got to go see 00:21:26.720 --> 00:21:28.759 him. And we had some friends that wanted to go. 00:21:28.859 --> 00:21:31.960 So we went and he pulled out Monkey Business 00:21:31.960 --> 00:21:34.940 and it was fantastic. He still sounds fantastic, 00:21:35.220 --> 00:21:38.930 which is. A testament to his age and his ability 00:21:38.930 --> 00:21:41.789 to just keep the thing going. His son, Paris, 00:21:41.970 --> 00:21:45.009 was on drums. Oh, really? Yeah. And believe it 00:21:45.009 --> 00:21:48.009 or not, I took drum lessons from Paris years 00:21:48.009 --> 00:21:53.210 ago. Wow. I'm saying years. And at that point, 00:21:53.369 --> 00:21:57.589 Paris and his dad were not talking. And so you 00:21:57.589 --> 00:22:00.190 couldn't talk to Paris about him and his father. 00:22:00.269 --> 00:22:04.079 But then we got to this show. in illinois and 00:22:04.079 --> 00:22:06.299 i'm looking at the drummer i'm like i know this 00:22:06.299 --> 00:22:09.160 guy and i'm like that's paris i can't believe 00:22:09.160 --> 00:22:12.599 they worked things out and now he's playing these 00:22:12.599 --> 00:22:15.500 parts to all these skid row songs just absolutely 00:22:15.500 --> 00:22:17.920 crushing them monkey business being definitely 00:22:17.920 --> 00:22:20.299 one of them of course he had the cowbell and 00:22:20.299 --> 00:22:22.759 he did all the things but yeah you couldn't do 00:22:22.759 --> 00:22:25.180 this song without it but yeah it was a really 00:22:25.180 --> 00:22:27.900 great treat to watch both of them play together 00:22:27.900 --> 00:22:30.380 all right well now we're throwing it back to 00:22:30.380 --> 00:22:34.400 you for track seven fantastic i'm gonna go with 00:22:34.400 --> 00:22:38.240 another i feel like we're on the mount rushmore 00:22:38.240 --> 00:22:43.380 of cowbell parts and this is one that's not subtle 00:22:43.380 --> 00:22:48.000 at all it again opens up a track in a fantastic 00:22:48.000 --> 00:22:52.039 way it's such a great groove and one of my favorite 00:22:52.039 --> 00:22:55.240 jam bands Pretty much of all time. I'm going 00:22:55.240 --> 00:22:57.740 with Grand Funk Railroads. We're an American 00:22:57.740 --> 00:23:03.099 band. This intro is so good. This is like I said, 00:23:03.200 --> 00:23:06.180 there's between Dance the Night Away and this 00:23:06.180 --> 00:23:09.740 song. These are my top two favorite cowbell songs 00:23:09.740 --> 00:23:14.480 ever. And this intro is so fantastic, especially 00:23:14.480 --> 00:23:17.960 the drum part that then comes after this. All 00:23:17.960 --> 00:23:20.240 those foot triplets. It's just a great groove. 00:23:20.829 --> 00:23:24.609 That it is from 1973's album of the same name, 00:23:24.690 --> 00:23:27.910 produced by Todd Rundgren. The song reached number 00:23:27.910 --> 00:23:30.750 one on the Billboard US Hot 100, number four 00:23:30.750 --> 00:23:33.410 on the Canada Top Singles Chart, and number one 00:23:33.410 --> 00:23:36.849 in Australia, and ranks number 99 on the list 00:23:36.849 --> 00:23:41.069 of VH1's 100 Greatest Rock Songs. It's been covered 00:23:41.069 --> 00:23:46.650 by Poison, Rob Zombie, Autograph, Fish, Jackal, 00:23:46.829 --> 00:23:52.490 Rascal Flats, Kid Rock. garth brooks i mean every 00:23:52.490 --> 00:23:54.869 genre you could think of somebody has covered 00:23:54.869 --> 00:23:57.130 we're an american band and believe it or not 00:23:57.130 --> 00:24:00.990 the only time in my life i've ever heard we're 00:24:00.990 --> 00:24:05.869 an american band played without a cowbell a couple 00:24:05.869 --> 00:24:09.130 of years ago metallica when kirk and rob do their 00:24:09.130 --> 00:24:11.890 little solo section of the night they do their 00:24:11.890 --> 00:24:13.589 little doodle they came out and played we're 00:24:13.589 --> 00:24:17.170 an american band and james came out and sang 00:24:17.170 --> 00:24:22.430 the song, but Lars didn't. Ah! So it was a drumless 00:24:22.430 --> 00:24:25.549 version of We're an American Band by Metallica. 00:24:25.930 --> 00:24:28.670 Of all the times that you would think Lars would 00:24:28.670 --> 00:24:32.730 sit in, not on this one? Ah, that just makes 00:24:32.730 --> 00:24:36.170 me mad, because... Whatever. All those other 00:24:36.170 --> 00:24:38.650 covers that makes up for it, especially I love 00:24:38.650 --> 00:24:41.069 the Rob Zombie one. They do it justice. And you 00:24:41.069 --> 00:24:43.630 got to have the cowbell in there. This opening 00:24:43.630 --> 00:24:47.430 drum part is the song like everything else that 00:24:47.430 --> 00:24:50.990 comes after it is fantastic. It is an American 00:24:50.990 --> 00:24:55.390 band rock song. But yeah, this drum part is what 00:24:55.390 --> 00:24:58.549 kicks it off. You could play just this and ask 00:24:58.549 --> 00:25:02.029 anybody in any crowd what song this is and they 00:25:02.029 --> 00:25:05.089 would know it. It's just it is the song. And 00:25:05.089 --> 00:25:07.549 I think to follow that up for track eight, I'm 00:25:07.549 --> 00:25:09.690 going to go with something that is a song that 00:25:09.690 --> 00:25:12.869 when I say the name, a lot of people might raise 00:25:12.869 --> 00:25:17.309 an eyebrow because the song name isn't really 00:25:17.309 --> 00:25:21.279 synonymous with the track. The original song 00:25:21.279 --> 00:25:25.019 charted in Germany. It reached number 44. But 00:25:25.019 --> 00:25:28.960 since then, it's been such a hugely influential 00:25:28.960 --> 00:25:32.420 hard rock tune, especially to a lot of these 00:25:32.420 --> 00:25:35.359 80s bands that we've been talking about. Guns 00:25:35.359 --> 00:25:38.759 N' Roses being one of them. As they took this 00:25:38.759 --> 00:25:41.859 song, Hair of the Dog, originally by Nazareth, 00:25:42.039 --> 00:25:45.160 to number 11 on the US mainstream rock chart 00:25:45.160 --> 00:25:48.779 in 1994. And they're not the only band from... 00:25:49.119 --> 00:25:51.859 the eighties that covered this song. Brittany 00:25:51.859 --> 00:25:54.940 Fox covered it on the boys and heat album and 00:25:54.940 --> 00:25:57.059 warrant covered it on the, under the influence 00:25:57.059 --> 00:26:01.779 album. This song drove that eighties hair band 00:26:01.779 --> 00:26:05.680 sound that eighties metal hard rock sound. And 00:26:05.680 --> 00:26:09.339 it was a decade earlier. And I feel like this 00:26:09.339 --> 00:26:12.720 is one of those songs that hair of the dog and 00:26:12.720 --> 00:26:15.220 people will go, I don't know that now you're 00:26:15.220 --> 00:26:17.079 messing with a son of a bitch. Oh, I know the 00:26:17.079 --> 00:26:20.029 song you're talking about. Yeah. That is Nazareth's 00:26:20.029 --> 00:26:22.950 hair of the dog. And during that riff, you've 00:26:22.950 --> 00:26:26.569 got that frigging almost distorted sounding cowbell. 