Hello, I'm Robin Wilson of Gin Blossoms, and
you are listening to my weekly mixtape with Brian
Culber. Rock away. Welcome to My Weekly Mixtape,
a podcast that takes the classic mixtape approach
to building a modern playlist. I'm your host,
Brian Colburn. Tonight, I'm super excited to
welcome a singer -songwriter who I hold a great
deal of respect for, as many of his songs are
part of the soundtrack to my high school and
college years, and that would be the one and
only Robin Wilson of the Jim Blossoms. Robin,
thank you so much for joining me, man. Thank
you for having me, Brian. Good to see you. And
right back at you, my friend. And I'd like to
start by asking you the question I ask all of
my first time guests. And that is, what does
the word mixtape mean to you? Well, for me, literally,
it means a tape, a cassette tape that I would
put into the tape deck and then record individual
songs from my record collection. And I always
took it as a sort of art form and wanted. the
songs to flow really well from one to the next
or retain some sort of sonic theme, you know,
like all guitar bands or all metal or just, you
know, songs that I would listen to a song and
then I would think, oh, you know, it'd be great
right after this and I would pull something else
out of my record collection. And then, of course,
I would always give my mixtapes like a really
pretentious name. you know like the the dawning
of time or whatever you know some silly pretentious
poetic name to my mixtapes and then you know
and then of course if you were trying to impress
a girl uh you would make a mixtape for her songs
you uh kind of wanted this new girl that you're
trying to impress a lot songs you wanted her
to hear and to think of you when she hears them
so you know i have a long long history with the
mixtape and now of course, you know, we do it
on our phones and there's no tape anymore but
it holds a special place in my heart. And then
also in addition to that, a few years ago I went
to see the New Kids on the Block mixtape tour
and that was very cool where the New Kids were
performing with Rick Astley, En Vogue and Salt
-N -Pepa and it was a great, great time, a really
fun concert so... But yeah, mixtape, go back
to the 80s and actually like make a tape of various
songs, various artists and put them on a cassette.
Well, to start talking about the Jim Blossoms,
I am going to start in the 80s because I want
to talk about your debut album, Dusted, which
was released on an indie label, both on LP and
cassette in 1989. Four of the songs from that
album will become future staples on the band's
major label debut, 1992's New Miserable Experience,
with those tracks being Hey Jealousy, Found Out
About You, Cajun Song, and the album opener in
both instances, Lost Horizons. Can you talk about
the evolution that those songs took from the
indie label renditions to the versions that most
people recognize as heard on New Miserable Experience?
Sure. Well, the biggest difference is the tempo.
You know, we had no discipline when we recorded
Dusted. We were doing it for a very small budget.
We didn't have a lot of time. And so we just
kind of stormed through the songs, more or less
playing them live. And then, of course, when
the record came out, we were all like, God, everything
sounds so fast. Why didn't we think to slow everything
down a little bit? So by time we actually got
around to recording. New Miserable Experience.
A few years later, we had a bit more discipline
and we learned to experiment with the tempos
to see what was the best vibe. And aside from
the tempos, the only other thing that really
would have changed is that we changed the bridge
on Lost Horizons. There had been an earlier version
of that song that Doug had... Don, Doug was our
founding guitar player and songwriter. He had
had that song for a few years before he formed
Jim Blossoms, and they had a slightly a conversion
of the bridge. And when we were recording New
Miserable Experience, we decided to experiment
with the original format of the bridge, and it
worked out really well. So that's what you ended
up hearing on the... on the record but we had
never played it live with exactly that arrangement
until we made new miserable experience and then
we had to we had to sort of relearn the song
so we were doing the same arrangements as on
the record so uh mostly i would say the big difference
between those two records is our discipline and
our tempos well the original 92 release of new
miserable experience features an arizona themed
artwork. But after Hey Jealousy took off and
the label re -released the album in 93, it features
the artwork that most folks are familiar with
today. And that was something you personally
took artistic control over. Am I not mistaken?
