Hey, it's Emily Wolf, and you're listening to
My Weekly Mixtape with Brian Colburn, and I hope
you enjoy it. Welcome to My Weekly Mixtape, a
podcast that takes the classic mixtape approach.
to building a modern playlist. I'm your host,
Brian Colburn. Joining me tonight as guest curator
is the incredible singer -songwriter, Emily Wolfe.
Emily, thank you so much for joining me on the
show tonight. Thanks for having me. I'm excited.
I love a mixtape, and I love an old version of
a mixtape, so this is great. Well then, you just
leaned right into my first -time guest question,
and that is, what does the word mixtape mean
to you? Oh my gosh. It means, well, when I think
about a mixtape, I actually have a prop here
with me. But when I first started recording myself,
I had this tape recorder from the 90s. Nice.
And a tape. And that was how I started recording
myself in middle school and high school and stuff.
And I would make my own mixtapes of my own stuff
to see if it was any good. And then, yeah, I
mostly burned CDs and stuff in high school. And
after a while, they all kind of started to be
the same song over and over again. I guess I'm
a creature of habit. But yeah, I love a mixtape.
It was like back when I was in high school and
stuff. It was how you expressed all your emotions.
You know, if you had a crush on somebody, you
made a mixtape or a mix CD or all that. Now it's
playlist, which is fine. But I did enjoy the
physical media part of that. I have to say, when
you gave somebody a mixtape or even a mix CD,
that person knew you put some time into it, especially
the cassette form, because that was real time.
And if you were one of the high -end people who
had the high -speed dubbers, maybe half time.
But with a playlist, sometimes I feel like you
could just drag 10 songs onto it and send it
out. It's like, how much thought really went
into this? Yeah, yeah. Were you thinking about
this person for 10 seconds or 10 hours with trying
to put an actual tape together? Well, tonight
we're going to try to find a cross of that. And
you and I are going to be co -curating a mixtape
together with songs that we feel are the best
90s female rock songs out there. So what were
you looking to bring to the table with your song
choices for this evening? Oh my gosh. I was looking
to bring all the female artists of the 90s that
just exhibit their rage so gracefully. And there's
no boundaries with the rage. Like the first song
I picked was Seether by Veruca Salt because that
song is literally about female rage being right
under the surface at all times. And yeah, if
somebody says 90s female rock, that's what I
think of first. And for me, it's definitely the
rage, the angst. It's the time in my life where
I felt like female musicians truly had their
own voice. I felt like the female artists took
it upon themselves to say. This is the kind of
music that's out there. We're going to do it
and we're going to do it just as good as anybody
else out there and even better. And there were
so many moments throughout the 90s that proved
that point over and over again. I'm really excited
to dive into this tonight. Yeah. So let's get
down to business tonight. As I mentioned at the
top of the show, Emily and I are curating the
ultimate 90s female rock mixtape. But we're going
to use the old cassette deck approach. Emily,
as my special guest, will begin side A with her
first song choice, which she mentioned already.
And then I'll add a song that I feel best follows
up that choice. We'll then flip -flop choosing
songs until we've mapped out 10 songs for side
A. We'll then give our mixtape the proverbial
flip and we'll map out side B. Only this time,
I'll kick things off with Emily choosing second.
Our overall goal for this episode is to craft
the best 90s female rock mixtape possible through
only 20 songs. At the end of the show, you can
take our conversation to the next level by visiting
the episode page at myweeklymixtape .com to give
our final mixtape a listen. via the embedded
playlist. And if you like what you're hearing
on the show, you can help me out by either telling
a friend, leaving the show a five -star review
wherever you're tuning in, or becoming a Patreon
mixtaper at patreon .com forward slash My Weekly
Mixtape. There you can enjoy the show ad -free,
chime in on upcoming topics, become a future
guest, and so much more. And a few of the Patreon
mixtapers chimed in with songs they would use
to kick things off tonight. And I want to give
a few quick shout outs. Brandon from Virginia
chimed in with Ani DiFranco's shameless, untouchable
face or dilate saying her picking style and guitar
tone was unprecedented and that he saw her at
the 930 Club in the late 90s with Maceo Parker
and he came out to jam on the diner. Tom Hutchinson
chimed in with Bikini Kill's Suck My Left One,
saying Kathleen Hanna's energy is simply fantastic.
Ben from the Too Vague podcast chimed in saying
that this was a difficult topic because, as he
put it, quote, the 90s were the decade that women
rockers broke the glass ceiling, or at the very
least, left it severely damaged. But he ended
up choosing PJ Harvey's Down by the Water. Philip
Bergman chimed in with Voice of the Beehive's
Scary Kisses from their Sex and Misery album.
Seeker from Australia couldn't decide between
the Baby Animal's Early Warning or the Breeders'
Cannonball. Jason Doncic chimed in saying we
can't have this list without Liz Phair's Supernova,
but he's also a fan of Poe's Trigger Happy Jack.
Chris Pizica chimed in with both the Cranberry
Zombie and No Doubt's Just a Girl. Sean Goff
chimed in saying he agreed that there were so
many great options for this topic tonight, but
he chose not an addict by Kay's choice. And finally,
Chad LaMassa was going to chime in with Garbage's
Stupid Girl, but Emily, when he saw that you
were going to be the guest tonight, as a bit
of synergy here, he changed his pick to Veruca
Salt's Seether because it leans more towards
the guitar. Once again, if you'd like to chime
in for future My Weekly Mixtape episodes, come
join the fellow mixtapers at patreon .com forward
slash My Weekly Mixtape. Now, Emily, we know
your first song is Veruca Salt Seether, just
the way Chad LaMassa chimed in with. Let's hear
why you're kicking things off with that track
tonight. Great. Yeah. You know what? I chose
this song because it is one of those songs that
could come out today and it would be relevant
and make sense just forever. I think it's an
amazing song. It's one of my favorites. I love
the guitar tones. I love Louise Post. Actually,
one time I gave Louise Post a guitar because
her trailer got stolen on tour and she was rolling
through Austin. Yeah. And I know her drummer
and he texted me and he said, hey. all of our
gear got stolen. Do you happen to have an SG
for Louise Post? And I was like, dude, I have
got one. Yes. So I brought an SG to her and it
was like such a cool moment because Veruca Salt,
they have such an impact on my music, especially
my latest record. But yeah, this is just, this
song is everything to me in terms of 90s female
rock. Couldn't agree more. It reached number
eight on the U .S. Billboard Modern Rock Tracks
chart and also charted in Australia and the UK,
written by the incredible Nina Gordon, who I
would have also thought to include some stuff
from her solo album, Tonight and the Rest of
My Life. But it came out in 2000, so alas, did
not make the cut. I mean, how could you not love
a band who has an EP named Blow It Out Your Ass,
It's Farouk Assault? Like, that is the vibe we're
going for tonight. And in a little bit of synergy,
it's been shown love over the years as the band
Seether covered the song Seether on their Greatest
Hits album. If you really want to hear... a gender
-flipped reimagining of the track. So once again,
shout out to Patreon mixtaper Chad LaMassa, who
also chimed in with this one. Chad has seen you
perform recently in Maryland, and he had mentioned
to me that you might remember him as he's the
guy who has your wolf shirt tattooed on his arm.
