WEBVTT 00:00:10.490 --> 00:00:13.169 Welcome to My Weekly Mixtape, a podcast that 00:00:13.169 --> 00:00:16.010 takes the classic mixtape approach to building 00:00:16.010 --> 00:00:18.850 a modern playlist. I'm your host, Brian Colburn. 00:00:18.969 --> 00:00:21.649 Joining me once again as guest curator is my 00:00:21.649 --> 00:00:25.449 former Toon Styles podcast co -host, Mr. J Sweet 00:00:25.449 --> 00:00:28.070 J. Welcome back, my friend. Thank you, man. I 00:00:28.070 --> 00:00:30.769 feel like Alec Baldwin. I'm part of the five 00:00:30.769 --> 00:00:33.049 -timers club, right? That I've been with you 00:00:33.049 --> 00:00:35.710 five times now, right? Do you get a five -timer 00:00:35.710 --> 00:00:38.530 jacket now? I don't know. I think you owe me 00:00:38.530 --> 00:00:40.780 a jacket, yes. I guess that means it's time for 00:00:40.780 --> 00:00:44.039 me to look up some jacket making podcasts. Well, 00:00:44.079 --> 00:00:47.039 let's do this. Let's get it out of the way. They 00:00:47.039 --> 00:00:49.619 won't be jacket. It'll be board shorts. There 00:00:49.619 --> 00:00:53.020 you go. Board shorts, five timer board shorts. 00:00:53.020 --> 00:00:56.619 That's right. Sweet. Well, tonight you and I 00:00:56.619 --> 00:00:58.039 are going to be talking about a topic that I'm 00:00:58.039 --> 00:01:00.299 sure is near and dear to both of our hearts. 00:01:00.359 --> 00:01:04.159 And that is something that it's kind of a weird 00:01:04.159 --> 00:01:06.359 topic when you really think about it, because 00:01:06.359 --> 00:01:10.620 it's so. subjective tonight we're creating the 00:01:10.620 --> 00:01:15.480 ultimate underrated 90s rock mixtape and to me 00:01:15.480 --> 00:01:20.180 that really casts a wide net over countless musical 00:01:20.180 --> 00:01:24.200 genres so first of all jay i guess my question 00:01:24.200 --> 00:01:29.280 would be how do you personally define an underrated 00:01:29.280 --> 00:01:33.510 90s rock song Well, I'll say this. You texted 00:01:33.510 --> 00:01:36.590 me shortly before we began and said, well, I've 00:01:36.590 --> 00:01:39.530 looked at all of my selections and not one of 00:01:39.530 --> 00:01:44.049 them has cracked the top 40. So I said, oh, it's 00:01:44.049 --> 00:01:47.890 going to be that kind of a podcast. But for me, 00:01:47.989 --> 00:01:50.430 I think that, you know, they're not necessarily 00:01:50.430 --> 00:01:53.310 that they hadn't cracked. Obviously, like not 00:01:53.310 --> 00:01:56.969 having that billboard heft behind them kind of 00:01:56.969 --> 00:01:58.810 speaks a little bit to the underratedness of 00:01:58.810 --> 00:02:01.739 it all. But I think too is. Even though that 00:02:01.739 --> 00:02:05.099 if you crack into the top 40 and you hit, you 00:02:05.099 --> 00:02:07.760 know, mid -level, if you feel like for me, I 00:02:07.760 --> 00:02:10.460 felt like a few of these are a little bit more 00:02:10.460 --> 00:02:13.020 deserving, a little bit more accolades than, 00:02:13.060 --> 00:02:15.199 oh, well, yeah, they peaked at like, you know, 00:02:15.219 --> 00:02:17.939 number 38 on the top 40 or something to that 00:02:17.939 --> 00:02:21.120 effect. You know, that kind of thing. So that's 00:02:21.120 --> 00:02:23.599 what it meant to me. And that's interesting because 00:02:23.599 --> 00:02:26.080 the word underrated, like I said, it's a very 00:02:26.080 --> 00:02:30.849 subjective word. So it's realistic. that somebody 00:02:30.849 --> 00:02:34.189 who listens to this show could honestly, truly 00:02:34.189 --> 00:02:40.330 believe that Green Day, Pearl Jam, Nirvana, Counting 00:02:40.330 --> 00:02:43.789 Crows, in the scheme of 90s music, when you're 00:02:43.789 --> 00:02:47.469 comparing them to the Mariah Careys and the Boyz 00:02:47.469 --> 00:02:50.389 II Men, the real chart leaders of the decade, 00:02:50.710 --> 00:02:55.310 one could make an argument that those bands are 00:02:55.310 --> 00:02:58.310 quote -unquote underrated, and you could probably 00:02:58.310 --> 00:03:02.400 make... A decent case for it. But my approach 00:03:02.400 --> 00:03:05.000 was like I had texted you earlier. I kind of 00:03:05.000 --> 00:03:08.599 wanted to go for the bands that might make listeners 00:03:08.599 --> 00:03:12.400 of this show go, what? Why haven't I heard that 00:03:12.400 --> 00:03:14.520 name in a long time? And then when they hear 00:03:14.520 --> 00:03:18.060 the song, have that moment, that musical spider 00:03:18.060 --> 00:03:20.840 web cleared from their brain like, oh, my God, 00:03:20.900 --> 00:03:23.240 I used to rock this song all the time. I haven't 00:03:23.240 --> 00:03:25.740 heard this in decades. And I'm hoping that we 00:03:25.740 --> 00:03:28.909 can kind of. bring some of these songs back into 00:03:28.909 --> 00:03:31.129 the conversation because i feel like some of 00:03:31.129 --> 00:03:34.530 these bands weren't at the level of green day 00:03:34.530 --> 00:03:38.289 pearl jam nirvana and counting crows but maybe 00:03:38.289 --> 00:03:41.069 should have been okay i'm looking forward to 00:03:41.069 --> 00:03:42.530 hearing what you came up with because i know 00:03:42.530 --> 00:03:44.889 you mentioned rock at the top of the show but 00:03:44.889 --> 00:03:46.650 i've got a couple of them that are like r &b 00:03:46.650 --> 00:03:48.610 and some of them that are pop as well because 00:03:48.610 --> 00:03:51.770 the 90s was my radio wheelhouse that was where 00:03:52.400 --> 00:03:54.919 I was spinning records at clubs and stuff still 00:03:54.919 --> 00:03:57.460 before CDs really took over the mix and digital 00:03:57.460 --> 00:04:01.340 really took over the DJ business. And saying 00:04:01.340 --> 00:04:03.900 that to say that a couple of the dance music, 00:04:04.000 --> 00:04:06.620 what they call electric dance music or electronic 00:04:06.620 --> 00:04:08.919 dance music these days, which we just called 00:04:08.919 --> 00:04:11.360 dance music back in the 90s, made it onto my 00:04:11.360 --> 00:04:14.500 list as well. Okay, I do have a few songs that 00:04:14.500 --> 00:04:18.480 could conceivably blur the line between rock, 00:04:18.600 --> 00:04:21.279 pop, and dance. So I'll just leave it at that. 00:04:21.769 --> 00:04:24.389 But in my mind, when I thought of underrated 00:04:24.389 --> 00:04:27.709 90s rock, it was what I was listening to throughout 00:04:27.709 --> 00:04:29.810 the 90s. And it was a lot of the underground 00:04:29.810 --> 00:04:32.250 bands that got a lot of love on college radio, 00:04:32.410 --> 00:04:36.250 but never made that jump to mainstream radio. 00:04:36.529 --> 00:04:40.410 And if they did, it was a minor MTV video hit 00:04:40.410 --> 00:04:45.589 or a minor radio hit. But on college radio, these 00:04:45.589 --> 00:04:48.170 songs, if you were a fan of college radio in 00:04:48.170 --> 00:04:51.689 the 90s. these might actually be the overrated 00:04:51.689 --> 00:04:54.250 90s rock mix. That's right. Because if you listen 00:04:54.250 --> 00:04:55.949 to college radio, a lot of these are going to 00:04:55.949 --> 00:04:58.629 be very familiar to you. Oh, man, they sold out, 00:04:58.689 --> 00:05:03.410 man. Listen, I mean, so, you know, and I'm sure, 00:05:03.430 --> 00:05:05.209 you know, any of the listeners that followed 00:05:05.209 --> 00:05:07.949 you over, which I would think would be a good 00:05:07.949 --> 00:05:10.889 number of them from the Toon Styles days. My 00:05:10.889 --> 00:05:13.189 radio experience, I was a spoiled, rotten radio 00:05:13.189 --> 00:05:15.910 kid. I didn't work at a college radio station. 00:05:16.110 --> 00:05:19.250 I worked at a professional student run, but it 00:05:19.250 --> 00:05:23.790 was a professional formatted, not this hour we're 00:05:23.790 --> 00:05:26.509 going to play alternative stuff, this hour we're 00:05:26.509 --> 00:05:27.910 going to play indie, this hour we're going to 00:05:27.910 --> 00:05:30.490 play country, this hour. It wasn't that kind 00:05:30.490 --> 00:05:33.829 of thing. It was a top 40, and then right around 00:05:33.829 --> 00:05:36.389 midstream, we shifted because the music changed. 00:05:36.589 --> 00:05:39.279 The music of the 90s changed. And alternative 00:05:39.279 --> 00:05:43.360 became the big thing. So we initiated that format 00:05:43.360 --> 00:05:45.680 flip. So I've got a whole bunch of those kind 00:05:45.680 --> 00:05:47.420 of songs too. And I'm sure you and I are going 00:05:47.420 --> 00:05:49.680 to match up on a few of them. So I'm looking 00:05:49.680 --> 00:05:52.410 forward to it. I'm curious to see where we match 00:05:52.410 --> 00:05:55.649 up and where we actually disagree. So let's get 00:05:55.649 --> 00:05:57.870 down to business. Tonight, as I mentioned at 00:05:57.870 --> 00:06:00.069 the top of the show, Jay and I will be curating 00:06:00.069 --> 00:06:03.269 an underrated 90s rock mixtape, and we'll use 00:06:03.269 --> 00:06:06.189 the old cassette deck approach. Jay, as my special 00:06:06.189 --> 00:06:08.490 guest, will begin side A with his first song 00:06:08.490 --> 00:06:11.069 choice, and then I'll add a song that I feel 00:06:11.069 --> 00:06:13.810 best follows up that choice. We'll then flip 00:06:13.810 --> 00:06:16.089 -flop choosing songs until we've mapped out 10 00:06:16.089 --> 00:06:19.290 songs for side A. We'll then give our mixtape 00:06:19.290 --> 00:06:21.709 a proverbial flip, And we'll map outside, be 00:06:21.709 --> 00:06:24.129 only this time I'll kick things off with Jay 00:06:24.129 --> 00:06:26.949 choosing second. Our overall goal for the episode 00:06:26.949 --> 00:06:30.389 is to craft the best underrated 90s rock mixtape 00:06:30.389 --> 00:06:33.949 possible through only 20 songs. And at the end 00:06:33.949 --> 00:06:35.670 of the show, you can take our conversation to 00:06:35.670 --> 00:06:38.509 the next level by visiting the episode page at 00:06:38.509 --> 00:06:41.329 myweeklymixtape .com to give our final mixtape 00:06:41.329 --> 00:06:44.750 a listen via the embedded playlist. And if you 00:06:44.750 --> 00:06:46.149 like what you're hearing on the show, you can 00:06:46.149 --> 00:06:48.740 help me out by either telling a friend. leaving 00:06:48.740 --> 00:06:50.920 the show a five -star review wherever you're 00:06:50.920 --> 00:06:54.399 tuning in, or becoming a Patreon mixtaper at 00:06:54.399 --> 00:06:58.360 patreon .com forward slash myweeklymixtape. There 00:06:58.360 --> 00:07:00.579 you can enjoy ad -free episodes of the show, 00:07:00.779 --> 00:07:04.259 become a future guest, and so much more. Now, 00:07:04.279 --> 00:07:06.480 Jay, a few of the Patreon mixtapers chimed in 00:07:06.480 --> 00:07:09.439 with songs they would use to kick off our underrated 00:07:09.439 --> 00:07:11.759 90s rock mixtape, and I want to give a few quick 00:07:11.759 --> 00:07:14.939 shout -outs. Tom Hutchinson chimed in with Mustard 00:07:14.939 --> 00:07:18.889 Plugs' You, Everclear's Heroin Girl, and Therapy's 00:07:18.889 --> 00:07:22.050 Nowhere. The Voodoo Child, David Lee Smith chimed 00:07:22.050 --> 00:07:26.050 in with Badlands' Three Day Funk. Sean Goff chimed 00:07:26.050 --> 00:07:28.449 in with Built to Spills' I Would Hurt a Fly, 00:07:28.649 --> 00:07:31.470 saying it starts off a bit slow and moody because, 00:07:31.550 --> 00:07:34.410 of course it does, but he likes how it builds 00:07:34.410 --> 00:07:36.810 through the course of the song. And he also points 00:07:36.810 --> 00:07:39.050 out that in real life, you might have trouble 00:07:39.050 --> 00:07:41.889 fitting all 10 songs on one side using this track. 