WEBVTT 00:00:00.000 --> 00:00:02.060 Hey everybody, how you doing? This is Aaron Comis 00:00:02.060 --> 00:00:04.500 of the Spin Doctors, and you're listening to 00:00:04.500 --> 00:00:07.919 my weekly mixtape with Brian Colburn. We had 00:00:07.919 --> 00:00:09.880 a great time picking a bunch of Spin Doctors 00:00:09.880 --> 00:00:12.259 songs, and I hope you enjoy it. Have a great 00:00:12.259 --> 00:00:26.260 one. Welcome to My Weekly Mixtape, a podcast 00:00:26.260 --> 00:00:29.320 that takes the classic mixtape approach to building 00:00:29.320 --> 00:00:32.280 a modern playlist. I'm your host, Brian Colburn. 00:00:32.439 --> 00:00:35.200 Joining me tonight as guest curator is the drummer 00:00:35.200 --> 00:00:37.399 of a band that I've been a fan of since first 00:00:37.399 --> 00:00:40.479 hearing the opening drum fill that slides in 00:00:40.479 --> 00:00:43.340 under the lead riff to Jimmy Olsen's Blues, and 00:00:43.340 --> 00:00:46.100 that's the one and only Aaron Comis of The Spin 00:00:46.100 --> 00:00:48.500 Doctors. Aaron, thank you so much for joining 00:00:48.500 --> 00:00:50.920 me on My Weekly Mixtape. Hey, thanks for having 00:00:50.920 --> 00:00:53.100 me, man. How you doing? I'm doing great. Hope 00:00:53.100 --> 00:00:55.799 you could say the same. Yes, sir. Well, I'd like 00:00:55.799 --> 00:00:57.899 to start by asking you the same question I ask 00:00:57.899 --> 00:01:00.159 all of my first time guests. Aaron, what does 00:01:00.159 --> 00:01:03.259 the word mixtape mean to you? Mixtape? Well, 00:01:03.399 --> 00:01:05.060 I mean, it reminds me of back in the day when 00:01:05.060 --> 00:01:07.780 we had cassettes and we would make mixtapes and 00:01:07.780 --> 00:01:10.120 just put our favorite songs on them. I certainly 00:01:10.120 --> 00:01:11.980 did a lot of those back in the day. And then, 00:01:12.019 --> 00:01:14.260 of course, we started doing them on our computers 00:01:14.260 --> 00:01:16.519 and iTunes. And now I can't even figure out how 00:01:16.519 --> 00:01:19.519 to work with it anymore. It's so confusing. but 00:01:19.519 --> 00:01:21.659 uh yeah that it was those were fun and i know 00:01:21.659 --> 00:01:23.540 sometimes people would make tapes for their friends 00:01:23.540 --> 00:01:26.319 or their girlfriends you know and uh there's 00:01:26.319 --> 00:01:29.099 a lot of a lot of memories and meanings and songs 00:01:29.099 --> 00:01:31.620 for people so uh mixtapes are always sort of 00:01:31.620 --> 00:01:33.739 a cool way to capture that you know Well, what 00:01:33.739 --> 00:01:36.519 we're hoping to do tonight is capture the ultimate 00:01:36.519 --> 00:01:39.780 Spin Doctors mixtape. And Aaron and I are going 00:01:39.780 --> 00:01:41.760 to do that tonight by using the old cassette 00:01:41.760 --> 00:01:44.379 deck approach. Aaron, as my special guest, will 00:01:44.379 --> 00:01:47.299 begin side A with his first song choice, and 00:01:47.299 --> 00:01:49.680 then I'll add a song that I feel best follows 00:01:49.680 --> 00:01:52.140 up that choice. We'll then flip -flop choosing 00:01:52.140 --> 00:01:55.219 songs until we've mapped out 10 songs for side 00:01:55.219 --> 00:01:58.819 A. Wow. We'll then give that mixtape a proverbial 00:01:58.819 --> 00:02:01.439 flip, and we'll map out side B, only this time 00:02:01.439 --> 00:02:04.340 I'll kick the side off. with Aaron choosing second. 00:02:04.540 --> 00:02:07.180 Our overall goal for this episode is to craft 00:02:07.180 --> 00:02:10.900 the best Spin Doctors mixtape possible through 00:02:10.900 --> 00:02:13.620 only 20 songs. At the end of the show, you can 00:02:13.620 --> 00:02:16.400 take our conversation to the next level by visiting 00:02:16.400 --> 00:02:19.699 the episode page at myweeklymixtape .com where 00:02:19.699 --> 00:02:22.240 you can give our final mixtape a listen. via 00:02:22.240 --> 00:02:24.719 the embedded playlist. If you like what you're 00:02:24.719 --> 00:02:26.860 hearing on the show, you can help me out by either 00:02:26.860 --> 00:02:29.240 telling a friend about the show, leaving the 00:02:29.240 --> 00:02:31.199 show a five -star review wherever you're tuning 00:02:31.199 --> 00:02:34.460 in, or by becoming a Patreon mixtape or at patreon 00:02:34.460 --> 00:02:38.340 .com forward slash myweeklymixtape. So Aaron, 00:02:38.479 --> 00:02:40.419 I'm officially pressing the record button on 00:02:40.419 --> 00:02:43.120 our mixtape and the floor is yours. Why don't 00:02:43.120 --> 00:02:45.099 you dive into the song you're going to choose 00:02:45.099 --> 00:02:49.080 to kick off side A? Wow. Okay. I've been the 00:02:49.080 --> 00:02:51.479 pressure on. You know what? If I got to start 00:02:51.479 --> 00:02:54.000 off a Spin Doctors mixtape, I'm going to go back 00:02:54.000 --> 00:02:57.979 early on, back to our first release, which was, 00:02:58.060 --> 00:03:00.360 well, actually our first release was a record 00:03:00.360 --> 00:03:03.080 called Upper Grabs, Live at the Wetlands. And 00:03:03.080 --> 00:03:05.860 then we re -released a longer version of that 00:03:05.860 --> 00:03:08.560 called Homebelly Groove. So I don't know if this 00:03:08.560 --> 00:03:11.240 song was on both, or I know it's on Homebelly 00:03:11.240 --> 00:03:13.120 Groove. And I'm going to start with a song called 00:03:13.120 --> 00:03:17.099 Yo Baby, which is one of a very early Spin Doctors 00:03:17.099 --> 00:03:21.379 song. that we played regularly. It's sort of 00:03:21.379 --> 00:03:25.060 just a classic, old -school, early Spin Doctors 00:03:25.060 --> 00:03:28.639 funk song with killer, sort of funny Chris Barron 00:03:28.639 --> 00:03:32.419 lyrics. Some songs, various members or individuals 00:03:32.419 --> 00:03:34.680 would write a song and bring them in. Other songs, 00:03:34.840 --> 00:03:36.639 sometimes we would just make up on the stage, 00:03:36.759 --> 00:03:38.599 and Chris might have a set of lyrics. And if 00:03:38.599 --> 00:03:40.479 I recall correctly, Yo Baby was one of those. 00:03:40.919 --> 00:03:42.759 So that's going to be the first song on the playlist, 00:03:42.960 --> 00:03:45.919 Yo Baby. Well, my question for you is, that song 00:03:45.919 --> 00:03:50.210 was on the Homebelly Groove. live release why 00:03:50.210 --> 00:03:52.629 was there never a studio version because that's 00:03:52.629 --> 00:03:55.330 a fantastic upbeat song that feels like it would 00:03:55.330 --> 00:03:58.909 really fit in with the studio catalog yeah you 00:03:58.909 --> 00:04:02.330 know it's a good question i mean i know we talked 00:04:02.330 --> 00:04:05.250 about putting it on records um it just never 00:04:05.250 --> 00:04:08.270 you know we've always had so much material and 00:04:08.270 --> 00:04:10.449 especially like early on when we first those 00:04:10.449 --> 00:04:13.449 first two years of a band we wrote so many songs 00:04:13.449 --> 00:04:17.100 such a big repertoire So when it came time to 00:04:17.100 --> 00:04:19.180 making Pocket Full of Kryptonite, you know, it 00:04:19.180 --> 00:04:21.360 was kind of difficult to hone it down to the 00:04:21.360 --> 00:04:24.779 11 songs we wanted to use. And then moving on 00:04:24.779 --> 00:04:26.480 to Turn It Upside Down, we had written some new 00:04:26.480 --> 00:04:28.439 songs and we took some old ones. I don't know. 00:04:28.519 --> 00:04:30.720 I mean, I'm not sure why we never put Yo Baby 00:04:30.720 --> 00:04:33.500 on a record, you know? Maybe we still will someday. 00:04:33.600 --> 00:04:36.339 Who knows? All right. But, you know, it's a great 00:04:36.339 --> 00:04:38.100 version. Some songs are just sort of meant to 00:04:38.100 --> 00:04:40.639 be. I mean, it's such a classic version with 00:04:40.639 --> 00:04:43.519 a live one. I probably just felt like, you know, 00:04:43.560 --> 00:04:45.860 that's good enough. Well, that actually makes 00:04:45.860 --> 00:04:48.519 my follow up for track two pretty easy because 00:04:48.519 --> 00:04:52.139 I don't ever come into an episode saying I'm 00:04:52.139 --> 00:04:54.220 putting this song here in this song here because 00:04:54.220 --> 00:04:56.759 you never know what the other person is going 00:04:56.759 --> 00:04:58.939 to choose. So you kind of have no idea of how 00:04:58.939 --> 00:05:02.139 it's going to unfold. But for me, if you chose 00:05:02.139 --> 00:05:04.819 any spin doctor song other than the song that 00:05:04.819 --> 00:05:07.759 I had in mind for track two, I needed to put 00:05:07.759 --> 00:05:11.180 this song at track two because to me. When I've 00:05:11.180 --> 00:05:13.220 seen the band live, I've seen you perform this 00:05:13.220 --> 00:05:15.279 in the number two slot before. And it's just 00:05:15.279 --> 00:05:18.180 the perfect second song of the night to get people 00:05:18.180 --> 00:05:22.100 up and moving. And it is the first song on Up 00:05:22.100 --> 00:05:23.899 for Grabs Live. But I'm actually going to go 00:05:23.899 --> 00:05:27.300 with the studio version that kicks off 1994's 00:05:27.300 --> 00:05:29.519 Turn It Upside Down. And I'm going to go with 00:05:29.519 --> 00:05:34.839 Big Fat Funky Booty. Just a silly, fun, exciting 00:05:34.839 --> 00:05:37.699 song that gets you shaken and gets you moving. 00:05:37.779 --> 00:05:40.360 And that's a song that... When I look back, I 00:05:40.360 --> 00:05:42.879 was actually shocked. Didn't make pocket full 00:05:42.879 --> 00:05:46.079 of kryptonite, but I'm so glad that it was represented 00:05:46.079 --> 00:05:49.480 in studio form on the followup. Yeah, that's 00:05:49.480 --> 00:05:52.279 cool. And again, it's really sort of in the same 00:05:52.279 --> 00:05:55.220 family as your baby. Those are both really early, 00:05:55.259 --> 00:05:59.100 early spin doctor songs and, you know, really 00:05:59.100 --> 00:06:01.240 representing the funk side of the band hard. 00:06:01.680 --> 00:06:04.079 So good choice. So we're starting off, we're 00:06:04.079 --> 00:06:06.529 starting off right with the funk here. All right, 00:06:06.550 --> 00:06:08.209 and I'm throwing it back to you now to follow 00:06:08.209 --> 00:06:10.990 up with track three. Wow, okay, let me think 00:06:10.990 --> 00:06:13.490 about this for a minute. All right, you know 00:06:13.490 --> 00:06:15.089 what I'm going to do? I think I'm going to go 00:06:15.089 --> 00:06:17.949 with, I'm going to take something off of the 00:06:17.949 --> 00:06:20.949 Pocket Full of Kryptonite record. I think I'm 00:06:20.949 --> 00:06:24.589 going to go with Refrigerator Car. Nice. So I'm 00:06:24.589 --> 00:06:26.350 going to go into that rock side of things a bit, 00:06:26.430 --> 00:06:28.670 you know? Do you feel like there was a challenge 00:06:28.670 --> 00:06:31.110 trying to balance the rock and the funk side 00:06:31.110 --> 00:06:33.589 of the band? At the time, you had different bands 00:06:33.589 --> 00:06:35.410 out there like the Red Hot Chili Peppers that 00:06:35.410 --> 00:06:37.769 leaned very heavy into the funk. You had groups 00:06:37.769 --> 00:06:40.110 like Fishbone that kind of took the funk and 00:06:40.110 --> 00:06:42.529 almost lent like a ska and a punk vibe to it. 00:06:42.589 --> 00:06:45.430 And you guys were a little bit more of a, I don't 00:06:45.430 --> 00:06:47.290 want to say jam band, but there was that jam 00:06:47.290 --> 00:06:50.490 band element with funk music. How did you kind 00:06:50.490 --> 00:06:53.490 of find that balance across your live shows and 00:06:53.490 --> 00:06:55.670 on albums? You know, we never really thought 00:06:55.670 --> 00:06:57.750 about it too much, to be honest. I mean, we never 00:06:57.750 --> 00:07:00.189 really sat around and said, okay, we're going 00:07:00.189 --> 00:07:03.629 to... be a funk band or a rock band or a jam 00:07:03.629 --> 00:07:06.430 band. We really just took a very organic approach. 00:07:06.750 --> 00:07:09.910 And I think being that we all shared a lot of 00:07:09.910 --> 00:07:12.310 similar influences, but we all brought different 00:07:12.310 --> 00:07:15.050 things to the table with the playing and the 00:07:15.050 --> 00:07:17.910 writing. So we ended up with sort of a cool, 00:07:18.029 --> 00:07:21.370 diverse catalog of material, but it all kind 00:07:21.370 --> 00:07:24.410 of worked together. But in making a set list 00:07:24.410 --> 00:07:26.529 or putting an album together, for instance, Pocket 00:07:26.529 --> 00:07:28.610 Full of Kryptonite, I mean, we certainly thought 00:07:28.610 --> 00:07:31.509 about, okay, how can we represent the band on 00:07:31.509 --> 00:07:34.829 this debut record and also you know pick songs 00:07:34.829 --> 00:07:38.009 that float well together you know from start 00:07:38.009 --> 00:07:40.449 to finish and we so we definitely put a lot of 00:07:40.449 --> 00:07:42.310 thought into and we really wanted to represent 00:07:42.310 --> 00:07:44.930 different sides of us obviously we had we used 00:07:44.930 --> 00:07:48.029 to always call like the we used to have part 00:07:48.029 --> 00:07:49.889 of our set what we call the white bread hits 00:07:49.889 --> 00:07:52.290 and those were like songs like funky booty and 00:07:52.290 --> 00:07:55.290 two princes a little bit and jimmy olsen And 00:07:55.290 --> 00:07:58.050 then we had sort of more of the rock stuff, like 00:07:58.050 --> 00:08:00.410 a song like Refrigerator Car, Shinbon Alley. 