No, you are correct. We really didn't like the
first version of the album cover. We were really
upset about it. And we had given them a few ideas
for what we wanted. And, you know, they didn't
really want to spend a lot of money. So they
kind of slapped something together. We thought
it was terrible. And I remember getting into
something of an argument with our product manager
at the label and explained to her that we hate
the cover. We don't want this cover. And she
kept trying to say, well, you really don't understand
marketing and you need to see this from our point
of view. And it was really, really an insulting.
conversation and I remember saying to her, are
you telling me that we've worked our whole lives
to make this record and it's going to come out
with a cover that we all hate and there's nothing
we can do about it? And she just said, well,
you really don't understand marketing. And I
was so pissed off because I had been a lifelong
fan of rock music. I had been drawing album covers
since I was a little kid. I had experience in
record retail. I worked at three different record
stores through the 1980s. And so I was as immersed
in album cover artwork as any fan anywhere. And
so to be told by the label, well, you just don't
understand marketing. I was like, fuck you. It's
our album. We know what we want. And so several
months after that, when the label decided to
relaunch the record, I got into a fight with
her again. And I said, no, we're going to stick
this out. You told me that I didn't know anything
about marketing. And now you're telling me you
want to redo the album, you know, the way I was
saying in the first place. And, you know, you
made it such a miserable experience to put the
album cover together. So I said, no, we're going
to keep the album. And she said, well, Robin,
we really want you to just kind of relax and
let us, we're going to redo it. So, and I said,
okay, well, if we are going to redo the album
cover, you're going to do what I want and what
we want as a band. And so for the relaunched
version of the album cover, I basically had.
almost full control over it. I, I did the layouts.
I turned in the photographs. I wrote, I hand
wrote all the lyrics and the credits and I built,
I constructed a prototype and we ended up like
they followed my advice and we did the album
cover that, that I really wanted to do, you know,
based on my, my bandmates and myself, uh, ideas
and our input. So all of those photographs on
that cover, are pictures that I personally took
and I still have all the negatives for all that
stuff. Well, while we're talking about photographs,
I actually want to bring up another photograph
because one of my favorite songs from new miserable
experience is Alison road. And the song was based
off of a photograph that you took off of interstate
10 in Roosevelt, Texas. I'm really curious behind
because back in the nineties, We didn't have
digital cameras to take endless photos. So there
must have been something significant about this
road sign that made you want to capture that
moment. Yes. Well, and it actually wasn't me.
It was a friend of ours who had followed us out
to Austin. We were performing at South by Southwest.
And a couple carloads full of our friends followed
us out there. And in one of those cars was a
guy who had a sister. named Allison. And when
they passed this street sign that said Allison
Road, my friend took a photograph of the street
sign. And again, you're right, this wasn't digital
cameras. So it was some weeks later that the
photos got developed and for whatever reason,
the art copy of the photograph of the Allison
Road street sign, somehow it ended up in my apartment.
And I remember stumbling across this photograph
and seeing the sign. It said, exit here, Allison
Road. And immediately in my head, I started singing
the chorus to the song. The song hit me immediately.
And I kind of knew from that moment what the
song was, what the lyrical structure should be,
what the melody was. And I had just immediately
started writing. And within 20 minutes, basically,
the whole song was done. And it was the first
song that I had turned in as a songwriter in
Jim Blossoms. It was the first song that I turned
in that the band really liked and was excited
to perform. Up to that point, the songs of mine
we were doing, they were just kind of throwing
me a bone. you know, especially the Doug did
really, really didn't like playing my songs.
And I was the, I had joined the band as the least
experienced member. Jim Blossoms was my first
real band. I had only ever done like jam sessions
and open mic nights and things like that. So
they looked at me as like a junior member and
they really didn't want to do my songs. But when
I turned in Allison road, it became clear to
everyone that I had the potential to write hits
as well. And it was the first time I really got
any respect as a songwriter in the band. And
everyone around us, from our close friends and
other groups to my younger brother, when they
heard the song, they were all like, wow, Robin
can write too. Go figure. So as a songwriter,
you know, it was a great accomplishment. It was
a coming of age moment for me. There was a review
that came out once that said that Allison Road
was the best Tom Petty song that Tom Petty never
wrote. I was always so proud of that. And then
a couple of years back, we actually had an event
in our hometown of Tempe where they renamed a
street. In our hometown, they renamed it Allison
Road. And we received that honor. And now I've
got one of the street signs hanging up in my
kitchen in New York. So, you know, I'm perhaps
the only songwriter from Arizona to have a street
named after one of their songs. So it's a great,
great accomplishment and a very proud moment
for me. Well, I want to touch on that. Arizona
music scene for a moment, because one of my favorite
aspects of the Jim Blossom's music is the band's
ability to weave different styles and influences
into tracks across your albums. And I'll use
the earlier mentioned Cajun song to the country
leaning cheating at the end of New Miserable
Experience, as well as the Americana Memphis
Time, both of which those last two songs. saw
significant airplay on my country radio show
on 90 .3 WMSC in the mid to late 90s. Were those
influences that were woven through the tracks
a nod to the eclectic music scene in Tempe, Arizona,
where the band had their beginnings? Well, we
didn't really overthink things. We didn't ever
have a discussion where we would say, let's try
to sound like... you know, this band that's happening
right now or whatever, you know, but we were
very much into bands like The Replacements and
Cheap Trick. And we wanted to be a fun, upbeat,
raucous rock and roll band. And so we were always
just kind of chasing that without really overthinking
it. There was a moment where Doug and I had a
conversation about what should be our first single.
