WEBVTT

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Hey, what's up everybody? It's rock and roll

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comedian Don Jameson, and right now you're listening

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to the heaviest, girthiest podcast of my weekly

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mixtape with Brian Colburn, Crank It. Welcome

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to My Weekly Mixtape, a podcast that takes the

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classic mixtape approach to building a modern

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playlist. I'm your host, Brian Colburn. You might

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know tonight's guest curator from his long -running

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14 -season run on VH1 Classic's That Metal Show

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or his work from Inside the NFL, That Jameson

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Show, or That Rocks. I'm excited to welcome the

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hysterically funny musical mastermind. Don Jameson

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to the program. Don, thank you so much for joining

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me, man. Wow. Okay. What an intro. I hope I can

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live up to all that hype. I will do my best though.

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And I'm excited to be here with you today. We're

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gonna have some fun. We certainly are. And I'd

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like to start by asking you the question I ask

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all of my first time guests, and that is, what

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does the word mixtape mean to you? Well, It means

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that there's still a box of them in my storage

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unit that I cannot part with for the life of

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me. And, you know, I've cleaned out so much clutter

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over the years. You know, I did what a lot of

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people did too during COVID, which is go through

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everything and just get rid of the clutter. And

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I cannot, every time I put that box of cassettes,

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you know, at the door to dispose of, I just can

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never do it because... I look at it and I go,

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oh, there's the body parts mix. That one's too

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cool. Or here's the live 80s mix or whatever.

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And I'm still attached to them. I don't have

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a cassette player. But like vinyl, which I held

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on to for years and years, it came back around

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again. Although I don't think cassettes are going

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to have quite the resurgence that vinyl does.

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But if they ever do, I will be ready. You'll

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be ready and waiting. I have to tend to agree

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with you there. As much as I love cassettes and

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hell, the name of my show is based upon it. There

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was something about the fidelity where at the

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time it was very portable and very useful. But

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the portability is now taken care of from streaming.

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And the listenability to me is the vinyl or CDs.

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Tonight, we're going to be talking 80s metal,

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which is kind of a loaded topic because. The

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term, quote, 80s metal, unquote, covers a broad

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spectrum of music from thrash to glam to industrial

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and so much more. What were you looking for in

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the songs you're bringing to the table this evening?

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You know, I thought of it in a sense of like,

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that's, you know, that was my real awakening

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with getting into heavy music. You know, I was

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just a Kiss fan originally. Kiss, Kiss, Kiss,

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and more Kiss. And then as I expanded out, I

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started thinking if we're going to make a mixtape,

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you know, I want to go back to, you know, some

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of the early albums that really shaped, you know,

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my musical fabric, you know, or became a part

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of my musical fabric and became part of my musical

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DNA. And some of the albums that were super important

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to me as a young metalhead. So between the two

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of us, I think we're going to be able to put

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together something that's not only cool to listen

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to, but for me, it'll bring back a lot of specific

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memories about getting these records for the

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first time. Well, let's get down to business

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tonight. As I mentioned at the top of the show,

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Don and I will be curating the ultimate 80s metal

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mixtape, and we'll use the old cassette deck

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approach. Don, as my special guest, will begin

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Side A with his first song choice, and then I'll

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add a song that I feel best follows up that choice.

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We'll then flip -flop choosing songs until we've

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mapped out 10 songs for Side A. We'll then give

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our mixtape a proverbial flip. And we'll map

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outside. Be only this time, I'll kick things

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off with Don choosing second. Our overall goal

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for the episode is to craft the best 80s metal

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mixtape possible through only 20 songs. At the

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end of the show, you can take our conversation

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to the next level by visiting the episode page

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at myweeklymixtape .com to give our final mixtape

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a listen. via the embedded playlist. And if you

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like what you're hearing on the show, you can

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help me out by either telling a friend, leaving

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the show a five -star review wherever you're

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tuning in, or becoming a Patreon mixtaper at

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patreon .com forward slash myweeklymixtape. There

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you can enjoy ad -free episodes of the show,

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become a future guest, and so much more. And

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a few of the Patreon mixtapers chimed in with

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songs they would use to kick off an 80s metal

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mixtape, and they did not disappoint. Tom Hutchinson

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chimed in with Judas Priest's Screaming for Vengeance

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and Iron Maiden's Wasted Years. Chad LaMassa

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chimed in with Metallica's Hit the Lights. David

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Owens chimed in with Striper's To Hell with the

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Devil. Seeker chimed in with Iron Maiden's Run

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to the Hills. Ben from the Too Vague podcast

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chimed in with Alda Nova's Fantasy. Philip Bergman

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chimed in with Ozzy Osbourne's Crazy Train. Sean

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Goff chimed in with Anthrax's Among the Living,

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while also bringing up the fact about how bummed

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he was that Persistence of Time came out in 1990.

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because he would have gone with Got the Time.

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Love that album. Yes, there's that 89 -90 conundrum

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right there at play. And finally, Jennifer Fink

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chimed in with Nine Inch Nails, Head Like a Hole,

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Jane's Addiction's Mountain Song, and Slayer's

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Angel of Death. Once again, if you'd like to

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join the Patreon mixtaper family and chime in

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for future episodes of the show, you could do

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so at patreon .com forward slash myweeklymixtape.

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And Don, now that we got those picks from the

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Patreon mixtapers out of the way, I would like

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to officially press the record button on our

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mixtape and turn the mic over to you. What song

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are you choosing to kick things off tonight?

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Oh, okay. Wow. So the first album besides Kiss

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that I ever heard was Iron Maiden Killers. That

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was where I came in with heavier music, with

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metal specifically. And I remember I was living

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with my aunt, uncle, spending the summer with

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them up in Yonkers, New York. And there was a

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record store down the street called Mad Platters.

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And I went in there and I'm just looking through

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the bins. And, you know, because Kiss was and

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is such a visual thing, you know, that's always

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been a part of what attracts me to this music

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is the visual. And when I saw Iron Maiden Killers,

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when I saw that cover, I said. I don't know what

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this sounds like. I never even heard it before,

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but I've got to buy it and I've got to listen

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to it. And when I put it on and I heard the Ides

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of March and the Wrathchild, forget it. You know,

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all bets were off. So if we can throw something

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from the Killers album on here or the First Maiden,

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either or, because they're still two of my favorite

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Maiden albums, I think that would be a good start.

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You get to pick the song. So which one are you

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going to go with? Wow. I guess, you know, because

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it's the first thing I heard, let's do Wrathchild.

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All right. Of course, Iron Maiden was in my list

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too. I had my personal favorite Iron Maiden track,

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which is from 84's Power Slave, Rime of the Ancient

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Mariner. That was the song that, even as a kid,

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made me appreciate longer songs because it was

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aimed to me, but it was a 13 plus minute track.

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You had to be invested in Iron Maiden if you

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were going to give them 13 minutes of your time.

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Absolutely. And I like that as an end track to

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the mixtape. But I think you've got to come out

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swinging with something short and something sweet.

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And Rathchild does just that. And also at the

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end of the day, I could pretty much go with any

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maiden here. That's what a great way to kick

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things off. But to move on to track two, I'm

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going to kick things off with my first pick of

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the night with something from one of the big

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four, because, you know, we're going to talk

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about them tonight. So let's just get one of

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those out of the way right off the jump. And

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I'm going to start with Anthrax and I'm going

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to probably go with something that might be divisive

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to some. But it was one of my personal first

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introductions to Anthrax. Actually, I lie. My

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first introduction to Anthrax was the I'm the

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Man single. And coming out of that was State

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of Euphoria in 1987. And the opening track, Be

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All End All, is such a massive metal anthem to

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me. But I should add that I'm not blind to the

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fact that that album in a whole sometimes gets

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a little maligned from Anthrax fans. But I think

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unjustly because Be All End All to me has always

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been a classic Anthrax track that I wish they

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did live a little more often. It's just one of

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my favorites from them. Well, I love you thinking

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a little bit outside the box because you could

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have went with the obvious. You could have went

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with Indians or caught Amash or one of those.

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So no, I think you're bringing the hammer down

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on our second track there. And I love the pick,

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man, thinking outside the box. All right. Following

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that up, what do we have next? So now that my

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metal world had opened up, I come back to New

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Jersey after my summer in Yonkers. with my cousin

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and my aunt and uncle. And now I got to find

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a new connection, right? Because I don't have

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meth platters anymore. So I go to the mall in

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my township and I find the guy in the record

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store with the long hair. And that's my guy,

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you know, because I know this guy must love metal.

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And of course he does. And he's the guy that

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fed me so many great albums. And the next metal

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album that I got from him. Although the singer

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of this band always went out of his way to say

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they were not metal, but they are still part

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of our world. And of course, that is the great

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Motorhead. And the album was Bomber. And geez,

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that was another one where, you know, I look

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at the cover. I see the three of them up in the

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bomber on the front. It's visual. I look on the

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back. They're the three of the ugliest guys I've

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ever seen in bands, which made me even more.

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And again, you know, it all came down to putting

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the needle into the grooves and cranking it up

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and hearing it and going, wow, I love this too.

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You know, so here I am, you know, new to the

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metal scene and I'm two for two already. So let's

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go with, we'll go with Stone Dead Forever off

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of this one, I think. Ooh, nice pick. I had the

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title track to 1980s Ace of Spades or the opening

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track to 1981's live album, No Sleep Till Hammersmith,

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Ace of Spades, which I have a feeling we're going

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to talk about in a little bit here. But one of

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the greatest trios of all time, Lemmy, Fast Eddie

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Clark, Phil Taylor. I mean, Motorhead is one

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of those bands that I kind of like what you said.

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They never quite said they were metal because

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if somebody broke out some Motorhead at a punk

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concert. the place would lose their mind. Yeah.

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If somebody broke out Motorhead at a hard rock

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show, people would lose their minds at a metal

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show. At the end of the day, I think it's just

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safe to say that Motorhead crossed genres. And

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I think that's what's so iconic about them, that

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they kind of played off of all different genres

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of music. And they did them so well that they

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kind of had their own name in and of itself,

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their own style. And, you know, you're right

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about all that. And they were the greatest trio,

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not just once, but twice in their long career.

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So, you know, just incredible stuff from those

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guys. And, you know, obviously, I got to know

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Lemmy, you know, a little bit over the years

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from him coming on that metal show and seeing

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him, you know, backstage at shows. I was telling

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the story about buying Bomber for the first time,

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you know, going out and cutting lawns when I

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was a teenager. And, you know, then that's when

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you go to the mall with the money. And I had

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to trust this guy to point me in the right direction.

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I told him Bomber was, you know, my first Motorhead

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album. And he wasn't a huge fan of that album.

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Really? You know, he thought that like, I think

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they sort of got caught up in like what Anthrax

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did going in the state of euphoria. Like, you

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know, the previous album was so big. That they

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had to sort of, you know, there's a lot of pressure

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to get another one out of the same quality as

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quickly as possible to capitalize. And he just

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thought, he said, I think Bomber has a couple

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of clockers on there. But, you know, again, for

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me, sentimentally, you know, it's always going

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to be up there in my list of favorites from Motorhead.

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So, you know, those guys could almost do no wrong

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for me. But, you know, yeah, so he specifically

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pointed out the... One Fast Eddie Clark sings

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on there. It wasn't one of his favorites, but.