00:08:00.589 --> 00:08:02.490 And then we had more of the sort of psychedelic 00:08:02.490 --> 00:08:06.370 ballads, like 40 or 50. And so we just sort of 00:08:06.370 --> 00:08:09.370 tried to put those together in a way that worked, 00:08:09.629 --> 00:08:12.069 you know? Oh, yeah, definitely. But when coming 00:08:12.069 --> 00:08:14.470 up with material, we never really, we didn't 00:08:14.470 --> 00:08:15.949 put a lot of thought into it. It was sort of, 00:08:15.949 --> 00:08:18.810 it was a natural thing, you know? Completely 00:08:18.810 --> 00:08:21.569 understand. And from there, I'm going to leapfrog. 00:08:22.319 --> 00:08:25.259 into the next decade and i want to go to 2005 00:08:25.259 --> 00:08:28.379 for my next pick and i'm going to go with the 00:08:28.379 --> 00:08:31.379 title track from the band's first album which 00:08:31.379 --> 00:08:35.480 at that point had been in six years since 1999's 00:08:35.480 --> 00:08:38.679 here comes the bride 2005's nice talking to me 00:08:38.679 --> 00:08:41.620 was the spin doctors return to form after what 00:08:41.620 --> 00:08:44.620 was a kind of tumultuous time for the band with 00:08:44.620 --> 00:08:47.220 Chris dealing with losing his vocal cords with 00:08:47.220 --> 00:08:49.940 the paralysis and some members coming in and 00:08:49.940 --> 00:08:52.299 out. And then the band reforming to me, this 00:08:52.299 --> 00:08:54.460 felt like a rebirth of the band. This album came 00:08:54.460 --> 00:08:56.840 out the year I got married. And I remember going 00:08:56.840 --> 00:08:59.139 to vintage vinyl in Ford's, New Jersey. The day 00:08:59.139 --> 00:09:01.759 this album came out, I needed to get my hands 00:09:01.759 --> 00:09:04.539 on a copy and hear the first new spin doctors 00:09:04.539 --> 00:09:07.759 music in six years. And the opening track, the 00:09:07.759 --> 00:09:09.799 opening riff to nice talking to me just took 00:09:09.799 --> 00:09:12.580 me right back. it's a pocket full of kryptonite 00:09:12.580 --> 00:09:15.379 and felt like the band never missed a beat. And 00:09:15.379 --> 00:09:18.580 to me is a signature song from the group. So 00:09:18.580 --> 00:09:20.840 I'm going to follow it up with the title track. 00:09:20.919 --> 00:09:23.960 Nice talking to me. And I'd be curious, did things 00:09:23.960 --> 00:09:26.080 come together organically when putting that album 00:09:26.080 --> 00:09:27.879 together? Did you feel there was a pressure to 00:09:27.879 --> 00:09:30.559 live up to whatever the past was, or were you 00:09:30.559 --> 00:09:33.139 trying to move forward? Because it was kind of 00:09:33.139 --> 00:09:35.820 a strange period for the band leading up to the 00:09:35.820 --> 00:09:38.679 album's release. Yeah. I mean, it was, it was 00:09:38.679 --> 00:09:40.769 sort of the beginning of, The band getting back 00:09:40.769 --> 00:09:43.370 together after, you know, Eric leaving for a 00:09:43.370 --> 00:09:45.870 while and then Chris having a couple different 00:09:45.870 --> 00:09:48.490 formations of the band and, you know, Chris losing 00:09:48.490 --> 00:09:50.230 his voice. And then we got back together for 00:09:50.230 --> 00:09:52.429 the Wetlands reunion, you know, when they closed. 00:09:52.649 --> 00:09:55.429 Yeah. Just a couple days before 9 -11. So after 00:09:55.429 --> 00:09:57.830 that, we sort of started to like just put our 00:09:57.830 --> 00:09:59.750 foot back in the water again. We did a few gigs 00:09:59.750 --> 00:10:01.909 and got busier and busier, which led up to that 00:10:01.909 --> 00:10:04.070 Nice Talking To Me record. So I don't think we 00:10:04.070 --> 00:10:05.549 really felt a lot of pressure. We were trying 00:10:05.549 --> 00:10:07.649 to have a good time. We wanted to come up with 00:10:07.649 --> 00:10:10.399 a really good batch of material. And like we 00:10:10.399 --> 00:10:12.940 always do, we did a series of writing sessions, 00:10:13.019 --> 00:10:15.480 different members, different people getting together 00:10:15.480 --> 00:10:18.080 until we came up with the songs we felt were 00:10:18.080 --> 00:10:20.700 strong enough. And then we hooked up with a great 00:10:20.700 --> 00:10:23.840 producer, Matt Wallace, who really did a great 00:10:23.840 --> 00:10:27.580 job. And he did something we had never done before. 00:10:27.639 --> 00:10:29.639 We did a couple of weeks of pre -production. 00:10:29.960 --> 00:10:31.919 We'd done pre -production, but his version of 00:10:31.919 --> 00:10:34.399 pre -production was to, before we got on our 00:10:34.399 --> 00:10:36.620 instruments, just to get on a couch with acoustic 00:10:36.620 --> 00:10:39.570 guitars. and flush out the arrangements and really 00:10:39.570 --> 00:10:42.950 make sure we had a really strong song before 00:10:42.950 --> 00:10:44.789 we actually got on an instrument. Because sometimes 00:10:44.789 --> 00:10:46.750 when you're working on songs and everybody's 00:10:46.750 --> 00:10:49.110 loud or whatever, you know, sometimes that works 00:10:49.110 --> 00:10:51.809 really well, but other times you might not be 00:10:51.809 --> 00:10:54.389 able to get really deep into what the song is. 00:10:54.570 --> 00:10:56.870 So it was a really cool way to work. And that's 00:10:56.870 --> 00:10:58.629 how we did it with this record. So once we've 00:10:58.629 --> 00:11:00.950 got everything arranged to where we felt like, 00:11:01.009 --> 00:11:03.029 okay, this song is, we're going to get it and 00:11:03.029 --> 00:11:04.970 move over to our instruments and working out 00:11:04.970 --> 00:11:08.139 there. But nice talking to me. is a great example 00:11:08.139 --> 00:11:12.320 of that because you may not know this unless 00:11:12.320 --> 00:11:15.440 you dug way deep into like the archives and got 00:11:15.440 --> 00:11:18.899 like vintage bootlegs of the band. We had a version 00:11:18.899 --> 00:11:21.340 of Nice Talking to Me going way back to the early 00:11:21.340 --> 00:11:24.480 days. And we didn't play it a lot, but it was, 00:11:24.480 --> 00:11:26.700 and it was basically just that riff. It didn't 00:11:26.700 --> 00:11:30.740 have the whole chorus part yet. It was just that 00:11:30.740 --> 00:11:33.639 riff and the Nice Talking to Me thing. It never 00:11:33.639 --> 00:11:37.320 really kind of felt like a complete song. which 00:11:37.320 --> 00:11:39.620 is probably why I fell by the wayside. But when 00:11:39.620 --> 00:11:42.399 we were writing for the new record, we were like, 00:11:42.480 --> 00:11:44.980 you know, that thing really has a vibe. It's 00:11:44.980 --> 00:11:47.299 a classic Spin Doctors vibe, just a great guitar 00:11:47.299 --> 00:11:51.000 riff. And the lyric is cool. Let's see if we 00:11:51.000 --> 00:11:53.539 can like, you know, finish this song. And so 00:11:53.539 --> 00:11:55.799 that's what we did. You know, in pre -production, 00:11:55.860 --> 00:11:57.899 we sat there and like finished it off and came 00:11:57.899 --> 00:12:00.399 up with that whole chorus idea. And it turned 00:12:00.399 --> 00:12:03.200 out to be a great song. I really liked that record. 00:12:03.379 --> 00:12:06.100 And, you know, it... It wasn't a very successful 00:12:06.100 --> 00:12:09.679 record. The record label went bust a week after 00:12:09.679 --> 00:12:12.679 we put it out, sadly. But the cool thing about 00:12:12.679 --> 00:12:15.240 it for me is that a good amount of those songs 00:12:15.240 --> 00:12:18.500 on that record, we play to this day pretty regularly 00:12:18.500 --> 00:12:21.840 live. Nice talking to me to be one of them. I'm 00:12:21.840 --> 00:12:25.539 going to continue on this from my song now. One 00:12:25.539 --> 00:12:27.460 of my other favorite songs from that record that 00:12:27.460 --> 00:12:30.179 we also play live a lot that I love is Sugar. 00:12:30.539 --> 00:12:33.559 Nice. I'd like that in the next song. It's another 00:12:33.559 --> 00:12:36.100 great song. That album to me is probably the 00:12:36.100 --> 00:12:39.539 band's most underrated, I think, across the whole 00:12:39.539 --> 00:12:41.840 catalog because I don't want to mention any other 00:12:41.840 --> 00:12:44.559 song titles because there may or may not be some 00:12:44.559 --> 00:12:47.000 other ones coming up in our discussion. But to 00:12:47.000 --> 00:12:50.840 me, this album had a renewed energy about it. 00:12:50.879 --> 00:12:54.480 It felt like the boys are back, so to speak. 00:12:54.659 --> 00:12:57.710 And it felt like you didn't miss a beat. No pun 00:12:57.710 --> 00:13:00.629 intended. And the music all felt very fresh and 00:13:00.629 --> 00:13:04.169 very modern in 2005, even though it's still held 00:13:04.169 --> 00:13:07.669 on to that 90s sound that has kind of been across 00:13:07.669 --> 00:13:11.610 the entire Spin Doctors career. Yeah, I agree. 00:13:12.090 --> 00:13:14.769 I do want to touch back, though. You had glossed 00:13:14.769 --> 00:13:16.629 over something as you were talking before, and 00:13:16.629 --> 00:13:18.190 it's something that to me, I think, is a very 00:13:18.190 --> 00:13:21.110 pivotal part of the band's history. And that 00:13:21.110 --> 00:13:24.929 was September 7th of 2001 when you reunited at 00:13:24.929 --> 00:13:27.629 the Wetlands for the first time having played 00:13:27.629 --> 00:13:31.690 there since 1994, the week before the Wetlands 00:13:31.690 --> 00:13:35.110 shut its doors. I know from a lot of people writing 00:13:35.110 --> 00:13:37.669 online and through Spin Doctor lore that that 00:13:37.669 --> 00:13:42.250 is kind of a significant show for the band. that 00:13:42.250 --> 00:13:46.350 was kind of a revival for the next 20 plus years 00:13:46.350 --> 00:13:48.909 of the spin doctors that night. A hundred percent. 00:13:49.129 --> 00:13:51.870 I mean, you gotta remember we hadn't played the 00:13:51.870 --> 00:13:55.289 four of us together since 1994 when Eric left 00:13:55.289 --> 00:13:57.990 the band. And then after we, you know, we, we 00:13:57.990 --> 00:14:00.570 went on and then it had been a couple of years 00:14:00.570 --> 00:14:03.190 since any form of spin doctors existed when Chris 00:14:03.190 --> 00:14:05.549 lost his voice, you know, right around the time 00:14:05.549 --> 00:14:08.769 of here comes the bride came out. So it was definitely 00:14:08.769 --> 00:14:10.830 the moment. It was a, it was just a nice moment 00:14:10.830 --> 00:14:13.460 because, you know a lot of us hadn't spoken to 00:14:13.460 --> 00:14:16.059 each other in a while the vibe wasn't very good 00:14:16.059 --> 00:14:19.659 and i got a call from i think it was from um 00:14:19.659 --> 00:14:21.820 pretty sure it was pete shapiro because he owned 00:14:21.820 --> 00:14:23.259 the wetlands at the time he called me up one 00:14:23.259 --> 00:14:25.679 day out of the blue he's like hey man you know 00:14:25.679 --> 00:14:28.659 we're closing the wetlands we're calling some 00:14:28.659 --> 00:14:31.279 of our favorite bands to play them over the years 00:14:31.279 --> 00:14:33.419 to finish it out we'd love to get the original 00:14:33.419 --> 00:14:36.460 spin doctors so that was really Who knows what 00:14:36.460 --> 00:14:37.860 would have happened if that call wouldn't have 00:14:37.860 --> 00:14:39.679 come. My guess is we probably would have done 00:14:39.679 --> 00:14:42.220 something eventually, but it was really... So 00:14:42.220 --> 00:14:44.740 I called everybody. I hadn't talked to Eric in 00:14:44.740 --> 00:14:46.799 probably five years. I hadn't spoken to Mark 00:14:46.799 --> 00:14:49.159 in a couple of years. Me and Chris spoke all 00:14:49.159 --> 00:14:52.539 the time. So I called those guys, and everybody 00:14:52.539 --> 00:14:54.759 was cool, and it just felt right because we had 00:14:54.759 --> 00:14:56.639 so many memories and so many great gigs at the 00:14:56.639 --> 00:15:00.919 Wetlands. Everybody agreed to do it, and we had 00:15:00.919 --> 00:15:03.980 a rehearsal the day before. And it was just like, 00:15:04.039 --> 00:15:05.399 you know, I mean, it was like riding a bike, 00:15:05.460 --> 00:15:07.379 you know, we just, it was just like, boom, you 00:15:07.379 --> 00:15:09.500 know, everything felt great. We had a great gig, 00:15:09.759 --> 00:15:12.379 packed house. And, you know, it's not like we 00:15:12.379 --> 00:15:14.139 walked off the stage that night and we're like, 00:15:14.240 --> 00:15:16.500 hey, let's get together tomorrow. But it opened 00:15:16.500 --> 00:15:19.820 that door. And pretty short after that, you know, 00:15:19.840 --> 00:15:21.919 we got some offers for some gigs and we were 00:15:21.919 --> 00:15:23.200 like, you know what? Yeah, let's go out and see 00:15:23.200 --> 00:15:25.840 how it goes. So, yeah, there's no question that 00:15:25.840 --> 00:15:28.820 night was, was the sort of the new beginning 00:15:28.820 --> 00:15:32.080 of the next 20 years or so. Excellent. Well, 00:15:32.139 --> 00:15:35.440 I am going to now choose my first song from Pocketful 00:15:35.440 --> 00:15:39.019 of Kryptonite for track six on Side A. And this 00:15:39.019 --> 00:15:42.139 is a song that is very important to me because 00:15:42.139 --> 00:15:44.899 I have been covering this song when I play live 00:15:44.899 --> 00:15:49.000 for the better part of the last 25, 30 years 00:15:49.000 --> 00:15:51.720 myself, because the vocal delivery in this song 00:15:51.720 --> 00:15:54.840 is something that I just gravitate to. And it 00:15:54.840 --> 00:15:57.740 is. The song that introduced me and millions 00:15:57.740 --> 00:15:59.840 of others to the Spin Doctors and it's Little 00:15:59.840 --> 00:16:02.899 Miss Can't Be Wrong. I love the groove to the 00:16:02.899 --> 00:16:06.100 song. I love Chris's delivery of the vocals. 