WEBVTT 00:00:11.540 --> 00:00:14.220 Welcome to My Weekly Mixtape, a podcast that 00:00:14.220 --> 00:00:17.280 takes the classic mixtape approach to building 00:00:17.280 --> 00:00:20.160 a modern playlist. I'm your host, Brian Colburn. 00:00:20.280 --> 00:00:23.399 Joining me tonight as guest curator is Jamie 00:00:23.399 --> 00:00:26.140 Detringo, lead guitarist and vocalist for The 00:00:26.140 --> 00:00:28.160 Seas. Jamie, thank you so much for joining me 00:00:28.160 --> 00:00:30.500 on My Weekly Mixtape, man. Thanks for having 00:00:30.500 --> 00:00:32.579 me, Brian. Excited to be here. Well, I'd like 00:00:32.579 --> 00:00:35.219 to start by asking you the same question I ask 00:00:35.219 --> 00:00:37.780 all of my first -time guests, and that is, what 00:00:37.780 --> 00:00:41.820 does the word mixtape mean to you? That is such 00:00:41.820 --> 00:00:45.299 a good question of decades of actual mixtapes 00:00:45.299 --> 00:00:51.340 from physical tapes to CDs to MP3 mixes, but 00:00:51.340 --> 00:00:54.020 anything is just a collection, a smorgasbord, 00:00:54.200 --> 00:00:57.500 if you will. It could be different songs, artists, 00:00:57.659 --> 00:01:01.060 genres, types, filling up a side A and a side 00:01:01.060 --> 00:01:03.679 B and then so on and so forth as in the parlance 00:01:03.679 --> 00:01:07.439 of our times into technology of CDs. But yeah, 00:01:07.519 --> 00:01:09.700 just a random collection of material most of 00:01:09.700 --> 00:01:13.400 the time. And tonight will fall under that random 00:01:13.400 --> 00:01:16.739 -esque nature because we are talking number one 00:01:16.739 --> 00:01:20.859 hits of the 1990s. So this is very similar to 00:01:20.859 --> 00:01:24.939 episode 48, number one hits of the 1980s with 00:01:24.939 --> 00:01:27.879 Patreon mixtaper Ben Checkness. There's going 00:01:27.879 --> 00:01:30.480 to be no deep cuts tonight. We're only talking 00:01:30.480 --> 00:01:33.980 banger after banger after banger. Remember, the 00:01:33.980 --> 00:01:37.299 deepest of cuts we can pick tonight are number 00:01:37.299 --> 00:01:41.099 one songs that only lasted. One week on the chart. 00:01:41.239 --> 00:01:44.120 So even then, it's still a number one hit. So 00:01:44.120 --> 00:01:47.659 trivia time. Something everyone out there can 00:01:47.659 --> 00:01:50.680 use next time it pops up on Jeopardy. How many 00:01:50.680 --> 00:01:55.519 songs reached number one throughout the 1990s? 00:01:55.980 --> 00:01:58.319 Jamie, do you care to even wager a guess at that 00:01:58.319 --> 00:02:01.859 one? Let's say number one songs to the 90s, nine 00:02:01.859 --> 00:02:07.959 years. Let's call it 105. You are actually pretty 00:02:07.959 --> 00:02:11.759 close. The answer is 140. Okay. But that's really 00:02:11.759 --> 00:02:15.280 close. Tonight, you and I are tasked with whittling 00:02:15.280 --> 00:02:20.879 down 140 songs to 20 of the best. How do you 00:02:20.879 --> 00:02:24.500 feel about that? I'm into it. I love to go back 00:02:24.500 --> 00:02:28.340 to the impressionist years of the 90s of the 00:02:28.340 --> 00:02:31.759 growth of myself through the proxy of music and 00:02:31.759 --> 00:02:36.080 MTV and radio. Fantastic. Well, tonight, as I 00:02:36.080 --> 00:02:38.199 mentioned at the top of the show, Jamie and I 00:02:38.199 --> 00:02:41.080 will be curating a number one hits of the 1990s 00:02:41.080 --> 00:02:43.939 mixtape and we'll use the old cassette deck approach. 00:02:44.280 --> 00:02:46.900 Jamie, as my special guest, will begin Side A 00:02:46.900 --> 00:02:49.520 with his first song choice, and then I'll add 00:02:49.520 --> 00:02:52.439 a song that I feel best follows up that choice. 00:02:52.719 --> 00:02:55.219 We'll then flip -flop choosing songs until we've 00:02:55.219 --> 00:02:58.949 mapped out 10 songs for Side A. We'll then give 00:02:58.949 --> 00:03:01.289 our mixtape a proverbial flip and then we'll 00:03:01.289 --> 00:03:03.430 map outside. Be only this time, I'll kick things 00:03:03.430 --> 00:03:06.889 off with Jamie choosing second. Our overall goal 00:03:06.889 --> 00:03:09.250 for this episode is to craft the best number 00:03:09.250 --> 00:03:13.310 one hits of the 1990s mixtape possible through 00:03:13.310 --> 00:03:16.009 only 20 songs. And at the end of the show, you 00:03:16.009 --> 00:03:18.370 can take our conversation to the next level by 00:03:18.370 --> 00:03:21.169 visiting the episode page at myweeklymixtape 00:03:21.169 --> 00:03:23.969 .com where you can give our final mixtape a listen 00:03:23.969 --> 00:03:27.280 via the embedded playlist. And if you like what 00:03:27.280 --> 00:03:28.919 you're hearing on the show, you can help me out 00:03:28.919 --> 00:03:31.199 by either telling a friend, leaving the show 00:03:31.199 --> 00:03:33.199 a five -star review wherever you're tuning in, 00:03:33.280 --> 00:03:36.979 or becoming a Patreon mixtaper at patreon .com 00:03:36.979 --> 00:03:41.099 forward slash myweeklymixtape. And a few Patreon 00:03:41.099 --> 00:03:43.939 mixtapers chimed in with what they think we should 00:03:43.939 --> 00:03:45.819 kick off our playlist with, and I want to give 00:03:45.819 --> 00:03:48.439 a shout out to a few of those. Tom Hutchinson 00:03:48.439 --> 00:03:51.759 said One Week by the Barenaked Ladies as it was 00:03:51.759 --> 00:03:56.800 number one for one week. in 1998, which I immediately 00:03:56.800 --> 00:03:59.560 replied to him. Isn't that ironic? Don't you 00:03:59.560 --> 00:04:02.419 think? However, that only reached number four 00:04:02.419 --> 00:04:05.680 on the charts. So that killed my joke. Chad LaMassa 00:04:05.680 --> 00:04:09.000 first expressed his shock that Nirvana's Smells 00:04:09.000 --> 00:04:11.719 Like Teen Spirit never made it to number one, 00:04:11.719 --> 00:04:15.780 along with the fact that not one of the big four 00:04:15.780 --> 00:04:19.459 Seattle bands, meaning Nirvana, Pearl Jam, Alice 00:04:19.459 --> 00:04:22.240 in Chains and Soundgarden had a number one hit. 00:04:22.639 --> 00:04:26.220 In the 1990s. So instead, he went with Coolio's 00:04:26.220 --> 00:04:29.620 Gangster's Paradise. Ben from the Too Vague podcast 00:04:29.620 --> 00:04:32.759 feels like he should have used his pick for this 00:04:32.759 --> 00:04:36.480 episode for next week's 90s Canadian artists 00:04:36.480 --> 00:04:40.019 episode. And that is Snow's Informer, which spent 00:04:40.019 --> 00:04:43.240 seven weeks at number one, something he calls 00:04:43.240 --> 00:04:46.459 mind boggling. But then he proceeded to share 00:04:46.459 --> 00:04:50.279 with me the fact that Snow recorded the hold 00:04:50.279 --> 00:04:54.170 music. for yahoo and it's available on youtube 00:04:54.170 --> 00:04:58.069 so if you head over to the episode page at myweeklymixtape 00:04:58.069 --> 00:05:01.029 .com i'm going to embed this because you need 00:05:01.029 --> 00:05:03.850 to hear this hold me it's the greatest hold news 00:05:03.850 --> 00:05:06.310 like if we ever did an episode on the greatest 00:05:06.310 --> 00:05:08.829 hold music songs of all time it would be this 00:05:08.829 --> 00:05:12.209 song 20 times in a row Seeker chimed in from 00:05:12.209 --> 00:05:15.050 Australia saying, since I'm Australian, I'm using 00:05:15.050 --> 00:05:18.189 the ARIA charts and will nominate Tomorrow by 00:05:18.189 --> 00:05:21.050 Silverchair, which was number one for six weeks 00:05:21.050 --> 00:05:24.810 in 1994. That just makes me wonder how the hell 00:05:24.810 --> 00:05:27.050 the song didn't chart higher in the U .S. because 00:05:27.050 --> 00:05:30.029 I love that tune. And finally, Philip Bergman 00:05:30.029 --> 00:05:31.889 chimed in with London Beats' I've Been Thinking 00:05:31.889 --> 00:05:34.970 About You. And somewhere on his list is Timmy 00:05:34.970 --> 00:05:38.170 T's One More Try, and he's hoping he's not the 00:05:38.170 --> 00:05:41.199 only one who liked that song. And I will go as 00:05:41.199 --> 00:05:44.279 far as to say that after he posted that, I went 00:05:44.279 --> 00:05:47.000 on social media because I hadn't heard that song 00:05:47.000 --> 00:05:49.439 in a long time. So I queued it up and gave it 00:05:49.439 --> 00:05:52.980 a listen. And strangely enough, I don't remember 00:05:52.980 --> 00:05:56.600 any point in my life when I sat down and listened. 00:05:57.319 --> 00:06:00.040 To Timmy T's one more try from start to finish. 