And I remember saying to Doug, we should write
like a rock and roll song, like a cheat trick
song. And Doug took that bit of information and
came up with the riff and the first bit of lyrics
for Hold Me Down. And then he gave that to me
and I helped him finish the song, came up with
the intro and the bridge and finished the lyrics.
Doug had written... about half of the lyrics,
maybe a little more than half of the lyrics,
but it was up to me to write a couple of verses
and help him figure out how the melody landed
over the chords. But that was one of the few
times where the only time I can think of where
we specifically referenced another band when
we were writing a song. And that was my saying
to Doug, we should write something like a cheap
trick song, something kind of upbeat and fast.
And in my head, I was thinking like On Top of
the World or Surrender or He's a Whore, those
kind of cheap trick songs. And what Doug and
I ended up writing was Hold Me Down, which has
a much darker tone than a typical cheap trick
song. But that was a really proud moment for
me. And to this day, I really enjoy performing
Hold Me Down. In the 90s, people talk about the
Seattle music scene for grunge. They talk about
the Orange County music scene for ska punk music.
But Tempe, Arizona had a sound of its own with
groups like the Jim Blossoms, the Meat Puppets,
and the Refreshments. Could you talk about the
music scene that was happening in Arizona in
the 90s and how significant it was? Well, sure.
Well, we all really, all of us, for the most
part, were Starting our bands back in the 80s,
so we were more a product of that time than anything
else. I mentioned the replacements, but there
were also groups like, say, The Church and REM
that were guitar -based rock bands, very melodic.
And I always felt that we were a lot like The
Church. I think they had a really big influence
on Doug and our bass player, Bill. you know we
were really you know we were looking at bands
like specifically like rem and the replacements
and wanting to emulate what those groups had
done so um our scene in tempe you know there
were there were dozens and dozens of bands it
was a big college town so there were plenty of
clubs to play and musically it was just sort
of independent of what was happening in other
At the time, the big music scenes were Minneapolis,
Austin, Texas, Seattle, Los Angeles. And we weren't
a part of any of that. And we were just kind
of following our own muse. And, you know, I think
looking back, groups like, say, the Eagles, which
were really strongly influenced. the direction
of the songwriting of bands in Arizona. But if
you would ask us at the time, we were all really
trying to be more like REM, you know? Got it.
Well, I am a huge sucker for cover songs. And
one of my favorite tribute albums that came out
in the 90s was the 1994 compilation, Kiss My
Ass. Classic Kiss Regrooved, which featured both
you and this summer's touring mates for you,
Toad the Wet Sprocket, reworking songs from the
Kiss catalog with Toad taking on rock and roll
all night and Jim Blossom's covering Christine
16. Did the band have complete artistic freedom
to take that song where you wanted to go with
it creatively? Or was somebody from the Kiss
camp kind of involved in that entire process?
Actually, they... They were encouraging us to
do whatever we wanted. And I think that's why
you've got that amazing version of Rock and Roll
All Night by Toad the Wet Sprocket, which is
just so completely different than the original.
With our take on Christine 16, we really didn't
do anything all that different. We just wanted
to do a spirited rendition of the song. And I
was really the only big Kiss fan. in Gin Blossom.
So if it hadn't been for my enthusiasm, the band
probably would have turned it down. Whoa. Because
Jesse and Bill were particularly Kiss fans. But
for me, they were my first favorite band. That
was the first concert I ever saw was Cheap Trick
and Kiss in 1977. And they were a huge influence
and inspiration to me. So when we were offered
that, I flipped out and I was super excited.