00:07:41.970 --> 00:07:45.329 It is over six minutes. Great choice. And Chad 00:07:45.329 --> 00:07:48.759 LaMassa chimed in with Whale's Hobo Humpin' Slobo 00:07:48.759 --> 00:07:52.319 Babe. He called it a super fun track that maybe 00:07:52.319 --> 00:07:55.339 was a Beavis and Butthead video. He wasn't 100 00:07:55.339 --> 00:07:59.000 % sure on that one. Chad, one, great song choice. 00:07:59.120 --> 00:08:04.040 And two, it 100 % was a Beavis and Butthead video. 00:08:04.660 --> 00:08:07.800 Ending with Beavis proclaiming, Whoa, look at 00:08:07.800 --> 00:08:10.459 that. I didn't know chicks in videos wore underpants. 00:08:13.120 --> 00:08:15.560 I absolutely love the pick. Thank you. I worked 00:08:15.560 --> 00:08:17.800 on that for about an hour before we logged on 00:08:17.800 --> 00:08:19.959 here. So just remember, if you want to chime 00:08:19.959 --> 00:08:22.759 in for future My Weekly Mixtape episodes, join 00:08:22.759 --> 00:08:25.899 the Mixtaper family at patreon .com forward slash 00:08:25.899 --> 00:08:29.639 My Weekly Mixtape. So Jay, with that musical 00:08:29.639 --> 00:08:32.059 food for thought out in the atmosphere, I'm officially 00:08:32.059 --> 00:08:34.960 pressing the record button on our mixtape and 00:08:34.960 --> 00:08:37.399 the floor is yours. Why don't you dive into the 00:08:37.399 --> 00:08:41.220 song you chose to kick off, Side A. That's a 00:08:41.220 --> 00:08:44.940 great honor. And it's a really hard choice. So 00:08:44.940 --> 00:08:48.600 back in, you know, we could have gone 100 ,000 00:08:48.600 --> 00:08:50.200 different ways because I get to start the whole 00:08:50.200 --> 00:08:53.139 thing. But I think something that this held dear 00:08:53.139 --> 00:08:58.279 to my heart is 1995 when REM put out Monster. 00:08:58.779 --> 00:09:01.779 The radio station that I had mentioned before 00:09:01.779 --> 00:09:04.539 that I worked at on the SU campus had flipped 00:09:04.539 --> 00:09:09.549 formats to an alternative pop station. We kicked 00:09:09.549 --> 00:09:11.470 everything off with What's the Frequency, Kenneth, 00:09:11.629 --> 00:09:14.929 which was a fantastic song. I think ultimately 00:09:14.929 --> 00:09:17.590 a lot of people could go back and forth on whether 00:09:17.590 --> 00:09:21.470 or not REM is overrated, underrated, or perfectly 00:09:21.470 --> 00:09:23.529 rated. You know, that's a debate we could do 00:09:23.529 --> 00:09:27.110 a whole separate podcast on. But for me, I think 00:09:27.110 --> 00:09:31.129 that Monster was a deeply underrated album. And 00:09:31.129 --> 00:09:34.090 I went with Strange Currencies off of that album. 00:09:34.210 --> 00:09:38.620 Wow. As a great song. I love the melody of it. 00:09:38.659 --> 00:09:42.100 I love Michael Stipe's really, really passionate 00:09:42.100 --> 00:09:46.259 vocals. He tends to do that regularly with his 00:09:46.259 --> 00:09:49.980 music. But with this song, he really poured on 00:09:49.980 --> 00:09:52.460 the emotion and the passion that you felt in 00:09:52.460 --> 00:09:56.820 the lyrics. Now, I'll say this. REM was not the 00:09:56.820 --> 00:09:59.200 first band that came to mind for me. But when 00:09:59.200 --> 00:10:02.440 you mention it, it actually makes sense because 00:10:02.440 --> 00:10:06.090 REM is one of those bands that's just so... friggin 00:10:06.090 --> 00:10:09.230 influential and they had the time where what 00:10:09.230 --> 00:10:13.789 they were doing was top 40 pretty much every 00:10:13.789 --> 00:10:16.669 time and i'm talking about from stand through 00:10:16.669 --> 00:10:20.490 losing my religion shiny happy people automatic 00:10:20.490 --> 00:10:23.769 through the people i feel like they had a good 00:10:23.769 --> 00:10:28.169 string of hits however in the scope of rock music 00:10:28.169 --> 00:10:31.889 even though they were again an arena selling 00:10:31.889 --> 00:10:36.389 band I feel like the scope of their catalog as 00:10:36.389 --> 00:10:40.610 a whole is underrated. There was a section where 00:10:40.610 --> 00:10:44.169 they were a mainstream all over the place. And 00:10:44.169 --> 00:10:47.570 I feel like strange currencies was, it was definitely 00:10:47.570 --> 00:10:51.490 a top 100, not a top 40 single should have been 00:10:51.490 --> 00:10:53.889 because I'll just go out ahead and say it. I 00:10:53.889 --> 00:10:56.110 actually like strange currencies more than everybody 00:10:56.110 --> 00:11:01.269 hurts. Yeah. I'm sorry. I, I just love the song. 00:11:01.870 --> 00:11:04.730 And it's kind of a slower way to start things 00:11:04.730 --> 00:11:08.210 out, which is really interesting because usually 00:11:08.210 --> 00:11:11.769 people go for something more like, let's hit 00:11:11.769 --> 00:11:14.029 the ground running. And you kind of easing into 00:11:14.029 --> 00:11:16.389 this one. We're going to ramp it up. Initially, 00:11:16.389 --> 00:11:19.389 when we went through this, when you and I started 00:11:19.389 --> 00:11:22.350 originally kind of throwing this idea around, 00:11:22.529 --> 00:11:25.809 I was thinking, you know, songs like Black Cat 00:11:25.809 --> 00:11:30.179 by Janet Jackson or En Vogue. Oh, why am I pulling 00:11:30.179 --> 00:11:31.720 a blank on the title of the song? Free Your Mind? 00:11:31.980 --> 00:11:34.519 Free Your Mind. That's the one. Thank you. Yeah, 00:11:35.220 --> 00:11:38.860 I'm getting old, man. It's enough for my brain. 00:11:38.960 --> 00:11:41.700 But those kind of songs, and the argument could 00:11:41.700 --> 00:11:44.379 be made, well, yeah, maybe they weren't as... 00:11:44.379 --> 00:11:46.980 Those are perfect songs, by the way, that blur 00:11:46.980 --> 00:11:50.500 the lines between pop, R &B, and rock, right? 00:11:50.659 --> 00:11:53.480 Yes. Especially Black Cat, Free Your Mind, the 00:11:53.480 --> 00:11:56.600 really hard -driving guitar riffs. And in the 00:11:56.600 --> 00:12:00.200 scope of rock and roll music, maybe not so much 00:12:00.200 --> 00:12:04.100 of an underrated song because they were all over 00:12:04.100 --> 00:12:06.679 the radio. But they are really good. They are 00:12:06.679 --> 00:12:09.980 really good songs. See, and here we go. The word 00:12:09.980 --> 00:12:14.940 underrated is so subjective that I can't argue 00:12:14.940 --> 00:12:17.460 it because what's underrated to one person is 00:12:17.460 --> 00:12:20.120 overrated to the other. So but what I'm going 00:12:20.120 --> 00:12:22.629 to do is I'm going to follow you up on. a couple 00:12:22.629 --> 00:12:25.110 of instances here you went with rem and you went 00:12:25.110 --> 00:12:27.830 with a slower song so some people will argue 00:12:27.830 --> 00:12:32.129 that rem isn't underrated and you started off 00:12:32.129 --> 00:12:33.870 with a slower tune so i'm going to follow you 00:12:33.870 --> 00:12:38.110 up with a song that's also slow but with an artist 00:12:38.110 --> 00:12:42.830 that to some people they might say who other 00:12:42.830 --> 00:12:46.629 people might go what are you crazy and the people 00:12:46.629 --> 00:12:48.970 that are going to say what are you crazy are 00:12:48.970 --> 00:12:51.129 definitely those who are blues fans, because 00:12:51.129 --> 00:12:53.570 I've already talked about this artist twice, 00:12:53.730 --> 00:12:57.529 both on episode 55, the Ultimate Modern Blues 00:12:57.529 --> 00:13:01.049 Rock Playlist with Jax Hollow, as well as episode 00:13:01.049 --> 00:13:03.970 60, which was my interview with legendary blues 00:13:03.970 --> 00:13:08.149 guitarist Walter Trout. And this artist guested 00:13:08.149 --> 00:13:11.129 on the title track to Walter's new album, Broken, 00:13:11.230 --> 00:13:13.490 and I'm going to go with Beth Hart. But I'm going 00:13:13.490 --> 00:13:16.629 to go off of her 1999 album, Screaming for My 00:13:16.629 --> 00:13:20.220 Supper. And I'm going to go with her only pop 00:13:20.220 --> 00:13:24.539 radio hit, which reached number 90 on the Billboard 00:13:24.539 --> 00:13:27.320 U .S. Hot 100. And I'm going to go with L .A. 00:13:27.340 --> 00:13:31.659 Song, Out of This Town. Absolutely beautiful 00:13:31.659 --> 00:13:35.980 pop rock ballad. And her voice is so stunning 00:13:35.980 --> 00:13:40.299 and so soaring in this song. It blows my mind 00:13:40.299 --> 00:13:45.740 that she didn't have more Billboard Hot 100 success. 00:13:47.399 --> 00:13:50.019 the success and notoriety that she deserves through 00:13:50.019 --> 00:13:53.679 the blues scene. So blues fans listening to this 00:13:53.679 --> 00:13:55.899 episode are going to be kind of going, well, 00:13:55.960 --> 00:13:57.740 Beth Hart's kind of a household name. And yes, 00:13:57.759 --> 00:14:01.200 she is in the blues world, but in the pop rock 00:14:01.200 --> 00:14:04.259 billboard, hot 100, this was her only visit there. 00:14:04.720 --> 00:14:06.960 And I mean, look, she has got such an incredible 00:14:06.960 --> 00:14:10.399 voice in 2022. She put out an album of all Led 00:14:10.399 --> 00:14:14.659 Zeppelin covers and she just slayed it. But. 00:14:14.970 --> 00:14:17.789 L .A.'s song just hits me every single time I 00:14:17.789 --> 00:14:21.149 hear it on an emotional level and kind of the 00:14:21.149 --> 00:14:23.789 same way Strange Currencies does. So I feel like 00:14:23.789 --> 00:14:26.669 it's an answer to that song on several levels. 00:14:27.190 --> 00:14:29.509 Well, that's a great tune and a great pick, too. 00:14:29.649 --> 00:14:32.389 I think, like I said, you had texted me earlier 00:14:32.389 --> 00:14:34.269 and you said, yeah, there's not one that really 00:14:34.269 --> 00:14:37.110 cracked the top 40 here. And I started sweating 00:14:37.110 --> 00:14:40.070 like that Key & Peele skit where he's got the 00:14:40.070 --> 00:14:43.789 sweat pouring down and water dashing up. That 00:14:43.789 --> 00:14:45.909 was me. All right, I'm not going to know a lot 00:14:45.909 --> 00:14:48.769 of these, but yeah, what a fantastic song. And 00:14:48.769 --> 00:14:50.610 yeah, that does follow up Strange Currencies 00:14:50.610 --> 00:14:53.789 really, really well. And I know we talked about 00:14:53.789 --> 00:14:56.009 Janet Jackson, talked a little bit about En Vogue 00:14:56.009 --> 00:14:58.649 and having that female voice and how that distinction 00:14:58.649 --> 00:15:01.850 is made between crossing genres for Janet and 00:15:01.850 --> 00:15:03.990 En Vogue with the pop and rock world. And you're 00:15:03.990 --> 00:15:06.409 talking about blues and rock and independent 00:15:06.409 --> 00:15:09.409 alternative stuff as well, which is just, it 00:15:09.409 --> 00:15:13.529 sums it all up nicely. Uh -huh. Well, that puts 00:15:13.529 --> 00:15:18.029 me in a position. How do we follow that? Let's 00:15:18.029 --> 00:15:21.009 start to ramp this up a little bit hotter. A 00:15:21.009 --> 00:15:23.029 lot of the songs that I came up with, too, are 00:15:23.029 --> 00:15:25.870 probably songs that you wouldn't have recognized 00:15:25.870 --> 00:15:28.230 if not for the fact that they had come off of 00:15:28.230 --> 00:15:32.289 really good soundtracks of decent movies. And 00:15:32.289 --> 00:15:36.490 the 90s put out a lot of great music -related 00:15:36.490 --> 00:15:39.029 soundtracks. And I'm looking right at you, Empire 00:15:39.029 --> 00:15:41.299 Records. So we're going to talk a little bit 00:15:41.299 --> 00:15:43.960 about Edwin Collins and Never Met a Girl Like 00:15:43.960 --> 00:15:48.320 You. That song is very retro for what it was. 00:15:48.460 --> 00:15:52.320 It had a really distinct sound to it that was 00:15:52.320 --> 00:15:55.120 very retro, very, what you would say, 60s, right? 