WEBVTT

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Hey, it's Emily Wolf, and you're listening to

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My Weekly Mixtape with Brian Colburn, and I hope

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you enjoy it. Welcome to My Weekly Mixtape, a

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podcast that takes the classic mixtape approach.

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to building a modern playlist. I'm your host,

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Brian Colburn. Joining me tonight as guest curator

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is the incredible singer -songwriter, Emily Wolfe.

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Emily, thank you so much for joining me on the

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show tonight. Thanks for having me. I'm excited.

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I love a mixtape, and I love an old version of

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a mixtape, so this is great. Well then, you just

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leaned right into my first -time guest question,

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and that is, what does the word mixtape mean

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to you? Oh my gosh. It means, well, when I think

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about a mixtape, I actually have a prop here

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with me. But when I first started recording myself,

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I had this tape recorder from the 90s. Nice.

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And a tape. And that was how I started recording

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myself in middle school and high school and stuff.

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And I would make my own mixtapes of my own stuff

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to see if it was any good. And then, yeah, I

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mostly burned CDs and stuff in high school. And

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after a while, they all kind of started to be

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the same song over and over again. I guess I'm

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a creature of habit. But yeah, I love a mixtape.

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It was like back when I was in high school and

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stuff. It was how you expressed all your emotions.

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You know, if you had a crush on somebody, you

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made a mixtape or a mix CD or all that. Now it's

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playlist, which is fine. But I did enjoy the

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physical media part of that. I have to say, when

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you gave somebody a mixtape or even a mix CD,

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that person knew you put some time into it, especially

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the cassette form, because that was real time.

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And if you were one of the high -end people who

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had the high -speed dubbers, maybe half time.

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But with a playlist, sometimes I feel like you

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could just drag 10 songs onto it and send it

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out. It's like, how much thought really went

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into this? Yeah, yeah. Were you thinking about

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this person for 10 seconds or 10 hours with trying

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to put an actual tape together? Well, tonight

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we're going to try to find a cross of that. And

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you and I are going to be co -curating a mixtape

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together with songs that we feel are the best

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90s female rock songs out there. So what were

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you looking to bring to the table with your song

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choices for this evening? Oh my gosh. I was looking

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to bring all the female artists of the 90s that

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just exhibit their rage so gracefully. And there's

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no boundaries with the rage. Like the first song

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I picked was Seether by Veruca Salt because that

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song is literally about female rage being right

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under the surface at all times. And yeah, if

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somebody says 90s female rock, that's what I

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think of first. And for me, it's definitely the

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rage, the angst. It's the time in my life where

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I felt like female musicians truly had their

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own voice. I felt like the female artists took

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it upon themselves to say. This is the kind of

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music that's out there. We're going to do it

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and we're going to do it just as good as anybody

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else out there and even better. And there were

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so many moments throughout the 90s that proved

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that point over and over again. I'm really excited

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to dive into this tonight. Yeah. So let's get

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down to business tonight. As I mentioned at the

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top of the show, Emily and I are curating the

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ultimate 90s female rock mixtape. But we're going

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to use the old cassette deck approach. Emily,

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as my special guest, will begin side A with her

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first song choice, which she mentioned already.

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And then I'll add a song that I feel best follows

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up that choice. We'll then flip -flop choosing

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songs until we've mapped out 10 songs for side

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A. We'll then give our mixtape the proverbial

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flip and we'll map out side B. Only this time,

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I'll kick things off with Emily choosing second.

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Our overall goal for this episode is to craft

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the best 90s female rock mixtape possible through

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only 20 songs. At the end of the show, you can

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take our conversation to the next level by visiting

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the episode page at myweeklymixtape .com to give

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our final mixtape a listen. via the embedded

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playlist. And if you like what you're hearing

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on the show, you can help me out by either telling

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a friend, leaving the show a five -star review

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wherever you're tuning in, or becoming a Patreon

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mixtaper at patreon .com forward slash My Weekly

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Mixtape. There you can enjoy the show ad -free,

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chime in on upcoming topics, become a future

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guest, and so much more. And a few of the Patreon

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mixtapers chimed in with songs they would use

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to kick things off tonight. And I want to give

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a few quick shout outs. Brandon from Virginia

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chimed in with Ani DiFranco's shameless, untouchable

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face or dilate saying her picking style and guitar

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tone was unprecedented and that he saw her at

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the 930 Club in the late 90s with Maceo Parker

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and he came out to jam on the diner. Tom Hutchinson

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chimed in with Bikini Kill's Suck My Left One,

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saying Kathleen Hanna's energy is simply fantastic.

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Ben from the Too Vague podcast chimed in saying

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that this was a difficult topic because, as he

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put it, quote, the 90s were the decade that women

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rockers broke the glass ceiling, or at the very

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least, left it severely damaged. But he ended

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up choosing PJ Harvey's Down by the Water. Philip

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Bergman chimed in with Voice of the Beehive's

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Scary Kisses from their Sex and Misery album.

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Seeker from Australia couldn't decide between

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the Baby Animal's Early Warning or the Breeders'

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Cannonball. Jason Doncic chimed in saying we

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can't have this list without Liz Phair's Supernova,

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but he's also a fan of Poe's Trigger Happy Jack.

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Chris Pizica chimed in with both the Cranberry

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Zombie and No Doubt's Just a Girl. Sean Goff

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chimed in saying he agreed that there were so

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many great options for this topic tonight, but

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he chose not an addict by Kay's choice. And finally,

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Chad LaMassa was going to chime in with Garbage's

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Stupid Girl, but Emily, when he saw that you

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were going to be the guest tonight, as a bit

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of synergy here, he changed his pick to Veruca

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Salt's Seether because it leans more towards

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the guitar. Once again, if you'd like to chime

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in for future My Weekly Mixtape episodes, come

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join the fellow mixtapers at patreon .com forward

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slash My Weekly Mixtape. Now, Emily, we know

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your first song is Veruca Salt Seether, just

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the way Chad LaMassa chimed in with. Let's hear

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why you're kicking things off with that track

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tonight. Great. Yeah. You know what? I chose

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this song because it is one of those songs that

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could come out today and it would be relevant

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and make sense just forever. I think it's an

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amazing song. It's one of my favorites. I love

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the guitar tones. I love Louise Post. Actually,

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one time I gave Louise Post a guitar because

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her trailer got stolen on tour and she was rolling

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through Austin. Yeah. And I know her drummer

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and he texted me and he said, hey. all of our

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gear got stolen. Do you happen to have an SG

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for Louise Post? And I was like, dude, I have

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got one. Yes. So I brought an SG to her and it

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was like such a cool moment because Veruca Salt,

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they have such an impact on my music, especially

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my latest record. But yeah, this is just, this

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song is everything to me in terms of 90s female

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rock. Couldn't agree more. It reached number

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eight on the U .S. Billboard Modern Rock Tracks

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chart and also charted in Australia and the UK,

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written by the incredible Nina Gordon, who I

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would have also thought to include some stuff

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from her solo album, Tonight and the Rest of

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My Life. But it came out in 2000, so alas, did

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not make the cut. I mean, how could you not love

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a band who has an EP named Blow It Out Your Ass,

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It's Farouk Assault? Like, that is the vibe we're

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going for tonight. And in a little bit of synergy,

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it's been shown love over the years as the band

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Seether covered the song Seether on their Greatest

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Hits album. If you really want to hear... a gender

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-flipped reimagining of the track. So once again,

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shout out to Patreon mixtaper Chad LaMassa, who

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also chimed in with this one. Chad has seen you

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perform recently in Maryland, and he had mentioned

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to me that you might remember him as he's the

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guy who has your wolf shirt tattooed on his arm.

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Oh, yeah, yeah, Chad. That's awesome. Dang. What's

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up, Chad? Yeah, that guy rules. Yeah, he's awesome.

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He's a huge supporter of the show. He loves your

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music. And he was the one who said, hey, Brian,

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if there's any chance you can ever get Emily

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Wolfe on the show, I'm like, dude, I'm going

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to make it happen. I love her music. Let's make

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this happen. That's awesome. I'm excited that

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this is happening tonight. And following up Baruch

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Assault, I have to give another Patreon shout

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out because Seeker chimed in with this one. I've

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talked about this song five times in 90 episodes

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of my weekly mixtape, and there's a reason for

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that. When a song is just iconic to the point

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that you hear a second of a bass line and you

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immediately know the song. It just is embedded

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in my musical DNA. The first time I heard the

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opening bass line to the Breeders' Cannonball,

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I was immediately sucked in as a bass player

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myself. I mean, Kim Deal's vocals are amazing.

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Don't get me wrong. It's powerful. It kicks through

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the song, the distortion, the energy, the power.

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Josephine Wig's bass line is just so iconic.

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It's a perfect snapshot of early 90s rock. The

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song reached number 44 on the U .S. Billboard

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Hot 100. And I have to admit, I love seeing modern

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artists who are having their major moment showing

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love to artists to help them get there. Because

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Olivia Rodrigo brought the Breeders out on tour

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this year. yeah for their 30th anniversary of

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last splash and that's introducing the breeders

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to a brand new generation of people who might

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who definitely didn't experience them the first

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time around so i absolutely love when things

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like that happen yeah me too that's awesome i

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think olivia rodrigo also covered seether did

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she like at a show yeah because i went and saw

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them and i noticed a lot of jen's ears i was

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like what is this and then uh Yeah, but he was

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like, oh, yeah, no, Olivia Rodrigo covered Seether,

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which is awesome. So that's great. But yeah,

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that bass line in Cannonball. I also love that

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it mimics a drum part just so completely. So

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it's like that so much rhythm is like, you know,

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it's just like so cool. And the tone of it. I

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don't think there's any other song that I know.

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where it's like the baseline is just the coolest

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part of the song you know and as a bass player

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for me that just puts a little extra smile on

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my face because let's be honest the bass players

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don't always get the love and when there's a

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baseline that's so iconic that decades later

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we're still talking about it bravo yeah for sure

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all right so now you get to follow up a one -two

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punch of veruca salt seether and the breeders

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cannonball How do we keep this energy going?

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You got to keep it going with Tracy Bonham, Mother

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Mother. Yes. That song is crazy. It is so wild.

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Just like the first part of it, just acoustic

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strumming and like then out of nowhere, it's

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just like band, you know, like the tension is

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broken and you didn't even expect it. And it's

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like the most climactic chorus. It's so cool.

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The entire album, 1996 is the burdens of being

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upright is amazing, but. To me, this might be

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one of the most visceral screams of the decade.

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The everything's fine. I mean, I actually heard

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that she had to cancel some shows on her tour

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because she blew her voice out and had to learn

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how to scream it properly so she could do it

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night after night and be able to deliver it.

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Because you listen to that album and that cuts

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through your soul, that scream. You feel it.

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And the song topped the U .S. Modern Rock Tracks

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chart in the U .S. and also charted in Australia,

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Canada, and New Zealand, among several other

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countries. Interesting fact about Mother Mother.

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It was the last song by a female solo artist

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to top that chart until Lords Royals in 2013.

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as the modern rock tracks chart was then renamed

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to the Billboard Alternative Songs chart. So

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there was almost a 20 -year span where a female

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artist didn't top the chart. Wow. That is wild.

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I did not know that. And way too long, to be

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perfectly honest. Yeah, for sure. But to follow

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that, I'm going to break down the visceralness,

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if that's even a word, just a little bit. And

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I'm going to bring up a song that I had the honor

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back on episode 44 of diving into a lot deeper

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than I'm going to go into tonight. But off of

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their 1993 album, Aurora Goriales, we have to

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go with Letters to Cleo here and now. A lot of

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people were introduced to this song via the Melrose

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Place soundtrack. But if you were into the indie

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punk scene in 1993, you were already familiar

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with this. Kay Hanley joined me for episode 44

00:14:30.600 --> 00:14:35.059
and we did a deep dive into Aurora Goriales as

00:14:35.059 --> 00:14:38.840
well as all the amazing things she has done in

00:14:38.840 --> 00:14:42.509
music all the way from. The 10 Things I Hate

00:14:42.509 --> 00:14:45.029
About You soundtrack, Josie and the Pussycats,

00:14:45.169 --> 00:14:49.169
Star Trek. She has done so much for music. I

00:14:49.169 --> 00:14:51.250
just highly suggest going back and listening

00:14:51.250 --> 00:14:53.429
to that episode if you want to hear more about

00:14:53.429 --> 00:14:57.169
Letters to Cleo. A completely underrated band

00:14:57.169 --> 00:15:01.309
in the 90s. How they weren't massive blows my

00:15:01.309 --> 00:15:05.049
mind because consistency straight through every

00:15:05.049 --> 00:15:08.750
album, every song. And Kay is just an absolute

00:15:08.750 --> 00:15:12.330
delight. Yeah. Letters to Cleo, super underrated.

