WEBVTT

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Hey, everyone. This is JT from The Uninvited,

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and you're listening to my weekly mixtape with

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Brian Colburn. In fact, you're listening to the

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best episode he ever recorded because it's with

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me. And we talk about indie alternative rock

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from the 90s. So awesome stuff. Welcome to My

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Weekly Mixtape, a podcast that takes the classic

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mixtape approach to building a modern playlist.

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I'm your host, Brian Colburn. Joining me for

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tonight's collaboration is JT, lead singer of

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The Uninvited. JT, thank you so much for joining

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me tonight on My Weekly Mixtape. Brian, it's

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great to be here with you. I've been really looking

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forward to this. Likewise, likewise. And what

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I'm going to do is start by asking you the same

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question I ask each and every guest on this show.

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JT. What does the word mixtape mean to you? Oh,

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mixtape has so many good emotional connotations

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to me. I'm mixtape generation, right? I've made

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mixtapes on cassette for years and years and

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years. And so mixtape to me is love. I mean,

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I would make mixtapes for friends, for potential

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girlfriends, you know, and they're like little

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love letters, right? You know, you make this

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cool mixtape. You say, hey, I made this mixtape

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for you. And then... you know, the person understands

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the vibe that's coming off of that, you know,

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from that music. And yeah, it's a little love

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letter. It's for thank you. It's, you know, it's

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a matter of friendship, you know, saying, you

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know, I get your vibe. I know what you dig. And

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here's some of it. Here's, you know, here's what

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I think is super cool that I think you're going

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to think is super cool too. I loved, I loved

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making mixtapes and just, yeah, love it. And

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what's great about that is you could take other

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musicians' stories and create your own story

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by mixing them together. And where in playlists

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now, people drag and drop and hit shuffle, you

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lose that privatization of the music. And that's

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what this show is about. Right. Getting us back

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to that moment again. That's a great point about

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hitting shuffle. You know, a good playlist is

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supposed to be heard in the order you do it in.

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And, you know, coming up with today's playlist,

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I'd even thought of it that way. It's like, all

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right, this is the order. It's got to go. All

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right. Well, tonight, JT and I are going to be

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co -curating a mixtape of 90s indie alternative,

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or as I like to call it, songs that I feel fall

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under the category of. underrated 90s rock music

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because a lot of the songs that i have on my

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list in the 90s i lived in north carolina for

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a few years and there was a station called 1065

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the end and they always said indie alternative

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and they played a lot of bands that everybody

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knows matchbox 20 counting crows garbage the

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big arena headlining bands but they didn't just

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play that Any time they played an insanely massive

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band, it was followed up with a band that you

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might not know. And a lot of these bands we're

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going to probably be talking about tonight. And

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that is what I looked for in my songs that I

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chose for tonight. JT, what were you looking

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for in the songs that you brought to the table

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this evening? You know, that's a great, you kind

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of stole it right from me there. That same kind

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of vibe of, you know, when in the 90s, when we

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talked about alternative rock. there was sort

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of this upper echelon that meant alternative

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nirvana pearl jam sound garden pretty much anything

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from seattle you know that was what defined alternative

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and you know but before those bands became mainstream

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shall we call it alternative you know they were

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underground indie alternative bands nirvana was

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on sub pop for years before you know they broke

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through and nobody had heard of them and those

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who did were like this is like My satanic underground

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music. And so for me, living most of the 90s

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in Los Angeles and being in the clubs and trying

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to get the band going during that whole time,

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I had so much great exposure to indie alternative,

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to the alternative bands that were the alternative

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of the alternative and got to listen to radio

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stations, not just like KROQ, who were like the

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number one alternative station in the United

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States. But they also weren't afraid. to play

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all sorts of underground stuff. They even had

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a couple of shows, Rodney on the Rock, where,

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you know, Rodney Bingenheimer, the scene king

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from the 70s and 80s of Los Angeles, would play

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all this underground stuff that no one had heard

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of. And then you had KXLU, which was the college

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station playing just like the most cutting edge

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alternative rock. And so, yeah, so I was thinking

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in terms of like, okay, indie what is the alternative

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of the alternative without getting too far off

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into like obscure college rock weirdness nothing

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wrong with that but like oh here's here's 20

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bands you've never heard of in your life and

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never will and their music kind of sucks you

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know so it was you know uh so there well i will

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say this there are one or two bands i might dip

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into that might fall under that You've never

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heard of them. However, there's going to be some

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bands that I mentioned tonight that I know a

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lot of people listening are going to immediately

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be like, no, they're popular. Don't you dare

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say that they're indie or alternative. Yes, they're

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very popular bands, but I'm talking about the

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mainstream popularity where some of the bands

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I'm going to talk about tonight. are musically,

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musicians love these bands. They have massive

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followings. They play big venues, but mainstream

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radio and MTV pretty much ignored them. So they

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still are outliers on the indie alternative scene,

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if you would call it that. Yeah. Yeah. That's

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a great call. And a lot of the ones on my list

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are sort of part of my personal musical journey.

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They're bands that I heard. and considered to

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be either influential or peers at the time. And

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I would listen to them like, oh, wow, crank that

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up. And I have, and this is going to be a common

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theme throughout this whole thing, I have this

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real affinity to guitar pop music. I love a great

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song. I love a big hook. I love a melody you

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can sing. And you take a look at bands like Sonic

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Youth and some of these others that were really

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experimenting with noise pop at the time. And

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I had great you know, respect for what they were

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trying to do. But what resonated with me personally,

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you know, during that time period were these

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great songs, you know, and especially, you know,

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if you heard them on the radio or somebody put

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them on a mixtape or something like that, and

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you're like, oh, wow, they did kind of, you know,

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this band got out there and got a little bit

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popular. It gave us hope. It gave us hope that,

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you know, maybe we could get popular too. So

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yeah, that definitely. inspired my choices. So

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let's get down to business. Tonight, as I mentioned

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earlier, JT and I will be curating the ultimate

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90s indie alternative mixtape, and we'll use

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the old cassette deck approach, meaning our mixtape

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is going to be broken up into two sides, side

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A and side B. JT, as the special guest, will

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begin side A with his first song choice, and

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then I'll add a song that I feel best follows

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up his choice. We'll then flip -flop choosing

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songs until we've mapped out 10 songs for side

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A. We'll then give our mixtape a proverbial flip

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and we'll map out side B, only this time I'll

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kick things off with JT choosing second. Our

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overall goal for the episode is to craft the

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best 90s indie alternative mixtape possible through

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only 20 songs. At the end of the show, you could

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take our conversation to the next level by visiting

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the 90s indie alternative page at myweeklymixtape

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.com to give our final mixtape a listen via the

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embedded playlist. Finally, if you like what

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you're hearing on the show, please consider becoming

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a Patreon mixtaper at patreon .com forward slash

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myweeklymixtape. And speaking of Patreon mixtapers,

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a few of them have chimed in with some of the

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songs they would kick off their 90s indie alternative

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mixtape with. Starting with Ben from the Too

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Vague podcast, who chimed in with Local H's Cool

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Magnet. Cactus Pete, who chimed in with G Love's

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Baby Got Sauce and Course of Nature's Caught

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in the Sun, and David Owens, who chimed in with

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Spot's Moon June Spoon. I also had some people

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reach out to me at My Weekly Mixtape on Facebook,

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Instagram, and Twitter, and I want to shout those

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out as well. Kicking things off with two from

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Sunny Day Real Estate, Trevor Dale chimed in

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with Seven, and the Music Rewind podcast chimed

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in with In Circles. Frank Lewis chimed in with

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Morphine's Buena. Paris Saint -Germain chimed

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in with The Dismemberment Plan's Rusty. Philip

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Bergman chimed in with Voice of the Beehive's

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Scary Kisses. Chris Uminski chimed in with Sonic

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Youth's Teenage Riot. Derek Caravue chimed in

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with the Afghan Whigs' John the Baptist. Sean

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Faust chimed in with Dig's Believe. Raoul Dukes

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-Burner chimed in with Jay Unger and Molly Mason's

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The Contra Dance. Chael chimed in with Jellyfish

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joining a fan club. Mally Hart chimed in with

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the folk implosion Slap Me. Rob Ebert chimed

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in with Harvey Dangerous Carlotta Valdez. We

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have two for Ned's Atomic Dustbin with Frankie

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Pants chiming in with Kill Your Television and

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Jim Santora chiming in with Throwing Things.

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Jim Bricker chimed in with The Jim Blossoms Found

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Out About You. Cinema Poison chimed in with Sloan's

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Money City Maniacs. Dave Schneier chimed in with

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Something Happens Devil and Miss Jones. Seth

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Bafilia chimed in with Hums Stars. LI Sports

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Fan chimed in with Fugazi's Waiting Room. Hutch

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chimed in with Cakes the Distance. Jason Whistle

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of the It's Not That Bad and There Can Only Be

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One podcasts chimed in with the Nixon's Foma.

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Pedestrian at Best chimed in with Adorable Sunshine

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Smile. Seeker 11 chimed in with Screaming Trees

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Transfiguration. The We Needed Roads podcast

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chimed in with Screaming Trees Nearly Lost You.

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The Media Path podcast chimed in with Yola Tango's

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Tom Courtenay. Conda 96 chimed in with Dada's

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Doreena. Semi Skeptic podcast chimed in with

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Travis' Something. Cheryl Simone Miller chimed

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in with Concrete Blonde's God is a Bullet, which

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she did note was from 1989, but I'll allow it.

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Daniel Dissinger chimed in with Candlebox's Far

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Behind. And Matthew Kennedy at the X Radio X

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podcast chimed in with Modest Mouse's Trailer

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Trash. Okay, JT, with that laundry list of songs

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out in the open, I am ridiculously curious to

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see how you're going to kick this one off. So

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with that, I'm officially pressing the record

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button on this mixtape and throwing it over to

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you. What song are you starting tonight's 90s

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indie alternative mixtape with and why? All right.

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Well, I decided to go chronologically. So we're

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going to start with 1990. And the one I'm going

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to kick it off with is There She Goes by The

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Laws. Now, there's a reason for this. To me,

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that song was kind of this 1990s turning point

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of everything that had happened previously in

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the 80s overseas, right? You had these bands

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like the Stone Roses and the Soup Dragons and...

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All these kind of guys that were doing a kind

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of like a guitar pop thing and it really defining

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a sound. And to me, there she goes by the laws

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was like this perfect culmination of all of that.

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It was like this lofty, perfect pop song, like

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the Beatles could have done that song. And it

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was this beautiful connection for me between.

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The turning point that was occurring in the 1990s

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and the entire musical history of guitar pop

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before it. Absolutely love it. And you know that

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song had meaning because of the fact that seven

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years later, Sixpence None the Richer takes the

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song and turns it into bubblegum pop that the

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entire country is salivating over. And if you

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think about it, the people that knew the Laws

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original. Must have been like, where was this

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love seven years ago? Right, right. Because we

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already know this song is great. Yeah, exactly.

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And it goes to show the importance of a great

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song, right? It wasn't just their performance,

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which is so much more stellar, if you ask me,

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and raw. It had a rawness to it as well. But

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it goes to show that a great song is a great

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song, that you can interpret it in many different

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ways. Well, I hope I'm following up that great

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song with one that you consider is a great song

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as well. And I'm going to stay in the early 90s

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like you are. And I'm going to play off one that

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I feel just was a band that was criminally underrated.

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I'm probably going to use that word a lot tonight.

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And this is a song when I first heard it, I went

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looking for it everywhere, trying to find it,

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looking at it. Because at this point in 1992,

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you couldn't Google. the song it was word of

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mouth so i'm walking all over the local record

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store saying i heard a song it's all about disneyland

00:13:52.009 --> 00:13:56.870
i need to know who does this song and they're

00:13:56.870 --> 00:13:58.990
like disneyland i'm like yeah like the one that's

00:13:58.990 --> 00:14:02.429
out in california only it's spelt weird it's

00:14:02.429 --> 00:14:07.649
d -i -z -z -k -n -e -e land and the band is dada

00:14:07.649 --> 00:14:12.289
the album is puzzle This song, to me, was everything

00:14:12.289 --> 00:14:16.309
about 90s indie alternative. This song, the fact

00:14:16.309 --> 00:14:18.669
that it wasn't a massive number one hit single

00:14:18.669 --> 00:14:21.590
shocks me. But especially in the New Jersey,

00:14:21.710 --> 00:14:23.750
New York tri -state area, this song did take

00:14:23.750 --> 00:14:28.789
on a pretty big moment in 92. But as fast as

00:14:28.789 --> 00:14:31.759
that moment was. It was gone, and unfortunately,

00:14:32.000 --> 00:14:35.399
so was the band. But I still, to this day, have

00:14:35.399 --> 00:14:38.200
seen cover bands pulling that song out. So there's

00:14:38.200 --> 00:14:40.539
definitely an element of timelessness to the

00:14:40.539 --> 00:14:43.539
song. And realistically, now with time, you realize

00:14:43.539 --> 00:14:47.100
they called it Disney, like with two Zs and a

00:14:47.100 --> 00:14:49.720
K -N -E -E, so they didn't get their asses sued

00:14:49.720 --> 00:14:53.360
off. Exactly. But what a great song. So great

00:14:53.360 --> 00:14:56.220
song. Dada Disneyland. Thrown it to you, JT.

00:14:56.639 --> 00:14:58.639
Nice one. Nice one. In fact, so now I have to

00:14:58.639 --> 00:15:00.259
scratch one off my list because I was going to

00:15:00.259 --> 00:15:03.879
go with Dada's Dim from the same record. Nice.

00:15:04.080 --> 00:15:07.259
Yeah, because that's yeah, it's sort of like

00:15:07.259 --> 00:15:11.059
Disneyland to me showed this really cool sardonic

00:15:11.059 --> 00:15:14.419
side to them. And then Dim was this really heavy,

00:15:14.480 --> 00:15:17.799
serious. you know, breakup kind of song. That

00:15:17.799 --> 00:15:20.240
was really amazing. Also, I'm just going to say

00:15:20.240 --> 00:15:24.299
a shout out to seven horse, which is a band that

00:15:24.299 --> 00:15:27.620
is comprised of the X members of Dada who are

00:15:27.620 --> 00:15:29.360
active on the scene. Still, they're playing gigs

00:15:29.360 --> 00:15:31.840
all around and you can find them on Tik TOK at

00:15:31.840 --> 00:15:34.580
seven horse band. I believe it is. And it's the

00:15:34.580 --> 00:15:37.740
number seven horse and yeah. So they're still

00:15:37.740 --> 00:15:40.779
doing it. Go geriatric rockers. All right. So

00:15:40.779 --> 00:15:44.730
I'm scratching that one off the list. I'm sticking

00:15:44.730 --> 00:15:48.250
in 1990, and I'm going to go with a song, again,

00:15:48.370 --> 00:15:50.590
flew completely under the radar with a band that

00:15:50.590 --> 00:15:54.629
went mostly under the radar for a good reason.