Oh, yeah, yeah, Chad. That's awesome. Dang. What's
up, Chad? Yeah, that guy rules. Yeah, he's awesome.
He's a huge supporter of the show. He loves your
music. And he was the one who said, hey, Brian,
if there's any chance you can ever get Emily
Wolfe on the show, I'm like, dude, I'm going
to make it happen. I love her music. Let's make
this happen. That's awesome. I'm excited that
this is happening tonight. And following up Baruch
Assault, I have to give another Patreon shout
out because Seeker chimed in with this one. I've
talked about this song five times in 90 episodes
of my weekly mixtape, and there's a reason for
that. When a song is just iconic to the point
that you hear a second of a bass line and you
immediately know the song. It just is embedded
in my musical DNA. The first time I heard the
opening bass line to the Breeders' Cannonball,
I was immediately sucked in as a bass player
myself. I mean, Kim Deal's vocals are amazing.
Don't get me wrong. It's powerful. It kicks through
the song, the distortion, the energy, the power.
Josephine Wig's bass line is just so iconic.
It's a perfect snapshot of early 90s rock. The
song reached number 44 on the U .S. Billboard
Hot 100. And I have to admit, I love seeing modern
artists who are having their major moment showing
love to artists to help them get there. Because
Olivia Rodrigo brought the Breeders out on tour
this year. yeah for their 30th anniversary of
last splash and that's introducing the breeders
to a brand new generation of people who might
who definitely didn't experience them the first
time around so i absolutely love when things
like that happen yeah me too that's awesome i
think olivia rodrigo also covered seether did
she like at a show yeah because i went and saw
them and i noticed a lot of jen's ears i was
like what is this and then uh Yeah, but he was
like, oh, yeah, no, Olivia Rodrigo covered Seether,
which is awesome. So that's great. But yeah,
that bass line in Cannonball. I also love that
it mimics a drum part just so completely. So
it's like that so much rhythm is like, you know,
it's just like so cool. And the tone of it. I
don't think there's any other song that I know.
where it's like the baseline is just the coolest
part of the song you know and as a bass player
for me that just puts a little extra smile on
my face because let's be honest the bass players
don't always get the love and when there's a
baseline that's so iconic that decades later
we're still talking about it bravo yeah for sure
all right so now you get to follow up a one -two
punch of veruca salt seether and the breeders
cannonball How do we keep this energy going?
You got to keep it going with Tracy Bonham, Mother
Mother. Yes. That song is crazy. It is so wild.
Just like the first part of it, just acoustic
strumming and like then out of nowhere, it's
just like band, you know, like the tension is
broken and you didn't even expect it. And it's
like the most climactic chorus. It's so cool.
The entire album, 1996 is the burdens of being
upright is amazing, but. To me, this might be
one of the most visceral screams of the decade.
The everything's fine. I mean, I actually heard
that she had to cancel some shows on her tour
because she blew her voice out and had to learn
how to scream it properly so she could do it
night after night and be able to deliver it.
Because you listen to that album and that cuts
through your soul, that scream. You feel it.
And the song topped the U .S. Modern Rock Tracks
chart in the U .S. and also charted in Australia,
Canada, and New Zealand, among several other
countries. Interesting fact about Mother Mother.
It was the last song by a female solo artist
to top that chart until Lords Royals in 2013.
as the modern rock tracks chart was then renamed
to the Billboard Alternative Songs chart. So
there was almost a 20 -year span where a female
artist didn't top the chart. Wow. That is wild.
I did not know that. And way too long, to be
perfectly honest. Yeah, for sure. But to follow
that, I'm going to break down the visceralness,
if that's even a word, just a little bit. And
I'm going to bring up a song that I had the honor
back on episode 44 of diving into a lot deeper
than I'm going to go into tonight. But off of
their 1993 album, Aurora Goriales, we have to
go with Letters to Cleo here and now. A lot of
people were introduced to this song via the Melrose
Place soundtrack. But if you were into the indie
punk scene in 1993, you were already familiar
with this. Kay Hanley joined me for episode 44
and we did a deep dive into Aurora Goriales as
well as all the amazing things she has done in
music all the way from. The 10 Things I Hate
About You soundtrack, Josie and the Pussycats,
Star Trek. She has done so much for music. I
just highly suggest going back and listening
to that episode if you want to hear more about
Letters to Cleo. A completely underrated band
in the 90s. How they weren't massive blows my
mind because consistency straight through every
album, every song. And Kay is just an absolute
delight. Yeah. Letters to Cleo, super underrated.
I first heard Letters to Cleo actually on a radio
station. I was like, what is this? How come I
have never heard this before? And yeah, I loved
it. I think it was a girl to be kind is what
I heard on the radio. But yeah, here now is an
incredible song too. Very underrated. So how
do we follow that up? Oh, whole celebrity skin.
Yes. one of my favorite recordings ever. I don't
know what it is. It's just like something about
the, the sonics and the tones and like the bass
tone is huge. I think they used like some kind
of like sub octaver, like rack mount sub octaver
for that bass. Cause it's like, if you really
like chime into it, it's just like, there's so
much sub bass and then all the guitars just fill
in this mid range so well. And it's so sarcastic
and just so great. I love that song. Reached
number 85 on the Billboard US Hot 100. Personally,
I thought it would have been a lot higher than
that, but it did top the US alternative airplay
charts and also charted in Australia, Canada,
Europe, France, and a bunch of other countries.
Easily their most commercially successful track.