00:26:26.869 --> 00:26:31.490 And without it, again, the heft, even if you're 00:26:31.490 --> 00:26:34.250 hitting that ride symbol, the bell on the ride 00:26:34.250 --> 00:26:37.130 symbol, I feel like you lose a little bit of 00:26:37.130 --> 00:26:39.589 the strength of the song. Yeah, there's something 00:26:39.589 --> 00:26:44.660 about having that hook. in that song with a cowbell 00:26:44.660 --> 00:26:49.200 that just makes the most sense. They did a great 00:26:49.200 --> 00:26:52.380 instrumental choice to have that be the hook 00:26:52.380 --> 00:26:55.299 of the chorus and then also have a cowbell in 00:26:55.299 --> 00:26:58.960 your track. You are setting up the 80s for sure 00:26:58.960 --> 00:27:02.960 in that, which is great, but you are totally 00:27:02.960 --> 00:27:06.720 right. Nazareth is a very underrated group that 00:27:06.720 --> 00:27:09.779 people don't necessarily think of as being as 00:27:09.779 --> 00:27:13.470 influential in the 80s. as they were. And great 00:27:13.470 --> 00:27:15.950 album art, by the way. Oh, it's incredible. The 00:27:15.950 --> 00:27:17.950 album's an absolute masterpiece. Hair of the 00:27:17.950 --> 00:27:20.269 Dog, if you haven't heard it, look it up when 00:27:20.269 --> 00:27:21.990 you're done listening to this episode, of course. 00:27:22.089 --> 00:27:25.990 Yeah. So now we are back to you, John, for track 00:27:25.990 --> 00:27:29.390 nine. Yeah, this is, I was thinking about songs 00:27:29.390 --> 00:27:32.309 that, and this is actually a very hard thing. 00:27:32.349 --> 00:27:35.190 We haven't talked about how difficult it can 00:27:35.190 --> 00:27:38.740 be to pick tracks that have influential cowbell 00:27:38.740 --> 00:27:42.980 parts in it this one is maybe not on the side 00:27:42.980 --> 00:27:46.079 of being an influential cowbell part but had 00:27:46.079 --> 00:27:48.539 it not been there i don't think this track would 00:27:48.539 --> 00:27:53.019 be the same i'm going with burning love by elvis 00:27:53.019 --> 00:27:55.440 presley and you might be going where the heck 00:27:55.440 --> 00:27:59.759 is the cowbell in that it's in the second verse 00:27:59.759 --> 00:28:03.500 going also into the second chorus when you have 00:28:03.500 --> 00:28:07.880 a song that is ramping up Adding in instruments, 00:28:08.059 --> 00:28:11.640 things like tambourines or shakers or whatever, 00:28:11.779 --> 00:28:15.660 can sometimes take one verse of a song and change 00:28:15.660 --> 00:28:17.980 it going into the second verse. You're adding 00:28:17.980 --> 00:28:21.279 another instrument to give the thing some life, 00:28:21.339 --> 00:28:23.400 so that way you're not hearing the same thing 00:28:23.400 --> 00:28:26.299 over and over again. Burning Love does a fantastic 00:28:26.299 --> 00:28:29.759 job of that just by keeping time as quarter notes 00:28:29.759 --> 00:28:33.180 on that cowbell going from verse to chorus. I 00:28:33.180 --> 00:28:35.880 love this song. Oh, the song's incredible. A 00:28:35.880 --> 00:28:39.079 single released in 1972, it reached number two 00:28:39.079 --> 00:28:42.980 on the US Billboard Hot 100 and Canada Top Singles 00:28:42.980 --> 00:28:46.440 chart, number seven in the UK and number 37 in 00:28:46.440 --> 00:28:48.900 Australia. I'm going to go back to them again, 00:28:49.039 --> 00:28:52.079 John. Blackstone Cherry covered this song on 00:28:52.079 --> 00:28:56.039 the Walmart Deluxe Edition of Family Tree, though 00:28:56.039 --> 00:28:58.640 ironically, and you might know this more than 00:28:58.640 --> 00:29:01.799 me. I'm honestly not sure if John Fred Young 00:29:01.799 --> 00:29:04.859 is actually using Cowbell in Blackstone Cherry's 00:29:04.859 --> 00:29:08.519 version. No, he's not. And that not that I care. 00:29:08.660 --> 00:29:11.259 They can do no wrong, in my opinion. But that's 00:29:11.259 --> 00:29:13.960 just me. They don't have the cowbell in that 00:29:13.960 --> 00:29:16.339 track. I'll have to listen again. But I was listening 00:29:16.339 --> 00:29:19.720 as a precursor to today, and I don't think so. 00:29:19.819 --> 00:29:22.019 I might have to go back and just make sure. But 00:29:22.019 --> 00:29:24.079 I'm pretty sure it's not there. If it was, it 00:29:24.079 --> 00:29:26.880 would have been very, very subtle, if that at 00:29:26.880 --> 00:29:29.400 all. But I also want to point out that, again, 00:29:29.579 --> 00:29:33.309 random obscure covers. Woody Harrelson. Covered 00:29:33.309 --> 00:29:35.930 Burning Love for the Zombieland Double Tap soundtrack. 00:29:36.109 --> 00:29:38.670 So I just want to remind everybody of that instance. 00:29:39.029 --> 00:29:42.930 Yes. And to close out Side A, I am going to be 00:29:42.930 --> 00:29:45.329 Captain Obvious. Let's just get this out of the 00:29:45.329 --> 00:29:48.630 way now. So that way Side 2 could be a clean 00:29:48.630 --> 00:29:51.970 slate. Blue Oyster Cult, Don't Fear the Reaper. 00:29:52.190 --> 00:29:54.829 Like Philip Bergman said, we are going Captain 00:29:54.829 --> 00:29:59.109 Obvious to close out Side A. 1976's Agents of 00:29:59.109 --> 00:30:01.869 Fortune. reached No. 12 on the U .S. Billboard 00:30:01.869 --> 00:30:05.109 Hot 100, No. 7 on the Canada Top Singles Chart, 00:30:05.250 --> 00:30:09.349 No. 17 in Ireland, and 16 in the U .K. It was 00:30:09.349 --> 00:30:13.569 Rolling Stone's Song of the Year in 1976, and 00:30:13.569 --> 00:30:17.349 in 2007, the magazine ranked it No. 405 on their 00:30:17.349 --> 00:30:21.069 list of the 500 Greatest Songs of All Time. But 00:30:21.069 --> 00:30:23.990 more importantly, it was responsible for the 00:30:23.990 --> 00:30:27.359 more cowbell sketch. And may or may not have 00:30:27.359 --> 00:30:30.940 served as inspiration for this episode. So as 00:30:30.940 --> 00:30:35.619 obvious and on the nose it is, it would be criminal 00:30:35.619 --> 00:30:39.279 not to include Christopher Walken would be mad 00:30:39.279 --> 00:30:42.359 at us if we did not include it in this. That's 00:30:42.359 --> 00:30:46.819 right. I agree. And that's the thing that is 00:30:46.819 --> 00:30:49.460 unfortunate. I love the sketch. Don't get me 00:30:49.460 --> 00:30:52.920 wrong. One of the best SNL sketches ever. But 00:30:52.920 --> 00:30:56.299 I do feel bad that this song has kind of become 00:30:56.299 --> 00:30:59.680 a joke in a sense because of the sketch. Instead 00:30:59.680 --> 00:31:02.740 of being taken seriously as the song that it 00:31:02.740 --> 00:31:05.859 is, the fantastically orchestrated rock song, 00:31:06.019 --> 00:31:08.640 especially the middle of this song, the very 00:31:08.640 --> 00:31:13.039 creepy time change going into that middle. It's 00:31:13.039 --> 00:31:16.920 a fantastic track outside of the joke that it 00:31:16.920 --> 00:31:19.930 might be for the cowbell. It's a dark track. 00:31:20.009 --> 00:31:23.109 And I think that is what makes the sketch so 00:31:23.109 --> 00:31:27.769 funny because the song is so dark. Had they used 00:31:27.769 --> 00:31:32.069 mountains, Mississippi queen, it would have just 00:31:32.069 --> 00:31:35.450 been Will Ferrell hitting the cowbell as hard 00:31:35.450 --> 00:31:38.289 as Corky Lang did on the mountain album. The 00:31:38.289 --> 00:31:43.009 humor wasn't there, but in the ethereal nature 00:31:43.009 --> 00:31:46.880 of don't fear the Reaper. The overly emotive 00:31:46.880 --> 00:31:50.180 Will Ferrell smashing that cowbell adds to the 00:31:50.180 --> 00:31:53.759 humor of the bit. But I do applaud the fact that 00:31:53.759 --> 00:31:55.200 you're bringing up the song because the song 00:31:55.200 --> 00:31:59.099 is brilliant. And I think that is why, I mean, 00:31:59.119 --> 00:32:00.799 at the end of the day, I don't think Blue Oyster 00:32:00.799 --> 00:32:02.400 Cult's mad about it because I'm sure they got 00:32:02.400 --> 00:32:04.740 a lot more streams on Spotify than they would 00:32:04.740 --> 00:32:07.990 had that skit had never existed. I totally agree. 