00:15:12.470 --> 00:15:16.669
I first heard Letters to Cleo actually on a radio

00:15:16.669 --> 00:15:18.950
station. I was like, what is this? How come I

00:15:18.950 --> 00:15:23.090
have never heard this before? And yeah, I loved

00:15:23.090 --> 00:15:25.210
it. I think it was a girl to be kind is what

00:15:25.210 --> 00:15:27.870
I heard on the radio. But yeah, here now is an

00:15:27.870 --> 00:15:31.230
incredible song too. Very underrated. So how

00:15:31.230 --> 00:15:35.570
do we follow that up? Oh, whole celebrity skin.

00:15:36.690 --> 00:15:41.480
Yes. one of my favorite recordings ever. I don't

00:15:41.480 --> 00:15:43.879
know what it is. It's just like something about

00:15:43.879 --> 00:15:47.440
the, the sonics and the tones and like the bass

00:15:47.440 --> 00:15:51.000
tone is huge. I think they used like some kind

00:15:51.000 --> 00:15:54.500
of like sub octaver, like rack mount sub octaver

00:15:54.500 --> 00:15:56.940
for that bass. Cause it's like, if you really

00:15:56.940 --> 00:15:59.299
like chime into it, it's just like, there's so

00:15:59.299 --> 00:16:02.139
much sub bass and then all the guitars just fill

00:16:02.139 --> 00:16:05.720
in this mid range so well. And it's so sarcastic

00:16:05.720 --> 00:16:08.639
and just so great. I love that song. Reached

00:16:08.639 --> 00:16:11.580
number 85 on the Billboard US Hot 100. Personally,

00:16:11.840 --> 00:16:14.120
I thought it would have been a lot higher than

00:16:14.120 --> 00:16:17.379
that, but it did top the US alternative airplay

00:16:17.379 --> 00:16:20.720
charts and also charted in Australia, Canada,

00:16:21.100 --> 00:16:24.200
Europe, France, and a bunch of other countries.

00:16:24.679 --> 00:16:27.580
Easily their most commercially successful track.

00:16:27.840 --> 00:16:30.980
And it's been in... countless movies, TV shows

00:16:30.980 --> 00:16:33.539
and video games. Believe it or not, the song

00:16:33.539 --> 00:16:36.480
was co -written by Billy Corgan of the Smashing

00:16:36.480 --> 00:16:39.120
Pumpkins. He's the one who Courtney Love said

00:16:39.120 --> 00:16:42.840
came up with the guitar riff for the song. So

00:16:42.840 --> 00:16:45.340
that's a pretty cool collaboration. And then

00:16:45.340 --> 00:16:48.580
while we're talking female fronted rock acts,

00:16:48.720 --> 00:16:52.620
the band Garbage, the lyrics from Celebrity Skin

00:16:52.620 --> 00:16:56.019
actually inspired the name of their third album,

00:16:56.200 --> 00:17:00.309
Beautiful Garbage. Came from the lyrics of Celebrity

00:17:00.309 --> 00:17:06.210
Skin. Wow. I didn't know that. Yeah. Wow. Cool.

00:17:06.329 --> 00:17:08.589
So there's a lot of love going on between some

00:17:08.589 --> 00:17:10.630
of the artists we're talking about tonight. I'm

00:17:10.630 --> 00:17:11.930
going to guess we're not going to get through

00:17:11.930 --> 00:17:14.990
20 songs without talking about Garbage. But for

00:17:14.990 --> 00:17:18.950
now, we haven't talked about them yet. But to

00:17:18.950 --> 00:17:21.650
follow that up, I want to bring a little bit

00:17:21.650 --> 00:17:25.019
of the punk side of things into this. Yeah. And

00:17:25.019 --> 00:17:28.420
when I think of female punk in the 90s, one of

00:17:28.420 --> 00:17:30.980
the first bands that comes to my mind are the

00:17:30.980 --> 00:17:34.099
Muffs. But I'm not going to go off their self

00:17:34.099 --> 00:17:36.839
-titled as much as I love that song. I could

00:17:36.839 --> 00:17:39.880
easily gone with Lucky Guy or Big Mouth. I love

00:17:39.880 --> 00:17:44.480
that album. A movie that really resonated with

00:17:44.480 --> 00:17:47.640
me in the 90s was a movie called Angus. And that

00:17:47.640 --> 00:17:51.480
soundtrack was something that. I played nonstop

00:17:51.480 --> 00:17:56.200
when I was in college. And along with the Angus

00:17:56.200 --> 00:17:59.140
soundtrack, this song was also featured on their

00:17:59.140 --> 00:18:02.940
1995 album Blonder and Blonder. And the song

00:18:02.940 --> 00:18:07.039
is called Funny Face. Kimberly Shattuck had such

00:18:07.039 --> 00:18:12.130
a unique voice. Yeah. Such a distinct. There

00:18:12.130 --> 00:18:15.069
was a gravel to it, but also a beauty and a softness

00:18:15.069 --> 00:18:17.890
to it. Yeah. And I think because we talked about

00:18:17.890 --> 00:18:21.289
them before, there's an amazing acoustic cover

00:18:21.289 --> 00:18:24.410
that Kim performed with both Nina Gordon and

00:18:24.410 --> 00:18:28.930
Louise Post of Veruca Salt prior to Kim's tragic

00:18:28.930 --> 00:18:33.730
passing from ALS. And the three of them harmonizing

00:18:33.730 --> 00:18:37.349
on that song together. I literally have the hair

00:18:37.349 --> 00:18:40.329
on my arm standing up with goosebumps just talking

00:18:40.329 --> 00:18:43.049
about it. I'm going to embed the performance

00:18:43.049 --> 00:18:46.769
on the episode page at myweeklymixtape .com because

00:18:46.769 --> 00:18:50.309
hearing those three voices together is just absolute

00:18:50.309 --> 00:18:53.390
perfection to me. And yeah, we have to talk funny

00:18:53.390 --> 00:18:56.990
face tonight. Yeah. Such an interesting song.

00:18:57.410 --> 00:19:00.089
And yeah, like I watched that acoustic cover

00:19:00.089 --> 00:19:04.509
and it was so crazy. Like just, I don't know.

00:19:04.549 --> 00:19:06.650
There's, I wish that I knew the right word for

00:19:06.650 --> 00:19:10.069
this song because it's like, it almost like pokes

00:19:10.069 --> 00:19:12.880
fun at pain. for some, I don't know if that makes

00:19:12.880 --> 00:19:15.720
a lot of sense, but it's just like funny face.

00:19:15.920 --> 00:19:18.640
I mean, it's like, you know, taking, like not

00:19:18.640 --> 00:19:22.039
taking things as seriously as, as you may feel

00:19:22.039 --> 00:19:25.299
them, I guess. But yeah, the muffs, that's another

00:19:25.299 --> 00:19:28.359
one that I heard on a radio station along with

00:19:28.359 --> 00:19:29.900
letters to Cleo. I was like, what is this? How

00:19:29.900 --> 00:19:33.000
come I haven't heard this before? You know? Of

00:19:33.000 --> 00:19:36.220
course, of course. But yeah, that's a great choice.

00:19:36.700 --> 00:19:39.450
Thank you. So now I'm going to throw it back

00:19:39.450 --> 00:19:44.509
to you. We are up to track seven on side A. Great.

00:19:44.849 --> 00:19:48.130
I went with Sheryl Crow, If It Makes You Happy,

00:19:48.269 --> 00:19:52.789
which I, yeah, I know that, you know, Sheryl

00:19:52.789 --> 00:19:57.670
Crow's less grunge than a lot of these songs,

00:19:57.829 --> 00:20:01.950
but those lyrics are grunge as hell if you really

00:20:01.950 --> 00:20:05.630
listen to them, because the first verse doesn't

00:20:05.630 --> 00:20:08.700
really make sense. And then she straight up says

00:20:08.700 --> 00:20:12.619
like, well, I'm just making this up. And then

00:20:12.619 --> 00:20:15.079
she's like, I don't know. It's just very like

00:20:15.079 --> 00:20:18.660
middle finger, but it's also really beautiful,

00:20:18.759 --> 00:20:21.680
which I think is it's one of my favorite things

00:20:21.680 --> 00:20:26.220
in a song is when the lyrics are a little bit

00:20:26.220 --> 00:20:29.579
juxtaposed with the music. I think it makes things

00:20:29.579 --> 00:20:32.730
really interesting. That it does, from her 1996

00:20:32.730 --> 00:20:36.490
eponymous release. Reached number 10 on the Billboard

00:20:36.490 --> 00:20:40.230
US Hot 100, number 9 on the UK Singles Chart,

00:20:40.390 --> 00:20:44.150
and number 1 on Canada's Top Singles Chart. Also

00:20:44.150 --> 00:20:47.670
a hit in Australia, Germany, Europe, France,

00:20:47.809 --> 00:20:50.730
and several other countries. Shockingly, though,

00:20:50.910 --> 00:20:54.390
If It Makes You Happy was Sheryl Crow's final

00:20:54.390 --> 00:20:59.420
top 10 solo hit in the US. And you think about

00:20:59.420 --> 00:21:02.460
all the hits she had after that soak up the sun

00:21:02.460 --> 00:21:06.160
only reached number 17. The first cut is the

00:21:06.160 --> 00:21:09.859
deepest only reached 14. The only other time

00:21:09.859 --> 00:21:12.460
she cracked the top 10 after, if it makes you

00:21:12.460 --> 00:21:16.380
happy was with kid rock and the picture duet.

00:21:16.779 --> 00:21:22.119
To me, that makes zero sense. And this is my

00:21:22.119 --> 00:21:24.859
all time favorite Sheryl Crow song. It checks

00:21:24.859 --> 00:21:29.860
off all the boxes for me musically. emotionally,

00:21:29.860 --> 00:21:33.460
lyrically. When my band Colburn and Company jams

00:21:33.460 --> 00:21:36.799
on this track, I absolutely cheat because our

00:21:36.799 --> 00:21:40.119
female singer does the verses and I love the

00:21:40.119 --> 00:21:43.539
lyrics so much. I actually half step harmonize

00:21:43.539 --> 00:21:46.299
the verses, even though they don't belong. I

00:21:46.299 --> 00:21:50.359
just love the song so much. I just enjoy adding

00:21:50.359 --> 00:21:53.059
that little layer because people don't expect

00:21:53.059 --> 00:21:56.640
to hear it. And it's a lot of fun. And the song

00:21:56.640 --> 00:21:59.819
just. It gets you in the feels. It really does.

00:22:00.180 --> 00:22:03.480
Yeah. Yeah. There's like a defeat in the lyrics.

00:22:03.779 --> 00:22:06.420
And it's like one of those types of defeat that

00:22:06.420 --> 00:22:08.380
you're like, yeah, I've been there. I know what

00:22:08.380 --> 00:22:11.420
you're talking about. Great song. And I'm going

00:22:11.420 --> 00:22:14.039
to follow up that defeat with another song that

00:22:14.039 --> 00:22:17.180
Colburn and Company performs. It's probably one

00:22:17.180 --> 00:22:19.839
of my favorite songs of the 90s. And when we

00:22:19.839 --> 00:22:23.559
talk about underrated, this band, I think, has

00:22:23.559 --> 00:22:26.759
to. be in discussion. Yes, they've had hits.