00:15:54.710 --> 00:15:58.230
They just got squashed, unfortunately. The song

00:15:58.230 --> 00:16:02.190
Golden Blunders by The Posies. Golden Blunders

00:16:02.190 --> 00:16:07.529
and The Posies in general were, to me, one of

00:16:07.529 --> 00:16:10.529
the best, but the last of the kind of Paisley

00:16:10.529 --> 00:16:17.100
underground pop rock. uh movement and it's such

00:16:17.100 --> 00:16:20.299
it's just it's a beautiful song it's got great

00:16:20.299 --> 00:16:22.820
lyrics you know that come from this really it's

00:16:22.820 --> 00:16:25.620
a cool little story and again again very very

00:16:25.620 --> 00:16:30.379
poppy and stuff but you know it's 1990 in seattle

00:16:30.379 --> 00:16:33.080
and these guys you know this is one of their

00:16:33.080 --> 00:16:35.840
last records that they released and one of the

00:16:35.840 --> 00:16:40.559
last singles and like next year nirvana drops

00:16:40.559 --> 00:16:44.179
with smells like teen spirit and it's just freaking

00:16:44.179 --> 00:16:48.740
over right if your amp isn't cranked to 10 and

00:16:48.740 --> 00:16:51.799
you're not flying the flannel you're done and

00:16:51.799 --> 00:16:54.980
these guys you know to me they just got smushed

00:16:54.980 --> 00:16:57.940
when that happened it was criminal because it's

00:16:57.940 --> 00:17:00.440
they were a great band and golden blunders especially

00:17:00.440 --> 00:17:04.299
such a great song This was a group that was carrying

00:17:04.299 --> 00:17:07.859
the torch for the Elvis Costello's in the 80s.

00:17:07.859 --> 00:17:11.960
I feel like continuing that sound. But for some

00:17:11.960 --> 00:17:14.660
reason, the musical landscape just wasn't having

00:17:14.660 --> 00:17:16.099
it because you got to realize they're competing

00:17:16.099 --> 00:17:19.730
at that point against. The hairband scene, which

00:17:19.730 --> 00:17:23.349
was still your big rock moment. You still had

00:17:23.349 --> 00:17:26.230
Poison and Warrant and these bands selling out

00:17:26.230 --> 00:17:28.029
arenas. And you had labels that were looking

00:17:28.029 --> 00:17:31.150
for the next Poison and Warrant still. They weren't

00:17:31.150 --> 00:17:34.589
looking for the next Elvis Costello. Right. Exactly.

00:17:34.849 --> 00:17:38.670
Exactly. And then they managed to get their sign

00:17:38.670 --> 00:17:40.769
and get their records out. But then it was a

00:17:40.769 --> 00:17:43.230
double whammy for them because then grunge hit

00:17:43.230 --> 00:17:48.190
big and grunge just swept away everything. Yes.

00:17:48.559 --> 00:17:52.519
Yeah, it was. Yeah. And with that, I am going

00:17:52.519 --> 00:17:55.220
to follow up the posies with something that a

00:17:55.220 --> 00:17:57.579
couple of years later, I'm going to go to 1993

00:17:57.579 --> 00:18:02.099
for this one. I'm a bass player by trade. And

00:18:02.099 --> 00:18:05.619
the first time I heard this bass line, I immediately

00:18:05.619 --> 00:18:07.819
said, I'm going to love this song for the rest

00:18:07.819 --> 00:18:11.140
of my life. And I didn't even it didn't even

00:18:11.140 --> 00:18:15.220
get to the vocals. I just knew. And it was right

00:18:15.220 --> 00:18:17.460
up my alley. It was one of the first songs that

00:18:17.460 --> 00:18:19.079
I sat down and was like, let me learn how to

00:18:19.079 --> 00:18:23.299
play this. This is fun. And this band, everybody's

00:18:23.299 --> 00:18:24.900
going to know and everybody's going to know the

00:18:24.900 --> 00:18:28.259
song. But to me, it falls under this category

00:18:28.259 --> 00:18:31.960
because I don't even want to say a one hit wonder,

00:18:32.059 --> 00:18:35.420
but how this band wasn't massive is beyond me.

00:18:35.480 --> 00:18:38.480
And the album is Last Splash. And I'm going with

00:18:38.480 --> 00:18:42.019
the Breeders Cannonball. Nice. Yes. I mean, big

00:18:42.019 --> 00:18:45.279
hit. Big hit. Everybody knows it. It's in its

00:18:45.279 --> 00:18:47.420
30th anniversary, which I don't even want to

00:18:47.420 --> 00:18:50.440
wrap my mind around this year. But this song

00:18:50.440 --> 00:18:56.480
was everywhere. I don't understand how the label

00:18:56.480 --> 00:18:58.759
didn't have the foresight to have a follow up.

00:18:58.759 --> 00:19:03.740
Like this band had what it took to break through

00:19:03.740 --> 00:19:06.440
the mold in 1993. And the fact that this is the

00:19:06.440 --> 00:19:09.140
only song that did to me is criminal. Yeah. And

00:19:09.140 --> 00:19:12.440
I'm just going to. say it that i i there had

00:19:12.440 --> 00:19:15.359
to have been sexism involved you know as much

00:19:15.359 --> 00:19:18.079
as we tried to uh push the needle in the 90s

00:19:18.079 --> 00:19:20.380
you know it was still the 90s and we weren't

00:19:20.380 --> 00:19:22.539
quite there yet not the way we are now which

00:19:22.539 --> 00:19:25.339
still you know we have work to do but yeah chick

00:19:25.339 --> 00:19:27.700
band it's like okay well that wow we had a nice

00:19:27.700 --> 00:19:29.359
little success with chick band onto the next

00:19:29.359 --> 00:19:32.579
dude rock band you know yeah i i think that had

00:19:32.579 --> 00:19:34.920
to have been part of it and that's a shame if

00:19:34.920 --> 00:19:38.079
that is because The Breeders, that entire album

00:19:38.079 --> 00:19:40.799
is amazing. But I wanted to go with the one in

00:19:40.799 --> 00:19:44.740
this playlist that really made people go, yeah,

00:19:44.779 --> 00:19:48.279
why? Why weren't they bigger? That song was amazing.

00:19:48.819 --> 00:19:50.900
Yeah. And, you know, at the same time, you had

00:19:50.900 --> 00:19:54.740
like Julianna Hatfield and you had Liz Phair

00:19:54.740 --> 00:19:57.559
and, you know, these others that were really,

00:19:57.579 --> 00:20:00.819
you know, trying to push alternative rocks, but,

00:20:00.839 --> 00:20:02.960
you know, indie alternative rock. And it would

00:20:02.960 --> 00:20:04.859
take until like the later nineties until Tori

00:20:04.859 --> 00:20:06.599
Amos and others were coming along that there,

00:20:06.619 --> 00:20:08.240
there was actually this kind of like huge commercial

00:20:08.240 --> 00:20:12.319
breakthrough. Fair time. Yeah, exactly. Exactly.

00:20:12.440 --> 00:20:15.140
Sarah McLaughlin. Exactly. Yeah. Yeah. But it

00:20:15.140 --> 00:20:17.299
was, it's, it's a shame that they weren't bigger

00:20:17.299 --> 00:20:21.039
than they were. All right. I'm going to go. I'm

00:20:21.039 --> 00:20:24.400
going to go one more from 1990. And then I promised

00:20:24.400 --> 00:20:27.740
to get out of. And there's a couple of reasons.

00:20:27.779 --> 00:20:29.599
There's a sentimental reason for this and also

00:20:29.599 --> 00:20:32.700
just the underrated aspect of it. So. I'm going

00:20:32.700 --> 00:20:34.940
to go with the Rembrandts, just the way it is,

00:20:34.980 --> 00:20:38.079
baby. Everyone knows the Rembrandts from the

00:20:38.079 --> 00:20:41.339
theme to friends, right? I'll be there for you.

00:20:41.839 --> 00:20:46.039
And funny story, we crossed paths, I'll say,

00:20:46.140 --> 00:20:49.019
with the guys in the Rembrandts a couple of times.

00:20:50.079 --> 00:20:52.279
And we were hanging out at Club Lingerie once

00:20:52.279 --> 00:20:55.480
and one of the guys was there and we struck up

00:20:55.480 --> 00:20:57.140
a conversation and they're like, yeah, everything's

00:20:57.140 --> 00:20:59.279
screwed, man. You know, we got dropped from the

00:20:59.279 --> 00:21:01.900
label. The tour was a bummer. I don't know what

00:21:01.900 --> 00:21:03.059
we're going to do. And I'm like, how could you

00:21:03.059 --> 00:21:04.599
be dropping the label? Just the way it is, baby.

00:21:05.380 --> 00:21:10.160
It's just, again, another beautiful pop guitar

00:21:10.160 --> 00:21:17.119
song and just a great song. And he was like,

00:21:17.200 --> 00:21:19.299
yeah, well, it's just the way it goes. And we

00:21:19.299 --> 00:21:21.680
got a couple of pokers in the fire. We're talking

00:21:21.680 --> 00:21:23.859
to another label, but we don't know if that's

00:21:23.859 --> 00:21:25.200
going to work out. We'll probably put together

00:21:25.200 --> 00:21:27.099
our own tour and just go to the cities where

00:21:27.099 --> 00:21:30.220
it worked out for us. I don't know, we recorded

00:21:30.220 --> 00:21:33.660
some, you know, one of our songs for a NBC show

00:21:33.660 --> 00:21:36.180
or whatever, and maybe something will happen

00:21:36.180 --> 00:21:42.660
there. So that took off and, you know, that's

00:21:42.660 --> 00:21:46.500
a nice royalty check to this day. But for my

00:21:46.500 --> 00:21:48.380
band, especially, you know, hearing songs like

00:21:48.380 --> 00:21:52.279
The Way It Is Baby and Golden Blunders and even,

00:21:52.299 --> 00:21:54.299
you know, There She Goes and that sort of thing

00:21:54.299 --> 00:21:57.339
was just affirmation that for us, that there

00:21:57.339 --> 00:22:00.730
was an audience out there that, loved guitar

00:22:00.730 --> 00:22:04.450
pop because we sure loved it. And, and so it

00:22:04.450 --> 00:22:05.730
gave us hope that, you know, there'd be, there

00:22:05.730 --> 00:22:08.930
could be success in that, in that genre, you

00:22:08.930 --> 00:22:11.910
know, despite the fact that monster bands, you

00:22:11.910 --> 00:22:13.589
know, that were following the trend were, were

00:22:13.589 --> 00:22:15.609
really what was popular at the time. Well, I'm

00:22:15.609 --> 00:22:17.890
going to pivot this to the uninvited for a second

00:22:17.890 --> 00:22:20.309
here, because obviously everybody knows the theme

00:22:20.309 --> 00:22:23.049
from friends. Some of your music was featured

00:22:23.049 --> 00:22:25.990
on some TV shows like Party of Five, Beverly

00:22:25.990 --> 00:22:29.849
Hills 90210, MTV's Road Rules, The Real World.

00:22:29.910 --> 00:22:32.730
These are all shows people know. A lot of young

00:22:32.730 --> 00:22:35.970
indie bands are striving for just that kind of

00:22:35.970 --> 00:22:39.730
exposure. My question to you is, because you

00:22:39.730 --> 00:22:41.750
knew the Rembrandts and you know the whole Friends

00:22:41.750 --> 00:22:44.869
theme and everything else, having had your songs

00:22:44.869 --> 00:22:48.349
in different shows, how much exposure did that

00:22:48.349 --> 00:22:51.470
get the band? How much of that was Atlantic Records

00:22:51.470 --> 00:22:53.630
kind of trying to reap the benefits of it? How

00:22:53.630 --> 00:22:56.069
much of it went back to them? How much of it

00:22:56.069 --> 00:22:58.730
did it really, truly help you? And then with

00:22:58.730 --> 00:23:02.210
streaming, a lot of these shows are having second

00:23:02.210 --> 00:23:05.309
lives. Are you seeing any piece of that? Because

00:23:05.309 --> 00:23:08.769
the shows have your music. Yeah, it's a great

00:23:08.769 --> 00:23:11.750
question. Honestly, the biggest impact is the

00:23:11.750 --> 00:23:15.390
money. The the residuals, you know, at the time

00:23:15.390 --> 00:23:18.450
you get a small fee for the licensing and then

00:23:18.450 --> 00:23:22.170
the rest is is, you know, the the royalties that

00:23:22.170 --> 00:23:25.559
come from the publishing and writing side. We

00:23:25.559 --> 00:23:29.940
were very fortunate in that we had a we had a

00:23:29.940 --> 00:23:32.079
friendship with a gentleman named John Rosner

00:23:32.079 --> 00:23:35.079
who had a publishing company. He worked with

00:23:35.079 --> 00:23:37.299
his father on a publishing company. His father

00:23:37.299 --> 00:23:39.200
had been in the publishing business for decades.

00:23:39.359 --> 00:23:42.619
He had like Neil Diamond's catalog and a lot

00:23:42.619 --> 00:23:47.640
of old school 70s publishing. And John was sort

00:23:47.640 --> 00:23:50.140
of co -owner of the company with his father.

00:23:50.180 --> 00:23:53.940
And at that time. you know publishing companies

00:23:53.940 --> 00:23:57.599
were the ones that you called to get sync licensing

00:23:57.599 --> 00:24:00.000
and you know it's a whole different model and

00:24:00.000 --> 00:24:02.960
a whole different paradigm now but at the time

00:24:02.960 --> 00:24:04.740
you know that's who you called so he had connections

00:24:04.740 --> 00:24:06.640
with a lot of different production companies

00:24:06.640 --> 00:24:09.799
and he was able to get us these placements and

00:24:09.799 --> 00:24:14.420
yes the mechanicals were owned by atlantic so

00:24:14.420 --> 00:24:17.420
you know they got they got that portion of the

00:24:17.420 --> 00:24:21.059
money but we struck up a great deal uh with john

00:24:21.059 --> 00:24:24.589
where He did not take the publishing of the song

00:24:24.589 --> 00:24:27.609
forever. We struck up a side deal where he had

00:24:27.609 --> 00:24:29.970
the publishing from that placement, you know,

00:24:29.970 --> 00:24:32.890
and then we got the writer's share. And yeah,

00:24:33.009 --> 00:24:34.589
I mean, we're very fortunate too that those were

00:24:34.589 --> 00:24:39.190
especially, you know, 90210 was a huge hit TV

00:24:39.190 --> 00:24:43.150
show. So we never stopped seeing royalties from

00:24:43.150 --> 00:24:46.309
that. I mean, it just went on and on and on.