And it's been in... countless movies, TV shows
and video games. Believe it or not, the song
was co -written by Billy Corgan of the Smashing
Pumpkins. He's the one who Courtney Love said
came up with the guitar riff for the song. So
that's a pretty cool collaboration. And then
while we're talking female fronted rock acts,
the band Garbage, the lyrics from Celebrity Skin
actually inspired the name of their third album,
Beautiful Garbage. Came from the lyrics of Celebrity
Skin. Wow. I didn't know that. Yeah. Wow. Cool.
So there's a lot of love going on between some
of the artists we're talking about tonight. I'm
going to guess we're not going to get through
20 songs without talking about Garbage. But for
now, we haven't talked about them yet. But to
follow that up, I want to bring a little bit
of the punk side of things into this. Yeah. And
when I think of female punk in the 90s, one of
the first bands that comes to my mind are the
Muffs. But I'm not going to go off their self
-titled as much as I love that song. I could
easily gone with Lucky Guy or Big Mouth. I love
that album. A movie that really resonated with
me in the 90s was a movie called Angus. And that
soundtrack was something that. I played nonstop
when I was in college. And along with the Angus
soundtrack, this song was also featured on their
1995 album Blonder and Blonder. And the song
is called Funny Face. Kimberly Shattuck had such
a unique voice. Yeah. Such a distinct. There
was a gravel to it, but also a beauty and a softness
to it. Yeah. And I think because we talked about
them before, there's an amazing acoustic cover
that Kim performed with both Nina Gordon and
Louise Post of Veruca Salt prior to Kim's tragic
passing from ALS. And the three of them harmonizing
on that song together. I literally have the hair
on my arm standing up with goosebumps just talking
about it. I'm going to embed the performance
on the episode page at myweeklymixtape .com because
hearing those three voices together is just absolute
perfection to me. And yeah, we have to talk funny
face tonight. Yeah. Such an interesting song.
And yeah, like I watched that acoustic cover
and it was so crazy. Like just, I don't know.
There's, I wish that I knew the right word for
this song because it's like, it almost like pokes
fun at pain. for some, I don't know if that makes
a lot of sense, but it's just like funny face.
I mean, it's like, you know, taking, like not
taking things as seriously as, as you may feel
them, I guess. But yeah, the muffs, that's another
one that I heard on a radio station along with
letters to Cleo. I was like, what is this? How
come I haven't heard this before? You know? Of
course, of course. But yeah, that's a great choice.
Thank you. So now I'm going to throw it back
to you. We are up to track seven on side A. Great.
I went with Sheryl Crow, If It Makes You Happy,
which I, yeah, I know that, you know, Sheryl
Crow's less grunge than a lot of these songs,
but those lyrics are grunge as hell if you really
listen to them, because the first verse doesn't
really make sense. And then she straight up says
like, well, I'm just making this up. And then
she's like, I don't know. It's just very like
middle finger, but it's also really beautiful,
which I think is it's one of my favorite things
in a song is when the lyrics are a little bit
juxtaposed with the music. I think it makes things
really interesting. That it does, from her 1996
eponymous release. Reached number 10 on the Billboard
US Hot 100, number 9 on the UK Singles Chart,
and number 1 on Canada's Top Singles Chart. Also
a hit in Australia, Germany, Europe, France,
and several other countries. Shockingly, though,
If It Makes You Happy was Sheryl Crow's final
top 10 solo hit in the US. And you think about
all the hits she had after that soak up the sun
only reached number 17. The first cut is the
deepest only reached 14. The only other time
she cracked the top 10 after, if it makes you
happy was with kid rock and the picture duet.
To me, that makes zero sense. And this is my
all time favorite Sheryl Crow song. It checks
off all the boxes for me musically. emotionally,
lyrically. When my band Colburn and Company jams
on this track, I absolutely cheat because our
female singer does the verses and I love the
lyrics so much. I actually half step harmonize
the verses, even though they don't belong. I
just love the song so much. I just enjoy adding
that little layer because people don't expect
to hear it. And it's a lot of fun. And the song
just. It gets you in the feels. It really does.
Yeah. Yeah. There's like a defeat in the lyrics.
And it's like one of those types of defeat that
you're like, yeah, I've been there. I know what
you're talking about. Great song. And I'm going
to follow up that defeat with another song that
Colburn and Company performs. It's probably one
of my favorite songs of the 90s. And when we
talk about underrated, this band, I think, has
to. be in discussion. Yes, they've had hits.
And this song reached number 19 on the Billboard
U .S. Hot 100, number four on Canada's top singles
chart, and number two in Australia. It also topped
the Billboard U .S. Modern Rock Tracks chart.
However, it's the only song to crack the U .S.
Hot 100 for Concrete Blonde. And that is Joey
from 1990s Bloodletting. That makes zero sense
to me. God is a Bullet, Someday, their cover
of Leonard Cohen's Everybody Knows from the Pump
Up the Volume soundtrack. To me, it's shocking
that this band wasn't massive. Jeanette Napolitano
has such a unique and distinct voice. I can't
fathom how the label didn't get behind them more
because this song is just, every time it's on,
it stops me dead in my tracks. Yeah, I know.
It's crazy. It's like, I feel like this song
should have been as big as like, what's that
police song? The big police song. Every Breath
You Take? Yeah. Yeah. It's got like, I don't
know, like to me that it feels like it should
have been that big. This is the kind of song
that if you were to bust out a cover at one of
your shows, I would love to hear your rendition
of because I feel like your voice really could
channel that. energy and that angst that she
brings through in that song but also the depth
and the vulnerability that the song shares i
feel like is something that you could really
hone not that i'm throwing cover song ideas out
there you know what i'm gonna do it that's an
awesome idea and i love that song and i'm so
glad that you mentioned that because like yeah
the line that they were she says like if you're
hurting so am i god it just gets me every time
you know It's just an amazing song. And her voice.
She played bass too, right? Yeah. Yeah. More
love for bassists. I know. A lot of bass. Honestly,
dude, 90s bass tones, the best tones. I love
90s bass. Agreed. All right. Well, we now each
have one song left for side A. What do you have
for track nine? Track nine. We got to garbage
finally. All right. Yeah. Only happy when it
rains. One of my favorite garbage songs. I love
this song. Yeah, it's just like admitting like,
yeah, I kind of like when things hurt. I don't,
I'm not afraid to admit it. And just the vocal
take is amazing. I just love that vocal take.