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Well, I'm actually going to tap into that Fast

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Eddie Clark for a second because the next song

00:13:00.559 --> 00:13:03.860
I am going to go with. is another Fast Eddie

00:13:03.860 --> 00:13:05.840
Clark project. And it's one that I've been a

00:13:05.840 --> 00:13:09.000
fan of for so, so long. And being a punk fan

00:13:09.000 --> 00:13:12.620
as well, I love blowing Flogging Molly fans'

00:13:12.919 --> 00:13:16.860
minds when I tell them that Flogging Molly's

00:13:16.860 --> 00:13:20.139
lead singer was the lead singer of an 80s metal

00:13:20.139 --> 00:13:22.559
group called Fastway. And I'm going to go with

00:13:22.559 --> 00:13:25.159
the title track from their sophomore effort,

00:13:25.299 --> 00:13:28.220
84's All Fired Up. As much as I love Say What

00:13:28.220 --> 00:13:30.860
You Will and the first album, I feel like...

00:13:31.159 --> 00:13:33.700
Going from Rathchild to Be All End All to Stone

00:13:33.700 --> 00:13:36.240
Dead Forever, I feel like All Fired Up is a little

00:13:36.240 --> 00:13:38.440
bit more in line with the songs we've got so

00:13:38.440 --> 00:13:42.860
far. And look, I love Flogging Molly. I love

00:13:42.860 --> 00:13:45.580
Fastway. Dave Clark is one of the most diverse.

00:13:46.299 --> 00:13:48.360
Singers to be able to go from that metal that

00:13:48.360 --> 00:13:51.480
he does to the stuff he does in punk. It literally

00:13:51.480 --> 00:13:53.539
sounds like two different people. And I love

00:13:53.539 --> 00:13:55.940
the fact that he was able to take his voice and

00:13:55.940 --> 00:13:59.240
so seamlessly adapted to the music he was performing,

00:13:59.419 --> 00:14:02.120
be it the metal stuff with fast way into the

00:14:02.120 --> 00:14:04.519
Irish punk stuff that he did with flogging Molly.

00:14:05.259 --> 00:14:08.159
It's something I've always respected about him.

00:14:08.429 --> 00:14:10.470
But with that said, Flogging Molly's still out

00:14:10.470 --> 00:14:12.429
there kicking ass and taking names and putting

00:14:12.429 --> 00:14:15.470
out new music. So I love that fact. Rest in peace

00:14:15.470 --> 00:14:17.470
to Fast Eddie Clark, such a hell of a player.

00:14:17.669 --> 00:14:19.870
So yeah, all fired up from Fastway to follow

00:14:19.870 --> 00:14:23.350
up Motorhead. I love that pic. All fired up.

00:14:23.350 --> 00:14:27.350
I just found the great original copy of that

00:14:27.350 --> 00:14:30.250
on vinyl over the last few months. I was so excited

00:14:30.250 --> 00:14:33.450
because it really is a... Good, good album. It's

00:14:33.450 --> 00:14:35.450
a great follow -up to the first album. It didn't

00:14:35.450 --> 00:14:38.830
really go anywhere commercially, but I remember

00:14:38.830 --> 00:14:42.250
seeing Fastway opening for ACDC. ACDC was on

00:14:42.250 --> 00:14:44.889
the Flick of the Switch tour for the three people

00:14:44.889 --> 00:14:47.509
who remember that album. And of course, that

00:14:47.509 --> 00:14:49.889
album, by the way, I mean, I'm sure your listeners

00:14:49.889 --> 00:14:52.029
all know the album, but boy, that album should

00:14:52.029 --> 00:14:54.149
have been so much bigger. But anyway, Fastway

00:14:54.149 --> 00:14:57.929
and ACDC on that tour together was pretty awesome.

00:14:58.210 --> 00:15:01.679
And yes, rest in peace, Fast Eddie. Yeah. And

00:15:01.679 --> 00:15:04.120
being you mentioned it, how the hell was Rising

00:15:04.120 --> 00:15:07.059
Power not a massive hit for them? It blows my

00:15:07.059 --> 00:15:11.299
mind. Guns for Hire, come on. That album is easily

00:15:11.299 --> 00:15:14.100
one of their most underrated efforts across their

00:15:14.100 --> 00:15:16.620
entire catalog. I would argue it's the third

00:15:16.620 --> 00:15:19.059
best from the Brian Johnston era. All right.

00:15:19.080 --> 00:15:20.779
We're pivoting here. I have to go down a rabbit

00:15:20.779 --> 00:15:22.460
hole for a second. What's your one and two then?

00:15:22.860 --> 00:15:25.440
Back in Black and For Those About to Rock. And

00:15:25.440 --> 00:15:28.320
without the anthemic For Those About to Rock,

00:15:28.419 --> 00:15:32.029
if there was just another just regular song on

00:15:32.029 --> 00:15:34.110
there, flick of the switch would easily be number

00:15:34.110 --> 00:15:37.309
two, but you know, the power of, for those about

00:15:37.309 --> 00:15:40.409
to rock, it just edges it out a little bit, but

00:15:40.409 --> 00:15:43.149
that's how much I love flick of the switch. I

00:15:43.149 --> 00:15:45.169
think it was the front cover. It was such a terrible

00:15:45.169 --> 00:15:49.009
cover. And definitely the music made up for it

00:15:49.009 --> 00:15:52.309
though. Yeah. So following up fast way, what

00:15:52.309 --> 00:15:55.429
do we got next for track five? So the next album,

00:15:55.470 --> 00:15:58.190
I remember my long haired friend at the record

00:15:58.190 --> 00:16:03.500
store. turning me onto was 1981's Hard and Heavy

00:16:03.500 --> 00:16:07.679
from Anvil, their first album. And that was another

00:16:07.679 --> 00:16:09.960
one where I, you know, I never heard of these

00:16:09.960 --> 00:16:12.059
guys and these Southern, they're from Canada.

00:16:12.159 --> 00:16:15.000
Okay, here we go. We're going global now. We

00:16:15.000 --> 00:16:17.080
got, you know, we got Kiss from America, who

00:16:17.080 --> 00:16:19.679
I loved, and Motorhead from England, and Iron

00:16:19.679 --> 00:16:22.100
Maiden from England, and now Anvil from Canada.

00:16:22.580 --> 00:16:25.399
And that was, you know, went home, put it on.

00:16:26.039 --> 00:16:30.159
I was like, boy, I'm giddy. This guy's really

00:16:30.159 --> 00:16:33.179
got a great pulse on everything that I like.

00:16:33.320 --> 00:16:37.899
And so I toured with those guys in 2019, opened

00:16:37.899 --> 00:16:41.120
it up for them. And boy, that was, I got to tell

00:16:41.120 --> 00:16:44.320
you, man, that was so much fun for people who

00:16:44.320 --> 00:16:47.860
have seen the documentary. That was my life every

00:16:47.860 --> 00:16:51.710
night on tour. for a month because that is those

00:16:51.710 --> 00:16:54.789
guys in a nutshell. Like we'd be backstage hanging

00:16:54.789 --> 00:16:58.350
and Rob, you know, Rob and Lips would be going

00:16:58.350 --> 00:17:01.429
at it. And I go, I'm literally like living their

00:17:01.429 --> 00:17:04.710
documentary right now. And they were awesome,

00:17:04.809 --> 00:17:07.430
awesome guys to tour with. So shout out to those

00:17:07.430 --> 00:17:10.089
guys. And what are we going to do off of this

00:17:10.089 --> 00:17:13.930
one? Let's do, yeah, we'll stick with the opening

00:17:13.930 --> 00:17:18.450
track, School of Love. After watching that documentary,

00:17:18.670 --> 00:17:21.730
I don't think people realize how influential

00:17:21.730 --> 00:17:25.170
Anvil was on metal. And I'm thankful for that

00:17:25.170 --> 00:17:27.529
documentary because it really brought their name

00:17:27.529 --> 00:17:31.950
back into the dialogue of metal music. I feel

00:17:31.950 --> 00:17:33.710
like they just got forgotten. They were just

00:17:33.710 --> 00:17:37.150
this lost band. And musically, they did so much

00:17:37.150 --> 00:17:39.970
to kind of pave the way. I don't think you get

00:17:39.970 --> 00:17:43.890
bands like Metallica, Megadeth, Slayer, the Big

00:17:43.890 --> 00:17:47.420
Four. without Anvil kickstarting that. Yeah.

00:17:47.559 --> 00:17:50.380
And those bands will tell you that too. So, you

00:17:50.380 --> 00:17:54.019
know, it was for them, obviously a great resurgence.

00:17:54.039 --> 00:17:56.220
They had never stopped. They would continue to

00:17:56.220 --> 00:17:58.180
put out albums, but they were working day jobs

00:17:58.180 --> 00:18:02.079
as you saw in the dock and everything. And, you

00:18:02.079 --> 00:18:05.059
know, I defy anybody to watch that and have a

00:18:05.059 --> 00:18:07.339
dry eye at the end of it when they walk out on

00:18:07.339 --> 00:18:10.720
stage in Japan and the place is packed at whatever

00:18:10.720 --> 00:18:13.349
it was, 11 in the morning. And, you know, the

00:18:13.349 --> 00:18:15.650
thing that I took from them, all the ups and

00:18:15.650 --> 00:18:18.549
downs over the years, they were then and still

00:18:18.549 --> 00:18:21.809
are so grateful that they're able to go out and

00:18:21.809 --> 00:18:24.250
do this. And whether there's 100 people in the

00:18:24.250 --> 00:18:26.809
crowd or 1 ,000 people, you know, like Lip said

00:18:26.809 --> 00:18:29.950
in the doc, it doesn't matter to them. You know,

00:18:30.089 --> 00:18:33.130
they came to see a show in Anvil. Every night

00:18:33.130 --> 00:18:35.869
I was on tour, them gave 100%. So I love to include

00:18:35.869 --> 00:18:39.109
them on this mixtape. Well, following up Anvil,

00:18:39.150 --> 00:18:40.730
I'm going to go with one of the bands I just

00:18:40.730 --> 00:18:43.190
mentioned. Let's bring Megadeth into the discussion.

00:18:43.849 --> 00:18:46.450
I'm going to show a little bass player bias here,

00:18:46.509 --> 00:18:49.869
but the opening of Peace Cells and Dave Ellefson's

00:18:49.869 --> 00:18:53.589
bass just hits. That was one of those bass lines

00:18:53.589 --> 00:18:56.170
that immediately made my ears perk up and like,

00:18:56.390 --> 00:18:57.990
oh, I got to pay attention to this. What the

00:18:57.990 --> 00:19:00.210
hell is happening here? Because this bass is

00:19:00.210 --> 00:19:03.549
driving a metal song. And to me, that was kind

00:19:03.549 --> 00:19:05.950
of uncharted territory, at least for me at that

00:19:05.950 --> 00:19:10.650
age. Now, if you grew up in the mid to late 80s

00:19:10.650 --> 00:19:14.009
and early 90s, if you don't know the song and

00:19:14.009 --> 00:19:17.410
you watched MTV News, you know it very much from

00:19:17.410 --> 00:19:23.529
the MTV News. You hear it. First, so not only

00:19:23.529 --> 00:19:26.069
was this baseline popular in the metal scene

00:19:26.069 --> 00:19:28.910
through Megadeth itself, it was also popular

00:19:28.910 --> 00:19:32.069
in the mainstream because of MTV running that

00:19:32.069 --> 00:19:35.750
MTV news stamp every hour on the hour. People

00:19:35.750 --> 00:19:38.309
were hearing that baseline, at least those who

00:19:38.309 --> 00:19:41.109
watched MTV a lot like I did growing up. You

00:19:41.109 --> 00:19:44.190
heard that baseline over and over and over again.