And my bandmates were like, well, what can we
do? We really don't know their songs. So I went
through the catalog and picked a song that I
felt like my bandmates could stomach and would
be able to perform well, was sort of more in
our wheelhouse. Certainly Christine 16 is more
of like a straight pop rock song than say something
like God of Thunder. So, you know, I purposely
looked for something that I thought that they
would enjoy playing. And so that's why we came
up with Christine 16. And as I said, we didn't
really try to reinvent it. We just set out to
do a nice competent version of it. So that was
very exciting for me. I got to spend a day in
the studio with Gene and Paul when we were mixing
the song. And so I got to spend a whole day just
hanging out with them and listening to them tell,
you know, stories. And I peppered them with every
question I ever would have wanted to ask Kiss.
And, you know, I got them to autograph my lunchbox
and my best friend's copy of Love Gun, which
to this day, my best friend has framed in his
office. And, you know, it was a big deal for
me to get to hang out with Kiss and, like, be
in the studio with them as a peer, as, you know,
someone that they had some respect for. And then
it was just a few weeks after that that we were
asked to join them and perform with them on Letterman.
And so you can find it on YouTube if you search
for Kiss Gin Blossoms. You can see our performance
where basically I got to front Kiss on Letterman.
And this was literally my sixth grade dream come
true. So, you know, I hold that up as one of
the great moments of our career. Well, this summer
is the 30th. anniversary of that kiss tribute
and you and toad the wet sprocket are going to
be on the road this summer together is there
any chance you guys revisit these kiss songs
in celebration that would be that's a great idea
but no that ain't gonna happen but we are we
are learning an rem song oh nice so we're planning
to uh perform together on an rem song and then
also we're uh we're probably going to learn a
song by the birds And we will hopefully be doing
that as part of the encore on most nights on
the tour. Fantastic. Yeah. Well, after the huge
success of New Miserable Experience, the band
is now tasked with writing the main song for
Empire Records, which is a beloved movie for
anybody that is around my age. It feels like
it was one of our coming of age movies in the
90s. And as somebody who worked in a record store
for as long as you did, I have to ask, did Empire
Records get it right? In a lot of ways, yeah.
It was exciting to be asked to be part of that
movie because our bass player Bill and I both
worked together at Tower Records. Working at
record stores was a big part of my youth and
my 80s experience. My life in the 80s was like
a John Hughes movie. And working at the record
store was a big part of my identity. So when
our band took off and suddenly we had the lead
single for the soundtrack for a movie about working
in a record store, I thought that was kind of
cool poetry and symmetry to the way things worked
out. And honestly, working at Tower Records was
a little more chaotic than the Empire Records
movie. You know, of course, they have to take...
artistic license and dramatize things. So they
played up certain aspects of working in a record
store, but they didn't really get the level of
sort of chaos and disorganization. And it didn't
really capture for me how important the music
itself was to being an employee at a record store.
We were immersed in music all the time. We were
hearing every single record that came out, all
different genres. And one of my favorite things
about working in the record store is when someone
would come in and say, well, what do you suggest?
What do you recommend? What's good right now?
And then you could just ask them one or two questions.
Well, what was the last record that you bought?
Did you like it? Or what groups do you like listening
to? And then being able to... Take them around
the store and say, well, if you like that, then
you're really going to like this new Joe Jackson
album. Or, oh, if you like Skinny Puppy, then
you're really going to like Ministry or whatever,
Sisters of Mercy, whatever it is. Recommending
music to people was my favorite part of working
at the record store, being surrounded by music
all of the time. And then... Because we knew
all the reps from the record companies, we were
constantly getting free concert tickets. So you'd
be working at the record store and then you'd
go home and you'd listen to music all night or
you'd go to a concert. That's all we did was
listen to music, play records, make mixtapes.
We were constantly seeing local bands and participating
in open mic nights and just dreaming about starting
a band. And that was our obsession. All of my
friends, that's all we wanted to do was play
music and go to shows and hear the latest records.
And that's all we did. And I think that's how
you become a musician, or at least like a rock
and roll musician, is you immerse yourself in
it and it feeds into your songwriting and performances.
uh you know i'm just so grateful that i ended
up in the right band and that we all had the
ability to write decent songs uh because that's
what it always comes down to having good songs
so agree i'm not sure exactly what the last question
was i think i sort of just started rambling there
but No, I think you hit the nail on the head.
And I liken when I worked in a record store,
when I tell my kids about my experience, I basically
explained to them I was the human algorithm.
We didn't have Apple Music or Spotify to tell
us what other songs. You had to rely on other
people's opinions and other people's knowledge.