00:32:08.150 --> 00:32:10.890 And I'm sure they're not upset about it. There's 00:32:10.890 --> 00:32:13.950 some essence to being able to laugh at yourself 00:32:13.950 --> 00:32:16.970 as a musician a little bit and be able to deal 00:32:16.970 --> 00:32:19.829 with a joke like that. And from what I see, they 00:32:19.829 --> 00:32:22.170 play into it a little bit and they're totally 00:32:22.170 --> 00:32:25.869 cool. So yeah, the track though, by itself, if 00:32:25.869 --> 00:32:27.910 you have a chance and you haven't listened to 00:32:27.910 --> 00:32:30.460 it in a while. I really suggest you go ahead 00:32:30.460 --> 00:32:32.420 and listen to the rest of that track. I'll even 00:32:32.420 --> 00:32:34.640 take it one step further and say listen to the 00:32:34.640 --> 00:32:37.339 entire Agents of Fortune album because that's 00:32:37.339 --> 00:32:40.710 a classic as far as I'm concerned. But that, 00:32:40.750 --> 00:32:43.750 mixtapers, concludes side A of the ultimate cowbell 00:32:43.750 --> 00:32:46.990 anthems mixtape, which consists of Van Halen's 00:32:46.990 --> 00:32:49.289 Dance the Night Away, Mountain's Mississippi 00:32:49.289 --> 00:32:52.269 Queen, Led Zeppelin's Good Times, Bad Times, 00:32:52.690 --> 00:32:55.430 Guns N' Roses' Night Train, Twisted Sisters' 00:32:55.750 --> 00:32:58.309 We're Not Gonna Take It, Skid Row's Monkey Business, 00:32:58.730 --> 00:33:00.950 Grand Funk Railroad's We're an American Band, 00:33:01.430 --> 00:33:04.670 Nazareth's Hair the Dog, Elvis Presley's Burning 00:33:04.670 --> 00:33:08.400 Love, and Blue Oyster Cult's Don't Fear the Reaper. 00:33:08.599 --> 00:33:11.319 Head over to myweeklymixtape .com to hear all 00:33:11.319 --> 00:33:13.859 the songs we've discussed in this mix through 00:33:13.859 --> 00:33:17.740 the playlist embedded on the episode page. Now, 00:33:17.759 --> 00:33:19.960 John, you've been pulling double duty with Tantric 00:33:19.960 --> 00:33:22.279 and Smile Empty Soul. Can you catch everyone 00:33:22.279 --> 00:33:25.069 up on what's been going on in both camps? Yeah, 00:33:25.089 --> 00:33:28.369 it's been pretty hectic in my world, which is 00:33:28.369 --> 00:33:31.910 definitely a crazier time, but definitely not 00:33:31.910 --> 00:33:34.890 something I'm complaining about because, yeah, 00:33:35.029 --> 00:33:37.690 the ability to play in Tantric, as I have been 00:33:37.690 --> 00:33:40.750 for about five years or closing in on it, and 00:33:40.750 --> 00:33:43.890 then also being able to join up with Smile Empty 00:33:43.890 --> 00:33:46.789 Soul, who I've been a fan of Smile Empty Soul 00:33:46.789 --> 00:33:49.349 when we toured together as Tantric and Smile. 00:33:49.529 --> 00:33:52.769 But even further back than that, when I was... 00:33:53.150 --> 00:33:55.930 eight years old or so, they had a song on the 00:33:55.930 --> 00:33:59.269 Spider -Man 2 soundtrack, which I was and still 00:33:59.269 --> 00:34:02.390 am a huge Spider -Man fan. And so when I was 00:34:02.390 --> 00:34:05.069 a kid, that was one of the first CDs I ever owned. 00:34:05.609 --> 00:34:08.409 The Smile Empty Soul song, Who I Am, on that 00:34:08.409 --> 00:34:11.630 album, it was one of my favorite songs ever. 00:34:11.829 --> 00:34:14.530 And so being able to then play that live with 00:34:14.530 --> 00:34:17.849 the guy that wrote it is really cool. So there's 00:34:17.849 --> 00:34:20.289 been a lot going on. We have a couple of tours 00:34:20.289 --> 00:34:24.269 coming out, which is both bands at the same time. 00:34:24.309 --> 00:34:27.360 So I'll be literally pulling double duty. in 00:34:27.360 --> 00:34:31.300 March and in May. And yeah, I'll be doing both 00:34:31.300 --> 00:34:34.079 bands at the same time. And it's been a juggling 00:34:34.079 --> 00:34:36.340 act for sure, but it's been a lot of fun and 00:34:36.340 --> 00:34:38.719 I'm really excited about it. I guess the plus 00:34:38.719 --> 00:34:40.960 side is you're making the sound man's life a 00:34:40.960 --> 00:34:44.079 little bit easier on that tour, right? Yeah, 00:34:44.159 --> 00:34:47.199 I'd say so. And it's great for me because I can 00:34:47.199 --> 00:34:49.500 leave the kit set up and I don't need to just 00:34:49.500 --> 00:34:51.800 tear it down or move it or whatever. It's fantastic. 00:34:52.579 --> 00:34:54.639 And you don't have to deal with any other drummers 00:34:54.639 --> 00:34:59.340 as well, right? No, and that's also, I hate to 00:34:59.340 --> 00:35:03.440 say it, that's a great thing. Well, with that, 00:35:03.500 --> 00:35:06.929 I'm going to kick off Side B. And now we have 00:35:06.929 --> 00:35:09.949 a clean slate. The Don't Fear the Reaper elephant 00:35:09.949 --> 00:35:13.690 in the room has been addressed. So to kick off 00:35:13.690 --> 00:35:17.889 Side B, I'm going to go back to 1969. And I'm 00:35:17.889 --> 00:35:19.690 going to go with a song that reached number one 00:35:19.690 --> 00:35:23.929 in the U .S., the U .K., Australia, Denmark, 00:35:24.389 --> 00:35:28.289 Ireland, and New Zealand. And it ranked number 00:35:28.289 --> 00:35:32.570 two in Canada. So I love all my friends up in 00:35:32.570 --> 00:35:34.940 the Great White North, but guys... You should 00:35:34.940 --> 00:35:37.179 have made this a number one hit as well, so for 00:35:37.179 --> 00:35:42.320 shame. Rolling Stones, Honky Tonk Women. Believe 00:35:42.320 --> 00:35:45.519 it or not, the cowbell in this song is not played 00:35:45.519 --> 00:35:48.440 by Charlie Watts. It's actually Jimmy Miller, 00:35:48.639 --> 00:35:52.099 the incredible producer who worked with the Stones 00:35:52.099 --> 00:35:55.119 on everything from Beggar's Banquet through Goat's 00:35:55.119 --> 00:35:58.980 Head Soup, which just so happens to be my all 00:35:58.980 --> 00:36:02.250 -time favorite Stones era. And I got to see the 00:36:02.250 --> 00:36:05.949 band for the first time live in 2024. And one 00:36:05.949 --> 00:36:08.650 of the highlights of the evening for me was when 00:36:08.650 --> 00:36:12.289 they broke out Honky Tonk Women live. I'll throw, 00:36:12.349 --> 00:36:15.849 I have a really, really, really high up, almost 00:36:15.849 --> 00:36:19.070 airplane level footage of the Rolling Stones 00:36:19.070 --> 00:36:21.349 playing that at MetLife Stadium. I'll throw it 00:36:21.349 --> 00:36:23.789 up on the episode page at myweeklymixtape .com 00:36:23.789 --> 00:36:26.679 if you want to. Hear how the Rolling Stones sound 00:36:26.679 --> 00:36:31.340 55 years after the original song was released. 00:36:31.559 --> 00:36:34.420 And I'll tell you what, rest in peace, Charlie 00:36:34.420 --> 00:36:37.159 Watts. I mean, amazing, influential drummer. 00:36:37.780 --> 00:36:42.500 Steve Jordan is an absolute monster, and he has 00:36:42.500 --> 00:36:45.320 breathed some real life into the Stones live 00:36:45.320 --> 00:36:47.420 show. And I think if there was anybody to carry 00:36:47.420 --> 00:36:49.920 the torch for Charlie, Steve Jordan's the man. 00:36:50.519 --> 00:36:53.780 What's interesting about some drummers in the 00:36:53.780 --> 00:36:56.280 circle, they'll think that Honky Tonk Women is 00:36:56.280 --> 00:36:59.300 a Charlie Watts cowbell part and it's not, which 00:36:59.300 --> 00:37:02.340 I'm glad that you brought that up. But also the 00:37:02.340 --> 00:37:06.340 Rolling Stones sometimes get mislabeled as being 00:37:06.340 --> 00:37:09.480 a total rock band and they were kind of going 00:37:09.480 --> 00:37:12.199 for country. A lot of their stuff was going for 00:37:12.199 --> 00:37:16.320 country. And so this is one of those stereotypical. 