This song is an absolute, I use this term a lot,
but this song is a vibe. Yeah, it sure is. They
captured what Butch Vig was able to put together
with Garbage and the talent that he had in that
group. And then you add Shirley's perfect voice
for the landscape that is the music bed underneath
this song. Pour your misery down on me. It just
works so perfectly. It's the follow -up to Stupid
Girl. Personally, and I might piss off some Garbage
fans here, but I think it's the better of the
two. reach number 55 on the billboard us hot
100 also charted in australia the uk and canada
not a top 40 hit absolute mistake i mean this
song has been covered by everyone from hailstorm
to new year's day to metallica who covered the
song acoustically at the 2007 neil young bridge
school benefits show wow If Metallica is taking
time out of their set to acoustically reimagine
a song, you know this song has hit on a different
level. And I think this is a perfect example
of why that is. This song is just amazing. Yeah,
and classic, too. Every time it comes on, I don't
know. I just think if this was their debut song
right now, today, people would be all about it.
Still be it. Yeah, totally. It's just timeless.
And now I'm going to close outside with a song
that I also feel is timeless, but this is going
to be one that might draw some eyebrows because
believe it or not, some critics have rated this
song poorly, which I am going to disagree with
at the highest level. And we're going to go back
to 1992 and their album, bigger, better, faster,
and more. And I'm going to go with Four Non Blondes
What's Up to close out Side A. Reached number
14 on the Billboard US Hot 100, but it was number
one in a dozen countries, including Ireland,
Germany, Austria, Norway, and Sweden, among others.
It's a worldwide hit. Wow. Modern country artist
Lainey Wilson, who is a country artist I am a
huge fan of, covered the track on her 2022 album
Bell -Bottomed Country. So the song is still
getting love. Linda Perry is a pop songwriting
force. She's penned hits for Pink, Christina
Aguilera, Celine Dion, Alicia Keys, Miley Cyrus,
Gwen Stefani. And she's also written rock songs
for Cheap Trick, Unwritten Law, and like you
mentioned before, whole Courtney Love. To me,
What's Up was the tip of the iceberg for Linda
Perry songwriting. And this song actually holds
a little bit of a personal meaning for me when
I think back to when I first got the song on
cassette. I was on a road trip from New Jersey
to Maine and we stopped off at a gas station
and there just happened to be a Coconuts music
store across the street from the gas station.
So I asked my parents if I can run across the
street and grab a couple of cassette singles
for my Walkman. And they were kind enough to
give me the... Because they had the three for
$10 cassette single sale. And I grabbed Four
Nom Blondes, What's Up, The Proclaimers, I Would
Walk 500 Miles, and DJ Jazzy Jeff and the Fresh
Prince, Boom Shake the Room. And we played What's
Up probably 500 times in the car over and over
again. For me, it's the summer of 1993 encapsulated
in cassette form. i love her voice i love her
songwriting and i know the song gets put on these
worst song ever lists and i just don't get it
i just don't get it yeah it's so interesting
because people who love this song love it with
every fiber of their being people who hate the
song hate it so much and it's really interesting
how divided people are on it because it's like
to me the melody of the the vocal part of this
song is so beyond fearless that i can't even
like i can't even explain like how i mean she
goes all over the scale it's like crazy where
she goes and then in the chorus there's like
a big release like that big huh like way like
just out there and i think that's cool i've always
thought it's cool how fearless her melodies are
Amen. And that mixtapers concludes side A of
the ultimate 90s female rock mixtape, which consists
of Veruca Salt Cedar, The Breeders Cannonball,
Tracy Bonham's Mother Mother, Letters to Cleo
Here and Now, Hull's Celebrity Skin, The Muffs
Funny Face, Sheryl Crow's If It Makes You Happy,
Concrete Blonde's Joey, Garbage, Only Happy When
It Rains, and Four Non Blondes, What's Up. Head
over to myweeklymixtape .com to hear all the
songs we've discussed in this mix through the
playlist embedded on the episode page. Now, before
we flip our proverbial mixtape over to Side B,
I'd like to take some time, Emily, to dive into
your latest album, The Blowback, which is about
to celebrate its one -year anniversary. Yeah.
In the mini documentary you produced, you personally
referred to the blowback sonically as aggressive
rock that pushes the boundaries on things that
you want to say, which is very similar to a lot
of the music we've been talking about this evening.
And I think that mindset starts right from the
jump with the album opening track, Silencer.
Now on your band camp page, you wrote, this whole
chapter is about owning your spirit. And with
that, you opted to self -produce the album to
quote, realize it fully. Can you talk about what
that undertaking meant for you as an artist and
maybe how your experiences with past producers
like Michael Schumann maybe helped you realize
this vision on your own? Yeah. You know, I think
it was like, One of those fork in the road moments
in my life where I could have gone with Tony
Visconti, could have produced this record. Sharon
Bonetton could have produced this record. I could
have gone with Michael Schumann again. But there
was this, I don't know, this thing kind of eating
away at me saying, these songs are going to be
entirely different if somebody else produces
them. If it's, it's got to be you. you owe that
to the songs because they came out of me so quickly
and so efficiently. And it just felt like one
of those spiritual things that's like, you have
to put this out the way that you envision it.
And if a producer jumps on board, they're going
to change lyrics and they're going to change
parts and arrangements. And in the past, I was
open to that. But for some reason for this record,
I just was not because it was such an intense
process to write this record. And it was like,
I don't know, I'm the most proud I've ever been
of a record with this record. You know, I got
to pick every guitar tone and every pedal and
every vocal take and like which bass to use,
which DI to use. So everything was my decision.
And it was so empowering because I was at a point
where I felt extremely powerless and I needed
to essentially step into that role. to prove
to myself that I could have power in my own career
and life. And it was just, it was a healing experience.
And yeah, one of the best experiences I've ever
had. And that's not to say, you know, I don't
think I'll ever work with a producer again. I
think now that I've done that, I can move on
and kind of be okay with someone else helping
and taking the reins in future projects. Now
I know like I can do that and I can do it successfully.
And it was a blast. Well, I want to dive into
something you were just talking about there because
you mentioned something about tone. I think it's
safe to say you're kind of a gearhead given your
recent interview with Gibson, which spotlights
your. I'm going to call it glorious pedal board.
I'm still trying to personally absorb the full
setup you've got going on. And for those listening
who haven't seen this video yet, I'll embed it
on the episode page at myweeklymixtape .com.