00:24:46.430 --> 00:24:49.529
And then. And then it got big in South Korea

00:24:49.529 --> 00:24:52.869
and Taiwan. And, you know, we're talking like

00:24:52.869 --> 00:24:57.190
$1 .43, you know, but we're not, you know, after

00:24:57.190 --> 00:24:59.710
a while. But it's still there. It's still in

00:24:59.710 --> 00:25:03.529
every BMI check we get is, you know, our residuals

00:25:03.529 --> 00:25:07.589
from those two shows, especially 90210 and Party

00:25:07.589 --> 00:25:11.109
of Five. So it's something that we're looking

00:25:11.109 --> 00:25:14.390
into again, you know, since we have such an extensive

00:25:14.390 --> 00:25:18.589
catalog. but it's a much more competitive and

00:25:18.589 --> 00:25:21.650
difficult process these days. The deals are a

00:25:21.650 --> 00:25:24.410
lot different. I mean, there can be large money

00:25:24.410 --> 00:25:28.470
deals, but because of how competitive it is and

00:25:28.470 --> 00:25:32.690
how good the music is, the fact that anyone can

00:25:32.690 --> 00:25:35.569
really make a pretty good record these days,

00:25:35.750 --> 00:25:40.349
it's so competitive that you can... And a lot

00:25:40.349 --> 00:25:42.410
of these publishers, these sync placement people,

00:25:42.650 --> 00:25:44.329
they have relationships with people who will

00:25:44.329 --> 00:25:46.730
go and make music for them. Hey, I need something

00:25:46.730 --> 00:25:49.690
moody. Oh, I can do that. And no, and here it

00:25:49.690 --> 00:25:52.650
is, or, you know, I don't want to pay. And this

00:25:52.650 --> 00:25:53.950
is what happened in the last couple of films

00:25:53.950 --> 00:25:56.829
we were in was, you know, I don't want to pay

00:25:56.829 --> 00:25:59.750
a hundred thousand dollars to get this green

00:25:59.750 --> 00:26:02.369
day song. Do you have something that's like it?

00:26:02.410 --> 00:26:05.089
I'm like, yeah, this one. And we'll, you know,

00:26:05.089 --> 00:26:09.140
and we'll charge you $5 ,000 deal. And to answer

00:26:09.140 --> 00:26:11.579
your original question, uh, made no difference

00:26:11.579 --> 00:26:15.339
on our popularity or yeah. I mean, it was something

00:26:15.339 --> 00:26:17.559
we could brag about. And again, this is, this

00:26:17.559 --> 00:26:20.900
was pre -social media. So, you know, we'd send,

00:26:20.920 --> 00:26:23.779
we'd send out postcards saying we got a placement

00:26:23.779 --> 00:26:26.240
on party of five and our fan base would go, woo.

00:26:26.559 --> 00:26:28.279
And they would watch it. And then they'd co -host

00:26:28.279 --> 00:26:30.220
the show and say, I heard you on that show. And

00:26:30.220 --> 00:26:34.049
that was it, you know, so. Yeah. Yeah. We couldn't

00:26:34.049 --> 00:26:37.150
make a giant international deal about it because

00:26:37.150 --> 00:26:38.970
there was no such thing as social media at the

00:26:38.970 --> 00:26:42.589
time. Yeah, definitely. Well, you had brought

00:26:42.589 --> 00:26:45.349
up the Rembrandts. Everybody knows that band

00:26:45.349 --> 00:26:48.710
name for one reason. And now I'm going to follow

00:26:48.710 --> 00:26:51.470
that up with a song again from 1993. I think

00:26:51.470 --> 00:26:53.150
we're stuck in certain years here. We're stuck

00:26:53.150 --> 00:26:56.490
three years apart. But here's a band that I'm

00:26:56.490 --> 00:26:58.190
going to say the name and everyone's going to

00:26:58.190 --> 00:27:03.089
be like, shut up. They play. Large venues. They're

00:27:03.089 --> 00:27:05.750
not indie. They're not alternative. However,

00:27:06.009 --> 00:27:09.009
coming from the standpoint of being embraced

00:27:09.009 --> 00:27:13.369
by radio, top 40 radio, this was one of the songs

00:27:13.369 --> 00:27:17.029
that I heard on 106 .5 The End in North Carolina

00:27:17.029 --> 00:27:20.750
in between the hit bands. And the band is The

00:27:20.750 --> 00:27:26.730
Flaming Lips. And I am going off of 1993's Transmissions

00:27:26.730 --> 00:27:29.809
from the Satellite Heart and She Don't Use Jelly.

00:27:30.299 --> 00:27:36.039
Nice. It's a fun, weird, twisted song that would

00:27:36.039 --> 00:27:40.079
only come from him. Everybody knows this band.

00:27:40.160 --> 00:27:42.299
Of course, they've toured with Weezer. They've

00:27:42.299 --> 00:27:45.299
done big shows. We get it. The bubbles that are

00:27:45.299 --> 00:27:47.960
going around. I understand they're a big band.

00:27:48.079 --> 00:27:50.279
They've recorded with Miley Cyrus when they redid

00:27:50.279 --> 00:27:54.339
Sergeant Pepper. But radio airplay, mainstream.

00:27:55.200 --> 00:27:57.700
She Don't Use Jelly had its very brief moment

00:27:57.700 --> 00:28:01.619
in the sun. And then college radio truly embraced

00:28:01.619 --> 00:28:04.180
the flaming lips because I continued to hear

00:28:04.180 --> 00:28:06.240
them all throughout my college and then beyond.

00:28:06.339 --> 00:28:08.839
But mainstream radio did not. And that's where

00:28:08.839 --> 00:28:11.799
I feel they fittingly deserve a spot on this

00:28:11.799 --> 00:28:14.819
list. Nice. Yep. Great call on that one. Great

00:28:14.819 --> 00:28:16.819
call on that one. And it's funny that, you know,

00:28:16.839 --> 00:28:18.799
you'd say that. People say, oh, they're just

00:28:18.799 --> 00:28:22.880
too mainstream. They were a big act and they

00:28:22.880 --> 00:28:27.079
sold out big shows, but not everybody starts

00:28:27.079 --> 00:28:30.359
out that way. Especially in this alternative

00:28:30.359 --> 00:28:34.059
world, you're just slogging it out and you're

00:28:34.059 --> 00:28:36.819
making your crazy music to grab people's attention

00:28:36.819 --> 00:28:39.500
and stuff like that. And then suddenly it gets

00:28:39.500 --> 00:28:42.880
everybody's attention. And there's such a great

00:28:42.880 --> 00:28:45.779
example. That one was so left field. It was so

00:28:45.779 --> 00:28:48.089
left field. that everybody started listening

00:28:48.089 --> 00:28:50.829
to it. And now you have the fun of trying to

00:28:50.829 --> 00:28:52.670
follow that up because I know that is a left

00:28:52.670 --> 00:28:55.710
field song for you. That is. That's a great one.

00:28:56.569 --> 00:29:01.049
All right. I'm going to skip up here into 1991

00:29:01.049 --> 00:29:04.670
now. I promise that the years fly by a little

00:29:04.670 --> 00:29:07.150
faster after this. And I'm going to go with this

00:29:07.150 --> 00:29:09.230
one before the other one. I'm going to go with

00:29:09.230 --> 00:29:14.579
Teenage Fan Club, Metal Baby. So another act

00:29:14.579 --> 00:29:17.900
out of Scotland, I believe they were. But just

00:29:17.900 --> 00:29:21.220
this four piece band, two guitars, bass and drum

00:29:21.220 --> 00:29:26.019
strumming big old chords, you know, with their

00:29:26.019 --> 00:29:28.900
Marshall stacks turned up to 10 and singing these,

00:29:28.960 --> 00:29:32.160
you know, beautiful pop songs with their stacks

00:29:32.160 --> 00:29:36.779
turned up to 10. And I just when I when I heard

00:29:36.779 --> 00:29:40.220
I was like, you know. This is so cool. This is

00:29:40.220 --> 00:29:44.299
so this is so beautiful and yet so loud and grungy.

00:29:44.299 --> 00:29:46.099
And I know that part of the reason they got their

00:29:46.099 --> 00:29:49.500
success is because it just it sounded grungy.

00:29:49.500 --> 00:29:54.240
Right. But it was very pop. The chord changes,

00:29:54.420 --> 00:29:57.460
the melodies, again, something the Beatles could

00:29:57.460 --> 00:30:01.019
have done only with Marshall Stax. And and I

00:30:01.019 --> 00:30:04.279
loved it. It's a fantastic song. And I'm sitting

00:30:04.279 --> 00:30:06.970
here scrolling through my list. Because I could

00:30:06.970 --> 00:30:10.769
lean into that grunge aspect of it or I can lean

00:30:10.769 --> 00:30:15.329
into the pop part of it. Right. And I think coming

00:30:15.329 --> 00:30:17.390
out of that, I'm going to lean to the pop side

00:30:17.390 --> 00:30:19.329
of things and I'm going to jump ahead a little

00:30:19.329 --> 00:30:21.289
bit because we've been staying in the early 90s.

00:30:21.289 --> 00:30:23.289
And because we're covering a whole decade, I

00:30:23.289 --> 00:30:25.759
want to give some love. to the second half of

00:30:25.759 --> 00:30:28.119
the nineties here. So I'm going to go all the

00:30:28.119 --> 00:30:31.619
way up to 1996. Nice. And I'm going to go with

00:30:31.619 --> 00:30:36.319
one of my favorite power pop songs of all time

00:30:36.319 --> 00:30:40.119
by a band that I feel is one of the most criminally

00:30:40.119 --> 00:30:43.740
underrated bands of the nineties. And the fact

00:30:43.740 --> 00:30:46.099
that they're not a household name to me is actually

00:30:46.099 --> 00:30:49.440
shocking. And the album is regretfully yours.

00:30:49.460 --> 00:30:51.960
And I'm going to go with super drag and sucked

00:30:51.960 --> 00:30:56.660
out. Nice. His voice, it's such a beautiful,

00:30:56.819 --> 00:30:59.680
airy pop song. But when he gets to the who sucked

00:30:59.680 --> 00:31:01.880
out the feeling, he's kind of letting it almost

00:31:01.880 --> 00:31:04.700
that visceral growl at the end of the notes.

00:31:04.900 --> 00:31:09.240
It adds this complexity to the song that takes

00:31:09.240 --> 00:31:12.380
what would normally feel like the theme from

00:31:12.380 --> 00:31:15.359
That Thing You Do, something written by Adam

00:31:15.359 --> 00:31:19.279
Schlesinger, very breezy power pop, and it adds

00:31:19.279 --> 00:31:22.869
this extra layer to it. There's something about

00:31:22.869 --> 00:31:25.809
this song that always stuck out to me. To this

00:31:25.809 --> 00:31:27.890
day, every time I hear it, it immediately puts

00:31:27.890 --> 00:31:31.309
a smile on my face. So I am going to follow up

00:31:31.309 --> 00:31:34.789
Teenage Fan Club with Super Drag and something.

00:31:34.990 --> 00:31:38.369
Nice. Good one. Good one. All right. Well, if

00:31:38.369 --> 00:31:39.829
you're going to take a jump into the end of the

00:31:39.829 --> 00:31:42.710
later 90s, then I'll jump up there, too. And

00:31:42.710 --> 00:31:47.289
before I jump back, take a dip in the water.

00:31:47.390 --> 00:31:50.900
Yeah, exactly. Exactly. And I'm going to go up

00:31:50.900 --> 00:31:55.980
to 1997. So this is a band. So all you really

00:31:55.980 --> 00:31:58.440
alternative aficionados will appreciate the fact

00:31:58.440 --> 00:32:00.059
that this is a band that you probably have never

00:32:00.059 --> 00:32:03.940
heard of. They were from Los Angeles. They were

00:32:03.940 --> 00:32:08.220
right there alongside us in the clubs. And they

00:32:08.220 --> 00:32:11.839
had landed a deal, I believe, on Geffen Records.

00:32:12.660 --> 00:32:17.000
And Phil Ramone, I believe, produced this album.

00:32:18.220 --> 00:32:22.000
uh the song's called flying solo by the tories

00:32:22.000 --> 00:32:26.259
and again i'm just a power pop guy and they were

00:32:26.259 --> 00:32:32.700
just a power pop band and they were so good two

00:32:32.700 --> 00:32:35.059
guitars bass and drums you know they were they

00:32:35.059 --> 00:32:37.980
were a four piece and the best thing about it

00:32:37.980 --> 00:32:40.319
was that all of them could sing and they could

00:32:40.319 --> 00:32:43.440
just sing their ass off and they had the most

00:32:43.440 --> 00:32:47.539
incredible harmonies. And we'd play shows together

00:32:47.539 --> 00:32:52.519
and we would just stand there in awe at the execution

00:32:52.519 --> 00:32:54.819
of their songs. Their songs just all sounded

00:32:54.819 --> 00:32:57.160
brilliant from stage. And they hit all of those

00:32:57.160 --> 00:32:59.559
notes and we're like, God, how did they do that?

00:32:59.980 --> 00:33:03.019
And then we'd go up there and just flounder and

00:33:03.019 --> 00:33:06.599
scream and work the audience into a frenzy, but

00:33:06.599 --> 00:33:13.460
it doesn't mean we were good. Yeah. Flying Solo

00:33:13.460 --> 00:33:17.940
by the Tories. Just another amazing, cool power

00:33:17.940 --> 00:33:20.799
pop song. And again, they had some experiences

00:33:20.799 --> 00:33:24.920
with television because. Yes. The show Jesse

00:33:24.920 --> 00:33:27.980
with Christina Applegate. Exactly. Exactly. And,

00:33:28.039 --> 00:33:29.599
you know, like I said, we hung out with them

00:33:29.599 --> 00:33:32.119
all the time. And so, you know, by that time,

00:33:32.140 --> 00:33:34.059
friends had taken off and they were like, God,

00:33:34.119 --> 00:33:36.819
this better do for us what it did for the Rembrandts.

00:33:38.349 --> 00:33:42.210
Do you know how much money this could mean? But

00:33:42.210 --> 00:33:46.109
yeah, barely one season. And that was that. Yeah.

00:33:46.190 --> 00:33:50.569
Yeah. Well, you followed them on stage. So I

00:33:50.569 --> 00:33:52.690
am going to end the side. And I promise you,

00:33:52.730 --> 00:33:55.609
this is not me brown nosing, but I am going to

00:33:55.609 --> 00:33:59.710
close out side a with my favorite song from your

00:33:59.710 --> 00:34:05.049
1998 self -titled CD too high for the supermarket.

00:34:05.750 --> 00:34:09.369
Awesome. This to me is everything that I love

00:34:09.369 --> 00:34:15.349
about The Uninvited. It is fun, memorable, and

00:34:15.349 --> 00:34:17.329
there's a little bit of a quirkiness to it that

00:34:17.329 --> 00:34:22.309
works really well. It's funky. It's indie. And

00:34:22.309 --> 00:34:29.289
I have to ask, is this a true story? As a matter

00:34:29.289 --> 00:34:33.650
of fact, yeah. Oh, it's a 100 % true story. I

00:34:33.650 --> 00:34:35.369
was going over to my brother's house to watch.