00:15:55.320 --> 00:15:59.059 Like mid -late 60s. Yep. That rock feel of it. 00:15:59.320 --> 00:16:02.480 And what a great song. You would, if not for 00:16:02.480 --> 00:16:04.259 the Empire Records soundtrack, you probably wouldn't 00:16:04.259 --> 00:16:06.480 have known that it existed and the popularity 00:16:06.480 --> 00:16:10.659 of how that movie did. What a fantastic pick. 00:16:10.720 --> 00:16:13.759 I love the Empire Records soundtrack. I actually 00:16:13.759 --> 00:16:19.580 had Sugar High in my list as an underrated song 00:16:19.580 --> 00:16:23.139 that really didn't get any airplay. So to me, 00:16:23.159 --> 00:16:25.860 the underrated nature of that song was the fact 00:16:25.860 --> 00:16:28.200 that it was in the movie. And anyone who's a 00:16:28.200 --> 00:16:32.039 fan of the movie loves that song. It's the finale, 00:16:32.379 --> 00:16:35.759 the band on top of Empire Records. And it just. 00:16:36.250 --> 00:16:39.490 I love that song so much. A girl like you, this 00:16:39.490 --> 00:16:43.490 played into this vibe that came out in the mid 00:16:43.490 --> 00:16:47.549 nineties that urge overkill also helped usher 00:16:47.549 --> 00:16:51.850 in when they did the cover of girl, you'll be 00:16:51.850 --> 00:16:54.970 a woman soon. Yeah. The Neil diamond song for 00:16:54.970 --> 00:16:59.269 Pulp Fiction. I feel like urge overkill and a 00:16:59.269 --> 00:17:02.909 girl like you really go back to back. Well, absolutely. 00:17:03.129 --> 00:17:06.359 And you know what? crap i'm just gonna do it 00:17:06.359 --> 00:17:08.980 i'm gonna put urge overkill in next because that 00:17:08.980 --> 00:17:12.700 those two back to back is a vibe and it's also 00:17:12.700 --> 00:17:16.519 a soundtrack song and i'll be completely honest 00:17:16.519 --> 00:17:19.420 jay this one wasn't even in my bank but as soon 00:17:19.420 --> 00:17:22.960 as you mentioned edwin collins it was like girl 00:17:22.960 --> 00:17:25.880 you'll be a woman soon has to come on next and 00:17:25.880 --> 00:17:30.359 looking it up as we speak it only hit number 00:17:30.359 --> 00:17:34.460 59 on the billboard us hot 100 so it falls into 00:17:34.460 --> 00:17:37.779 my criteria so i didn't just do a 180 on myself 00:17:37.779 --> 00:17:40.819 here so i'm very thankful for that but yeah i 00:17:40.819 --> 00:17:43.759 absolutely love the pick and you can also kind 00:17:43.759 --> 00:17:46.599 of go if you really wanted to dive into it tito 00:17:46.599 --> 00:17:48.619 and tarantula back to the house that love built 00:17:48.619 --> 00:17:50.960 from desperado you can go down that oh my gosh 00:17:50.960 --> 00:17:53.619 another really under like we could totally do 00:17:53.619 --> 00:17:55.960 like a 90 soundtrack thing similar to episode 00:17:55.960 --> 00:18:00.230 uh 19 that I did with Ryan Pack from the Soundtrack 00:18:00.230 --> 00:18:03.190 Your Life podcast. But yeah, I have to follow 00:18:03.190 --> 00:18:05.529 up a girl like you with Urge Overkill's cover 00:18:05.529 --> 00:18:08.150 of Girl, You'll Be a Woman Soon. Well, now that 00:18:08.150 --> 00:18:10.109 you've done that, that gives me a perfect place 00:18:10.109 --> 00:18:14.150 for this next tune that I've picked. And it 100 00:18:14.150 --> 00:18:18.289 % sums up the best of all worlds kind of thing, 00:18:18.349 --> 00:18:21.930 where we're talking rap, R &B, maybe hip hop 00:18:21.930 --> 00:18:25.059 and rock and roll as well. And I'm going back 00:18:25.059 --> 00:18:29.339 to Marky Mark and the Funky Bunch. Okay. With 00:18:29.339 --> 00:18:34.299 their wild side because of the sample that they 00:18:34.299 --> 00:18:37.700 took from the Velvet Underground, right? Yeah. 00:18:37.859 --> 00:18:40.599 Wow. You're pulling the Marky. I'll be honest. 00:18:40.759 --> 00:18:45.539 I did not expect that at all. But there is the 00:18:45.539 --> 00:18:48.980 rock vibe using the Lou Reed Velvet Underground 00:18:48.980 --> 00:18:52.039 sample. Now that to me, I think that was a top 00:18:52.039 --> 00:18:55.809 10 hit regardless. But when people mention Marky 00:18:55.809 --> 00:18:58.069 Mark and the Funky Bunch, they're going right 00:18:58.069 --> 00:19:01.569 to Good Vibrations. So this is one of those songs 00:19:01.569 --> 00:19:04.990 that might fall under that category of, did you 00:19:04.990 --> 00:19:07.950 know there was another hit in the 90s? Because 00:19:07.950 --> 00:19:11.210 I remember this video a lot, but as time has 00:19:11.210 --> 00:19:14.890 looked back upon the Funky Bunch, I think it 00:19:14.890 --> 00:19:17.049 is all Good Vibrations, and I feel like this 00:19:17.049 --> 00:19:22.089 one does get overlooked. Well, I don't have anything. 00:19:24.039 --> 00:19:27.880 I have almost 30 songs in my list, but I don't 00:19:27.880 --> 00:19:30.259 have anything that's going to naturally flow 00:19:30.259 --> 00:19:33.700 out of Marky Mark and the Funky Bunch. But this 00:19:33.700 --> 00:19:35.779 is the second half of the side, so I could do 00:19:35.779 --> 00:19:39.559 a little bit of a pivot here. And here's a sentence 00:19:39.559 --> 00:19:41.779 that I never thought would come out of my mouth. 00:19:42.319 --> 00:19:45.519 We're going to go from Marky Mark. I can't even 00:19:45.519 --> 00:19:48.819 say it. We're going to go from Marky Mark and 00:19:48.819 --> 00:19:53.680 the Funky Bunch to 1996. and the Squirrel Nut 00:19:53.680 --> 00:19:59.680 Zippers. Let's Go Hell from 1996 is hot. It reached 00:19:59.680 --> 00:20:02.400 number 13 on the alternative airplay charts, 00:20:02.539 --> 00:20:06.299 but surprisingly, at least around the New York 00:20:06.299 --> 00:20:10.460 area, this song was all over radio. Never cracked 00:20:10.460 --> 00:20:13.980 the top 100. Shocking to me that that's the case. 00:20:14.200 --> 00:20:16.980 And this song, definitely, there was that moment 00:20:16.980 --> 00:20:20.230 in the 90s. where you had the Squirrel Nut Zippers. 00:20:20.289 --> 00:20:22.230 And then when you really wanted to go more into 00:20:22.230 --> 00:20:25.109 the swing, you had the Brian Setzer Orchestra. 00:20:25.210 --> 00:20:28.730 You had Cherry Poppin' Daddies, Big Bad Voodoo 00:20:28.730 --> 00:20:32.829 Daddy, Royal Crown Review. You had this movement 00:20:32.829 --> 00:20:37.190 that I felt like came out of nowhere and left 00:20:37.190 --> 00:20:40.430 just as quick. But Hell is one of those songs 00:20:40.430 --> 00:20:45.230 that seemingly overstayed that movement. And 00:20:45.230 --> 00:20:48.819 in 2010, ska punk band Streetlight Manifesto 00:20:48.819 --> 00:20:52.099 covered that song for the 99 Songs of Revolution 00:20:52.099 --> 00:20:57.480 Volume 1 album. And if you're a TV fan, Lucifer, 00:20:57.599 --> 00:21:01.900 there was a episode called Bloody Celestial Karaoke 00:21:01.900 --> 00:21:04.500 Jam, and the whole cast performed this song. 00:21:04.559 --> 00:21:07.440 So it's still, and that was only back in 2021, 00:21:07.740 --> 00:21:12.299 so this song is still relevant that many years 00:21:12.299 --> 00:21:15.519 later. And I feel like this was Squirrel Nut 00:21:15.519 --> 00:21:19.069 Zipper's I mean, they have amazing music, perennial 00:21:19.069 --> 00:21:22.130 favorites. They have a lot of stuff post -Hell. 00:21:22.210 --> 00:21:26.049 But I feel like in most people's musical lexicon, 00:21:26.390 --> 00:21:28.990 Squirrel Nut Zipper starts and stops at Hell. 00:21:29.150 --> 00:21:31.769 And that kind of sucks. So hopefully this will 00:21:31.769 --> 00:21:34.309 get people going down that Spotify or Apple Music 00:21:34.309 --> 00:21:36.589 rabbit hole and listening to some of the other 00:21:36.589 --> 00:21:39.369 really incredible music they have. And yes, I 00:21:39.369 --> 00:21:43.799 do want to fully concede. that in no way, shape, 00:21:43.799 --> 00:21:45.759 or form does this make any sense coming out of 00:21:45.759 --> 00:21:49.220 Marky Mark and the Funky Bunch. No, I think I 00:21:49.220 --> 00:21:53.960 did that on purpose. Bastard. But I think, but 00:21:53.960 --> 00:21:58.019 it is such a great, you know, I kind of wanted 00:21:58.019 --> 00:21:59.759 to piggyback off of what you were talking about, 00:21:59.799 --> 00:22:04.140 that mid -90s, like smack dab 95, 96, there was 00:22:04.140 --> 00:22:06.859 that period where you were getting Squirrel Nut 00:22:06.859 --> 00:22:08.980 Zippers and Cherry Poppin' Daddies and Big Bad 00:22:08.980 --> 00:22:11.430 Voodoo Daddy and all that. It's like a flash 00:22:11.430 --> 00:22:14.730 in the pan kind of thing. And it could have been 00:22:14.730 --> 00:22:17.829 so much more, but I think it morphed back into 00:22:17.829 --> 00:22:23.089 the ska pop punk kind of era where you get your 00:22:23.089 --> 00:22:25.609 gold finger here in your bedroom, which is the 00:22:25.609 --> 00:22:28.009 song that I'm going to follow you up with. All 00:22:28.009 --> 00:22:31.369 right. Okay. It's another great song. Great horns. 00:22:32.000 --> 00:22:33.880 and some real good meat behind it. I could have 00:22:33.880 --> 00:22:36.039 gone with Mighty Mighty Boss Tones, but I think 00:22:36.039 --> 00:22:38.380 in terms of underrated, I think you couldn't 00:22:38.380 --> 00:22:41.420 have gotten out of the door without getting bombarded 00:22:41.420 --> 00:22:44.759 with the impression that I got. So I think Goldfinger 00:22:44.759 --> 00:22:48.119 is a better choice there. Absolutely love this 00:22:48.119 --> 00:22:53.240 band. John Feldman is a genius in the studio. 00:22:53.359 --> 00:22:56.380 He's worked with everybody from Blink -182 to 00:22:56.380 --> 00:23:01.480 Avril Lavigne, and he just knows. what that pop 00:23:01.480 --> 00:23:03.819 punk sound is supposed to sound like. And he 00:23:03.819 --> 00:23:07.920 did so much with Goldfinger. Goldfinger, to me, 00:23:07.940 --> 00:23:10.980 is one of those bands, they're one of my favorites 00:23:10.980 --> 00:23:14.000 from the scene. And John is definitely a bucket 00:23:14.000 --> 00:23:16.640 list guest to have on My Weekly Mixtape at some 00:23:16.640 --> 00:23:18.460 point, because I'd love to pick his brain about 00:23:18.460 --> 00:23:21.039 what he's done in the studio, as well as what 00:23:21.039 --> 00:23:23.700 he's done with Goldfinger. To me, this is one 00:23:23.700 --> 00:23:28.259 of those bands that I didn't even consider for 00:23:28.259 --> 00:23:31.960 underrated. Because I've listened to every single 00:23:31.960 --> 00:23:34.720 one of their albums. I own their entire discography. 00:23:35.000 --> 00:23:39.299 So in my world, I know so much. I've seen them 00:23:39.299 --> 00:23:42.779 so many times live. They're at that level that 00:23:42.779 --> 00:23:46.000 there's no way they could possibly be underrated. 