But before I ask my next question, I want to
play my personal favorite guitar solo from the
album. And that's taken from the track High Crimes.
Oh, thanks. So Emily, with all the gear you've
incorporated into your setup over the years,
how do you hone in on the sound that's best going
to suit whatever track you're recording? Because
personally, I would imagine finding that perfect
tone could end up being a daunting task at times,
especially when you're the one self -producing
it. it almost might become a part of, let me
track this with seven different guitars and 27
different tones and see which one works the best.
Can you walk me through that part of the recording
process? Yeah. Well, I packed up every pedal
I own for this whole recording process with the
blowback and there's a lot of pedals. I love
pedals so much. And so I packed them all up in
a big bag. And luckily, you know, I know what
they all do and what they all sound like. And
it's interesting because whenever I pick a tone,
like for this record, for me, it's like I can
feel a tone. I guess I'm not sure if that makes
sense. But like, so for instance, the guitar
tone in High Crime is a mini Fender amp. It's
battery powered. And I went line out into a vibrochamp.
So I was taking like the solid state, like just
bad tone of that into a really nice vibrochamp.
And because there's a feeling that I get when
I play through that little fender and it kind
of, if I close my eyes, it puts me in this like
weird. solitude. And when I picture where I'm
at, it's like in the dark woods and there's trees.
And so like, I don't really know how to explain
it other than that tone is very woody and very
tight, like a tree. And so I kind of go at it
from like an oddly cinematic angle. Like there's
some kind of like, I guess, vision in my head
with a tone and it's like, does that match where
I'm at right now? If not, I got to try something
different. and sometimes i just kind of know
like oh yeah that's the tone like if i want to
say with a guitar solo that i feel so bizarre
right now i have no idea what i'm feeling i gotta
pick a really weird tone you know something with
a lot of just harsh mid -range and like i don't
know just weird honk you know uh like the bridge
pickup of a you know a telly or something and
Yeah, I kind of just, I don't know. I think I've
researched gear so much and played everything
and gone through so many tone journeys over the
years that I kind of can look at a guitar and
be like, yeah, I know what that's going to say
and what that's going to make me feel. You know,
like a P90 is going to make me feel very high
strung. And then a humbucker is going to make
me feel right at home, you know, especially on
a 335. That's kind of it. It's very based on
feeling. And is that something where when you're
in the studio and you're recording these songs,
if you're not capturing the feeling that you're
looking for, because watching that documentary,
which I said will be embedded on the episode
page, there were moments where you did things
to try to incorporate the feeling you were looking
to. emote in the song at one point actually wrapping
your body in tape to capture the vocal performance
that you wanted to share is that something that
brings you deeper into the song to a point where
it connects you more with whatever you're trying
to get out of that performance yeah for sure
like um yeah it's funny people are like why did
you do that i'm like well it's because when i
first wrote that song silencer i felt very suffocated
by my emotions and i'm very trapped and so because
i was producing this record and because i was
also the artist it's uh you know the only thing
that i knew to do was how do i possibly make
myself feel the same way i did when i first wrote
this song so i can capture exactly what i'm trying
to do And I couldn't afford a straight jacket.
I couldn't, you know, those are actually really
expensive. So I got my buddy to just tape me
really tight with gaff tape and it worked. And
it was very, very suffocating and claustrophobic,
but the take turned out really great. And it
was fun too. It was just weird. And, you know,
that's another part of producing my own record.
That was fun as I got to try everything I ever
wanted to do, you know, like. I taped a microphone
to a remote control car at one point and drove
it around the studio just to see what would happen.
And yeah, it was fun. It was just a lot of fun.
Well, this past summer, you had the chance to
share the stage with, to me at least, local heroes
or to the rest of those listening, New Jersey's
own Gaslight Anthem for some shows on their European
tour. Now, across Gaslight's catalog, they cover
a lot of ground musically. lyrically, and in
the case of Brian Fallon's singing style, vocally,
all three of which are traits that I hear when
I listen to the blowback from start to finish.
For example, if we were to compare the clip we
played earlier of High Crime to the clip I'm
going to play now from Dead End Luck. Can you
talk about your takeaways from those Gaslight
Anthem shows? Because when I saw you were opening
for them, my initial thought was that Bill's
perfect because musically, solely based on that
quote unquote covering musical ground concept,
there couldn't have been a more perfect pairing
of artists. Yeah, it's pretty funny. I mean,
I'm in my studio right now looking at a picture
of me and Brian because we're good buddies now.
And yeah, he has always been one of my influences
because he does do he does whatever he wants
musically. He's not in a box. And for me, I write
based on what I feel. And I don't feel, you know,
blues every day. I don't feel pop every day.
I don't feel one genre. And so, I mean, I love
his style because he he's got a very similar
kind of. approach to emotive singing that like
Jeff Buckley does to me. And that's one of those
things about the mixtape that we've made together
is I feel like the women who front these bands
feel pain in a way that is kind of unlike anyone
else. And to me, Brian gets there when he sings.
And it was cool to see that every night because
I toured with them, let's see, a couple of years
ago and then this past year. It was just amazing
to watch somebody go there every night. And it
was inspiring. And it kind of gave me permission
to just not feel bad about going all over the
place with my songwriting. Well, speaking of
that, lyrically, this album takes a different
approach compared to some of your earlier releases,
such as the track Walk In My Shoes. Now, as a
father of two young ladies, myself, a teenager
and a preteen, lyrics like unless you're dealt
all the highest cards, you're always half a world
away. I got the kind that could tear me up, but
the chips have fallen where they may. That section
stopped me in my tracks. And the first time I
heard the song, I immediately had to go back
and play that section of the song a second time
just so I could. fully realize the gravity of
those lyrics was it cathartic for you to push
those lyrical boundaries for the songs on this
album yeah it was and it was a challenge too
because with that one i knew i had something
really special and what i did with walk on my
shoes is i i vomited lyrics onto a page and i
was like okay these are fine you know but i feel
like what i'm trying to say I need to put more
effort in. So I, I, I went back and I wrote a
second pass and they were getting better, wrote
a third pass. They were getting okay. You know?
And then by the fourth pass, it was like, okay,
these are perfect now for me. I consider these
perfect. So yeah, that, that bridge was something
that I was really proud of. And I'm glad that
you noticed and think that too. But yeah, it's
true. I mean, you know, if you're born a woman,
especially, you know, LGBTQ woman like me, it's
not easy. And a lot of times I do always kind
of feel like I'm very much on the outside looking
in. And it was really therapeutic to write that.