00:34:35.800 --> 00:34:39.400
college football game, USC versus UCLA. And I

00:34:39.400 --> 00:34:42.579
was supposed to pick up snacks on the way to

00:34:42.579 --> 00:34:46.599
his place. And so, yes, I partook before I went

00:34:46.599 --> 00:34:49.900
to the grocery store. And the thing was, literally,

00:34:50.099 --> 00:34:53.440
I was going to go in there and buy like 30 bucks

00:34:53.440 --> 00:34:57.789
and chips and salsa and stuff like that. And

00:34:57.789 --> 00:35:02.869
$170 later, you know, I'm walking out with everything

00:35:02.869 --> 00:35:05.610
imaginable. I come in with these like five grocery

00:35:05.610 --> 00:35:10.090
bags of crap. And I'm like, bro, I'm too high

00:35:10.090 --> 00:35:13.070
for the supermarket. And it just sort of wrote

00:35:13.070 --> 00:35:15.849
itself after that. And, you know, one of the

00:35:15.849 --> 00:35:19.380
things that we do, it's such a true story. When

00:35:19.380 --> 00:35:21.300
we would have these episodes, like various members

00:35:21.300 --> 00:35:24.159
of the band would have episodes in the supermarket.

00:35:24.400 --> 00:35:26.980
And so we would come in with a new verse. And

00:35:26.980 --> 00:35:30.239
so when we play the song live, we have like a

00:35:30.239 --> 00:35:33.960
library of 15 verses to choose from. And we'll

00:35:33.960 --> 00:35:37.300
just throw out random verses, you know, about

00:35:37.300 --> 00:35:40.539
experiences with snack pack pudding or Jimmy

00:35:40.539 --> 00:35:43.820
Dean's pure pork sausage or what happens in the

00:35:43.820 --> 00:35:47.639
feminine hygiene aisle. And I just, yeah. It

00:35:47.639 --> 00:35:50.659
just goes on. This is a song. The first time

00:35:50.659 --> 00:35:53.000
I saw the movie half baked with Dave Chappelle,

00:35:53.219 --> 00:35:56.340
Jim Brewer. How did this song not get in this

00:35:56.340 --> 00:35:59.059
movie? There's the scene where he walks out,

00:35:59.079 --> 00:36:01.780
where Kenny walks out with all the snacks and

00:36:01.780 --> 00:36:03.599
he feeds them to the horse. And every time I

00:36:03.599 --> 00:36:06.239
hear the song, I feel like there was this synergy

00:36:06.239 --> 00:36:10.340
between the two. But I absolutely love the song

00:36:10.340 --> 00:36:14.099
to the point where if my wife and I are. In the

00:36:14.099 --> 00:36:16.219
food store, sometimes I'll just turn to him and

00:36:16.219 --> 00:36:21.539
be like, stay focused, man. Oh, that's awesome.

00:36:21.860 --> 00:36:25.179
So with that, we close outside a of our nineties

00:36:25.179 --> 00:36:27.699
indie alternative mixtape, kicking things off

00:36:27.699 --> 00:36:31.159
with the laws. There she goes. Dada's Disneyland,

00:36:31.440 --> 00:36:35.599
the posies, golden blunders, the breeders, cannonball,

00:36:35.699 --> 00:36:38.550
the Rembrandt's just the way it is, baby. The

00:36:38.550 --> 00:36:41.789
Flaming Lips, She Don't Use Jelly, Teenage Fan

00:36:41.789 --> 00:36:45.809
Club, Metal Baby, Super Drag, Sucked Out, The

00:36:45.809 --> 00:36:49.190
Tories, Flying Solo, and my guest for the evening,

00:36:49.230 --> 00:36:51.730
The Uninvited, Too High for the Supermarket.

00:36:51.949 --> 00:36:54.969
Remember, you can head over to myweeklymixtape

00:36:54.969 --> 00:36:58.309
.com to hear all the songs we're discussing in

00:36:58.309 --> 00:37:02.369
this mix through the embedded playlist. Now,

00:37:02.389 --> 00:37:04.570
I want to go back to the 90s as we're talking

00:37:04.570 --> 00:37:07.010
about the 90s right now and talk a little bit

00:37:07.010 --> 00:37:10.260
about... The uninvited here, because back in

00:37:10.260 --> 00:37:13.159
the early 90s, where a lot of side A was the

00:37:13.159 --> 00:37:16.960
band won MTV's Beach House Band Contest during

00:37:16.960 --> 00:37:19.920
a time where there was no Internet and people

00:37:19.920 --> 00:37:23.059
were discovering bands either on the radio at

00:37:23.059 --> 00:37:29.320
concerts via word of mouth or MTV when MTV was.

00:37:30.449 --> 00:37:34.170
mtv it wasn't right right television shows they

00:37:34.170 --> 00:37:37.989
actually played music videos right so here you

00:37:37.989 --> 00:37:42.889
are you win this contest on a major network mtv

00:37:42.889 --> 00:37:46.010
this is probably their golden years the 80s through

00:37:46.010 --> 00:37:49.590
the early 2000s with trl is when everybody knew

00:37:49.590 --> 00:37:53.889
mtv how much did this truly help catapult the

00:37:53.889 --> 00:37:57.909
band and was this that defining moment for you

00:37:57.909 --> 00:38:01.039
guys Well, I'll tell you, we sure tried to make

00:38:01.039 --> 00:38:05.500
it our defining moment. It was it was huge at

00:38:05.500 --> 00:38:07.380
the time. We thought that this was going to that

00:38:07.380 --> 00:38:11.679
this was it. This was it. And, you know, it's

00:38:11.679 --> 00:38:15.000
funny because when they announced it on MTV,

00:38:15.340 --> 00:38:18.039
it was almost like an aside. They were just they

00:38:18.039 --> 00:38:20.519
did these two VJs were, I think, at the beach

00:38:20.519 --> 00:38:23.360
house and they were reading off who the winner

00:38:23.360 --> 00:38:27.280
was. And it was like, you know, the uninvited.

00:38:28.269 --> 00:38:30.389
And then they cut to commercial break. And I

00:38:30.389 --> 00:38:34.010
mean, that's, that's it. That was it. But, you

00:38:34.010 --> 00:38:35.650
know, we tried to milk it for all it was worth.

00:38:35.730 --> 00:38:38.989
We also got, we got $10 ,000 that we could use

00:38:38.989 --> 00:38:41.269
to buy musical equipment with, you know, and

00:38:41.269 --> 00:38:45.050
this is, what is that? 93, 94, something. And,

00:38:45.210 --> 00:38:48.389
you know, so in adjusted dollars. So we go out

00:38:48.389 --> 00:38:50.650
to, we go out to buy our musical equipment and

00:38:50.650 --> 00:38:53.329
there's a single stipulation is that, okay, since

00:38:53.329 --> 00:38:55.030
there's five guys in the band, you each get to

00:38:55.030 --> 00:38:58.679
spend $2 ,000. but you can only buy one item.

00:38:59.079 --> 00:39:00.940
So it wasn't like we got to go on a shopping

00:39:00.940 --> 00:39:04.199
spree, you know, it was like, pick out one thing.

00:39:04.719 --> 00:39:07.599
And so we each, you know, just tried to find

00:39:07.599 --> 00:39:10.400
that most expensive thing that we wanted. And

00:39:10.400 --> 00:39:12.739
then, yeah, we, you know, we did a new round

00:39:12.739 --> 00:39:15.619
of, you know, demos and inquiries to all the

00:39:15.619 --> 00:39:17.280
record labels, you know, and we put that up at

00:39:17.280 --> 00:39:19.280
the very top of the list. We got this, you know,

00:39:19.280 --> 00:39:21.539
we won this contest, we're getting, you know,

00:39:21.539 --> 00:39:27.230
exposure on MTV. And Yeah, big goose egg. Just

00:39:27.230 --> 00:39:30.389
did not lead to anything. Did not lead to anything.

00:39:30.710 --> 00:39:35.130
Wow. A couple of years later, like five or six

00:39:35.130 --> 00:39:39.570
years later, we played for the MTV Music Video

00:39:39.570 --> 00:39:43.510
Awards. Yeah, that was 99. And interestingly,

00:39:43.570 --> 00:39:46.530
that was a wholly separate thing. I mean, they

00:39:46.530 --> 00:39:50.730
had since forgotten about us. And a whole new

00:39:50.730 --> 00:39:54.699
people in the executive suite, right? You know,

00:39:54.699 --> 00:39:57.440
we managed we managed to get that, but it was

00:39:57.440 --> 00:40:00.960
completely unrelated. So, yeah, I mean, we milked

00:40:00.960 --> 00:40:06.119
it to death, but it we it it did not move the

00:40:06.119 --> 00:40:09.639
meter. Yeah. And at that time, that's actually

00:40:09.639 --> 00:40:12.159
shocking because you would think MTV, all it

00:40:12.159 --> 00:40:15.519
would take was simply a mumble of the band's

00:40:15.519 --> 00:40:17.420
name and everybody would have been salivating

00:40:17.420 --> 00:40:19.119
to get to the store and buy it because that's

00:40:19.119 --> 00:40:22.539
how influential MTV was at that time. Yeah. And.

00:40:23.320 --> 00:40:26.480
The thing was, you know, one of the main reasons

00:40:26.480 --> 00:40:29.019
that it didn't pan out to be anything was that

00:40:29.019 --> 00:40:33.420
the song that won the contest was this song called

00:40:33.420 --> 00:40:37.900
Successful Vegetarian. And very much, very much

00:40:37.900 --> 00:40:41.099
like the Flaming Lips, just a weird kind of song,

00:40:41.260 --> 00:40:45.800
but straight up bluegrass. It was a bluegrass

00:40:45.800 --> 00:40:50.119
song. My brother on banjo, acoustic guitar, played

00:40:50.119 --> 00:40:53.750
with the standup bass. uh harmonica and it's

00:40:53.750 --> 00:40:57.650
just straight and i mean it is bluegrass music

00:40:57.650 --> 00:40:59.929
you know and that was part of the blessing and

00:40:59.929 --> 00:41:04.190
the curse of the uninvited to this day is what

00:41:04.190 --> 00:41:08.349
are you guys doing what is this you know that

00:41:08.349 --> 00:41:10.510
was you know it was a super popular song for

00:41:10.510 --> 00:41:13.670
us the fans loved it and we put it on the seven

00:41:13.670 --> 00:41:17.230
inch single and you know but it's bluegrass and

00:41:17.230 --> 00:41:19.150
you know you put that against too high for the

00:41:19.150 --> 00:41:22.130
supermarket same kind of funny content in terms,

00:41:22.190 --> 00:41:25.829
you know, uh, but yeah, too high is like kind

00:41:25.829 --> 00:41:29.630
of a funky pop guitar driven song. And then,

00:41:29.650 --> 00:41:31.750
you know, the song was a kind of a breakout forest

00:41:31.750 --> 00:41:34.110
on our Atlantic record. What God said is straight

00:41:34.110 --> 00:41:37.969
up ska punk. It is a punk and that's what it

00:41:37.969 --> 00:41:41.230
is. And that's the difference. That's the difference.

00:41:41.630 --> 00:41:45.369
If successful vegetarian was what God said, if

00:41:45.369 --> 00:41:48.360
it was like a ska punk song at the time. Yeah,

00:41:48.380 --> 00:41:49.900
we probably would have gotten signed at that

00:41:49.900 --> 00:41:52.440
moment. But, you know, the record label was like,

00:41:52.619 --> 00:41:59.219
that's a bluegrass song. Yeah. And what God said

00:41:59.219 --> 00:42:01.420
was the other song that I had in my list that

00:42:01.420 --> 00:42:04.260
I was debating between the two. But I felt like

00:42:04.260 --> 00:42:07.340
where side one was heading too high for the supermarket

00:42:07.340 --> 00:42:09.639
just fit that vibe a little bit better, in my

00:42:09.639 --> 00:42:12.820
opinion. Absolutely. But now fast forwarding

00:42:12.820 --> 00:42:16.300
to. current times. The Uninvited has been super

00:42:16.300 --> 00:42:18.639
busy. Your latest album, Broken Promise Land,

00:42:18.780 --> 00:42:21.260
was released through the band's website in December

00:42:21.260 --> 00:42:23.980
of 2022. And there's something that I personally

00:42:23.980 --> 00:42:26.780
find extremely interesting about this album.

00:42:27.039 --> 00:42:30.000
You can buy it on the band's website, which is

00:42:30.000 --> 00:42:34.219
theuninvited .band, but you can't buy the MP3s

00:42:34.219 --> 00:42:37.920
on iTunes or stream it on Spotify or Apple Music

00:42:37.920 --> 00:42:40.260
or any of the other providers. Is there a reason

00:42:40.260 --> 00:42:43.659
for that? There is a reason for that. Overall,

00:42:43.960 --> 00:42:47.739
I mean, the reason is we are experimenting. You

00:42:47.739 --> 00:42:50.579
know, this is our first album in 20 years or

00:42:50.579 --> 00:42:54.719
whatever, and it's a new digital age. And so

00:42:54.719 --> 00:42:57.179
we're just trying to find the best way to market

00:42:57.179 --> 00:43:01.539
ourselves and make a buck at it. So we decided

00:43:01.539 --> 00:43:04.420
that we were not going to just put the album

00:43:04.420 --> 00:43:06.659
out to the streaming services en masse. Like,

00:43:06.659 --> 00:43:10.400
here's all 10 tracks. Here's the album. Go out

00:43:10.400 --> 00:43:13.190
and stream it. You stream the whole album and

00:43:13.190 --> 00:43:18.869
we make a penny and a half, unless we're on Apple,

00:43:18.949 --> 00:43:21.690
then maybe it's two pennies, something like that.

00:43:22.150 --> 00:43:26.809
If you buy the album for 10 bucks, we net $8.

00:43:28.170 --> 00:43:31.690
So that's huge. That's huge. You go out and sell

00:43:31.690 --> 00:43:35.050
10 ,000 copies like that. Well, that's huge.

00:43:35.769 --> 00:43:38.230
So we're doing it kind of the old school way

00:43:38.230 --> 00:43:42.230
of like, we'll release singles. on the DSPs,

00:43:42.250 --> 00:43:45.230
on all the streaming services. And if you're

00:43:45.230 --> 00:43:46.489
interested in getting the album, you can go buy

00:43:46.489 --> 00:43:49.650
it. And you can buy it for streaming. You can

00:43:49.650 --> 00:43:53.230
buy it as a CD. And we're thinking that maybe

00:43:53.230 --> 00:43:56.010
our next album is going to be vinyl exclusively.

00:43:56.829 --> 00:43:59.909
You can stream some singles on Spotify. And if

00:43:59.909 --> 00:44:01.210
you want the album, you can go buy the vinyl

00:44:01.210 --> 00:44:03.289
album. You can put the needle down on that baby.

00:44:04.469 --> 00:44:09.409
Streaming is a humongous ripoff. It's money -wise.