00:06:00.420 --> 00:06:03.019 It may have played at school dances or other 00:06:03.019 --> 00:06:05.199 events I was at, but I don't ever remember owning 00:06:05.199 --> 00:06:07.240 it or having it on any of my mixtapes. However, 00:06:07.439 --> 00:06:12.480 I knew every single word. To that song. And a 00:06:12.480 --> 00:06:15.079 lot of people chimed in with their love of the 00:06:15.079 --> 00:06:16.939 track. And the whole story behind it. Which is 00:06:16.939 --> 00:06:19.420 truly fascinating. If you don't know the story 00:06:19.420 --> 00:06:22.480 behind Timmy T's One More Try. I highly suggest 00:06:22.480 --> 00:06:24.800 looking it up. And going down a little Wikipedia 00:06:24.800 --> 00:06:26.800 rabbit hole. And reading up on that one. It's 00:06:26.800 --> 00:06:30.220 really interesting. So Jamie with that. I'm officially 00:06:30.220 --> 00:06:32.959 pressing the record button on our mixtape. And 00:06:32.959 --> 00:06:35.339 the floor is yours. Why don't you dive into the 00:06:35.339 --> 00:06:39.399 song you're choosing. To kick off side A. Thanks 00:06:39.399 --> 00:06:42.379 Brian. What's interesting and what I was thinking 00:06:42.379 --> 00:06:44.980 about for this mixtape to go by the year 1990, 00:06:45.339 --> 00:06:48.500 91, 92, we each pick one from each year and flip 00:06:48.500 --> 00:06:50.600 it because I think that really gets you into 00:06:50.600 --> 00:06:54.620 the flow of the 90 hits. Maybe not things you 00:06:54.620 --> 00:06:58.060 might be listening to today en masse, but it's 00:06:58.060 --> 00:07:01.199 kind of a throwback to go that way. What do you 00:07:01.199 --> 00:07:03.209 think about that approach? You know what? What 00:07:03.209 --> 00:07:04.670 the hell? Let's go for that because that sounds 00:07:04.670 --> 00:07:06.730 like a lot of fun. I've got my song bank here. 00:07:06.810 --> 00:07:09.850 I am sure that there's at least two songs from 00:07:09.850 --> 00:07:12.509 every year of the decade in here. So let's give 00:07:12.509 --> 00:07:15.529 that a try. 1990. Let's hear what you got. So 00:07:15.529 --> 00:07:19.370 I'm going to go with the anger of 1990 of Madonna 00:07:19.370 --> 00:07:23.370 Vogue. I would say coming out of the 80s for 00:07:23.370 --> 00:07:27.310 Madonna was obviously the rise of her power and 00:07:27.310 --> 00:07:30.079 hold on pop music and Vogue just. The contagious 00:07:30.079 --> 00:07:33.139 beat of that song in the videos of the early 00:07:33.139 --> 00:07:35.240 90s. I think David Fincher might have directed 00:07:35.240 --> 00:07:38.100 that one. You are correct. But that song just 00:07:38.100 --> 00:07:40.079 still stays with your head with all the dance 00:07:40.079 --> 00:07:42.959 moves and all the flavors that came with that 00:07:42.959 --> 00:07:46.379 song. Absolutely love Vogue. Look, I'm not going 00:07:46.379 --> 00:07:49.540 to lie. When I was, I think I was like 11 or 00:07:49.540 --> 00:07:51.879 12 at the time, we'd sit there watching the video, 00:07:52.180 --> 00:07:54.860 doing the hands around, like, you know, boxing 00:07:54.860 --> 00:07:56.860 your face, man. I guess that's what you'd call 00:07:56.860 --> 00:08:00.100 it. But that song. was so amazing because it 00:08:00.100 --> 00:08:03.379 was a throwback single for that dick tracy soundtrack 00:08:03.379 --> 00:08:06.519 i actually really love that album it's called 00:08:06.519 --> 00:08:09.300 i'm breathless she had that song hanky panky 00:08:09.300 --> 00:08:11.939 on there it was just this throwback sound and 00:08:11.939 --> 00:08:14.959 it really kind of reintroduced madonna at the 00:08:14.959 --> 00:08:16.540 time she was one of the biggest artists on the 00:08:16.540 --> 00:08:19.540 planet but it introduced her to some of the older 00:08:19.540 --> 00:08:22.480 crowd that may not have been into her like a 00:08:22.480 --> 00:08:25.079 prayer type pop sound at the time so i love that 00:08:25.079 --> 00:08:28.509 pick And now if I have to stay in 1990, you're 00:08:28.509 --> 00:08:30.209 killing me because that means I only get one 00:08:30.209 --> 00:08:35.149 song from 1990. And I could go with Nelson's 00:08:35.149 --> 00:08:38.730 Can't Live Without Your Love and Affection, Roxette's 00:08:38.730 --> 00:08:42.549 It Must Have Been Love. I mean, God, Sinead O 00:08:42.549 --> 00:08:45.389 'Connor's Nothing Compares to You. One of the 00:08:45.389 --> 00:08:47.950 best covers of all time. It really is. It really 00:08:47.950 --> 00:08:51.590 is. But if I'm going to go with one song from 00:08:51.590 --> 00:08:53.490 1990, and I can't believe I'm actually picking 00:08:53.490 --> 00:08:57.509 something over Nothing Compares to You. I just, 00:08:57.610 --> 00:09:00.029 there's something about this song that hits me 00:09:00.029 --> 00:09:04.889 so hard. And the way I discovered this song was 00:09:04.889 --> 00:09:08.429 actually through something at the New Jersey 00:09:08.429 --> 00:09:11.269 malls and the record shops in the late eighties, 00:09:11.269 --> 00:09:14.309 early nineties. They had a booth with a little 00:09:14.309 --> 00:09:16.970 book and it was called the personics station. 00:09:17.720 --> 00:09:20.120 And you would take this piece of paper and you'd 00:09:20.120 --> 00:09:22.659 go through the book and pick out songs and you'd 00:09:22.659 --> 00:09:25.720 write the number of the song down and then you'd 00:09:25.720 --> 00:09:27.840 bring it to the counter. And does this sound 00:09:27.840 --> 00:09:31.240 familiar? You'd pay 99 cents a song and they 00:09:31.240 --> 00:09:35.740 would record you a mixtape of all songs from 00:09:35.740 --> 00:09:39.220 the book. It was actually purchasing customized 00:09:39.220 --> 00:09:42.500 mixtapes with your own customized J card and 00:09:42.500 --> 00:09:45.379 liner notes. It was awesome. And every month 00:09:45.379 --> 00:09:47.799 they would give away a free song. And I brought 00:09:47.799 --> 00:09:50.679 up one of my cassettes to be made. And I had 00:09:50.679 --> 00:09:53.440 the free song tucked on at the back. And the 00:09:53.440 --> 00:09:55.879 kid behind the counter just went, dude, can I 00:09:55.879 --> 00:10:00.440 give you one small bit of advice or however you 00:10:00.440 --> 00:10:02.440 want to take it? And I said, I'm game. And he 00:10:02.440 --> 00:10:05.799 goes, that free song, start to tape with this 00:10:05.799 --> 00:10:07.299 because you're going to be rocking this song 00:10:07.299 --> 00:10:12.299 forever. It's just that good. And so kicking 00:10:12.299 --> 00:10:16.730 off one of my Presonix cassettes. was alana miles 00:10:16.730 --> 00:10:20.190 black velvet now this is a song that for me i 00:10:20.190 --> 00:10:22.169 know there's a little bit of a cheat going on 00:10:22.169 --> 00:10:23.929 here because the song was actually released in 00:10:23.929 --> 00:10:27.210 89 but guess what it didn't hit number one until 00:10:27.210 --> 00:10:32.009 1990 so it absolutely counts this song is bluesy 00:10:32.009 --> 00:10:35.350 it's soulful there's a touch of southern rock 00:10:35.350 --> 00:10:38.330 and country And yes, there's still a pop element 00:10:38.330 --> 00:10:40.210 to it because if you listen to the rest of Alana 00:10:40.210 --> 00:10:42.690 Miles' self -titled album, Black Velvet's kind 00:10:42.690 --> 00:10:46.269 of an outlier. But it's just such a perfect song. 00:10:46.350 --> 00:10:49.690 To me, it's absolutely timeless and needs to 00:10:49.690 --> 00:10:53.690 be included in a number one hits of the 90s episode 00:10:53.690 --> 00:10:57.210 because sadly, I couldn't include this song in 00:10:57.210 --> 00:10:59.990 the 80s episode because it, again, did not become 00:10:59.990 --> 00:11:03.470 number one until 1990. So Black Velvet by Alana 00:11:03.470 --> 00:11:07.340 Miles. Black Velvet. I mean, It's tough because 00:11:07.340 --> 00:11:10.960 there's so many songs as we look over that list. 00:11:11.179 --> 00:11:14.100 I mean, Ice Ice Baby, that's maybe something 00:11:14.100 --> 00:11:16.379 I'm listening to today. But I mean, that tape 00:11:16.379 --> 00:11:22.960 was huge. Everyone, Vanilla Ice was massive. 00:11:23.159 --> 00:11:26.320 But all these songs are just Jon Bon Jovi, Blaze 00:11:26.320 --> 00:11:28.460 of Glory. Was that the Young Guns 2 soundtrack? 00:11:28.799 --> 00:11:32.059 Yeah, yeah. Wilson Phillips, Hold On. I mean, 00:11:32.120 --> 00:11:35.039 that's... I mean, look, you wouldn't have gotten 00:11:35.039 --> 00:11:37.299 the Dan Banz version of Hold On if Wilson Phillips 00:11:37.299 --> 00:11:40.120 didn't do it first. Definitely not. So many bangers. 00:11:40.580 --> 00:11:43.600 So sticking with this then, we are going back 00:11:43.600 --> 00:11:52.340 to you for now 1991. 1991, man. I mean, I'm just 00:11:52.340 --> 00:11:54.539 trying to think of like, what was I hearing at 00:11:54.539 --> 00:11:57.639 this time at 10 years old as I'm dating myself? 00:11:57.720 --> 00:12:00.870 I mean. CNC Music Factory, Gonna Make You Sweat, 00:12:00.889 --> 00:12:02.889 That's A Thing. I mean, Brian Adams, Everything 00:12:02.889 --> 00:12:04.710 I Do Would Do It For You from the Robert Prince 00:12:04.710 --> 00:12:07.590 of Peace soundtrack. I mean, how huge was that 00:12:07.590 --> 00:12:09.889 song? Speaking of malls, I mean, like, a song 00:12:09.889 --> 00:12:11.470 like that you couldn't avoid. I mean, there's 00:12:11.470 --> 00:12:13.929 so many amazing songs, like More Than Words and 00:12:13.929 --> 00:12:16.330 Extreme, but Brian Adams, Everything I Do Would 00:12:16.330 --> 00:12:18.789 Do It For You. I mean, other than Kevin Costner 00:12:18.789 --> 00:12:21.990 not having a great English accent, that movie's 00:12:21.990 --> 00:12:24.909 fantastic. Alan Rickman, Thrown 100 Miles Per 00:12:24.909 --> 00:12:27.409 Hour. And if it wasn't for that movie, you wouldn't 00:12:27.409 --> 00:12:29.049 have gotten Robin Hood Men in Tights. Let's be 00:12:29.049 --> 00:12:31.730 honest. That's true. And with that, you would 00:12:31.730 --> 00:12:34.809 not have gotten Newfound Glory's incredible punk 00:12:34.809 --> 00:12:37.470 cover of Everything I Do, I Do It For You. That 00:12:37.470 --> 00:12:42.870 is very true. Man, 91 is tough, man. This is 00:12:42.870 --> 00:12:45.789 really tough. There's so many cheeseball routes 00:12:45.789 --> 00:12:48.669 you could go to. Oh, my God. I mean, look, more 00:12:48.669 --> 00:12:51.549 than words by Extreme, I love the Porno Graffini 00:12:51.549 --> 00:12:55.340 album. I'm not going to lie. That song. It's 00:12:55.340 --> 00:12:59.320 so amazing. The video, which Weird Al parodied 00:12:59.320 --> 00:13:01.679 in the You Don't Love Me Anymore video. I mean, 00:13:01.700 --> 00:13:04.740 it was an iconic video. Paula Abdul was everywhere 00:13:04.740 --> 00:13:08.299 in 91. Like, Rush Rush, that was a great ballad 00:13:08.299 --> 00:13:10.419 of hers that many people don't really remember 00:13:10.419 --> 00:13:13.500 because it never reached the massive stratospheric 00:13:13.500 --> 00:13:16.759 heights of every single from Forever Your Girl. 00:13:16.919 --> 00:13:19.600 But that song, to me, still holds up. It's still 00:13:19.600 --> 00:13:23.039 a great pop song. Michael Bolton. I mean, I mean 00:13:23.039 --> 00:13:27.799 everything. God, I am stuck between three songs 00:13:27.799 --> 00:13:32.500 right now. And if I can only pick one song that 00:13:32.500 --> 00:13:35.240 reminds me of 1991, I have to think about where 00:13:35.240 --> 00:13:38.259 I was in my life at this point. And I'm going 00:13:38.259 --> 00:13:41.480 to go back to my eighth grade dance and the song 00:13:41.480 --> 00:13:45.460 that everybody went nuts to the most during eighth 00:13:45.460 --> 00:13:49.320 grade, at least from the boy's side. was because 00:13:49.320 --> 00:13:54.139 Andrew Dice Clay was on the track. And I am going 00:13:54.139 --> 00:13:56.980 to go with EMF's Unbelievable. Unbelievable. 