00:22:26.839 --> 00:22:29.940
And this song reached number 19 on the Billboard

00:22:29.940 --> 00:22:33.559
U .S. Hot 100, number four on Canada's top singles

00:22:33.559 --> 00:22:37.160
chart, and number two in Australia. It also topped

00:22:37.160 --> 00:22:39.759
the Billboard U .S. Modern Rock Tracks chart.

00:22:40.000 --> 00:22:44.759
However, it's the only song to crack the U .S.

00:22:44.759 --> 00:22:48.920
Hot 100 for Concrete Blonde. And that is Joey

00:22:48.920 --> 00:22:53.099
from 1990s Bloodletting. That makes zero sense

00:22:53.099 --> 00:22:56.539
to me. God is a Bullet, Someday, their cover

00:22:56.539 --> 00:22:59.779
of Leonard Cohen's Everybody Knows from the Pump

00:22:59.779 --> 00:23:02.720
Up the Volume soundtrack. To me, it's shocking

00:23:02.720 --> 00:23:06.440
that this band wasn't massive. Jeanette Napolitano

00:23:06.440 --> 00:23:11.660
has such a unique and distinct voice. I can't

00:23:11.660 --> 00:23:15.000
fathom how the label didn't get behind them more

00:23:15.000 --> 00:23:18.619
because this song is just, every time it's on,

00:23:18.660 --> 00:23:21.619
it stops me dead in my tracks. Yeah, I know.

00:23:21.680 --> 00:23:26.059
It's crazy. It's like, I feel like this song

00:23:26.059 --> 00:23:28.660
should have been as big as like, what's that

00:23:28.660 --> 00:23:31.480
police song? The big police song. Every Breath

00:23:31.480 --> 00:23:34.380
You Take? Yeah. Yeah. It's got like, I don't

00:23:34.380 --> 00:23:36.579
know, like to me that it feels like it should

00:23:36.579 --> 00:23:38.920
have been that big. This is the kind of song

00:23:38.920 --> 00:23:41.720
that if you were to bust out a cover at one of

00:23:41.720 --> 00:23:44.759
your shows, I would love to hear your rendition

00:23:44.759 --> 00:23:47.720
of because I feel like your voice really could

00:23:47.720 --> 00:23:51.089
channel that. energy and that angst that she

00:23:51.089 --> 00:23:54.269
brings through in that song but also the depth

00:23:54.269 --> 00:23:58.490
and the vulnerability that the song shares i

00:23:58.490 --> 00:24:00.130
feel like is something that you could really

00:24:00.130 --> 00:24:02.990
hone not that i'm throwing cover song ideas out

00:24:02.990 --> 00:24:05.509
there you know what i'm gonna do it that's an

00:24:05.509 --> 00:24:08.410
awesome idea and i love that song and i'm so

00:24:08.410 --> 00:24:11.369
glad that you mentioned that because like yeah

00:24:11.369 --> 00:24:13.670
the line that they were she says like if you're

00:24:13.670 --> 00:24:17.009
hurting so am i god it just gets me every time

00:24:17.009 --> 00:24:20.799
you know It's just an amazing song. And her voice.

00:24:20.859 --> 00:24:24.640
She played bass too, right? Yeah. Yeah. More

00:24:24.640 --> 00:24:27.680
love for bassists. I know. A lot of bass. Honestly,

00:24:27.880 --> 00:24:31.259
dude, 90s bass tones, the best tones. I love

00:24:31.259 --> 00:24:36.400
90s bass. Agreed. All right. Well, we now each

00:24:36.400 --> 00:24:40.319
have one song left for side A. What do you have

00:24:40.319 --> 00:24:43.940
for track nine? Track nine. We got to garbage

00:24:43.940 --> 00:24:47.579
finally. All right. Yeah. Only happy when it

00:24:47.579 --> 00:24:52.490
rains. One of my favorite garbage songs. I love

00:24:52.490 --> 00:24:55.690
this song. Yeah, it's just like admitting like,

00:24:55.829 --> 00:25:00.589
yeah, I kind of like when things hurt. I don't,

00:25:00.589 --> 00:25:03.230
I'm not afraid to admit it. And just the vocal

00:25:03.230 --> 00:25:06.309
take is amazing. I just love that vocal take.

00:25:06.730 --> 00:25:11.009
This song is an absolute, I use this term a lot,

00:25:11.049 --> 00:25:15.299
but this song is a vibe. Yeah, it sure is. They

00:25:15.299 --> 00:25:17.900
captured what Butch Vig was able to put together

00:25:17.900 --> 00:25:20.859
with Garbage and the talent that he had in that

00:25:20.859 --> 00:25:23.900
group. And then you add Shirley's perfect voice

00:25:23.900 --> 00:25:28.160
for the landscape that is the music bed underneath

00:25:28.160 --> 00:25:32.119
this song. Pour your misery down on me. It just

00:25:32.119 --> 00:25:36.880
works so perfectly. It's the follow -up to Stupid

00:25:36.880 --> 00:25:40.700
Girl. Personally, and I might piss off some Garbage

00:25:40.700 --> 00:25:42.720
fans here, but I think it's the better of the

00:25:42.720 --> 00:25:46.349
two. reach number 55 on the billboard us hot

00:25:46.349 --> 00:25:50.109
100 also charted in australia the uk and canada

00:25:50.109 --> 00:25:54.930
not a top 40 hit absolute mistake i mean this

00:25:54.930 --> 00:25:58.190
song has been covered by everyone from hailstorm

00:25:58.190 --> 00:26:03.069
to new year's day to metallica who covered the

00:26:03.069 --> 00:26:07.049
song acoustically at the 2007 neil young bridge

00:26:07.049 --> 00:26:11.130
school benefits show wow If Metallica is taking

00:26:11.130 --> 00:26:14.809
time out of their set to acoustically reimagine

00:26:14.809 --> 00:26:18.269
a song, you know this song has hit on a different

00:26:18.269 --> 00:26:22.029
level. And I think this is a perfect example

00:26:22.029 --> 00:26:26.230
of why that is. This song is just amazing. Yeah,

00:26:26.230 --> 00:26:30.049
and classic, too. Every time it comes on, I don't

00:26:30.049 --> 00:26:32.750
know. I just think if this was their debut song

00:26:32.750 --> 00:26:36.450
right now, today, people would be all about it.

00:26:36.589 --> 00:26:39.509
Still be it. Yeah, totally. It's just timeless.

00:26:39.829 --> 00:26:43.329
And now I'm going to close outside with a song

00:26:43.329 --> 00:26:46.470
that I also feel is timeless, but this is going

00:26:46.470 --> 00:26:49.690
to be one that might draw some eyebrows because

00:26:49.690 --> 00:26:52.789
believe it or not, some critics have rated this

00:26:52.789 --> 00:26:57.769
song poorly, which I am going to disagree with

00:26:57.769 --> 00:27:00.609
at the highest level. And we're going to go back

00:27:00.609 --> 00:27:03.589
to 1992 and their album, bigger, better, faster,

00:27:03.609 --> 00:27:06.420
and more. And I'm going to go with Four Non Blondes

00:27:06.420 --> 00:27:09.180
What's Up to close out Side A. Reached number

00:27:09.180 --> 00:27:13.720
14 on the Billboard US Hot 100, but it was number

00:27:13.720 --> 00:27:17.019
one in a dozen countries, including Ireland,

00:27:17.200 --> 00:27:20.319
Germany, Austria, Norway, and Sweden, among others.

00:27:20.859 --> 00:27:24.900
It's a worldwide hit. Wow. Modern country artist

00:27:24.900 --> 00:27:27.519
Lainey Wilson, who is a country artist I am a

00:27:27.519 --> 00:27:30.680
huge fan of, covered the track on her 2022 album

00:27:30.680 --> 00:27:33.140
Bell -Bottomed Country. So the song is still

00:27:33.140 --> 00:27:37.099
getting love. Linda Perry is a pop songwriting

00:27:37.099 --> 00:27:40.599
force. She's penned hits for Pink, Christina

00:27:40.599 --> 00:27:44.700
Aguilera, Celine Dion, Alicia Keys, Miley Cyrus,

00:27:45.259 --> 00:27:48.660
Gwen Stefani. And she's also written rock songs

00:27:48.660 --> 00:27:51.619
for Cheap Trick, Unwritten Law, and like you

00:27:51.619 --> 00:27:55.579
mentioned before, whole Courtney Love. To me,

00:27:55.759 --> 00:27:58.200
What's Up was the tip of the iceberg for Linda

00:27:58.200 --> 00:28:01.440
Perry songwriting. And this song actually holds

00:28:01.440 --> 00:28:03.819
a little bit of a personal meaning for me when

00:28:03.819 --> 00:28:06.819
I think back to when I first got the song on

00:28:06.819 --> 00:28:09.500
cassette. I was on a road trip from New Jersey

00:28:09.500 --> 00:28:12.519
to Maine and we stopped off at a gas station

00:28:12.519 --> 00:28:14.480
and there just happened to be a Coconuts music

00:28:14.480 --> 00:28:17.680
store across the street from the gas station.

00:28:18.059 --> 00:28:20.920
So I asked my parents if I can run across the

00:28:20.920 --> 00:28:23.400
street and grab a couple of cassette singles

00:28:23.400 --> 00:28:26.500
for my Walkman. And they were kind enough to

00:28:26.500 --> 00:28:28.400
give me the... Because they had the three for

00:28:28.400 --> 00:28:31.440
$10 cassette single sale. And I grabbed Four

00:28:31.440 --> 00:28:34.680
Nom Blondes, What's Up, The Proclaimers, I Would

00:28:34.680 --> 00:28:38.619
Walk 500 Miles, and DJ Jazzy Jeff and the Fresh

00:28:38.619 --> 00:28:42.359
Prince, Boom Shake the Room. And we played What's

00:28:42.359 --> 00:28:45.400
Up probably 500 times in the car over and over

00:28:45.400 --> 00:28:49.279
again. For me, it's the summer of 1993 encapsulated

00:28:49.279 --> 00:28:53.250
in cassette form. i love her voice i love her

00:28:53.250 --> 00:28:56.869
songwriting and i know the song gets put on these

00:28:56.869 --> 00:28:59.170
worst song ever lists and i just don't get it

00:28:59.170 --> 00:29:03.109
i just don't get it yeah it's so interesting

00:29:03.109 --> 00:29:06.930
because people who love this song love it with

00:29:06.930 --> 00:29:09.710
every fiber of their being people who hate the

00:29:09.710 --> 00:29:12.490
song hate it so much and it's really interesting

00:29:12.490 --> 00:29:16.269
how divided people are on it because it's like

00:29:16.269 --> 00:29:21.039
to me the melody of the the vocal part of this

00:29:21.039 --> 00:29:24.180
song is so beyond fearless that i can't even

00:29:24.180 --> 00:29:27.220
like i can't even explain like how i mean she

00:29:27.220 --> 00:29:30.599
goes all over the scale it's like crazy where

00:29:30.599 --> 00:29:33.119
she goes and then in the chorus there's like

00:29:33.119 --> 00:29:37.619
a big release like that big huh like way like

00:29:37.619 --> 00:29:41.400
just out there and i think that's cool i've always

00:29:41.400 --> 00:29:43.740
thought it's cool how fearless her melodies are

00:29:44.160 --> 00:29:48.299
Amen. And that mixtapers concludes side A of

00:29:48.299 --> 00:29:51.619
the ultimate 90s female rock mixtape, which consists

00:29:51.619 --> 00:29:55.640
of Veruca Salt Cedar, The Breeders Cannonball,

00:29:55.920 --> 00:29:59.119
Tracy Bonham's Mother Mother, Letters to Cleo

00:29:59.119 --> 00:30:02.660
Here and Now, Hull's Celebrity Skin, The Muffs

00:30:02.660 --> 00:30:05.819
Funny Face, Sheryl Crow's If It Makes You Happy,

00:30:06.099 --> 00:30:09.539
Concrete Blonde's Joey, Garbage, Only Happy When

00:30:09.539 --> 00:30:13.059
It Rains, and Four Non Blondes, What's Up. Head

00:30:13.059 --> 00:30:15.839
over to myweeklymixtape .com to hear all the

00:30:15.839 --> 00:30:18.740
songs we've discussed in this mix through the

00:30:18.740 --> 00:30:23.440
playlist embedded on the episode page. Now, before

00:30:23.440 --> 00:30:26.339
we flip our proverbial mixtape over to Side B,

00:30:26.519 --> 00:30:28.799
I'd like to take some time, Emily, to dive into

00:30:28.799 --> 00:30:31.480
your latest album, The Blowback, which is about

00:30:31.480 --> 00:30:34.880
to celebrate its one -year anniversary. Yeah.