00:37:16.989 --> 00:37:19.949 Rolling Stones' attempt at a country song, and 00:37:19.949 --> 00:37:22.989 it is one of their massive hits. Cowbell part, 00:37:23.170 --> 00:37:26.150 though, had it not been there, it's a very musical 00:37:26.150 --> 00:37:28.489 cowbell part. It's not just beat you over the 00:37:28.489 --> 00:37:31.170 head with a cowbell part. This is a very musical 00:37:31.170 --> 00:37:33.230 part, and it's great that it's in there, and 00:37:33.230 --> 00:37:35.170 the song definitely wouldn't be the same without 00:37:35.170 --> 00:37:37.809 it. All right, so what are you following it up 00:37:37.809 --> 00:37:40.869 with for track two? I'll go with something of 00:37:40.869 --> 00:37:44.929 a similar nature, then. Also a band that does 00:37:44.929 --> 00:37:47.349 have a lot, not to say that the Rolling Stones 00:37:47.349 --> 00:37:50.289 have Southern roots, but very Southern inspired. 00:37:50.889 --> 00:37:54.130 I'm going to go with CCR, Credence Clearwater 00:37:54.130 --> 00:37:57.909 Revivals, Down on the Corner as being another 00:37:57.909 --> 00:38:01.309 great cowbell part that sometimes gets overlooked. 00:38:03.119 --> 00:38:06.199 Like what we're talking about, the lightheartedness 00:38:06.199 --> 00:38:10.239 that a cowbell can bring to a song is the lightheartedness 00:38:10.239 --> 00:38:14.159 of the song down on the corner. Lyrically, it's 00:38:14.159 --> 00:38:17.280 a song about being in small town America, and 00:38:17.280 --> 00:38:20.599 that is what this song does. Had the cowbell 00:38:20.599 --> 00:38:22.539 part not been there, I don't think it'd be the 00:38:22.539 --> 00:38:26.619 same song. The song that inspired the album name, 00:38:26.739 --> 00:38:29.360 Willie and the Poor Boys, same year as Honky 00:38:29.360 --> 00:38:34.389 Tonk Women, 1969. I know this is a little tiny 00:38:34.389 --> 00:38:37.630 sidebar. Creedence Clearwater Revival put out 00:38:37.630 --> 00:38:42.190 three masterpiece albums in 1969. Willie and 00:38:42.190 --> 00:38:45.329 the Poor Boys, Green River and Bayou Country. 00:38:45.590 --> 00:38:50.969 Holy shit. What a year for Creedence Clearwater 00:38:50.969 --> 00:38:54.210 Revival. I mean, that is three massive influential 00:38:54.210 --> 00:38:57.849 albums in one year. That's just. unheard of. 00:38:57.909 --> 00:39:00.409 But this song down on the corner reached number 00:39:00.409 --> 00:39:03.110 three on the U .S. Billboard Hot 100, number 00:39:03.110 --> 00:39:05.789 four in Canada, number five in New Zealand and 00:39:05.789 --> 00:39:09.489 number two in Germany, among others. Jerry Reed 00:39:09.489 --> 00:39:12.989 in 1982, you mentioned the Southern rock thing, 00:39:13.090 --> 00:39:15.869 took it all the way to country and did a country 00:39:15.869 --> 00:39:18.969 version that reached number 13 on the U .S. country 00:39:18.969 --> 00:39:22.150 chart, number 11 on the Canadian country chart. 00:39:22.269 --> 00:39:27.230 But Jerry's version is cowbell -less. It's country. 00:39:27.389 --> 00:39:30.010 And look, I love Jerry Reed. I mean, come on. 00:39:30.110 --> 00:39:32.050 Eastbound and Down, one of the greatest driving 00:39:32.050 --> 00:39:34.949 songs ever. Jerry Reed was also incredible in 00:39:34.949 --> 00:39:37.710 The Waterboy, but I digress. The original is 00:39:37.710 --> 00:39:41.429 the definitive. The Calypso vibe that they bring 00:39:41.429 --> 00:39:45.750 out in Credence's version gives you that. I don't 00:39:45.750 --> 00:39:47.889 want to say Zydeco, but there's that little bit 00:39:47.889 --> 00:39:50.710 of New Orleans swamp kind of coming through the 00:39:50.710 --> 00:39:54.329 Calypso. It's all different things. And again, 00:39:54.510 --> 00:39:59.650 God. 1969, three albums in one year. Just unbelievable 00:39:59.650 --> 00:40:03.670 to me. Yeah, it blows my mind as well. And so 00:40:03.670 --> 00:40:07.409 prolific for that time. And to bring stuff that 00:40:07.409 --> 00:40:11.409 was already pretty much dated around the late 00:40:11.409 --> 00:40:15.570 60s into then the limelight is fantastic. They're 00:40:15.570 --> 00:40:19.670 a Southern rock band, probably one of the Mount 00:40:19.670 --> 00:40:22.809 Rushmore Southern rock bands. And to have all 00:40:22.809 --> 00:40:27.150 that happen within 69 is absolutely nuts. Well, 00:40:27.269 --> 00:40:31.429 Honky Tonk Women is 1969. Down on the corner 00:40:31.429 --> 00:40:36.090 is 1969, and I'm based out of the U .S. So for 00:40:36.090 --> 00:40:39.590 me, the first, well, not for me personally, I 00:40:39.590 --> 00:40:42.829 wasn't alive in 1969, but I digress. We're going 00:40:42.829 --> 00:40:46.110 to stay in 1969 as the U .S. version of this 00:40:46.110 --> 00:40:49.289 song was released on his Smash Hits compilation 00:40:49.289 --> 00:40:52.130 in that year. And I'm going to go with Jimi Hendrix, 00:40:52.369 --> 00:40:57.110 Stone Free, originally released in 1966 as the 00:40:57.110 --> 00:41:00.909 B -side to Hey Joe. It was later included on 00:41:00.909 --> 00:41:04.090 the U .S. version of Smash Hits. It fared better 00:41:04.090 --> 00:41:06.610 in the U .K. as it reached number six on the 00:41:06.610 --> 00:41:09.510 singles chart there, only reached number 130 00:41:09.510 --> 00:41:12.050 on the Billboard U .S. Bubbling Under Hot 100 00:41:12.050 --> 00:41:16.090 singles chart. But as far as I'm concerned, charts 00:41:16.090 --> 00:41:19.389 be damned because it's been pretty much featured 00:41:19.389 --> 00:41:23.289 on every Jimi Hendrix compilation since and is 00:41:23.289 --> 00:41:27.440 a classic Jimi Hendrix song to me. When my parents 00:41:27.440 --> 00:41:30.260 first bought their CD player in 1991, one of 00:41:30.260 --> 00:41:33.260 the first CDs my dad grabbed was Smash Hits. 00:41:33.280 --> 00:41:36.559 And this was one of the songs that really resonated 00:41:36.559 --> 00:41:40.599 with me. And I think that's because of the cowbell. 00:41:40.719 --> 00:41:44.639 Mitch Mitchell gets the MVP on this track because, 00:41:44.780 --> 00:41:48.219 I mean, look, it's Jimi Hendrix, one of the best 00:41:48.219 --> 00:41:52.320 to ever do it. There has to be a level to level 00:41:52.320 --> 00:41:56.400 match in skill to order to hang with Jimi. And 00:41:56.400 --> 00:42:00.719 Mitch Mitchell in the 1960s hung with Jimmy and 00:42:00.719 --> 00:42:04.320 made it just effortless. Like he had the skill 00:42:04.320 --> 00:42:07.400 of a jazz drummer that he brought to rock music. 00:42:07.480 --> 00:42:10.780 And the way he works the cowbell in this song, 00:42:10.900 --> 00:42:14.579 it's heavy as hell, but it's almost jazzy. So 00:42:14.579 --> 00:42:17.139 that's why I'm choosing this one. Yeah. Mitch 00:42:17.139 --> 00:42:21.559 Mitchell's jazz influence in a lot of this early 00:42:21.559 --> 00:42:24.260 rock and roll is what makes him one of the best. 00:42:24.570 --> 00:42:27.610 drummers ever. He was totally a jazz drummer. 