00:13:57.220 --> 00:13:59.620 That song was huge. Talk about like a one -hit 00:13:59.620 --> 00:14:02.980 wonder, like personified. In the U .S. for sure, 00:14:03.039 --> 00:14:05.379 although they had a second song from Schubert 00:14:05.379 --> 00:14:07.980 Dip called Lies that apparently cracked the top 00:14:07.980 --> 00:14:11.080 20 on Billboard. I don't remember hearing it 00:14:11.080 --> 00:14:13.440 that often, but it did make a mark. In the U 00:14:13.440 --> 00:14:15.960 .K., they did have a string of hits throughout 00:14:15.960 --> 00:14:18.740 the early 90s. They're obviously a U .K.-based 00:14:18.740 --> 00:14:20.960 band, so I'm not shocked there. But the only 00:14:20.960 --> 00:14:23.639 one that really made a splash in the U .S. was 00:14:23.639 --> 00:14:27.200 obviously Unbelievable. This song, I mean, just 00:14:27.200 --> 00:14:30.360 the sample of the, oh, like that was something 00:14:30.360 --> 00:14:33.200 that. People went nuts for. And I feel like this 00:14:33.200 --> 00:14:36.379 song, if you play it now, it's still danceable. 00:14:36.399 --> 00:14:38.980 It's still fun. It still holds up. Absolutely. 00:14:39.279 --> 00:14:42.940 And next up, going by the format that you requested 00:14:42.940 --> 00:14:45.679 at the top of the show, we are moving into 1992. 00:14:46.340 --> 00:14:48.940 Now it gets a little bit harder because the choice 00:14:48.940 --> 00:14:52.960 of songs, because of some number one hit rains 00:14:52.960 --> 00:14:56.240 that went on for a very long time. Your choice 00:14:56.240 --> 00:14:59.139 of songs is definitely shrinking down a lot here. 00:14:59.279 --> 00:15:02.460 So what do you got for 1992? It's interesting 00:15:02.460 --> 00:15:05.919 that two of the big hits were covers. I mean, 00:15:05.940 --> 00:15:09.779 talk about like young dances. I mean, Boyz II 00:15:09.779 --> 00:15:12.419 Men, End of the Road on the Boomerang soundtrack. 00:15:12.799 --> 00:15:16.259 I mean, that one, I mean, one of the greatest 00:15:16.259 --> 00:15:18.700 soundtracks ever. I'm going to go, I got to go 00:15:18.700 --> 00:15:22.159 with that. You know, that is so of the parlance 00:15:22.159 --> 00:15:25.059 of the time of 1992. Boyz II Men, that video. 00:15:25.939 --> 00:15:30.500 Yeah. One of my favorite boys to men songs. And 00:15:30.500 --> 00:15:33.220 I'll just say it probably one of my favorite 00:15:33.220 --> 00:15:37.799 ballads of the nineties. For sure. Just the harmonies 00:15:37.799 --> 00:15:41.820 are absolutely stunning in it. The song is insanely 00:15:41.820 --> 00:15:45.600 catchy and it has such soul to it. I mean, look, 00:15:45.659 --> 00:15:47.559 they had this and then they had, I'll make love 00:15:47.559 --> 00:15:50.580 to you, which was like even bigger hit. But at 00:15:50.580 --> 00:15:52.700 the time I was a lot younger end of the road 00:15:52.700 --> 00:15:56.259 resonated with my youth. A lot more than I'll 00:15:56.259 --> 00:16:00.139 Make Love to You did in early high school. This 00:16:00.139 --> 00:16:03.539 is one of those songs that to this day, it's 00:16:03.539 --> 00:16:05.799 still a vibe. And that's a hard thing to do, 00:16:05.840 --> 00:16:08.460 to have a song be so timeless that 30 -something 00:16:08.460 --> 00:16:12.000 years later, it still immediately creates a mood 00:16:12.000 --> 00:16:14.360 in a completely different decade than when it 00:16:14.360 --> 00:16:17.779 was released. Now, I love the fact that Me First 00:16:17.779 --> 00:16:20.159 and the Gimme Gimmes do a fun punk cover of it. 00:16:20.379 --> 00:16:23.899 And I love the fact that the song just has this 00:16:23.899 --> 00:16:27.960 enduring. If this came out in the 70s, I'd buy 00:16:27.960 --> 00:16:30.820 that. Oh, absolutely. I'd buy that it came out 00:16:30.820 --> 00:16:33.220 in the 80s. I'd buy that that song was released 00:16:33.220 --> 00:16:36.500 yesterday. It's timeless. Well, I think the interesting 00:16:36.500 --> 00:16:40.700 experiment of doing this exercise is you look 00:16:40.700 --> 00:16:43.820 at the songs and you're just like. Your head 00:16:43.820 --> 00:16:47.279 spins and you just go zapped back in the past 00:16:47.279 --> 00:16:50.620 because every single song has a different level 00:16:50.620 --> 00:16:54.039 of an emotional quality. If you were, you know, 00:16:54.039 --> 00:16:55.940 you could say that about any decade from whenever 00:16:55.940 --> 00:16:59.399 you were 10, 11, 12 impressionable, you know, 00:16:59.399 --> 00:17:03.279 prepubescent to puberty. Yeah. How much of these 00:17:03.279 --> 00:17:07.700 songs are just like massive. And timeless too. 00:17:07.779 --> 00:17:11.319 You think about like jump by crisscross has been 00:17:11.319 --> 00:17:14.660 used in pop culture and movies and on TV shows. 00:17:15.420 --> 00:17:18.299 I think back to I'm Too Sexy. How many movies 00:17:18.299 --> 00:17:20.539 has that been in? Zooland or all the different 00:17:20.539 --> 00:17:23.480 instances of that song. It's just you hear it 00:17:23.480 --> 00:17:26.559 and you immediately brings you back to 92. I 00:17:26.559 --> 00:17:29.079 got to mention Mr. Biggs to be with you because 00:17:29.079 --> 00:17:31.880 Billy Sheehan was one of the first guests on 00:17:31.880 --> 00:17:34.279 my weekly mixtape. And we talked about that song. 00:17:34.299 --> 00:17:37.119 And to this day, he's still thankful for it because 00:17:37.119 --> 00:17:39.490 he said. Actually, instead of giving the Cliff 00:17:39.490 --> 00:17:41.289 Notes version of this, I'm going to go back and 00:17:41.289 --> 00:17:44.730 play a small clip from episode 13, the ultimate 00:17:44.730 --> 00:17:47.190 Billy Sheehan playlist, because he talks about 00:17:47.190 --> 00:17:50.670 what to be with you means to both him and Mr. 00:17:50.690 --> 00:17:56.029 Big. Mr. Big, for me, was my biggest success. 00:17:56.549 --> 00:17:58.630 And I came out of David Lee Roth. I didn't know 00:17:58.630 --> 00:18:02.329 what I was going to do. Precarious time. Didn't 00:18:02.329 --> 00:18:05.109 have a lot of money. And so I put a band together. 00:18:05.309 --> 00:18:08.440 I knew Pat and Paul. I found Eric. We got an 00:18:08.440 --> 00:18:11.640 amazing manager, Herbie Herbert. And we went, 00:18:11.680 --> 00:18:15.079 after about two and a half years, we scored one 00:18:15.079 --> 00:18:17.140 of the most difficult things to achieve as a 00:18:17.140 --> 00:18:20.180 number one single. So that band beats everything 00:18:20.180 --> 00:18:23.839 to me. And we went through so many amazing adventures 00:18:23.839 --> 00:18:26.920 together. That song, To Be With You, was our 00:18:26.920 --> 00:18:30.160 passport to the entire world. We play it everywhere 00:18:30.160 --> 00:18:33.799 in Indonesia, Australia, Japan, all over Europe, 00:18:33.880 --> 00:18:36.849 all over South America. People worried that To 00:18:36.849 --> 00:18:39.190 Be With You was going to misrepresent Mr. Big. 00:18:39.430 --> 00:18:41.430 Because most of our stuff is straight up rock 00:18:41.430 --> 00:18:43.569 and hard and heavy. And then we come out with 00:18:43.569 --> 00:18:45.829 this little campfire ballad. Oh, it's going to 00:18:45.829 --> 00:18:48.170 be. And they would say, oh, you must be really 00:18:48.170 --> 00:18:50.430 pumped out. Are you kidding me? I'm the happiest. 