00:16:06.519 --> 00:16:09.220 And when you really dive into the lyrics, it's 00:16:09.220 --> 00:16:11.980 pulling no punches in this song. And there's 00:16:11.980 --> 00:16:14.200 something about it that holds up. It still feels 00:16:14.200 --> 00:16:19.519 fresh and modern. God, 30 plus years later. And 00:16:19.519 --> 00:16:21.659 to me, it's a signature song for the band. I 00:16:21.659 --> 00:16:24.480 know it's one of the big radio hits, so it's 00:16:24.480 --> 00:16:28.179 an obvious pick. But this song to me never got 00:16:28.179 --> 00:16:31.039 overplayed because every time I hear it, it always 00:16:31.039 --> 00:16:33.500 puts a smile on my face. Well, that's great. 00:16:33.620 --> 00:16:35.240 Well, I mean, that's the song that broke us. 00:16:35.600 --> 00:16:38.460 So we're all very grateful for it. It was a slog 00:16:38.460 --> 00:16:41.980 to get any sort of help from Epic Records at 00:16:41.980 --> 00:16:44.220 the time. I mean, as you probably know, it took 00:16:44.220 --> 00:16:47.899 over a year before that record even got any airplay 00:16:47.899 --> 00:16:51.259 at all. And it was a disc jockey in Vermont, 00:16:51.539 --> 00:16:54.720 a guy named Jim McGuinn on a station called WEQX 00:16:54.720 --> 00:16:58.720 up in Vermont and went down into Albany as well. 00:16:59.100 --> 00:17:01.419 And he started playing Little Miss on his own. 00:17:02.019 --> 00:17:04.579 And it went to number one on the station. And 00:17:04.579 --> 00:17:06.920 he wrote a letter to the president of Epic Records, 00:17:07.079 --> 00:17:09.200 Richard Griffiths, saying that, you know, what 00:17:09.200 --> 00:17:11.180 are you guys doing? You should get behind this 00:17:11.180 --> 00:17:13.420 band. It should be a really big band. And that's 00:17:13.420 --> 00:17:15.059 what started everything for us, that letter. 00:17:15.529 --> 00:17:17.690 And so then they released Little Miss Can't Be 00:17:17.690 --> 00:17:21.490 Rolled into rock radio. And we made a video and 00:17:21.490 --> 00:17:23.349 it got on MTV. And then, you know, that was the 00:17:23.349 --> 00:17:25.549 beginning of the whole thing. So we're all really 00:17:25.549 --> 00:17:28.329 grateful for it. And it's the classic sort of 00:17:28.329 --> 00:17:30.529 rock and roll song, you know. I remember the 00:17:30.529 --> 00:17:33.089 day Chris called me up one morning. Me and Eric 00:17:33.089 --> 00:17:35.490 were living together on Elizabeth Street in New 00:17:35.490 --> 00:17:37.589 York City. And Chris called me one morning. He 00:17:37.589 --> 00:17:39.609 was like, hey, man, I got this new song I like. 00:17:39.630 --> 00:17:41.430 I want to come over and play it for you. And 00:17:41.430 --> 00:17:44.170 he came over and he played it for me. And I remember, 00:17:44.230 --> 00:17:46.509 I remember it was like the first time I thought 00:17:46.509 --> 00:17:48.950 something like, you know what, this song could 00:17:48.950 --> 00:17:50.730 maybe do something, you know? And we were never 00:17:50.730 --> 00:17:53.109 really like, that was never our focus to like 00:17:53.109 --> 00:17:55.990 be like seriously. And I honestly say our, our 00:17:55.990 --> 00:17:58.609 goals were always to write original songs and 00:17:58.609 --> 00:18:01.029 make a living playing them. Of course you want 00:18:01.029 --> 00:18:03.190 to have success, but we didn't get, we didn't 00:18:03.190 --> 00:18:05.410 form the band. It wasn't our focus to have radio 00:18:05.410 --> 00:18:07.089 hits, you know, it just wasn't the way we were 00:18:07.089 --> 00:18:09.390 thinking. But I remember when I heard that song, 00:18:09.549 --> 00:18:11.009 it was the first time I was like, you know, this 00:18:11.009 --> 00:18:12.809 is the kind of song that could maybe do something. 00:18:13.210 --> 00:18:17.509 And we never, we played it, I think, that night. 00:18:17.589 --> 00:18:19.930 We had a gig at the Nightingale Bar. And, you 00:18:19.930 --> 00:18:21.549 know, we never rehearsed it. We just learned 00:18:21.549 --> 00:18:23.509 it on stage, you know. And Eric came home. We 00:18:23.509 --> 00:18:24.890 were jamming around with it in the apartment. 00:18:25.490 --> 00:18:27.390 I remember I was playing the piano and Eric was 00:18:27.390 --> 00:18:28.970 playing guitar. We put that little bridge on. 00:18:29.029 --> 00:18:31.150 We added that bridge on. And we had a gig that 00:18:31.150 --> 00:18:33.710 night or maybe the night later. And Eric just 00:18:33.710 --> 00:18:35.369 showed Mark the chorus. He's like, hey, man, 00:18:35.390 --> 00:18:37.960 you know, just. G, D, C, the bridge is going 00:18:37.960 --> 00:18:40.579 to be flat. And that was it, you know? And we 00:18:40.579 --> 00:18:42.460 just played it. And it just developed over time. 00:18:43.140 --> 00:18:46.279 And that Chuck Berry hook that Eric plays in 00:18:46.279 --> 00:18:48.579 The League of Dark, that never even happened 00:18:48.579 --> 00:18:50.660 until we went to the studio to record the record. 00:18:50.880 --> 00:18:53.799 Really? It was just always the da -na -na -na 00:18:53.799 --> 00:18:56.720 -na. And that part is all it was for a long time. 00:18:57.240 --> 00:19:00.000 And when we recorded the song, we recorded it 00:19:00.000 --> 00:19:02.700 like that. And then during overdubs, Eric added 00:19:02.700 --> 00:19:05.319 that Chuck Berry thing, you know? So it's a really 00:19:05.319 --> 00:19:07.900 cool example of like a big moment happening in 00:19:07.900 --> 00:19:11.359 the studio. And anyway, all right, so let's see. 00:19:11.480 --> 00:19:12.880 So, so I'm, you know where I'm going to go from 00:19:12.880 --> 00:19:14.000 there. I'm going to actually, I'm actually going 00:19:14.000 --> 00:19:16.440 to take another song off talking for the kryptonite. 00:19:17.180 --> 00:19:20.220 And this, this is a song that was one of the 00:19:20.220 --> 00:19:22.779 things that got me really into the band when 00:19:22.779 --> 00:19:25.779 we first started, you know, I'd, I'd moved to 00:19:25.779 --> 00:19:29.200 New York in 1988 and I was, we were all going 00:19:29.200 --> 00:19:31.480 to the new school and being Chris and Eric and 00:19:31.480 --> 00:19:33.910 Eric and Chris had already met up. And so they 00:19:33.910 --> 00:19:35.549 had already kind of put the idea together to 00:19:35.549 --> 00:19:37.589 form this band and they didn't have a bass player, 00:19:37.650 --> 00:19:40.849 a drummer. So I'm practicing behind a closed 00:19:40.849 --> 00:19:42.769 door. There's a knock on the door and I open 00:19:42.769 --> 00:19:44.289 the door. It's Eric. He's like, Hey man, you 00:19:44.289 --> 00:19:46.430 sound good. I'm putting a band together. You 00:19:46.430 --> 00:19:49.109 want to be in it? You know? And I was like, okay, 00:19:49.190 --> 00:19:51.650 I'll check it out. And so we got together and 00:19:51.650 --> 00:19:54.029 it was cool. But a couple months into it, we 00:19:54.029 --> 00:19:56.210 started, you know, remember we had a, we had 00:19:56.210 --> 00:19:58.589 a writing set. We were doing some demos at the 00:19:58.589 --> 00:20:01.460 new school on our little four track. And we were 00:20:01.460 --> 00:20:03.640 writing some stuff and I had this piece of music 00:20:03.640 --> 00:20:06.220 and I brought it in. I showed it to the guys 00:20:06.220 --> 00:20:08.599 like, Hey, I got this cool piece of music. Chris, 00:20:08.779 --> 00:20:10.279 if you want to, what do you guys think? Maybe 00:20:10.279 --> 00:20:12.579 you want to write some lyrics to it. And Chris 00:20:12.579 --> 00:20:14.799 just sat then and wrote those lyrics. So that 00:20:14.799 --> 00:20:17.519 was what became 40 or 50. And that was like the 00:20:17.519 --> 00:20:19.180 moment for me where I was like, okay, this is, 00:20:19.180 --> 00:20:21.839 this is really cool. Cause not only this is an 00:20:21.839 --> 00:20:24.079 opportunity to be, everybody wants to have, when 00:20:24.079 --> 00:20:27.400 you're in a group, it to be a good creative experience 00:20:27.400 --> 00:20:30.599 for them, you know? For me, besides being a drummer, 00:20:30.740 --> 00:20:34.079 I also like to compose music. So it was that 00:20:34.079 --> 00:20:36.880 moment where I was like, this might be something 00:20:36.880 --> 00:20:38.740 cool to stick around with for a while and see 00:20:38.740 --> 00:20:42.779 how it goes. So 40 or 50, really cool song. I 00:20:42.779 --> 00:20:45.799 love the version we did on the record. So let's 00:20:45.799 --> 00:20:48.779 go with that one next. It's a fantastic track. 00:20:49.019 --> 00:20:51.500 And I think now if we're looking at the Pocket 00:20:51.500 --> 00:20:54.630 Full of Kryptonite. track listing we've covered 00:20:54.630 --> 00:20:57.009 tracks three four and five with little miss 40 00:20:57.009 --> 00:20:59.809 or 50 and refrigerator car so now i'm going to 00:20:59.809 --> 00:21:02.289 jump a little bit later into the 90s and i'm 00:21:02.289 --> 00:21:05.089 going to go with one i'm a massive fanatic of 00:21:05.089 --> 00:21:08.410 cover songs i just love when i hear a band take 00:21:08.410 --> 00:21:11.230 a song that's been already established and put 00:21:11.230 --> 00:21:14.509 their spin on it and another thing that i always 00:21:14.509 --> 00:21:16.950 am excited about is when bands from different 00:21:16.950 --> 00:21:20.470 genres and different musical mindsets come together 00:21:21.230 --> 00:21:24.849 and create something that might be seen as different 00:21:24.849 --> 00:21:28.710 or wow you have this artist from this genre and 00:21:28.710 --> 00:21:30.769 this artist collaborating this doesn't make sense 00:21:30.769 --> 00:21:34.009 but for some reason it works and this was a song 00:21:34.009 --> 00:21:36.230 you guys did for a soundtrack and it was also 00:21:36.230 --> 00:21:39.250 a bonus track on you've got to believe in something 00:21:39.250 --> 00:21:42.450 and it's your cover of that's the way i like 00:21:42.450 --> 00:21:47.299 it with biz marquee Hip hop legend. Yeah. This 00:21:47.299 --> 00:21:51.839 song is so much fun. I know it was for a Warner 00:21:51.839 --> 00:21:54.940 Brothers Looney Tunes movie, but when you listen 00:21:54.940 --> 00:21:57.559 to this version, it sounds like you guys are 00:21:57.559 --> 00:22:00.500 literally throwing a party in the studio. And 00:22:00.500 --> 00:22:03.220 it's like your live show on stage is coming through 00:22:03.220 --> 00:22:06.640 the speakers in this cover. And I'd love to know 00:22:06.640 --> 00:22:09.759 what was it like working with a hip hop legend? 00:22:09.859 --> 00:22:13.680 Because at the time. Hip hop and rock were only 00:22:13.680 --> 00:22:16.460 getting together in terms of heavier music like 00:22:16.460 --> 00:22:19.359 Anthrax and Public Enemy doing Bring the Noise 00:22:19.359 --> 00:22:23.059 and the Judgment Night soundtrack. This was hip 00:22:23.059 --> 00:22:26.059 hop coming together with party rock and funk 00:22:26.059 --> 00:22:29.440 rock in a way that had never been done up to 00:22:29.440 --> 00:22:34.660 that point. Yeah. You know, we. So I think trying 00:22:34.660 --> 00:22:36.880 to remember. So our manager, David Sonover, was 00:22:36.880 --> 00:22:40.430 also managing Bismarck at the time. So, and I 00:22:40.430 --> 00:22:43.890 forget, like, I think, I guess I got asked by, 00:22:43.970 --> 00:22:47.329 you know, Space Jam to do a song for the soundtrack. 