00:42:27.769 --> 00:42:31.889 And being able to throw in another musical cowbell 00:42:31.889 --> 00:42:35.309 background instrument to what Jimmy's doing is 00:42:35.309 --> 00:42:38.949 fantastic. Stone Free, underrated track when 00:42:38.949 --> 00:42:41.730 you're thinking about Jimi Hendrix. But I'm glad 00:42:41.730 --> 00:42:43.809 that you chose this one because it definitely 00:42:43.809 --> 00:42:45.829 should be in the spotlight for great cowbell 00:42:45.829 --> 00:42:48.590 parts. All right, so now I'm throwing it back 00:42:48.590 --> 00:42:52.210 to you for track four. Where do we go from a 00:42:52.210 --> 00:42:55.250 trio of 1969 songs, if you're in the U .S., of 00:42:55.250 --> 00:42:58.309 course? Yeah, if you're in the U .S. This one 00:42:58.309 --> 00:43:02.340 is... one that i enjoy because i'm i'm kind of 00:43:02.340 --> 00:43:06.440 like a jazz funk nerd too aside from being in 00:43:06.440 --> 00:43:09.440 in the rock world i do love a lot of jazz and 00:43:09.440 --> 00:43:11.940 i do love a lot of behind the scenes stuff too 00:43:11.940 --> 00:43:14.380 that you sometimes don't see or wouldn't know 00:43:14.380 --> 00:43:17.320 if you're not like a hardcore fan but i'm going 00:43:17.320 --> 00:43:21.699 with grazing in the grass by hugh miskella who 00:43:21.699 --> 00:43:26.840 is from south africa who was a part of Paul Simon's 00:43:26.840 --> 00:43:31.679 Graceland Band years later. But Grazing in the 00:43:31.679 --> 00:43:34.800 Grass is a great track. It's almost a comical 00:43:34.800 --> 00:43:39.920 cowbell, the way that it's so... Like almost 00:43:39.920 --> 00:43:43.239 16th note -y or really fast eighth notes. And 00:43:43.239 --> 00:43:46.380 it's comical. But then what will kick in after 00:43:46.380 --> 00:43:49.639 that cowbell part is the great melody that he 00:43:49.639 --> 00:43:52.619 brings to the table. well you went back a year 00:43:52.619 --> 00:43:56.940 1968 not bad i didn't know that so i'm glad that 00:43:56.940 --> 00:43:59.300 you checked me on that one but that yeah whatever 00:43:59.300 --> 00:44:01.880 it works we're still in the same vein which is 00:44:01.880 --> 00:44:04.940 fantastic And this was a number one on the Billboard 00:44:04.940 --> 00:44:09.079 US Hot 100. So as much as it was a jazz tune 00:44:09.079 --> 00:44:11.400 like you're talking about, mainstream success. 00:44:11.820 --> 00:44:14.960 And a year later, bringing us right back to 1969, 00:44:15.699 --> 00:44:18.619 the Friends of Distinction released a vocal version 00:44:18.619 --> 00:44:22.820 of this song, which was also a top 10 hit. But 00:44:22.820 --> 00:44:25.239 I don't know, maybe it's because there is the 00:44:25.239 --> 00:44:27.460 cowbell in the Friends of Distinction version, 00:44:27.599 --> 00:44:30.699 but there's something about Hugh's performance. 00:44:31.760 --> 00:44:34.820 In that version where you kind of hit the nail 00:44:34.820 --> 00:44:38.199 on the head, it's not comedic, but it's almost 00:44:38.199 --> 00:44:42.039 to that point of the hell is happening where 00:44:42.039 --> 00:44:44.239 you could almost take it as a novelty because 00:44:44.239 --> 00:44:48.199 it's really overworked in the song. But if you 00:44:48.199 --> 00:44:51.000 take it out of the song, a lot of the swagger 00:44:51.000 --> 00:44:55.179 is gone. I totally agree. Totally. This actually 00:44:55.179 --> 00:44:57.400 is inspiring me. One, to bring us out of the 00:44:57.400 --> 00:45:01.960 1960s here for a minute. I actually have a weird 00:45:01.960 --> 00:45:05.019 way to connect the songs here to connect the 00:45:05.019 --> 00:45:09.000 dots. I am a big fan of fish. I have seen them 00:45:09.000 --> 00:45:13.260 many a times. I love the jam band scene. We have 00:45:13.260 --> 00:45:15.539 a fish episode coming up very soon here on my 00:45:15.539 --> 00:45:18.619 weekly mixtape. So stay tuned for that. But when 00:45:18.619 --> 00:45:22.679 I think of fish grazing in the grass feels like 00:45:22.679 --> 00:45:25.179 a song that they would play during a set break. 00:45:25.619 --> 00:45:29.829 It's got that jazzy kind of. sound that trey 00:45:29.829 --> 00:45:32.269 is a huge fan of and that fish has incorporated 00:45:32.269 --> 00:45:36.190 into their music over the years but the way that 00:45:36.190 --> 00:45:39.550 grazing in the grass is cowbell is kind of overt 00:45:39.550 --> 00:45:42.849 and over the top i'm going to bring us back to 00:45:42.849 --> 00:45:45.670 something just a little bit more driving however 00:45:45.670 --> 00:45:49.409 still musical and i'm going to go with 46 days 00:45:49.409 --> 00:45:54.329 off of 2002's round room I'm going to also go 00:45:54.329 --> 00:45:57.050 with the six minute and 14 second studio version 00:45:57.050 --> 00:45:59.190 because there are some live versions that they 00:45:59.190 --> 00:46:02.050 open it up for 15 and 20 minutes. But I feel 00:46:02.050 --> 00:46:04.150 like in this playlist, sticking with the studio, 00:46:04.170 --> 00:46:07.030 I mean, going to fish in any playlist is going 00:46:07.030 --> 00:46:10.670 to raise some red flags with some people. I understand 00:46:10.670 --> 00:46:13.550 that. But if you're a fish fan, you're going 00:46:13.550 --> 00:46:16.650 to see the connection going from Hugh Masekela 00:46:16.650 --> 00:46:20.670 to 46 Days. It's just perfect as far as I'm concerned. 00:46:21.360 --> 00:46:24.539 The jam band thing kind of lends itself to be, 00:46:24.659 --> 00:46:28.239 like you said, a little bit jazzier and a little 00:46:28.239 --> 00:46:31.940 bit more involved and almost like you do think 00:46:31.940 --> 00:46:35.539 about the cowbell being a prominent part of that 00:46:35.539 --> 00:46:38.719 track, specifically the studio version, like 00:46:38.719 --> 00:46:41.519 you said. I don't think I've listened to any 00:46:41.519 --> 00:46:44.840 of the live versions. And so you can correct 00:46:44.840 --> 00:46:47.320 me if the cowbell is there or not. Oh, it's definitely 00:46:47.320 --> 00:46:51.139 in the song live for sure. OK, good. And there's 00:46:51.139 --> 00:46:53.519 something about the cowbell where if he was playing, 00:46:53.559 --> 00:46:55.820 if John Fishman was doing it on a ride symbol 00:46:55.820 --> 00:46:58.800 where you're doing the do, do, do, do, do, do, 00:46:58.800 --> 00:47:02.539 do, do, do. I feel like it's and again, I feel 00:47:02.539 --> 00:47:04.840 like this is like a dissing ride symbol episode. 00:47:04.880 --> 00:47:08.320 And it's really not because I love the ride symbol 00:47:08.320 --> 00:47:10.340 and I love the use of the bells and specific 00:47:10.340 --> 00:47:13.719 parts of the ride. But the bell on the ride symbol 00:47:13.719 --> 00:47:16.480 and the bell on the cowbell are so far removed 00:47:16.480 --> 00:47:19.320 from a musical standpoint as far as I'm concerned. 