00:18:51.130 --> 00:18:54.369 We pop champagne every day about that song. It's 00:18:54.369 --> 00:18:56.670 the greatest thing ever after any of us. We love 00:18:56.670 --> 00:18:59.029 that song. And I still do. And I love playing 00:18:59.029 --> 00:19:03.210 it. We look out over a thousand, 10 ,000 or more 00:19:03.210 --> 00:19:06.279 people. And the people are crying. You see tears 00:19:06.279 --> 00:19:09.619 when we played that song. So that, as much as 00:19:09.619 --> 00:19:12.680 I love the flamboyant technical things and all 00:19:12.680 --> 00:19:17.019 that, that song was, that means so much to me 00:19:17.019 --> 00:19:19.720 in so many ways. Yeah, I would have been totally 00:19:19.720 --> 00:19:21.900 remiss if we didn't talk about To Be With You, 00:19:21.940 --> 00:19:24.119 especially after that amazing conversation. So 00:19:24.119 --> 00:19:27.519 go check out episode 13, the ultimate Billy Sheehan 00:19:27.519 --> 00:19:29.660 playlist to hear more about all the things he's 00:19:29.660 --> 00:19:34.649 done with Mr. Big, David Lee Roth, Tallis. niacin 00:19:34.649 --> 00:19:37.509 the winery dog sons of apollo i can go on and 00:19:37.509 --> 00:19:39.450 on and on one of my favorite bass players on 00:19:39.450 --> 00:19:42.910 the planet however back to boys to men here gone 00:19:42.910 --> 00:19:46.509 the fact that boys to men's reign of 13 weeks 00:19:46.509 --> 00:19:50.150 ended with a theme song to the tv show of the 00:19:50.150 --> 00:19:53.890 moment the heights how do you talk to an angel 00:19:53.890 --> 00:19:56.109 was the song that knocked off end of the road 00:19:56.109 --> 00:19:59.029 that's one of those songs where you think back 00:19:59.029 --> 00:20:00.990 and you go that was a moment in time i remember 00:20:00.990 --> 00:20:03.380 when the heights was the big deal I've often 00:20:03.380 --> 00:20:06.019 thought about covering that song to get that 00:20:06.019 --> 00:20:11.440 real, how do you talk to that raspy thing of 00:20:11.440 --> 00:20:15.339 that dude who was on Melrose Place too. My wife 00:20:15.339 --> 00:20:17.119 is definitely more the television fanatic, but 00:20:17.119 --> 00:20:19.720 I want to say it was Beverly Hills 90210. The 00:20:19.720 --> 00:20:21.759 dude's name was Jamie Walters, if I remember 00:20:21.759 --> 00:20:23.440 that part correctly, because that was the music 00:20:23.440 --> 00:20:26.559 side of things. That's a prodigal son of early 00:20:26.559 --> 00:20:31.839 90s Fox network television. Oh, God, yeah. Out 00:20:31.839 --> 00:20:35.500 of all the songs from 1992, you picked one that 00:20:35.500 --> 00:20:39.519 was on the charts for 13 weeks. And I feel like 00:20:39.519 --> 00:20:42.859 the only way to compliment, there's no way. Yes, 00:20:42.980 --> 00:20:45.279 it's a cover song, but there's no way you could 00:20:45.279 --> 00:20:48.859 talk about 1992 and not talk about I Will Always 00:20:48.859 --> 00:20:51.019 Love You from Whitney Houston from The Bodyguard. 00:20:51.240 --> 00:20:54.519 Absolutely. Everybody I knew and their mom had 00:20:54.519 --> 00:20:56.950 this soundtrack. This song was everywhere. And 00:20:56.950 --> 00:20:59.910 let's just be honest. I love Dolly Parton's version. 00:21:00.150 --> 00:21:04.829 It's an amazing song. Whitney's is just unreal. 00:21:05.170 --> 00:21:07.670 It is one of those songs that you listen to her 00:21:07.670 --> 00:21:11.430 voice and you think, how is this possible? For 00:21:11.430 --> 00:21:13.869 her to take a song and just own it the way she 00:21:13.869 --> 00:21:16.230 does. And Dolly Parton is one of the most distinct 00:21:16.230 --> 00:21:19.549 and iconic voices in music history. And Whitney, 00:21:19.670 --> 00:21:22.029 just as effortless as all of her songs, just 00:21:22.029 --> 00:21:24.589 made it her own. Two costar soundtracks, back 00:21:24.589 --> 00:21:28.740 to back. Unbelievable, right? So I don't think 00:21:28.740 --> 00:21:31.599 you could talk about any 90s number one playlist 00:21:31.599 --> 00:21:32.980 without talking about I Will Always Love You. 00:21:32.980 --> 00:21:37.279 Absolutely. I agree. I agree 100%. 93, the list 00:21:37.279 --> 00:21:41.640 is even smaller. Yeah. Man. And now you're coming 00:21:41.640 --> 00:21:44.000 out of I Will Always Love You and End of the 00:21:44.000 --> 00:21:46.819 Road. So we just had this pair of ballads. Do 00:21:46.819 --> 00:21:49.480 you keep leaning into that or do you? Man, I 00:21:49.480 --> 00:21:56.970 don't know. Janet Jackson, that's the way love 00:21:56.970 --> 00:22:00.509 goes. I mean, Janet and Mariah Carey in these 00:22:00.509 --> 00:22:05.089 years were just hit, hit, hit factories. I mean, 00:22:05.170 --> 00:22:07.529 that's the way the love goes. All those videos 00:22:07.529 --> 00:22:11.049 and just like incredible stuff. Especially competing 00:22:11.049 --> 00:22:15.109 with your brother. Right? Hit, hit, hit. But 00:22:15.109 --> 00:22:17.029 that's the way love goes. That's definitely, 00:22:17.269 --> 00:22:21.069 that would be my pick for 93 for number one hits 00:22:21.069 --> 00:22:24.180 for sure. There was no denying Janet Jackson 00:22:24.180 --> 00:22:27.099 in the 90s because Michael Jackson only had two 00:22:27.099 --> 00:22:29.359 number one hits in the 90s, which was Black or 00:22:29.359 --> 00:22:32.059 White and You Are Not Alone. And Janet Jackson 00:22:32.059 --> 00:22:35.839 had six. So this might have been her decade over 00:22:35.839 --> 00:22:38.720 Michael's, even though Michael's the name that 00:22:38.720 --> 00:22:41.359 most people automatically go to because of his 00:22:41.359 --> 00:22:45.599 ridiculous run of hits in the 80s. But now to 00:22:45.599 --> 00:22:51.309 bounce off of Janet Jackson. Oh, man, it's tough. 00:22:52.250 --> 00:22:55.049 Patreon mixtaper Philip Bergman chimed in with 00:22:55.049 --> 00:22:58.670 Snow's Informer. And I won't lie, I had 12 inches 00:22:58.670 --> 00:23:01.549 of snow on cassette. Of course. Everybody knows 00:23:01.549 --> 00:23:04.890 that. So you would not have had Con Calma by 00:23:04.890 --> 00:23:07.549 Daddy Yankee come out a few years ago, which 00:23:07.549 --> 00:23:12.230 was an exact reworking of Informer if the original 00:23:12.230 --> 00:23:17.410 wasn't a banger. No, absolutely. However, I don't 00:23:17.410 --> 00:23:20.390 know if I can go with that. Because when there 00:23:20.390 --> 00:23:23.170 were songs that my parents and I could kind of 00:23:23.170 --> 00:23:26.589 be on the same page musically with, I always 00:23:26.589 --> 00:23:30.269 tried to take those moments. And when an artist 00:23:30.269 --> 00:23:34.109 from their era would release a track that would 00:23:34.109 --> 00:23:37.630 resonate with me, it was always an excuse to 00:23:37.630 --> 00:23:40.490 have that musical conversation. And in 1993, 00:23:41.049 --> 00:23:44.410 Meatloaf dropped, I'd do anything for love, but 00:23:44.410 --> 00:23:47.710 I won't do that. And I had already been very 00:23:47.710 --> 00:23:50.809 familiar with Bad Outta Hell 1. So this was something 00:23:50.809 --> 00:23:53.009 where we could listen to Bad Outta Hell 1 and 00:23:53.009 --> 00:23:56.509 2 together as a family. And those memories mean 00:23:56.509 --> 00:23:59.210 so much to me. And plus, let's be honest, it's 00:23:59.210 --> 00:24:02.170 a long ass song to hit number one for five weeks. 00:24:02.250 --> 00:24:04.630 Even the radio edit was seven, eight minutes 00:24:04.630 --> 00:24:07.190 long and it didn't matter. It was just that good. 00:24:08.150 --> 00:24:11.009 Absolutely. It's a great choice. I was toying 00:24:11.009 --> 00:24:13.849 with that myself, but. I definitely think I listened 00:24:13.849 --> 00:24:16.569 to that John Jackson record still to this day 00:24:16.569 --> 00:24:19.730 because it's just that synthetic sound of like 00:24:19.730 --> 00:24:23.450 the drums and bass and sense of the 90s is just 00:24:23.450 --> 00:24:27.369 like, ah, it oozes just that awesome pop. I love 00:24:27.369 --> 00:24:31.750 it. Well, moving into 1994 now, remember, we've 00:24:31.750 --> 00:24:34.930 already used Boyz II Men's End of the Road, so 00:24:34.930 --> 00:24:39.009 we can't go back to the same band twice. So I'll 00:24:39.009 --> 00:24:41.920 make love to you. And Unbended Knee are removed. 00:24:42.440 --> 00:24:44.859 So we have a total of one, two, three, four, 00:24:44.980 --> 00:24:48.559 five, six, seven songs to choose from because 00:24:48.559 --> 00:24:52.500 I'll Make Love to You was number one for 14 weeks 00:24:52.500 --> 00:24:57.519 again. Yeah. It's crazy how the staying power 00:24:57.519 --> 00:25:00.980 of those songs. I mean, like, I think it would 00:25:00.980 --> 00:25:05.160 be tough not to pick 1994 of a year like that. 00:25:05.240 --> 00:25:08.240 Maybe it's not. my favorite of songs but it's 00:25:08.240 --> 00:25:10.880 still stuck with your head and she's really played 00:25:10.880 --> 00:25:14.839 it all these years but i mean lisa lobe and nine 00:25:14.839 --> 00:25:17.920 stories stay i missed you i mean like how many 00:25:17.920 --> 00:25:20.660 times have you you've sung that at a bar or something 00:25:20.660 --> 00:25:22.920 like that not to say that these other songs you 00:25:22.920 --> 00:25:26.160 have not but that video and i don't know what 00:25:26.160 --> 00:25:27.640 i just saw her and maybe it was it was an old 00:25:27.640 --> 00:25:29.720 30 rock episode i think she might have been like 00:25:29.720 --> 00:25:35.000 that's just like a timeless of 1994 lisa lobe 00:25:35.720 --> 00:25:40.619 We watched recently, she was on an episode of 00:25:40.619 --> 00:25:45.180 Name That Tune, and we got a kick out of her 00:25:45.180 --> 00:25:48.759 doing that show. She's got a great radio show 00:25:48.759 --> 00:25:52.079 over on XM, interviews a lot of great artists. 00:25:52.279 --> 00:25:55.339 I love Lisa Loeb. She is just one of those people 00:25:55.339 --> 00:25:58.359 that you hear her voice and you instantly know 00:25:58.359 --> 00:26:02.140 who it is. It's just such a unique, distinct 00:26:02.140 --> 00:26:05.259 voice. Believe it or not, my favorite song from 00:26:05.259 --> 00:26:08.279 Lisa Loeb only cracked the top 20 and that was 00:26:08.279 --> 00:26:11.380 Do You Sleep? But obviously there's no denying 00:26:11.380 --> 00:26:17.259 how massive Stay was in 1994. Absolutely. Now 00:26:17.259 --> 00:26:22.700 for me, for my 1994 pick, there's only one song 00:26:22.700 --> 00:26:25.140 I could do because this is my junior year of 00:26:25.140 --> 00:26:27.460 high school leading into my senior year of high 00:26:27.460 --> 00:26:32.359 school. 