And the people that worked in record stores cared
enough about music that they wanted to give you
the right opinion because that kept you coming
back. When you were writing Till I Hear It From
You for Empire Records, were you given any context
of how the song was going to be utilized in the
movie? Because you and co -writers Jesse Valenzuela
and Marshall Crenshaw came up with the perfect
fit for the movie. I'm curious, did you write
that in tandem as the movie was being made? Or
did you see the scene and say, here's our idea?
No, we didn't write the song with anything specific
in the movie in mind. Our goal was simply to
write a good, catchy pop song. We weren't given
any instructions other than go write a hit, go
write something good. And so we really just set
out to come up with a good song. And we knew
that if it was a... decent enough song they'd
be able to fit it in somehow into the album and
into the movie and we did know going in that
it was going to be the main single from the soundtrack
so there was a good deal of pressure on us to
make sure we delivered something really really
good but though that was pretty much our only
instruction was just go write something good
Well, between 1992 and 1995, the band lived on
a roller coaster with many ups and downs, including
the massive success of New Miserable Experience,
to the soundtrack and the compilations like we
talked about, to the tragic loss of Doug Hopkins,
and that's referenced in the album title to 1996's
Congratulations, I'm Sorry. Is it true that the
lead single from that album, Follow You Down,
came together at the tail end of the recording
sessions? Yes, it did. We thought we were done
with the record, but then the label came to us
and said, you need to go write another hit single.
And once again, they were very clear that it
had to be a hit single. So it was a great deal
of pressure on us because we knew the label was
waiting for the record. They were waiting for
one more song. And this was the first album we
had made without our founding guitar player and
songwriter, Doug Hopkins. So we were under a
lot of pressure from ourselves to make sure we
lived up to Doug's legacy and the quality of
his music. So I look at the success of Follow
You Down as perhaps our single greatest achievement.
Because you can never be under more pressure
than... that moment where you're following up
a massively successful debut record with your
second album, and then you add in the additional
pressure of not having our founding songwriter,
Doug Hopkins, to rely on. So now it was up to
me and Jesse really to prove that we could write
hits too. And I had already turned in a couple
of songs that were hits, so I was fairly certain
that we... had it in us. But it was still a great
deal of pressure to live up to. There was a huge
backlash when we lost Doug. And especially back
home in Tempe, people were really doubtful that
we would be able to live up to Doug's legacy
without him. And there was a lot of backlash
and a lot of pressure. It was a difficult, difficult
time. It's hard to understate or overstate just
how frightened we were, how terrifying it was
to be in that position where we had to go right
ahead. And then we turned in Follow You Down,
and we knew that we had pulled it off, and the
label was confident that we had pulled it off.
And the song came out and it went straight to
the top of the charts. And it was a top 10 single
and we did it on Saturday Night Live. And it
was a number one hit in a few different countries.
And again, I look at it as perhaps our single
greatest accomplishment as a band under such
intense pressure. I'm very, very proud of us
for Polly Udap. Well, when I listen to Congratulations,
I'm Sorry, the song's seventh inning stretch
is simply the introduction to my car for me.
However, there's a music nerd part of me that
always wants to dig a little deeper. And seventh
inning stretch, besides the fact that it's track
seven on the album, was recorded at the time
the Arizona Diamondbacks were awarded their expansion
franchise. Would that happen to have anything
to do with the song being in that slot? No, no.
We had a great keyboard player, Art Neville of
the Neville Brothers was there in the studio
with us because we actually were not only label
mates with the Neville Brothers, we had toured
with them a little bit, but we also had the same
management, Bill Graham management out of San
Francisco. They handled both. Jim Blossoms and
the Neville brothers. So when we wanted to bring
in a keyboard player, it made perfect sense to
turn to the Neville brothers. And I wasn't there
that day, but I think, you know, Jesse and Bill
are both huge baseball fans. And to this day,
if we're on tour and we have a day off, we often
will go to a baseball game at least once a summer.