00:23:46.319 --> 00:23:50.000 As soon as you said it, I went, hmm. And I looked 00:23:50.000 --> 00:23:53.559 at Here in Your Bedroom. And it only cracked 00:23:53.559 --> 00:23:58.630 47 on the Hot 100. And that shocks me. Criminally 00:23:58.630 --> 00:24:01.670 low. Absolutely shocks me. This band should be 00:24:01.670 --> 00:24:03.710 massive. They're so much fun. I mean, you think 00:24:03.710 --> 00:24:06.990 about songs like Superman and Mabel, and you 00:24:06.990 --> 00:24:09.170 can go into Wasted from some of their more recent 00:24:09.170 --> 00:24:12.910 albums. And the album they did with Travis Barker 00:24:12.910 --> 00:24:16.569 on the drums, 2017's The Knife, they're just 00:24:16.569 --> 00:24:19.210 as relevant as they were when they first came 00:24:19.210 --> 00:24:21.950 out. So to me, never would I have thought to 00:24:21.950 --> 00:24:23.809 put Goldfinger on here, but it's an absolutely 00:24:23.809 --> 00:24:26.690 perfect pick. And what I'm going to do is I'm 00:24:26.690 --> 00:24:28.609 going to keep this kind of upbeat vibe we've 00:24:28.609 --> 00:24:30.930 got going out. I'm going to pull the horns out 00:24:30.930 --> 00:24:34.970 of it, but I'm going to keep that pop punk indie 00:24:34.970 --> 00:24:39.910 power pop element at play. And yes, it's kind 00:24:39.910 --> 00:24:43.990 of all of that. This song is power pop perfection, 00:24:44.349 --> 00:24:49.369 period. When I think of what a perfect power 00:24:49.369 --> 00:24:53.680 pop song is. Across all decades. I go to Bye 00:24:53.680 --> 00:24:57.299 Bye Love by The Cars. I go to Stacy's Mom by 00:24:57.299 --> 00:25:02.039 Fountains of Wayne. And off of 1996's Regretfully 00:25:02.039 --> 00:25:05.700 Yours, I go with Super Drags Sucked Out. That's 00:25:05.700 --> 00:25:08.900 a great tune. It reached number 17 on the Billboard 00:25:08.900 --> 00:25:13.460 Modern Rock Tracks chart. And that was it. And 00:25:13.460 --> 00:25:17.980 this song is just power pop perfection. Was that 00:25:17.980 --> 00:25:22.220 not used in American Pie? I know. james laid 00:25:22.220 --> 00:25:26.200 was the big song from the american pie movies 00:25:26.200 --> 00:25:28.220 and that's also my bank of songs tonight that 00:25:28.220 --> 00:25:32.359 i might talk about at some point mine too spoiler 00:25:32.359 --> 00:25:35.839 yeah maybe might be a spoiler there i don't remember 00:25:35.839 --> 00:25:39.400 if sucked out was in it but it was that type 00:25:39.400 --> 00:25:42.980 of vibe and that type of sound at that time where 00:25:42.980 --> 00:25:45.220 if it wasn't it really should have been it's 00:25:45.220 --> 00:25:46.940 one of those songs that as soon as it starts 00:25:46.940 --> 00:25:52.009 your feet are tapping and you just feel Good. 00:25:52.009 --> 00:25:54.890 Absolutely. It puts a smile on my face every 00:25:54.890 --> 00:25:56.769 time I hear it, just like here in your bedroom 00:25:56.769 --> 00:25:59.970 and just like hell. So coming out of Goldfinger's 00:25:59.970 --> 00:26:02.609 here in your bedroom, who sucked out the feeling? 00:26:03.109 --> 00:26:05.910 Superdrag. That is great. That's a great pick. 00:26:05.970 --> 00:26:07.930 Again, that's another one of my favorites from 00:26:07.930 --> 00:26:11.049 that era as well. And from there, I could go 00:26:11.049 --> 00:26:12.650 in a couple of different directions with that. 00:26:13.150 --> 00:26:17.250 I could stay in that genre, in that feel, or 00:26:17.250 --> 00:26:20.569 I can take it in a different direction. and kind 00:26:20.569 --> 00:26:24.710 of go off of that old 90s soundtrack magic. And 00:26:24.710 --> 00:26:27.849 I think I may do that. I think I'm going to go 00:26:27.849 --> 00:26:32.869 with Harvey Danger's Flagpole Sitter. Oh! Now 00:26:32.869 --> 00:26:36.210 that song, I did that song with the band up in 00:26:36.210 --> 00:26:40.730 Albany with Even the Odd. And that song always 00:26:40.730 --> 00:26:44.349 got huge movement. Everybody loved when we covered 00:26:44.349 --> 00:26:47.789 that song. But mostly if you think about like, 00:26:47.869 --> 00:26:50.809 there's not, again, you talk about, is it overrated? 00:26:50.849 --> 00:26:53.690 Is it underrated? It's one of those songs that 00:26:53.690 --> 00:26:56.910 in pockets, a lot, a lot of people will know 00:26:56.910 --> 00:26:59.549 it, but don't know that they know it until they 00:26:59.549 --> 00:27:02.490 hear it. I'll be perfectly honest with you. That 00:27:02.490 --> 00:27:05.809 song was about to make my bank. And then I saw 00:27:05.809 --> 00:27:08.130 it and I had to cut it. I had like 40 something 00:27:08.130 --> 00:27:10.710 songs and I said, I need to narrow this down 00:27:10.710 --> 00:27:14.640 somehow. And this one actually reached. number 00:27:14.640 --> 00:27:20.559 38 so i use that as just a criteria to thin out 00:27:20.559 --> 00:27:22.559 my playlist a little bit but this was definitely 00:27:22.559 --> 00:27:26.539 in my bank my old cover band in the mid -2000s 00:27:26.539 --> 00:27:28.140 used to play this song at the beginning of the 00:27:28.140 --> 00:27:30.680 night because as soon as you did people's faces 00:27:30.680 --> 00:27:33.660 would just light up with joy and the song is 00:27:33.660 --> 00:27:37.339 just so catchy it's that power pop with a little 00:27:37.339 --> 00:27:41.480 drop of punk that comes out of sucked out so 00:27:41.480 --> 00:27:45.730 perfectly and I don't understand how Harvey Danger 00:27:45.730 --> 00:27:49.230 didn't stick around at a bigger level after that 00:27:49.230 --> 00:27:51.349 song, because this song was everywhere. And I 00:27:51.349 --> 00:27:53.829 can tell you right now that there are bands throughout 00:27:53.829 --> 00:27:56.470 at least the New Jersey area that are still playing 00:27:56.470 --> 00:27:59.930 Flagpole Sitta at every show. It's got this timeless 00:27:59.930 --> 00:28:02.769 energy to it. Right. I want to say the song had 00:28:02.769 --> 00:28:05.589 something to do with disturbing behavior. It 00:28:05.589 --> 00:28:07.450 might not have been in the movie, but I just 00:28:07.450 --> 00:28:10.390 remember it. Something to do with that movie. 00:28:10.509 --> 00:28:14.049 Maybe it was the trailers. They were pumping 00:28:14.049 --> 00:28:17.230 that movie like crazy on MTV at the time. It's 00:28:17.230 --> 00:28:19.670 typical of Hollyweird, right? To grab a song 00:28:19.670 --> 00:28:22.049 and use it in their promotional material, but 00:28:22.049 --> 00:28:24.250 it won't be on the soundtrack. But they've done 00:28:24.250 --> 00:28:26.849 that many times before. So you're probably right. 00:28:26.930 --> 00:28:29.410 Disturbing behavior. I do know that it was used 00:28:29.410 --> 00:28:31.329 for the theme song of Peep Show, which was a 00:28:31.329 --> 00:28:37.009 British sitcom, and was also later used on Scooby 00:28:37.009 --> 00:28:40.480 -Doo 2 Monsters Unleashed. There's one scene 00:28:40.480 --> 00:28:43.319 in that movie that my wife and I, to this day, 00:28:43.339 --> 00:28:47.039 laugh at hysterically. I don't even know the 00:28:47.039 --> 00:28:48.740 plot of the movie. We just remember this scene. 00:28:48.799 --> 00:28:51.319 They were dealing with this haunted house or 00:28:51.319 --> 00:28:55.119 something. shaggy and scooby walk into a room 00:28:55.119 --> 00:28:57.640 and there's this ghost he's like i am the cotton 00:28:57.640 --> 00:29:01.460 candy ghost and it's like scooby goes rotten 00:29:01.460 --> 00:29:03.960 randy and then the ghost just gets this scared 00:29:03.960 --> 00:29:06.359 look on his face and it cuts back to them and 00:29:06.359 --> 00:29:11.500 they just like ate the whole ghost we watched 00:29:11.500 --> 00:29:14.000 that with the kids recently and i laughed so 00:29:14.000 --> 00:29:16.539 hard as if i had never seen it before because 00:29:16.539 --> 00:29:18.660 i loved scooby -doo growing up as a kid so we 00:29:18.660 --> 00:29:21.079 saw both the movies When they came out, because 00:29:21.079 --> 00:29:23.059 that was like our childhood nostalgia coming 00:29:23.059 --> 00:29:26.480 out. Sure. Anyway, Harvey danger flagpole SIDA. 00:29:26.539 --> 00:29:28.920 There are still cover bands around New Jersey 00:29:28.920 --> 00:29:30.859 right now playing this song every weekend. There's 00:29:30.859 --> 00:29:35.079 a timeless energy to it. And I think to close 00:29:35.079 --> 00:29:39.579 outside a, I am going to go with a song that 00:29:39.579 --> 00:29:42.759 was kind of the basis for me wanting to put this 00:29:42.759 --> 00:29:45.400 episode together because I was listening to the 00:29:45.400 --> 00:29:47.440 album and I think it's what I actually texted 00:29:47.440 --> 00:29:50.160 you. A picture of the album being like, dude, 00:29:50.220 --> 00:29:52.599 when's the last time you heard this? And I'm 00:29:52.599 --> 00:29:55.880 going to go back to 1996. This song reached number 00:29:55.880 --> 00:29:59.339 14 on the U .S. Modern Rock Chart. And they had 00:29:59.339 --> 00:30:01.779 another single from the album, Down Together, 00:30:01.960 --> 00:30:06.339 hit number 38. But I'm going off of 1996's Fizzy 00:30:06.339 --> 00:30:09.619 Fuzzy Big and Buzzy. I'm going with the Refreshments 00:30:09.619 --> 00:30:13.440 Banditos to close out Side A. This group only 00:30:13.440 --> 00:30:17.380 had three full -length albums. They had the independently 00:30:17.380 --> 00:30:21.920 released Wheelie, Fizzy Fuzzy, and then 1997's 00:30:21.920 --> 00:30:25.740 The Bottle and Fresh Horses. Unfortunately, the 00:30:25.740 --> 00:30:28.079 refreshments are no more, but they live through 00:30:28.079 --> 00:30:31.700 Roger Klein and the Peacemakers, who have definitely 00:30:31.700 --> 00:30:33.980 revisited refreshment songs throughout the years. 00:30:34.079 --> 00:30:36.539 An incredible artist, incredible songwriter. 00:30:36.720 --> 00:30:39.940 This was an incredible album. That, to me, was, 00:30:39.960 --> 00:30:43.180 as a whole, one of the biggest underrated albums 00:30:43.180 --> 00:30:45.160 of the 90s. And I'm just going to go with the 00:30:45.160 --> 00:30:47.349 song that hopefully would be the most familiar 00:30:47.349 --> 00:30:50.450 to anybody who's not a refreshments fan. And 00:30:50.450 --> 00:30:53.109 if you go back and you're listening to this and 00:30:53.109 --> 00:30:55.049 you go, Oh, I remember banditos. I liked that 00:30:55.049 --> 00:30:57.789 song. You have to give the entire fizzy, fuzzy, 00:30:57.869 --> 00:31:00.630 big and buzzy a listen because it is just an 00:31:00.630 --> 00:31:03.190 absolute gem of an album. And I think the perfect 00:31:03.190 --> 00:31:06.710 exclamation point to close outside a, we have 00:31:06.710 --> 00:31:09.289 talked about this song, particularly in this 00:31:09.289 --> 00:31:12.529 band and how underrated they have been. It is 00:31:12.529 --> 00:31:17.180 criminal. How. Unfortunately, the band did not 00:31:17.180 --> 00:31:19.339 take off to the stratosphere like they should 00:31:19.339 --> 00:31:21.640 have. Because you're right, Fizzy Fuzzy Big and 00:31:21.640 --> 00:31:25.839 Buzzy was a damn good album. I remember that 00:31:25.839 --> 00:31:29.400 was one of the first or second records that I 00:31:29.400 --> 00:31:32.240 added as a programming director at the time when 00:31:32.240 --> 00:31:34.660 the station flipped formats out. And it was, 00:31:34.900 --> 00:31:38.640 I said, this song is awesome. And everybody else 00:31:38.640 --> 00:31:41.559 kind of poo -pooed it. Said, I don't know. It's 00:31:41.559 --> 00:31:43.839 kind of. All right, we'll see. And unfortunately 00:31:43.839 --> 00:31:46.940 I was wrong. It didn't go anywhere, but it was 00:31:46.940 --> 00:31:50.160 a great song. It really was. I love every note 00:31:50.160 --> 00:31:53.380 of banditos is such a, is one of my, one of the 00:31:53.380 --> 00:31:56.700 special places in my musical heart. Yeah. The 00:31:56.700 --> 00:31:58.859 entire album to me, that's one of those ones 00:31:58.859 --> 00:32:01.079 that if I put it on, I have to listen to the 00:32:01.079 --> 00:32:03.119 whole thing all the way through. And anytime 00:32:03.119 --> 00:32:07.980 one song from it comes on for me. When my playlist 00:32:07.980 --> 00:32:11.259 is going at random, I find myself ending the 00:32:11.259 --> 00:32:14.059 randomness of my playlist and going and putting 00:32:14.059 --> 00:32:16.140 the album on from the beginning. Yeah. Because 00:32:16.140 --> 00:32:18.039 anytime I get a chance to listen to it all the 00:32:18.039 --> 00:32:19.660 way through, it's like, let me take this opportunity. 