00:30:35.390 --> 00:30:38.549
In the mini documentary you produced, you personally

00:30:38.549 --> 00:30:41.970
referred to the blowback sonically as aggressive

00:30:41.970 --> 00:30:45.329
rock that pushes the boundaries on things that

00:30:45.329 --> 00:30:48.730
you want to say, which is very similar to a lot

00:30:48.730 --> 00:30:50.930
of the music we've been talking about this evening.

00:30:51.150 --> 00:30:54.210
And I think that mindset starts right from the

00:30:54.210 --> 00:30:57.410
jump with the album opening track, Silencer.

00:31:52.359 --> 00:31:55.799
Now on your band camp page, you wrote, this whole

00:31:55.799 --> 00:31:59.140
chapter is about owning your spirit. And with

00:31:59.140 --> 00:32:02.279
that, you opted to self -produce the album to

00:32:02.279 --> 00:32:06.519
quote, realize it fully. Can you talk about what

00:32:06.519 --> 00:32:09.759
that undertaking meant for you as an artist and

00:32:09.759 --> 00:32:12.700
maybe how your experiences with past producers

00:32:12.700 --> 00:32:15.700
like Michael Schumann maybe helped you realize

00:32:15.700 --> 00:32:20.839
this vision on your own? Yeah. You know, I think

00:32:20.839 --> 00:32:24.809
it was like, One of those fork in the road moments

00:32:24.809 --> 00:32:28.509
in my life where I could have gone with Tony

00:32:28.509 --> 00:32:31.809
Visconti, could have produced this record. Sharon

00:32:31.809 --> 00:32:34.369
Bonetton could have produced this record. I could

00:32:34.369 --> 00:32:36.710
have gone with Michael Schumann again. But there

00:32:36.710 --> 00:32:39.789
was this, I don't know, this thing kind of eating

00:32:39.789 --> 00:32:43.930
away at me saying, these songs are going to be

00:32:43.930 --> 00:32:46.309
entirely different if somebody else produces

00:32:46.309 --> 00:32:50.640
them. If it's, it's got to be you. you owe that

00:32:50.640 --> 00:32:53.119
to the songs because they came out of me so quickly

00:32:53.119 --> 00:32:56.660
and so efficiently. And it just felt like one

00:32:56.660 --> 00:32:58.759
of those spiritual things that's like, you have

00:32:58.759 --> 00:33:01.599
to put this out the way that you envision it.

00:33:02.180 --> 00:33:05.700
And if a producer jumps on board, they're going

00:33:05.700 --> 00:33:07.359
to change lyrics and they're going to change

00:33:07.359 --> 00:33:10.640
parts and arrangements. And in the past, I was

00:33:10.640 --> 00:33:12.700
open to that. But for some reason for this record,

00:33:12.759 --> 00:33:16.440
I just was not because it was such an intense

00:33:16.440 --> 00:33:21.980
process to write this record. And it was like,

00:33:22.119 --> 00:33:24.180
I don't know, I'm the most proud I've ever been

00:33:24.180 --> 00:33:26.640
of a record with this record. You know, I got

00:33:26.640 --> 00:33:30.019
to pick every guitar tone and every pedal and

00:33:30.019 --> 00:33:33.220
every vocal take and like which bass to use,

00:33:33.440 --> 00:33:37.339
which DI to use. So everything was my decision.

00:33:37.440 --> 00:33:41.359
And it was so empowering because I was at a point

00:33:41.359 --> 00:33:44.720
where I felt extremely powerless and I needed

00:33:44.720 --> 00:33:48.940
to essentially step into that role. to prove

00:33:48.940 --> 00:33:52.319
to myself that I could have power in my own career

00:33:52.319 --> 00:33:55.740
and life. And it was just, it was a healing experience.

00:33:55.779 --> 00:34:00.339
And yeah, one of the best experiences I've ever

00:34:00.339 --> 00:34:02.779
had. And that's not to say, you know, I don't

00:34:02.779 --> 00:34:04.599
think I'll ever work with a producer again. I

00:34:04.599 --> 00:34:08.900
think now that I've done that, I can move on

00:34:08.900 --> 00:34:12.599
and kind of be okay with someone else helping

00:34:12.599 --> 00:34:16.599
and taking the reins in future projects. Now

00:34:16.599 --> 00:34:19.219
I know like I can do that and I can do it successfully.

00:34:19.380 --> 00:34:22.280
And it was a blast. Well, I want to dive into

00:34:22.280 --> 00:34:24.000
something you were just talking about there because

00:34:24.000 --> 00:34:26.559
you mentioned something about tone. I think it's

00:34:26.559 --> 00:34:29.840
safe to say you're kind of a gearhead given your

00:34:29.840 --> 00:34:32.900
recent interview with Gibson, which spotlights

00:34:32.900 --> 00:34:36.780
your. I'm going to call it glorious pedal board.

00:34:37.219 --> 00:34:40.380
I'm still trying to personally absorb the full

00:34:40.380 --> 00:34:42.639
setup you've got going on. And for those listening

00:34:42.639 --> 00:34:45.699
who haven't seen this video yet, I'll embed it

00:34:45.699 --> 00:34:48.460
on the episode page at myweeklymixtape .com.

00:34:48.639 --> 00:34:52.019
But before I ask my next question, I want to

00:34:52.019 --> 00:34:54.719
play my personal favorite guitar solo from the

00:34:54.719 --> 00:34:57.920
album. And that's taken from the track High Crimes.

00:34:58.079 --> 00:35:26.980
Oh, thanks. So Emily, with all the gear you've

00:35:26.980 --> 00:35:29.579
incorporated into your setup over the years,

00:35:29.780 --> 00:35:33.019
how do you hone in on the sound that's best going

00:35:33.019 --> 00:35:36.139
to suit whatever track you're recording? Because

00:35:36.139 --> 00:35:39.579
personally, I would imagine finding that perfect

00:35:39.579 --> 00:35:43.780
tone could end up being a daunting task at times,

00:35:43.820 --> 00:35:47.079
especially when you're the one self -producing

00:35:47.079 --> 00:35:50.159
it. it almost might become a part of, let me

00:35:50.159 --> 00:35:53.059
track this with seven different guitars and 27

00:35:53.059 --> 00:35:56.239
different tones and see which one works the best.

00:35:56.380 --> 00:35:59.699
Can you walk me through that part of the recording

00:35:59.699 --> 00:36:04.360
process? Yeah. Well, I packed up every pedal

00:36:04.360 --> 00:36:10.119
I own for this whole recording process with the

00:36:10.119 --> 00:36:13.980
blowback and there's a lot of pedals. I love

00:36:13.980 --> 00:36:16.920
pedals so much. And so I packed them all up in

00:36:16.920 --> 00:36:21.079
a big bag. And luckily, you know, I know what

00:36:21.079 --> 00:36:23.000
they all do and what they all sound like. And

00:36:23.000 --> 00:36:26.300
it's interesting because whenever I pick a tone,

00:36:26.300 --> 00:36:30.380
like for this record, for me, it's like I can

00:36:30.380 --> 00:36:33.420
feel a tone. I guess I'm not sure if that makes

00:36:33.420 --> 00:36:35.840
sense. But like, so for instance, the guitar

00:36:35.840 --> 00:36:41.239
tone in High Crime is a mini Fender amp. It's

00:36:41.239 --> 00:36:45.000
battery powered. And I went line out into a vibrochamp.

00:36:45.280 --> 00:36:48.920
So I was taking like the solid state, like just

00:36:48.920 --> 00:36:54.159
bad tone of that into a really nice vibrochamp.

00:36:54.719 --> 00:36:58.340
And because there's a feeling that I get when

00:36:58.340 --> 00:37:01.679
I play through that little fender and it kind

00:37:01.679 --> 00:37:04.360
of, if I close my eyes, it puts me in this like

00:37:04.360 --> 00:37:09.449
weird. solitude. And when I picture where I'm

00:37:09.449 --> 00:37:12.269
at, it's like in the dark woods and there's trees.

00:37:12.590 --> 00:37:15.010
And so like, I don't really know how to explain

00:37:15.010 --> 00:37:19.489
it other than that tone is very woody and very

00:37:19.489 --> 00:37:24.869
tight, like a tree. And so I kind of go at it

00:37:24.869 --> 00:37:27.849
from like an oddly cinematic angle. Like there's

00:37:27.849 --> 00:37:30.369
some kind of like, I guess, vision in my head

00:37:30.369 --> 00:37:32.449
with a tone and it's like, does that match where

00:37:32.449 --> 00:37:35.590
I'm at right now? If not, I got to try something

00:37:35.590 --> 00:37:37.949
different. and sometimes i just kind of know

00:37:37.949 --> 00:37:41.170
like oh yeah that's the tone like if i want to

00:37:41.170 --> 00:37:44.010
say with a guitar solo that i feel so bizarre

00:37:44.010 --> 00:37:46.769
right now i have no idea what i'm feeling i gotta

00:37:46.769 --> 00:37:49.050
pick a really weird tone you know something with

00:37:49.050 --> 00:37:55.190
a lot of just harsh mid -range and like i don't

00:37:55.190 --> 00:37:58.110
know just weird honk you know uh like the bridge

00:37:58.110 --> 00:38:01.889
pickup of a you know a telly or something and

00:38:02.889 --> 00:38:05.710
Yeah, I kind of just, I don't know. I think I've

00:38:05.710 --> 00:38:08.190
researched gear so much and played everything

00:38:08.190 --> 00:38:11.510
and gone through so many tone journeys over the

00:38:11.510 --> 00:38:14.269
years that I kind of can look at a guitar and

00:38:14.269 --> 00:38:16.489
be like, yeah, I know what that's going to say

00:38:16.489 --> 00:38:18.530
and what that's going to make me feel. You know,

00:38:18.570 --> 00:38:21.469
like a P90 is going to make me feel very high

00:38:21.469 --> 00:38:26.010
strung. And then a humbucker is going to make

00:38:26.010 --> 00:38:28.369
me feel right at home, you know, especially on

00:38:28.369 --> 00:38:32.460
a 335. That's kind of it. It's very based on

00:38:32.460 --> 00:38:35.719
feeling. And is that something where when you're

00:38:35.719 --> 00:38:38.360
in the studio and you're recording these songs,

00:38:38.519 --> 00:38:41.699
if you're not capturing the feeling that you're

00:38:41.699 --> 00:38:43.800
looking for, because watching that documentary,

00:38:43.840 --> 00:38:46.179
which I said will be embedded on the episode

00:38:46.179 --> 00:38:48.599
page, there were moments where you did things

00:38:48.599 --> 00:38:51.920
to try to incorporate the feeling you were looking

00:38:51.920 --> 00:38:56.599
to. emote in the song at one point actually wrapping

00:38:56.599 --> 00:39:00.659
your body in tape to capture the vocal performance

00:39:00.659 --> 00:39:05.219
that you wanted to share is that something that

00:39:05.219 --> 00:39:08.800
brings you deeper into the song to a point where

00:39:08.800 --> 00:39:12.500
it connects you more with whatever you're trying

00:39:12.500 --> 00:39:15.820
to get out of that performance yeah for sure

00:39:15.820 --> 00:39:19.539
like um yeah it's funny people are like why did

00:39:19.539 --> 00:39:22.079
you do that i'm like well it's because when i

00:39:22.079 --> 00:39:26.400
first wrote that song silencer i felt very suffocated

00:39:26.400 --> 00:39:30.840
by my emotions and i'm very trapped and so because

00:39:30.840 --> 00:39:32.960
i was producing this record and because i was

00:39:32.960 --> 00:39:36.360
also the artist it's uh you know the only thing

00:39:36.360 --> 00:39:39.079
that i knew to do was how do i possibly make

00:39:39.079 --> 00:39:42.199
myself feel the same way i did when i first wrote

00:39:42.199 --> 00:39:45.059
this song so i can capture exactly what i'm trying

00:39:45.059 --> 00:39:48.079
to do And I couldn't afford a straight jacket.