1994 was when I played senior high school 00:26:32.359 --> 00:26:36.400 football. And after every win, we would rock 00:26:36.400 --> 00:26:39.960 one song after a victory in the locker room. 00:26:40.359 --> 00:26:43.079 And to me, that song will always put a smile 00:26:43.079 --> 00:26:45.299 on my face because it was always after. Now, 00:26:45.299 --> 00:26:47.500 we never played it after a loss, only the wins. 00:26:48.180 --> 00:26:51.279 So every time we got to plug in any kamosis, 00:26:51.339 --> 00:26:54.299 here comes the hot stepper. That means we just 00:26:54.299 --> 00:26:56.559 won a game. I hear that song now and that beat 00:26:56.559 --> 00:26:59.160 hits. I'm back in the locker room with my high 00:26:59.160 --> 00:27:02.640 school buddy celebrating a victory. And it just 00:27:02.640 --> 00:27:04.900 puts a smile on my face. I love the song. And 00:27:04.900 --> 00:27:07.400 when you're ending a side here, because we are 00:27:07.400 --> 00:27:10.880 at the end of side A, it kind of balances out 00:27:10.880 --> 00:27:13.039 with the opening of Madonna's Vogue for something 00:27:13.039 --> 00:27:17.019 kind of up and dancing. 100%. That's a banger. 00:27:17.079 --> 00:27:19.359 I mean, Ace of Base, the sign was definitely 00:27:19.359 --> 00:27:24.940 the one that was speaking to me just of the saccharine 00:27:24.940 --> 00:27:29.740 -ness of the videos of those families. But, I 00:27:29.740 --> 00:27:31.980 mean. Lisa Loeb, Stay, Miss You. And yeah, I 00:27:31.980 --> 00:27:34.579 mean, Here Comes the Hot Stepper, that was a 00:27:34.579 --> 00:27:36.680 banger. It still played a lot. You could still 00:27:36.680 --> 00:27:38.640 hear that song for sure. Yeah, I will be the 00:27:38.640 --> 00:27:41.519 first to admit that The Sign was definitely the 00:27:41.519 --> 00:27:44.640 song that was bigger to end the side with. However, 00:27:44.859 --> 00:27:47.640 I don't have any good memories of dancing to 00:27:47.640 --> 00:27:50.259 The Sign, but Here Comes the Hot Stepper, I rocked 00:27:50.259 --> 00:27:52.740 that to with my boys back in high school. I mean, 00:27:52.779 --> 00:27:56.579 that one holds a special place. But there you 00:27:56.579 --> 00:27:59.440 have it, folks. Side A of our number one hits 00:27:59.440 --> 00:28:02.380 of the 90s mixtape, which kicked off with Madonna's 00:28:02.380 --> 00:28:06.160 Vogue, Alana Miles' Black Velvet. That was 1990. 00:28:06.799 --> 00:28:09.539 Bryan Adams' Everything I Do, I Do It For You 00:28:09.539 --> 00:28:14.380 and EMF's Unbelievable from 1991. Boyz II Men's 00:28:14.380 --> 00:28:16.559 End of the Road and Whitney Houston's I Will 00:28:16.559 --> 00:28:20.589 Always Love You from 1992. Janet Jackson's That's 00:28:20.589 --> 00:28:22.950 the Way Love Goes and Meatloaf's I Would Do Anything 00:28:22.950 --> 00:28:27.009 for Love But I Won't Do That from 1993. And Lisa 00:28:27.009 --> 00:28:30.329 Loeb and Nine Stories Stay and Eni Kamosi's Here 00:28:30.329 --> 00:28:34.450 Comes the Hot Stepper from 1994. Head over to 00:28:34.450 --> 00:28:37.230 myweeklymixtape .com to hear all the songs we've 00:28:37.230 --> 00:28:40.650 discussed in this mix through the playlist embedded 00:28:40.650 --> 00:28:44.950 on the episode page. Now, Jamie, this past November, 00:28:45.210 --> 00:28:48.829 the C's released their debut album, Conversations 00:28:48.829 --> 00:28:52.630 With My Future Self. Yes, it did. Great day. 00:28:52.829 --> 00:29:41.480 It was a great November. What you're hearing 00:29:41.480 --> 00:29:45.160 now is a clip of The Calling, which is the album's 00:29:45.160 --> 00:29:48.880 opening track. Now, Jamie, thematically, you've 00:29:48.880 --> 00:29:51.660 said that this album is based on your love for 00:29:51.660 --> 00:29:54.980 Back to the Future, which I can promise you just 00:29:54.980 --> 00:29:58.039 made the My Weekly Mixtape listeners' ears perk 00:29:58.039 --> 00:30:00.480 up. So can you elaborate on that a little bit? 00:30:00.960 --> 00:30:04.839 Sure. I mean, you teed up it perfectly for what 00:30:04.839 --> 00:30:08.259 we're doing here with the 90s song experiments, 00:30:10.279 --> 00:30:13.200 writing these songs that you're looking for, 00:30:13.319 --> 00:30:15.960 but always taking two steps back and being Marty 00:30:15.960 --> 00:30:19.859 McFly and, you know, going into a DeLorean traveling 00:30:19.859 --> 00:30:22.279 from 1985 kind of seems like what we've been 00:30:22.279 --> 00:30:24.500 stuck in the last four years during the pandemic 00:30:24.500 --> 00:30:27.500 that things were shut down. Do you go outside? 00:30:27.799 --> 00:30:30.680 Do you stay in? When was it okay? If time felt 00:30:30.680 --> 00:30:34.519 very weird, I think we're still negotiating what 00:30:34.519 --> 00:30:38.789 timing feels like now. It gives you ample time 00:30:38.789 --> 00:30:40.730 to really think about and put things in perspective. 00:30:40.829 --> 00:30:44.329 And a lot of songs on the album are reflective 00:30:44.329 --> 00:30:48.269 of what would it be like to go backwards, to 00:30:48.269 --> 00:30:51.450 go forward, sometimes literally, sometimes veiled. 00:30:51.509 --> 00:30:54.289 But Conversation With My Future Self is a fascination 00:30:54.289 --> 00:30:57.829 of if you were to go in the future and have a 00:30:57.829 --> 00:30:59.809 conversation with yourself, what would that be? 00:30:59.849 --> 00:31:02.130 What would you say? What would you do? And it's 00:31:02.130 --> 00:31:04.569 kind of a fascinating thing after we were frozen 00:31:04.569 --> 00:31:07.400 for a little bit. in those first couple of months 00:31:07.400 --> 00:31:10.859 in March 2020. And it gave me the perspective 00:31:10.859 --> 00:31:13.480 to kind of, you know, whoa, there's bigger things 00:31:13.480 --> 00:31:17.180 at play here, you know, and let's all get together 00:31:17.180 --> 00:31:20.460 here and figure out a better way forward. Next 00:31:20.460 --> 00:31:23.359 up, I'd like to share a clip of the trippy end 00:31:23.359 --> 00:31:55.789 of scene. This song has a really unique mixture 00:31:55.789 --> 00:31:59.369 of vibes. I'm hearing this kind of stoner rock 00:31:59.369 --> 00:32:03.650 riff with elements of psychedelic rock. And it 00:32:03.650 --> 00:32:08.029 truly feels like in the album's listen, what 00:32:08.029 --> 00:32:11.950 I would describe as a musical dream sequence. 00:32:12.089 --> 00:32:14.470 And I'd love to know the background about this 00:32:14.470 --> 00:32:18.650 song. Yeah. And it's good with side A and side 00:32:18.650 --> 00:32:23.509 B of a mixtape. It's a side B of a vinyl, meaning 00:32:23.509 --> 00:32:28.930 that the first four tracks and the preceding 00:32:28.930 --> 00:32:32.569 track moments is more of a calming feel that 00:32:32.569 --> 00:32:36.490 eases you into a, I like to call it a David Lynchian 00:32:36.490 --> 00:32:40.490 red room hellscape of coming out of just this 00:32:40.490 --> 00:32:45.069 weird heaviness. And the song is about, you know, 00:32:45.089 --> 00:32:49.329 rain, shine, day, night, feeling this level of 00:32:49.329 --> 00:32:53.210 getting, and mired in this darkness and coming 00:32:53.210 --> 00:32:57.250 out into the end of the light with some, you 00:32:57.250 --> 00:33:00.450 know, the musical changes and the synthesizers 00:33:00.450 --> 00:33:04.549 are kind of really a throwback to 80s John Carpenter 00:33:04.549 --> 00:33:07.930 type of soundtracks to have that real feeling 00:33:07.930 --> 00:33:10.970 like you're watching the thing, but you're listening 00:33:10.970 --> 00:33:13.769 to a track. Being someone who loves a horror 00:33:13.769 --> 00:33:16.009 movie and sci -fi, yeah, it just has that real 00:33:16.009 --> 00:33:18.670 emotional quotient to it of, you know, the album 00:33:18.670 --> 00:33:21.609 is all over the place. feel -wise and sound -wise. 00:33:21.809 --> 00:33:25.269 And that song is definitely one of the heavier 00:33:25.269 --> 00:33:28.670 ones, which we really enjoy playing. Well, bouncing 00:33:28.670 --> 00:33:31.769 off that, I want to play a song that also has 00:33:31.769 --> 00:33:33.670 a different vibe from that. And I'm going to 00:33:33.670 --> 00:34:22.139 share a clip of the Anthemic Voices. This is 00:34:22.139 --> 00:34:24.760 a massive track that comes towards the tail end 00:34:24.760 --> 00:34:28.679 of the album. And overall, I feel like this album 00:34:28.679 --> 00:34:32.300 is extremely dynamic when you listen to it as 00:34:32.300 --> 00:34:35.820 an actual album from track one all the way to 00:34:35.820 --> 00:34:39.579 the end. I hear a musical story with definite 00:34:39.579 --> 00:34:42.679 peaks and valleys in the songs. Did you write 00:34:42.679 --> 00:34:45.260 this saying, okay, this next song needs to come 00:34:45.260 --> 00:34:47.699 down a little bit? Or was that something that 00:34:47.699 --> 00:34:51.719 was just... A perfect exercise in sequencing 00:34:51.719 --> 00:34:54.820 what you had recorded. Excellent question. And 00:34:54.820 --> 00:34:59.260 I'd be lying if I said it was somewhat conscious 00:34:59.260 --> 00:35:03.800 at the jump. It kind of all fell together during 00:35:03.800 --> 00:35:06.960 the process. You know, your subconscious is talking 00:35:06.960 --> 00:35:09.519 to your consciousness as like, oh, this all is 00:35:09.519 --> 00:35:12.380 making sense. It's all dealing with different 00:35:12.380 --> 00:35:16.940 fields of loss and yet hope. And, you know, voices 00:35:16.940 --> 00:35:20.539 was. Just the chord progression was something 00:35:20.539 --> 00:35:24.440 I wrote. And then the words came from on my apartment 00:35:24.440 --> 00:35:28.079 balcony in Greenpoint, Brooklyn in the summer 00:35:28.079 --> 00:35:30.400 of 2020 when the first responders were banging 00:35:30.400 --> 00:35:33.659 on pots and pans and just strumming away. And 00:35:33.659 --> 00:35:36.559 you really felt this connection, yet you couldn't 00:35:36.559 --> 00:35:40.380 really connect yet until you could. And it was 00:35:40.380 --> 00:35:44.539 very kind of like biting your thumb and a middle 00:35:44.539 --> 00:35:48.610 finger to people that were weather. They were 00:35:48.610 --> 00:35:50.630 saying things weren't as bad as they were or 00:35:50.630 --> 00:35:52.469 whatever it was when things were kind of chaos. 