00:22:47.569 --> 00:22:49.349 I can't remember if they specifically asked for 00:22:49.349 --> 00:22:51.869 that song, but I remember we had a session at 00:22:51.869 --> 00:22:54.670 Acme Studios up in Maranac with Bismarck Key. 00:22:54.730 --> 00:22:56.609 We recorded two songs that day. We did That's 00:22:56.609 --> 00:23:00.829 the Way. And we also did a version of Steve Miller's 00:23:00.829 --> 00:23:04.630 song. What's one of his big hits? Not Fly Like 00:23:04.630 --> 00:23:08.210 an Eagle. The Joker. We did The Joker. Really? 00:23:09.189 --> 00:23:11.789 But that didn't come out that well. We never 00:23:11.789 --> 00:23:15.109 finished it. The idea of it was great because 00:23:15.109 --> 00:23:17.069 we always got a lot of comparisons of Steve Miller, 00:23:17.250 --> 00:23:19.430 you know, which I can actually see. I understand 00:23:19.430 --> 00:23:22.910 that. But we didn't finish it. We did finish 00:23:22.910 --> 00:23:25.170 That's The Way I Like It. And it was a really 00:23:25.170 --> 00:23:27.990 fun session. First of all, I remember the thing 00:23:27.990 --> 00:23:30.150 that really blew my mind about Biz Marquis is 00:23:30.150 --> 00:23:33.190 he was like a music encyclopedia. I mean, this 00:23:33.190 --> 00:23:36.710 dude knew, and particularly with rock music. 00:23:37.230 --> 00:23:40.490 He knew every detail, songs, who wrote them, 00:23:40.569 --> 00:23:42.250 where they're recorded, who played all of them. 00:23:42.289 --> 00:23:46.069 It was wild. So he really knew his stuff, man. 00:23:46.230 --> 00:23:48.990 Really nice guy. And I remember the first time 00:23:48.990 --> 00:23:52.549 I ever heard that song, what is it? Just a Friend. 00:23:53.009 --> 00:23:56.609 Just a Friend. When I first heard it, I was like, 00:23:56.670 --> 00:23:58.190 I couldn't figure it out. I was like, what is 00:23:58.190 --> 00:24:01.819 this? But then I grew to love it. I mean, it's 00:24:01.819 --> 00:24:04.039 awesome. But the first time I heard it, I was 00:24:04.039 --> 00:24:08.880 like, what the fuck is this? But he was great, 00:24:09.000 --> 00:24:10.920 man. He was a lot of fun to work with. He was 00:24:10.920 --> 00:24:14.380 so cool. And we cut that song. That was kind 00:24:14.380 --> 00:24:16.200 of the tail end of what we're making the You 00:24:16.200 --> 00:24:18.299 Gotta Believe in Something record. So we were 00:24:18.299 --> 00:24:20.440 working with producer Danny Korchmar, who was 00:24:20.440 --> 00:24:22.559 great. And Danny actually played some guitar 00:24:22.559 --> 00:24:24.779 on that song. You know, everybody, if you don't 00:24:24.779 --> 00:24:27.039 know who Danny Korchmar is, he's... legendary 00:24:27.039 --> 00:24:29.599 session guitar player. He played on Tapestry. 00:24:30.000 --> 00:24:32.240 He played on a lot of James Taylor. He was part 00:24:32.240 --> 00:24:35.180 of that scene in the 70s that played on everything 00:24:35.180 --> 00:24:39.799 out in LA. And he also had a massive success 00:24:39.799 --> 00:24:43.799 producing that big Don Henley record, among other 00:24:43.799 --> 00:24:47.180 things. And he was great. And besides being a 00:24:47.180 --> 00:24:48.480 great producer, he was a great guitar player. 00:24:48.680 --> 00:24:51.140 I remember that day, and he didn't... play guitar 00:24:51.140 --> 00:24:52.680 on the spin doctors record. But I remember this 00:24:52.680 --> 00:24:54.519 was like the end of the whole thing. I just, 00:24:54.519 --> 00:24:55.579 I'll never forget. He was like, you know what? 00:24:55.599 --> 00:24:57.799 Fuck it. I'm playing guitar on this. And he played, 00:24:57.799 --> 00:25:00.619 he played some great guitar on it. And we, we 00:25:00.619 --> 00:25:02.980 kind of did that. We made like a loop, a drum 00:25:02.980 --> 00:25:05.140 loop, backwards sort of drum loops. It was sort 00:25:05.140 --> 00:25:07.279 of a different kind of thing. And it was cool, 00:25:07.380 --> 00:25:10.059 you know? And it, it actually, it was on this, 00:25:10.119 --> 00:25:12.400 you know, this, that soundtrack, which was massive. 00:25:12.660 --> 00:25:14.380 And it was back in the days when soundtracks 00:25:14.380 --> 00:25:16.779 were such a big deal. Yeah. Yeah. Obviously that 00:25:16.779 --> 00:25:19.039 movie was huge. So that, that soundtrack sold 00:25:19.039 --> 00:25:21.539 a lot of copies. And that, that song actually 00:25:21.539 --> 00:25:25.000 was a hit in like Japan at the version, you know, 00:25:25.000 --> 00:25:27.779 but anyway, it was a fun experience for sure. 00:25:28.519 --> 00:25:30.759 So let's say, you know, maybe, maybe since we're 00:25:30.759 --> 00:25:33.559 all in that era, that period, maybe I'll play 00:25:33.559 --> 00:25:36.599 a song. Let's play, let's play. One of my favorite 00:25:36.599 --> 00:25:39.519 songs off that record was the title track. You 00:25:39.519 --> 00:25:42.660 got to believe in something. Yes. And the great 00:25:42.660 --> 00:25:46.000 Bernie Rorell played keyboards on that song. 00:25:47.099 --> 00:25:48.960 We had him come in the studio and play keyboards 00:25:48.960 --> 00:25:51.799 on a few songs, that being one of them. That 00:25:51.799 --> 00:25:55.480 was a fun period. Eric wasn't in the band at 00:25:55.480 --> 00:25:57.500 that time. It was shortly after Eric left the 00:25:57.500 --> 00:26:02.059 band. We got Anthony Kriz on board. We had a 00:26:02.059 --> 00:26:04.099 good time making that record. We all were in 00:26:04.099 --> 00:26:06.259 New York City. We were getting together every 00:26:06.259 --> 00:26:09.759 day, having writing sessions. I had a studio 00:26:09.759 --> 00:26:12.079 down on 12th Street at the time. We would get 00:26:12.079 --> 00:26:15.500 together and write. It was fun. We had a really 00:26:15.500 --> 00:26:16.759 good time making that record. I think it was 00:26:16.759 --> 00:26:19.000 a good record. Sadly, it didn't really do much. 00:26:19.039 --> 00:26:21.279 It was sort of coming off the massive success 00:26:21.279 --> 00:26:24.119 of the first two records, and it was considered 00:26:24.119 --> 00:26:29.400 a major bomb. But I like the record, and I think 00:26:29.400 --> 00:26:31.019 one of my favorite songs on it is this one, You 00:26:31.019 --> 00:26:33.200 Gotta Believe in Something. It's a great tune. 00:26:33.279 --> 00:26:35.099 I love the opening to it. It almost gives you 00:26:35.099 --> 00:26:37.799 that old time feel where the album cover makes 00:26:37.799 --> 00:26:39.619 sense because it almost feels like you're watching 00:26:39.619 --> 00:26:43.380 a 1920s movie. The film is spinning and then 00:26:43.380 --> 00:26:45.720 the music starts. It was a really interesting 00:26:45.720 --> 00:26:48.259 kind of rebirth. And I know there's a dynamic 00:26:48.259 --> 00:26:51.019 difference with Anthony on board instead of Eric. 00:26:51.220 --> 00:26:55.279 But musically, the core of you, Chris and Mark 00:26:55.279 --> 00:26:59.400 held that foundation together. And to be honest. 00:26:59.849 --> 00:27:02.970 for most fans, if they were just opening the 00:27:02.970 --> 00:27:05.410 CD and putting it in, they might not have known 00:27:05.410 --> 00:27:07.930 that there was a change. Because at that point, 00:27:07.950 --> 00:27:09.750 while there was internet, it wasn't like the 00:27:09.750 --> 00:27:13.230 social media -driven land we live in now. You've 00:27:13.230 --> 00:27:16.309 kind of found music in the record stores and 00:27:16.309 --> 00:27:18.230 kind of, until you read the liner notes, realized, 00:27:18.410 --> 00:27:20.750 oh my God, there's been a lineup change. But 00:27:20.750 --> 00:27:23.210 musically, I still think the core was there. 00:27:23.410 --> 00:27:26.109 And I think it shines on the whole album. Yeah, 00:27:26.109 --> 00:27:28.009 it's a strong record. I like it. I mean, I think 00:27:28.009 --> 00:27:30.619 with our band, you know, look, I mean, we're, 00:27:30.619 --> 00:27:33.500 we're certainly one of those bands where everybody 00:27:33.500 --> 00:27:35.920 has contributed a lot to the sound of the spin 00:27:35.920 --> 00:27:38.460 dockers. And, you know, we've gone through periods 00:27:38.460 --> 00:27:41.440 where like, you know, right now, you know, Jack 00:27:41.440 --> 00:27:43.059 Daly on a base, you know, Mark's on the band 00:27:43.059 --> 00:27:46.619 and Jack's phenomenal. And, uh, I'll always have 00:27:46.619 --> 00:27:48.920 a deep respect and love for what the four of 00:27:48.920 --> 00:27:52.000 us did, you know, together sort of the classic 00:27:52.000 --> 00:27:54.039 lineup, but you know, when you have different 00:27:54.039 --> 00:27:56.119 members or different lineups, you're always going 00:27:56.119 --> 00:27:59.160 to make it as good as you can. I think, uh, I 00:27:59.160 --> 00:28:00.839 love what we're doing right now with Jack. And 00:28:00.839 --> 00:28:02.940 I think this record with Anthony was an excellent 00:28:02.940 --> 00:28:07.279 record. Well, closing out side A, I get one chance 00:28:07.279 --> 00:28:11.140 to close out something. And for me, I feel like 00:28:11.140 --> 00:28:15.140 I want to close out a side of Spin Doctors with 00:28:15.140 --> 00:28:19.799 a studio song that I think truly represents the 00:28:19.799 --> 00:28:23.319 live Spin Doctors experience only done in the 00:28:23.319 --> 00:28:25.420 studio. And for me, the first song that comes 00:28:25.420 --> 00:28:28.079 to mind. You mentioned it earlier in the night. 00:28:28.180 --> 00:28:31.380 Was Shinbone Alley hard to exist? I mean, that 00:28:31.380 --> 00:28:34.660 song, because when the spin doctors perform live, 00:28:34.900 --> 00:28:37.960 you guys open up the songs and let them breathe 00:28:37.960 --> 00:28:40.819 and you jam them out a little bit. And on the 00:28:40.819 --> 00:28:43.599 album, the songs are more kind of in their concise, 00:28:43.700 --> 00:28:47.259 I don't want to say radio ready format, but they're 00:28:47.259 --> 00:28:49.940 cut down to the three, four, five minute versions. 00:28:50.779 --> 00:28:53.619 Not this one. This one jams and it goes on and 00:28:53.619 --> 00:28:56.640 it's just the spin doctors live, but in the studio. 00:28:57.019 --> 00:28:59.240 And I'd like to know, did the label give push? 00:28:59.319 --> 00:29:01.859 Cause a 10 minute song in the nineties was not 00:29:01.859 --> 00:29:04.319 something that happened very often. The labels 00:29:04.319 --> 00:29:07.019 were pushing three minutes, three minutes, even 00:29:07.019 --> 00:29:08.799 the alternative bands, they were trying to keep 00:29:08.799 --> 00:29:11.460 it short and sweet for radio play. Did you guys 00:29:11.460 --> 00:29:13.460 have to fight for that song in any way? Or was 00:29:13.460 --> 00:29:15.460 that something that. Well, one of the things 00:29:15.460 --> 00:29:18.500 we were lucky about is that. the label wasn't 00:29:18.500 --> 00:29:20.660 paying any attention to us whatsoever we had 00:29:20.660 --> 00:29:23.660 this label deal but they didn't really care about 00:29:23.660 --> 00:29:25.359 us you know what i mean like so they weren't 00:29:25.359 --> 00:29:27.319 really thinking of us i think as this band that 00:29:27.319 --> 00:29:29.660 was going to like be their big hit for next year 00:29:29.660 --> 00:29:31.579 i think they thought okay this is a cool band 00:29:31.579 --> 00:29:34.099 maybe this is a thing we'll build up over a few 00:29:34.099 --> 00:29:38.319 records but you know everybody who saw us or 00:29:38.319 --> 00:29:41.000 anybody that came that wanted to sign us and 00:29:41.000 --> 00:29:42.680 knew what we were about if you came and saw our 00:29:42.680 --> 00:29:44.809 show You know, you saw that we had these sort 00:29:44.809 --> 00:29:46.910 of shorter, what I used to, we called the white 00:29:46.910 --> 00:29:49.269 bread hits, you know, like Little Miss and Jimmy 00:29:49.269 --> 00:29:52.289 and Two Princes and Booty. But you came and saw 00:29:52.289 --> 00:29:53.930 the Spin Doctors, you heard songs like Shimon 00:29:53.930 --> 00:29:56.529 Ali and Hard to Exist and Freeway to the Plain 00:29:56.529 --> 00:29:58.470 and songs where we stretched out for a long time. 00:29:58.549 --> 00:30:00.630 That was a big part of what we did. And so it 00:30:00.630 --> 00:30:02.369 was important to us to represent that on the 00:30:02.369 --> 00:30:05.210 record. And we got no pushback at all. And in 00:30:05.210 --> 00:30:07.990 fact, the guy that produced, we had two different 00:30:07.990 --> 00:30:11.029 producers. The first producer we used was Frank 00:30:11.029 --> 00:30:13.180 Aversa. Because originally we were going to, 00:30:13.180 --> 00:30:16.279 originally we were going to put out an EP. So 00:30:16.279 --> 00:30:18.400 that's another reason, you know, like the idea 00:30:18.400 --> 00:30:20.640 was let's put out an EP, like a five or six song 00:30:20.640 --> 00:30:23.460 EP before we cut out the record. So we have a 00:30:23.460 --> 00:30:25.680 studio EP. So we went in the studio at Power 00:30:25.680 --> 00:30:28.839 Station with Frankiverse and we cut Shimon Harder 00:30:28.839 --> 00:30:32.140 Exists, Two Princes. We cut a couple other things. 