We'll end up at a minor league baseball game
or a major league game, depending on where our
days off are. And so baseball, especially for
Bill and Jesse, was something that they were
really into. And again, I wasn't there that day,
but I think they were just laughing and said,
hey, play the seventh inning stretch big. And
then for whatever reason, we decided to mix it
into the record. Again, we didn't really overtake
things like that. We just did what entertained
us. Awesome. Awesome. Well, I guess my conspiracy
theory will have to rest then. But I want to
fast forward to 2006 when the band released Major
Lodge Victory, which featured amazing Jim Blossom
tracks like Learning the Hard Way, The End of
the World, and Come on Hard. Thankfully, I own
a CD copy of this because that's just ingrained
in my DNA for 46 years, but it's currently not
available on streaming. Is that something that's...
out of your hands because it's a great album
thank you um yeah thanks no it's not available
to streaming because there was a you know we
worked with the independent label and that label
went under and then it was somehow purchased
by some kind of investment company and then that
company went under and so the rights to that
album are just kind of lost and so nobody knows
who exactly or at least none of us know exactly
who owns the rights to that album and is so it's
out of print and i don't even have a copy of
it uh if i if i actually wanted to hear it i
would have to go on youtube and someone has uploaded
it to youtube and that's as far as i know the
only place you can really hear it if you don't
own a copy so um that's just one of those things
you know when you're when you're in a band you
just lose control over certain things your recorded
music being one of the first things you really
lose control over so um yeah that album we just
don't uh we don't know who owns it Well, thankfully,
some of the songs from it live through the live
sets, because as much as I love the classic 90s
albums, I'm glad to see songs like Miss Disarray
from 2010's No Chocolate Cake, as well as Break
and Face the Dark from 2018's Mixed Reality still
living in the band's set lists. Because as far
as I'm concerned, across the decades, these are
all vintage Jim Blossom songs. With so many fan
favorites and obviously radio hits, it's a good
problem to have, mind you. How do you guys strike
a balance between the hit songs and the deeper
cuts to kind of provide that live experience
for any level of fandom? Well, you know, I'm
the one that puts together the set lists and
we usually will reinvent the set like once a
year. But we kind of know what works well in
what sections. There's no doubt that the best
way to start our show is with Follow You Down.
So, you know, I kind of space out the hits. I
don't want to lose people's interest, so we've
got to make sure we're doing a recognizable hit
song like at least every three tunes or so. And
for there to not be any... giant stretches of
the show like six songs where the fans aren't
hearing something that we are certain they're
familiar with so you kind of space the things
out and then through one or two shows you can
kind of figure out what songs work really well
next to each other and it's better to lead you
know have the fifth song do this one and then
the sixth song kick it off in this other direction
So it's just a balancing act of trying to satisfy
the fans and also just present a cohesive set
that flows really well. And as you said, it needs
to represent the entire history of the band and
it has to be packed full of the familiar hit
songs that we get hired to play. So I think the
set we have right now is one of the best. that
we've ever had in terms of its flow and its momentum
and how it represents the different stages of
our career. So I'm enjoying the set as it is
right now very much. And people will be able
to catch that set this summer when you're out
on the road with Toad the Wet Sprocket. Is there
going to be any new music in the set or maybe
some new music from the Jim Blossom's post -tour
on the horizon? I hope so. I've begun negotiations
with my bandmates to come up with a plan for
us to make another record. I've got songs in
the can that I'm ready to show the band and I
would like to record. And Jesse is always writing.
He's always got songs ready to go. He's a very
prolific songwriter. So I think we have material.
It's really a matter of... of finding the time
and the motivation you know we recently we had
a conversation about it and one of our members
when i said well let's make a record he's like
why what is what is the point we go through all
the effort to make the record and then two years
later we're not even really doing any of those
songs maybe one or two of them you make 12 or
14 song record and maybe two of them will end
up on the set and the rest of it's just kind
of forgotten So that was the point that he was
trying to make. And I combated that by saying,
I just think that it's an important part of being
a band is to, from time to time, create new music,
regardless of its commercial potential or how
many people are going to hear it, just for what
it means to me to be in a band and to be a songwriter
and to have this legacy. It's important to me
that we continue to make new music, even if it's
something that nobody ever hears. So we'll figure
it out. As I said, I've just begun pressuring
my bandmates to come up with a plan. So I would
like to hope that within the next few months,
we'll actually have a timeline for when we are
going to be recording. Well, Robin, this has
been an absolute honor talking music with you
tonight. Thank you so much for joining me on
my weekly mixtape, man. No, thank you. Thank
you for having me. This has been fun and very
cathartic. Yeah. And to those listening, you
can hear all the songs we talked about tonight
in a playlist that's embedded over on the episode
page at myweeklymixtape .com. There you can also
hear the full catalog of my weekly mixtape episodes.
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for this week. Thanks again for listening. And
until next time, enjoy the tunes.