00:35:52.610 --> 00:35:54.429 It's like, hey, we could all get together here 00:35:54.429 --> 00:35:56.190 and do better. We could fight this oppression. 00:35:56.409 --> 00:35:59.210 We could knock down these walls, you know, whether 00:35:59.210 --> 00:36:01.710 it's a physical wall or emotional wall, whatever 00:36:01.710 --> 00:36:04.530 it might be, just, you know, it was kind of written 00:36:04.530 --> 00:36:08.030 in a way to just peek and say thank you to New 00:36:08.030 --> 00:36:11.590 York and our resilience during those crazy times 00:36:11.590 --> 00:36:14.429 when it was a little bit like zombie apocalypse 00:36:14.429 --> 00:36:17.199 in the beginning of things. Well, we're going 00:36:17.199 --> 00:36:19.380 to talk a little bit more about conversations 00:36:19.380 --> 00:36:22.280 with my future self after we get through side 00:36:22.280 --> 00:36:25.300 B, but let's jump into that now, which if I'm 00:36:25.300 --> 00:36:27.360 not mistaken, if I'm doing my math correct, we 00:36:27.360 --> 00:36:30.679 should be starting off with 1995 and I'm kicking 00:36:30.679 --> 00:36:34.119 off side B. And I think there's only one way 00:36:34.119 --> 00:36:36.539 you can do it because if you're starting a side 00:36:36.539 --> 00:36:38.139 of a mixtape, you got to get people's attention 00:36:38.139 --> 00:36:42.300 right away. And I think in 1995, again, this 00:36:42.300 --> 00:36:45.300 is senior year in high school for me. Nothing 00:36:45.300 --> 00:36:48.199 got people's attention more than the six words. 00:36:49.099 --> 00:36:53.320 This is how we do it. Montel Jordan. Inescapable. 00:36:53.400 --> 00:36:56.420 The song was everywhere. And yet nobody ever 00:36:56.420 --> 00:36:59.559 said, I'm getting sick of this song. Every time 00:36:59.559 --> 00:37:02.780 it came on, the place was going insane. And I 00:37:02.780 --> 00:37:05.980 think it still holds up to this day as a banger 00:37:05.980 --> 00:37:08.860 of a dance song. So Montel Jordan, this is how 00:37:08.860 --> 00:37:12.219 we do it. Seven weeks at number one. Yeah, you 00:37:12.219 --> 00:37:17.920 took my pick. So good. I mean, I mean, this talk 00:37:17.920 --> 00:37:21.420 about a prolific banger of a tune. I mean, I'm 00:37:21.420 --> 00:37:23.579 going to go a different route and kind of go 00:37:23.579 --> 00:37:27.619 with a timelessness. And after watching a movie 00:37:27.619 --> 00:37:30.519 that preceded this one the other day, kind of 00:37:30.519 --> 00:37:33.460 on brand to take seal kiss from a rose. Watch 00:37:33.460 --> 00:37:35.880 Batman Returns on a rewatch yesterday. Not Batman 00:37:35.880 --> 00:37:38.739 Forever with Val Kilmer. Who didn't get is just 00:37:38.739 --> 00:37:42.099 just do I. Even though it was the Joel Schumacher 00:37:42.099 --> 00:37:45.059 crazy universe. But I mean, Kiss from a Rose. 00:37:45.179 --> 00:37:47.320 I mean, how many times are you singing that in 00:37:47.320 --> 00:37:49.360 a karaoke? You're like, how many steps? You feel 00:37:49.360 --> 00:37:53.239 like it's a huge seal. I mean, it's a great one. 00:37:53.320 --> 00:37:54.920 There's so many choices, but I'm going to go 00:37:54.920 --> 00:37:59.960 with that. He has such an incredible voice. I 00:37:59.960 --> 00:38:02.940 mean, Crazy is one of those songs back in the 00:38:02.940 --> 00:38:06.739 early 90s that I was shocked wasn't a number 00:38:06.739 --> 00:38:10.650 one hit for him. Crazy was everywhere. I love 00:38:10.650 --> 00:38:14.369 that song so much. I mean, it's a great pick. 00:38:14.710 --> 00:38:18.449 Obviously, the movie, I don't have the greatest 00:38:18.449 --> 00:38:24.110 of memories of Batman Forever. Maybe I should, 00:38:24.190 --> 00:38:25.989 but I mean, it had a hell of a soundtrack. I 00:38:25.989 --> 00:38:28.469 will give it that. Between Kiss from a Rose by 00:38:28.469 --> 00:38:31.550 Seal, you had U2's Hold Me, Thrill Me, Kiss Me, 00:38:31.590 --> 00:38:34.650 Kill Me. You had The Offspring's cover of The 00:38:34.650 --> 00:38:38.480 Dams, Smash It Up. This soundtrack was awesome. 00:38:38.659 --> 00:38:42.880 The movie? Yeah. I mean, it was definitely a 00:38:42.880 --> 00:38:47.179 choice with Jim Carrey as Riddler, Tom Milley 00:38:47.179 --> 00:38:51.239 -Jones as Two -Face. Was that Nicole Kidman was 00:38:51.239 --> 00:38:55.079 in it? I mean, it was, yeah. I enjoyed it in 00:38:55.079 --> 00:38:56.920 a different way than I've been watching the Batman 00:38:56.920 --> 00:38:59.099 with Robert Pattinson or the Christopher Nolan 00:38:59.099 --> 00:39:02.119 verse. Totally different vibes there. Very popcorn 00:39:02.119 --> 00:39:05.039 -y, just sack, just like shoot in my veins. It's 00:39:05.039 --> 00:39:08.599 fun. It's stupid. I would be wrong to not acknowledge 00:39:08.599 --> 00:39:12.900 the fact that both of us skipped the song that 00:39:12.900 --> 00:39:15.539 had the longest reign of being a number one in 00:39:15.539 --> 00:39:19.579 the 90s, which was Mariah Carey and Boyz II Men's 00:39:19.579 --> 00:39:22.659 One Sweet Day. Could not escape it. But we did 00:39:22.659 --> 00:39:24.940 have Boyz II Men on, so maybe Mariah will get 00:39:24.940 --> 00:39:27.840 her just due at some point here. But moving into 00:39:27.840 --> 00:39:34.469 1996, coming out of Montel Jordan and Seal. There's 00:39:34.469 --> 00:39:38.050 not a ton of number one songs because Los Del 00:39:38.050 --> 00:39:41.570 Rios Macarena took it over for 14 weeks. Seems 00:39:41.570 --> 00:39:44.449 like it was longer than 14. It feels like it's 00:39:44.449 --> 00:39:46.949 still number one, right? I'm not going to lie. 00:39:47.010 --> 00:39:49.789 That one did not hold up for me. I still have 00:39:49.789 --> 00:39:53.719 PTSD. From hearing that song on every radio station 00:39:53.719 --> 00:39:56.920 24 -7 around the clock, the video, every dance 00:39:56.920 --> 00:40:00.199 club, every elevator, every food store, you could 00:40:00.199 --> 00:40:02.639 not escape the Macarena. And when the song was 00:40:02.639 --> 00:40:05.400 playing, people were essentially doing the dance, 00:40:05.460 --> 00:40:07.960 whether it was in the stands or in the elevator 00:40:07.960 --> 00:40:11.639 or in the food store. That song just PTSD. However. 00:40:12.280 --> 00:40:14.619 One of the greatest dance songs of the 90s was 00:40:14.619 --> 00:40:17.940 the song to knock Macarena off the charts and 00:40:17.940 --> 00:40:21.539 become number one for four weeks, starting in 00:40:21.539 --> 00:40:25.320 November of 1996. And I'm going to go with Black 00:40:25.320 --> 00:40:28.519 Street featuring Dr. Dre, No Diggity. I mean, 00:40:28.579 --> 00:40:32.199 it's fitting the vibe we're going for, for this 00:40:32.199 --> 00:40:35.539 side of the tape so far. And that opening, once 00:40:35.539 --> 00:40:40.059 you hear that, like, that's it. It's going to 00:40:40.059 --> 00:40:44.000 be nuts. Yeah. The song has such a unique groove. 00:40:44.119 --> 00:40:47.559 It works for hip hop and it works for R &B. And 00:40:47.559 --> 00:40:49.940 yet bands have been able to cover it. Virginia 00:40:49.940 --> 00:40:53.420 Coalition did a version back in the early 2000s. 00:40:53.420 --> 00:40:55.780 You had Ali Brown, who is a blues guitarist, 00:40:55.780 --> 00:40:58.780 do a blues rock version of it. And every single 00:40:58.780 --> 00:41:02.900 time it works so well. Why is that? Because the 00:41:02.900 --> 00:41:07.710 song itself. is a friggin' masterclass in catchiness. 00:41:07.889 --> 00:41:10.550 I mean, Dr. Dre could pretty much do no wrong 00:41:10.550 --> 00:41:13.369 in the 90s, and what he brought to Blackstreet 00:41:13.369 --> 00:41:16.610 with this song made a timeless dance classic 00:41:16.610 --> 00:41:21.369 that I think 30 and 40 years from now will still 00:41:21.369 --> 00:41:25.389 hold the power it did in November of 96. So I'm 00:41:25.389 --> 00:41:28.210 going with Blackstreet featuring Dr. Dre, no 00:41:28.210 --> 00:41:31.690 diggity, no doubt. I'm going to stick with the 00:41:31.690 --> 00:41:35.730 Interscope Records because, I mean, Tupac, How 00:41:35.730 --> 00:41:38.190 Do You Want It, California Love. I mean, just, 00:41:38.329 --> 00:41:43.050 Pac, I mean, the label just released those two 00:41:43.050 --> 00:41:45.590 songs in the same year. I mean, it's like, come 00:41:45.590 --> 00:41:47.889 on. I mean, those are ridiculous tracks. There's 00:41:47.889 --> 00:41:50.670 so many other great, I mean, Tony Braxton has 00:41:50.670 --> 00:41:53.550 two songs. We've even invoked Tony Braxton as 00:41:53.550 --> 00:41:56.929 a hit factory, but I'm going to go Tupac with 00:41:56.929 --> 00:42:01.590 KC and JoJo, Dr. Dre, How Do You Want It, California 00:42:01.590 --> 00:42:05.719 Love. Yeah. California love is ridiculous. That 00:42:05.719 --> 00:42:09.739 was originally recorded for the sequel to the 00:42:09.739 --> 00:42:13.500 chronic, not the chronic 2001, but an album called 00:42:13.500 --> 00:42:17.239 the chronic to a new world odor. Papa's got a 00:42:17.239 --> 00:42:19.760 brand new funk. However, that album never came 00:42:19.760 --> 00:42:23.440 to fruition. So technically that was only a single. 