00:32:19.920 --> 00:32:23.720 It's that good. Definitely. Well, there you have 00:32:23.720 --> 00:32:27.359 it, folks. Side A of our ultimate 90s underrated 00:32:27.359 --> 00:32:30.819 rock mixtape, which kicked off with R .E .M.'s 00:32:30.819 --> 00:32:34.539 Strange Currencies. Beth Hart's L .A. song, Out 00:32:34.539 --> 00:32:37.619 of This Town. Edwin Collins, A Girl Like You, 00:32:37.799 --> 00:32:40.759 Urge Overkill's Girl, You'll Be a Woman Soon, 00:32:41.700 --> 00:32:45.779 Mark... He can't say it with a straight face, 00:32:45.900 --> 00:32:50.299 kids. Marky Mark and the Funky Bunch's Wild Side. 00:32:50.339 --> 00:32:53.240 Look, if it didn't have the Lou Reed sample in 00:32:53.240 --> 00:32:56.039 the song, I would have probably called... I was 00:32:56.039 --> 00:32:59.319 about to say, I would have pulled the veto card 00:32:59.319 --> 00:33:02.539 on that. I've never done it before. But you got 00:33:02.539 --> 00:33:06.009 me with Lou Reed. But back to the songs. Squirrel 00:33:06.009 --> 00:33:09.390 Nut Zippers Hell, Goldfingers Here in Your Bedroom, 00:33:09.589 --> 00:33:13.150 Super Drag Sucked Out, Harvey Danger's Flagpole 00:33:13.150 --> 00:33:16.470 Sitta, and The Refreshments Banditos. Head over 00:33:16.470 --> 00:33:19.190 to myweeklymixtape .com to hear all the songs 00:33:19.190 --> 00:33:22.130 we've discussed in this mix through the playlist 00:33:22.130 --> 00:33:26.630 embedded on the episode page. And now, Jay, I 00:33:26.630 --> 00:33:31.910 get the honor to kick off Side B, and I'm going 00:33:31.910 --> 00:33:34.789 to bring a little bit more rock. We started off 00:33:34.789 --> 00:33:37.609 side A on a mellow note. Yes. I want to go to 00:33:37.609 --> 00:33:39.349 the opposite of that. I want to get people's 00:33:39.349 --> 00:33:41.910 energy and adrenaline pumping right from the 00:33:41.910 --> 00:33:44.849 get -go. And I'm going to go with a song by a 00:33:44.849 --> 00:33:47.769 band that it's my favorite song from this band, 00:33:47.930 --> 00:33:51.130 but it's not their biggest hit. And the song 00:33:51.130 --> 00:33:55.230 came out in 96 and reached number 64 on the Billboard 00:33:55.230 --> 00:34:00.910 Hot 100. However, two years earlier, in 1994, 00:34:02.000 --> 00:34:06.279 They had two different songs hit number 55 and 00:34:06.279 --> 00:34:09.880 number 41, respectively, on the Billboard charts. 00:34:10.320 --> 00:34:13.400 So all three of these very popular songs were 00:34:13.400 --> 00:34:18.260 top 100 hits, but none were a top 40, which makes 00:34:18.260 --> 00:34:21.960 my cutoff. The two songs that made number 55 00:34:21.960 --> 00:34:26.340 and number 41, respectively, were Molly, 16 Candles, 00:34:26.340 --> 00:34:29.360 and Plowed. The band I'm talking about is Sponge. 00:34:30.090 --> 00:34:32.889 But the song I'm going with is Wax -A -Static. 00:34:33.030 --> 00:34:37.070 To sell Angelina, the title track of 1996 is 00:34:37.070 --> 00:34:39.769 Wax -A -Static. I know Jason Whistle from the 00:34:39.769 --> 00:34:42.030 It's Not That Bad and There Can Only Be One podcast 00:34:42.030 --> 00:34:46.590 is a huge fan of New Pop Sunday. Sponge is still 00:34:46.590 --> 00:34:49.309 going strong to this day. To me, it's one of 00:34:49.309 --> 00:34:51.170 those bands that when people think of rotting 00:34:51.170 --> 00:34:53.590 pinata, they think of it being one of those very 00:34:53.590 --> 00:34:58.440 popular, almost seminal 90s albums. judging by 00:34:58.440 --> 00:35:01.340 the numbers they were not they did not have a 00:35:01.340 --> 00:35:04.519 top 40 hit so they reached my criteria for underrated 00:35:04.519 --> 00:35:07.039 and wax ecstatic's just my favorite song by them 00:35:07.039 --> 00:35:09.980 so it's a great song the the guitar intro riff 00:35:09.980 --> 00:35:12.139 is amazing and it hits you right in the chest 00:35:12.139 --> 00:35:14.519 that drum beat coming in right out of it that 00:35:14.519 --> 00:35:17.980 absolutely like yeah and again we i mentioned 00:35:17.980 --> 00:35:20.440 this now this is the third song i think it's 00:35:20.440 --> 00:35:25.159 criminal how badly they did not take off molly 00:35:25.159 --> 00:35:28.269 is i i gotta Maybe it's because of the nostalgia 00:35:28.269 --> 00:35:32.230 about Molly Ringwald. Maybe it's that that kind 00:35:32.230 --> 00:35:34.909 of puts that on a different level for me. But 00:35:34.909 --> 00:35:38.409 that song is so good that you can't. How do you 00:35:38.409 --> 00:35:41.369 not snap your fingers and say you make it in 00:35:41.369 --> 00:35:45.389 love? They're a great band across the board. 00:35:45.809 --> 00:35:49.989 I just don't feel like they got as much push 00:35:49.989 --> 00:35:52.750 as they should have. And they had the ammunition 00:35:52.750 --> 00:35:57.300 to back that up. The three songs that were top 00:35:57.300 --> 00:36:00.840 100 hits, I feel like should have been higher. 00:36:01.280 --> 00:36:04.380 Agreed. It blew my mind that none of these three 00:36:04.380 --> 00:36:07.400 were top 40 hits. The only thing I can say that 00:36:07.400 --> 00:36:10.599 maybe was a factor is the fact that it was a 00:36:10.599 --> 00:36:13.960 crowded market at the time. And there were so 00:36:13.960 --> 00:36:17.460 many great bands in that vein that there's only 00:36:17.460 --> 00:36:19.719 so many numbers that you can have. Right. And 00:36:19.719 --> 00:36:24.579 just like... All eras and all decades, Billboard's 00:36:24.579 --> 00:36:27.800 Hot 100 is filled with a lot of pop and a lot 00:36:27.800 --> 00:36:31.059 of R &B. But being we're keeping this on the 00:36:31.059 --> 00:36:34.860 rock side of things, you really needed to cut 00:36:34.860 --> 00:36:38.800 through a lot of different genres to crack that 00:36:38.800 --> 00:36:43.019 top 40 as a rock band, which, as we're seeing 00:36:43.019 --> 00:36:46.519 tonight, is not as easy as it sounds. Definitely. 00:36:46.539 --> 00:36:50.230 Because the top 40 was... Overrun by Mariah Carey, 00:36:50.269 --> 00:36:53.429 Boyz II Men, all of these endless strings of 00:36:53.429 --> 00:36:58.030 number one hits. Rock music was as a whole underrated 00:36:58.030 --> 00:37:01.630 in the 90s. At least judging by the Billboard 00:37:01.630 --> 00:37:05.190 Hot 100's lens. That's right. Because you can't 00:37:05.190 --> 00:37:07.230 look at anybody and be like Nirvana's Nevermind 00:37:07.230 --> 00:37:10.010 is an underrated album. That just sounds weird 00:37:10.010 --> 00:37:12.369 coming out of my mouth. But when you compare 00:37:12.369 --> 00:37:14.889 it to the album sales that were happening for 00:37:14.889 --> 00:37:18.860 the biggest R &B pop. dance, and even country 00:37:18.860 --> 00:37:21.340 Garth Brooks. Right. Right. You even want to 00:37:21.340 --> 00:37:24.199 go achy, breaky heart. These were crossover songs 00:37:24.199 --> 00:37:27.280 that the rock music really had to work extra 00:37:27.280 --> 00:37:29.840 hard to cut through. And sponge is just one of 00:37:29.840 --> 00:37:32.420 those ones that didn't. And therefore are underrated 00:37:32.420 --> 00:37:35.599 to me. Agreed. Agreed. Well, coming out of that, 00:37:35.619 --> 00:37:38.579 Brian, I say we can go, I can go. I have two 00:37:38.579 --> 00:37:40.559 tunes that I'm looking at right now that I really 00:37:40.559 --> 00:37:43.139 want to really would be remiss if this wasn't 00:37:43.139 --> 00:37:46.059 included on this list. So it's dependent on how. 00:37:46.570 --> 00:37:49.329 They're both kind of down -tempo -ish tunes, 00:37:49.489 --> 00:37:52.630 and both a little bit dark, but one's a little 00:37:52.630 --> 00:37:54.809 bit darker than the other. And I think I might 00:37:54.809 --> 00:37:57.849 go, let's go down that road for a minute and 00:37:57.849 --> 00:38:02.130 visit The Possum Kingdom by the Toadies. Oh! 00:38:03.650 --> 00:38:06.409 When that song popped on the radio, I thought 00:38:06.409 --> 00:38:09.530 to myself, this cannot be good. The subject matter 00:38:09.530 --> 00:38:12.989 is a little bit, a little dark, makes me a little 00:38:12.989 --> 00:38:16.059 nervous, but... The song itself is simplicity. 00:38:16.579 --> 00:38:20.179 It's got those great dark, crunchy chords. And 00:38:20.179 --> 00:38:24.460 the lead singer vocalizations over that, it doesn't 00:38:24.460 --> 00:38:27.000 really get into the really great part of the 00:38:27.000 --> 00:38:30.539 song until it gets to the chorus of, I can promise 00:38:30.539 --> 00:38:33.059 you I will treat you well, my sweet angel, so 00:38:33.059 --> 00:38:37.159 help me Jesus. Mm -hmm. Yeah. And it just soars. 00:38:37.159 --> 00:38:39.340 His voice is great. It's perfect for the song. 00:38:39.480 --> 00:38:42.820 And I think that song encapsulates the Toadies. 00:38:43.150 --> 00:38:46.210 Really, really well. Could not agree more. My 00:38:46.210 --> 00:38:48.670 old cover band in the 2000s used to play this 00:38:48.670 --> 00:38:52.250 song again. First set right around when I had 00:38:52.250 --> 00:38:55.250 mentioned Flagpole Siddha, the Toadies. God, 00:38:55.369 --> 00:38:58.030 I remember in our set lists, we used to go from 00:38:58.030 --> 00:39:00.949 Toadies Possum Kingdom directly into Wheatus' 00:39:01.090 --> 00:39:04.010 Teenage Dirtbag. However, that came out in 2000, 00:39:04.289 --> 00:39:07.030 so I can't use it in this list. Right. So I'm 00:39:07.030 --> 00:39:09.530 going to go with another song that I think taps 00:39:09.530 --> 00:39:13.099 into that same energy. where the music is upbeat 00:39:13.099 --> 00:39:15.639 and happy, but the lyrical nature is a little 00:39:15.639 --> 00:39:19.840 darker. And it's a song that is by a group that 00:39:19.840 --> 00:39:23.360 this is definitely their biggest hit, reached 00:39:23.360 --> 00:39:26.079 number five on the Billboard Modern Rock chart 00:39:26.079 --> 00:39:29.739 and number 27 on the Billboard Mainstream chart. 00:39:30.239 --> 00:39:32.539 And it's a group that I think just overall is 00:39:32.539 --> 00:39:36.360 criminally underrated once again. From 1992's 00:39:36.360 --> 00:39:39.400 Puzzle, we're going to go with Dada and Disneyland. 00:39:40.219 --> 00:39:45.639 D -I -Z -Z -K -N -E -E. And then you know how 00:39:45.639 --> 00:39:48.460 to spell land. So you didn't get sued. Exactly. 