00:44:09.869 --> 00:44:11.989
Money -wise, it's just, you know, there's no

00:44:11.989 --> 00:44:16.210
money in it. You go out and get yourself a million

00:44:16.210 --> 00:44:18.429
streams on Spotify. That sounds like a lot. Sure

00:44:18.429 --> 00:44:22.590
does. That's $3 ,000. Yay. Yay, $3 ,000. How

00:44:22.590 --> 00:44:25.510
much did it take you to get that? Streaming is

00:44:25.510 --> 00:44:30.070
purely, you know, exposure. You have to look

00:44:30.070 --> 00:44:34.730
at streaming now as a way to parlay album sales

00:44:34.730 --> 00:44:39.539
and concert revenue or merchandise. I find that

00:44:39.539 --> 00:44:42.679
fascinating because as somebody who owns 4 ,500

00:44:42.679 --> 00:44:48.099
CDs, I also have a Spotify account. But I use

00:44:48.099 --> 00:44:50.519
it for one reason and one reason only, which

00:44:50.519 --> 00:44:54.059
was something I did not have in the 80s and 90s

00:44:54.059 --> 00:44:57.019
when I started my CD collection, was the ability

00:44:57.019 --> 00:45:00.360
to listen to something before I purchased the

00:45:00.360 --> 00:45:03.039
physical copy. So if there's an album that comes

00:45:03.039 --> 00:45:05.059
out, I can listen to it all the way through.

00:45:06.409 --> 00:45:09.789
If it's an album I just don't jive with, I don't

00:45:09.789 --> 00:45:12.070
have to buy it and I could save some money to

00:45:12.070 --> 00:45:14.130
put towards, I don't know, my kid's college funds

00:45:14.130 --> 00:45:16.570
at some point. I'm going to have to worry about.

00:45:17.210 --> 00:45:19.989
But even though it was just a penny and a half,

00:45:20.070 --> 00:45:23.250
at least the band got something for their work

00:45:23.250 --> 00:45:25.909
for me. Because they might not be a band that

00:45:25.909 --> 00:45:28.969
I jive with, which is totally fine. But I still

00:45:28.969 --> 00:45:32.969
supported them in some way. Now for the bands

00:45:32.969 --> 00:45:35.989
I do like, I go out and... Try to find a way

00:45:35.989 --> 00:45:38.650
to support it via physical. So if you do press

00:45:38.650 --> 00:45:41.030
the next album on vinyl, please do a CD as well.

00:45:41.090 --> 00:45:43.050
Thank you. Just throwing that out as a PSA. Just

00:45:43.050 --> 00:45:46.250
one copy. It's fine. I'm sure we will. Yeah.

00:45:46.489 --> 00:45:49.210
You can do CD on demand now, which is crazy and

00:45:49.210 --> 00:45:52.550
affordable. And so, yeah, that's what we do.

00:45:52.730 --> 00:45:55.929
Everything's on demand. Yeah, definitely. But

00:45:55.929 --> 00:45:57.389
you know what? Like I said, it's an experiment

00:45:57.389 --> 00:46:01.320
and we're figuring it out. I may come back on

00:46:01.320 --> 00:46:03.539
here next year and say, yeah, yeah, that idea

00:46:03.539 --> 00:46:07.860
didn't work. Here's a new one. Yeah. But by experimenting,

00:46:07.860 --> 00:46:10.619
you're finding out and learning along the way.

00:46:10.679 --> 00:46:13.380
And I do the same thing with this podcast. So

00:46:13.380 --> 00:46:15.539
I do want to talk about some of your singles.

00:46:15.559 --> 00:46:18.800
And because you are the band on the show, I have

00:46:18.800 --> 00:46:21.619
permission to play some of these clips. Anyone

00:46:21.619 --> 00:46:23.619
you want. All right. The first one I'm going

00:46:23.619 --> 00:46:26.519
to start with is a song called I'm Not Dead Yet.

00:46:57.579 --> 00:47:01.079
All right, JT, there are two versions of this

00:47:01.079 --> 00:47:03.880
song. The version I just played, which is available

00:47:03.880 --> 00:47:07.219
on Spotify and all the other streaming services,

00:47:07.380 --> 00:47:10.599
as well as a version on the website that's listed

00:47:10.599 --> 00:47:14.519
as the remix. And I listened to it there. A little

00:47:14.519 --> 00:47:16.940
bit of different lyrics. What's the story between

00:47:16.940 --> 00:47:19.000
the two versions of the song and releasing a

00:47:19.000 --> 00:47:21.519
new version to streaming services? Absolutely.

00:47:21.579 --> 00:47:25.059
So actually the. The one that's on the one that's

00:47:25.059 --> 00:47:28.639
called the remix is a remix from the album version.

00:47:28.699 --> 00:47:31.239
The version on the album, it's got some colorful

00:47:31.239 --> 00:47:33.980
language. So we decided to take out the colorful

00:47:33.980 --> 00:47:36.800
language and then we just wanted to remix it

00:47:36.800 --> 00:47:40.900
to be bigger, louder and more in your face. And

00:47:40.900 --> 00:47:44.079
that's basically what we did. So we. Uh, we,

00:47:44.219 --> 00:47:47.119
uh, hooked up with this guy, uh, Gordon Saron,

00:47:47.340 --> 00:47:50.420
who, uh, mixes all of Nickelback stuff, by the

00:47:50.420 --> 00:47:53.599
way, or like make this rock. And so, yeah, he

00:47:53.599 --> 00:47:56.320
just basically applied the rock to the mix and

00:47:56.320 --> 00:48:01.559
we redid the lyric and yeah. And, and, and that's

00:48:01.559 --> 00:48:05.260
it. That's what you got on, uh, on Spotify. And

00:48:05.260 --> 00:48:07.300
you just heard a clip there. It's an awesome

00:48:07.300 --> 00:48:10.400
song. I purchased it through Qbaz. Oh, nice.

00:48:10.559 --> 00:48:14.269
Which is a hi -fi. digital service because i

00:48:14.269 --> 00:48:17.429
i hope essentially the band gets more from that

00:48:17.429 --> 00:48:21.650
cut however i'm not an mp3 person i like my lossless

00:48:21.650 --> 00:48:24.050
and they do sell lossless so nice that is me

00:48:24.050 --> 00:48:26.889
being the music nerd there yeah oh well you gotta

00:48:26.889 --> 00:48:29.369
you gotta and the next track i'm going to do

00:48:29.369 --> 00:48:31.969
is another one i bought from that cuba site and

00:48:31.969 --> 00:48:35.369
it's a single you put out called unwritten yes

00:49:20.079 --> 00:49:22.559
Now this track has a real, I want to call it

00:49:22.559 --> 00:49:24.960
Americana vibe to it while still keeping that

00:49:24.960 --> 00:49:28.039
signature sound intact. And I'd love to know

00:49:28.039 --> 00:49:31.360
when you play a song like I'm not dead yet. And

00:49:31.360 --> 00:49:33.559
then you play a song like unwritten, you're getting

00:49:33.559 --> 00:49:36.099
the same story. Like we talked about earlier

00:49:36.099 --> 00:49:38.940
with what God said and too high for the supermarket.

00:49:39.260 --> 00:49:42.840
There's a lot of different vibes that happen

00:49:42.840 --> 00:49:45.800
in the uninvited. Is that something that the

00:49:45.800 --> 00:49:49.059
band. actively seeks to accomplish during writing

00:49:49.059 --> 00:49:52.320
and recording or am i really overthinking this

00:49:52.320 --> 00:49:55.599
from the outside looking in no no it's you're

00:49:55.599 --> 00:50:00.480
not overthinking it because it's something that

00:50:00.480 --> 00:50:05.239
needs to be thought about um so this is this

00:50:05.239 --> 00:50:07.539
is a thing this is an issue if you want to call

00:50:07.539 --> 00:50:12.400
it that you know that has has plagued us i'll

00:50:12.400 --> 00:50:15.619
just say uh from the very beginning My brother

00:50:15.619 --> 00:50:19.920
and I are the primary songwriters, and our focus

00:50:19.920 --> 00:50:24.280
has always been on songwriting. We're not stellar,

00:50:24.460 --> 00:50:28.519
amazing guitar players. We don't have the best

00:50:28.519 --> 00:50:32.800
voices in the world. The thing that we really

00:50:32.800 --> 00:50:36.420
focus on is songwriting. And we came from an

00:50:36.420 --> 00:50:38.059
Americana background, a bluegrass background.

00:50:38.340 --> 00:50:39.739
The first thing we did was a bluegrass band.

00:50:39.860 --> 00:50:43.500
My brother was 14. I was 12. He played banjo.

00:50:43.519 --> 00:50:46.360
I played mandolin. And we did bluegrass bands.

00:50:46.460 --> 00:50:53.840
Weird. So that element is in our DNA. But mostly

00:50:53.840 --> 00:50:57.280
what we end up doing is we write all these songs.

00:50:57.480 --> 00:51:00.739
And especially in the early years, Steve and

00:51:00.739 --> 00:51:06.440
I, we co -wrote a lot. And we were very 100 %

00:51:06.440 --> 00:51:08.340
honest with each other. And we'd come to each

00:51:08.340 --> 00:51:10.219
other and say, I got this idea. Your idea sucks.

00:51:10.480 --> 00:51:12.340
Okay, I'll go on to the next idea. How about

00:51:12.340 --> 00:51:14.079
this bridge? That bridge is good, but the chorus

00:51:14.079 --> 00:51:16.420
sucks. Let's do something else. And then we'd

00:51:16.420 --> 00:51:17.940
get to the point where when we were writing songs

00:51:17.940 --> 00:51:20.619
on our own, it was like, I came up with a song.

00:51:20.719 --> 00:51:21.860
What do you think of the song, bro? Oh, that

00:51:21.860 --> 00:51:23.380
song sucks. You got another one? Yeah, I got

00:51:23.380 --> 00:51:26.840
this one. And so the pattern that emerged from

00:51:26.840 --> 00:51:31.409
all this was, is it a great song? You know, is

00:51:31.409 --> 00:51:34.250
that a great song? If it's a great song, let's

00:51:34.250 --> 00:51:36.869
work it up. And then we'd work it up like, wow,

00:51:36.929 --> 00:51:38.989
that's kind of a great song. And then we would

00:51:38.989 --> 00:51:42.510
play it and we'd play it. And the ultimate arbiter

00:51:42.510 --> 00:51:45.409
would be the audience. And if the audience really

00:51:45.409 --> 00:51:50.730
loved it, we're like, it's a keeper. And so stylistically,

00:51:50.769 --> 00:51:54.030
we might be all over the map and we were, and

00:51:54.030 --> 00:52:00.980
we still are. That is not helpful in a marketing

00:52:00.980 --> 00:52:04.480
point of view. And this happened to us. I mean,

00:52:04.500 --> 00:52:06.880
this happened to us all the time. I mean, Atlantic

00:52:06.880 --> 00:52:09.619
even came down and said to our manager, hey,

00:52:09.780 --> 00:52:15.559
look. And this was a defining moment. The label

00:52:15.559 --> 00:52:17.960
came down and said, look, we know how to market

00:52:17.960 --> 00:52:23.139
widgets. So what's the widget here with the uninvited?

00:52:23.239 --> 00:52:27.659
All right. Are they? a party rock band, okay?

00:52:27.820 --> 00:52:30.280
Because if they're a party rock band, we know

00:52:30.280 --> 00:52:33.920
how to market a party rock band. Or are they

00:52:33.920 --> 00:52:36.760
a serious band? Because if they're a serious

00:52:36.760 --> 00:52:39.380
band, we know how to market serious bands. But

00:52:39.380 --> 00:52:41.849
what we don't know how to do? We don't know how

00:52:41.849 --> 00:52:44.409
to market a band that is both a party rock band

00:52:44.409 --> 00:52:47.170
and a serious band on the same album. A band

00:52:47.170 --> 00:52:52.449
that has two lead singers. We don't know how

00:52:52.449 --> 00:52:55.650
to do this. A band that has a banjo in one track

00:52:55.650 --> 00:53:00.369
and then a farfisa in the other. Yeah, we don't

00:53:00.369 --> 00:53:03.369
know how to do that. So if you could just get

00:53:03.369 --> 00:53:06.269
them to be one thing, we'll give you another

00:53:06.269 --> 00:53:10.320
single and we'll move on with that. And, you

00:53:10.320 --> 00:53:12.440
know, our manager came to us with that and we're

00:53:12.440 --> 00:53:16.099
like, yeah, we're this weird thing. You know,

00:53:16.139 --> 00:53:18.679
we couldn't we couldn't make the decision not

00:53:18.679 --> 00:53:23.500
to, you know, choose one. And it is that that

00:53:23.500 --> 00:53:28.260
decision, that choice, that thing that haunts

00:53:28.260 --> 00:53:33.019
us to this day in terms of I'm out here trying

00:53:33.019 --> 00:53:36.099
to market our music on Spotify. You're trying

00:53:36.099 --> 00:53:39.000
to use Facebook ads to get Spotify plays on whatever

00:53:39.000 --> 00:53:40.400
playlist, blah, blah, blah, blah, blah, blah.

00:53:40.519 --> 00:53:42.800
And it's still like right here in my face. What

00:53:42.800 --> 00:53:47.599
are you guys? What are you? And my brother and

00:53:47.599 --> 00:53:49.960
I have this conversation to this day. Hey, bro,

00:53:50.099 --> 00:53:53.539
should we just say that we're an alt Americana

00:53:53.539 --> 00:53:57.539
band and lean that direction and take songs that

00:53:57.539 --> 00:54:01.139
are outliers and cast them aside and say, look,

00:54:01.159 --> 00:54:03.380
no, we understand that song's an outlier. We're

00:54:03.380 --> 00:54:06.280
not going to do it. We are. alt americana band

00:54:06.280 --> 00:54:09.199
are we going to do that should we do that after

00:54:09.199 --> 00:54:14.500
50 freaking years should we do that and we haven't

00:54:14.500 --> 00:54:19.300
made a decision yet now well one of the things

00:54:19.300 --> 00:54:23.480
that i love seeing is i'm not a massive tiktok

00:54:23.480 --> 00:54:27.670
person i do have my tiktok channel your channel

00:54:27.670 --> 00:54:30.809
is one of the main reasons i enjoy going on the

00:54:30.809 --> 00:54:34.150
app i love hearing the stories about what you've

00:54:34.150 --> 00:54:37.650
done through your band your experiences some

00:54:37.650 --> 00:54:39.690
of the stories you've told one of the ones if

00:54:39.690 --> 00:54:42.170
you don't mind me poaching one of your pieces

00:54:42.170 --> 00:54:45.409
of content from the channel you had a band open

00:54:45.409 --> 00:54:48.690
for the uninvited that went on to do some pretty

00:54:48.690 --> 00:54:52.349
interesting things yeah yeah i mean We did, you

00:54:52.349 --> 00:54:54.409
know, we played a lot of shows. We did a lot

00:54:54.409 --> 00:54:56.710
of touring, especially in the pre -Atlantic years,

00:54:56.909 --> 00:54:58.829
you know, just, and especially around the Western

00:54:58.829 --> 00:55:01.489
US since we were based in Los Angeles. And, you

00:55:01.489 --> 00:55:03.929
know, we, so we played San Diego, Las Vegas,

00:55:04.110 --> 00:55:07.650
Salt Lake City, you know, big Western US tour

00:55:07.650 --> 00:55:10.130
circuit. And so, yeah, we had a lot of bands

00:55:10.130 --> 00:55:11.429
we played with and a lot of bands that opened

00:55:11.429 --> 00:55:13.789
up for us. And I think one of the, one of the,

00:55:13.789 --> 00:55:17.599
one of the great examples is We used to play

00:55:17.599 --> 00:55:20.380
this place called Doc's Lab, Doc Ricketts in

00:55:20.380 --> 00:55:23.679
Monterey. And Monterey is sort of our adopted

00:55:23.679 --> 00:55:27.699
hometown because we became very popular in Monterey.