00:42:23.500 --> 00:42:26.340 It was never on a Tupac album, except for his 00:42:26.340 --> 00:42:30.500 greatest hits and the UK version of all eyes 00:42:30.500 --> 00:42:33.920 on me, which doesn't count. So, I mean, that 00:42:33.920 --> 00:42:39.840 song is, again, you play it now and it's timeless. 00:42:40.059 --> 00:42:42.539 It's timeless. It fits in with anything on the 00:42:42.539 --> 00:42:47.119 radio now and is as good, if not better. Absolutely. 00:42:47.800 --> 00:42:50.860 Well, I mean, look, if we're talking 90s and 00:42:50.860 --> 00:42:54.659 we're going in the 97 now, there's only one thing 00:42:54.659 --> 00:42:58.440 you could follow up Tupac with. And we got to 00:42:58.440 --> 00:43:01.300 go Notorious B .I .G., Hypnotize, Life After 00:43:01.300 --> 00:43:04.940 Death, Three Weeks at Number One, Inescapable. 00:43:05.300 --> 00:43:08.760 Again, this is how we do it. No diggity. California 00:43:08.760 --> 00:43:11.820 Love and Hypnotize. These are all songs you will 00:43:11.820 --> 00:43:16.300 hear at weddings, parties, dance clubs. They're 00:43:16.300 --> 00:43:21.059 absolutely timeless. And I think it's kind of 00:43:21.059 --> 00:43:23.239 fitting to talk about Tupac and Notorious B .I 00:43:23.239 --> 00:43:25.559 .G. back to back, given their whole story in 00:43:25.559 --> 00:43:28.099 the 90s as well. 100%. Yeah, that was definitely 00:43:28.099 --> 00:43:31.900 my choice as well. I mean, I guess we'll go with 00:43:31.900 --> 00:43:35.599 a lasting power that is similar to like Lisa 00:43:35.599 --> 00:43:40.860 Loeb. I mean, Hanson, Mbop. I mean, talk about 00:43:40.860 --> 00:43:45.900 timeless. I mean, when you see it's three weeks, 00:43:46.099 --> 00:43:48.519 that doesn't sound, again, it seems like it's 00:43:48.519 --> 00:43:53.179 still stuck in the so 1997. And I don't mean 00:43:53.179 --> 00:43:55.800 that in any bad way whatsoever. I mean, that 00:43:55.800 --> 00:43:59.440 was huge, that song. And it's getting a resurgence 00:43:59.440 --> 00:44:04.780 in 2023 and 2024 due to Busted doing a punk cover 00:44:04.780 --> 00:44:09.000 of Mbop with the members of Hanson called Mbop 00:44:09.000 --> 00:44:13.059 2 .0. I have not heard that. Honestly, it's wild. 00:44:13.159 --> 00:44:16.320 And you go back and listen to it, and they really, 00:44:16.340 --> 00:44:18.920 because they're older now, you hear the lyrics 00:44:18.920 --> 00:44:21.119 a little bit more and you're going, this was 00:44:21.119 --> 00:44:23.960 actually, for a group of kids, this was actually 00:44:23.960 --> 00:44:27.500 pretty creative lyrically. Credit where credit's 00:44:27.500 --> 00:44:33.000 due. Absolutely. And you've got the energy up 00:44:33.000 --> 00:44:37.099 with Mbop. I don't want to bring it down. And 00:44:37.099 --> 00:44:42.079 I know he's got some controversy surrounding 00:44:42.079 --> 00:44:45.480 his name with the slap at everything. But, I 00:44:45.480 --> 00:44:48.019 mean, look, Will Smith getting jiggy with it. 00:44:48.320 --> 00:44:51.159 I just watched the tribute to 50 Years of Hip 00:44:51.159 --> 00:44:52.820 Hop, and he came out and did a snippet of that 00:44:52.820 --> 00:44:55.820 song, and the place went nuts still. Yeah, he 00:44:55.820 --> 00:44:58.360 doesn't curse in his raps to sell records like 00:44:58.360 --> 00:45:01.840 Eminem blasted on. But this song samples such 00:45:01.840 --> 00:45:04.880 great music. It's so much fun. And it's one of 00:45:04.880 --> 00:45:06.619 the few dances I could do where you just kind 00:45:06.619 --> 00:45:08.760 of keep your fists right in front of your chest. 00:45:08.820 --> 00:45:10.719 I can handle that. That's like right up my alley. 00:45:11.099 --> 00:45:12.960 Yeah, I'm going to go Will Smith getting jiggy 00:45:12.960 --> 00:45:15.980 with it. I love it. No, for sure. I mean, there's 00:45:15.980 --> 00:45:18.840 so many. This is not my pick, but I mean, as 00:45:18.840 --> 00:45:22.599 far as timeless, I mean. Celine Dion, My Heart 00:45:22.599 --> 00:45:24.840 Will Go On, Titanic. I mean, how much bigger 00:45:24.840 --> 00:45:28.260 can you go than that? I mean, all these tunes. 00:45:29.239 --> 00:45:32.280 Barenaked Ladies, One Week. I mean, Aerosmith, 00:45:32.460 --> 00:45:34.199 Don't Want to Miss. I mean, when singles off 00:45:34.199 --> 00:45:35.960 of soundtracks matter. But I mean, to me, for 00:45:35.960 --> 00:45:38.380 Timeless, I'm going to go with Timeless. A record 00:45:38.380 --> 00:45:41.320 I still listen to and artists I still... She's 00:45:41.320 --> 00:45:44.719 insanely talented. Lauryn Hill, Do Up That Thing. 00:45:44.900 --> 00:45:47.420 I mean, that... Thank you. Yes, thank you. The 00:45:47.420 --> 00:45:50.199 record is... All these are the big hit like that 00:45:50.199 --> 00:45:52.500 we love, love like that song is. That record 00:45:52.500 --> 00:45:56.219 is insane. It's insane. The Miseducation of Lauryn 00:45:56.219 --> 00:45:59.400 Hill is an absolute masterpiece. I mean, I love 00:45:59.400 --> 00:46:02.519 the Fugees. Don't get me wrong. Nothing but love 00:46:02.519 --> 00:46:06.380 for the Fugees. Miseducation. It's on another 00:46:06.380 --> 00:46:08.559 level. It's on another level. It's an absolute 00:46:08.559 --> 00:46:11.519 masterpiece. And we each have one pick left, 00:46:11.619 --> 00:46:15.420 and it's both from 99. And I just had Desmond 00:46:15.420 --> 00:46:17.639 Child on the show a few weeks ago, so I feel 00:46:17.639 --> 00:46:21.579 guilty not going with Livin' La Vida Loca. But 00:46:21.579 --> 00:46:23.880 I'll be honest, he tells such a great story about 00:46:23.880 --> 00:46:26.139 that song. Go back and listen to the Desmond 00:46:26.139 --> 00:46:28.639 Child episode to hear some stuff about that. 00:46:28.699 --> 00:46:32.980 I mean, but No Scrubs, Believe by Cher, Baby 00:46:32.980 --> 00:46:37.469 One More Time by Britney Spears. Oh, my. This 00:46:37.469 --> 00:46:40.210 is like the real, you know, 99, and it's not 00:46:40.210 --> 00:46:42.590 because it was the precipice of the millennium, 00:46:42.590 --> 00:46:48.449 but it really has that real stark change of the 00:46:48.449 --> 00:46:52.230 late 90s of going into the NSYNC, Britney Spears, 00:46:52.289 --> 00:46:55.449 Christina Aguilera, you know, the TRL. Not saying 00:46:55.449 --> 00:46:57.329 any of this is bad. I'm just saying just as an 00:46:57.329 --> 00:47:00.530 observer. Yeah, the wheels were in motion. This 00:47:00.530 --> 00:47:05.300 was a distinct shift in 1999 for sure. I have 00:47:05.300 --> 00:47:08.440 to go with a song that, cause I feel like I could 00:47:08.440 --> 00:47:10.539 throw an asterisk on this one for when we do 00:47:10.539 --> 00:47:13.920 number one songs of the two thousands, because 00:47:13.920 --> 00:47:17.519 I am going to choose the last number one hit 00:47:17.519 --> 00:47:21.260 of the decade. Santana featuring Rob Thomas smooth 00:47:21.260 --> 00:47:26.179 from supernatural spent 12 weeks at number one 00:47:26.179 --> 00:47:32.829 from October 23rd, 1999 to January 8th. 2000 00:47:32.829 --> 00:47:36.110 so this song i can actually use in number one 00:47:36.110 --> 00:47:40.590 hits of the 90s and 2000s which to me is absolutely 00:47:40.590 --> 00:47:45.570 insane and to this day i still love this song 00:47:45.570 --> 00:47:47.769 there's something that's so much fun about it 00:47:47.769 --> 00:47:52.050 rob thomas's voice is perfect and then look i've 00:47:52.050 --> 00:47:54.829 loved santana's guitar since the 70s he found 00:47:54.829 --> 00:47:58.929 a way to make his music relevant in the late 00:47:58.929 --> 00:48:02.690 90s And Supernatural was a juggernaut like no 00:48:02.690 --> 00:48:04.710 other. You think about the stuff he did with 00:48:04.710 --> 00:48:06.449 Everlast on that album. And then it stretched 00:48:06.449 --> 00:48:10.590 into future albums. And to me, he could have 00:48:10.590 --> 00:48:12.889 been on just like the classic rock touring circuit. 00:48:13.030 --> 00:48:15.329 But instead of doing that, he made himself relevant 00:48:15.329 --> 00:48:18.269 to a point where I'd go as far as to say he was 00:48:18.269 --> 00:48:21.170 bigger with Smooth than anything he did. Oye 00:48:21.170 --> 00:48:23.610 Como Va, Black Magic Woman, any of it in the 00:48:23.610 --> 00:48:26.849 70s. Smooth was bigger. No, I would agree with 00:48:26.849 --> 00:48:30.880 that. In an old, old band, one of my first bands 00:48:30.880 --> 00:48:34.099 after college, we released a record and the engineer 00:48:34.099 --> 00:48:37.000 on it, John Seymour, he was one of the associate 00:48:37.000 --> 00:48:40.579 engineers and he worked on that record. Oh, wow. 00:48:40.679 --> 00:48:43.559 I mean, all like that. So it was like, I heard 00:48:43.559 --> 00:48:47.099 some amazing stories of the selflessness of Carlos 00:48:47.099 --> 00:48:51.219 Santana from as a musician and his tutelage to 00:48:51.219 --> 00:48:55.340 artists. It was pretty cool. I mean, I'm going 00:48:55.340 --> 00:48:57.840 to just go just because... To give the love as 00:48:57.840 --> 00:49:01.880 closing up the 90s, handing off. And I love this 00:49:01.880 --> 00:49:04.500 song to this day. You know, Mariah Carey with 00:49:04.500 --> 00:49:07.539 Jay -Z, Heartbreaker. I mean, we just wrapped 00:49:07.539 --> 00:49:13.019 up a decade and she's on every year. I mean, 00:49:13.139 --> 00:49:15.840 it's just like when you really look at it and 00:49:15.840 --> 00:49:18.679 you reflect, I mean, she's an incredible artist, 00:49:18.739 --> 00:49:23.039 musician, and she absolutely owned the 90s in 00:49:23.039 --> 00:49:29.750 so many ways. Yeah. 13 number one hits in the 00:49:29.750 --> 00:49:34.949 decade, more than double the next largest, which 00:49:34.949 --> 00:49:39.630 was Janet Jackson at six. She owned the 90s. 00:49:39.630 --> 00:49:42.630 And honestly, you and I would be doing this playlist 00:49:42.630 --> 00:49:45.210 a disservice if we didn't mention her in this 00:49:45.210 --> 00:49:47.750 discussion. I'm going to finalize my pick with 00:49:47.750 --> 00:49:51.090 that one. And I could not agree more. There you 00:49:51.090 --> 00:49:53.710 have it, folks. Side B of our number one hits 00:49:53.710 --> 00:49:56.809 of the 90s playlist, which kicked off with 1995. 