00:19:44.349 --> 00:19:47.769
So yeah, Megadeth, peace sells. I love it. You're

00:19:47.769 --> 00:19:50.599
right. I mean. I can't think of another bass

00:19:50.599 --> 00:19:55.319
line that really became that iconic. That bass

00:19:55.319 --> 00:19:58.599
line became a household name, for lack of a better

00:19:58.599 --> 00:20:03.200
term. So yeah, great choice there. And those

00:20:03.200 --> 00:20:06.599
guys still, even though it's long been just Dave

00:20:06.599 --> 00:20:10.859
Mustaine and friends, he's kept this legacy alive

00:20:10.859 --> 00:20:13.980
all these years. But he would certainly never

00:20:13.980 --> 00:20:16.480
be able to perform again if he didn't play that

00:20:16.480 --> 00:20:21.089
song live. Next one I'm going to go for is, here's

00:20:21.089 --> 00:20:22.930
another one straight out of the record store.

00:20:23.250 --> 00:20:26.289
So when he gave me this record, he was not only

00:20:26.289 --> 00:20:29.609
so excited for me to hear it, he told me if I

00:20:29.609 --> 00:20:32.990
don't like it, to scratch it up and bring it

00:20:32.990 --> 00:20:35.309
back. And he'll personally give me my money back

00:20:35.309 --> 00:20:39.190
out of his pocket. And that was a bold statement,

00:20:39.269 --> 00:20:41.690
but I would make the same statement to anybody.

00:20:42.359 --> 00:20:45.500
out there uh which is if you don't like riot

00:20:45.500 --> 00:20:49.519
fire down under uh you do not like metal you

00:20:49.519 --> 00:20:52.880
need to turn in your metallian uh membership

00:20:52.880 --> 00:20:56.960
card and uh because fire down under just such

00:20:56.960 --> 00:21:01.019
a massive massive album from uh new york's riot

00:21:01.019 --> 00:21:04.900
and that um still when i put it on just just

00:21:04.900 --> 00:21:07.660
gets me pumped and what song you going with from

00:21:07.660 --> 00:21:10.140
it let's go with the title track on that one

00:21:10.430 --> 00:21:12.829
Yeah, we'll do Fire Down Under off of this one.

00:21:12.930 --> 00:21:15.269
But, you know, nothing bad on that record for

00:21:15.269 --> 00:21:19.569
sure. Riot, again, like Anvil, paving the way.

00:21:19.829 --> 00:21:23.750
I was born in 1977, so a lot of the 80s metal

00:21:23.750 --> 00:21:27.190
that I grew up with, for me, started around 86

00:21:27.190 --> 00:21:31.200
and 87. Between... let's say Master of Puppets,

00:21:31.259 --> 00:21:34.259
the 590 ADP, and Anjustice for All. My cousins

00:21:34.259 --> 00:21:36.759
introduced me to more hard rock stuff growing

00:21:36.759 --> 00:21:40.819
up, Scorpions, ACDC. And then as I got a little

00:21:40.819 --> 00:21:42.900
older, they said, we think now you're ready.

00:21:43.039 --> 00:21:44.819
And that's where they introduced me to Power

00:21:44.819 --> 00:21:47.839
Slave and Iron Maiden and Anthrax with I'm the

00:21:47.839 --> 00:21:50.039
Man. Because look, your parents can't know you're

00:21:50.039 --> 00:21:53.859
listening to this one. Don't rat us out. All

00:21:53.859 --> 00:21:56.779
right. Following up Riot. Okay. Let's see here.

00:21:57.720 --> 00:22:02.299
Okay. I am going to go with a song that, just

00:22:02.299 --> 00:22:04.720
like Motorhead, kind of blurs the lines between

00:22:04.720 --> 00:22:08.900
metal and punk a little bit. And this was off

00:22:08.900 --> 00:22:12.359
of their 1983 self -titled album. And I don't

00:22:12.359 --> 00:22:14.400
even have to say the band name or the song. All

00:22:14.400 --> 00:22:17.400
I have to say is all I wanted was a Pepsi. Just

00:22:17.400 --> 00:22:20.660
one Pepsi. And she wouldn't give it to me. Just

00:22:20.660 --> 00:22:24.279
a Pepsi. Suicidal Tendencies institutionalized.

00:22:24.660 --> 00:22:28.660
Taking a very simple chord progression. and turning

00:22:28.660 --> 00:22:31.579
it into a metal anthem. You don't have to say

00:22:31.579 --> 00:22:34.859
much about this song. It gives you that manic

00:22:34.859 --> 00:22:37.680
energy. This was one of those songs that blew

00:22:37.680 --> 00:22:41.140
my mind when I first heard it because it invoked

00:22:41.140 --> 00:22:44.299
feelings in me that I didn't know existed. Like

00:22:44.299 --> 00:22:46.799
you could feel the tension in the lyrics of this

00:22:46.799 --> 00:22:49.980
song and Mike Muir's delivery in it. And it always

00:22:49.980 --> 00:22:52.299
stood the test of time for me. The fact that

00:22:52.299 --> 00:22:55.059
that song is 41 years old right now blows my

00:22:55.059 --> 00:22:57.329
frigging mind because... it still sounds just

00:22:57.329 --> 00:23:00.289
as fresh as it did in 83. And when they perform

00:23:00.289 --> 00:23:04.490
it live, Mike still connects to the energy of

00:23:04.490 --> 00:23:07.730
that song. So, I mean, obviously that was a time

00:23:07.730 --> 00:23:10.289
in his life where, you know, like a lot of us

00:23:10.289 --> 00:23:12.430
at that age, you know, there was a lot of confusing

00:23:12.430 --> 00:23:14.910
thoughts going through our brain and we're trying

00:23:14.910 --> 00:23:17.309
to figure out how to process them. But I love

00:23:17.309 --> 00:23:20.569
that to this day. it's like he's performing it

00:23:20.569 --> 00:23:23.509
for the first time again. So I agree. I love

00:23:23.509 --> 00:23:26.009
Suicidal. I love Lights, Camera, Revolution.

00:23:26.390 --> 00:23:29.549
It is a great album still. That's probably my

00:23:29.549 --> 00:23:33.509
favorite Suicidal, but great pick with Institutionalized.

00:23:34.069 --> 00:23:37.569
I want to go with, so the first Priest album

00:23:37.569 --> 00:23:41.549
I ever heard was probably Unleashed in the East.

00:23:42.210 --> 00:23:44.869
But the first, again, the first vinyl that I

00:23:44.869 --> 00:23:49.430
picked up was British Steel. And, you know, that's

00:23:49.430 --> 00:23:53.930
like, you know, 37 minutes of it's it's the definition

00:23:53.930 --> 00:23:58.029
of heavy metal just from top to bottom. Not a

00:23:58.029 --> 00:24:01.130
dull moment on that record. Let's change the

00:24:01.130 --> 00:24:03.589
pace up a little bit here, Brian. You have my

00:24:03.589 --> 00:24:06.950
attention. Let's do the rage because, you know,

00:24:06.970 --> 00:24:10.829
we are making a mixtape. So let's mix it up a

00:24:10.829 --> 00:24:14.650
little tempo wise. Still a heavy song, but it's

00:24:14.650 --> 00:24:17.440
almost like a little priest reggae there. All

00:24:17.440 --> 00:24:20.299
right. I had rapid fire from British steel sitting

00:24:20.299 --> 00:24:23.119
in my list. Obviously you could go with breaking

00:24:23.119 --> 00:24:26.759
the law or, or living after midnight, but yeah,

00:24:26.859 --> 00:24:28.960
I love the pick a little bit of a deeper pick

00:24:28.960 --> 00:24:30.859
because you're bringing people in with the songs,

00:24:30.880 --> 00:24:33.279
you know, and because it's your mixtape, you

00:24:33.279 --> 00:24:35.299
can either slide some of your personal favorites

00:24:35.299 --> 00:24:38.119
into the mix or use that time to try to expose

00:24:38.119 --> 00:24:40.380
your friends or those listening to the mix to

00:24:40.380 --> 00:24:43.119
songs that they might not be familiar with. Right.

00:24:43.240 --> 00:24:47.299
Well, closing outside a. is the one song that

00:24:47.299 --> 00:24:50.940
I predetermined was going in this spot no matter

00:24:50.940 --> 00:24:53.839
where we were headed at this point in the mix.

00:24:53.980 --> 00:24:57.339
And let me explain. For one, I was hoping you

00:24:57.339 --> 00:25:02.059
didn't pick the song before I did. And two, this

00:25:02.059 --> 00:25:06.960
was the song that I used to close out more mixtapes

00:25:06.960 --> 00:25:11.980
than any other song in my life. And I made countless

00:25:11.980 --> 00:25:15.960
mixtapes growing up. including mixtapes for girlfriends

00:25:15.960 --> 00:25:19.680
that included power ballads and, you know, the

00:25:19.680 --> 00:25:23.180
AOR rock that you would hear hearts alone. And

00:25:23.180 --> 00:25:25.859
then going into the nineties boys to men or whatever,

00:25:25.960 --> 00:25:28.380
whenever there was tape left at the end of the

00:25:28.380 --> 00:25:30.940
side, it doesn't matter what the mix was. It

00:25:30.940 --> 00:25:32.319
could have been hip hop. It could have been punk.

00:25:32.819 --> 00:25:36.839
I pulled this song from 1985 speak English or

00:25:36.839 --> 00:25:40.240
die. I went with storm troopers of deaths, chromatic

00:25:40.240 --> 00:25:43.880
death. Any time I guarantee you their ex -girlfriends

00:25:43.880 --> 00:25:46.839
from my high school days that if they have a

00:25:46.839 --> 00:25:48.400
cassette sitting at their house and they put

00:25:48.400 --> 00:25:52.359
it on, it could be some 80s ballad. But if there's

00:25:52.359 --> 00:25:55.039
space at the end of the side, my OCD ass made

00:25:55.039 --> 00:25:57.559
sure that you were hearing Stormtroopers of Death.

00:25:57.700 --> 00:26:01.019
And I got a close side a with that. But wait,

00:26:01.200 --> 00:26:04.799
there's more, because. Given that Chromatic Death

00:26:04.799 --> 00:26:08.420
ran about 44 seconds in length, sometimes there

00:26:08.420 --> 00:26:10.740
was, yes, even a couple of seconds more to go

00:26:10.740 --> 00:26:14.420
after that. And I dug deeper into Speak English

00:26:14.420 --> 00:26:18.720
or Die and pulled tracks such as Hey Gordy, The

00:26:18.720 --> 00:26:21.920
Ballad of Jimi Hendrix, or Diamonds and Rust,

00:26:22.160 --> 00:26:24.619
the extended version. I think each of those songs

00:26:24.619 --> 00:26:28.200
is under five seconds in length. And if I wanted

00:26:28.200 --> 00:26:30.880
to bust one of my friend's balls, I would grab

00:26:30.880 --> 00:26:33.700
What's That Noise. just to kind of make their

00:26:33.700 --> 00:26:37.039
headphones blow off their face before the side

00:26:37.039 --> 00:26:40.579
flipped over. Anyway, just as an homage to my

00:26:40.579 --> 00:26:43.779
mixtaping youth. Oh, I love it, man. Good, strong

00:26:43.779 --> 00:26:47.559
way to close out the mixtape side. A, and I agree

00:26:47.559 --> 00:26:50.220
with you, like if there was any time left on

00:26:50.220 --> 00:26:53.900
the end, I would find some little snippet to

00:26:53.900 --> 00:26:56.220
put on there. You know, you couldn't have any

00:26:56.220 --> 00:26:59.940
wasted tape back then. So I love that you did

00:26:59.940 --> 00:27:02.619
that. There you have it, folks. Side A of our

00:27:02.619 --> 00:27:05.119
ultimate 80s metal mixtape, which kicked off

00:27:05.119 --> 00:27:08.599
with Iron Maiden's Wrath Child, Anthrax, Be All,

00:27:08.759 --> 00:27:12.400
End All, Motorhead, Stone Dead Forever, Fastway,

00:27:12.500 --> 00:27:16.160
All Fired Up, Anvil, School of Love, Megadeth,

00:27:16.180 --> 00:27:20.160
Peace Cells, Riot, Fire Down Under, Suicidal

00:27:20.160 --> 00:27:23.480
Tendencies, Institutionalized, Judas Priest's

00:27:23.480 --> 00:27:26.690
The Rage, and Stormtroopers of Death. chromatic

00:27:26.690 --> 00:27:29.390
death head over to my weekly mixtape .com to

00:27:29.390 --> 00:27:31.549
hear all the songs we've discussed in this mix

00:27:31.549 --> 00:27:34.589
through the playlist embedded on the episode

00:27:34.589 --> 00:27:38.890
page now don your new album no sleep till mcsorley's