00:39:48.579 --> 00:39:51.539 But that song was just so, when you listen to 00:39:51.539 --> 00:39:55.940 the lyrics, it's this really catchy indie rock 00:39:55.940 --> 00:39:59.639 tune with these really depressing, sad lyrics. 00:39:59.920 --> 00:40:03.260 There was a perfect musical yin and yang and 00:40:03.260 --> 00:40:05.800 the push and pull between the upbeat nature of 00:40:05.800 --> 00:40:10.920 the song and its tone. is similar to that of 00:40:10.920 --> 00:40:13.300 the toadies possum kingdom, while maybe a little 00:40:13.300 --> 00:40:15.639 less visceral in the chorus. It's definitely 00:40:15.639 --> 00:40:18.079 a little bit more, I don't want to say soft, 00:40:18.159 --> 00:40:22.300 but it's definitely more, it's not as heavy as 00:40:22.300 --> 00:40:24.960 the toadies possum kingdom, but it's definitely 00:40:24.960 --> 00:40:29.139 stays down that vein. And musically, I think 00:40:29.139 --> 00:40:31.639 coming out of sponge into toadies into Dada is 00:40:31.639 --> 00:40:34.420 definitely telling a story here on side B so 00:40:34.420 --> 00:40:38.099 far. I love it. I love it. So we're, we're, Coming 00:40:38.099 --> 00:40:41.440 out of a Disneyland, and we can still talk about 00:40:41.440 --> 00:40:43.219 a little bit, you know, we could stay in that 00:40:43.219 --> 00:40:45.579 groove a little bit that we've got established 00:40:45.579 --> 00:40:48.860 here. How about, this is a band that I think 00:40:48.860 --> 00:40:51.400 also should have gone much further than it did. 00:40:51.860 --> 00:40:54.840 When I think, this might be a stretch, but in 00:40:54.840 --> 00:40:57.340 my brain, when I think of this band, I'm thinking 00:40:57.340 --> 00:41:00.519 about how they were kind of almost miscategorized, 00:41:00.519 --> 00:41:03.659 almost like a Cinderella, where they kind of 00:41:03.659 --> 00:41:06.179 got lumped into the hair metal era, but they 00:41:06.179 --> 00:41:08.630 were so much more than that. And I think when 00:41:08.630 --> 00:41:12.050 you think of a meat puppets band, they are not 00:41:12.050 --> 00:41:15.690 your classic quote unquote alternative band. 00:41:15.789 --> 00:41:18.769 They just were like the cult very much. So like 00:41:18.769 --> 00:41:23.510 a real grungy rock band. And I'm going with Blackwater. 00:41:23.809 --> 00:41:28.269 Yes. Thank you. Somebody had to say it, right? 00:41:28.369 --> 00:41:32.210 This was definitely on my list. Meat puppets 00:41:32.210 --> 00:41:36.039 have a massive. discography their first album 00:41:36.039 --> 00:41:40.179 came out in 1982 their most recent album was 00:41:40.179 --> 00:41:45.059 i want to say 2019 they have a massive discography 00:41:45.059 --> 00:41:48.559 of music but it was them working with nirvana 00:41:48.559 --> 00:41:51.340 on the unplugged special that really kind of 00:41:51.340 --> 00:41:54.159 pulled them into the alternative mtv universe 00:41:54.159 --> 00:41:58.159 and then 94 is too high to die capitalized on 00:41:58.159 --> 00:42:02.719 it and they became kind of part of that scene 00:42:03.869 --> 00:42:08.369 12 years into the band's run yeah so to meet 00:42:08.369 --> 00:42:11.610 puppet fans it's ridiculous that we're saying 00:42:11.610 --> 00:42:14.750 this because they're still at it and doing amazing 00:42:14.750 --> 00:42:18.909 things however in the grand scheme of music in 00:42:18.909 --> 00:42:22.670 the 90s this song is friggin underrated as hell 00:42:22.670 --> 00:42:25.050 absolutely it's one of those ones that i bet 00:42:25.050 --> 00:42:27.070 you there's some people that are going i don't 00:42:27.070 --> 00:42:29.150 think i've ever heard this song but as soon as 00:42:29.150 --> 00:42:32.650 you hear that guitar riff you're like oh wait 00:42:32.650 --> 00:42:34.989 a minute i remember this i didn't know this was 00:42:34.989 --> 00:42:37.610 who did that because it was all over radio at 00:42:37.610 --> 00:42:40.389 the time exactly and i think what i'm going to 00:42:40.389 --> 00:42:43.570 do to follow that up is i'm going to bring it 00:42:43.570 --> 00:42:47.789 slightly down but kind of in the same vibe in 00:42:47.789 --> 00:42:52.010 the same era and we talked about harvey danger's 00:42:52.010 --> 00:42:55.929 flagpole city being attached to the disturbing 00:42:55.929 --> 00:42:58.750 behavior trailers i'm going to go with a song 00:42:58.750 --> 00:43:02.090 that specifically from the Disturbing Behavior 00:43:02.090 --> 00:43:05.789 soundtrack, as well as the band's 1998 album, 00:43:05.949 --> 00:43:08.710 Holiday Man. And I'm going to go with The Fly's 00:43:08.710 --> 00:43:11.789 Got You Where I Want You. Reach number four on 00:43:11.789 --> 00:43:14.909 the US bubbling under Hot 100 singles chart. 00:43:15.250 --> 00:43:20.730 This song mixed that alternative rock sound with, 00:43:20.789 --> 00:43:23.409 I don't even know what you call it at the end, 00:43:23.449 --> 00:43:28.360 this kind of reggae kind of... sublime type delivery 00:43:28.360 --> 00:43:33.559 over heavy guitars and the riff is so simplistic 00:43:33.559 --> 00:43:38.659 and so repetitive the song is e to a that's it 00:43:38.659 --> 00:43:44.659 and yet it's hypnotizing and it pulls you in 00:43:44.659 --> 00:43:48.760 slowly the song continuously builds and the vocals 00:43:48.760 --> 00:43:53.199 the falsetto hits in the chorus it kind of brings 00:43:53.199 --> 00:43:55.579 you in and out of this driving verse into this 00:43:55.980 --> 00:43:58.639 beautiful chorus then into this reggae over heavy 00:43:58.639 --> 00:44:03.099 guitars into this big bombastic closing this 00:44:03.099 --> 00:44:06.219 song covered a lot of ground and i'm shocked 00:44:06.219 --> 00:44:09.760 that with the movie exposure and the soundtrack 00:44:09.760 --> 00:44:15.139 exposure that the flies didn't do more and got 00:44:15.139 --> 00:44:16.920 you where i want you is just a hell of a tune 00:44:16.920 --> 00:44:19.440 so i think coming out of backwater it's a nice 00:44:19.440 --> 00:44:23.239 fit as well yeah i like it a lot i um again you 00:44:23.239 --> 00:44:26.989 mentioned Holiday Man in 1998, Disturbing Behavior 00:44:26.989 --> 00:44:30.630 starring, was it James Marsden was in that from 00:44:30.630 --> 00:44:34.130 X -Men? Very, very cool. And then when you follow 00:44:34.130 --> 00:44:37.849 up, they had their second single, She's So Huge, 00:44:38.070 --> 00:44:42.650 right? Adam Paskowitz, his voice is unbelievable 00:44:42.650 --> 00:44:46.570 and it fit in that genre perfectly. Yeah, She's 00:44:46.570 --> 00:44:49.630 So Huge did a little bit of damage on the alternative 00:44:49.630 --> 00:44:53.070 airplay charts, but it was nothing. Compared 00:44:53.070 --> 00:44:56.329 to the punch that Got You Where I Want You was. 00:44:56.550 --> 00:45:00.929 So She's So Huge would also fit under that possibly 00:45:00.929 --> 00:45:04.710 two hit wonders. That's right. Category. Because 00:45:04.710 --> 00:45:08.070 this would be the forgotten hit. I have Holiday 00:45:08.070 --> 00:45:10.250 Man. I think the entire album is actually really 00:45:10.250 --> 00:45:13.489 good. And they did put out another album after 00:45:13.489 --> 00:45:17.309 Holiday Man. Only two years later, it was called 00:45:17.309 --> 00:45:20.349 Out of My Way, I think. And then that was it, 00:45:20.429 --> 00:45:25.610 unfortunately. great band great song and uh kind 00:45:25.610 --> 00:45:28.489 of leaving you for the second half of this side 00:45:28.489 --> 00:45:30.670 you can kind of take this in any direction you 00:45:30.670 --> 00:45:33.250 want i think because the song ends kind of heavy 00:45:33.250 --> 00:45:35.610 kind of upbeat a little bit we're coming out 00:45:35.610 --> 00:45:39.250 of the slower backwater kind of mid -tempo -y 00:45:39.250 --> 00:45:41.809 type thing you can kind of bring it down more 00:45:41.809 --> 00:45:44.130 you could start working it back up for the second 00:45:44.130 --> 00:45:47.579 half of side b here I think you mentioned a band 00:45:47.579 --> 00:45:50.780 that I want to use. And another one of them that 00:45:50.780 --> 00:45:53.460 I had kind of an inkling flash across my head 00:45:53.460 --> 00:45:56.980 on side A of this fantastic tape. I think that 00:45:56.980 --> 00:46:00.219 this band had some really good songs to come 00:46:00.219 --> 00:46:03.900 out. This one, I think, was relatively overlooked. 00:46:04.260 --> 00:46:07.179 And it's unfortunate what has happened to this 00:46:07.179 --> 00:46:11.920 band. And that plays no small factor into it. 00:46:13.019 --> 00:46:15.420 you know, the lead singer is no longer with us, 00:46:15.460 --> 00:46:19.559 but still the music is really good. And we were 00:46:19.559 --> 00:46:22.260 talking about, uh, songs like super drag sucked 00:46:22.260 --> 00:46:25.400 out. And I think this song fits perfectly next 00:46:25.400 --> 00:46:27.699 to a song like that. So this is a good place 00:46:27.699 --> 00:46:30.860 to kind of put this back into the mix. We're 00:46:30.860 --> 00:46:33.480 going to talk about sublimes wrong way. Ooh. 00:46:33.699 --> 00:46:37.119 Okay. I absolutely love the song. It's another 00:46:37.119 --> 00:46:39.940 one of those, you know, dark lyrics and dark 00:46:39.940 --> 00:46:42.880 subject matter, but the. The tone is poppy and 00:46:42.880 --> 00:46:46.820 very bouncy, and you've got that ska pop punk 00:46:46.820 --> 00:46:50.539 kind of feel to it. So it's a great way to kind 00:46:50.539 --> 00:46:52.980 of take the side of the tape to the next level. 00:46:53.219 --> 00:46:58.119 I absolutely love this pick, and Sublime was 00:46:58.119 --> 00:47:01.820 tragically cut short. I feel like Sublime would 00:47:01.820 --> 00:47:06.300 have been one of the biggest bands of the 90s, 00:47:06.300 --> 00:47:09.659 especially the latter half, into the 2000s. Had 00:47:09.659 --> 00:47:13.400 Bradley Knoll not sadly passed. I feel like this 00:47:13.400 --> 00:47:16.099 has been a very long time coming. Sublime has 00:47:16.099 --> 00:47:17.360 still been around. They've been doing the thing 00:47:17.360 --> 00:47:20.480 with Rome for many years. Sure. Just this past 00:47:20.480 --> 00:47:25.239 December, Sublime reunited with, are you ready 00:47:25.239 --> 00:47:30.639 for it? Jacob Knoll, Bradley's son, is now singing 00:47:30.639 --> 00:47:34.079 for Sublime. And if you look at some of the videos 00:47:34.079 --> 00:47:37.570 that are out of what they did. sublime is back 00:47:37.570 --> 00:47:41.269 and oh my god he brings the same nuances that 00:47:41.269 --> 00:47:45.110 his father had with a youthful energy to it i 00:47:45.110 --> 00:47:47.230 think sublime is going to come back big time 00:47:47.230 --> 00:47:50.269 i really just they've always been a fantastic 00:47:50.269 --> 00:47:52.650 group i've loved everything they've done with 00:47:52.650 --> 00:47:54.989 rome and i know they're doing some shows throughout 00:47:54.989 --> 00:47:59.530 2024 as like farewell to sublime with rome and 00:47:59.530 --> 00:48:03.389 sublime is now popping up on festivals with jacob 00:48:03.389 --> 00:48:06.920 on vocals and I'm here for it. I mean, look, 00:48:07.019 --> 00:48:10.039 if you're going to continue the legacy, why not 00:48:10.039 --> 00:48:13.139 Bradley's son? Definitely. You can't get better 00:48:13.139 --> 00:48:16.960 than that. So I love this pick. And coming out 00:48:16.960 --> 00:48:21.460 of it, I'm going to go with one that's not necessarily, 00:48:21.619 --> 00:48:25.480 I'm going to pull the ska part out of this. And 00:48:25.480 --> 00:48:29.019 this song was originally recorded in 1995 for 00:48:29.019 --> 00:48:32.139 the band's Bumper to Bumper album. but then became 00:48:32.139 --> 00:48:36.699 popular four years later in 1999 when the band 00:48:36.699 --> 00:48:40.440 re -recorded the track for Nasty Little Thoughts. 