00:55:27.900 --> 00:55:31.260
And we became so popular at Doc Ricketts that

00:55:31.260 --> 00:55:34.000
whenever we played, there was a line around the

00:55:34.000 --> 00:55:37.500
block, that whole thing. And so other bands wanted

00:55:37.500 --> 00:55:41.119
to play with us. And this one band wanted to

00:55:41.119 --> 00:55:43.860
play with us really bad. And so the owner eventually

00:55:43.860 --> 00:55:46.960
of the club was like, well, You got to talk to

00:55:46.960 --> 00:55:49.320
the band. You got to talk to JT or Steve and

00:55:49.320 --> 00:55:51.380
they'll let you know if you can open for them

00:55:51.380 --> 00:55:53.900
because we don't need an opener. They're going

00:55:53.900 --> 00:55:57.019
to pack the place no matter what. So the guy

00:55:57.019 --> 00:56:00.000
gives me a call. He's like, yeah, I'm in this

00:56:00.000 --> 00:56:03.780
band. We're called Train and we're big here in

00:56:03.780 --> 00:56:06.139
San Francisco and we want to open for you. I'm

00:56:06.139 --> 00:56:10.059
like, all right, come open for us. So they come

00:56:10.059 --> 00:56:13.679
and open. I didn't hear much of the set. I only

00:56:13.679 --> 00:56:16.599
heard that they closed with a cover of Zeppelin's

00:56:16.599 --> 00:56:19.980
Kashmir. And everyone seemed to like their cover

00:56:19.980 --> 00:56:23.460
of Kashmir. But after the show, an inordinate

00:56:23.460 --> 00:56:25.320
amount of people came up to us like, God, that

00:56:25.320 --> 00:56:27.219
opening band sucked, man. What was up with that?

00:56:27.519 --> 00:56:30.119
Like, oh, I'm sorry. You know, wow. We were just

00:56:30.119 --> 00:56:32.679
trying to give these guys a try. You know, sorry.

00:56:33.719 --> 00:56:37.460
And so the guy calls. again. It's like, dude,

00:56:37.579 --> 00:56:39.800
that was so cool. Let's do that again. I'm like,

00:56:39.860 --> 00:56:44.199
Hey man, I'm sorry, but no, um, crowd thought

00:56:44.199 --> 00:56:47.739
you sucked. And so we, we can't, we can't do

00:56:47.739 --> 00:56:49.760
that. We can't, we can't do anything that's going

00:56:49.760 --> 00:56:54.119
to jeopardize our crowd. So no, you, you can't

00:56:54.119 --> 00:56:57.960
open for us anymore. And you know, but they ended

00:56:57.960 --> 00:57:03.559
up being train. So they went on to, you know,

00:57:03.559 --> 00:57:07.420
a level of, of success that is quite excessive,

00:57:07.559 --> 00:57:12.940
quite a bit more than we ever obtained. So, you

00:57:12.940 --> 00:57:15.639
know, and there's, there's a small handful of

00:57:15.639 --> 00:57:18.400
very similar stories of bands that opened for

00:57:18.400 --> 00:57:21.500
us that went on to much greater levels of fame

00:57:21.500 --> 00:57:25.139
than we did. I guess you're not picking up the

00:57:25.139 --> 00:57:30.039
phone and saying, hey, train. No. Remember us?

00:57:30.239 --> 00:57:35.679
Remember us? Yeah. Yeah. That's a hard one. Yeah.

00:57:35.820 --> 00:57:38.659
Well, for the independent music fans out there,

00:57:38.719 --> 00:57:41.920
I highly suggest you follow The Uninvited on

00:57:41.920 --> 00:57:46.619
TikTok. JT's content is absolutely amazing. I

00:57:46.619 --> 00:57:50.110
feel like you're kind of working through. With

00:57:50.110 --> 00:57:53.090
your experience of being on a major label and

00:57:53.090 --> 00:57:55.989
kind of breaking down the walls for musicians

00:57:55.989 --> 00:57:58.469
that might not know about that. And I think that's

00:57:58.469 --> 00:58:02.349
important for musicians to hear because there's

00:58:02.349 --> 00:58:05.650
these people have views of what they expect the

00:58:05.650 --> 00:58:08.710
industry to be. And you've lived it and experienced

00:58:08.710 --> 00:58:10.909
it and you're still doing the indie thing. So

00:58:10.909 --> 00:58:13.730
having the insight of major and indie, I just

00:58:13.730 --> 00:58:16.530
find the channel absolutely fascinating. And

00:58:16.530 --> 00:58:19.699
I'd love to know. Are you getting from the band

00:58:19.699 --> 00:58:21.920
level something out of it where you feel like

00:58:21.920 --> 00:58:24.340
it's turning to more listens? Is it turning to

00:58:24.340 --> 00:58:28.119
more engagement? And are other artists reaching

00:58:28.119 --> 00:58:30.079
out to you? Because I feel like the stories you're

00:58:30.079 --> 00:58:33.500
telling are important for indie musicians that

00:58:33.500 --> 00:58:35.800
are trying to start out now. I feel like this

00:58:35.800 --> 00:58:38.960
is stuff they need to just know. It's interesting

00:58:38.960 --> 00:58:41.239
you would put it that way because the biggest.

00:58:42.139 --> 00:58:44.579
biggest benefit of our TikTok channel at this

00:58:44.579 --> 00:58:46.780
point is that, yeah, it's a, it's group therapy

00:58:46.780 --> 00:58:50.780
for musicians. You know, we went in going, all

00:58:50.780 --> 00:58:52.260
right, here's this new social media platform

00:58:52.260 --> 00:58:54.539
that we have to be part of, you know, and let's

00:58:54.539 --> 00:58:56.079
just, you know, okay, here we go. And we did

00:58:56.079 --> 00:58:57.840
our band thing, right. And we had put out little

00:58:57.840 --> 00:59:00.860
clips of us playing live shows and getting ready

00:59:00.860 --> 00:59:03.920
to go on tour and recording in the studio and,

00:59:03.940 --> 00:59:05.760
you know, that kind of stuff. And it just fell

00:59:05.760 --> 00:59:08.420
on deaf ears. No one, no one, no one gave a crap

00:59:08.420 --> 00:59:11.849
about it at all. And so it was only when, you

00:59:11.849 --> 00:59:13.030
know, we started getting in front of the mic

00:59:13.030 --> 00:59:14.789
and saying, all right, here's our experiences,

00:59:14.829 --> 00:59:16.929
what we've been through, that it started getting

00:59:16.929 --> 00:59:20.989
any traction. And, you know, it becomes sort

00:59:20.989 --> 00:59:25.650
of a, you know, its own little macrocosm because

00:59:25.650 --> 00:59:30.190
now you stop reaching music fans as much as you're

00:59:30.190 --> 00:59:33.909
reaching musicians. But you know what? I think

00:59:33.909 --> 00:59:36.590
it's great because if, you know, it's become

00:59:36.590 --> 00:59:41.289
this place where I'm able to talk about my experience

00:59:41.289 --> 00:59:43.769
in the business and my perspective on things

00:59:43.769 --> 00:59:47.010
and other musicians come in and say, oh my God,

00:59:47.190 --> 00:59:49.429
I feel the same way. I'm going through the same

00:59:49.429 --> 00:59:51.889
thing. What did you do about this? What did you

00:59:51.889 --> 00:59:54.039
do about that? Or they can come in and say, wow,

00:59:54.159 --> 00:59:56.300
man, you are so full of BS. I can't even believe

00:59:56.300 --> 00:59:59.860
you're on this platform. But then we can engage

00:59:59.860 --> 01:00:02.579
in some good dialogue because the more things

01:00:02.579 --> 01:00:05.300
change, the more they stay the same. Oh, man,

01:00:05.400 --> 01:00:08.179
you were on a label back in the Jurassic period.

01:00:08.380 --> 01:00:10.800
You don't know anything. It's like, oh, no, man,

01:00:10.940 --> 01:00:14.860
no. The motivation is still the same. This is

01:00:14.860 --> 01:00:17.780
about optimizing shareholder value. They don't

01:00:17.780 --> 01:00:20.280
give a flying you -know -what about anything

01:00:20.280 --> 01:00:24.099
else. So yeah, it's become something different

01:00:24.099 --> 01:00:26.219
than I thought it would be. And, you know, going

01:00:26.219 --> 01:00:28.059
back to your question of, you know, has it helped

01:00:28.059 --> 01:00:32.260
the band a little? There's a couple of truisms

01:00:32.260 --> 01:00:35.280
here. One, it has helped a little, right? I can

01:00:35.280 --> 01:00:38.699
see that people click on our link, you know,

01:00:38.699 --> 01:00:41.599
that's in our bio and, you know, people go and

01:00:41.599 --> 01:00:44.380
listen to the music. Not a ton of people, you

01:00:44.380 --> 01:00:48.280
know, maybe it's a 2 % conversion rate there.

01:00:49.059 --> 01:00:51.969
Some people have come to our shows. I, you know,

01:00:51.969 --> 01:00:54.329
I saw you on TikTok. Oh my God. How about that?

01:00:54.449 --> 01:00:59.949
So, you know, that's cool, but it's also part

01:00:59.949 --> 01:01:02.789
of the self -fulfilling prophecy of the whole

01:01:02.789 --> 01:01:05.070
thing. We've had a couple of successful videos,

01:01:05.190 --> 01:01:06.329
you know, I've been doing this for a while now

01:01:06.329 --> 01:01:09.010
where you got to like up to like 10 ,000 followers

01:01:09.010 --> 01:01:12.670
and promoters want to hear that promoters want

01:01:12.670 --> 01:01:13.949
to hear how many, how many followers do you have

01:01:13.949 --> 01:01:16.309
on TikTok? I got 10 ,000 followers. Oh, okay.

01:01:16.389 --> 01:01:20.710
I'll answer your email then, you know, and They

01:01:20.710 --> 01:01:27.909
don't know that 9 ,700 of them don't interact

01:01:27.909 --> 01:01:33.710
with the account at all. They just want to hear

01:01:33.710 --> 01:01:36.949
the number. And so you can tell them the number

01:01:36.949 --> 01:01:40.050
and suddenly you have legitimacy. But I think

01:01:40.050 --> 01:01:42.650
that applies to any social media platform. Oh,

01:01:42.670 --> 01:01:45.610
by all means. Yeah, Facebook followers. Oh, you

01:01:45.610 --> 01:01:48.659
are legit. I got 100 ,000 Instagram followers.

01:01:48.739 --> 01:01:52.170
Oh, you are legit. And the problem is you can

01:01:52.170 --> 01:01:54.750
spend, and I have the same problem with the podcast,

01:01:54.849 --> 01:01:57.809
more time being a social media person than you

01:01:57.809 --> 01:02:00.949
can investing that time into your songs or for,

01:02:00.989 --> 01:02:03.989
in my instance, into reaching out to get guests

01:02:03.989 --> 01:02:06.949
on the show, booking and producing the show.

01:02:07.090 --> 01:02:09.230
There's a lot of work that goes into podcasting.

01:02:09.250 --> 01:02:11.909
I wish I could say that you and I just turn these

01:02:11.909 --> 01:02:15.230
mics on, we talk, and I just hit stop and upload

01:02:15.230 --> 01:02:17.829
it and I walk away and I'm all done and thousands

01:02:17.829 --> 01:02:19.449
of people are going to be running to listen.

01:02:20.059 --> 01:02:22.760
That's the goal. But there's a lot of work that

01:02:22.760 --> 01:02:25.539
goes into podcasting, just like music. And you

01:02:25.539 --> 01:02:28.739
could conceivably spend more time engaging social

01:02:28.739 --> 01:02:33.460
media just to because for me, podcasting is a

01:02:33.460 --> 01:02:36.400
discussion. So the social media is where the

01:02:36.400 --> 01:02:38.699
discussion continues after an episode goes out.

01:02:38.780 --> 01:02:41.079
And I'm blessed to have a lot of the mixtapers

01:02:41.079 --> 01:02:44.460
who engage with me on social media. So it does

01:02:44.460 --> 01:02:46.340
become a double edged sword, though, because

01:02:46.340 --> 01:02:49.219
you could stop investing into the actual. art

01:02:49.219 --> 01:02:50.679
that you're trying to create. And I'm not trying

01:02:50.679 --> 01:02:54.840
to say the show is art, but it is a form of output.

01:02:55.199 --> 01:02:58.519
It's a creative output. Yes. So trying to strike

01:02:58.519 --> 01:03:00.820
a balance is very complicated. So I completely

01:03:00.820 --> 01:03:02.519
see where you're coming from. And I think that's

01:03:02.519 --> 01:03:06.489
why I resonate with the content so much. We are

01:03:06.489 --> 01:03:08.369
going to continue talking about the uninvited

01:03:08.369 --> 01:03:10.590
in a little bit, but we did promise people a

01:03:10.590 --> 01:03:14.130
side B to this indie alternative playlist. So

01:03:14.130 --> 01:03:15.909
let's get back to it. And I get to kick things

01:03:15.909 --> 01:03:20.769
off this time. And I'm going to go to 1996 and

01:03:20.769 --> 01:03:24.670
ask the question. So just how far down do you

01:03:24.670 --> 01:03:27.489
want to go? And we could talk it out over a cup

01:03:27.489 --> 01:03:30.969
of Joe. I am going with the refreshments banditos

01:03:30.969 --> 01:03:36.750
from 1996 is fizzy, fuzzy, big and buzzy. Another

01:03:36.750 --> 01:03:42.130
band that just I don't get. That album to me

01:03:42.130 --> 01:03:47.849
is a snapshot of 1996 musically. They checked

01:03:47.849 --> 01:03:52.690
off every box that to me would put them in the

01:03:52.690 --> 01:03:56.690
same and if not maybe even bigger than a Matchbox

01:03:56.690 --> 01:04:01.130
20 at the time. They had the sound, the look,

01:04:01.289 --> 01:04:05.570
everything, the catchiness, the hooks. And Bandidos

01:04:05.570 --> 01:04:08.349
is the one song that did get a little bit of

01:04:08.349 --> 01:04:10.530
play, but I feel like this band just didn't get

01:04:10.530 --> 01:04:13.349
their just due. And I want them to have it tonight.