00:47:19.849 --> 00:47:23.289 Yeah, and I think what you do get out of the 00:47:23.289 --> 00:47:25.949 difference between a ride bell and your cowbell 00:47:25.949 --> 00:47:29.409 is your cowbell has very minimal sustain. So 00:47:29.409 --> 00:47:32.719 it's just like articulate. And then when you 00:47:32.719 --> 00:47:35.719 get to a ride cymbal, you're still getting the 00:47:35.719 --> 00:47:38.739 rest of that cymbal out of that. And even on 00:47:38.739 --> 00:47:41.260 a cowbell, you'd be surprised how many different 00:47:41.260 --> 00:47:44.920 places you can actually play on a cowbell than 00:47:44.920 --> 00:47:48.320 just the edge of it. It's a very musical instrument 00:47:48.320 --> 00:47:51.059 when you get down to it. A lot of these jam bands 00:47:51.059 --> 00:47:53.699 that we've already mentioned do that super well. 00:47:54.239 --> 00:47:56.679 All right, well, we're moving on to the second 00:47:56.679 --> 00:47:59.880 half of Side B. What are you going to for track 00:47:59.880 --> 00:48:04.670 six? Yeah, we've kind of been on like a jam band 00:48:04.670 --> 00:48:08.289 kick for a second, and I don't think they get 00:48:08.289 --> 00:48:11.949 enough credit being labeled as a jam band, but 00:48:11.949 --> 00:48:14.949 I'm going to go with Red Hot Chili Peppers off 00:48:14.949 --> 00:48:18.210 of Stadium Arcadium. I'm going with Chad Smith's 00:48:18.210 --> 00:48:22.110 underrated ready -made track. This is a great 00:48:22.110 --> 00:48:26.750 tune, great cowbell part just in the pre -chorus 00:48:26.750 --> 00:48:30.090 going into the chorus. It's a bold statement 00:48:30.090 --> 00:48:33.349 to throw in a cowbell into your song. And even 00:48:33.349 --> 00:48:37.269 Chad Smith himself says that if you're throwing 00:48:37.269 --> 00:48:39.969 in a cowbell, you're telling people it's time 00:48:39.969 --> 00:48:42.690 to party. And Ready Made is kind of one of those 00:48:42.690 --> 00:48:45.469 tracks for me. I'm going to say something here 00:48:45.469 --> 00:48:47.969 that might ruffle some feathers, but this might 00:48:47.969 --> 00:48:51.889 be my favorite song on Stadium Arcadium. How 00:48:51.889 --> 00:48:54.750 this wasn't released as a single. I understand 00:48:54.750 --> 00:48:57.920 that. The songs that the Chili Peppers in this 00:48:57.920 --> 00:49:00.980 era were getting popular were a bit more of the 00:49:00.980 --> 00:49:04.880 softer side of the Chili Peppers. And this one 00:49:04.880 --> 00:49:08.420 is a heavy ass riff. I mean, this borderline 00:49:08.420 --> 00:49:10.860 something that Tom Morello of Rage Against the 00:49:10.860 --> 00:49:13.900 Machine would write. And it's done in Chili Peppers 00:49:13.900 --> 00:49:17.400 fashion. The cowbell, again, I think brings out 00:49:17.400 --> 00:49:21.980 a rawness to the song. Chad Smith is so prolific 00:49:21.980 --> 00:49:26.019 as a drummer that he has his own LP. I think 00:49:26.019 --> 00:49:30.059 it's called the Red Hot Cowbell. That LP came 00:49:30.059 --> 00:49:34.199 out with Latin percussion. So that is like if 00:49:34.199 --> 00:49:37.179 you're talking about great cowbell parts, that's 00:49:37.179 --> 00:49:40.800 definitely on this track for sure. And you know 00:49:40.800 --> 00:49:43.420 what? I actually I wasn't going to go to this 00:49:43.420 --> 00:49:46.579 song because every song we've chosen tonight 00:49:46.579 --> 00:49:50.940 has been cowbell centric. But because I mentioned 00:49:50.940 --> 00:49:54.300 them and I'm thinking about the riff, it's too 00:49:54.300 --> 00:49:57.599 perfect to not go with Rage Against the Machine's 00:49:57.599 --> 00:50:00.340 Killing in the Name of from their 91 self -titled 00:50:00.340 --> 00:50:04.239 album. Now, I'm not lost on the fact that for 00:50:04.239 --> 00:50:08.440 the most part, the cowbell is only in the beginning 00:50:08.440 --> 00:50:15.000 of the song. That's it. However. That opening, 00:50:15.099 --> 00:50:17.820 it's done so musically, getting the two different 00:50:17.820 --> 00:50:21.159 pitches. I feel like it's a different way of 00:50:21.159 --> 00:50:25.219 utilizing the cowbell. So while it's not a central 00:50:25.219 --> 00:50:28.099 part of the song, if you pull it out using the 00:50:28.099 --> 00:50:31.340 criteria we've been using the whole night, that 00:50:31.340 --> 00:50:34.000 part of the song would just drop. And I can't 00:50:34.000 --> 00:50:36.079 picture the opening of Killing in the Name of 00:50:36.079 --> 00:50:40.199 without that. You even hear that if any band 00:50:40.199 --> 00:50:43.760 covers this song live, you go to the dive bar 00:50:43.760 --> 00:50:46.280 on a weekend and you're hearing a band. kick 00:50:46.280 --> 00:50:48.980 up this riff for killing in the name of and that 00:50:48.980 --> 00:50:51.900 cowbell part isn't there. You're like, wait, 00:50:52.000 --> 00:50:56.039 hold on. Something's missing here. Like it needs 00:50:56.039 --> 00:50:58.760 to be there as any of these other songs have 00:50:58.760 --> 00:51:00.940 shown. And it's not a big part of the song. I 00:51:00.940 --> 00:51:03.219 really don't think I listen to it again. Don't 00:51:03.219 --> 00:51:05.079 think there's any other cowbell other than that 00:51:05.079 --> 00:51:09.179 one part. But what a great addition where most 00:51:09.179 --> 00:51:12.630 people would have opted for silence. That he 00:51:12.630 --> 00:51:16.630 was able to add in a cowbell part of all things 00:51:16.630 --> 00:51:20.849 into this. It's just a fantastic use of the cowbell. 00:51:20.909 --> 00:51:23.730 And like you said, differing pitches, which is 00:51:23.730 --> 00:51:27.710 a great musical way to use the cowbell. And when 00:51:27.710 --> 00:51:30.190 it was originally released, never charted in 00:51:30.190 --> 00:51:33.030 the US, but it hit number 25 on the UK singles 00:51:33.030 --> 00:51:36.219 chart, number seven in Australia. However. In 00:51:36.219 --> 00:51:40.920 2009, a DJ in the UK petitioned listeners to 00:51:40.920 --> 00:51:43.739 purchase the track The Week Before Christmas 00:51:43.739 --> 00:51:48.320 to prevent the winner of The X Factor from getting 00:51:48.320 --> 00:51:51.340 the number one spot on the Christmas UK charts 00:51:51.340 --> 00:51:54.280 for the fifth year in a row. And they did it. 00:51:54.679 --> 00:51:57.860 Killing In The Name Of in 2009 became a number 00:51:57.860 --> 00:52:00.940 one hit in the UK for Rage Against The Machine. 00:52:01.059 --> 00:52:07.110 And then a decade later, in 2019. The song reemerged 00:52:07.110 --> 00:52:10.510 on the U .S. Hot Rock and Alternative Songs chart 00:52:10.510 --> 00:52:14.150 going as high as number 25 because the song started 00:52:14.150 --> 00:52:17.550 receiving a lot of airplay based on a lot of 00:52:17.550 --> 00:52:20.250 the political situation that was happening in 00:52:20.250 --> 00:52:23.710 2019. So this is the song that just keeps on 00:52:23.710 --> 00:52:27.269 rising from the dead. And as much as the cowbell's 00:52:27.269 --> 00:52:30.650 not prominent throughout the song, you take it 00:52:30.650 --> 00:52:33.690 out of the track and it's a different song completely. 