And especially what I noticed is interesting
about it is a lot of men hear that and they're
like, oh, that's really interesting. And I'm
like, wow, maybe I really did. Do something here.
You know, maybe I really did change some people's
mentalities out there, hopefully, because that
was the purpose of the lyrics here was to kind
of get people to tap into their empathy, you
know, and realize that, you know, a lot of you
can't really choose how you're born or, you know,
how you enter the world. So, you know, if I if
I'm a black American, if I'm a black woman, if
I'm a gay Hispanic man, it's like. I have my
own challenges and I'm born with those and I
had no choice. And so, um, walk in my shoes is
very much like an anthem for like hoping to bring
people together based on like empathy for one
another. Empathy is a beautiful thing. Yeah.
Now when you're out on the road and you've got
the blowback, which is the album you're currently
promoting, how do you strike a balance both musically
and thematically? in your set lists because you
also have your 2019 self -titled album and 2021's
outlier, which include a lot of songs that fans
of yours want to hear. How do you strike a balance?
It's that's tough for me. It's hard because like,
I'm always torn between, okay, here's what I
want to play, but here's what I know they might
want to hear. And then I have to kind of compromise
between it. Like if I want to play silencer,
I got to balance it out with, you know, something
like white collar whiskey or something like that.
Cause I, you know, to me as a fan of, and a concert
goer, if I go see somebody and they don't play
what I want to hear, it's a bummer. So I don't
want to do that to people. And so I got to kind
of, you know, okay, I got an hour here. I'll
play half of what I really want to play and half
of what I think they want to hear. So I try and
do both as best I can. Sometimes I get people
saying, you didn't play this song. And I'm like,
okay, next time I'll do it. And then I put it
back in the set, you know? So yeah, it's definitely
a balance, but I think overall like a concert
experience is, is not just for me, obviously
it's 99 % for the crowd. So if they're paying
for a ticket, I want to give them what they want
to hear. Awesome. Now, if you don't mind, I have
one other question because I am a cover song
fanatic. And in 2022, you released a cover song
of one of my favorite 80s tunes. And that's your
rendition of Till Tuesday's Voices Carry. I would
love to hear the story behind why you chose that
cover. Because again, I just love my cover songs.
It's something I talk about on every episode
of my weekly mixtape. And I thought it would
be a perfect chance to hear a story behind the
cover. Yeah. Well, you know, what's crazy is
like that song. It's weird because everybody
knows it, but they don't know. They can't say,
oh, that's till Tuesday. oh that's amy man they're
like oh yeah i remember this song in the dentist
office in the 90s or something like i don't know
when i i like i think we're we're on the road
and it came on a playlist and i was like holy
this is a killer song and i never even realized
it because i knew it and i loved it but when
i really listened to the lyrics it's like oh
my god these lyrics are amazing and the guitar
part's amazing And like the synth that reinforces
the lead guitar is killer. And I was honestly,
I was like, I just want to play it. So I did
a cover and it was so much fun to recreate it.
And it's funny because like the same year I released
it, I did this benefit show and Amy Mann was
the headliner. And I got to meet her right before
I played. And she was like, are you going to
play Voices Carrie? And I was like. What? I cannot
play your own song at your headlining benefit.
But it was cool to meet her. And I decided to
not do that because that's crazy to me to play
her song. But yeah, it was cool. And to me, Amy
Mann is like Amy Mann in the 80s. Iconic, just
the coolest style like that is what cool is to
me. Like the oversized jean jackets and the hair
and just the. I think she played bass too. Another
bass player. There we go. It's bass synergy tonight
on my weekly mixtape. Yeah. Well, yeah, I did
it because I love it so much. Awesome. So now
we're flipping this proverbial mixtape over to
side B and I'm going to kick things off and I'm
going to go a little bit different for my first
choice. And this is actually the third time I'm
choosing this song. for a my weekly mixtape playlist
and damn it i'll choose it a fourth time if i
can get a chance because it's just one of those
songs that it rocks and yet you kind of want
to dance to it it's a stadium anthem but there's
a guitar riff that's undeniable and saffron's
vocals From Republica's Ready to Go from their
self -titled 1996 album, lend themselves to this
unique crossover, which was unlike anything I'd
ever heard in a decade. This band had two hits
from that album, Drop Dead Gorgeous, which reached
number 93 on the U .S. Billboard Hot 100 and
then Ready to Go reached number 56. Wasn't a
top 40 hit, but was inescapable in 1996. and
is inescapable in 2024 because go to a football
game, go to a baseball game. This song is playing.
This is a stadium anthem, but there's just something
about it that you could play it in a dance club
and you could play it in a rock band and it'd
work in both places. And there's just a uniqueness
to it that I absolutely love. So Republic is
ready to go to kick off side B plus ready to
go. Feels like a kickoff song. Yeah. This song
is awesome. I don't know. It's just like it's
one of those hits because at some point in your
life, everybody's ready to go, you know, do something.
So it's like no matter what, you can just throw
it on when you're ready to go. You know, I'm
ready to go to the grocery store or I'm ready
to go kill this day or I'm ready to go win the
championship. It's just like genius to me that
it's so simple and it's so clear. And yeah, it's.
it just gets me pumped every time I hear it.
All right. So what are we going to go with for
track two? Garbage. Number one, crush. Oh, double
dose of garbage in this episode. All right. Amazing.
I would die for you is like the most amazing
lyric. It's just like, like it's so intense and
it's like so much. And I love it because it's,
it just goes so deep because. That is just so
fearless, like that she's going to say what everybody
is scared to say about their crush. I would die
for you. That's that is incredible to me. 1996
is Romeo and Juliet. I was working at a record
shop around that time, and I feel like this was
one of those soundtracks that almost eclipsed
the popularity of the movie itself between number
one crush. Love Fool by the Cardigans, Local
God from Everclear, and Talk Show Host by Radiohead.