00:39:48.239 --> 00:39:50.460
I couldn't, you know, those are actually really

00:39:50.460 --> 00:39:53.900
expensive. So I got my buddy to just tape me

00:39:53.900 --> 00:39:56.800
really tight with gaff tape and it worked. And

00:39:56.800 --> 00:40:01.800
it was very, very suffocating and claustrophobic,

00:40:01.820 --> 00:40:05.539
but the take turned out really great. And it

00:40:05.539 --> 00:40:07.559
was fun too. It was just weird. And, you know,

00:40:07.559 --> 00:40:10.219
that's another part of producing my own record.

00:40:10.280 --> 00:40:12.280
That was fun as I got to try everything I ever

00:40:12.280 --> 00:40:15.030
wanted to do, you know, like. I taped a microphone

00:40:15.030 --> 00:40:17.269
to a remote control car at one point and drove

00:40:17.269 --> 00:40:19.369
it around the studio just to see what would happen.

00:40:19.989 --> 00:40:22.550
And yeah, it was fun. It was just a lot of fun.

00:40:22.929 --> 00:40:25.530
Well, this past summer, you had the chance to

00:40:25.530 --> 00:40:29.309
share the stage with, to me at least, local heroes

00:40:29.309 --> 00:40:32.690
or to the rest of those listening, New Jersey's

00:40:32.690 --> 00:40:35.909
own Gaslight Anthem for some shows on their European

00:40:35.909 --> 00:40:40.710
tour. Now, across Gaslight's catalog, they cover

00:40:40.710 --> 00:40:44.719
a lot of ground musically. lyrically, and in

00:40:44.719 --> 00:40:48.619
the case of Brian Fallon's singing style, vocally,

00:40:48.639 --> 00:40:52.500
all three of which are traits that I hear when

00:40:52.500 --> 00:40:55.659
I listen to the blowback from start to finish.

00:40:55.719 --> 00:40:59.460
For example, if we were to compare the clip we

00:40:59.460 --> 00:41:02.579
played earlier of High Crime to the clip I'm

00:41:02.579 --> 00:42:17.829
going to play now from Dead End Luck. Can you

00:42:17.829 --> 00:42:20.590
talk about your takeaways from those Gaslight

00:42:20.590 --> 00:42:23.369
Anthem shows? Because when I saw you were opening

00:42:23.369 --> 00:42:26.530
for them, my initial thought was that Bill's

00:42:26.530 --> 00:42:30.989
perfect because musically, solely based on that

00:42:30.989 --> 00:42:34.269
quote unquote covering musical ground concept,

00:42:34.449 --> 00:42:37.389
there couldn't have been a more perfect pairing

00:42:37.389 --> 00:42:41.230
of artists. Yeah, it's pretty funny. I mean,

00:42:41.269 --> 00:42:43.630
I'm in my studio right now looking at a picture

00:42:43.630 --> 00:42:46.670
of me and Brian because we're good buddies now.

00:42:47.309 --> 00:42:49.989
And yeah, he has always been one of my influences

00:42:49.989 --> 00:42:52.769
because he does do he does whatever he wants

00:42:52.769 --> 00:42:57.489
musically. He's not in a box. And for me, I write

00:42:57.489 --> 00:43:01.510
based on what I feel. And I don't feel, you know,

00:43:01.570 --> 00:43:04.170
blues every day. I don't feel pop every day.

00:43:04.250 --> 00:43:10.250
I don't feel one genre. And so, I mean, I love

00:43:10.250 --> 00:43:14.170
his style because he he's got a very similar

00:43:14.170 --> 00:43:18.909
kind of. approach to emotive singing that like

00:43:18.909 --> 00:43:21.630
Jeff Buckley does to me. And that's one of those

00:43:21.630 --> 00:43:24.230
things about the mixtape that we've made together

00:43:24.230 --> 00:43:27.789
is I feel like the women who front these bands

00:43:27.789 --> 00:43:31.929
feel pain in a way that is kind of unlike anyone

00:43:31.929 --> 00:43:36.070
else. And to me, Brian gets there when he sings.

00:43:36.230 --> 00:43:39.570
And it was cool to see that every night because

00:43:39.570 --> 00:43:42.210
I toured with them, let's see, a couple of years

00:43:42.210 --> 00:43:46.460
ago and then this past year. It was just amazing

00:43:46.460 --> 00:43:49.440
to watch somebody go there every night. And it

00:43:49.440 --> 00:43:52.059
was inspiring. And it kind of gave me permission

00:43:52.059 --> 00:43:54.900
to just not feel bad about going all over the

00:43:54.900 --> 00:43:59.300
place with my songwriting. Well, speaking of

00:43:59.300 --> 00:44:02.400
that, lyrically, this album takes a different

00:44:02.400 --> 00:44:05.059
approach compared to some of your earlier releases,

00:44:05.239 --> 00:44:53.400
such as the track Walk In My Shoes. Now, as a

00:44:53.400 --> 00:44:57.280
father of two young ladies, myself, a teenager

00:44:57.280 --> 00:45:01.280
and a preteen, lyrics like unless you're dealt

00:45:01.280 --> 00:45:04.780
all the highest cards, you're always half a world

00:45:04.780 --> 00:45:08.639
away. I got the kind that could tear me up, but

00:45:08.639 --> 00:45:12.019
the chips have fallen where they may. That section

00:45:12.019 --> 00:45:14.840
stopped me in my tracks. And the first time I

00:45:14.840 --> 00:45:17.519
heard the song, I immediately had to go back

00:45:17.519 --> 00:45:21.239
and play that section of the song a second time

00:45:21.239 --> 00:45:25.280
just so I could. fully realize the gravity of

00:45:25.280 --> 00:45:29.440
those lyrics was it cathartic for you to push

00:45:29.440 --> 00:45:32.860
those lyrical boundaries for the songs on this

00:45:32.860 --> 00:45:36.699
album yeah it was and it was a challenge too

00:45:36.699 --> 00:45:39.900
because with that one i knew i had something

00:45:39.900 --> 00:45:44.159
really special and what i did with walk on my

00:45:44.159 --> 00:45:47.360
shoes is i i vomited lyrics onto a page and i

00:45:47.360 --> 00:45:50.099
was like okay these are fine you know but i feel

00:45:50.099 --> 00:45:53.150
like what i'm trying to say I need to put more

00:45:53.150 --> 00:45:56.170
effort in. So I, I, I went back and I wrote a

00:45:56.170 --> 00:45:58.329
second pass and they were getting better, wrote

00:45:58.329 --> 00:46:00.329
a third pass. They were getting okay. You know?

00:46:00.369 --> 00:46:02.929
And then by the fourth pass, it was like, okay,

00:46:03.010 --> 00:46:06.469
these are perfect now for me. I consider these

00:46:06.469 --> 00:46:10.449
perfect. So yeah, that, that bridge was something

00:46:10.449 --> 00:46:12.349
that I was really proud of. And I'm glad that

00:46:12.349 --> 00:46:16.570
you noticed and think that too. But yeah, it's

00:46:16.570 --> 00:46:19.050
true. I mean, you know, if you're born a woman,

00:46:19.150 --> 00:46:23.739
especially, you know, LGBTQ woman like me, it's

00:46:23.739 --> 00:46:27.440
not easy. And a lot of times I do always kind

00:46:27.440 --> 00:46:31.059
of feel like I'm very much on the outside looking

00:46:31.059 --> 00:46:35.079
in. And it was really therapeutic to write that.

00:46:35.199 --> 00:46:37.840
And especially what I noticed is interesting

00:46:37.840 --> 00:46:40.599
about it is a lot of men hear that and they're

00:46:40.599 --> 00:46:44.519
like, oh, that's really interesting. And I'm

00:46:44.519 --> 00:46:47.639
like, wow, maybe I really did. Do something here.

00:46:47.780 --> 00:46:49.760
You know, maybe I really did change some people's

00:46:49.760 --> 00:46:51.800
mentalities out there, hopefully, because that

00:46:51.800 --> 00:46:55.019
was the purpose of the lyrics here was to kind

00:46:55.019 --> 00:46:58.679
of get people to tap into their empathy, you

00:46:58.679 --> 00:47:01.739
know, and realize that, you know, a lot of you

00:47:01.739 --> 00:47:05.079
can't really choose how you're born or, you know,

00:47:05.099 --> 00:47:08.559
how you enter the world. So, you know, if I if

00:47:08.559 --> 00:47:11.619
I'm a black American, if I'm a black woman, if

00:47:11.619 --> 00:47:15.500
I'm a gay Hispanic man, it's like. I have my

00:47:15.500 --> 00:47:17.679
own challenges and I'm born with those and I

00:47:17.679 --> 00:47:20.780
had no choice. And so, um, walk in my shoes is

00:47:20.780 --> 00:47:24.260
very much like an anthem for like hoping to bring

00:47:24.260 --> 00:47:27.159
people together based on like empathy for one

00:47:27.159 --> 00:47:30.800
another. Empathy is a beautiful thing. Yeah.

00:47:31.079 --> 00:47:34.420
Now when you're out on the road and you've got

00:47:34.420 --> 00:47:36.860
the blowback, which is the album you're currently

00:47:36.860 --> 00:47:41.380
promoting, how do you strike a balance both musically

00:47:41.380 --> 00:47:45.739
and thematically? in your set lists because you

00:47:45.739 --> 00:47:50.619
also have your 2019 self -titled album and 2021's

00:47:50.619 --> 00:47:53.820
outlier, which include a lot of songs that fans

00:47:53.820 --> 00:47:56.719
of yours want to hear. How do you strike a balance?

00:47:57.539 --> 00:48:00.300
It's that's tough for me. It's hard because like,

00:48:00.320 --> 00:48:02.800
I'm always torn between, okay, here's what I

00:48:02.800 --> 00:48:04.420
want to play, but here's what I know they might

00:48:04.420 --> 00:48:07.099
want to hear. And then I have to kind of compromise

00:48:07.099 --> 00:48:11.739
between it. Like if I want to play silencer,

00:48:12.360 --> 00:48:14.519
I got to balance it out with, you know, something

00:48:14.519 --> 00:48:16.659
like white collar whiskey or something like that.

00:48:16.980 --> 00:48:21.000
Cause I, you know, to me as a fan of, and a concert

00:48:21.000 --> 00:48:23.340
goer, if I go see somebody and they don't play

00:48:23.340 --> 00:48:26.760
what I want to hear, it's a bummer. So I don't

00:48:26.760 --> 00:48:29.420
want to do that to people. And so I got to kind

00:48:29.420 --> 00:48:32.219
of, you know, okay, I got an hour here. I'll

00:48:32.219 --> 00:48:34.860
play half of what I really want to play and half

00:48:34.860 --> 00:48:37.280
of what I think they want to hear. So I try and

00:48:37.280 --> 00:48:40.659
do both as best I can. Sometimes I get people

00:48:40.659 --> 00:48:42.460
saying, you didn't play this song. And I'm like,

00:48:42.500 --> 00:48:44.880
okay, next time I'll do it. And then I put it

00:48:44.880 --> 00:48:47.880
back in the set, you know? So yeah, it's definitely

00:48:47.880 --> 00:48:51.639
a balance, but I think overall like a concert

00:48:51.639 --> 00:48:54.320
experience is, is not just for me, obviously

00:48:54.320 --> 00:48:58.360
it's 99 % for the crowd. So if they're paying

00:48:58.360 --> 00:49:00.920
for a ticket, I want to give them what they want

00:49:00.920 --> 00:49:04.420
to hear. Awesome. Now, if you don't mind, I have

00:49:04.420 --> 00:49:07.019
one other question because I am a cover song

00:49:07.019 --> 00:49:12.280
fanatic. And in 2022, you released a cover song

00:49:12.280 --> 00:49:16.219
of one of my favorite 80s tunes. And that's your

00:49:16.219 --> 00:50:15.340
rendition of Till Tuesday's Voices Carry. I would

00:50:15.340 --> 00:50:19.000
love to hear the story behind why you chose that

00:50:19.000 --> 00:50:22.840
cover. Because again, I just love my cover songs.