01:04:14.250 --> 01:04:16.670
Nice. So I'm kicking it off with Bandidos from

01:04:16.670 --> 01:04:20.050
The Refreshments. Such a great choice. Love that

01:04:20.050 --> 01:04:22.530
album. Love that band. We opened for them one

01:04:22.530 --> 01:04:28.199
time in Tucson, Arizona. yeah with dead hot workshop

01:04:28.199 --> 01:04:31.000
which was sort of a rising band from that that

01:04:31.000 --> 01:04:33.179
scene too but i think you know that you had the

01:04:33.179 --> 01:04:36.780
gin blossoms were were like were like the big

01:04:36.780 --> 01:04:40.519
band of what the refreshments were were doing

01:04:40.519 --> 01:04:44.219
um and got you know and again talk about another

01:04:44.219 --> 01:04:46.659
band that gave us hope of like oh yeah you know

01:04:46.659 --> 01:04:48.699
we kind of do songs like that we could do songs

01:04:48.699 --> 01:04:53.480
like that yeah and yeah a great great song great

01:04:53.480 --> 01:04:57.789
band all right so Let's do one that's going to

01:04:57.789 --> 01:04:59.349
challenge the notion of what is alternative,

01:04:59.730 --> 01:05:03.710
okay? I'm going to go to 1995, right in the middle

01:05:03.710 --> 01:05:08.130
of the 90s, with a song off of Wilco's, what

01:05:08.130 --> 01:05:11.090
I would say, breakthrough album. And the song

01:05:11.090 --> 01:05:15.369
is Out of Mind, Out of Sight. And the thing with

01:05:15.369 --> 01:05:18.289
Wilco is you can follow their musical DNA all

01:05:18.289 --> 01:05:20.090
the way back to, you know, what people considered

01:05:20.090 --> 01:05:22.610
one of the original alternative bands, which

01:05:22.610 --> 01:05:25.739
was Uncle Tupelo, right? And they started the

01:05:25.739 --> 01:05:29.340
whole no depression kind of movement, this new

01:05:29.340 --> 01:05:33.159
Americana movement, which I was totally into

01:05:33.159 --> 01:05:35.659
being, you know, coming from a bluegrass history

01:05:35.659 --> 01:05:38.179
myself, loved Uncle Tupelo. And then when they

01:05:38.179 --> 01:05:40.800
split off, you know, the two guys went their

01:05:40.800 --> 01:05:42.559
separate directions and one started Sunvolt,

01:05:42.699 --> 01:05:45.460
the other started Wilco. And, you know, Wilco

01:05:45.460 --> 01:05:47.159
was kind of present through the 90s. But to me

01:05:47.159 --> 01:05:50.760
in 1995, you know, this song, especially Out

01:05:50.760 --> 01:05:54.219
of Mind, Out of Sight was like. their calling

01:05:54.219 --> 01:05:57.719
card style. And so you ask yourself, okay, you

01:05:57.719 --> 01:05:59.920
know, is this alternative? Is that really alternative

01:05:59.920 --> 01:06:02.500
music, you know, or is that just more, you know,

01:06:02.500 --> 01:06:05.800
kind of alt Americana? But if you look at the

01:06:05.800 --> 01:06:09.460
fact that what was pop at the time was boys to

01:06:09.460 --> 01:06:14.019
men and Madonna and TLC. Yeah. Hell yeah. It

01:06:14.019 --> 01:06:16.880
was alternative. You know, that's exactly what

01:06:16.880 --> 01:06:19.480
alternative was. And it was just great. You know,

01:06:19.480 --> 01:06:21.400
to me, it just, you know, it still had those

01:06:21.400 --> 01:06:25.170
roots elements. to it and yet you know just giant

01:06:25.170 --> 01:06:30.269
blazing guitars love that song that is damn near

01:06:30.269 --> 01:06:33.090
impossible to come out of scrolling through my

01:06:33.090 --> 01:06:37.829
list because Wilco has a sound of itself so there's

01:06:37.829 --> 01:06:40.630
no there's going to be a pivot here musically

01:06:41.420 --> 01:06:44.679
And the one thing I will tie into Wilco is the

01:06:44.679 --> 01:06:49.199
year, 1995. That's about all I've got. I love

01:06:49.199 --> 01:06:53.260
Wilco, but nothing on my list truly comes out

01:06:53.260 --> 01:06:55.199
of that naturally. So this is going to be a little

01:06:55.199 --> 01:06:58.619
bit of a left turn, but an album that I feel

01:06:58.619 --> 01:07:02.960
is, again, in that indie quirky vibe that fits

01:07:02.960 --> 01:07:05.619
where we're going here. And when you have a band

01:07:05.619 --> 01:07:08.400
that has an instrument called a bass guitar and

01:07:08.400 --> 01:07:13.159
a git bass. which are regular six string guitars

01:07:13.159 --> 01:07:17.699
modified. You get the presidents of the United

01:07:17.699 --> 01:07:21.179
States of America. And no, yeah, I am not going

01:07:21.179 --> 01:07:23.960
with lump weird out, covered it. I understand

01:07:23.960 --> 01:07:27.179
that that song becomes its own stratosphere.

01:07:27.300 --> 01:07:30.500
And I am not going with peaches. The one that

01:07:30.500 --> 01:07:32.820
everybody thinks I was going to go with. I'm

01:07:32.820 --> 01:07:35.059
going with the song that kicks the album off.

01:07:36.039 --> 01:07:39.320
Kitty. Nice. My foot. And I want to touch it.

01:07:39.320 --> 01:07:41.719
The whole part where, The kiddies going to spend

01:07:41.719 --> 01:07:44.099
the night outside and to scratch it. And just

01:07:44.099 --> 01:07:47.840
it was so quirky. And I think maybe the storytelling

01:07:47.840 --> 01:07:51.360
aspect of the song is the only way I could even

01:07:51.360 --> 01:07:54.559
draw a line to Wilco, because musically they're

01:07:54.559 --> 01:07:57.619
two different entities. But Presidents was something

01:07:57.619 --> 01:08:01.460
where I don't understand how this band didn't

01:08:01.460 --> 01:08:04.320
get bigger other than the moment in. the wedding

01:08:04.320 --> 01:08:06.699
singer, when they did their cover of Video Killed

01:08:06.699 --> 01:08:09.320
the Radio Star, they're still putting out music

01:08:09.320 --> 01:08:12.760
and it's still great music. I just don't feel

01:08:12.760 --> 01:08:15.440
like I've seen the presidents play with jam bands

01:08:15.440 --> 01:08:19.159
like Mo. So they're another band where they're

01:08:19.159 --> 01:08:22.000
able to kind of hop from bill to bill and people

01:08:22.000 --> 01:08:24.720
respect them no matter what bill they're on.

01:08:24.800 --> 01:08:27.800
And that's an interesting aspect. So tying it

01:08:27.800 --> 01:08:30.520
into Wilco, I feel like that's kind of my linchpin

01:08:30.520 --> 01:08:33.399
to connect those two. That's great. And what

01:08:33.399 --> 01:08:35.859
year did that album come out? That was 1995.

01:08:36.640 --> 01:08:41.300
1995. Okay. So in 1994, right before that album

01:08:41.300 --> 01:08:45.060
came out, they were the buzz band at South by

01:08:45.060 --> 01:08:48.920
Southwest. And we got to see them in concert

01:08:48.920 --> 01:08:53.300
at this club and they just tore it up. And I

01:08:53.300 --> 01:08:55.680
mean, everything that you think that their live

01:08:55.680 --> 01:08:58.300
show would be, you know, listening to that music,

01:08:58.319 --> 01:09:00.380
it was, and it was amazing. And there was one

01:09:00.380 --> 01:09:05.220
moment where the lead bass player, I guess, is

01:09:05.220 --> 01:09:09.859
jumping, is jumping so frantically that he smashes

01:09:09.859 --> 01:09:14.300
his head on the top of, of the stage. And he's

01:09:14.300 --> 01:09:17.479
literally bleeding out the skull and he just

01:09:17.479 --> 01:09:20.939
keeps going. And it was such a rock moment and,

01:09:20.979 --> 01:09:24.300
and they were so good and so tight and so different.

01:09:24.760 --> 01:09:27.180
Yeah. And they were all the buzz the next day.

01:09:27.180 --> 01:09:29.760
That was such a great album. And like you say,

01:09:29.800 --> 01:09:32.520
yeah, just. Where'd that come from? You know,

01:09:32.539 --> 01:09:36.239
so unique. So cool. All right. Well, now you're

01:09:36.239 --> 01:09:38.460
making it really hard to follow up. So I'm going

01:09:38.460 --> 01:09:41.979
to, we're just, we're just upping the ante here

01:09:41.979 --> 01:09:44.500
every time. All right. Then I'm going to go,

01:09:44.500 --> 01:09:46.380
I'm going to go with something else that was

01:09:46.380 --> 01:09:49.180
kind of artsy and quirky at the time that became

01:09:49.180 --> 01:09:55.260
incredibly inspirational for me. 1997. Ben Folds

01:09:55.260 --> 01:09:58.220
5. And the song that I'm going to go with is

01:09:58.220 --> 01:10:02.180
The Battle of Who Could Care Less. Wow. Good

01:10:02.180 --> 01:10:06.319
one. Thank you. So, you know, Ben Folds 5 became

01:10:06.319 --> 01:10:09.539
kind of a household -ish name. They became a

01:10:09.539 --> 01:10:11.960
mainstream name. Still make music to this day.

01:10:12.039 --> 01:10:15.500
Ben Folds is an absolute genius himself. I believe

01:10:15.500 --> 01:10:19.279
he is now the creative director of the Philadelphia

01:10:19.279 --> 01:10:21.479
Philharmonic. I might get that wrong, but he

01:10:21.479 --> 01:10:25.520
is. became the creative director of a big national

01:10:25.520 --> 01:10:29.380
orchestra recently. When that album came out

01:10:29.380 --> 01:10:32.460
in 97, they'd done a couple albums before, I

01:10:32.460 --> 01:10:36.680
believe. I think that was the first single, Battle

01:10:36.680 --> 01:10:39.220
of Who Could Care Less, before Brick came out.

01:10:39.300 --> 01:10:41.340
And Brick, of course, was a number one hit and

01:10:41.340 --> 01:10:43.619
propelled them off into the stratosphere, from

01:10:43.619 --> 01:10:47.020
which they quickly came down. I mean, it was

01:10:47.020 --> 01:10:52.340
a fluke alternative hit, Brick was. And I also

01:10:52.340 --> 01:10:54.720
don't think that that song is indicative of who

01:10:54.720 --> 01:11:00.140
Ben Folds is. Yeah, 100%, 100%. But the battle

01:11:00.140 --> 01:11:02.420
of who could care less, especially coming out

01:11:02.420 --> 01:11:05.439
then in 1997, to me just sort of encapsulated

01:11:05.439 --> 01:11:09.399
that alternative rock was getting commercial

01:11:09.399 --> 01:11:14.359
because it's this total indictment of the scene,

01:11:14.520 --> 01:11:18.319
you know, of who can be most. who can have the

01:11:18.319 --> 01:11:20.979
most antipathy in the room, right? Who, who can

01:11:20.979 --> 01:11:27.279
care less? And it's so clever and it's so different,

01:11:27.359 --> 01:11:30.119
you know, again, it's guitar, it's piano, bass,

01:11:30.279 --> 01:11:32.140
and drums, you know, and the bass player has

01:11:32.140 --> 01:11:34.539
got a fuzz box forever. So he's, he's rocking

01:11:34.539 --> 01:11:37.640
it and it's jazz, it's pop. It's, I don't know

01:11:37.640 --> 01:11:41.199
what it's uniquely them. And when I heard that

01:11:41.199 --> 01:11:44.829
record, I got my hands on everything Ben Folds

01:11:44.829 --> 01:11:46.810
that I possibly could and then listened to every

01:11:46.810 --> 01:11:50.430
album he put out since. Ben Folds became an influence,

01:11:50.550 --> 01:11:55.909
a major influence on, especially on finding my

01:11:55.909 --> 01:11:59.449
voice in songwriting because his voice is so

01:11:59.449 --> 01:12:04.250
distinct. It's such narrative songwriting and

01:12:04.250 --> 01:12:08.270
there is not a single cliche or anything even

01:12:08.270 --> 01:12:12.229
close to a cliche in any of his songs. And it's

01:12:12.229 --> 01:12:16.329
incredible. And so I'm going with that one. And

01:12:16.329 --> 01:12:20.789
what's funny is I recently finally picked up

01:12:20.789 --> 01:12:24.609
a copy of Rock in the Suburbs on CD. You go back

01:12:24.609 --> 01:12:26.689
and you listen to that. You're like, man, this

01:12:26.689 --> 01:12:30.329
is this is something else. He really has a way

01:12:30.329 --> 01:12:34.069
with words, a way with delivery. And the way

01:12:34.069 --> 01:12:36.510
I'm going to tie into Ben Folds is with another

01:12:36.510 --> 01:12:39.229
artist. I mentioned his name earlier, but it's

01:12:39.229 --> 01:12:43.119
a band that. Had a massive hit song. It was a

01:12:43.119 --> 01:12:47.220
pop smash cover bands cover it to this day. And

01:12:47.220 --> 01:12:50.659
that hit song is Stacy's mom. Nice. But when

01:12:50.659 --> 01:12:52.579
you're talking about fountains of Wayne, there

01:12:52.579 --> 01:12:56.159
is a era of this band prior to Stacy's mom. And

01:12:56.159 --> 01:12:59.840
when I first saw the band, they were this small

01:12:59.840 --> 01:13:02.939
group getting their big exposure, opening up

01:13:02.939 --> 01:13:05.380
for smashing pumpkins on the melancholy and infinite

01:13:05.380 --> 01:13:08.979
sadness tour. And I did not know a single thing

01:13:08.979 --> 01:13:12.010
about them. We went to the show and they come

01:13:12.010 --> 01:13:14.369
up on stage and they open up with this song that

01:13:14.369 --> 01:13:18.850
blows my mind. And to this day, it is such a

01:13:18.850 --> 01:13:22.729
perfect snapshot of 90s power pop that I feel

01:13:22.729 --> 01:13:26.829
like it fits in this mix. And that song is Radiation

01:13:26.829 --> 01:13:29.909
Vibe. Oh, yeah. The first song off their self

01:13:29.909 --> 01:13:32.689
-titled album. Adam Schlesinger, when he passed,

01:13:32.850 --> 01:13:36.970
it broke my heart. The guy had such a way with

01:13:36.970 --> 01:13:40.819
melody. He had a power pop band called tinted

01:13:40.819 --> 01:13:43.960
windows with James Eha from the smashing pumpkins

01:13:43.960 --> 01:13:49.359
with Taylor Hanson and with, Oh God, drummer,

01:13:49.380 --> 01:13:52.539
a cheap trick. Oh my God. Bunny Carlos, Bunny

01:13:52.539 --> 01:13:56.680
Carlos. I am so sorry. And this album came out

01:13:56.680 --> 01:13:59.979
in the late two thousands and it is such a perfect

01:13:59.979 --> 01:14:03.300
snapshot of power pop. And when Adam passed,

01:14:03.479 --> 01:14:06.390
it broke my heart because I mean, he wrote. the

01:14:06.390 --> 01:14:08.550
theme song to one of my favorite movies, which

01:14:08.550 --> 01:14:11.229
was that thing you do. The guy just had a way

01:14:11.229 --> 01:14:14.430
with music and this song to me, I just wanted

01:14:14.430 --> 01:14:17.170
to spotlight it because it's not the Stacy's

01:14:17.170 --> 01:14:20.750
mom. It's not the, that thing you do. It's radiation

01:14:20.750 --> 01:14:23.609
vibe. And it's a song that is so underrated and

01:14:23.609 --> 01:14:26.329
it fits so well musically with what we've put

01:14:26.329 --> 01:14:29.449
together so far. So that is my track five. Awesome.