This was a soundtrack that everyone needed to
get their hands on. This was originally released
as a B -side to their single Vow, but then remixed
for the soundtrack where it topped the Billboard
U .S. Alternative Airplay chart and Canada Rock
and Alternative chart. Shocked it didn't make
the self -titled album because this is just a...
perfect garbage track yeah the drums love the
drums in this song butch vig was a master it
is a master not was it is a master yeah true
yeah killer song so to follow that up for track
three we got almost this little bit of a groove
going here it's a little dancier than side a
so i'm gonna lean into that and go with a bit
of a controversial pick because yes this song
is A bit more Britpop than rock. But to me, Britpop
has always... Sorry, I can't resist. Blurred
the lines. When you think about bands like Blur
and Oasis, Britpop. But this track has... controversy
on top of that and this is elastica's connection
from their 1995 self -titled album reached number
53 on the billboard us hot 100 as well as number
17 in the uk with the highest peak being number
nine on canada's top singles chart however the
main guitar riff is strikingly similar to wires
three girl rumba to the point where an out -of
-court settlement was reached, and the songwriting
credits were changed. But regardless of all of
that, I just adore Justine Fritchman's voice
on the track. And to me, 1995 was my senior year
in high school. So this song was just a snapshot
of that year for me. And it keeps that kind of
dance rock vibe that you're getting. from Republica
and garbage. It kind of keeps that vibe going.
Yeah. And it's like, um, have you seen the video?
Oh yeah. Music video videos. Cool. It's just
them. Just, just staring at you. It's awesome.
They're looking into your soul. Yeah. Yeah. I
know it's a killer song. All right. Track four.
We're back to you. Oh my gosh. Another Veruca
salt, uh, volcano girls. Perfect. Yeah. this
one is another one that's heavily inspired me
i just love the sarcasm in it and i love like
the you know there's like immense power underneath
this like kind of kitschy like little lady pop
thing going on and then it's just i don't know
there's so much rage underneath it and i love
it it's like you just peel back layer after layer
with this song 1997's Eight Arms to Hold You.
For me, this is my personal favorite Veruca Salt
song. So when you chose Seether, I had this in
my bank and I was like, oh, I guess we're not
going to get to it. But here we are. Reach number
eight on the Billboard Modern Rock Tracks chart
and number four on the Canada Alternative 30
chart. It also charted in Sweden, Australia and
the UK. What else needs to be said about Veruca
Salt? We've talked about them. Several times
tonight already, but God, I'm stoked we're including
this one tonight along with Seether because the
callback to Seether in Volcano Girls just works
so well. How often does a band call back their...
hit from there. Like that's something that never
happened before. And that just shows such a swagger
to it. It's a musical chef's kiss. Yeah. Because
you're right. You love the original, but here's
the new hit, but guess what? We're going to give
you a little taste of the original just to take
it over the top. It literally is a spinal tap
11 moment for me. Yeah, totally. Yeah. It's like,
Oh shit. Yeah. No, I love that. And then, um,
I love the lyrics, too. Like, I don't want to
go. You know, that's so cool that they just said
it. I don't want to go. Awesome. Well, I'm going
to follow that up with what can only be described
as a flying giant friction blast. An alternative
rock ode to sex from 1994's Whipsmart, Liz Phair's
Supernova. Reached number 78 on the Billboard
U .S. Hot 100, number 59 on Canada's Top Singles,
and number 43 in Australia. Song was nominated
for a Grammy for Best Female Rock Performance
in 1995. Inescapable on radio. And what might
come as a surprise to some people, because I'll
be honest, when I was reading up on this song,
it shocked me. Supernova was not Liz Phair's
highest charting single. That would actually
go to Why Can't I from her 2003 self -titled
album. Wow. Exactly. I had no idea. I was like,
what? How the hell is Supernova not her biggest
charting hit? Why can't I chart it higher? But
regardless, this is a 90s mixtape, so Supernova
had to be in the fold. Shout out to Patreon mixtaper
Jason Donchus, who also chimed in with this one.
A classic. Absolute classic. Yeah. classic i
love liz fair that's so interesting about her
top hit because like this one kicks supernova
is so killer and then you know why can't i is
it's it's good you know um i i know i'll probably
make some people upset but i that's my opinion
i think it was a top 40 hit it hit number 32
why can't i i and and 78 for supernova I love
both songs. Don't get me wrong. I'm not knocking.
Why can't I? Yeah. But Supernova, I was a different
age in 1994. That song hit differently back then.
Yeah. Yeah, for sure. Well, we are now back to
you for track six. We got the second half of
Side B. We're picking up the energy a little
bit here. Where do we go? Yeah. You Oughta Know
by Alanis Morissette. Of course. Yes. Had to
do it. Had to do it. That's my favorite song
of the 90s. That one and Caesar. It's just like,
I don't know what happened there, but she struck
gold emotionally there. Well, and financially.
Yeah, of course. Yeah. Banger. Some guy named
Flea playing bass on the track. The lead single
from, I'm going to call Jagged Little Pill a
masterpiece. Is that okay? Do you agree? 100%.
Yeah. Absolute masterpiece. Number six on the
Billboard US Hot 100, as well as on the Canada
Top Singles chart. Given Alanis is from Canada,
I'm actually shocked it didn't chart higher in
Canada, but it also charted in the UK, Europe,
Australia, and several other countries. I mean.
Weird Al put his stamp on it on the alternative
polka from the Bad Hair Day album. And when Weird
Al acknowledges the song, you know it's gold.
I had the chance to catch the Jagged Little Pill
tour in 1996 at the Raleigh Civic Center in Raleigh,
North Carolina. If my memory serves me correct,
the venue held about a thousand people at the
time. And this was 1996. People would mosh to
anything. People would mosh the blues traveler
around this time. And the lineup was Loud Lucy
and Alanis Morissette. And in the 90s, I was
in pits from bands from Metallica to Green Day.
And I never saw carnage like I saw at that Alanis
Morissette pit. I was getting kicked in the face,
bodies flying everywhere. It was complete insanity.
This song had just exploded. The crowd, I think
they oversold it. It was just a sea of people.
You couldn't move around. But when you did, it
was just, it was the most violent show I'd ever
been to in my life. And in hindsight, it's also
bittersweet because it was the first time I got
to see Taylor Hawkins of the Foo Fighters on
drums because he was Alanis' touring drummer
at the time. a staple of the nineties. I don't
think we, I think people would be yelling at
us if we didn't include this song. So for sure.
Yeah. Okay. So now I'm going to go with something
that's going to pivot a little bit here because
we've been talking a lot of the alternative,
a lot of the heavier stuff. And there's a voice
that I feel like deserves to be on this playlist,
but it's not alternative, but it's certainly
rocks. Because when I think about rock voices
of the nineties, This song originally didn't
catch fire in the U .S. for this artist. However,
after Come to My Window became a hit, the song
was re -released and peaked higher, reaching
No. 8 on the Billboard U .S. Hot 100 and No.