00:50:22.960 --> 00:50:25.760
It's something I talk about on every episode

00:50:25.760 --> 00:50:28.059
of my weekly mixtape. And I thought it would

00:50:28.059 --> 00:50:30.219
be a perfect chance to hear a story behind the

00:50:30.219 --> 00:50:33.300
cover. Yeah. Well, you know, what's crazy is

00:50:33.300 --> 00:50:36.679
like that song. It's weird because everybody

00:50:36.679 --> 00:50:39.400
knows it, but they don't know. They can't say,

00:50:39.480 --> 00:50:42.059
oh, that's till Tuesday. oh that's amy man they're

00:50:42.059 --> 00:50:44.260
like oh yeah i remember this song in the dentist

00:50:44.260 --> 00:50:48.219
office in the 90s or something like i don't know

00:50:48.219 --> 00:50:51.199
when i i like i think we're we're on the road

00:50:51.199 --> 00:50:54.360
and it came on a playlist and i was like holy

00:50:54.360 --> 00:50:58.619
this is a killer song and i never even realized

00:50:58.619 --> 00:51:01.619
it because i knew it and i loved it but when

00:51:01.619 --> 00:51:03.840
i really listened to the lyrics it's like oh

00:51:03.840 --> 00:51:07.860
my god these lyrics are amazing and the guitar

00:51:07.860 --> 00:51:11.849
part's amazing And like the synth that reinforces

00:51:11.849 --> 00:51:14.650
the lead guitar is killer. And I was honestly,

00:51:14.730 --> 00:51:18.090
I was like, I just want to play it. So I did

00:51:18.090 --> 00:51:21.889
a cover and it was so much fun to recreate it.

00:51:22.250 --> 00:51:25.750
And it's funny because like the same year I released

00:51:25.750 --> 00:51:28.309
it, I did this benefit show and Amy Mann was

00:51:28.309 --> 00:51:32.070
the headliner. And I got to meet her right before

00:51:32.070 --> 00:51:33.289
I played. And she was like, are you going to

00:51:33.289 --> 00:51:35.860
play Voices Carrie? And I was like. What? I cannot

00:51:35.860 --> 00:51:39.139
play your own song at your headlining benefit.

00:51:40.900 --> 00:51:44.400
But it was cool to meet her. And I decided to

00:51:44.400 --> 00:51:46.460
not do that because that's crazy to me to play

00:51:46.460 --> 00:51:50.480
her song. But yeah, it was cool. And to me, Amy

00:51:50.480 --> 00:51:54.460
Mann is like Amy Mann in the 80s. Iconic, just

00:51:54.460 --> 00:51:57.340
the coolest style like that is what cool is to

00:51:57.340 --> 00:52:01.019
me. Like the oversized jean jackets and the hair

00:52:01.019 --> 00:52:03.699
and just the. I think she played bass too. Another

00:52:03.699 --> 00:52:07.719
bass player. There we go. It's bass synergy tonight

00:52:07.719 --> 00:52:11.539
on my weekly mixtape. Yeah. Well, yeah, I did

00:52:11.539 --> 00:52:15.159
it because I love it so much. Awesome. So now

00:52:15.159 --> 00:52:17.780
we're flipping this proverbial mixtape over to

00:52:17.780 --> 00:52:20.039
side B and I'm going to kick things off and I'm

00:52:20.039 --> 00:52:24.079
going to go a little bit different for my first

00:52:24.079 --> 00:52:26.579
choice. And this is actually the third time I'm

00:52:26.579 --> 00:52:30.949
choosing this song. for a my weekly mixtape playlist

00:52:30.949 --> 00:52:33.909
and damn it i'll choose it a fourth time if i

00:52:33.909 --> 00:52:35.650
can get a chance because it's just one of those

00:52:35.650 --> 00:52:40.250
songs that it rocks and yet you kind of want

00:52:40.250 --> 00:52:44.530
to dance to it it's a stadium anthem but there's

00:52:44.530 --> 00:52:48.150
a guitar riff that's undeniable and saffron's

00:52:48.150 --> 00:52:52.099
vocals From Republica's Ready to Go from their

00:52:52.099 --> 00:52:56.179
self -titled 1996 album, lend themselves to this

00:52:56.179 --> 00:52:59.760
unique crossover, which was unlike anything I'd

00:52:59.760 --> 00:53:02.820
ever heard in a decade. This band had two hits

00:53:02.820 --> 00:53:06.059
from that album, Drop Dead Gorgeous, which reached

00:53:06.059 --> 00:53:10.659
number 93 on the U .S. Billboard Hot 100 and

00:53:10.659 --> 00:53:14.260
then Ready to Go reached number 56. Wasn't a

00:53:14.260 --> 00:53:19.460
top 40 hit, but was inescapable in 1996. and

00:53:19.460 --> 00:53:23.079
is inescapable in 2024 because go to a football

00:53:23.079 --> 00:53:27.039
game, go to a baseball game. This song is playing.

00:53:27.280 --> 00:53:31.000
This is a stadium anthem, but there's just something

00:53:31.000 --> 00:53:34.019
about it that you could play it in a dance club

00:53:34.019 --> 00:53:36.539
and you could play it in a rock band and it'd

00:53:36.539 --> 00:53:40.239
work in both places. And there's just a uniqueness

00:53:40.239 --> 00:53:43.320
to it that I absolutely love. So Republic is

00:53:43.320 --> 00:53:46.320
ready to go to kick off side B plus ready to

00:53:46.320 --> 00:53:50.699
go. Feels like a kickoff song. Yeah. This song

00:53:50.699 --> 00:53:53.159
is awesome. I don't know. It's just like it's

00:53:53.159 --> 00:53:55.360
one of those hits because at some point in your

00:53:55.360 --> 00:53:57.739
life, everybody's ready to go, you know, do something.

00:53:58.059 --> 00:54:00.880
So it's like no matter what, you can just throw

00:54:00.880 --> 00:54:03.579
it on when you're ready to go. You know, I'm

00:54:03.579 --> 00:54:06.420
ready to go to the grocery store or I'm ready

00:54:06.420 --> 00:54:10.260
to go kill this day or I'm ready to go win the

00:54:10.260 --> 00:54:13.280
championship. It's just like genius to me that

00:54:13.280 --> 00:54:17.280
it's so simple and it's so clear. And yeah, it's.

00:54:17.550 --> 00:54:19.349
it just gets me pumped every time I hear it.

00:54:19.769 --> 00:54:21.989
All right. So what are we going to go with for

00:54:21.989 --> 00:54:27.389
track two? Garbage. Number one, crush. Oh, double

00:54:27.389 --> 00:54:31.230
dose of garbage in this episode. All right. Amazing.

00:54:31.849 --> 00:54:35.929
I would die for you is like the most amazing

00:54:35.929 --> 00:54:40.710
lyric. It's just like, like it's so intense and

00:54:40.710 --> 00:54:45.130
it's like so much. And I love it because it's,

00:54:45.130 --> 00:54:48.519
it just goes so deep because. That is just so

00:54:48.519 --> 00:54:52.400
fearless, like that she's going to say what everybody

00:54:52.400 --> 00:54:56.420
is scared to say about their crush. I would die

00:54:56.420 --> 00:55:01.739
for you. That's that is incredible to me. 1996

00:55:01.739 --> 00:55:05.239
is Romeo and Juliet. I was working at a record

00:55:05.239 --> 00:55:08.340
shop around that time, and I feel like this was

00:55:08.340 --> 00:55:11.699
one of those soundtracks that almost eclipsed

00:55:11.699 --> 00:55:14.800
the popularity of the movie itself between number

00:55:14.800 --> 00:55:18.860
one crush. Love Fool by the Cardigans, Local

00:55:18.860 --> 00:55:23.219
God from Everclear, and Talk Show Host by Radiohead.

00:55:23.380 --> 00:55:25.519
This was a soundtrack that everyone needed to

00:55:25.519 --> 00:55:28.619
get their hands on. This was originally released

00:55:28.619 --> 00:55:32.440
as a B -side to their single Vow, but then remixed

00:55:32.440 --> 00:55:35.219
for the soundtrack where it topped the Billboard

00:55:35.219 --> 00:55:38.840
U .S. Alternative Airplay chart and Canada Rock

00:55:38.840 --> 00:55:41.940
and Alternative chart. Shocked it didn't make

00:55:41.940 --> 00:55:44.199
the self -titled album because this is just a...

00:55:44.570 --> 00:55:48.449
perfect garbage track yeah the drums love the

00:55:48.449 --> 00:55:51.469
drums in this song butch vig was a master it

00:55:51.469 --> 00:55:54.610
is a master not was it is a master yeah true

00:55:54.610 --> 00:55:58.690
yeah killer song so to follow that up for track

00:55:58.690 --> 00:56:01.050
three we got almost this little bit of a groove

00:56:01.050 --> 00:56:03.590
going here it's a little dancier than side a

00:56:03.590 --> 00:56:07.809
so i'm gonna lean into that and go with a bit

00:56:07.809 --> 00:56:11.730
of a controversial pick because yes this song

00:56:11.730 --> 00:56:17.239
is A bit more Britpop than rock. But to me, Britpop

00:56:17.239 --> 00:56:23.679
has always... Sorry, I can't resist. Blurred

00:56:23.679 --> 00:56:26.820
the lines. When you think about bands like Blur

00:56:26.820 --> 00:56:30.559
and Oasis, Britpop. But this track has... controversy

00:56:30.559 --> 00:56:33.940
on top of that and this is elastica's connection

00:56:33.940 --> 00:56:37.679
from their 1995 self -titled album reached number

00:56:37.679 --> 00:56:41.639
53 on the billboard us hot 100 as well as number

00:56:41.639 --> 00:56:45.500
17 in the uk with the highest peak being number

00:56:45.500 --> 00:56:49.260
nine on canada's top singles chart however the

00:56:49.260 --> 00:56:54.019
main guitar riff is strikingly similar to wires

00:56:54.019 --> 00:56:58.190
three girl rumba to the point where an out -of

00:56:58.190 --> 00:57:01.230
-court settlement was reached, and the songwriting

00:57:01.230 --> 00:57:04.449
credits were changed. But regardless of all of

00:57:04.449 --> 00:57:08.730
that, I just adore Justine Fritchman's voice

00:57:08.730 --> 00:57:12.610
on the track. And to me, 1995 was my senior year

00:57:12.610 --> 00:57:15.849
in high school. So this song was just a snapshot

00:57:15.849 --> 00:57:20.429
of that year for me. And it keeps that kind of

00:57:20.429 --> 00:57:25.949
dance rock vibe that you're getting. from Republica

00:57:25.949 --> 00:57:28.230
and garbage. It kind of keeps that vibe going.

00:57:28.449 --> 00:57:31.469
Yeah. And it's like, um, have you seen the video?

00:57:31.650 --> 00:57:34.969
Oh yeah. Music video videos. Cool. It's just

00:57:34.969 --> 00:57:39.110
them. Just, just staring at you. It's awesome.

00:57:39.130 --> 00:57:42.670
They're looking into your soul. Yeah. Yeah. I

00:57:42.670 --> 00:57:46.230
know it's a killer song. All right. Track four.