00:30:32.240 --> 00:30:34.240 How Could You Want Them? I think we cut a version 00:30:34.240 --> 00:30:38.420 of Hungry Hamids. But then we decided. you know 00:30:38.420 --> 00:30:40.599 what, let's put out a live EP. So then we, we 00:30:40.599 --> 00:30:44.119 went in and did that wetlands. But then we decided 00:30:44.119 --> 00:30:47.200 let's use from this session. We really loved 00:30:47.200 --> 00:30:49.619 how Shinmon hard to exist came out and two princes 00:30:49.619 --> 00:30:51.900 as well. So we decided, okay, we're going to 00:30:51.900 --> 00:30:54.000 use those three from this and we're going to 00:30:54.000 --> 00:30:56.000 go in the studio and do the rest of the record, 00:30:56.140 --> 00:30:58.579 which we did with Peter Denneberg. So anyway, 00:30:58.799 --> 00:31:01.079 when we were working with Frank verse, I remember 00:31:01.079 --> 00:31:04.160 he was really into this. I remember we were playing 00:31:04.160 --> 00:31:06.680 a gig at the Lone Star Cafe one day. I think 00:31:06.680 --> 00:31:08.740 it was live on W. No, no, no, no, no. This was 00:31:08.740 --> 00:31:11.720 earlier than that. And he came out with our manager 00:31:11.720 --> 00:31:14.240 and we played Shimon Ali Hard to Exist. And I 00:31:14.240 --> 00:31:16.599 remember after the show, they were both like, 00:31:16.660 --> 00:31:18.859 wow, I loved it. That song is so cool. And that 00:31:18.859 --> 00:31:21.660 whole segue in the middle, the thing that, you 00:31:21.660 --> 00:31:23.900 know, the drums and bass are doing. And they 00:31:23.900 --> 00:31:25.460 were like, we should cut that. You know, we were 00:31:25.460 --> 00:31:27.740 like, yeah, we should definitely cut that. You 00:31:27.740 --> 00:31:31.019 know, so we actually. When I think about it, 00:31:31.059 --> 00:31:33.279 we actually got encouraged to do that for the 00:31:33.279 --> 00:31:37.420 record. And, you know, again, I mean, I love 00:31:37.420 --> 00:31:39.559 Pocket Full of Kryptonite, you know, so much 00:31:39.559 --> 00:31:42.339 because I think it really, it just represents 00:31:42.339 --> 00:31:44.839 the Spin Doctors so well. I mean, it really represents 00:31:44.839 --> 00:31:48.599 all the different sides of the band just fully. 00:31:48.920 --> 00:31:51.039 And so to put something like that on, it was 00:31:51.039 --> 00:31:53.220 a great thing. And it closes out the record and 00:31:53.220 --> 00:31:55.440 you're closing side A of our little mixtape. 00:31:55.849 --> 00:31:58.750 Oh, there you have it, mixtapers. Side A of the 00:31:58.750 --> 00:32:01.490 ultimate Spin Doctors mixtape, which consists 00:32:01.490 --> 00:32:05.130 of Yo Baby, the live version, Big Fat Funky Booty, 00:32:05.250 --> 00:32:08.789 Refrigerator Car, Nice Talkin' to Me, Sugar, 00:32:09.049 --> 00:32:12.710 Little Miss Can't Be Wrong, 40 or 50, That's 00:32:12.710 --> 00:32:15.089 the Way I Like It with Biz Markie, You Gotta 00:32:15.089 --> 00:32:18.049 Believe in Something, and Shinbone Alley, Hard 00:32:18.049 --> 00:32:20.970 to Exist. Head over to MyWeeklyMixtape .com to 00:32:20.970 --> 00:32:23.390 hear all the songs we've discussed in this mix. 00:32:23.759 --> 00:32:25.940 through the playlist embedded on the episode 00:32:25.940 --> 00:32:28.839 page. Now, Aaron, along with the Spin Doctors, 00:32:29.059 --> 00:32:31.460 one of my other favorite 90s groups was a band 00:32:31.460 --> 00:32:34.440 that I'm going to assume you're quite familiar 00:32:34.440 --> 00:32:37.900 with because of the Spinning Traveler shows. 00:32:38.480 --> 00:32:41.019 And that would be the one and only Blues Traveler. 00:32:41.019 --> 00:32:42.900 I'd love for you, if you would mind, to talk 00:32:42.900 --> 00:32:45.759 about the relationship you've had with them over 00:32:45.759 --> 00:32:47.900 the years and how you guys have remained so tight 00:32:47.900 --> 00:32:51.200 across the decades. Yeah, I mean, well, first 00:32:51.200 --> 00:32:53.859 of all, you know, Chris, grew up with those guys. 00:32:53.980 --> 00:32:55.940 Yup. They went to, they grew up in Princeton 00:32:55.940 --> 00:32:58.880 together. So Chris has known them forever. And 00:32:58.880 --> 00:33:00.640 blues travelers, one of these bands that were 00:33:00.640 --> 00:33:02.680 like all good friends in high school and formed 00:33:02.680 --> 00:33:04.740 in high school. And then they moved to New York 00:33:04.740 --> 00:33:08.819 city in the late eighties. And, uh, you know, 00:33:08.900 --> 00:33:10.920 they encouraged Chris to come. Chris was writing 00:33:10.920 --> 00:33:14.400 songs and doing like solo sets and they encouraged 00:33:14.400 --> 00:33:15.980 Chris to come. They were like, come to New York. 00:33:16.079 --> 00:33:18.299 You can live with us. He can open up for us. 00:33:18.400 --> 00:33:20.359 So he would, he would often open up the shows 00:33:20.359 --> 00:33:24.420 by himself. And then when the Spin Doctors formed, 00:33:24.559 --> 00:33:27.119 it was just, you know, John, all those guys went 00:33:27.119 --> 00:33:29.059 to the new school as well. You know, Eric and 00:33:29.059 --> 00:33:31.400 Chris and me were going to the new school. So 00:33:31.400 --> 00:33:33.700 it just became a real scene. You know, we started, 00:33:33.859 --> 00:33:36.500 we would open for them. We'd be playing at the 00:33:36.500 --> 00:33:38.119 Nightingale one night. They'd be playing another 00:33:38.119 --> 00:33:41.059 night. We'd be playing at the Mondo Colony one 00:33:41.059 --> 00:33:42.720 night. They'd be playing another night. Or like 00:33:42.720 --> 00:33:44.940 there were two clubs on Bleeker, the Mondo Colony 00:33:44.940 --> 00:33:47.079 and the Mondo Parasite. They might be playing 00:33:47.079 --> 00:33:49.279 one. We might be playing the other. It was just 00:33:49.279 --> 00:33:51.799 a scene where like, Eventually, Blues Traveler 00:33:51.799 --> 00:33:53.940 was always one step ahead of us, but we sort 00:33:53.940 --> 00:33:56.380 of like quickly developed our own following. 00:33:56.519 --> 00:33:58.680 And a lot of the, we just had a lot of the same 00:33:58.680 --> 00:34:01.279 people following both bands around, you know, 00:34:01.299 --> 00:34:04.019 it was just a, I mean, it was a real scene, you 00:34:04.019 --> 00:34:06.039 know, when you think of like, you know, a scene, 00:34:06.160 --> 00:34:09.619 a music scene and a scene around bands, the scene 00:34:09.619 --> 00:34:12.320 in New York City with Blues Traveler and Spin 00:34:12.320 --> 00:34:15.260 Doctors and some other groups as well, you know, 00:34:15.260 --> 00:34:18.099 was just incredible. And we were all good friends. 00:34:18.909 --> 00:34:21.949 and supported each other. And it was just great. 00:34:22.050 --> 00:34:24.969 John actually played our first gig with us. John 00:34:24.969 --> 00:34:27.050 Popper, the very first gig we ever did. He's 00:34:27.050 --> 00:34:28.909 always been sort of an honorary member of the 00:34:28.909 --> 00:34:32.570 band. He's welcome with us anytime. We love it 00:34:32.570 --> 00:34:35.409 when he plays with us. I think he sounds unbelievable 00:34:35.409 --> 00:34:37.150 when he plays with us. And he always lifts us 00:34:37.150 --> 00:34:40.750 up in a way that's really cool. So we're like 00:34:40.750 --> 00:34:43.989 brothers. It was such a special sort of moment, 00:34:44.050 --> 00:34:46.510 those early years in New York City with both 00:34:46.510 --> 00:34:49.530 bands, for sure. Well, before we get into side 00:34:49.530 --> 00:34:52.190 B outside of the spin doctors, you've also played 00:34:52.190 --> 00:34:55.010 drums for a ton of other artists, such as Joan 00:34:55.010 --> 00:34:58.630 Osborne, Rachel Yamagata, Isaac Hayes, and Mark 00:34:58.630 --> 00:35:01.250 Cohn, just to name a few. If you had to pick 00:35:01.250 --> 00:35:03.750 three songs that you've recorded outside of the 00:35:03.750 --> 00:35:06.730 spin doctors that truly resonate with you as 00:35:06.730 --> 00:35:09.389 an artist yourself, what three songs would you 00:35:09.389 --> 00:35:13.829 pick? Oh my God. I had a dig for like my, uh, 00:35:15.049 --> 00:35:20.170 Geography nasty. Oh man, I don't know. I have 00:35:20.170 --> 00:35:22.250 done a lot of records with Joan Osborne, Rachel 00:35:22.250 --> 00:35:26.110 Yamagata. Let's see. There's a song called Letter 00:35:26.110 --> 00:35:31.650 Red on a Rachel Yamagata record. Her record Happenstance, 00:35:31.730 --> 00:35:36.070 which I just love. Beautiful song. That would 00:35:36.070 --> 00:35:39.769 be one of them, I think. Joan Osborne, there's 00:35:39.769 --> 00:35:43.159 a song on her second record. I have that actually 00:35:43.159 --> 00:35:46.139 co -produced and played drums and bass on called, 00:35:46.199 --> 00:35:49.119 um, baby love, which I just great. That's on 00:35:49.119 --> 00:35:51.000 her. I forget what her second record righteous 00:35:51.000 --> 00:35:53.159 love. I think it's the name of the record. It's 00:35:53.159 --> 00:35:56.780 almost called baby love. Really great. What else? 00:35:57.039 --> 00:35:58.460 I mean, there's, there's a lot, there's a lot 00:35:58.460 --> 00:36:01.139 of different things. I mean, I've put a bunch 00:36:01.139 --> 00:36:03.739 of my own records out as well under my own name. 00:36:04.880 --> 00:36:06.760 So how about, how about, let's go with one of 00:36:06.760 --> 00:36:09.960 my songs on, uh, let's see. I think it was on 00:36:09.960 --> 00:36:13.139 my record called, uh, Beautiful mistake, past, 00:36:13.320 --> 00:36:16.059 present, and future. Awesome. So we'll go for 00:36:16.059 --> 00:36:17.739 those for three off the top of my head. There's 00:36:17.739 --> 00:36:19.559 a lot. It's hard to think of them off the top 00:36:19.559 --> 00:36:21.840 of my head, but those all kind of stand out. 00:36:22.619 --> 00:36:24.639 Fantastic. I like to come up with those hard 00:36:24.639 --> 00:36:27.039 questions every now and then. The real tough, 00:36:27.099 --> 00:36:31.329 hard -hitting journalism here. Well, moving on 00:36:31.329 --> 00:36:33.469 to side B, I'm going to kick things off. And 00:36:33.469 --> 00:36:35.969 I mentioned this right when I introduced you. 00:36:36.070 --> 00:36:39.530 If I'm kicking off a side, I am going back to 00:36:39.530 --> 00:36:42.250 Pocket Full of Kryptonite. I am a sucker for 00:36:42.250 --> 00:36:45.190 album opening tracks. And that opening guitar 00:36:45.190 --> 00:36:48.369 riff of Jimmy Olsen's Blues always resonated 00:36:48.369 --> 00:36:51.809 with me. And there's a reason for that. In 1991, 00:36:52.190 --> 00:36:55.719 I was a teenager. My parents and I did not see 00:36:55.719 --> 00:36:58.000 eye to eye musically. They were from a different 00:36:58.000 --> 00:37:01.340 generation, but there were certain songs that 00:37:01.340 --> 00:37:04.139 I would play around my parents and they would 00:37:04.139 --> 00:37:07.820 go, hold up, wait a minute, turn that one up. 00:37:08.199 --> 00:37:12.730 And there were songs that we bonded on. And Jimmy 00:37:12.730 --> 00:37:15.730 Olsen's Blues was one of them. My father absolutely 00:37:15.730 --> 00:37:18.530 fell in love with that track. And he always kept 00:37:18.530 --> 00:37:20.369 saying, put on that Spin Doctors tape. That's 00:37:20.369 --> 00:37:23.389 something you and I can agree on musically. So 00:37:23.389 --> 00:37:25.730 for me, that song always holds a special place 00:37:25.730 --> 00:37:28.110 in my heart. So I am kicking off Side B with 00:37:28.110 --> 00:37:30.409 Jimmy Olsen's Blues. And I want to give a shout 00:37:30.409 --> 00:37:33.550 out to Patreon playlister Cactus Pete, who also 00:37:33.550 --> 00:37:36.190 chimed in with that as the song he would kick 00:37:36.190 --> 00:37:39.929 off his Spin Doctors mix with. Love it. Great 00:37:39.929 --> 00:37:43.789 song. Classic. Let's see. So where am I going 00:37:43.789 --> 00:37:48.909 to go from here? I think I'm going to go with 00:37:48.909 --> 00:37:52.449 a song. And it's another really early song that 00:37:52.449 --> 00:37:55.449 we used to play. When we first started out, I 00:37:55.449 --> 00:37:57.550 mentioned these two clubs before, Mondo Connie 00:37:57.550 --> 00:38:01.210 and Mondo Perso. And so at the time, Mondo Perso 00:38:01.210 --> 00:38:03.690 hadn't come up yet. But Mondo Connie was a blues 00:38:03.690 --> 00:38:06.909 bar right off of Leaker Street. Blues Traveler 00:38:06.909 --> 00:38:09.230 was playing already. And it was a blues bar. 00:38:09.349 --> 00:38:13.059 So you basically had to be. a blues band so we 00:38:13.059 --> 00:38:15.659 basically made a demo of all blues material just 00:38:15.659 --> 00:38:17.699 really so we could get a gig at this place because 00:38:17.699 --> 00:38:20.059 they put they paid it was like on a