1 on the Billboard U .S. Adult Contemporary Chart.
Also hit No. 12 in Canada, making it Melissa
Etheridge's biggest hit. I'm going to go with
I'm the Only One. If you want to hear an incredible
Melissa Etheridge story, episode 55, the ultimate
modern blues rock playlist with Jax Hollow, as
she talks about her show opening for Melissa
at the Ryman Ornatorium. It's a really cool story.
This was a time in 90s radio where the radio
was a musical smorgasbord. You can have Melissa
Etheridge. followed up by The Breeders, followed
up by 10 ,000 Maniacs, followed up by Sheryl
Crow, followed up by Mazzy Star. That was 1993
for you. And yet it all worked. They all fell
together into this category of just rock. So
yeah, it feels weird putting Melissa Etheridge
after Alanis because it's blues rock. But for
some reason in the 90s, radio was just like,
all encompassing and it just everybody fit in
and it was a beautiful moment in music and i
feel like this song just has to be there yeah
this is an incredible song the vocal take and
performance of that whole thing like especially
that chorus unreal so so good one of my favorite
songs well following that up we've got only a
few left here three left three left yeah i picked
A little subdued one. Mazzy Star, Fade Into You.
Ooh. Yeah. Taking it down a notch. Yeah, gotta
take it down, you know? Because we're like, bam,
bam, bam. Gotta put a little slow one in there,
you know? This song is another timeless one.
It's amazing. I love it. Vocal take is just like,
it just sits in my ears so perfectly. Every time
I hear it, I just feel calm. And great. Oh, yeah.
Is it wrong to call it like sultry? I just feel
like there's just such a beauty to the vocal
performance on this track. And once again, number
44 on the Billboard U S top 100, not a top 40
hit. How is that humanly pot? The United States
got it wrong. Yeah. This should have been a number
one hit. This is a snapshot of 1993, like no
other. And I, hell, I just mentioned it. With
Melissa Etheridge as being part of that group
of female artists that were all on the radio
at the same time. How was this not bigger? I
don't know. It's crazy. It's so crazy what's
massive and what's not, even still today. I don't
get it. Well, I'm going to go one year later
for my last song pick of the night. And I'm going
to go with a name that, like some of the others
we've talked about tonight. I feel like we'd
be doing a disservice if we don't bring to the
conversation. And this song reached number one
on the Billboard U .S. Alternative Airplay chart
and topped the charts in Australia, Zimbabwe,
Belgium, France, Germany, Denmark, and Iceland.
Similar to the Veruca Salt cover we talked about
at the beginning of the night, in 2017, Bad Wolves
recorded a gender flipped cover that would go
on to be a hit version as well from 1994's No
Need to Argue, The Cranberry Zombie. Dolores
O 'Rourke was supposed to sing on Bad Wolves
version, but sadly passed before that collaboration
took place. Her, along with Sinead O 'Connor,
I would say were two of the most recognizable.
Voices of the 90s, where as soon as you heard
a song, you're like, oh, that's the Cranberries.
And God, she'll forever be missed. Her voice
was just such a force. Yeah. And this song means
so much to so many people. And it just invokes
a joy, even though the song is alternative and
dark and heavy. People just gravitate to this
song. And it just captures your attention and
never lets go. I got to give a shout out to Patreon
mixtape or seeker who chimed in from Australia
with this one as well. Just a perfect song. It
is. It's weird. It's one of those songs that
like unlock something in you that you didn't
know was there. Like, I don't know. It's just
a bunch of different emotions, like all wrapped
into one. And then for some reason you end up.
screaming the chorus every time, you know, no
matter where you're at. So it's a great choice.
Well, thank you for that. And Emily, you have
the pleasure or fear. You have to close out the
night. We've been talking about so many amazing
artists tonight. What do you think is going to
put the final stamp on our 90s female rock playlist
this evening? I had to go with PJ Harvey, Down
by the Water. Nice. One of my favorites. Another
timeless one. I love that song. That's another
one that's a vibe. Like you said, you put it
on and you just feel a certain type of way. All
the instrument, the recording is like so cool.
Every little, little thing that they put in there,
all the production stuff is awesome. And PJ Harvey
is just, you know, one of my favorites. Absolutely
incredible. Once again, showing my age here,
snapshot of my senior year in high school. Reach
number two on the Billboard Modern Rock Tracks
chart, number 84 on the Australian Singles chart,
number 78 on the Canadian RMP Top 100, number
38 on the UK Singles chart, and number 28 on
the Irish Singles chart. World. wide hit. Shout
out to Patreon mixtaper Ben from the Too Vague
podcast, who also chimed in with this one, which
Brandon from Virginia echoed, calling it fantastic
and haunting. And I couldn't agree more. A perfect
way to close out this eclectic and diverse 90s
female rock playlist, which Side B kicked off
with Republica's Ready to Go, Garbage's Number
One Crush, Head over to MyWeeklyMixtape .com
to hear all the songs we've discussed in this
mix through the playlist embedded on the episode
page. Now, Emily, we've talked a lot about the
blowback in this episode, but like I said at
the beginning, this album's reached its one -year
anniversary now. So could you maybe fill the
listeners in on where things stand currently
for album number four? Yeah. Right now I'm working
with a producer named Gavin Brown. He's done
all the metric records and like a ton of rock
records. And I met him through a mutual friend.
we're writing together. And like I mentioned
before, like now that I've done a record completely
on my own, I'm ready to kind of see what else
is out there. And Gavin seems to be kind of unlocking
some things in my songwriting that is it's been
really exciting. So, yeah, I'm writing new stuff
and getting ready for a big 2025. If you could
tease it compared to the blowback, where does
the vibe go? Where do you go musically? Where
do you feel like right now the songs are heading?
Gosh, honestly, it's like a mix between Veruca
Salt and Tom Petty is where it's at right now.
That's kind of the vibe that I'm picking up.
But it's interesting because, you know, I'm writing
lyrics first, which I've never done before, but
it's an experiment. And so it's cool, though.
It's exciting. I'm stoked. Well, Emily, this
has been an absolute pleasure. Thank you so much
for joining me on my weekly mixtape. Yeah, thanks
for having me. It's been so fun. Great mixtape.
I couldn't agree more. And remember, you can
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