00:57:46.329 --> 00:57:49.610
We're back to you. Oh my gosh. Another Veruca

00:57:49.610 --> 00:57:54.190
salt, uh, volcano girls. Perfect. Yeah. this

00:57:54.190 --> 00:57:57.110
one is another one that's heavily inspired me

00:57:57.110 --> 00:58:00.969
i just love the sarcasm in it and i love like

00:58:00.969 --> 00:58:06.030
the you know there's like immense power underneath

00:58:06.030 --> 00:58:10.949
this like kind of kitschy like little lady pop

00:58:10.949 --> 00:58:13.670
thing going on and then it's just i don't know

00:58:13.670 --> 00:58:16.250
there's so much rage underneath it and i love

00:58:16.250 --> 00:58:19.510
it it's like you just peel back layer after layer

00:58:19.510 --> 00:58:24.280
with this song 1997's Eight Arms to Hold You.

00:58:24.360 --> 00:58:28.079
For me, this is my personal favorite Veruca Salt

00:58:28.079 --> 00:58:31.760
song. So when you chose Seether, I had this in

00:58:31.760 --> 00:58:34.039
my bank and I was like, oh, I guess we're not

00:58:34.039 --> 00:58:36.579
going to get to it. But here we are. Reach number

00:58:36.579 --> 00:58:39.300
eight on the Billboard Modern Rock Tracks chart

00:58:39.300 --> 00:58:42.760
and number four on the Canada Alternative 30

00:58:42.760 --> 00:58:46.619
chart. It also charted in Sweden, Australia and

00:58:46.619 --> 00:58:49.739
the UK. What else needs to be said about Veruca

00:58:49.739 --> 00:58:52.000
Salt? We've talked about them. Several times

00:58:52.000 --> 00:58:56.460
tonight already, but God, I'm stoked we're including

00:58:56.460 --> 00:58:59.719
this one tonight along with Seether because the

00:58:59.719 --> 00:59:04.679
callback to Seether in Volcano Girls just works

00:59:04.679 --> 00:59:10.280
so well. How often does a band call back their...

00:59:10.599 --> 00:59:13.099
hit from there. Like that's something that never

00:59:13.099 --> 00:59:17.340
happened before. And that just shows such a swagger

00:59:17.340 --> 00:59:20.780
to it. It's a musical chef's kiss. Yeah. Because

00:59:20.780 --> 00:59:23.679
you're right. You love the original, but here's

00:59:23.679 --> 00:59:26.179
the new hit, but guess what? We're going to give

00:59:26.179 --> 00:59:28.360
you a little taste of the original just to take

00:59:28.360 --> 00:59:31.340
it over the top. It literally is a spinal tap

00:59:31.340 --> 00:59:35.460
11 moment for me. Yeah, totally. Yeah. It's like,

00:59:35.500 --> 00:59:38.639
Oh shit. Yeah. No, I love that. And then, um,

00:59:39.079 --> 00:59:41.679
I love the lyrics, too. Like, I don't want to

00:59:41.679 --> 00:59:44.400
go. You know, that's so cool that they just said

00:59:44.400 --> 00:59:48.900
it. I don't want to go. Awesome. Well, I'm going

00:59:48.900 --> 00:59:52.440
to follow that up with what can only be described

00:59:52.440 --> 00:59:57.739
as a flying giant friction blast. An alternative

00:59:57.739 --> 01:00:03.019
rock ode to sex from 1994's Whipsmart, Liz Phair's

01:00:03.019 --> 01:00:06.130
Supernova. Reached number 78 on the Billboard

01:00:06.130 --> 01:00:10.230
U .S. Hot 100, number 59 on Canada's Top Singles,

01:00:10.230 --> 01:00:13.789
and number 43 in Australia. Song was nominated

01:00:13.789 --> 01:00:17.170
for a Grammy for Best Female Rock Performance

01:00:17.170 --> 01:00:22.389
in 1995. Inescapable on radio. And what might

01:00:22.389 --> 01:00:24.630
come as a surprise to some people, because I'll

01:00:24.630 --> 01:00:27.210
be honest, when I was reading up on this song,

01:00:27.329 --> 01:00:31.070
it shocked me. Supernova was not Liz Phair's

01:00:31.070 --> 01:00:34.110
highest charting single. That would actually

01:00:34.110 --> 01:00:38.050
go to Why Can't I from her 2003 self -titled

01:00:38.050 --> 01:00:42.369
album. Wow. Exactly. I had no idea. I was like,

01:00:42.449 --> 01:00:45.489
what? How the hell is Supernova not her biggest

01:00:45.489 --> 01:00:49.590
charting hit? Why can't I chart it higher? But

01:00:49.590 --> 01:00:53.449
regardless, this is a 90s mixtape, so Supernova

01:00:53.449 --> 01:00:56.750
had to be in the fold. Shout out to Patreon mixtaper

01:00:56.750 --> 01:00:59.269
Jason Donchus, who also chimed in with this one.

01:00:59.829 --> 01:01:03.900
A classic. Absolute classic. Yeah. classic i

01:01:03.900 --> 01:01:07.559
love liz fair that's so interesting about her

01:01:07.559 --> 01:01:12.880
top hit because like this one kicks supernova

01:01:12.880 --> 01:01:16.440
is so killer and then you know why can't i is

01:01:16.440 --> 01:01:21.980
it's it's good you know um i i know i'll probably

01:01:21.980 --> 01:01:25.320
make some people upset but i that's my opinion

01:01:25.320 --> 01:01:27.659
i think it was a top 40 hit it hit number 32

01:01:27.659 --> 01:01:32.639
why can't i i and and 78 for supernova I love

01:01:32.639 --> 01:01:34.960
both songs. Don't get me wrong. I'm not knocking.

01:01:35.260 --> 01:01:39.900
Why can't I? Yeah. But Supernova, I was a different

01:01:39.900 --> 01:01:43.219
age in 1994. That song hit differently back then.

01:01:43.519 --> 01:01:47.559
Yeah. Yeah, for sure. Well, we are now back to

01:01:47.559 --> 01:01:49.679
you for track six. We got the second half of

01:01:49.679 --> 01:01:52.320
Side B. We're picking up the energy a little

01:01:52.320 --> 01:01:56.019
bit here. Where do we go? Yeah. You Oughta Know

01:01:56.019 --> 01:01:59.820
by Alanis Morissette. Of course. Yes. Had to

01:01:59.820 --> 01:02:03.360
do it. Had to do it. That's my favorite song

01:02:03.360 --> 01:02:07.480
of the 90s. That one and Caesar. It's just like,

01:02:07.539 --> 01:02:10.199
I don't know what happened there, but she struck

01:02:10.199 --> 01:02:13.679
gold emotionally there. Well, and financially.

01:02:13.960 --> 01:02:19.579
Yeah, of course. Yeah. Banger. Some guy named

01:02:19.579 --> 01:02:24.000
Flea playing bass on the track. The lead single

01:02:24.000 --> 01:02:26.119
from, I'm going to call Jagged Little Pill a

01:02:26.119 --> 01:02:29.119
masterpiece. Is that okay? Do you agree? 100%.

01:02:29.119 --> 01:02:31.480
Yeah. Absolute masterpiece. Number six on the

01:02:31.480 --> 01:02:34.800
Billboard US Hot 100, as well as on the Canada

01:02:34.800 --> 01:02:38.079
Top Singles chart. Given Alanis is from Canada,

01:02:38.099 --> 01:02:40.760
I'm actually shocked it didn't chart higher in

01:02:40.760 --> 01:02:43.739
Canada, but it also charted in the UK, Europe,

01:02:43.800 --> 01:02:46.840
Australia, and several other countries. I mean.

01:02:47.440 --> 01:02:49.880
Weird Al put his stamp on it on the alternative

01:02:49.880 --> 01:02:53.019
polka from the Bad Hair Day album. And when Weird

01:02:53.019 --> 01:02:55.340
Al acknowledges the song, you know it's gold.

01:02:55.739 --> 01:02:58.440
I had the chance to catch the Jagged Little Pill

01:02:58.440 --> 01:03:02.619
tour in 1996 at the Raleigh Civic Center in Raleigh,

01:03:02.619 --> 01:03:06.079
North Carolina. If my memory serves me correct,

01:03:06.340 --> 01:03:09.219
the venue held about a thousand people at the

01:03:09.219 --> 01:03:13.139
time. And this was 1996. People would mosh to

01:03:13.139 --> 01:03:16.230
anything. People would mosh the blues traveler

01:03:16.230 --> 01:03:19.550
around this time. And the lineup was Loud Lucy

01:03:19.550 --> 01:03:22.889
and Alanis Morissette. And in the 90s, I was

01:03:22.889 --> 01:03:27.429
in pits from bands from Metallica to Green Day.

01:03:27.690 --> 01:03:33.489
And I never saw carnage like I saw at that Alanis

01:03:33.489 --> 01:03:36.610
Morissette pit. I was getting kicked in the face,

01:03:36.869 --> 01:03:41.409
bodies flying everywhere. It was complete insanity.

01:03:42.559 --> 01:03:46.119
This song had just exploded. The crowd, I think

01:03:46.119 --> 01:03:49.579
they oversold it. It was just a sea of people.

01:03:49.780 --> 01:03:52.500
You couldn't move around. But when you did, it

01:03:52.500 --> 01:03:55.480
was just, it was the most violent show I'd ever

01:03:55.480 --> 01:03:58.179
been to in my life. And in hindsight, it's also

01:03:58.179 --> 01:04:01.039
bittersweet because it was the first time I got

01:04:01.039 --> 01:04:04.019
to see Taylor Hawkins of the Foo Fighters on

01:04:04.019 --> 01:04:07.239
drums because he was Alanis' touring drummer

01:04:07.239 --> 01:04:10.809
at the time. a staple of the nineties. I don't

01:04:10.809 --> 01:04:12.809
think we, I think people would be yelling at

01:04:12.809 --> 01:04:15.230
us if we didn't include this song. So for sure.

01:04:15.230 --> 01:04:18.789
Yeah. Okay. So now I'm going to go with something

01:04:18.789 --> 01:04:21.449
that's going to pivot a little bit here because

01:04:21.449 --> 01:04:23.090
we've been talking a lot of the alternative,

01:04:23.110 --> 01:04:26.010
a lot of the heavier stuff. And there's a voice

01:04:26.010 --> 01:04:28.590
that I feel like deserves to be on this playlist,

01:04:28.690 --> 01:04:32.570
but it's not alternative, but it's certainly

01:04:32.570 --> 01:04:35.030
rocks. Because when I think about rock voices

01:04:35.030 --> 01:04:38.269
of the nineties, This song originally didn't

01:04:38.269 --> 01:04:41.650
catch fire in the U .S. for this artist. However,

01:04:41.929 --> 01:04:46.130
after Come to My Window became a hit, the song

01:04:46.130 --> 01:04:49.150
was re -released and peaked higher, reaching

01:04:49.150 --> 01:04:53.050
No. 8 on the Billboard U .S. Hot 100 and No.

01:04:53.309 --> 01:04:56.289
1 on the Billboard U .S. Adult Contemporary Chart.

01:04:56.429 --> 01:05:01.070
Also hit No. 12 in Canada, making it Melissa

01:05:01.070 --> 01:05:03.809
Etheridge's biggest hit. I'm going to go with

01:05:03.809 --> 01:05:06.969
I'm the Only One. If you want to hear an incredible

01:05:06.969 --> 01:05:11.090
Melissa Etheridge story, episode 55, the ultimate

01:05:11.090 --> 01:05:15.170
modern blues rock playlist with Jax Hollow, as

01:05:15.170 --> 01:05:18.670
she talks about her show opening for Melissa

01:05:18.670 --> 01:05:21.570
at the Ryman Ornatorium. It's a really cool story.