weeknight 00:38:20.059 --> 00:38:22.460 you could get 250 bucks on a weekend if you get 00:38:22.460 --> 00:38:25.679 500 bucks which was a ton really good money yeah 00:38:25.679 --> 00:38:28.019 so we basically just wrote a whole repertoire 00:38:28.019 --> 00:38:31.199 of blues songs and made a demo and basically 00:38:31.199 --> 00:38:33.760 went in there and pretended like we were a blues 00:38:33.760 --> 00:38:35.760 band we would play four sets so the first set 00:38:35.760 --> 00:38:38.139 would be totally blues all these original songs 00:38:39.099 --> 00:38:41.480 and then we would sort of slowly start to slip 00:38:41.480 --> 00:38:43.119 on our originals, and by the end of it, we were 00:38:43.119 --> 00:38:44.880 playing all originals. Turned out they loved 00:38:44.880 --> 00:38:47.000 us, the club loved us, the people loved us, and 00:38:47.000 --> 00:38:49.820 it worked out. So years later, we decided to 00:38:49.820 --> 00:38:52.639 record all these songs, and we put out a record 00:38:52.639 --> 00:38:56.199 called If the River Was Whiskey. Yeah. And we 00:38:56.199 --> 00:38:59.119 did it live. We did it in my studio, live, no 00:38:59.119 --> 00:39:01.880 overdubs. In fact, we weren't even planning on 00:39:01.880 --> 00:39:03.280 making it a record. We were just like, let's 00:39:03.280 --> 00:39:05.599 just record all these songs, you know? And it 00:39:05.599 --> 00:39:07.860 was just for fun. We had a couple days off in 00:39:07.860 --> 00:39:09.840 New York. And when we were finished, we were 00:39:09.840 --> 00:39:12.780 like, wow, this really came out great. And we 00:39:12.780 --> 00:39:15.639 just said, okay, let's release it. So one of 00:39:15.639 --> 00:39:18.239 my favorite songs on that record is called Sweetest 00:39:18.239 --> 00:39:20.920 Portion. I really love that song. I feel like 00:39:20.920 --> 00:39:22.599 it's different than anything we've ever done 00:39:22.599 --> 00:39:25.340 before. So that's going to be my next, that's 00:39:25.340 --> 00:39:28.920 going to be number two on Sun B. I love it. And 00:39:28.920 --> 00:39:32.019 I am going to follow that up, I think, with a 00:39:32.019 --> 00:39:35.519 song that actually is from the same album, as 00:39:35.519 --> 00:39:38.739 well as... You've got to believe in something. 00:39:39.400 --> 00:39:42.079 And it's the only, if I'm correct, it's the only 00:39:42.079 --> 00:39:45.219 spin doctor studio track that's had two iterations 00:39:45.219 --> 00:39:48.340 across the discography. And that's about a train. 00:39:49.059 --> 00:39:51.679 Yes. And I'd love to know what the reasoning 00:39:51.679 --> 00:39:54.780 behind redoing it for. If the river was whiskey, 00:39:54.840 --> 00:39:56.920 was that just because Anthony was on, you got 00:39:56.920 --> 00:39:58.360 to believe in something and you wanted to get 00:39:58.360 --> 00:40:00.599 a version with Eric involved. Is it as simple 00:40:00.599 --> 00:40:03.619 as that? Well, that's part of it. So basically 00:40:03.619 --> 00:40:06.650 here's the deal. So that a train is a. Another 00:40:06.650 --> 00:40:09.929 song that we wrote pretty early on. And that's 00:40:09.929 --> 00:40:11.550 another song that me and Chris wrote together. 00:40:11.889 --> 00:40:15.949 I wrote the music to that. And we, you know, 00:40:15.949 --> 00:40:18.969 it was always a really cool song. It never made 00:40:18.969 --> 00:40:20.989 one of the earlier records for whatever reason. 00:40:21.130 --> 00:40:23.050 And then with Anthony, we started playing it. 00:40:23.230 --> 00:40:26.010 And the truth is, it's a song that I don't like 00:40:26.010 --> 00:40:27.789 the version we did on You Gotta Believe in Something. 00:40:28.230 --> 00:40:30.829 I just simply don't. And it's not necessarily 00:40:30.829 --> 00:40:33.449 the way Anthony played it. It's because we sort 00:40:33.449 --> 00:40:36.269 of rewrote it. We changed it around. A lot of 00:40:36.269 --> 00:40:38.809 that was, you know, Danny Kortschmar's suggestion. 00:40:39.050 --> 00:40:41.690 Again, I love Danny. He was trying to do a great 00:40:41.690 --> 00:40:44.769 job, and he sent some suggestions, and we sort 00:40:44.769 --> 00:40:48.190 of rewrote the song a bit. And it was cool, but 00:40:48.190 --> 00:40:51.710 it didn't sit with me well. I was like, I feel 00:40:51.710 --> 00:40:54.090 like we kind of ruined that one, you know? And 00:40:54.090 --> 00:40:56.150 so when Eric was back in the band, it was just 00:40:56.150 --> 00:40:59.210 like, you know, it's not necessarily a traditional 00:40:59.210 --> 00:41:02.110 145 blues song, but it's a very blues -based 00:41:02.110 --> 00:41:04.869 song. And so we decided to do it on this record. 00:41:04.969 --> 00:41:07.210 I'm really glad. I feel like we redeemed ourselves 00:41:07.210 --> 00:41:10.130 and really captured what that song is supposed 00:41:10.130 --> 00:41:13.269 to be. And, you know, Eric plays it so well, 00:41:13.309 --> 00:41:14.690 and that's the original way it's supposed to 00:41:14.690 --> 00:41:18.670 go. And it's funny because it's become recently, 00:41:18.730 --> 00:41:21.590 in the last couple of years, it's become a real 00:41:21.590 --> 00:41:23.550 staple at our live show. I mean, it's really 00:41:23.550 --> 00:41:27.289 gone, like, to the next level recently. We do 00:41:27.289 --> 00:41:30.070 it not every night, but almost every night lately. 00:41:30.190 --> 00:41:33.539 It's just become a beast live lately. So it's 00:41:33.539 --> 00:41:36.519 cool how you see songs, you know, grow over time 00:41:36.519 --> 00:41:39.079 and change over time. And about a train is an 00:41:39.079 --> 00:41:40.940 example of a song that's, you know, well over 00:41:40.940 --> 00:41:44.280 30 years old and it's just, it's better than 00:41:44.280 --> 00:41:47.380 ever. It's really just turned into a beast. All 00:41:47.380 --> 00:41:49.780 right. Well, following up, we had Jimmy Olsen's 00:41:49.780 --> 00:41:53.420 blues and a pair of blues songs for side B so 00:41:53.420 --> 00:41:56.539 far. Yeah. So are we sticking with the blues 00:41:56.539 --> 00:41:58.320 theme here? Do you have something else up your 00:41:58.320 --> 00:42:00.980 sleeve? I want to take a little detour here. 00:42:02.049 --> 00:42:06.230 And I want to get something off the Here Comes 00:42:06.230 --> 00:42:09.489 the Bride record, which is a strange record and 00:42:09.489 --> 00:42:12.650 a strange time for the band because really, it 00:42:12.650 --> 00:42:14.349 was almost like we didn't have a band because 00:42:14.349 --> 00:42:16.369 this was after You Gotta Believe in Something. 00:42:17.070 --> 00:42:21.210 And we decided to part ways with Anthony. And 00:42:21.210 --> 00:42:23.110 we went through a period where we didn't have 00:42:23.110 --> 00:42:24.670 a guitar player. We didn't really have a band. 00:42:24.730 --> 00:42:25.909 We weren't even really sure we were going to 00:42:25.909 --> 00:42:30.989 continue the band. And I remember... Me and Chris 00:42:30.989 --> 00:42:32.909 were having lunch. We would go get together and 00:42:32.909 --> 00:42:35.829 have lunch all the time. And I had just built 00:42:35.829 --> 00:42:38.090 a studio in my apartment on 12th street. I was 00:42:38.090 --> 00:42:39.929 feeling really inspired, you know, at all these 00:42:39.929 --> 00:42:42.789 instruments laying around and I was doing a lot 00:42:42.789 --> 00:42:45.369 of writing. And I was like, we just decided like, 00:42:45.389 --> 00:42:47.889 let's just write a bunch of songs together and 00:42:47.889 --> 00:42:50.570 not think about anything. Not, not a spin doctor's 00:42:50.570 --> 00:42:52.570 record, not just, let's just have some fun and 00:42:52.570 --> 00:42:54.710 just write a bunch of songs with nothing really 00:42:54.710 --> 00:42:57.469 in mind. And that's what we did. And we just 00:42:57.469 --> 00:42:59.469 ended up writing like that. Shit ton of songs. 00:42:59.670 --> 00:43:01.489 We were having a blast. It was all very experimental 00:43:01.489 --> 00:43:04.090 stuff. Like I said, I just got in a studio. So 00:43:04.090 --> 00:43:05.449 I was just going out there like three in the 00:43:05.449 --> 00:43:07.590 morning and like doing the weirdest shit I could 00:43:07.590 --> 00:43:09.690 come up with and running drums through guitariums 00:43:09.690 --> 00:43:12.409 and pedals and playing other instruments. And 00:43:12.409 --> 00:43:16.250 it was a really creative time. So ultimately 00:43:16.250 --> 00:43:19.349 we decided to make a record out of it. And, you 00:43:19.349 --> 00:43:21.190 know, Mark was still the band. Ultimately Mark 00:43:21.190 --> 00:43:23.349 didn't like the direction we had to fall in and 00:43:23.349 --> 00:43:27.550 he quit. And Ivan Neville had been playing with 00:43:27.550 --> 00:43:29.409 us. during the You Gotta Believe in Something 00:43:29.409 --> 00:43:31.750 period. So, you know, he plays on a lot of the 00:43:31.750 --> 00:43:34.150 record. And then we, shortly after that, added 00:43:34.150 --> 00:43:37.070 Iran Tadbib as the guitar player. So he played 00:43:37.070 --> 00:43:39.150 on some of the record. But a lot of it is just 00:43:39.150 --> 00:43:42.289 me and Chris, you know. And I really liked the 00:43:42.289 --> 00:43:44.789 record. And sadly, it didn't see the light of 00:43:44.789 --> 00:43:47.489 day because Chris lost it. We had a nice deal. 00:43:47.590 --> 00:43:49.829 We had a deal with Universal Records. It's actually 00:43:49.829 --> 00:43:51.070 looking like we're going to get a nice little 00:43:51.070 --> 00:43:54.070 push and go on a tour. And Chris lost his voice 00:43:54.070 --> 00:43:56.610 the week the record came out. It was really pretty 00:43:56.610 --> 00:43:59.289 disappointing. But I really like the record a 00:43:59.289 --> 00:44:02.210 lot. And I want to make one of my favorite songs 00:44:02.210 --> 00:44:05.090 on it is Working for the Man. Let's go with that. 00:44:05.269 --> 00:44:09.010 It's a great tune. It's a great album. I have 00:44:09.010 --> 00:44:13.590 a personal story about that because in 2005, 00:44:13.829 --> 00:44:17.250 my father lost his voice for an entire year. 00:44:17.650 --> 00:44:21.519 And the difference between... chris and my father 00:44:21.519 --> 00:44:24.139 as my father's career did not hinge upon his 00:44:24.139 --> 00:44:27.139 ability to sing so when i heard the story about 00:44:27.139 --> 00:44:30.699 chris having paralysis being a vocalist knowing 00:44:30.699 --> 00:44:33.260 just how hard it was for my father to communicate 00:44:33.260 --> 00:44:36.639 with my wife and i he couldn't talk above a whisper 00:44:36.639 --> 00:44:39.860 for a whole year i can't imagine the toll it 00:44:39.860 --> 00:44:42.780 took on you guys in the band and that album to 00:44:42.780 --> 00:44:45.679 me was fantastic and i'm going to follow up working 00:44:45.679 --> 00:44:48.780 for the man with the title track because That 00:44:48.780 --> 00:44:51.480 title track to me, I always, when my wife and 00:44:51.480 --> 00:44:53.500 I were engaged, I always would play it and be 00:44:53.500 --> 00:44:55.280 like, you sure you don't want to come down the 00:44:55.280 --> 00:44:57.739 aisle to this? I'm like, this is like, this is 00:44:57.739 --> 00:45:00.980 who we are. Like, this is fun and funky. And 00:45:00.980 --> 00:45:03.980 she goes, maybe the reception, not, not the church, 00:45:04.019 --> 00:45:07.179 but I love that. I love the, here comes the bride 00:45:07.179 --> 00:45:09.019 because it's, it's lyrics that everybody knows, 00:45:09.099 --> 00:45:12.239 but the groove you guys have going in that title 00:45:12.239 --> 00:45:16.539 track is vintage spin doctors, but it's. Got 00:45:16.539 --> 00:45:19.500 a twist to it. It's a little slower. It's a little 00:45:19.500 --> 00:45:22.039 more psychedelic. And I just love that about 00:45:22.039 --> 00:45:25.719 the album. That's cool. Yeah, it's a very cool 00:45:25.719 --> 00:45:28.400 record that sadly not a lot of people have heard. 00:45:28.539 --> 00:45:30.679 And it's really sort of like, we almost didn't 00:45:30.679 --> 00:45:32.400 call it The Spin Doctors. Even when we had our 00:45:32.400 --> 00:45:35.079 deal with Universal, we were really close to 00:45:35.079 --> 00:45:38.159 just making it a new band. Because it really 00:45:38.159 --> 00:45:39.679 didn't feel like The Spin Doctors. I mean, it 00:45:39.679 --> 00:45:41.559 really wasn't The Spin Doctors. It was just me 00:45:41.559 --> 00:45:45.079 and Chris at that point. And so we really considered 00:45:45.079 --> 00:45:47.510 that. And the record company was on board. And 00:45:47.510 --> 00:45:49.190 then, and ultimately I think they were like, 00:45:49.269 --> 00:45:51.230 you know what, let's, we're going to have a much 00:45:51.230 --> 00:45:52.590 better shot if we call this the Spin Doctors. 