00:52:34.409 --> 00:52:38.909 I agree 100%. All right. We are getting down 00:52:38.909 --> 00:52:40.889 to the final three here. So we're back to you 00:52:40.889 --> 00:52:44.929 for track eight. What do we got? I couldn't not 00:52:44.929 --> 00:52:48.389 talk about this song. There are a couple on here 00:52:48.389 --> 00:52:51.869 that are more of my stretches of, you know, all 00:52:51.869 --> 00:52:54.250 right, this is a cowbell song, maybe the Elvis 00:52:54.250 --> 00:52:56.710 one or whatever. And that might be my own bias. 00:52:56.789 --> 00:53:01.750 But you can't have a playlist about. cowbells 00:53:01.750 --> 00:53:05.210 without talking about the opening cowbell part 00:53:05.210 --> 00:53:09.429 to low rider by war that bump bump bump bump 00:53:09.429 --> 00:53:11.730 bump bump bump bump bump bump bump bump bump 00:53:11.730 --> 00:53:15.230 bump not only that it's in between a muted cowbell 00:53:15.760 --> 00:53:19.099 and a not -muted cowbell. So it's a very musical, 00:53:19.119 --> 00:53:20.820 like we were talking about with Rage Against 00:53:20.820 --> 00:53:23.679 the Machine, a very musical way of utilizing 00:53:23.679 --> 00:53:27.360 the cowbell. More in the Latin groove of how 00:53:27.360 --> 00:53:29.599 you would use a cowbell, how it might just be 00:53:29.599 --> 00:53:33.719 one person assigned the cowbell part. This is 00:53:33.719 --> 00:53:38.099 what you get out of Low Rider by War. 1975's 00:53:38.099 --> 00:53:40.159 Why Can't We Be Friends, it reached number 7 00:53:40.159 --> 00:53:43.519 on the US Billboard Hot 100, number 6 on the 00:53:43.519 --> 00:53:46.119 Canada Top Singles Chart, and number 12 on the 00:53:46.119 --> 00:53:49.019 UK Singles Chart. Yeah, dude, there's no way 00:53:49.019 --> 00:53:50.840 we're doing this episode without this song. My 00:53:50.840 --> 00:53:52.980 parents had War's Greatest Hits growing up, I 00:53:52.980 --> 00:53:56.059 knew this song. And it's one of those songs that 00:53:56.059 --> 00:53:59.280 you don't have to know what it's about. As a 00:53:59.280 --> 00:54:02.500 kid, when that song came on... I would just want 00:54:02.500 --> 00:54:04.900 to grab a pair of sunglasses, put them on, and 00:54:04.900 --> 00:54:07.320 just walk around the house feeling cool. Because 00:54:07.320 --> 00:54:12.539 that song oozes swagger. It oozes cool. You know 00:54:12.539 --> 00:54:15.639 the Snoopy cartoon when he's Joe Cool? This is 00:54:15.639 --> 00:54:17.480 the song that's playing in the background. It 00:54:17.480 --> 00:54:20.000 has to be. And it's been covered by everyone 00:54:20.000 --> 00:54:23.519 from Blues Traveler, which is a jam band, to 00:54:23.519 --> 00:54:27.139 Korn, which is metal. And somehow it works in 00:54:27.139 --> 00:54:29.360 all those facets because the song just oozes 00:54:29.360 --> 00:54:33.489 that confidence. And it's so musical. And it's 00:54:33.489 --> 00:54:37.809 just a perfect pick. And for my last song of 00:54:37.809 --> 00:54:41.409 the night, I'm going to stay in kind of a similar 00:54:41.409 --> 00:54:44.510 vein in this Latin vibe. And I'm going to go 00:54:44.510 --> 00:54:46.690 with, because I haven't dropped a cover song 00:54:46.690 --> 00:54:49.010 yet. I talked about it on Side A when I wanted 00:54:49.010 --> 00:54:51.710 to go with Blackstone Cherry covering Mississippi 00:54:51.710 --> 00:54:53.769 Queen. But I'm going to go with a cover now. 00:54:54.190 --> 00:54:57.110 This song was originally recorded by Tito Puente 00:54:57.110 --> 00:55:01.340 in 1962. But it exploded when it was released 00:55:01.340 --> 00:55:06.420 on Santana's 1970 album Abraxas. I'm going with 00:55:06.420 --> 00:55:10.679 Oye Como Va, which hit number 13 on the U .S. 00:55:10.699 --> 00:55:14.000 Billboard Hot 100 and Australian singles chart, 00:55:14.139 --> 00:55:17.139 along with number seven on the Canada top singles 00:55:17.139 --> 00:55:20.639 chart. In 2001, it was inducted into the Latin 00:55:20.639 --> 00:55:23.820 Grammy Hall of Fame. And one year later, the 00:55:23.820 --> 00:55:26.940 Grammy Hall of Fame. And in 2021, it ranked number 00:55:26.940 --> 00:55:31.000 479 on Rolling Stone's 500 Greatest Songs of 00:55:31.000 --> 00:55:37.639 All Time. Santana's band on Abraxas is just insane. 00:55:38.059 --> 00:55:43.619 These players are top notch. And again, to be 00:55:43.619 --> 00:55:46.550 able to. fit with a player at the talent level 00:55:46.550 --> 00:55:49.570 of Carlos Santana. It's similar to the way Mitch 00:55:49.570 --> 00:55:54.369 Mitchell sitting behind Jimi Hendrix. Santana 00:55:54.369 --> 00:55:59.130 has such a distinct, unique sound that you immediately 00:55:59.130 --> 00:56:03.550 pick up on. If you're not able to fill that musical 00:56:03.550 --> 00:56:06.650 backdrop behind him, he's going to outshine everybody 00:56:06.650 --> 00:56:09.510 on the stage. And the lineup that he put together 00:56:09.510 --> 00:56:12.329 on this album. stays paced with them and that's 00:56:12.329 --> 00:56:16.849 why songs like oye como va completely overtook 00:56:16.849 --> 00:56:19.070 the original by tito puente it's a totally different 00:56:19.070 --> 00:56:21.769 version of the song if you haven't heard tito's 00:56:21.769 --> 00:56:24.869 version go back and listen to it it's a eye -opening 00:56:24.869 --> 00:56:27.070 listen if you've never heard it before but i 00:56:27.070 --> 00:56:30.090 feel like coming out of war this really kind 00:56:30.090 --> 00:56:32.929 of is a nice back and forth from the latin side 00:56:32.929 --> 00:56:36.050 of the cowbell Yeah, and if we're in that Latin 00:56:36.050 --> 00:56:39.710 vein, you wouldn't have a Latin song without 00:56:39.710 --> 00:56:42.969 aux percussion. I actually played, we played 00:56:42.969 --> 00:56:46.869 the Tito Puente version of this in a jazz band 00:56:46.869 --> 00:56:52.010 recital in college years ago, and I was the cowbell 00:56:52.010 --> 00:56:55.610 part. And, you know, kind of full circle moment 00:56:55.610 --> 00:57:01.110 for me here. But you can't have these Latin... 00:57:01.550 --> 00:57:05.409 song without all of the aux percussion just drum 00:57:05.409 --> 00:57:09.030 set alone doesn't do it so whether it's claves 00:57:09.030 --> 00:57:13.409 or shakers or a cowbell it needs to be there 00:57:13.409 --> 00:57:15.530 in order to drive the rest of the percussion 00:57:15.530 --> 00:57:19.610 of the song along all right well we are back 00:57:19.610 --> 00:57:22.210 to you now to take us home man last pick of the 00:57:22.210 --> 00:57:27.070 night we've had 19 classic cowbell jams what's 00:57:27.070 --> 00:57:31.590 the cherry on top Oh, man. Well, I guess you 00:57:31.590 --> 00:57:38.269 read my mind because as we both are. I didn't 00:57:38.269 --> 00:57:41.150 even think of that. That's great. That is good. 00:57:41.409 --> 00:57:45.829 That is good. Leave it. Leave it. Oh, what is 00:57:45.829 --> 00:57:50.329 the cherry on top? Well, I guess. No, the thing 00:57:50.329 --> 00:57:52.949 is, I. And I feel like I've done this before 00:57:52.949 --> 00:57:56.610 on this show is I've added in maybe like a last 00:57:56.610 --> 00:58:00.010 hit that isn't really something that people would 00:58:00.010 --> 00:58:02.489 consider. But I think it's something people should 00:58:02.489 --> 00:58:05.510 listen to. One of my favorite bands that also 00:58:05.510 --> 00:58:10.630 doesn't get enough credit as a jam band is Blackstone 00:58:10.630 --> 00:58:13.150 Cherry and their song off of Magic Mountain. 00:58:13.250 --> 00:58:17.590 Me and Mary Jane is a fantastic cowbell song 00:58:17.590 --> 00:58:22.519 that drives a chorus. of a song with cowbell. 