01:05:21.869 --> 01:05:26.150
This was a time in 90s radio where the radio

01:05:26.150 --> 01:05:30.150
was a musical smorgasbord. You can have Melissa

01:05:30.150 --> 01:05:33.969
Etheridge. followed up by The Breeders, followed

01:05:33.969 --> 01:05:37.769
up by 10 ,000 Maniacs, followed up by Sheryl

01:05:37.769 --> 01:05:41.570
Crow, followed up by Mazzy Star. That was 1993

01:05:41.570 --> 01:05:46.329
for you. And yet it all worked. They all fell

01:05:46.329 --> 01:05:50.510
together into this category of just rock. So

01:05:50.510 --> 01:05:53.030
yeah, it feels weird putting Melissa Etheridge

01:05:53.030 --> 01:05:57.150
after Alanis because it's blues rock. But for

01:05:57.150 --> 01:06:00.630
some reason in the 90s, radio was just like,

01:06:01.019 --> 01:06:03.920
all encompassing and it just everybody fit in

01:06:03.920 --> 01:06:06.659
and it was a beautiful moment in music and i

01:06:06.659 --> 01:06:09.360
feel like this song just has to be there yeah

01:06:09.360 --> 01:06:12.840
this is an incredible song the vocal take and

01:06:12.840 --> 01:06:16.619
performance of that whole thing like especially

01:06:16.619 --> 01:06:21.099
that chorus unreal so so good one of my favorite

01:06:21.099 --> 01:06:24.320
songs well following that up we've got only a

01:06:24.320 --> 01:06:29.460
few left here three left three left yeah i picked

01:06:30.349 --> 01:06:33.670
A little subdued one. Mazzy Star, Fade Into You.

01:06:34.030 --> 01:06:38.530
Ooh. Yeah. Taking it down a notch. Yeah, gotta

01:06:38.530 --> 01:06:40.610
take it down, you know? Because we're like, bam,

01:06:40.710 --> 01:06:43.110
bam, bam. Gotta put a little slow one in there,

01:06:43.170 --> 01:06:45.929
you know? This song is another timeless one.

01:06:46.090 --> 01:06:49.510
It's amazing. I love it. Vocal take is just like,

01:06:49.610 --> 01:06:53.369
it just sits in my ears so perfectly. Every time

01:06:53.369 --> 01:06:58.670
I hear it, I just feel calm. And great. Oh, yeah.

01:06:59.289 --> 01:07:02.409
Is it wrong to call it like sultry? I just feel

01:07:02.409 --> 01:07:05.230
like there's just such a beauty to the vocal

01:07:05.230 --> 01:07:09.369
performance on this track. And once again, number

01:07:09.369 --> 01:07:13.170
44 on the Billboard U S top 100, not a top 40

01:07:13.170 --> 01:07:17.690
hit. How is that humanly pot? The United States

01:07:17.690 --> 01:07:20.230
got it wrong. Yeah. This should have been a number

01:07:20.230 --> 01:07:24.550
one hit. This is a snapshot of 1993, like no

01:07:24.550 --> 01:07:28.730
other. And I, hell, I just mentioned it. With

01:07:28.730 --> 01:07:31.309
Melissa Etheridge as being part of that group

01:07:31.309 --> 01:07:34.190
of female artists that were all on the radio

01:07:34.190 --> 01:07:37.750
at the same time. How was this not bigger? I

01:07:37.750 --> 01:07:40.110
don't know. It's crazy. It's so crazy what's

01:07:40.110 --> 01:07:43.610
massive and what's not, even still today. I don't

01:07:43.610 --> 01:07:46.969
get it. Well, I'm going to go one year later

01:07:46.969 --> 01:07:50.050
for my last song pick of the night. And I'm going

01:07:50.050 --> 01:07:53.190
to go with a name that, like some of the others

01:07:53.190 --> 01:07:56.050
we've talked about tonight. I feel like we'd

01:07:56.050 --> 01:07:58.150
be doing a disservice if we don't bring to the

01:07:58.150 --> 01:08:00.489
conversation. And this song reached number one

01:08:00.489 --> 01:08:03.670
on the Billboard U .S. Alternative Airplay chart

01:08:03.670 --> 01:08:07.730
and topped the charts in Australia, Zimbabwe,

01:08:07.869 --> 01:08:11.829
Belgium, France, Germany, Denmark, and Iceland.

01:08:12.329 --> 01:08:15.489
Similar to the Veruca Salt cover we talked about

01:08:15.489 --> 01:08:19.840
at the beginning of the night, in 2017, Bad Wolves

01:08:19.840 --> 01:08:22.399
recorded a gender flipped cover that would go

01:08:22.399 --> 01:08:26.560
on to be a hit version as well from 1994's No

01:08:26.560 --> 01:08:30.859
Need to Argue, The Cranberry Zombie. Dolores

01:08:30.859 --> 01:08:34.300
O 'Rourke was supposed to sing on Bad Wolves

01:08:34.300 --> 01:08:38.159
version, but sadly passed before that collaboration

01:08:38.159 --> 01:08:42.439
took place. Her, along with Sinead O 'Connor,

01:08:42.500 --> 01:08:44.699
I would say were two of the most recognizable.

01:08:45.470 --> 01:08:48.590
Voices of the 90s, where as soon as you heard

01:08:48.590 --> 01:08:51.810
a song, you're like, oh, that's the Cranberries.

01:08:52.109 --> 01:08:55.489
And God, she'll forever be missed. Her voice

01:08:55.489 --> 01:09:00.630
was just such a force. Yeah. And this song means

01:09:00.630 --> 01:09:04.689
so much to so many people. And it just invokes

01:09:04.689 --> 01:09:08.050
a joy, even though the song is alternative and

01:09:08.050 --> 01:09:12.390
dark and heavy. People just gravitate to this

01:09:12.390 --> 01:09:16.409
song. And it just captures your attention and

01:09:16.409 --> 01:09:19.310
never lets go. I got to give a shout out to Patreon

01:09:19.310 --> 01:09:21.710
mixtape or seeker who chimed in from Australia

01:09:21.710 --> 01:09:25.729
with this one as well. Just a perfect song. It

01:09:25.729 --> 01:09:27.890
is. It's weird. It's one of those songs that

01:09:27.890 --> 01:09:30.170
like unlock something in you that you didn't

01:09:30.170 --> 01:09:34.390
know was there. Like, I don't know. It's just

01:09:34.390 --> 01:09:36.710
a bunch of different emotions, like all wrapped

01:09:36.710 --> 01:09:39.069
into one. And then for some reason you end up.

01:09:39.310 --> 01:09:42.770
screaming the chorus every time, you know, no

01:09:42.770 --> 01:09:45.289
matter where you're at. So it's a great choice.

01:09:45.569 --> 01:09:48.529
Well, thank you for that. And Emily, you have

01:09:48.529 --> 01:09:53.069
the pleasure or fear. You have to close out the

01:09:53.069 --> 01:09:56.130
night. We've been talking about so many amazing

01:09:56.130 --> 01:09:59.109
artists tonight. What do you think is going to

01:09:59.109 --> 01:10:03.250
put the final stamp on our 90s female rock playlist

01:10:03.250 --> 01:10:07.350
this evening? I had to go with PJ Harvey, Down

01:10:07.350 --> 01:10:11.430
by the Water. Nice. One of my favorites. Another

01:10:11.430 --> 01:10:15.430
timeless one. I love that song. That's another

01:10:15.430 --> 01:10:17.850
one that's a vibe. Like you said, you put it

01:10:17.850 --> 01:10:22.409
on and you just feel a certain type of way. All

01:10:22.409 --> 01:10:25.430
the instrument, the recording is like so cool.

01:10:25.590 --> 01:10:28.689
Every little, little thing that they put in there,

01:10:28.829 --> 01:10:31.590
all the production stuff is awesome. And PJ Harvey

01:10:31.590 --> 01:10:34.960
is just, you know, one of my favorites. Absolutely

01:10:34.960 --> 01:10:37.500
incredible. Once again, showing my age here,

01:10:37.560 --> 01:10:40.859
snapshot of my senior year in high school. Reach

01:10:40.859 --> 01:10:43.380
number two on the Billboard Modern Rock Tracks

01:10:43.380 --> 01:10:47.000
chart, number 84 on the Australian Singles chart,

01:10:47.239 --> 01:10:52.180
number 78 on the Canadian RMP Top 100, number

01:10:52.180 --> 01:10:56.140
38 on the UK Singles chart, and number 28 on

01:10:56.140 --> 01:11:00.359
the Irish Singles chart. World. wide hit. Shout

01:11:00.359 --> 01:11:02.979
out to Patreon mixtaper Ben from the Too Vague

01:11:02.979 --> 01:11:06.460
podcast, who also chimed in with this one, which

01:11:06.460 --> 01:11:10.159
Brandon from Virginia echoed, calling it fantastic

01:11:10.159 --> 01:11:14.939
and haunting. And I couldn't agree more. A perfect

01:11:14.939 --> 01:11:19.500
way to close out this eclectic and diverse 90s

01:11:19.500 --> 01:11:23.579
female rock playlist, which Side B kicked off

01:11:23.579 --> 01:11:27.420
with Republica's Ready to Go, Garbage's Number

01:11:27.420 --> 01:11:49.829
One Crush, Head over to MyWeeklyMixtape .com

01:11:49.829 --> 01:11:51.930
to hear all the songs we've discussed in this

01:11:51.930 --> 01:11:55.189
mix through the playlist embedded on the episode

01:11:55.189 --> 01:11:59.050
page. Now, Emily, we've talked a lot about the

01:11:59.050 --> 01:12:01.569
blowback in this episode, but like I said at

01:12:01.569 --> 01:12:04.329
the beginning, this album's reached its one -year

01:12:04.329 --> 01:12:06.989
anniversary now. So could you maybe fill the

01:12:06.989 --> 01:12:09.550
listeners in on where things stand currently

01:12:09.550 --> 01:12:15.229
for album number four? Yeah. Right now I'm working

01:12:15.229 --> 01:12:18.229
with a producer named Gavin Brown. He's done

01:12:18.229 --> 01:12:21.229
all the metric records and like a ton of rock

01:12:21.229 --> 01:12:24.390
records. And I met him through a mutual friend.

01:12:25.819 --> 01:12:28.800
we're writing together. And like I mentioned

01:12:28.800 --> 01:12:32.239
before, like now that I've done a record completely

01:12:32.239 --> 01:12:35.500
on my own, I'm ready to kind of see what else

01:12:35.500 --> 01:12:38.680
is out there. And Gavin seems to be kind of unlocking

01:12:38.680 --> 01:12:41.399
some things in my songwriting that is it's been

01:12:41.399 --> 01:12:44.039
really exciting. So, yeah, I'm writing new stuff

01:12:44.039 --> 01:12:48.279
and getting ready for a big 2025. If you could

01:12:48.279 --> 01:12:50.760
tease it compared to the blowback, where does

01:12:50.760 --> 01:12:53.579
the vibe go? Where do you go musically? Where

01:12:53.579 --> 01:12:55.699
do you feel like right now the songs are heading?

01:12:56.380 --> 01:13:00.279
Gosh, honestly, it's like a mix between Veruca

01:13:00.279 --> 01:13:03.279
Salt and Tom Petty is where it's at right now.

01:13:03.760 --> 01:13:05.880
That's kind of the vibe that I'm picking up.

01:13:06.060 --> 01:13:08.779
But it's interesting because, you know, I'm writing

01:13:08.779 --> 01:13:11.319
lyrics first, which I've never done before, but

01:13:11.319 --> 01:13:14.000
it's an experiment. And so it's cool, though.

01:13:14.060 --> 01:13:17.390
It's exciting. I'm stoked. Well, Emily, this

01:13:17.390 --> 01:13:20.430
has been an absolute pleasure. Thank you so much

01:13:20.430 --> 01:13:23.130
for joining me on my weekly mixtape. Yeah, thanks

01:13:23.130 --> 01:13:25.689
for having me. It's been so fun. Great mixtape.

01:13:25.750 --> 01:13:29.390
I couldn't agree more. And remember, you can

01:13:29.390 --> 01:13:31.829
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01:13:37.949 --> 01:13:41.369
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There you can enjoy ad -free episodes of the

01:13:57.079 --> 01:14:00.319
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01:14:03.479 --> 01:14:05.479
week. Thanks again for listening. And until next

01:14:05.479 --> 01:14:07.140
time, enjoy the tunes.