00:27:38.890 --> 00:27:42.869
is out now and first off i absolutely love the

00:27:42.869 --> 00:27:45.869
ode to motorhead on this album including the

00:27:45.869 --> 00:27:48.309
cover art which for those of you who haven't

00:27:48.309 --> 00:27:52.490
seen it yet is a hysterical photoshopping of

00:27:52.490 --> 00:27:55.849
Don on stage with the band during the album cover

00:27:55.849 --> 00:28:00.269
shot of No Sleep Till Hammersmith. You went as

00:28:00.269 --> 00:28:03.130
far as extending that attention to detail to

00:28:03.130 --> 00:28:06.250
the back cover and recreating the photo montage.

00:28:06.990 --> 00:28:09.710
Look, man, there's a lot of copyright stuff happening

00:28:09.710 --> 00:28:12.690
here. How did you make this happen? Yeah, well,

00:28:12.750 --> 00:28:14.930
don't forget about that. I used the logo as well

00:28:14.930 --> 00:28:18.069
for my name. Of course, the font, yeah. Well,

00:28:18.210 --> 00:28:22.009
you know, the place where I recorded it, is the

00:28:22.009 --> 00:28:25.849
oldest pub in New York City. And I've been going

00:28:25.849 --> 00:28:28.670
there for decades. It's just a place where you

00:28:28.670 --> 00:28:32.130
go with your friends and you sit and you drink

00:28:32.130 --> 00:28:34.210
McSorley's ale and you solve all the world's

00:28:34.210 --> 00:28:37.829
problems. And I said, that's what I feel like

00:28:37.829 --> 00:28:41.210
I'm doing with my material. It's like there's

00:28:41.210 --> 00:28:43.450
so much crazy stuff going on in the world and

00:28:43.450 --> 00:28:45.210
I'm just trying to make sense of it somehow.

00:28:45.349 --> 00:28:47.609
So I said, boy, this would be the perfect place.

00:28:47.710 --> 00:28:51.039
So I was in there with some friends. on a Sunday

00:28:51.039 --> 00:28:53.740
afternoon and we're having some McSorley's ales.

00:28:53.740 --> 00:28:56.079
And I said, man, I got to record a new album

00:28:56.079 --> 00:28:58.299
and I'm trying to think of where to do it. And

00:28:58.299 --> 00:29:00.940
it just became obvious to me, I should do it

00:29:00.940 --> 00:29:06.799
right here. And because all my albums are tributes

00:29:06.799 --> 00:29:10.140
to my favorite bands, I did one for Judas Priest

00:29:10.140 --> 00:29:13.339
and one for Thin Lizzy and one for Saxon, I knew

00:29:13.339 --> 00:29:16.480
Motorhead had to be the next one. So once I thought,

00:29:16.619 --> 00:29:18.660
oh, if I could do it in McSorley's, all right,

00:29:18.680 --> 00:29:22.359
no sleep. So McSorley's from the classic live

00:29:22.359 --> 00:29:25.960
album from Motorhead. I asked the owner if I

00:29:25.960 --> 00:29:29.039
could do my album there. And she said, well,

00:29:29.079 --> 00:29:31.019
we've never done a show here before. And I go,

00:29:31.039 --> 00:29:33.940
that's all right. I got my crew with me, hanging

00:29:33.940 --> 00:29:35.940
with me now. We could build a stage. We could

00:29:35.940 --> 00:29:38.420
bring a PA system in. I said, how much would

00:29:38.420 --> 00:29:41.279
it be to rent the place out? She said, how long

00:29:41.279 --> 00:29:43.359
you been coming here? I said, 30 years. She said,

00:29:43.380 --> 00:29:46.339
you paid enough. So once I had the location,

00:29:46.700 --> 00:29:49.319
once I had the name, then I had to get to work

00:29:49.319 --> 00:29:54.960
with my friends in the Motorhead camp. So I emailed

00:29:54.960 --> 00:29:58.420
Todd Singerman, their manager, who's a friend

00:29:58.420 --> 00:30:01.599
and a great, great fellow. And I asked him, hey,

00:30:01.700 --> 00:30:05.240
could I use the Motorhead font? Because I'm going

00:30:05.240 --> 00:30:07.319
to do no sleep till mix or release for my next

00:30:07.319 --> 00:30:09.480
comedy album. And he wrote back, whatever you

00:30:09.480 --> 00:30:13.089
want. So I said, okay. I had a couple more McSurley's

00:30:13.089 --> 00:30:16.170
ales and I wrote back, okay, how about the original

00:30:16.170 --> 00:30:19.029
artwork from No Sleep to Hammersmith? And he

00:30:19.029 --> 00:30:22.470
wrote back, no problem. I'll get it to you. And

00:30:22.470 --> 00:30:28.049
I had that all, no copyright issues there. Then

00:30:28.049 --> 00:30:31.109
I texted Phil Campbell and asked him if he'd

00:30:31.109 --> 00:30:33.490
be kind enough to do the guitar intro for it.

00:30:33.529 --> 00:30:38.390
And he responded positively. So thanks so much

00:30:38.390 --> 00:30:42.119
to the Motorhead. family for um you know letting

00:30:42.119 --> 00:30:45.140
me do this tribute to those guys and i'm just

00:30:45.140 --> 00:30:48.160
thrilled with the way it came out i had a chance

00:30:48.160 --> 00:30:50.519
to hear the album today before we started recording

00:30:50.519 --> 00:30:54.039
and it is absolutely hysterical now mcsorley's

00:30:54.039 --> 00:30:56.619
isn't a comedy venue like you said it's an old

00:30:56.619 --> 00:30:58.900
irish saloon in new york city the oldest irish

00:30:58.900 --> 00:31:00.900
saloon in new york city it's been there since

00:31:00.900 --> 00:31:04.819
1854 and this is a venue that one doesn't think

00:31:05.319 --> 00:31:07.259
Here's a place for comedy because this is an

00:31:07.259 --> 00:31:10.420
old school, sit down wherever you can find space,

00:31:10.779 --> 00:31:14.099
sit down with some strangers. You might be drinking

00:31:14.099 --> 00:31:16.519
with somebody from across the country, from across

00:31:16.519 --> 00:31:20.380
the world. And if you're not drinking, why are

00:31:20.380 --> 00:31:24.180
you here? Get out. So how did that environment

00:31:24.180 --> 00:31:27.599
and that atmosphere translate to you thinking

00:31:27.599 --> 00:31:30.680
this is the place to record my next comedy album?

00:31:30.920 --> 00:31:33.000
Yeah, well, that's okay. I mean, it's not, you

00:31:33.000 --> 00:31:35.359
know. I like to incorporate the character of

00:31:35.359 --> 00:31:38.319
the room into the comedy, my comedy experience

00:31:38.319 --> 00:31:42.960
or whatever it is I do. So I love the atmosphere

00:31:42.960 --> 00:31:44.839
in there. And I just thought this material would

00:31:44.839 --> 00:31:47.859
be perfect in front of beer drinkers and hell

00:31:47.859 --> 00:31:51.900
raisers. And it came out exactly the way I wanted

00:31:51.900 --> 00:31:54.900
it to, you know, it's, it captures that vibe.

00:31:55.019 --> 00:31:57.839
I love the whole old school, you know, vibe of

00:31:57.839 --> 00:32:01.039
it. You're right. You sit there, you make friends

00:32:01.039 --> 00:32:02.680
from people over the world, and they're your

00:32:02.680 --> 00:32:05.460
best friend for a few hours while you sit in

00:32:05.460 --> 00:32:07.180
there and hang out and talk. Nobody's looking

00:32:07.180 --> 00:32:09.900
at their phones at McSorley's. Everybody's having

00:32:09.900 --> 00:32:13.279
a good time. Everybody's talking. People are

00:32:13.279 --> 00:32:17.220
singing. I mean, it's a really fun vibe in there.

00:32:17.420 --> 00:32:20.400
And yeah, that's why I picked it. I just wanted

00:32:20.400 --> 00:32:23.799
to capture the essence of what was going on in

00:32:23.799 --> 00:32:25.900
there. And that you did, hopefully nobody was

00:32:25.900 --> 00:32:28.279
kicked out during your set. Everyone kept drinking

00:32:28.279 --> 00:32:30.779
steadily. Yes, everybody had a reasonable amount

00:32:30.779 --> 00:32:35.619
of McSorley's Ale, but we overdid it afterwards.

00:32:35.900 --> 00:32:40.180
But during the show, we were very well -behaved

00:32:40.180 --> 00:32:41.920
and we got what we needed done there. We were

00:32:41.920 --> 00:32:45.099
there to do a job and we got it done. Awesome.

00:32:45.200 --> 00:32:47.960
Well, two of my personal favorite forms of entertainment

00:32:47.960 --> 00:32:51.839
are music and comedy. And one thing I love about...

00:32:52.029 --> 00:32:55.269
your standup bits is you incorporate music discussion

00:32:55.269 --> 00:32:58.369
into your standup bits. So I've always wondered,

00:32:58.410 --> 00:33:01.410
have you ever had an artist or a band call you

00:33:01.410 --> 00:33:04.950
out in either a good or bad way based on one

00:33:04.950 --> 00:33:07.190
of your comedy routines? No, I mean, because,

00:33:07.390 --> 00:33:10.029
you know, I know a lot of these people and, you

00:33:10.029 --> 00:33:12.309
know, you don't, you only make fun of the people

00:33:12.309 --> 00:33:14.630
that you love, right? You know, I mean, I'm from

00:33:14.630 --> 00:33:17.089
Jersey. That's how we show affection by breaking

00:33:17.089 --> 00:33:20.849
the wall. So here. It all comes from a place

00:33:20.849 --> 00:33:24.130
of love, and especially on this album, because,

00:33:24.190 --> 00:33:26.589
you know, I sort of go through the whole litany

00:33:26.589 --> 00:33:30.130
of, you know, phony Hollywood, you know, phony

00:33:30.130 --> 00:33:33.329
politicians, you know, all the craziness that

00:33:33.329 --> 00:33:36.470
we see on the news every day. And then to wrap

00:33:36.470 --> 00:33:39.170
things up at the end, to have the, you know,

00:33:39.210 --> 00:33:42.650
quote unquote, happy ending, it comes down to

00:33:42.650 --> 00:33:45.710
music. And the whole last part of the album is...

00:33:45.920 --> 00:33:49.880
Music is the healer. Music is the uniter. Forget

00:33:49.880 --> 00:33:54.759
all these phonies, phony politicians, phony Hollywood.