00:48:40.699 --> 00:48:43.079 You might remember this group as the band who 00:48:43.079 --> 00:48:45.760 sang Kick Some Ass and Jay and Silent Bob's Strike 00:48:45.760 --> 00:48:48.820 Back, but we are going back to 1999. The song 00:48:48.820 --> 00:48:50.920 reached number four on the U .S. bubbling under 00:48:50.920 --> 00:48:55.079 Hot 100 singles. Stroke 9, Little Black Backpack. 00:48:55.300 --> 00:48:58.719 So much fun. This is one of those songs, again, 00:48:58.820 --> 00:49:01.239 it features that falsetto that I talked about 00:49:01.239 --> 00:49:04.519 in The Fly's Got You Where I Want You. And we 00:49:04.519 --> 00:49:06.460 mentioned Wheatus. Obviously, they're not in 00:49:06.460 --> 00:49:09.639 the 90s. But that falsetto that was worked into 00:49:09.639 --> 00:49:11.800 alternative music towards the latter half of 00:49:11.800 --> 00:49:14.860 the decade. Stroke 9 does it so well. This song's 00:49:14.860 --> 00:49:18.039 got the off time for the verses and then just 00:49:18.039 --> 00:49:21.880 the happy -go -lucky bouncy chorus. Colburn and 00:49:21.880 --> 00:49:23.900 Company's played this song randomly over the 00:49:23.900 --> 00:49:28.349 years. And if the audience is our age, you see 00:49:28.349 --> 00:49:31.690 at least half the room light up like, oh my God, 00:49:31.750 --> 00:49:34.289 I haven't heard this song in so long. And they 00:49:34.289 --> 00:49:37.329 know every single word to it. And to me, I wish 00:49:37.329 --> 00:49:39.710 more people did because kick some ass is a great 00:49:39.710 --> 00:49:42.670 song. Vacuum bag. Stroke nine is a great band. 00:49:43.250 --> 00:49:45.650 And the fact that they never cracked the top 00:49:45.650 --> 00:49:48.730 100 again, shocks me. Absolutely. Little black 00:49:48.730 --> 00:49:51.510 backpack. That's a great tune as a great pick. 00:49:51.590 --> 00:49:54.000 And yeah, a lot of people. A lot of the indie 00:49:54.000 --> 00:49:57.840 culture knows kick some ass and not necessarily 00:49:57.840 --> 00:50:02.159 the stroke stroke nines. Yeah, they're just they're 00:50:02.159 --> 00:50:05.619 supremely underrated bands completely. And we 00:50:05.619 --> 00:50:08.059 could we could talk to Jim Santoro about that 00:50:08.059 --> 00:50:10.760 all day. I'm sure he would he would agree with 00:50:10.760 --> 00:50:14.000 us on that. Yeah. Jim is the author of the underrated 00:50:14.000 --> 00:50:16.300 rock book and the underrated rock book, too. 00:50:16.420 --> 00:50:19.639 You know, he has been on the show before. Obviously, 00:50:19.780 --> 00:50:21.699 he's that when he sees this episode out there, 00:50:21.739 --> 00:50:25.460 he's going to be like, guys. The hell, man. I 00:50:25.460 --> 00:50:28.460 am still over here. We will definitely be having 00:50:28.460 --> 00:50:30.920 Jim back on again soon, but obviously be sure 00:50:30.920 --> 00:50:32.480 to check out those books if you want to read 00:50:32.480 --> 00:50:35.940 about a lot of great underrated rock albums. 00:50:36.400 --> 00:50:38.380 But Jay, what are you going to come out a little 00:50:38.380 --> 00:50:40.599 black backpack with? I'm going to take a hard 00:50:40.599 --> 00:50:43.039 left here. It's not quite the Marky Mark and 00:50:43.039 --> 00:50:45.480 the Funky Bunch hard left, but I'm going to go 00:50:45.480 --> 00:50:47.820 in a bit of a different direction. We're going 00:50:47.820 --> 00:50:51.480 to keep that poppy feel with the light kind of 00:50:51.480 --> 00:50:55.719 bounce to it. And let's go back to Big Audio 00:50:55.719 --> 00:51:00.199 Dynamite and Rush. Whoa. It's another one of 00:51:00.199 --> 00:51:04.940 those early 90s tunes that, you know, was used 00:51:04.940 --> 00:51:07.480 all over the place, I'm sure, in all sorts of 00:51:07.480 --> 00:51:11.179 trailers and commercials and such. And it's got 00:51:11.179 --> 00:51:14.199 the fallout of the rift between The Clash and, 00:51:14.300 --> 00:51:17.800 you know, how Joe Strummer decided that they 00:51:17.800 --> 00:51:20.480 were going to do a more pop thing versus a more 00:51:20.480 --> 00:51:24.150 punk thing. We ended up with Big Audio Dynamite. 00:51:24.610 --> 00:51:28.510 That we did. This is a group that was, I'll just 00:51:28.510 --> 00:51:30.670 go ahead and say it, ahead of its time. I think 00:51:30.670 --> 00:51:33.630 this song did crack the top 40, though. I'm pretty 00:51:33.630 --> 00:51:38.030 sure it did. Yeah, I was not, in full honesty, 00:51:38.130 --> 00:51:42.070 in 1991, I was not listening to as much Big Audio 00:51:42.070 --> 00:51:45.570 Dynamite as I was Metallica, Red Hot Chili Peppers, 00:51:45.650 --> 00:51:48.789 Pearl Jam, Nirvana. I was, as a freshman in high 00:51:48.789 --> 00:51:51.840 school, in that phase of life. Looking back, 00:51:51.860 --> 00:51:53.480 I'm not going to lie, I'm kind of mad at myself 00:51:53.480 --> 00:51:55.980 because this is a great album. And when I discovered 00:51:55.980 --> 00:51:59.480 it a few years later, I realized what I had missed 00:51:59.480 --> 00:52:04.019 out on. But coming out of it, I have two songs 00:52:04.019 --> 00:52:05.880 I want to go with here because this is my last 00:52:05.880 --> 00:52:09.980 pick of the night. Do I lean into that dancey 00:52:09.980 --> 00:52:14.000 kind of vibe? Or do I pull it back to the rock 00:52:14.000 --> 00:52:17.559 side of things? Just a little bit. Either way, 00:52:17.599 --> 00:52:21.860 I have an answer. I mean, help me out, Jay. What 00:52:21.860 --> 00:52:24.039 would you do in this situation? Would you lean 00:52:24.039 --> 00:52:26.440 into the dance or would you pivot back to the 00:52:26.440 --> 00:52:29.239 rock? Help me out. Because I'm literally 100 00:52:29.239 --> 00:52:32.179 % torn on these two songs. I love them both. 00:52:32.519 --> 00:52:34.280 I don't know, man. I don't think we've got enough 00:52:34.280 --> 00:52:37.000 dance on this record yet. I would lean a little 00:52:37.000 --> 00:52:38.780 bit more to that side, I guess. Okay, so then 00:52:38.780 --> 00:52:40.440 I'm going to say the song that I was going to 00:52:40.440 --> 00:52:41.800 because people would be like, what the hell was 00:52:41.800 --> 00:52:45.599 the other one? So the other one. There's already 00:52:45.599 --> 00:52:47.780 a full episode of My Weekly Mixtape dedicated 00:52:47.780 --> 00:52:50.559 to this artist, so I don't feel as guilty. I 00:52:50.559 --> 00:52:52.659 was going to put Letters to Cleo's Here and Now 00:52:52.659 --> 00:52:57.059 from 1995's Aurora Goriales. Yep. Episode 44, 00:52:57.480 --> 00:53:00.500 Kay Hanley and I had just such an amazing discussion. 00:53:00.880 --> 00:53:03.519 If you're a fan of Letters to Cleo, please, please, 00:53:03.579 --> 00:53:05.380 please go check out that episode. Check out their 00:53:05.380 --> 00:53:08.659 new music. Kay is a national treasure. Let me 00:53:08.659 --> 00:53:10.699 stroke My Weekly Mixtape for a minute because 00:53:10.699 --> 00:53:13.940 that interview was fantastic and I loved listening. 00:53:14.489 --> 00:53:17.289 to her and then talking about her interactions 00:53:17.289 --> 00:53:21.630 with Adam Schlesinger and the, I mean the, the 00:53:21.630 --> 00:53:25.690 emotion that came out of that. Just so good. 00:53:25.889 --> 00:53:28.349 Well, thank you, man. Yeah. That, that whole 00:53:28.349 --> 00:53:31.309 interview, that was one of my, honestly, one 00:53:31.309 --> 00:53:33.710 of my favorite moments as a podcaster. That interview 00:53:33.710 --> 00:53:36.909 was just on another level. Yeah. You should be 00:53:36.909 --> 00:53:38.610 proud of my man. That was a good one. Thank you. 00:53:38.829 --> 00:53:42.150 All right. So with a hundred percent love going 00:53:42.150 --> 00:53:45.510 out to letters to Cleo, I'll lean into the dance. 00:53:45.710 --> 00:53:47.409 And this is, I had mentioned this at the top 00:53:47.409 --> 00:53:48.929 of the show. Cause you had said you had pop and 00:53:48.929 --> 00:53:51.230 dance in your mind. This was the song that to 00:53:51.230 --> 00:53:54.510 me blurs the line between rock and dance came 00:53:54.510 --> 00:53:57.750 out in 1996. And this band had two hits from 00:53:57.750 --> 00:54:01.469 this album. They had one track called drop dead 00:54:01.469 --> 00:54:04.269 gorgeous, which reached number 93 on the U S 00:54:04.269 --> 00:54:06.909 billboard hot 100. But I'm going to go with the 00:54:06.909 --> 00:54:10.329 song that reached number 56. And I'm going to 00:54:10.329 --> 00:54:13.260 go with Republic is ready to go. Now, this is 00:54:13.260 --> 00:54:15.840 a song that you hear in stadiums. You hear it 00:54:15.840 --> 00:54:18.380 in sports promos. You hear it in movie trailers 00:54:18.380 --> 00:54:23.039 and movies, TV shows. When you hear the song, 00:54:23.260 --> 00:54:26.119 most people are going to go, oh, I know this 00:54:26.119 --> 00:54:30.860 from this or from that or from here or from there 00:54:30.860 --> 00:54:35.019 because the song is everywhere. Yet, I don't 00:54:35.019 --> 00:54:38.119 think people talk about this song as much as 00:54:38.119 --> 00:54:40.780 they should. The song didn't even crack the top 00:54:40.780 --> 00:54:44.320 40, and yet it's a stadium anthem. Oh, yeah. 00:54:44.539 --> 00:54:47.920 It was on Jock Rock, right? Or Jock Jams? Yeah, 00:54:47.960 --> 00:54:50.320 that was on Jock Jams Volume 3. So here's the 00:54:50.320 --> 00:54:52.380 song that's kind of rock because you've got that 00:54:52.380 --> 00:54:55.880 and you got the acoustic guitar in the beginning, 00:54:55.920 --> 00:54:58.699 but it's up against songs like Tribal Dance by 00:54:58.699 --> 00:55:00.900 2 Unlimited and Come on, Ride the Train by Quad 00:55:00.900 --> 00:55:04.320 City DJs. And it worked as a Jock Jam, but it 00:55:04.320 --> 00:55:07.380 also worked as an alternative rock song. Yep. 00:55:07.639 --> 00:55:09.619 Because of the acoustic guitar and her voice 00:55:09.619 --> 00:55:12.619 is so just perfect. It had that little bit of 00:55:12.619 --> 00:55:15.519 raspiness, a little bit of distortion to it. 00:55:15.579 --> 00:55:17.260 Almost sounded like she was singing through a 00:55:17.260 --> 00:55:20.139 megaphone at times. I love that effect in the 00:55:20.139 --> 00:55:22.059 90s. And this is one of those songs that you 00:55:22.059 --> 00:55:24.699 could play in a dance club and a rock club and 00:55:24.699 --> 00:55:27.559 pull it off seamlessly. So as my last contribution 00:55:27.559 --> 00:55:30.699 tonight, coming out of Big Audio Dynamite, we're 00:55:30.699 --> 00:55:32.900 going to go with Republic is Ready to Go. That's 00:55:32.900 --> 00:55:36.880 fantastic. It's a great, great band overlooked. 