00:58:22.639 --> 00:58:25.659 That doesn't happen a whole heck of a lot. So 00:58:25.659 --> 00:58:28.500 John Fred Young utilizing the cowbell in the 00:58:28.500 --> 00:58:32.760 best way possible of this blistering stoner rock 00:58:32.760 --> 00:58:37.059 track. This song is just fantastic. Considering 00:58:37.059 --> 00:58:39.400 how much I've talked about him tonight, I literally, 00:58:39.480 --> 00:58:43.179 that was such a moment there because I literally, 00:58:43.340 --> 00:58:47.039 I've said, put the cherry on top several episodes 00:58:47.039 --> 00:58:50.179 of course, this hundred plus episode run. And 00:58:50.179 --> 00:58:52.719 as soon as I said it, I'm like, John's a huge 00:58:52.719 --> 00:58:55.559 Blackstone Cherry fan. I wonder if you went to 00:58:55.559 --> 00:58:58.860 it. I was like, son of a bitch. Perfect. That's 00:58:58.860 --> 00:59:01.340 great. I love it. Hit number 16 on the Billboard 00:59:01.340 --> 00:59:05.460 US Mainstream Rock Chart. Probably it's tied. 00:59:05.840 --> 00:59:09.320 I honestly, it's tied for my favorite Blackstone 00:59:09.320 --> 00:59:11.739 Cherry song. It's either Me and Mary Jane or 00:59:11.739 --> 00:59:14.679 Blind Man. Those two songs to me are neck and 00:59:14.679 --> 00:59:18.320 neck, depending on the day. This band is so awesome. 00:59:18.400 --> 00:59:20.400 How they're not one of the biggest rock bands 00:59:20.400 --> 00:59:24.320 on the planet is literally beyond any comprehension 00:59:24.320 --> 00:59:26.820 that I could possibly have because they are so 00:59:26.820 --> 00:59:31.840 extremely talented, so tight, and just so heavy. 00:59:31.960 --> 00:59:34.619 And they bring that blues sound to their music. 00:59:34.659 --> 00:59:36.440 They bring that stoner sound to their music. 00:59:36.500 --> 00:59:38.719 And they're able to kind of veer from southern 00:59:38.719 --> 00:59:41.860 rock to blues to the stoner sound effortlessly. 00:59:42.659 --> 00:59:45.320 Totally. They'll even take something like the 00:59:45.320 --> 00:59:48.559 very middle of this section in the song and jam 00:59:48.559 --> 00:59:52.199 it out in a live show for more than just the 00:59:52.199 --> 00:59:55.880 amount of time that's on the recording. So they're 00:59:55.880 --> 00:59:59.380 again, one of, like you said, very underrated. 00:59:59.380 --> 01:00:01.880 I have no idea why they're not one of the bigger 01:00:01.880 --> 01:00:06.059 rock bands out there, but they just. have such 01:00:06.059 --> 01:00:09.639 fantastic musicianship and they work so well 01:00:09.639 --> 01:00:12.219 outside the box, especially John Fred Young, 01:00:12.340 --> 01:00:15.880 the drummer, who just has great drum parts overall, 01:00:16.159 --> 01:00:19.119 but stuff that most drummers would just go, I'll 01:00:19.119 --> 01:00:21.059 just throw in a regular groove here. He's like, 01:00:21.119 --> 01:00:23.219 no, let me think of something different. He's 01:00:23.219 --> 01:00:25.659 very much out of the box. And that's what you 01:00:25.659 --> 01:00:29.739 get with a cowbell part in a chorus of a song. 01:00:30.539 --> 01:00:33.599 And there you have it, mixtapers. Side B of the 01:00:33.599 --> 01:00:36.280 ultimate cowbell anthems mixtape, which consists 01:00:36.280 --> 01:00:39.619 of the Rolling Stones' Honky Tonk Women, Creedence 01:00:39.619 --> 01:00:42.280 Clearwater Revival's Down on the Corner, Jimi 01:00:42.280 --> 01:00:45.519 Hendrix's Stone Free, Hugh Mascala's Grazing 01:00:45.519 --> 01:00:49.699 in the Grass, Fish's 46 Days, Red Hot Chili Pepper's 01:00:49.699 --> 01:00:52.139 Ready Made, Rage Against the Machine's Killing 01:00:52.139 --> 01:00:55.900 in the Name of, War's Low Rider, Santana's Oye 01:00:55.900 --> 01:00:59.340 Como Va, and Blackstone Cherry's Me and Mary 01:00:59.340 --> 01:01:02.699 Jane. Head over to myweeklymixtape .com to hear 01:01:02.699 --> 01:01:05.579 all the songs we've discussed in this mix through 01:01:05.579 --> 01:01:09.679 the playlist embedded on the episode page. Now, 01:01:09.699 --> 01:01:11.800 John, you talked about the March and May tours 01:01:11.800 --> 01:01:14.340 for both Tantric and Smile Empty Soul. What does 01:01:14.340 --> 01:01:16.300 the rest of the year have in terms for both bands? 01:01:16.380 --> 01:01:20.460 New music tours? Yeah, hopefully new music in 01:01:20.460 --> 01:01:22.659 the Tantric camp. We've been working on stuff, 01:01:22.739 --> 01:01:26.099 so we're hoping that stuff will start to roll 01:01:26.099 --> 01:01:32.119 as we go further. Smile Empty Soul has a new 01:01:32.119 --> 01:01:36.760 EP that's dropping called the Swan Song EP. Unfortunately, 01:01:36.840 --> 01:01:39.260 I wasn't a part of it, but all the tracks on 01:01:39.260 --> 01:01:42.840 it are fantastic. So I highly recommend you go 01:01:42.840 --> 01:01:45.940 out and listen to it. And then really the rest 01:01:45.940 --> 01:01:47.659 of the year, we've got the Creed Cruise, the 01:01:47.659 --> 01:01:50.280 Summer of 99 Cruise with Tantric. That's in April. 01:01:50.440 --> 01:01:54.599 And then just tour, tour, tour until the new 01:01:54.599 --> 01:01:57.860 year. It's just like the year just started. I 01:01:57.860 --> 01:02:01.579 already feel like I'm looking towards 2026 already. 01:02:01.880 --> 01:02:04.219 That's awesome, man. Well, I am sure we're going 01:02:04.219 --> 01:02:05.699 to catch you when you go through New Jersey. 01:02:05.739 --> 01:02:08.159 Why don't you remind listeners how to connect 01:02:08.159 --> 01:02:10.099 with you on social media if they want to get 01:02:10.099 --> 01:02:14.420 in touch? Yeah, John's Drum Studio, J -O -N -S. 01:02:15.019 --> 01:02:18.159 Drum Studio. That's my Instagram. You can find 01:02:18.159 --> 01:02:22.139 me JohnLoree, J -O -N -L -O -R -E -E on Facebook. 01:02:22.260 --> 01:02:26.119 I post a lot of nonsense content on both of those 01:02:26.119 --> 01:02:29.900 pages. So if you want to laugh about music with 01:02:29.900 --> 01:02:32.500 me, go ahead and give me a follow if you want. 01:02:32.599 --> 01:02:36.679 And then johnsdrumstudio .com if you need to 01:02:36.679 --> 01:02:38.659 connect with me about drums or just want to chat. 01:02:39.880 --> 01:02:43.079 John's Instagram is one of my absolute favorites. 01:02:43.139 --> 01:02:45.679 You did a skit recently about a cowbell that 01:02:45.679 --> 01:02:47.900 was frigging brilliant. And I was like, what 01:02:47.900 --> 01:02:52.139 timing? Thank you so much for being on again, 01:02:52.239 --> 01:02:54.519 man. Always a pleasure talking music with you 01:02:54.519 --> 01:02:56.760 and look forward to having you back on very soon. 01:02:57.260 --> 01:02:59.829 Thanks, Brian. Appreciate it. And to all those 01:02:59.829 --> 01:03:02.150 listening, remember, you can find my weekly mixtape 01:03:02.150 --> 01:03:05.230 on almost all the social media haunts at my weekly 01:03:05.230 --> 01:03:07.889 mixtape. You can also head to my weekly mixtape 01:03:07.889 --> 01:03:10.769 dot com to check out the full catalog of my weekly 01:03:10.769 --> 01:03:13.110 mixtape episodes. And if you like what you're 01:03:13.110 --> 01:03:14.929 hearing on the show, you can help me out by either 01:03:14.929 --> 01:03:17.530 telling a friend, leaving the show a five star 01:03:17.530 --> 01:03:19.849 review wherever you're tuning in or becoming 01:03:19.849 --> 01:03:23.190 a Patreon mixtape or a Patreon dot com forward 01:03:23.190 --> 01:03:26.329 slash. My Weekly Mixtape. There you can find 01:03:26.329 --> 01:03:28.989 ad -free episodes of the show, gain early access 01:03:28.989 --> 01:03:31.929 to future My Weekly Mixtape episodes, chime in 01:03:31.929 --> 01:03:34.690 on upcoming topics, become a future guest, and 01:03:34.690 --> 01:03:37.250 so much more. That's all for this week. Thanks 01:03:37.250 --> 01:03:39.929 again for listening, and until next time, enjoy 01:03:39.929 --> 01:03:40.449 the tunes.