00:33:55.000 --> 00:33:58.500
No, music is the thing that we all look to that

00:33:58.500 --> 00:34:01.980
bonds us. And I love that the way I love the

00:34:01.980 --> 00:34:05.319
album ends that way because it is. It leaves

00:34:05.319 --> 00:34:07.839
you with a nice, good, positive feeling at the

00:34:07.839 --> 00:34:11.179
end. Certainly, especially if you're Kelly Clarkson,

00:34:11.239 --> 00:34:14.420
listen to the album. As far as this being put

00:34:14.420 --> 00:34:17.599
out on Metal Blade Records, like several of your

00:34:17.599 --> 00:34:20.360
albums have, as far as I know, and I did some

00:34:20.360 --> 00:34:22.960
research into this. the only comedy albums that

00:34:22.960 --> 00:34:25.079
have ever been released on Metal Blade are yours

00:34:25.079 --> 00:34:28.239
and your That Metal Show co -host Jim Florentine's

00:34:28.239 --> 00:34:30.400
albums. How did that relationship come together

00:34:30.400 --> 00:34:33.840
being Metal Blade is essentially a metal label?

00:34:33.840 --> 00:34:36.659
Well, yes, and it still is. And, you know, getting

00:34:36.659 --> 00:34:39.880
on close to 45 years in business. So yeah, to

00:34:39.880 --> 00:34:41.980
do my albums with them, absolutely incredible.

00:34:42.480 --> 00:34:44.519
You know, that was something else that that same

00:34:44.519 --> 00:34:47.400
day in McSorley's that I realized, you know,

00:34:47.400 --> 00:34:50.869
my contract had been up. after my first four

00:34:50.869 --> 00:34:54.389
stand -up albums. So I emailed them and asked

00:34:54.389 --> 00:34:56.630
if they wanted to still do more albums with me.

00:34:56.730 --> 00:34:58.769
And again, they came back and said, yeah, so

00:34:58.769 --> 00:35:02.010
Brian, in an hour of day drinking, I got all

00:35:02.010 --> 00:35:04.010
that stuff done. I got Waterhead on board. I

00:35:04.010 --> 00:35:06.050
got Metal Blade on board. I got McSorley's on

00:35:06.050 --> 00:35:09.170
board. So it was a very productive hour of drinking

00:35:09.170 --> 00:35:14.090
for me. And yeah, it's incredible because Florentine

00:35:14.090 --> 00:35:18.010
met Brian Slagle, who's obviously the founder

00:35:18.010 --> 00:35:21.789
and owner. of Metal Blade and he told me about

00:35:21.789 --> 00:35:23.690
it. He goes, yeah, I'm with Brian Slagle and

00:35:23.690 --> 00:35:25.809
he's a great guy and he's going to send me some

00:35:25.809 --> 00:35:28.250
Iron Maiden bootlegs and all this stuff. And

00:35:28.250 --> 00:35:32.010
I was jealous of Jim. He started dating a hot

00:35:32.010 --> 00:35:34.989
girl that I'd been in love with my whole life.

00:35:35.389 --> 00:35:38.469
That's how much Brian was a metal hero of mine,

00:35:38.570 --> 00:35:40.650
even though he wasn't a musician or he wasn't

00:35:40.650 --> 00:35:44.329
in a band. But all the Metal Blade bands over

00:35:44.329 --> 00:35:46.530
the years, again, have been such a part of the

00:35:46.530 --> 00:35:50.630
fabric. of my life that um to do my albums with

00:35:50.630 --> 00:35:52.969
them man is incredible and this is you know stand

00:35:52.969 --> 00:35:55.690
about number five with them and it's um it's

00:35:55.690 --> 00:35:58.590
just a great partnership so i have to ask because

00:35:58.590 --> 00:36:00.789
you had mentioned that you tipped your hat to

00:36:00.789 --> 00:36:04.920
saxon and judas priest and motorhead I could

00:36:04.920 --> 00:36:07.380
totally see you holding your hand up and tipping

00:36:07.380 --> 00:36:11.079
your hat on Don Jamison's Among the Laughter,

00:36:11.159 --> 00:36:13.960
playing on Anthrax's Among the Living. Do you

00:36:13.960 --> 00:36:16.460
have any other albums on your shortlist that

00:36:16.460 --> 00:36:19.019
maybe you're looking to pay homage to down the

00:36:19.019 --> 00:36:22.260
road? You know, I think I got to do, I think

00:36:22.260 --> 00:36:24.519
the next one has to be an Alice Cooper one. So

00:36:24.519 --> 00:36:27.739
if you want to work on a few titles for me, I'd

00:36:27.739 --> 00:36:31.360
appreciate it. I love that people all the time

00:36:31.360 --> 00:36:34.860
send me or tell me in interviews, They give me

00:36:34.860 --> 00:36:38.500
ideas for albums and you egg me on. And then

00:36:38.500 --> 00:36:40.719
I keep making these albums, whether people want

00:36:40.719 --> 00:36:43.460
to hear them or not, just so I can do tributes

00:36:43.460 --> 00:36:46.099
to all my favorite bands. Well, before we get

00:36:46.099 --> 00:36:47.840
to Side B, I do have one other question. You

00:36:47.840 --> 00:36:50.460
had mentioned opening up for Anvil on their tour.

00:36:50.539 --> 00:36:53.360
And I know you had a planned tour with Saxon

00:36:53.360 --> 00:36:55.519
that got canceled because of COVID -19. You've

00:36:55.519 --> 00:36:58.039
done a lot of standup before groups like Hookers

00:36:58.039 --> 00:37:01.679
and Blow, the super group. Now, I'm not a comedian.

00:37:02.300 --> 00:37:04.420
So I'm going to ask this from kind of a novice

00:37:04.420 --> 00:37:06.820
sense. So my one -on -one apologies in advance

00:37:06.820 --> 00:37:10.039
here, but is there a different mindset that you

00:37:10.039 --> 00:37:12.039
bring when you're opening for a musical act?

00:37:12.119 --> 00:37:15.099
Do you kind of tailor your set to music comedy

00:37:15.099 --> 00:37:18.760
when you're going up before a band versus, let's

00:37:18.760 --> 00:37:20.699
say, when you were opening for Dice all those

00:37:20.699 --> 00:37:22.880
years, you kind of could have opened up with

00:37:22.880 --> 00:37:25.800
whatever you wanted. But in this instance, when

00:37:25.800 --> 00:37:28.039
you're opening for a band, do you feel like you

00:37:28.039 --> 00:37:30.739
have to tailor the set towards music? Well, for

00:37:30.739 --> 00:37:32.960
someone who's out of comedy, You really kind

00:37:32.960 --> 00:37:35.820
of hit the nail on the head in terms of, yes,

00:37:36.139 --> 00:37:39.500
going in front of a rock band, you've got to

00:37:39.500 --> 00:37:43.480
bring an opening band energy to what you're doing

00:37:43.480 --> 00:37:47.039
comedically. So that's really what I try to do

00:37:47.039 --> 00:37:49.739
when I go out. I make all the material just about

00:37:49.739 --> 00:37:53.139
music, bands, musicians. I keep it all in the

00:37:53.139 --> 00:37:56.159
family so it doesn't seem so weird. Obviously,

00:37:56.320 --> 00:37:59.119
I still have some recognition factor from doing

00:37:59.119 --> 00:38:02.889
that metal show. Completely weird to the crowd.

00:38:03.090 --> 00:38:06.730
But yeah, all those years opening for Dice, where

00:38:06.730 --> 00:38:09.570
I really had to get to that microphone as quickly

00:38:09.570 --> 00:38:12.449
as possible and get my first joke out, you know,

00:38:12.449 --> 00:38:15.849
because Dice's crowds, you know, are so and still

00:38:15.849 --> 00:38:18.769
are so intense. You know, if you didn't get to

00:38:18.769 --> 00:38:20.949
the mic before someone yelled out, you friggin

00:38:20.949 --> 00:38:24.199
suck. You were dead. You might as well just walk

00:38:24.199 --> 00:38:27.059
off stage. So it's the same mindset going out

00:38:27.059 --> 00:38:29.300
and opening for a band. It's like, boom, just

00:38:29.300 --> 00:38:32.000
come out swinging, you know, come out with your

00:38:32.000 --> 00:38:35.420
best stuff and put on a show, you know, more

00:38:35.420 --> 00:38:37.920
than just a guy talking into a microphone. And

00:38:37.920 --> 00:38:40.800
I tell you, man, nine times out of 10 or 99 times

00:38:40.800 --> 00:38:43.679
out of 100, people are really open -minded and

00:38:43.679 --> 00:38:47.280
supportive of it. And it's been a great part

00:38:47.280 --> 00:38:49.980
of my career for the last 15 years and hope to

00:38:49.980 --> 00:38:53.519
keep doing it. I hope so, too. With that said,

00:38:53.579 --> 00:38:56.039
have you ever thought about doing an album that

00:38:56.039 --> 00:39:00.400
was specifically geared to only music material?

00:39:00.679 --> 00:39:03.340
Yeah, you know, I have thought about it. And

00:39:03.340 --> 00:39:06.460
that's something I would still consider doing.

00:39:06.800 --> 00:39:09.239
But, you know, as I always say, when I do sort

00:39:09.239 --> 00:39:12.059
of more conventional interviews, I mean, you

00:39:12.059 --> 00:39:14.219
know, I know this crowd that I'm talking to now

00:39:14.219 --> 00:39:19.210
understands our genre. like we do. But I always

00:39:19.210 --> 00:39:22.050
say the packaging and all that stuff, that's

00:39:22.050 --> 00:39:25.610
more for me. If people get it, if they understand

00:39:25.610 --> 00:39:28.449
that this is a tribute to No Sleep Till Hammersmith,

00:39:28.510 --> 00:39:31.750
for example, that's a bonus, right? But what's

00:39:31.750 --> 00:39:34.309
on the inside, I do want it to be for everybody.

00:39:34.550 --> 00:39:37.809
I want everybody to like what the content is

00:39:37.809 --> 00:39:40.250
inside. And now, of course, is there going to

00:39:40.250 --> 00:39:43.300
be stuff about... The bands that we love? Absolutely.

00:39:43.800 --> 00:39:46.460
It's too big a part of my life to leave out.

00:39:46.599 --> 00:39:48.320
So you're always going to get some of that. But

00:39:48.320 --> 00:39:51.880
I kind of like, you know, a little bit like Walmart.

00:39:52.119 --> 00:39:53.659
There's a little something for everybody in there.

00:39:54.280 --> 00:39:57.300
All right. Well, let's move on to Side B. On

00:39:57.300 --> 00:40:00.000
Side B, I get to kick things off. And I am going

00:40:00.000 --> 00:40:04.199
to go with a song that is going to probably ruffle

00:40:04.199 --> 00:40:06.559
some feathers. Because I said when we were talking

00:40:06.559 --> 00:40:09.860
about Megadeth that I'm a big fan of bass. I'm

00:40:09.860 --> 00:40:13.179
a bass player. And yes, I know the irony that's

00:40:13.179 --> 00:40:15.940
going to come from what I'm about to say, but

00:40:15.940 --> 00:40:18.579
I'm going to go with an album that I bought at

00:40:18.579 --> 00:40:21.219
the Garden State Plaza in Paramus, New Jersey.

00:40:21.780 --> 00:40:24.300
And I went there looking for the cassette and

00:40:24.300 --> 00:40:26.400
they were sold out of this cassette. And I was

00:40:26.400 --> 00:40:29.800
heartbroken and devastated. And the guy behind

00:40:29.800 --> 00:40:32.380
the counter said, look, we've got a copy on vinyl

00:40:32.380 --> 00:40:36.019
and you could buy a blank cassette for 99 cents.