00:45:52.690 --> 00:45:54.489 I actually wish we wouldn't have called them 00:45:54.489 --> 00:45:55.969 the Spin Doctors. I wish it would have been like, 00:45:56.010 --> 00:45:58.809 it's sort of its own. And because to me, it's, 00:45:58.809 --> 00:46:01.050 it's not really as, I mean, I guess it is a Spin 00:46:01.050 --> 00:46:03.030 Doctors record, you know, but it's, it's very 00:46:03.030 --> 00:46:05.610 different, but I love it. I mean, it's very close 00:46:05.610 --> 00:46:08.489 to me because it's such a big, it's such a big 00:46:08.489 --> 00:46:12.329 part of making it. So, but cool. Yeah. So let's 00:46:12.329 --> 00:46:14.780 see, where do we want to go from here? I wish 00:46:14.780 --> 00:46:16.440 we had our new record out because the new record 00:46:16.440 --> 00:46:18.360 is incredible. Wait till you hear it. Well, I'm 00:46:18.360 --> 00:46:19.860 going to get to that when we get through the 00:46:19.860 --> 00:46:22.780 last 10 songs here because I have a few questions 00:46:22.780 --> 00:46:26.900 about that one. So let's see. Okay, you know 00:46:26.900 --> 00:46:28.179 what I think I'm going to go? I think I'm going 00:46:28.179 --> 00:46:30.960 to go back. I'm going to go back to the Turner 00:46:30.960 --> 00:46:34.400 and Upside Down record. And, you know, I think 00:46:34.400 --> 00:46:37.719 I'm going to go with, I remember when we did 00:46:37.719 --> 00:46:40.559 the record, I think we weren't planning on cutting 00:46:40.559 --> 00:46:43.519 this song. And it was at the end of the day and 00:46:43.519 --> 00:46:45.699 somebody just suggested, let's do this song. 00:46:45.900 --> 00:46:48.400 We did one take of it and it just came out really 00:46:48.400 --> 00:46:50.340 great. It's one of my favorite songs on the record. 00:46:50.440 --> 00:46:52.179 It's called Someday All This Will Be A Road. 00:46:52.820 --> 00:46:55.059 I love the song. I love how it came out. It was 00:46:55.059 --> 00:46:57.380 just an afterthought kind of to record it. And 00:46:57.380 --> 00:47:00.639 it just kind of has an effortless feel to it. 00:47:00.780 --> 00:47:03.460 And, you know, it's a song we haven't played 00:47:03.460 --> 00:47:06.659 a whole lot. Every now and then we'll bust it 00:47:06.659 --> 00:47:08.360 out, but it's one of my favorite songs on that 00:47:08.360 --> 00:47:10.710 record. I was just going to say that's one that 00:47:10.710 --> 00:47:12.590 as many times as I've seen the band, I don't 00:47:12.590 --> 00:47:14.510 think I've ever seen it live and I would love 00:47:14.510 --> 00:47:16.889 to see it. You got. So I want to ask a question 00:47:16.889 --> 00:47:20.369 about that. In my mind, as a fan trying to follow 00:47:20.369 --> 00:47:24.050 up an album that is in everybody's musical lexicon. 00:47:24.050 --> 00:47:26.130 I mean, the spin doctors pocket full of kryptonite 00:47:26.130 --> 00:47:29.130 was everywhere. MTV radio. Was there pressure 00:47:29.130 --> 00:47:33.449 from the label? Like you need to have a hit after 00:47:33.449 --> 00:47:35.349 hit after hit on this one as well. Or did you 00:47:35.349 --> 00:47:37.559 guys just say. We're going to do what we do. 00:47:37.619 --> 00:47:39.440 And that's that. Because at the end of the day, 00:47:39.480 --> 00:47:42.199 I feel like Turn It Upside Down is just as strong 00:47:42.199 --> 00:47:45.239 of an album as Pocket Full of Kryptonite. Yeah. 00:47:45.739 --> 00:47:47.960 I mean, you know, of course there was pressure. 00:47:48.139 --> 00:47:50.280 I mean, people weren't like up our asses. It 00:47:50.280 --> 00:47:52.920 was pretty odd. Nobody had to say anything. It's 00:47:52.920 --> 00:47:54.360 like, you're coming off this massive record. 00:47:54.440 --> 00:47:57.380 Of course you want to continue that success. 00:47:57.739 --> 00:47:59.840 I mean, you know, I was always pretty realistic. 00:48:00.059 --> 00:48:02.960 I mean, I didn't really think we were going to 00:48:02.960 --> 00:48:05.300 be able to repeat that success. It was just such 00:48:05.300 --> 00:48:07.489 a... Nobody, we never dreamed that we would have 00:48:07.489 --> 00:48:10.110 as much success as we did. And Turning Upside 00:48:10.110 --> 00:48:12.610 Down, I think sold like 2 million copies, which 00:48:12.610 --> 00:48:14.210 I would have never dreamed it would have sold 00:48:14.210 --> 00:48:16.269 that much to the gear wars. So obviously it was 00:48:16.269 --> 00:48:18.269 just sending a big letdown after Kryptonite. 00:48:18.329 --> 00:48:21.590 But, you know, so, I mean, we really tried not 00:48:21.590 --> 00:48:23.210 to put a lot of pressure on ourselves, to be 00:48:23.210 --> 00:48:26.050 honest with you. I mean, my memories of making 00:48:26.050 --> 00:48:28.489 Turning Upside Down were pretty good. Chris had 00:48:28.489 --> 00:48:31.210 bought a house out at the farm, like a farmhouse 00:48:31.210 --> 00:48:33.900 outside of Seattle. We went out there and spent 00:48:33.900 --> 00:48:36.059 some time and did some writing sessions and demos. 00:48:36.719 --> 00:48:39.920 And we recorded the record here in New York City 00:48:39.920 --> 00:48:44.780 at a studio called Clinton Studios. And we worked 00:48:44.780 --> 00:48:47.000 with Peter Denneberg and Frank LaRocker again. 00:48:47.239 --> 00:48:49.099 And it was, we had a good time, you know, and 00:48:49.099 --> 00:48:51.559 I think I liked the record too. I mean, it was 00:48:51.559 --> 00:48:53.780 sort of half and half, like new, brand new solves. 00:48:53.880 --> 00:48:56.579 And we had going back and taking some of the 00:48:56.579 --> 00:48:58.139 solves that didn't make the first record from 00:48:58.139 --> 00:49:02.530 the early days. You know, I think kind of naively 00:49:02.530 --> 00:49:06.070 we, we chose the wrong single, you know, Cleopatra's 00:49:06.070 --> 00:49:08.110 Cat, which I love Cleopatra's Cat. And it's really 00:49:08.110 --> 00:49:11.929 like a, a clap in Dr. Saul. And it always, it's 00:49:11.929 --> 00:49:13.829 funny because it always got this incredible response. 00:49:14.409 --> 00:49:16.510 Remember when we do it as an encore a lot on 00:49:16.510 --> 00:49:19.269 our big tour the year before and people would 00:49:19.269 --> 00:49:21.809 like clap and it was, it got this tremendous 00:49:21.809 --> 00:49:24.250 response live. And I think, I don't know why 00:49:24.250 --> 00:49:26.630 we, we thought that it was going to, it would 00:49:26.630 --> 00:49:30.309 be a good single. And in hindsight, it wasn't. 00:49:30.510 --> 00:49:32.309 I think we probably should have gone with something 00:49:32.309 --> 00:49:34.530 like you let your heart go do fast, which, which 00:49:34.530 --> 00:49:36.449 did pretty well, but it was the second single 00:49:36.449 --> 00:49:39.750 and it was after Cleopatra bombed. So you should 00:49:39.750 --> 00:49:41.510 have gone with something like that first, but 00:49:41.510 --> 00:49:43.250 whatever, you know, at the end of the day, I 00:49:43.250 --> 00:49:45.630 think it's a really good record. That's the main 00:49:45.630 --> 00:49:48.969 thing. And, um, and, uh, yeah, something else 00:49:48.969 --> 00:49:50.889 for your road was just sort of like, uh, I'm 00:49:50.889 --> 00:49:52.769 glad we did it. It was an afterthought to record 00:49:52.769 --> 00:49:56.090 it that day and it just came out great. Awesome. 00:49:56.619 --> 00:50:00.019 I'm going to jump back to 2005's Nice Talking 00:50:00.019 --> 00:50:02.599 to Me for the song to follow that up with. And 00:50:02.599 --> 00:50:04.679 I'm going to go with what I think might be the 00:50:04.679 --> 00:50:07.860 band's most infectious pop song. Because this 00:50:07.860 --> 00:50:09.800 one is not funky, but there's just something 00:50:09.800 --> 00:50:13.099 about it that to me is perfect pop rock radio. 00:50:13.480 --> 00:50:17.639 And that is Margarita. You guys play it consistently 00:50:17.639 --> 00:50:20.820 in all your live shows. And there's a reason 00:50:20.820 --> 00:50:22.980 for that. Everybody knows all the words. To me, 00:50:22.980 --> 00:50:26.110 that is... the Spin Doctors pop rock at its finest. 00:50:26.329 --> 00:50:29.789 And I felt like I'd be doing this mixtape a disservice 00:50:29.789 --> 00:50:32.969 if we didn't talk about this amazing track. Yeah, 00:50:32.989 --> 00:50:34.449 well, I'm glad you brought it up because I love 00:50:34.449 --> 00:50:36.070 that song. It's one of my favorite Spin Doctors 00:50:36.070 --> 00:50:39.610 songs. We do play regularly live because it's 00:50:39.610 --> 00:50:43.750 just a great, a great pop song, rock, you know. 00:50:44.849 --> 00:50:47.550 I love it. It's one of my favorites. And, you 00:50:47.550 --> 00:50:49.969 know, that's a song that I think. Had it been 00:50:49.969 --> 00:50:51.690 the right place and the right time, it could 00:50:51.690 --> 00:50:56.710 have been a hit song. Again, sadly, the record 00:50:56.710 --> 00:50:59.329 company folded shortly after it came out, so 00:50:59.329 --> 00:51:01.349 I never really got to see the light of day. But 00:51:01.349 --> 00:51:04.070 I agree with you. It's a great song. So to follow 00:51:04.070 --> 00:51:07.289 that up, since I think we both agree that it's 00:51:07.289 --> 00:51:11.070 one of our best pop songs, I'm going to go ahead 00:51:11.070 --> 00:51:13.170 and follow it up with our biggest pop song, which 00:51:13.170 --> 00:51:15.769 is Two Princes. You got to put it on, you know? 00:51:15.869 --> 00:51:18.110 Of course. And I got to say, just a lot of people 00:51:18.110 --> 00:51:19.730 might think, oh, you must be sick of playing 00:51:19.730 --> 00:51:22.170 that song or like, you know, whatever. But to 00:51:22.170 --> 00:51:25.309 me, it's, I'm so grateful for that song because 00:51:25.309 --> 00:51:28.130 it's kept us going all these years. And, and 00:51:28.130 --> 00:51:31.030 the other thing I'm really happy about is the 00:51:31.030 --> 00:51:33.829 song, you know, to this day gets so much airplay 00:51:33.829 --> 00:51:36.769 and it's still all over the place. And I hear 00:51:36.769 --> 00:51:38.550 it all the time. I'll be walking through a store 00:51:38.550 --> 00:51:41.690 or whatever. It'll come on somewhere. And I got 00:51:41.690 --> 00:51:45.099 to say, I'm so glad. it sounds fucking great. 00:51:45.260 --> 00:51:47.019 And I always just let it kind of like take a 00:51:47.019 --> 00:51:50.380 deep breath and say, shoot, because, you know, 00:51:50.400 --> 00:51:52.579 sometimes, you know, some songs are their hits. 00:51:52.659 --> 00:51:54.539 They, they might sound okay, but like it just, 00:51:54.599 --> 00:51:56.780 two princes just sounds really good. I love the 00:51:56.780 --> 00:51:59.219 drum sounds on them. You know, everybody in the 00:51:59.219 --> 00:52:02.099 band just sounds phenomenal. It's, it's, it's 00:52:02.099 --> 00:52:04.840 just all the stars really aligned. Cause I think 00:52:04.840 --> 00:52:06.539 like to have a hit song, it's like, there's a 00:52:06.539 --> 00:52:09.079 lot of things, there's plenty of songs that have 00:52:09.079 --> 00:52:11.340 been written that deserve to be, you know, hit 00:52:11.340 --> 00:52:14.019 songs. But there's just a lot of factors involved. 00:52:14.300 --> 00:52:17.280 A lot of it's timing, the right song at the right 00:52:17.280 --> 00:52:19.699 time. And a lot of it's like getting the right 00:52:19.699 --> 00:52:23.579 version of a song. And sometimes you might not 00:52:23.579 --> 00:52:25.179 hit the mark. You might have a great song and 00:52:25.179 --> 00:52:26.500 you just never get the right version. There's 00:52:26.500 --> 00:52:29.340 so many factors. Finding the right tempo, the 00:52:29.340 --> 00:52:33.820 right combination parts, the sonnet, whatever 00:52:33.820 --> 00:52:37.119 the sonnet quality of the track is. And everything 00:52:37.119 --> 00:52:40.699 just came together on that track. We found the 00:52:40.699 --> 00:52:43.659 right tempo. Everybody played some, there's a 00:52:43.659 --> 00:52:47.300 real distinctive sound quality to the song. And 00:52:47.300 --> 00:52:51.739 so I'm like eternally grateful to that. Well, 00:52:51.820 --> 00:52:54.059 I have a story about that song because about 00:52:54.059 --> 00:52:57.360 10 years ago, I went to the Black Potato Music 00:52:57.360 --> 00:53:00.000 Festival, which is a festival that takes place 00:53:00.000 --> 00:53:02.199 in Hunterdon County, New Jersey, which is where 00:53:02.199 --> 00:53:06.280 I am from. And Chris was doing a solo show. And 00:53:06.280 --> 00:53:08.679 I ran into him in the street. prior to the show 00:53:08.679 --> 00:53:11.260 and we were chatting and he says yeah i have 00:53:11.260 --> 00:53:13.739 this uh this guitarist here is going to sit in 00:53:13.739 --> 00:53:16.780 with me for the night and eric walks up so it 00:53:16.780 --> 00:53:19.519 was eric and chris doing an acoustic set and 00:53:19.519 --> 00:53:22.300 when they played two princes he says i will forever 00:53:22.300 --> 00:53:25.980 every day be thankful for this song and to me 00:53:25.980 --> 00:53:28.360 that's something where i don't understand how 00:53:28.360 --> 00:53:32.119 a band can almost turn on a song that is so beloved 00:53:32.119 --> 00:53:35.940 by so many people and plus i mean for christ's 00:53:35.940 --> 00:53:38.300 sake the band got to play it on Sesame Street. 