00:49:57.769 --> 00:50:00.769 Montel Jordan's This Is How We Do It and Seal's 00:50:00.769 --> 00:50:04.769 Kiss From A Rose. 1996, Blackstreet with Dr. 00:50:04.949 --> 00:50:08.190 Dre, No Diggity and Tupac featuring Casey and 00:50:08.190 --> 00:50:11.789 JoJo. Dr. Dre again and Roger Troutman, California 00:50:11.789 --> 00:50:16.510 Love. 1997, Notorious B .I .G.'s Hypnotize and 00:50:16.510 --> 00:50:20.579 Hanson's Mbop. 1998, Will Smith's Getting Jiggy 00:50:20.579 --> 00:50:23.320 With It and Lauryn Hill's Do Wop That Thing. 00:50:23.539 --> 00:50:27.260 And finishing it up with 1999, Santana with Rob 00:50:27.260 --> 00:50:30.920 Thomas, Smooth, and Mariah Carey with Jay -Z, 00:50:31.119 --> 00:50:34.400 Heartbreaker. Head over to myweeklymixtape .com 00:50:34.400 --> 00:50:36.500 to hear all the songs we've discussed in this 00:50:36.500 --> 00:50:39.940 mix through the playlist embedded on the episode 00:50:39.940 --> 00:50:43.980 page. Now, Jamie, The C's have Conversations 00:50:43.980 --> 00:50:46.019 With My Future Self out. It's been out since 00:50:46.019 --> 00:50:48.429 this past November. Can you talk about what you've 00:50:48.429 --> 00:50:51.349 got going on in 2024 to help promote the album 00:50:51.349 --> 00:50:54.849 in terms of live shows and other ventures? Right 00:50:54.849 --> 00:50:58.349 now, we're trying to wrap up some touring for 00:50:58.349 --> 00:51:01.550 the year. So that is all in the works. I would 00:51:01.550 --> 00:51:04.570 love to get those dates out there, but trying 00:51:04.570 --> 00:51:07.230 to figure out scheduling and all those things. 00:51:07.349 --> 00:51:10.090 As far as we're actually going a couple of weeks 00:51:10.090 --> 00:51:13.809 to go record a couple of choice cover songs, 00:51:13.969 --> 00:51:18.639 speaking of hits. that we like to play live and 00:51:18.639 --> 00:51:20.639 you know it's not like a spoiler because if you've 00:51:20.639 --> 00:51:23.179 seen us play you've seen them we've been covering 00:51:23.179 --> 00:51:25.880 in excess never tear us apart and simple minds 00:51:25.880 --> 00:51:30.940 don't you forget about me and it just it's it's 00:51:30.940 --> 00:51:33.860 very humbling to try to attempt I say try to 00:51:33.860 --> 00:51:37.460 attempt to sing Michael Hutchins vocals but it 00:51:37.460 --> 00:51:39.820 feels great we're good we put a little like flavor 00:51:39.820 --> 00:51:42.099 on it so we're gonna start tracking those in 00:51:42.099 --> 00:51:45.139 a couple of weeks And for me, it's always about 00:51:45.139 --> 00:51:47.300 the next album, the next record. And from a live 00:51:47.300 --> 00:51:51.159 perspective, I always like playing a cover set, 00:51:51.320 --> 00:51:54.500 especially change that up and make them fresh. 00:51:54.639 --> 00:51:56.679 It brings people into the audience that they've 00:51:56.679 --> 00:51:59.380 never listened to the songs. So the goals for 00:51:59.380 --> 00:52:02.820 2024 is we'll hopefully have some dates hosted 00:52:02.820 --> 00:52:06.239 in the coming weeks. We'll be recording some 00:52:06.239 --> 00:52:09.599 covers and then probably start work on the next 00:52:09.599 --> 00:52:13.230 record, maybe later this summer. Yeah, but that's 00:52:13.230 --> 00:52:15.929 all the things in motion that we're excited about. 00:52:16.150 --> 00:52:18.250 Well, you have to promise to keep me posted on 00:52:18.250 --> 00:52:20.349 both of those covers because Don't You Forget 00:52:20.349 --> 00:52:22.989 About Me and Never Tear Us Apart are two songs 00:52:22.989 --> 00:52:25.150 that I play with Colburn and Company. They're 00:52:25.150 --> 00:52:29.349 both amazing tunes. And God, Never Tear Us Apart 00:52:29.349 --> 00:52:32.550 could be my all -time favorite in excess tune. 00:52:33.320 --> 00:52:35.800 Brian Fallon from the Gaslight Anthem, his group, 00:52:35.800 --> 00:52:38.579 The Horrible Crows, did a really unique version 00:52:38.579 --> 00:52:41.460 of it. But after hearing your album, I'm curious 00:52:41.460 --> 00:52:43.800 to hear what you guys are going to bring to that 00:52:43.800 --> 00:52:48.760 song. It's pretty true to the recording, but 00:52:48.760 --> 00:52:53.460 it also feels just the way it's recorded and 00:52:53.460 --> 00:52:56.300 the timing of it, it just seems a little bit 00:52:56.300 --> 00:53:00.260 more rock to it. But I mean, that's just innately 00:53:00.260 --> 00:53:04.289 how it's going to sound. listen to that song 00:53:04.289 --> 00:53:08.289 religiously, and it's with Yoni on our keyboards 00:53:08.289 --> 00:53:11.989 and synthesizers and Alex on bass. They've kind 00:53:11.989 --> 00:53:17.190 of conjured this collective sound to really get 00:53:17.190 --> 00:53:20.909 the strings, but also this bottom end to it that's 00:53:20.909 --> 00:53:23.670 really awesome, and Tim, our drummer, really 00:53:23.670 --> 00:53:26.510 holds it down. I mean, playing Simple Minds, 00:53:26.510 --> 00:53:29.070 don't you forget about me. Like I told, I'm like, 00:53:29.110 --> 00:53:32.099 Tim, this is... All for you just to play the 00:53:32.099 --> 00:53:33.820 drum fill of the ending. I mean, that's really... 00:53:33.820 --> 00:53:39.519 This is my gift to you. You just want to live 00:53:39.519 --> 00:53:42.679 in a John Hughes film world. And it's just like, 00:53:42.719 --> 00:53:46.179 you just build up to it. And it just pops. And 00:53:46.179 --> 00:53:49.860 it's so much fun. And I think people love covers. 00:53:50.840 --> 00:53:53.820 We're not a cover band. But I think it's important, 00:53:54.039 --> 00:53:58.000 especially in the first, after release. A lot 00:53:58.000 --> 00:54:01.099 of material to get people and be there for fans 00:54:01.099 --> 00:54:04.199 and prospective new fans that, you know, you 00:54:04.199 --> 00:54:05.800 want to give them something tethered that they 00:54:05.800 --> 00:54:08.599 could, oh, I recognize that. They could hate 00:54:08.599 --> 00:54:12.139 it. Let's hope that's not the case. When you 00:54:12.139 --> 00:54:14.639 want to give something, you know, that you're 00:54:14.639 --> 00:54:17.400 playing to people that it's a worthy entertainment 00:54:17.400 --> 00:54:20.000 business, right? You want to entertain and not 00:54:20.000 --> 00:54:22.369 try to take yourself too, too seriously. Amen 00:54:22.369 --> 00:54:24.789 to that. Well, if people want to learn more about 00:54:24.789 --> 00:54:27.409 The Seas and connect with you on social media 00:54:27.409 --> 00:54:28.829 and come out to a show, how can they go about 00:54:28.829 --> 00:54:31.829 doing that? Yeah, they could follow The Seas 00:54:31.829 --> 00:54:36.210 Instagram page at The Seas Music. We are not 00:54:36.210 --> 00:54:38.949 on Twitter, so it's really just Instagram, the 00:54:38.949 --> 00:54:42.329 website, theseasmusic .com. I think that's pretty 00:54:42.329 --> 00:54:45.809 much your best hub to go. The record is currently 00:54:45.809 --> 00:54:49.460 streaming on Spotify, Apple Music. Pandora, you 00:54:49.460 --> 00:54:51.599 could stream it there. It's on Tidal. It's on 00:54:51.599 --> 00:54:53.840 all the places you could download it and stream 00:54:53.840 --> 00:54:57.380 to listen to it. And we sell vinyl records at 00:54:57.380 --> 00:54:59.980 the shows. Well, Jamie, this has been an absolute 00:54:59.980 --> 00:55:01.980 blast. Thank you so much for joining me on my 00:55:01.980 --> 00:55:03.599 weekly mixtape. Thank you so much, Brian, for 00:55:03.599 --> 00:55:05.139 having me. Appreciate it. It's a great time. 00:55:05.469 --> 00:55:07.849 And remember, Mixtapers, you can find My Weekly 00:55:07.849 --> 00:55:10.889 Mixtape on almost all of the social media haunts 00:55:10.889 --> 00:55:15.289 at My Weekly Mixtape. You can also head to MyWeeklyMixtape 00:55:15.289 --> 00:55:18.730 .com to check out the full catalog of My Weekly 00:55:18.730 --> 00:55:21.030 Mixtape episodes. And if you like what you're 00:55:21.030 --> 00:55:23.210 hearing on the show, you can help me out by either 00:55:23.210 --> 00:55:25.630 telling a friend, leaving the show a five -star 00:55:25.630 --> 00:55:28.130 review wherever you're tuning in, or becoming 00:55:28.130 --> 00:55:31.449 a Patreon Mixtaper at Patreon .com forward slash 00:55:31.449 --> 00:55:34.650 My Weekly Mixtape. That's all for this week. 00:55:34.760 --> 00:55:36.800 Thanks again for listening, and until next time, 00:55:36.900 --> 00:55:38.059 enjoy the tunes.