00:40:36.480 --> 00:40:38.659
And my mom looked at me and she goes, if that's

00:40:38.659 --> 00:40:41.010
the way you want to do it, it's your money. And

00:40:41.010 --> 00:40:43.909
I bought a copy of And Justice For All. Now,

00:40:43.929 --> 00:40:46.449
being a bass fan, I know the irony that's coming

00:40:46.449 --> 00:40:48.809
out of that because there's kind of no bass on

00:40:48.809 --> 00:40:52.030
the album. But that said, the first time I ever

00:40:52.030 --> 00:40:54.469
dropped a needle on And Justice For All, I heard

00:40:54.469 --> 00:40:56.929
the opening to Blackened and it blew my mind.

00:40:57.070 --> 00:40:59.550
It's my favorite Metallica song of all time.

00:40:59.849 --> 00:41:03.929
I understand the impact of Master of Puppets

00:41:03.929 --> 00:41:05.610
and Battery and how I could have went with anything

00:41:05.610 --> 00:41:07.489
from that or Ride the Lightning or Kill Them

00:41:07.489 --> 00:41:10.219
All. But this was the first Metallica album I

00:41:10.219 --> 00:41:12.320
ever purchased with my own money. I still have

00:41:12.320 --> 00:41:15.840
it on vinyl. It's framed. It's the original double

00:41:15.840 --> 00:41:19.380
LP. I wish every cassette I had ever bought growing

00:41:19.380 --> 00:41:21.760
up, they were sold out of and I was forced to

00:41:21.760 --> 00:41:23.739
buy the vinyl at the time. If only time would

00:41:23.739 --> 00:41:26.059
have let me know. There's really not much I need

00:41:26.059 --> 00:41:28.099
to say about Blackened. If you know Metallica,

00:41:28.119 --> 00:41:29.780
you know the song. Hell, they named a whiskey

00:41:29.780 --> 00:41:33.539
after it. So kicking off Side B, apologies to

00:41:33.539 --> 00:41:36.219
the first three albums. We're going with Blackened.

00:41:36.710 --> 00:41:39.329
Yeah, that's such a divisive album, you know,

00:41:39.369 --> 00:41:41.329
because of the whole thing with the bass and

00:41:41.329 --> 00:41:44.489
all that. And, you know, a lot of people would

00:41:44.489 --> 00:41:47.130
say, you know, some of the songs are much too

00:41:47.130 --> 00:41:50.530
long. It's a little, you know, progressive for

00:41:50.530 --> 00:41:53.789
what Metallica was known for before. It's not

00:41:53.789 --> 00:41:55.630
one of my favorites, I'll be honest with you.

00:41:55.710 --> 00:41:59.170
But I do like opening up the side two with Blackened

00:41:59.170 --> 00:42:03.369
because it's, I mean, besides the Black album

00:42:03.369 --> 00:42:05.949
and Master, I mean, that's probably their...

00:42:06.280 --> 00:42:08.280
That's got to be their third most popular album,

00:42:08.340 --> 00:42:10.760
wouldn't you think? I would think so. But I've

00:42:10.760 --> 00:42:13.199
made the mistake one time of posting on social

00:42:13.199 --> 00:42:15.500
media, pick one of your favorite albums of the

00:42:15.500 --> 00:42:18.880
80s. And I put in Justice for All. And I started

00:42:18.880 --> 00:42:21.719
getting eviscerated by people. How dare I not

00:42:21.719 --> 00:42:23.739
include Master of Puppets or Ride the Lightning

00:42:23.739 --> 00:42:26.300
over that? So I'm guessing I might be on a little

00:42:26.300 --> 00:42:27.980
bit of an island with this one. All right. Well,

00:42:28.000 --> 00:42:29.840
no problem. Again, let's think a little outside

00:42:29.840 --> 00:42:33.039
the box. You mentioned, see, I was going to.

00:42:33.500 --> 00:42:35.579
I was going to throw a Metallica song on there,

00:42:35.659 --> 00:42:38.280
but you beat me to it. The one I wanted to put

00:42:38.280 --> 00:42:41.239
on, because we talked about Metal Blade, was

00:42:41.239 --> 00:42:45.559
from the first Metal Massacre album, which was

00:42:45.559 --> 00:42:49.380
the early days of Brian Slagle creating Metal

00:42:49.380 --> 00:42:52.000
Blade. And the first time Metallica was ever

00:42:52.000 --> 00:42:56.460
heard on an album, on the very first Metal Massacre

00:42:56.460 --> 00:43:00.789
album, they did Hit the Lights on there. And,

00:43:00.789 --> 00:43:05.449
um, and with the misspelled Metallica with two

00:43:05.449 --> 00:43:09.110
T's and two L's, um, and which I still have that

00:43:09.110 --> 00:43:11.929
vinyl to this day, but, uh, we're, we're blackened

00:43:11.929 --> 00:43:14.750
and I'll follow it up with a band that you've

00:43:14.750 --> 00:43:17.829
mentioned before. It's Saxon, a very important

00:43:17.829 --> 00:43:21.110
band in my life. Uh, I'll never forget visiting,

00:43:21.110 --> 00:43:24.510
visiting my grandmother in, uh, down in, uh,

00:43:24.510 --> 00:43:28.130
Jupiter in Florida. And, uh, she, she knew what,

00:43:28.150 --> 00:43:31.019
uh, music fan that I was. And she said, I'll

00:43:31.019 --> 00:43:33.119
take you to the mall and I'll buy you any record

00:43:33.119 --> 00:43:37.139
you want. And I don't remember how I heard about

00:43:37.139 --> 00:43:41.000
it, but Saxon Denim and Leather was newly out.

00:43:41.159 --> 00:43:44.260
And I asked grandma to buy that with me. And

00:43:44.260 --> 00:43:46.159
she's like, let's sit down and listen to it together.

00:43:46.360 --> 00:43:49.699
And she lasted all of about 30 seconds through

00:43:49.699 --> 00:43:53.320
Princess of the Night. And I was left alone in

00:43:53.320 --> 00:43:57.539
the room to enjoy the rest of it. So let's go

00:43:57.539 --> 00:44:00.739
with the track Play It Loud off of that album.

00:44:01.599 --> 00:44:06.099
The very rebellious anthem from that record that

00:44:06.099 --> 00:44:10.139
I love. That you also paid homage to with Denim

00:44:10.139 --> 00:44:13.000
and Laughter, your last album prior to No Sleeve

00:44:13.000 --> 00:44:14.940
Till. That's right. And again, used the artwork

00:44:14.940 --> 00:44:18.719
with permission from Saxon themselves. And yeah,

00:44:18.840 --> 00:44:21.320
that was great. I mean, Biff. broke my chops

00:44:21.320 --> 00:44:22.960
about it. He's like, Oh, you, all your albums

00:44:22.960 --> 00:44:24.719
are tributes to your favorite bands, but you

00:44:24.719 --> 00:44:28.559
don't have a Saxon one yet. And I would never,

00:44:28.619 --> 00:44:30.619
I was down in Philadelphia to go see them. And

00:44:30.619 --> 00:44:32.539
I said, all right. And we were walking to the

00:44:32.539 --> 00:44:35.119
venue together. And I just said, uh, strong,

00:44:35.420 --> 00:44:38.519
uh, denim and laughter. And he goes, that's it.

00:44:38.900 --> 00:44:42.800
And so, um, I got the okay from, from, uh, Biff

00:44:42.800 --> 00:44:45.619
himself. So, uh, that's what we went with. Fantastic.

00:44:46.519 --> 00:44:48.239
Well, I'm going to make up for the lack of base

00:44:48.239 --> 00:44:50.659
on Metallica with my next pick. And I'm going

00:44:50.659 --> 00:44:55.139
to go to the far end of the decade in 1989. Because

00:44:55.139 --> 00:44:58.260
1989 and 1990 are one of those. weird errors

00:44:58.260 --> 00:45:00.840
in music that i definitely have to look up the

00:45:00.840 --> 00:45:03.780
album because there are some albums that i listen

00:45:03.780 --> 00:45:06.900
to just using as an example anthrax's persistence

00:45:06.900 --> 00:45:09.840
of time patreon mixtaper sean goff chimed in

00:45:09.840 --> 00:45:12.420
with that one and again you think that that album

00:45:12.420 --> 00:45:15.000
is in the 80s but it was actually released in

00:45:15.000 --> 00:45:18.119
1990 and on the flip side of that pretty hate

00:45:18.119 --> 00:45:21.099
machine by nine inch nails i always equate that

00:45:21.099 --> 00:45:24.380
album as a 90s album but it came out in 89 and

00:45:24.920 --> 00:45:27.980
The lack of bass on And Justice For All was certainly

00:45:27.980 --> 00:45:31.159
made up for on the title track and opening track

00:45:31.159 --> 00:45:35.340
to Testament's 1989 masterpiece, Practice What

00:45:35.340 --> 00:45:39.260
You Preach. Greg Christensen's bass is so friggin'

00:45:39.280 --> 00:45:41.900
beefy in that mix. That album sounds like it's

00:45:41.900 --> 00:45:45.059
got just as much heft as it was released in 2024.

00:45:46.269 --> 00:45:48.409
I actually was looking at Souls of Black and

00:45:48.409 --> 00:45:49.889
that was one of the ones where Souls of Black

00:45:49.889 --> 00:45:52.789
came out in 90, but I always equated it to, I

00:45:52.789 --> 00:45:54.670
had to double check which one was 89 and which

00:45:54.670 --> 00:45:57.909
one was 90. But Practice What You Preach is such

00:45:57.909 --> 00:46:01.409
a massive song. That riff is so, it just pummels

00:46:01.409 --> 00:46:03.949
you. And Testament's one of those bands that

00:46:03.949 --> 00:46:06.829
when I think about the big four, I always wonder

00:46:06.829 --> 00:46:12.030
like, God, they really, I mean, big five, they're.

00:46:12.510 --> 00:46:15.289
So iconic as far as I'm concerned. And they did

00:46:15.289 --> 00:46:18.050
so much for thrash. I feel like they have to

00:46:18.050 --> 00:46:21.050
have a place here tonight. Absolutely. Um, so

00:46:21.050 --> 00:46:23.090
let me, let me, I'll follow that one up with

00:46:23.090 --> 00:46:26.949
something that's not thrash, but an album that,

00:46:26.949 --> 00:46:31.269
uh, the title track is very fast. Um, and I,

00:46:31.269 --> 00:46:33.510
I think it'll be an appropriate next track, but

00:46:33.510 --> 00:46:37.230
the band crocus and the album headhunter, my

00:46:37.230 --> 00:46:41.420
God, what a beast that album is. And that title

00:46:41.420 --> 00:46:44.719
track, Just Out of the Gate, you know, you could,

00:46:44.960 --> 00:46:48.539
you know, along with early sax and, you know,

00:46:48.579 --> 00:46:50.920
some of these bands, you know, they really did

00:46:50.920 --> 00:46:55.699
toy with being early thrash, you know, as fast

00:46:55.699 --> 00:46:58.440
as they played. And Andel, who we talked about

00:46:58.440 --> 00:47:01.380
earlier, is in that group as well. But yeah,

00:47:01.619 --> 00:47:05.860
this. Crocus, that album is their masterpiece.

00:47:06.099 --> 00:47:08.820
I got to see them probably about five years ago

00:47:08.820 --> 00:47:10.579
on the Monsters of Rock cruise and they were

00:47:10.579 --> 00:47:14.239
absolutely crushing. And I got to have a few

00:47:14.239 --> 00:47:17.519
adult beverages with Mark Staracci afterwards.