00:53:38.519 --> 00:53:41.960 I mean, the song was so big, Elmo wanted a part 00:53:41.960 --> 00:53:44.840 of it. I mean, like kids fell in love with that 00:53:44.840 --> 00:53:47.820 song. That shows that the song has a timeless 00:53:47.820 --> 00:53:51.119 quality to it. Yeah, we're all very grateful. 00:53:51.260 --> 00:53:54.300 And like you said, some people have a love -hate 00:53:54.300 --> 00:53:56.099 relationship with their big hits, you know? And 00:53:56.099 --> 00:53:58.360 I never really understood that because it's like, 00:53:58.460 --> 00:54:00.920 if you have a couple of hit songs, even one or 00:54:00.920 --> 00:54:03.519 two hit songs, I mean, listen, you can have a 00:54:03.519 --> 00:54:06.750 whole career on that, you know? At the same time, 00:54:06.750 --> 00:54:09.389 you know, you followed us. I mean, we take ourselves, 00:54:10.389 --> 00:54:13.650 our musicianship seriously. If we weren't, in 00:54:13.650 --> 00:54:15.489 my opinion, sounding as good or better than ever, 00:54:15.610 --> 00:54:17.170 we wouldn't be out there doing it. It's not just 00:54:17.170 --> 00:54:18.969 about collecting a check for us. It's got to 00:54:18.969 --> 00:54:21.309 be. I mean, I know for myself, if I didn't feel 00:54:21.309 --> 00:54:23.750 like the band was really sounding great, I wouldn't 00:54:23.750 --> 00:54:26.449 want to go out and do it, you know? And so I 00:54:26.449 --> 00:54:29.210 do feel like that. But, you know, I also acknowledge 00:54:29.210 --> 00:54:31.309 that, like, we didn't have those hits all on 00:54:31.309 --> 00:54:33.659 them, especially Two Princes. We wouldn't have 00:54:33.659 --> 00:54:35.320 40 gigs this year. You know what I mean? It's 00:54:35.320 --> 00:54:37.699 like, it really, it really carries us. And people, 00:54:37.780 --> 00:54:39.760 people like yourself know that there's a whole 00:54:39.760 --> 00:54:42.179 lot more to us than Little Miss and Two Princes. 00:54:42.179 --> 00:54:44.320 But a lot of the people that come see us, they're 00:54:44.320 --> 00:54:46.679 coming for that. And then they see us, they're 00:54:46.679 --> 00:54:48.440 like, wow, these guys have a lot more to offer. 00:54:48.559 --> 00:54:52.260 So, you know, it's, I think it's, it's, you know, 00:54:52.300 --> 00:54:55.599 we're very grateful. Well, for my last pick of 00:54:55.599 --> 00:54:57.300 the night, because we each have one left, I'm 00:54:57.300 --> 00:54:59.519 going to go with a song that you frequently use 00:54:59.519 --> 00:55:02.000 to close out a lot of shows, especially recently. 00:55:02.380 --> 00:55:05.079 And this is a song that has never had a studio 00:55:05.079 --> 00:55:08.980 version. However, on three of my Spin Doctors 00:55:08.980 --> 00:55:13.340 live albums, 1991's Up for Grabs and 1992's Homebelly 00:55:13.340 --> 00:55:15.500 Groove, it's the same version on each of those. 00:55:15.579 --> 00:55:20.599 And then 2015's Songs from the Road, Yo Mama's 00:55:20.599 --> 00:55:24.260 a Pajama and She Ain't No Good. True classic 00:55:24.260 --> 00:55:29.239 live funky spin doctors. I'm going to ask the 00:55:29.239 --> 00:55:32.340 same question I asked about Yo Baby. Is there 00:55:32.340 --> 00:55:34.699 a studio version that's sitting in the vault 00:55:34.699 --> 00:55:36.639 somewhere? Will there ever be a studio version 00:55:36.639 --> 00:55:39.139 of this? Or was this just meant to be a song 00:55:39.139 --> 00:55:43.079 for the stage? You know, I don't think we ever 00:55:43.079 --> 00:55:45.980 recorded that in the studio. And I think it just, 00:55:46.159 --> 00:55:48.699 maybe we will. I think we've talked about it 00:55:48.699 --> 00:55:51.309 before, but. it might just be meant for the stage 00:55:51.309 --> 00:55:54.650 you know and it's uh it's just because it's always 00:55:54.650 --> 00:55:56.789 a little bit different the ending is like just 00:55:56.789 --> 00:55:58.690 especially you should hear it now i mean you 00:55:58.690 --> 00:56:00.010 should hear what we're doing with it now at the 00:56:00.010 --> 00:56:02.889 ending it's like it's gone full blown like it's 00:56:02.889 --> 00:56:05.429 awesome you know you know so it's just one of 00:56:05.429 --> 00:56:07.250 these songs that changes all the time it goes 00:56:07.250 --> 00:56:09.170 through as different periods of the band different 00:56:09.170 --> 00:56:12.420 things happen on it you know And which version 00:56:12.420 --> 00:56:14.519 are you going to play? The one from Homebelly 00:56:14.519 --> 00:56:16.139 Groove? Yeah, I'm going to go with the version 00:56:16.139 --> 00:56:18.619 from Homebelly Groove. It's just a classic track, 00:56:18.719 --> 00:56:21.619 the classic nature of those early shows that 00:56:21.619 --> 00:56:24.360 really stands the test of time for me. Totally. 00:56:24.539 --> 00:56:27.199 And, you know, that's another song that we never 00:56:27.199 --> 00:56:29.719 sat in a room and wrote that. That was strictly 00:56:29.719 --> 00:56:32.559 just something that happened on the stage. I 00:56:32.559 --> 00:56:35.639 remember, I kind of, I think if my memory serves 00:56:35.639 --> 00:56:38.320 me right, the first time we ever did any incarnation 00:56:38.320 --> 00:56:41.860 of that was at Mondo Paris. And I kind of vaguely 00:56:41.860 --> 00:56:45.699 remember Eric just doing that, you know, like, 00:56:45.760 --> 00:56:47.619 oh, it's just going into some kind of funk gig 00:56:47.619 --> 00:56:50.320 and Chris just riffing. And, you know, it's slowly 00:56:50.320 --> 00:56:53.179 over time found an arrangement and is what it 00:56:53.179 --> 00:56:56.000 is. But it's a real classic spin doctor song, 00:56:56.199 --> 00:56:58.659 you know, like, you know, what time is it was 00:56:58.659 --> 00:57:00.980 the same way. You know, we have these songs we 00:57:00.980 --> 00:57:04.719 never really ever rehearsed or really even wrote 00:57:04.719 --> 00:57:07.579 in the traditional sense. It was just jamming 00:57:07.579 --> 00:57:09.840 on stage and sort of over the course of maybe, 00:57:10.269 --> 00:57:13.010 10 or 20 gigs eventually found its arrangement 00:57:13.010 --> 00:57:16.010 and your mama is that so now we have to this 00:57:16.010 --> 00:57:17.750 do i have the last kick of the whole thing yeah 00:57:17.750 --> 00:57:20.190 close this out the whole night what song are 00:57:20.190 --> 00:57:23.670 you gonna go with that's deep well you know what 00:57:23.670 --> 00:57:25.969 i think i'm gonna go with a song another solo 00:57:25.969 --> 00:57:29.829 for molly groove and this song was actually cut 00:57:29.829 --> 00:57:33.869 at the sound check and that's rosetta stone nice 00:57:33.869 --> 00:57:36.289 i think that'll be a nice way to end it you know 00:57:36.289 --> 00:57:39.659 nice as ballad It's an early Spin Doctors song. 00:57:40.599 --> 00:57:42.519 Another song, we really don't play that often. 00:57:42.579 --> 00:57:44.679 We maybe played it a few times in the last decade. 00:57:45.500 --> 00:57:48.300 We should bring it back. It's a great song. And 00:57:48.300 --> 00:57:50.480 that was, we did that. That was our sound check 00:57:50.480 --> 00:57:54.059 at the wetlands for the live, at the wetlands 00:57:54.059 --> 00:57:56.639 for the home of the groups. Let's close it out 00:57:56.639 --> 00:57:59.019 with that one. All right, and there you have 00:57:59.019 --> 00:58:01.980 it, folks. Side B of the ultimate Spin Doctors 00:58:01.980 --> 00:58:04.880 mixtape, which kicked off with Jimmy Olsen's 00:58:04.880 --> 00:58:09.300 Blues, Sweetest Portion, About a Train, Working 00:58:09.300 --> 00:58:12.599 for the Man, Here Comes the Bride, Someday All 00:58:12.599 --> 00:58:16.679 This Will Be Road, Margarita, Two Princes, Yo 00:58:16.679 --> 00:58:20.659 Mama's a Pajama Live, and Rosetta Stone Live. 00:58:21.000 --> 00:58:23.880 Remember, you can head to myweeklymixtape .com 00:58:23.880 --> 00:58:26.519 to hear all the songs we've discussed in this 00:58:26.519 --> 00:58:29.829 mix. through the playlist embedded on the episode 00:58:29.829 --> 00:58:32.809 page. Now, Aaron, over the last year and change, 00:58:32.949 --> 00:58:34.869 you mentioned this earlier, we touched on it. 00:58:34.889 --> 00:58:37.250 So now I'm going to put on my reporter hat and 00:58:37.250 --> 00:58:39.909 try to fish and get some information out of you. 00:58:40.190 --> 00:58:43.090 The band's been playing some new tunes such as 00:58:43.090 --> 00:58:46.570 Rock and Roll Heaven, Double Parked. Still a 00:58:46.570 --> 00:58:49.869 Gorilla and Boombox, the latter being a song 00:58:49.869 --> 00:58:52.429 that Shannon, one of the My Weekly Mixtape listeners 00:58:52.429 --> 00:58:54.849 and a good friend of mine, chimed in with as 00:58:54.849 --> 00:58:58.090 the track she'd kick off her Spin Doctors mixtape 00:58:58.090 --> 00:59:01.090 with. But with all that being said, these songs 00:59:01.090 --> 00:59:03.449 aren't commercially available, so we couldn't 00:59:03.449 --> 00:59:06.369 include them tonight on our Ultimate Spin Doctors 00:59:06.369 --> 00:59:09.730 mixtape. When will these songs be seeing the 00:59:09.730 --> 00:59:11.949 light of day? And is there any new Spin Doctors 00:59:11.949 --> 00:59:14.469 album information you could share with the listeners 00:59:14.469 --> 00:59:17.659 tonight? Yeah, so the record is done, and it 00:59:17.659 --> 00:59:19.500 is mixed, and we're going to get it mastered 00:59:19.500 --> 00:59:22.340 soon. And without giving too much information, 00:59:22.699 --> 00:59:25.619 it looks like we have a deal that we're going 00:59:25.619 --> 00:59:28.780 to be doing, and so we're hoping that the record 00:59:28.780 --> 00:59:31.659 will come out. I mean, I think it's probably 00:59:31.659 --> 00:59:34.579 a little premature to say late this year, but 00:59:34.579 --> 00:59:37.860 I think definitely early next year. Certainly 00:59:37.860 --> 00:59:40.440 next year, hopefully the first part of the year, 00:59:40.559 --> 00:59:44.079 the new record will be coming out. We're really 00:59:44.079 --> 00:59:46.789 proud of it. I think it's a really strong Spin 00:59:46.789 --> 00:59:48.530 Doctors record. And like you said, we've been 00:59:48.530 --> 00:59:50.449 doing a lot of the material live and it's been 00:59:50.449 --> 00:59:53.409 going over really well. And we're excited to 00:59:53.409 --> 00:59:56.190 get it out there. Now, Chris did say on stage 00:59:56.190 --> 00:59:58.110 through some of the live recordings I've heard 00:59:58.110 --> 00:59:59.949 that the album is called Rock and Roll Heaven. 01:00:00.030 --> 01:00:02.130 Is that something that we're not supposed to 01:00:02.130 --> 01:00:04.570 say yet? Or is that subject to change? I didn't 01:00:04.570 --> 01:00:07.630 say that. And we're actually, that was the working 01:00:07.630 --> 01:00:09.949 title, but we've decided to call the record Boombox. 01:00:10.269 --> 01:00:12.809 All right. The record is going to be called Boombox. 01:00:12.909 --> 01:00:15.909 You can tell your friend. Fantastic. I love it. 01:00:15.929 --> 01:00:17.989 I mean, that could change because the artwork's 01:00:17.989 --> 01:00:21.849 not done yet, but I think pretty much set on 01:00:21.849 --> 01:00:25.190 boombox as the title. I love it. I can't wait 01:00:25.190 --> 01:00:27.789 to hear it. And Aaron, I thank you so much for 01:00:27.789 --> 01:00:30.070 joining me tonight on My Weekly Mixtape. This 01:00:30.070 --> 01:00:33.090 has been an absolute blast. This has been a lot 01:00:33.090 --> 01:00:35.349 of fun. Thanks for having me, man. Remember, 01:00:35.510 --> 01:00:37.769 you can find My Weekly Mixtape on almost all 01:00:37.769 --> 01:00:40.750 the social media haunts at... My Weekly Mixtape. 01:00:40.869 --> 01:00:43.429 You can also head to myweeklymixtape .com to 01:00:43.429 --> 01:00:46.269 check out the full catalog of My Weekly Mixtape 01:00:46.269 --> 01:00:48.309 episodes. And if you like what you're hearing 01:00:48.309 --> 01:00:50.550 on the show, you can help me out by either telling 01:00:50.550 --> 01:00:53.010 a friend about the show, leaving a five -star 01:00:53.010 --> 01:00:55.130 review wherever you're tuning in, or becoming 01:00:55.130 --> 01:00:58.409 a Patreon mixtaper at patreon .com forward slash 01:00:58.409 --> 01:01:01.590 myweeklymixtape. That's all for this week. Thanks 01:01:01.590 --> 01:01:04.010 again for listening. Until next time, enjoy the 01:01:04.010 --> 01:01:04.230 tunes.