00:55:37.559 --> 00:55:40.000 Big time. I think, again, if you're a sports 00:55:40.000 --> 00:55:42.219 fanatic of any kind, you've come across that 00:55:42.219 --> 00:55:45.119 song, at least snippets of it. We rocked that 00:55:45.119 --> 00:55:48.019 song hard in the college days back when they 00:55:48.019 --> 00:55:51.920 flipped formats back from Alternative to Top 00:55:51.920 --> 00:55:54.760 40. So, you know, it was a great record. And 00:55:54.760 --> 00:55:57.519 it really, I'm not ashamed to say, I would use 00:55:57.519 --> 00:56:00.239 that before tests. I'd get pumped up. You know, 00:56:00.260 --> 00:56:03.000 that was my pump -up mix tape that I would listen 00:56:03.000 --> 00:56:05.860 to before tests. Okay. And I should probably 00:56:05.860 --> 00:56:08.679 point out. to our friends listening in the UK, 00:56:08.820 --> 00:56:11.500 they might be throwing their hands up in the 00:56:11.500 --> 00:56:14.360 air because Republica is from the UK and they 00:56:14.360 --> 00:56:16.199 are a lot bigger there than they are here in 00:56:16.199 --> 00:56:20.360 the US. So this is definitely coming from a underrated 00:56:20.360 --> 00:56:23.199 in the US perspective because I think that, I 00:56:23.199 --> 00:56:26.440 mean, they have a greatest hits album out. So 00:56:26.440 --> 00:56:29.119 they probably are a lot bigger in the UK and 00:56:29.119 --> 00:56:31.639 a lot more widely known. So to our friends that 00:56:31.639 --> 00:56:34.940 are listening in the UK, I apologize. But here 00:56:34.940 --> 00:56:37.920 in the US, they are criminally underrated. You 00:56:37.920 --> 00:56:40.579 can throw a band like that, you know, like a 00:56:40.579 --> 00:56:44.539 Republica in with the Chumbawamba, right? Because, 00:56:44.539 --> 00:56:48.420 again, they're huge over in England and they 00:56:48.420 --> 00:56:50.420 didn't make it over here, which is unfortunate 00:56:50.420 --> 00:56:52.920 because that song, everybody knows that song. 00:56:53.019 --> 00:56:55.619 Everybody knows Tub Thumbing. Yeah, but the thing 00:56:55.619 --> 00:56:58.519 is, tub thumping is not indicative of Chumbawamba 00:56:58.519 --> 00:57:00.940 as a band at all. And I think that's the problem. 00:57:01.179 --> 00:57:03.960 They did not have another tub thumping because 00:57:03.960 --> 00:57:06.920 that's not what Chumbawamba is as a band. That's 00:57:06.920 --> 00:57:09.519 right. That's the issue there. Very much like 00:57:09.519 --> 00:57:13.619 how we've kind of hinted at Smash Mouth with 00:57:13.619 --> 00:57:16.019 Walking on the Sun, how that was just a complete 00:57:16.019 --> 00:57:19.750 departure from the rest of their sound. I'm going 00:57:19.750 --> 00:57:21.530 to be perfectly honest, Jay, when you were leading 00:57:21.530 --> 00:57:23.590 up to Sublime's Wrong Way and you talked about 00:57:23.590 --> 00:57:25.829 the singer passing, I really thought you were 00:57:25.829 --> 00:57:27.929 talking about Smash Mouth's Walking on the Sun 00:57:27.929 --> 00:57:33.489 because everybody knows All -Star in the 2000s. 00:57:33.489 --> 00:57:36.050 But this was pre -All -Star. And at the time, 00:57:36.170 --> 00:57:39.769 Walking on the Sun was a very underrated rock 00:57:39.769 --> 00:57:42.690 radio staple. Yep. And then, of course, they 00:57:42.690 --> 00:57:45.210 did the entirety of the Shrek soundtracks. Yes. 00:57:45.369 --> 00:57:49.409 Yes. And rest in peace, Steve. So, you know, 00:57:49.409 --> 00:57:54.670 but also it kind of feels like Sugar Ray. Sugar 00:57:54.670 --> 00:57:58.389 Ray did a total 180 from Lemonade and Brownies 00:57:58.389 --> 00:58:01.889 into Fly and Every Morning. That's right. And 00:58:01.889 --> 00:58:05.210 all the other stuff they did post Lemonade and 00:58:05.210 --> 00:58:07.269 Brownies. Mean Machine and Rhyme Stealer are 00:58:07.269 --> 00:58:09.309 a completely different band. Sugar Ray toured 00:58:09.309 --> 00:58:12.250 with Korn. Yeah, that's crazy to me. Prior to 00:58:12.250 --> 00:58:17.059 Sugar Ray going out with Pop Axe. And it's such 00:58:17.059 --> 00:58:19.840 a 180. I think we talked about that on TuneStyle's 00:58:19.840 --> 00:58:22.920 second episode, Musical 180s. That's definitely 00:58:22.920 --> 00:58:26.059 one of them. So Jay, now, we have talked about 00:58:26.059 --> 00:58:29.639 19 different, unique, underrated 90s artists, 00:58:29.679 --> 00:58:33.480 and you get to close things out. What Marky Mark 00:58:33.480 --> 00:58:37.369 and the Funky Bucks sound? And why is it good 00:58:37.369 --> 00:58:39.610 vibrations? No, you'd go with You Gotta Believe 00:58:39.610 --> 00:58:41.630 if you're going to pick another underrated Marky 00:58:41.630 --> 00:58:44.809 Mark song. I would probably pick something from 00:58:44.809 --> 00:58:50.250 his Steel Dragon era. I don't know. No, it's 00:58:50.250 --> 00:58:53.110 a tough one. Honey, what are we coming out of 00:58:53.110 --> 00:58:57.409 Republica with? That's a high -energy, up -tempo 00:58:57.409 --> 00:59:00.409 song. You know, I really want to go with Matthew 00:59:00.409 --> 00:59:03.179 Sweet here. No relation. But I don't know if 00:59:03.179 --> 00:59:04.840 I want to go with Girlfriend or if I want to 00:59:04.840 --> 00:59:07.340 go with Sick of Myself. Because both of them 00:59:07.340 --> 00:59:09.480 were criminally underrated songs. That's going 00:59:09.480 --> 00:59:11.860 to be our catchphrase for tonight. You know what? 00:59:11.900 --> 00:59:13.900 Let's go with Sick of Myself just because it 00:59:13.900 --> 00:59:18.119 has that drive to it. I love that song. One of 00:59:18.119 --> 00:59:20.840 my first college bands covered that. I love playing 00:59:20.840 --> 00:59:23.880 bass to that one. There is a real groove to that 00:59:23.880 --> 00:59:27.699 song. And you and I are both big Bowling for 00:59:27.699 --> 00:59:30.820 Soup fans. Yep. They do a great cover of it. 00:59:31.150 --> 00:59:33.369 I'm Sick of Myself is just one of those songs 00:59:33.369 --> 00:59:37.210 that I think had its moment on top 40 radio, 00:59:37.369 --> 00:59:42.150 but didn't truly represent how amazing of an 00:59:42.150 --> 00:59:45.869 artist Matthew Sweet is. Because Girlfriend was 00:59:45.869 --> 00:59:50.590 just, again, such another unique, incredible 00:59:50.590 --> 00:59:54.610 song. And he's done so much since then. Yeah. 00:59:54.849 --> 00:59:59.789 But 100 % Fun was really his biggest dabble. 01:00:00.970 --> 01:00:04.469 With the charts as it reached number two on the 01:00:04.469 --> 01:00:06.750 Billboard Modern Rock charts. I think you're 01:00:06.750 --> 01:00:11.889 right. But even then, it wasn't much. And how 01:00:11.889 --> 01:00:17.150 he's so consistently amazing. It's, again, crowded 01:00:17.150 --> 01:00:20.250 market. And, you know, there are only so many 01:00:20.250 --> 01:00:23.949 top 40 slots to hand out. But you get he was 01:00:23.949 --> 01:00:28.969 on that the mid 90s. They did cartoons. Like, 01:00:28.969 --> 01:00:31.869 they got a bunch of Saturday morning cartoon 01:00:31.869 --> 01:00:35.050 soundtracks. And he did the Scooby -Doo theme 01:00:35.050 --> 01:00:39.090 song. Yeah, that is one of my absolute favorite 01:00:39.090 --> 01:00:43.309 90s compilations between his version of Scooby 01:00:43.309 --> 01:00:45.250 -Doo's Where Are You? You had Sponge, somebody 01:00:45.250 --> 01:00:46.769 we talked about at the beginning of the side, 01:00:46.889 --> 01:00:50.889 doing Go Speed Racer Go. You had Julianna Hatfield 01:00:50.889 --> 01:00:53.849 doing Josie and the Pussycats. You had the Ramones 01:00:53.849 --> 01:00:57.369 doing Spider -Man. Violent Femmes doing Eep Op 01:00:57.369 --> 01:01:00.769 Ork Aha means I love you from the Jetsons. We 01:01:00.769 --> 01:01:03.989 also talked about Sublime in this side. They 01:01:03.989 --> 01:01:07.530 did Hong Kong Fooey. You had Face to Face doing 01:01:07.530 --> 01:01:10.369 the punk cover of I'm Popeye the Sailor Man and 01:01:10.369 --> 01:01:14.610 Dig doing Fat Albert's theme, which Dig was actually 01:01:14.610 --> 01:01:17.050 in my list as well tonight. Oh, very cool. We 01:01:17.050 --> 01:01:19.409 didn't get to it. And then finally you had Wax 01:01:19.409 --> 01:01:23.130 doing Happy Happy Joy Joy. Seriously, this compilation 01:01:23.130 --> 01:01:27.429 is 90s. alternative rock perfection because it's 01:01:27.429 --> 01:01:31.929 just oozing with nostalgia, but felt so fresh 01:01:31.929 --> 01:01:34.369 and modern. You could rock it from start to finish. 01:01:34.789 --> 01:01:38.210 Talk about an underrated compilation of the nineties. 01:01:38.250 --> 01:01:41.489 This is just frigging amazing. Yeah, definitely. 01:01:42.119 --> 01:01:44.280 Totally sidebarred with that, but there you have 01:01:44.280 --> 01:01:47.360 it, folks. Side B of our ultimate underrated 01:01:47.360 --> 01:01:50.559 90s rock songs mixtape, which kicked off with 01:01:50.559 --> 01:01:54.119 Sponge's Wax -A -Static to sell Angelina, Toadie's 01:01:54.119 --> 01:01:57.960 Possum Kingdom, Dada's Disneyland, Neat Puppet's 01:01:57.960 --> 01:02:00.820 Backwater, The Fly's Got You Where I Want You, 01:02:01.139 --> 01:02:04.280 Sublime's Wrong Way, Stroke Nine's Little Black 01:02:04.280 --> 01:02:08.119 Backpack, Big Audio Dynamite's Rush, Republica's 01:02:08.119 --> 01:02:11.530 Ready to Go, and Matthew Sweets, Sick of Myself, 01:02:11.550 --> 01:02:14.710 No Relation to Jay. Head over to myweeklymixtape 01:02:14.710 --> 01:02:16.969 .com to hear all the songs we've discussed in 01:02:16.969 --> 01:02:20.010 this mix through the playlist embedded on the 01:02:20.010 --> 01:02:23.230 episode page. Jay, as always a blast. I'll get 01:02:23.230 --> 01:02:26.710 working on that jacket. I'm going to see if maybe 01:02:26.710 --> 01:02:29.190 I could start knitting something out of yarn 01:02:29.190 --> 01:02:32.550 or whatever. I'll figure something out. That'll 01:02:32.550 --> 01:02:34.889 work great for Chicago weather. Yeah. Thank you 01:02:34.889 --> 01:02:36.849 for being a five -time guest. Looking forward 01:02:36.849 --> 01:02:39.429 to six, seven, eight, nine, 10. Well, thanks 01:02:39.429 --> 01:02:41.550 for having me back on my friend. It's always 01:02:41.550 --> 01:02:44.210 a pleasure. And as proven before, we could just 01:02:44.210 --> 01:02:46.590 sit here and talk music all day. Yeah. I think 01:02:46.590 --> 01:02:48.869 81 episodes of tune styles would prove that. 01:02:48.889 --> 01:02:50.949 And then some, but thank you again, dude, looking 01:02:50.949 --> 01:02:53.230 forward to the next time. And to everyone out 01:02:53.230 --> 01:02:55.349 there listening, remember you can find my weekly 01:02:55.349 --> 01:02:57.829 mixtape on almost all the social media haunts 01:02:57.829 --> 01:03:01.889 at. My Weekly Mixtape. You can also head to myweeklymixtape 01:03:01.889 --> 01:03:04.829 .com to check out the full catalog of My Weekly 01:03:04.829 --> 01:03:07.090 Mixtape episodes. And if you like what you're 01:03:07.090 --> 01:03:08.849 hearing on the show, you can help me out by either 01:03:08.849 --> 01:03:11.469 telling a friend, leaving the show a five -star 01:03:11.469 --> 01:03:14.429 review wherever you're tuning in, or becoming 01:03:14.429 --> 01:03:17.920 a Patreon mixtaper at patreon .com. forward slash 01:03:17.920 --> 01:03:21.340 My Weekly Mixtape. There you can enjoy ad -free 01:03:21.340 --> 01:03:23.780 episodes of the show, become a future guest, 01:03:24.000 --> 01:03:27.139 and so much more. That's all for this week. Thanks 01:03:27.139 --> 01:03:29.920 again for listening, and until next time, enjoy 01:03:29.920 --> 01:03:30.420 the tunes.