00:47:17.760 --> 00:47:22.099
And what a terrific guy and was still singing

00:47:22.099 --> 00:47:25.119
as well as ever. So I know they retired, which

00:47:25.119 --> 00:47:30.300
means they'll be back soon. So Crocus on Headhunter,

00:47:30.420 --> 00:47:32.940
the title track. I love that you went with the

00:47:32.940 --> 00:47:35.940
album opener. I'm a sucker for album openers.

00:47:35.940 --> 00:47:37.719
I talk about it all the time on the show, but

00:47:37.719 --> 00:47:40.699
this album entirely is just fantastic. Screaming

00:47:40.699 --> 00:47:43.719
in the Night, Eat the Rich, Ready to Burn. I

00:47:43.719 --> 00:47:45.239
could have went with any pick, but I love the

00:47:45.239 --> 00:47:47.820
fact that you went with Headhunter. And I'm going

00:47:47.820 --> 00:47:49.780
to follow that up with another opening track.

00:47:50.019 --> 00:47:52.219
And this is going to be another one that, again,

00:47:52.300 --> 00:47:55.159
might be a little divisive. I might piss some

00:47:55.159 --> 00:47:57.300
people off, but I don't know, at me about it,

00:47:57.340 --> 00:47:59.860
I guess, because I still think it's a great song.

00:48:00.690 --> 00:48:03.050
And while I could have went with something off

00:48:03.050 --> 00:48:05.949
of Operation Mindcrime, there's something about

00:48:05.949 --> 00:48:09.030
1986's Rage for Order that just hits the sweet

00:48:09.030 --> 00:48:11.449
spot for me with Queensryche. And I'm going to

00:48:11.449 --> 00:48:13.510
go with the opening track, Walk in the Shadows.

00:48:14.360 --> 00:48:16.480
It's a little progressive. It's got a little

00:48:16.480 --> 00:48:19.000
bit of that glam feel to it. And I know that's

00:48:19.000 --> 00:48:20.880
where the divisive part of Queensryche comes

00:48:20.880 --> 00:48:23.000
into play because they were changing their sound

00:48:23.000 --> 00:48:27.019
between the 83 EP and 84 is the warning to where

00:48:27.019 --> 00:48:29.920
you get to Operation Mindcrime and Empire. But

00:48:29.920 --> 00:48:33.679
I feel like Walk in the Shadows fits perfectly

00:48:33.679 --> 00:48:36.619
with the vibe we're going for in this mix. It's

00:48:36.619 --> 00:48:38.219
got a little bit of the glam, but a little bit

00:48:38.219 --> 00:48:41.639
of the progressive nature. And between Jeff Tate's

00:48:41.639 --> 00:48:44.599
ridiculous vocals and Chris DeGarmo's and Michael

00:48:44.599 --> 00:48:47.139
Wilton's guitars, I mean, dude, this song just

00:48:47.139 --> 00:48:51.139
hits on all cylinders. Yeah, it's just incredible.

00:48:51.159 --> 00:48:53.800
I love that song. That's a great, great pick

00:48:53.800 --> 00:48:58.219
there. Cool. So, wow. All right. So I'm going

00:48:58.219 --> 00:49:01.099
to change gears a little bit. I'm going to throw

00:49:01.099 --> 00:49:03.980
in one that you might not be expecting because

00:49:03.980 --> 00:49:07.079
you did talk a little bit on the glam side, just

00:49:07.079 --> 00:49:09.900
a little hints of it. And a band that obviously

00:49:09.900 --> 00:49:15.960
started as a glam band, full on first album,

00:49:16.119 --> 00:49:19.340
very much a glam band. But then they went kind

00:49:19.340 --> 00:49:21.539
of metal on their second album. And that's Motley

00:49:21.539 --> 00:49:27.059
Crue, Shout at the Devil, which is a very metal

00:49:27.059 --> 00:49:30.880
album. And I remember, boy, me and my friends

00:49:30.880 --> 00:49:32.980
at high school were so confused because we started.

00:49:33.500 --> 00:49:36.139
You know, we loved the first record so much,

00:49:36.139 --> 00:49:38.320
Too Fast for Love, and we started glamming up

00:49:38.320 --> 00:49:41.400
the way we dressed for Motley. And then here

00:49:41.400 --> 00:49:44.159
they come back with pentagrams and, you know,

00:49:44.179 --> 00:49:48.440
more of an edge to their sound. And probably

00:49:48.440 --> 00:49:51.880
still to this day, my favorite Motley album.

00:49:52.139 --> 00:49:55.199
And let's keep the heaviness rolling with the

00:49:55.199 --> 00:49:59.320
song Bastards. Bastards. All right. I love it.

00:49:59.360 --> 00:50:04.800
A Mick Mars masterclass in riffs. I mean, that's

00:50:04.800 --> 00:50:07.400
something that I think everybody always, when

00:50:07.400 --> 00:50:09.179
they talk about Motley Crue, it's Tommy Lee,

00:50:09.280 --> 00:50:12.460
it's Vince Neil. I feel like Mick Mars is the

00:50:12.460 --> 00:50:16.639
lifeblood of Motley Crue. The guitar riffs are

00:50:16.639 --> 00:50:19.820
so iconic. I had Wild Side in my list. That was

00:50:19.820 --> 00:50:21.659
a song that when I played football in high school

00:50:21.659 --> 00:50:25.539
and college was my workout anthem. I still love

00:50:25.539 --> 00:50:27.869
it. But Bastards, what a great pick. Shout at

00:50:27.869 --> 00:50:30.409
the Devil is my favorite all -time Motley Crue

00:50:30.409 --> 00:50:35.369
record. It was just so massive and genre -defining.

00:50:36.389 --> 00:50:39.650
MTV, with the videos and all that, everything

00:50:39.650 --> 00:50:43.269
just came together for Motley right at that time.

00:50:43.369 --> 00:50:46.630
And then, of course, tragedy struck not too long

00:50:46.630 --> 00:50:49.710
after that. But yeah, that one put them on the

00:50:49.710 --> 00:50:53.170
map for sure and made them huge. And I agree

00:50:53.170 --> 00:50:56.090
with Nick. It was funny when he came and did

00:50:56.090 --> 00:50:58.730
that metal show. We were all so excited because

00:50:58.730 --> 00:51:01.570
no one ever heard from Mick over all those years.

00:51:01.849 --> 00:51:03.750
And I said to him, you know, do you just not

00:51:03.750 --> 00:51:06.269
like doing publicity? He goes, I love doing interviews.

00:51:06.429 --> 00:51:08.170
He goes, but I'm in a band with three other guys

00:51:08.170 --> 00:51:10.969
who love doing them more than I do. But he created

00:51:10.969 --> 00:51:13.570
this accidental mystique about Mick that he was

00:51:13.570 --> 00:51:15.710
sort of like this dark wizard, you know, this

00:51:15.710 --> 00:51:19.389
dark warlord figure. But boy, you meet Mick Mars

00:51:19.389 --> 00:51:22.130
in it. In the first two minutes, you know him.

00:51:22.170 --> 00:51:23.849
You're like, wow, this is one of the nicest people

00:51:23.849 --> 00:51:26.110
I've ever met in my life. You know, he really

00:51:26.110 --> 00:51:29.369
is. And he does love to talk. But, you know,

00:51:29.389 --> 00:51:32.449
a lot of competition for publicity in that band.

00:51:32.769 --> 00:51:35.250
But yeah, it all worked out. And Mick's still

00:51:35.250 --> 00:51:37.170
doing it, which I'm so happy about. You know,

00:51:37.230 --> 00:51:40.050
God bless him, man. Mick, I don't know how much

00:51:40.050 --> 00:51:41.929
longer we have with him, but he's going to die

00:51:41.929 --> 00:51:44.969
with his boots on like Lemmy did. Still making

00:51:44.969 --> 00:51:50.309
music and just putting out great stuff. So yeah,

00:51:50.369 --> 00:51:52.949
Motley Crue, there you go. One of the best. I

00:51:52.949 --> 00:51:55.750
love his guitar work. It's unbelievable. And

00:51:55.750 --> 00:51:58.670
I think I'm going to tap into the Mick Mars conversation

00:51:58.670 --> 00:52:01.789
here and go with another riff that this one,

00:52:01.849 --> 00:52:04.230
again, like Motley Crue, might blur the line

00:52:04.230 --> 00:52:07.530
a little bit. Is it more hard rock? Is it metal?

00:52:08.369 --> 00:52:12.889
The only thing I... Maybe because James Hetfield

00:52:12.889 --> 00:52:15.650
is singing uncredited background vocals on the

00:52:15.650 --> 00:52:17.809
track. Maybe that's going to give it a little

00:52:17.809 --> 00:52:19.670
bit of an edge into the metal genre, but I'm

00:52:19.670 --> 00:52:22.690
going to go to 1988 and the self -titled Danzig

00:52:22.690 --> 00:52:26.130
album and my favorite ever Danzig song, Twist

00:52:26.130 --> 00:52:30.150
of Cain. John Christ's riff is just frigging

00:52:30.150 --> 00:52:32.909
perfect. It's got a little bit of a sludginess

00:52:32.909 --> 00:52:37.210
to it, but this is not the Misfits Danzig. This

00:52:37.210 --> 00:52:40.170
is an all new Danzig. And this album is just,

00:52:40.780 --> 00:52:45.360
such a unique outlier in the entire kind of danzig

00:52:45.360 --> 00:52:49.280
legacy from misfits to sam hayne and it might

00:52:49.280 --> 00:52:52.059
not be metal per se but i feel like it's got

00:52:52.059 --> 00:52:54.820
the metal spirit all throughout the record yeah

00:52:54.820 --> 00:52:58.280
oh good this i love the variety on this record

00:52:58.280 --> 00:53:01.099
there's i mean there is really is so many cool

00:53:01.099 --> 00:53:06.719
different flavors and and tempos and and oh and

00:53:06.719 --> 00:53:10.909
that it this really demonstrates the scene that

00:53:10.909 --> 00:53:15.070
we love so much which is how diverse it is you

00:53:15.070 --> 00:53:18.369
know and how much the more you you kind of broaden

00:53:18.369 --> 00:53:21.690
the boundaries of what you listen to the cooler

00:53:21.690 --> 00:53:25.369
it's going to be so um i love that pick as well

00:53:25.369 --> 00:53:29.230
what do i got left am i closing outside two now

00:53:29.230 --> 00:53:32.590
you have two songs left and i have one so okay

00:53:33.260 --> 00:53:36.699
So, all right, so we went a little more in the

00:53:36.699 --> 00:53:41.139
rock vein. So I'd like to put on an album that

00:53:41.139 --> 00:53:43.820
is very underrated. You know, we talked about

00:53:43.820 --> 00:53:47.380
the album earlier, Flick of the Switch from ACDC.

00:53:47.960 --> 00:53:52.780
This is this band's most underrated album. They're

00:53:52.780 --> 00:53:55.539
not metal, but there are some heavy songs on

00:53:55.539 --> 00:53:58.519
this album, and it's Aerosmith's Night in the

00:53:58.519 --> 00:54:02.409
Ruts. Ooh, wow. I remember being in high school

00:54:02.409 --> 00:54:05.510
and I loved, you know, the front cover. They're

00:54:05.510 --> 00:54:07.610
all, you know, they're all dressed as coal miners

00:54:07.610 --> 00:54:10.929
and then spray painted on the inside on the rocks

00:54:10.929 --> 00:54:12.730
is, you know, night in the ruts. And then you

00:54:12.730 --> 00:54:14.989
turn it over and it says right in the nuts on

00:54:14.989 --> 00:54:17.650
the back. And when you're 15, that's hilarious.

00:54:18.230 --> 00:54:22.070
It's still hilarious. I'm 57. Yes. It's still

00:54:22.070 --> 00:54:25.190
funny. And I remember Photoshop, I'd had art

00:54:25.190 --> 00:54:28.389
class and me and my friends Photoshopped. um,

00:54:28.510 --> 00:54:31.070
t -shirts that had the front cover on the front

00:54:31.070 --> 00:54:34.130
and then right in the nuts on the back. And,

00:54:34.170 --> 00:54:37.250
um, I was not allowed to wear that shirt in school,

00:54:37.449 --> 00:54:41.869
but, um, uh, I loved that album. It's, um, it

00:54:41.869 --> 00:54:44.409
was at a weird time in their career. Um, you

00:54:44.409 --> 00:54:46.929
know, there's like three or maybe even four cover

00:54:46.929 --> 00:54:50.349
songs on that album, but, um, you know, that

00:54:50.349 --> 00:54:54.110
album still, uh, kicks ass. And I'm going to

00:54:54.110 --> 00:54:56.929
go, boy, let's see. What do we want to go for

00:54:56.929 --> 00:55:00.349
on that? I mean, we could come right out of the

00:55:00.349 --> 00:55:06.250
gate with the opening track on that album. Or

00:55:06.250 --> 00:55:12.590
maybe we want to change it up a little bit. Let's

00:55:12.590 --> 00:55:15.570
see. I was going to go No Surprise, but let's

00:55:15.570 --> 00:55:20.570
go Three Miles Smile. That one's going to work.

00:55:21.050 --> 00:55:23.469
I love the fact that we snuck a little Aerosmith

00:55:23.469 --> 00:55:27.150
into that mix because my wife has, that's been

00:55:27.150 --> 00:55:29.969
her bucket list for 25 years. And we had tickets

00:55:29.969 --> 00:55:32.550
to the Prudential Center this past December.

00:55:32.750 --> 00:55:35.510
And I got tickets to bring her and my girls to

00:55:35.510 --> 00:55:37.650
see the Aerosmith to check it off her bucket

00:55:37.650 --> 00:55:40.909
list. And then it got postponed. So this December

00:55:40.909 --> 00:55:42.889
we're doing it. It's the gift that keeps on giving.

00:55:43.010 --> 00:55:45.650
Two Christmases in a row I get taken care of

00:55:45.650 --> 00:55:49.179
here. Coming out of Aerosmith. There's a little

00:55:49.179 --> 00:55:50.920
bit of an OCD in me, and it's going to really

00:55:50.920 --> 00:55:53.079
show here. I've mentioned three of the big four,

00:55:53.199 --> 00:55:57.800
and we can't not talk Slayer. So let's go all

00:55:57.800 --> 00:56:01.079
four of the big four. I'm going with Slayer and

00:56:01.079 --> 00:56:03.840
Raining Blood. That song, when I first heard

00:56:03.840 --> 00:56:06.900
it, it scared me as a kid. I didn't know what

00:56:06.900 --> 00:56:09.320
I was listening to. My cousin pulls me aside

00:56:09.320 --> 00:56:11.239
and says to me, let me play you something. When

00:56:11.239 --> 00:56:13.460
he played the opening to Raining Blood, that

00:56:13.460 --> 00:56:18.699
introduced me to the angriest of metal. thrashiest

00:56:18.699 --> 00:56:21.780
of metal and i went on to just fall in love with

00:56:21.780 --> 00:56:23.880
the group and seasons in the abyss was my first

00:56:23.880 --> 00:56:26.679
ever slayer album that i bought with my own money

00:56:26.679 --> 00:56:28.699
but i would have never bought it if it wasn't

00:56:28.699 --> 00:56:31.360
for rain and blood so and then obviously all

00:56:31.360 --> 00:56:33.760
my video game friends know it from guitar hero

00:56:33.760 --> 00:56:35.599
as well so they get a kick out of it as well

00:56:35.599 --> 00:56:39.039
but raining blood you can't not have it on an

00:56:39.039 --> 00:56:42.519
80s metal mix for sure and you know as as i predicted

00:56:43.289 --> 00:56:47.409
Slayer back in action after saying they will

00:56:47.409 --> 00:56:52.429
never play together again. But I always say the

00:56:52.429 --> 00:56:54.710
same thing with these artists. It's like, you

00:56:54.710 --> 00:56:56.650
can announce all the farewell tours you want.

00:56:56.849 --> 00:56:59.880
I'll still be there when you come back. Because

00:56:59.880 --> 00:57:03.099
I know they always think it's over, but it never

00:57:03.099 --> 00:57:05.579
really is. And guess what? If there's a demand

00:57:05.579 --> 00:57:07.760
for it and they can still play at a high level,

00:57:07.920 --> 00:57:11.579
there's no reason not to do it. And I'm psyched

00:57:11.579 --> 00:57:14.420
because what I'm hearing from Kerry King's new

00:57:14.420 --> 00:57:17.139
solo stuff sounds great. Oh, my God. It's great.

00:57:17.280 --> 00:57:20.460
What a band he put together. And we still have

00:57:20.460 --> 00:57:23.920
Slayer. So it's a win -win for me. All right.

00:57:23.960 --> 00:57:27.940
I got to close out strong here. Take us home.

00:57:28.079 --> 00:57:35.179
Man, you know, it was tough between this artist's

00:57:35.179 --> 00:57:39.960
first two albums because they were back to back

00:57:39.960 --> 00:57:42.280
pretty quickly within, I think, eight or nine

00:57:42.280 --> 00:57:44.739
months of each other. But I think I'm going to

00:57:44.739 --> 00:57:49.460
go with the closing track from the Diary of a

00:57:49.460 --> 00:57:54.650
Madman album and Ozzy Osbourne. Uh, boy back

00:57:54.650 --> 00:57:58.489
from the dead, um, you know, unceremoniously

00:57:58.489 --> 00:58:01.070
kicked out of Sabbath, you know, Ronnie deal

00:58:01.070 --> 00:58:03.650
comes in and man, obviously I could have picked

00:58:03.650 --> 00:58:06.670
anything off of heaven and hell, but, um, you

00:58:06.670 --> 00:58:09.489
know, being a fan of Sabbath from the early days,

00:58:09.550 --> 00:58:14.570
being scared, uh, you know, shitless, if I can

00:58:14.570 --> 00:58:18.610
say, um, if I can already said it, but, um, from

00:58:18.610 --> 00:58:22.230
the song black Sabbath and, uh, you know, obviously.

00:58:22.730 --> 00:58:26.829
Being such a fan of Ozzy, his masterpiece to

00:58:26.829 --> 00:58:30.530
me still to this day is Diary of a Madman and

00:58:30.530 --> 00:58:35.010
the song Diary of a Madman, which I only saw

00:58:35.010 --> 00:58:38.210
him play once ever live. He actually opened with

00:58:38.210 --> 00:58:40.949
it on an OzFest. And I don't know who talked

00:58:40.949 --> 00:58:44.030
him into doing that. But man, I still remember

00:58:44.030 --> 00:58:47.530
just how excited I was that he was actually doing

00:58:47.530 --> 00:58:50.409
Diary of a Madman. So I think that's a pretty

00:58:50.409 --> 00:58:53.869
cool way to close out. The weekly mixtape today.

00:58:54.090 --> 00:58:56.769
Could not agree more. There you have it, folks.

00:58:56.929 --> 00:59:00.130
Side B of our ultimate 80s metal mixtape, which

00:59:00.130 --> 00:59:03.010
kicked off with Metallica's Blackened, Saxon

00:59:03.010 --> 00:59:05.929
Play It Loud, Testament Practice What You Preach,

00:59:05.989 --> 00:59:09.530
Crocus Headhunter, Queensryche Walk in the Shadows,

00:59:09.869 --> 00:59:13.989
Motley Crue Bastards, Danzig Twist a Cane, Aerosmith

00:59:13.989 --> 00:59:17.670
Three Mile Smile, Slayer Raining Blood. and Ozzy

00:59:17.670 --> 00:59:21.369
Osbourne, Diary of a Madman. Head over to myweeklymixtape

00:59:21.369 --> 00:59:23.710
.com to hear all the songs we've discussed in

00:59:23.710 --> 00:59:26.590
this mix through the playlist embedded on the

00:59:26.590 --> 00:59:30.269
episode page. So Don, No Sleep Till McSorley's

00:59:30.269 --> 00:59:33.150
is out right now. What do you have planned to

00:59:33.150 --> 00:59:35.110
support the album for the rest of this year and

00:59:35.110 --> 00:59:38.349
beyond? Just out, you know, doing live dates,

00:59:38.489 --> 00:59:42.150
you know, no formal tour or anything. So, you

00:59:42.150 --> 00:59:44.980
know, people can follow me. on my social media,

00:59:45.179 --> 00:59:50.559
at Real Don Jameson on X, and Don Jameson Official

00:59:50.559 --> 00:59:53.679
on Instagram and Facebook. And I don't know if

00:59:53.679 --> 00:59:58.440
I'm allowed to say anything, but I'm coming soon

00:59:58.440 --> 01:00:03.760
to a very popular podcast network that you might

01:00:03.760 --> 01:00:07.190
actually be a part of. I might be familiar with

01:00:07.190 --> 01:00:10.630
that network. So hopefully if all goes well,

01:00:10.710 --> 01:00:12.610
I will be coming over and being a part of the

01:00:12.610 --> 01:00:16.650
Pantheon podcast family. And I could not be more

01:00:16.650 --> 01:00:19.670
excited about that. So hopefully you'll be seeing

01:00:19.670 --> 01:00:23.730
more of me or hearing more of me right here.

01:00:24.349 --> 01:00:26.409
Well, this has been an absolute pleasure, man.

01:00:26.469 --> 01:00:28.550
Thank you so much for coming on and having this

01:00:28.550 --> 01:00:30.590
conversation with me. It's been an absolute blast.

01:00:30.670 --> 01:00:32.670
Dude, thank you so much. That was such a fun

01:00:32.670 --> 01:00:35.030
and creative thing to do and really appreciate

01:00:35.030 --> 01:00:37.949
the support and the good words. So let's do it

01:00:37.949 --> 01:00:40.300
again sometime. And remember, Mixtapers, you

01:00:40.300 --> 01:00:42.519
can find My Weekly Mixtape on almost all the

01:00:42.519 --> 01:00:45.659
social media haunts at My Weekly Mixtape. You

01:00:45.659 --> 01:00:48.159
can also head to MyWeeklyMixtape .com to check

01:00:48.159 --> 01:00:50.820
out the full catalog of My Weekly Mixtape episodes.

01:00:51.219 --> 01:00:53.119
And finally, if you like what you're hearing

01:00:53.119 --> 01:00:55.059
on the show, you can help me out by either telling

01:00:55.059 --> 01:00:57.440
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01:00:57.440 --> 01:01:00.360
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01:01:00.360 --> 01:01:04.159
Mixtaper at Patreon .com. forward slash My Weekly

01:01:04.159 --> 01:01:06.760
Mixtape. There you can enjoy ad -free episodes

01:01:06.760 --> 01:01:09.539
of the show, become a future guest, and so much

01:01:09.539 --> 01:01:11.860
more. That's all for this week. Thanks again

01:01:11.860 --> 01:01:14.400
for listening, and until next time, enjoy the

01:01:14.400 --> 01:01:14.639
tunes.