01:14:29.590 --> 01:14:32.010
Awesome. Great choice. All right. Underrated

01:14:32.010 --> 01:14:39.319
then let's go with, um, Underrated. That's got

01:14:39.319 --> 01:14:42.560
to be the linchpin here. All right. Well, underrated

01:14:42.560 --> 01:14:45.500
in my opinion. I'm going to go with G Love and

01:14:45.500 --> 01:14:50.859
Special Sauce, also from 1997, I -76. I -76.

01:14:51.060 --> 01:14:54.960
All right. So to me, I heard about G Love's first

01:14:54.960 --> 01:15:02.500
album on Karo Q and Richard Blade, the DJ. He's

01:15:02.500 --> 01:15:05.439
like, okay, here are the bands in town this month

01:15:05.439 --> 01:15:10.619
or this week. Glove and Spatial Sauce. And I'm

01:15:10.619 --> 01:15:14.359
like, what band would be called Glove and Spatial

01:15:14.359 --> 01:15:18.260
Sauce? And I finally figured out it was G Love

01:15:18.260 --> 01:15:21.100
and Spatial Sauce. And I got the album just on

01:15:21.100 --> 01:15:24.760
that. And had been listening, you know, I think

01:15:24.760 --> 01:15:28.800
that. the album was called yeah it's that easy

01:15:28.800 --> 01:15:32.159
that's right so um yeah it's that easy was maybe

01:15:32.159 --> 01:15:34.000
the third album or something like that and to

01:15:34.000 --> 01:15:39.199
me g love was in peak form peak form so as a

01:15:39.199 --> 01:15:43.199
white boy rapper he had his flow down as a blues

01:15:43.199 --> 01:15:47.039
guitarist he was authoritative his his other

01:15:47.039 --> 01:15:49.420
albums the previous albums you know he was so

01:15:49.420 --> 01:15:51.399
far in the back pocket he was like in another

01:15:51.399 --> 01:15:54.739
pair of pants but you know his playing was authoritative

01:15:54.739 --> 01:15:58.640
and his songwriting was, was like on point now.

01:15:59.020 --> 01:16:02.300
And so it was to me, that was like one of the

01:16:02.300 --> 01:16:04.600
best G love and special sauce albums. And I 76

01:16:04.600 --> 01:16:08.619
just has this great vibe, you know, of a bunch

01:16:08.619 --> 01:16:12.600
of guys just talking about what, talking about

01:16:12.600 --> 01:16:15.600
what's the best way to get to the arena to go

01:16:15.600 --> 01:16:18.180
watch the game. Like what, what route should

01:16:18.180 --> 01:16:23.289
you take? And it's just. It's awesome. And so

01:16:23.289 --> 01:16:26.029
I've been a huge G love fan. And to me, that's,

01:16:26.029 --> 01:16:28.789
that's the one, that's the one right there. I

01:16:28.789 --> 01:16:31.550
love it. I had cold beverage from their 1994

01:16:31.550 --> 01:16:35.750
self -titled. I couldn't see a universe without

01:16:35.750 --> 01:16:39.170
G love making this list. I have had G love on

01:16:39.170 --> 01:16:42.329
my prior podcast playlist wars, been a fan for

01:16:42.329 --> 01:16:44.789
a long time, but that's a tough one to come out

01:16:44.789 --> 01:16:47.770
of looking at on my list. Side B is, is a little

01:16:47.770 --> 01:16:50.729
mixed up and all over the place, but in a good

01:16:50.729 --> 01:16:54.090
way. But isn't the 90s mixed up and all over

01:16:54.090 --> 01:16:56.710
the place? I mean, that was the beauty of it.

01:16:57.409 --> 01:16:59.949
100%. And I think the song I'm going to pick

01:16:59.949 --> 01:17:05.090
fits in that mode just so well. Because G -Love

01:17:05.090 --> 01:17:07.449
was kind of this outlier. Like you said, it's

01:17:07.449 --> 01:17:10.649
mixing hip hop. It's mixing blues. It's mixing

01:17:10.649 --> 01:17:12.750
acoustic. It's mixing a little bit of everything.

01:17:14.060 --> 01:17:18.659
And in 1995, on the album I Am an Electric Firecracker,

01:17:18.739 --> 01:17:21.060
a band called Tripping Daisy did a little bit

01:17:21.060 --> 01:17:24.699
of everything. And they had this song that was

01:17:24.699 --> 01:17:29.779
so 90s. To me, it defines the decade. Just vibe

01:17:29.779 --> 01:17:33.880
and sound. I'm going with I Got a Girl. Nice.

01:17:33.920 --> 01:17:35.960
This was another one of those songs that I heard

01:17:35.960 --> 01:17:39.140
endlessly on 106 .5 The End down in North Carolina.

01:17:39.460 --> 01:17:42.619
And sometimes if the damn DJ didn't talk up at

01:17:42.619 --> 01:17:44.239
the end of the song, you didn't know what the

01:17:44.239 --> 01:17:46.420
hell it was. And you had to start asking around,

01:17:46.659 --> 01:17:49.100
who does the song I Got a Girl? Who does the

01:17:49.100 --> 01:17:51.600
song I Got? And finally you find it. And it's

01:17:51.600 --> 01:17:53.619
always the, you knew the album cover because

01:17:53.619 --> 01:17:55.659
when you see the album cover, you're like, that's

01:17:55.659 --> 01:17:58.680
a 90s album. And sure enough, but everything

01:17:58.680 --> 01:18:01.060
about it worked and everything about that band

01:18:01.060 --> 01:18:04.489
is so cool. I'm surprised that I Got a Girl was

01:18:04.489 --> 01:18:07.149
the only one that captured people's attention,

01:18:07.350 --> 01:18:10.069
at least at the mainstream level, because such

01:18:10.069 --> 01:18:12.409
a talented band outside of it. Lest we forget,

01:18:12.529 --> 01:18:14.810
members of Trip and Daisy went on to form the

01:18:14.810 --> 01:18:16.789
Polyphonic Spree, which is still growing strong

01:18:16.789 --> 01:18:19.369
now. And then there's the fact that some mixtapers

01:18:19.369 --> 01:18:21.369
chimed in with their songs. So I know they're

01:18:21.369 --> 01:18:23.630
on people's minds when it comes to this topic.

01:18:24.149 --> 01:18:28.539
Yeah, that's a great choice. And to me, there's

01:18:28.539 --> 01:18:30.579
a there's a direct line between that and Flaming

01:18:30.579 --> 01:18:32.880
Lips. Right. Oh, yeah. There's that same kind

01:18:32.880 --> 01:18:37.359
of quirkiness. And yeah. OK, then I'm going to

01:18:37.359 --> 01:18:41.899
take a step back and go back to 1993 to a band

01:18:41.899 --> 01:18:45.319
I loved that was, again, to me, one of those

01:18:45.319 --> 01:18:50.939
90s alt rock power trios that was really underrated,

01:18:51.000 --> 01:18:54.770
really overlooked. But really, I think helped

01:18:54.770 --> 01:18:58.029
define the genre. And that's Buffalo Tom. All

01:18:58.029 --> 01:19:02.630
right. And I'm going to go with Soda Jerk from

01:19:02.630 --> 01:19:06.310
their 1993 album. I think the album was Big Red

01:19:06.310 --> 01:19:09.489
Letter Day. And I want to say they were from

01:19:09.489 --> 01:19:13.380
Boston. Shoot, was it Boston or Detroit? Anyway,

01:19:13.439 --> 01:19:16.680
to me, they have even if they're from the Midwest,

01:19:16.779 --> 01:19:18.260
they have this kind of they have this kind of

01:19:18.260 --> 01:19:20.479
East Coast sound to them. And I should probably

01:19:20.479 --> 01:19:22.100
just look this up and solve it once and for all.

01:19:22.199 --> 01:19:25.100
But it was just, you know, again, there was just

01:19:25.100 --> 01:19:27.000
the three of them, guitar, bass and drums. And

01:19:27.000 --> 01:19:29.340
when you're doing the power trio thing, your

01:19:29.340 --> 01:19:32.279
songs better be freaking great because you're

01:19:32.279 --> 01:19:35.939
not covering anything up with, you know, lead

01:19:35.939 --> 01:19:39.239
guitars and keyboard padding and, you know, lush

01:19:39.239 --> 01:19:42.010
textures and stuff. It's. You're belting out

01:19:42.010 --> 01:19:45.029
a great song. And to me, that was a boy. Loved

01:19:45.029 --> 01:19:48.789
that song. Loved that album. And very alternative.

01:19:49.470 --> 01:19:52.590
Very, very alternative. And one of those bands

01:19:52.590 --> 01:19:55.310
that, again, you had mentioned Juliana Hatfield

01:19:55.310 --> 01:19:58.810
before. They were all kind of in that, I guess,

01:19:58.810 --> 01:20:02.310
lumping by stations because you would always

01:20:02.310 --> 01:20:05.340
hear those songs kind of. In a series or in a

01:20:05.340 --> 01:20:08.520
block, so to speak, because you wouldn't be tying

01:20:08.520 --> 01:20:13.560
them up with a band like sponge or somebody else

01:20:13.560 --> 01:20:15.979
from that, which is on the list. Yeah. I have

01:20:15.979 --> 01:20:19.560
them on the list too. And Oh God. Damn. This

01:20:19.560 --> 01:20:22.039
is tough because I am looking through my list

01:20:22.039 --> 01:20:25.460
and I've still got 15 songs and I've only got

01:20:25.460 --> 01:20:27.859
one choice left. Oh, all right. We down to our

01:20:27.859 --> 01:20:30.279
last choice. We're down to our last choice. All

01:20:30.279 --> 01:20:33.340
right. And this is really tough, but. All I'm

01:20:33.340 --> 01:20:36.100
going to say is there's an easy volume two to

01:20:36.100 --> 01:20:37.880
this list here because I have so many leftover

01:20:37.880 --> 01:20:40.039
songs that were not even scratching the surface.

01:20:40.460 --> 01:20:43.159
But being a bass player, I'm going to go with

01:20:43.159 --> 01:20:47.060
one of my favorite bass lines of all time. This

01:20:47.060 --> 01:20:50.039
bass line, the first time I heard it, I literally

01:20:50.039 --> 01:20:53.060
told my buddy next to me, shh. And I turned the

01:20:53.060 --> 01:20:56.140
radio up because I had to just absorb what was

01:20:56.140 --> 01:20:59.810
happening. And this song blew my mind in 1996.

01:21:00.170 --> 01:21:03.750
And here we are in 2023. And the song still blows

01:21:03.750 --> 01:21:06.909
my mind. Only now it's when I'm in the movie

01:21:06.909 --> 01:21:10.350
theater watching the trailer for Guardians of

01:21:10.350 --> 01:21:14.369
the Galaxy 3. And it's playing in the background

01:21:14.369 --> 01:21:18.189
because this is a band that never got passed

01:21:18.189 --> 01:21:23.439
in the meantime. And it's. Space hog from 1996

01:21:23.439 --> 01:21:29.060
is resident alien. Nice massive arena rock. I

01:21:29.060 --> 01:21:31.060
don't know what you'd call this song. The baseline

01:21:31.060 --> 01:21:33.479
is funky. You've got it over this halftime groove,

01:21:33.600 --> 01:21:35.960
but then his voice comes in and this got this

01:21:35.960 --> 01:21:39.760
beautiful falsetto over these soaring guitars.

01:21:40.220 --> 01:21:42.520
You don't know if the chorus, if they're trying

01:21:42.520 --> 01:21:45.420
to be Bush, if they're trying to be that alternative

01:21:45.420 --> 01:21:48.020
hard rock, or if they're trying to go with this.

01:21:48.329 --> 01:21:51.630
funky mix and it stuck out to me and it was so

01:21:51.630 --> 01:21:56.630
fresh and so original and the label i don't think

01:21:56.630 --> 01:21:59.609
knew what to do with them because this was it

01:21:59.609 --> 01:22:03.789
that i heard on radio from them and it's an absolute

01:22:03.789 --> 01:22:07.329
crime so i'm gonna go with space hog in the meantime

01:22:07.329 --> 01:22:10.640
and i'll tell you where guardians of the galaxy

01:22:10.640 --> 01:22:13.500
in the first movie touched on everybody's 70s

01:22:13.500 --> 01:22:16.399
nostalgia when i saw that trailer and they played

01:22:16.399 --> 01:22:18.260
this i'm like oh they're going after my age group

01:22:18.260 --> 01:22:21.539
now damn it and it's working i have to see this

01:22:21.539 --> 01:22:25.359
movie now no matter what yeah yeah a great choice

01:22:25.359 --> 01:22:28.600
on that that would that i had i'd absolutely

01:22:28.600 --> 01:22:31.859
considered that one uh for the list so i'm glad

01:22:31.859 --> 01:22:34.340
you covered that and yeah i don't yeah you know

01:22:34.340 --> 01:22:36.739
it's interesting because We could probably have

01:22:36.739 --> 01:22:39.859
a whole other podcast about how the record industry

01:22:39.859 --> 01:22:41.920
was changing the 90s and was changing. I mean,

01:22:41.920 --> 01:22:45.520
it was changing dramatically in the 90s with

01:22:45.520 --> 01:22:48.039
the advent of Napster and the Internet starting

01:22:48.039 --> 01:22:50.779
to take off and this whole idea of digital music

01:22:50.779 --> 01:22:53.180
and digital downloads and that sort of thing.

01:22:53.399 --> 01:22:57.020
And I think it was really accelerating and an

01:22:57.020 --> 01:23:00.000
idea as old as time. That was accelerating further

01:23:00.000 --> 01:23:01.399
and further. And that was, you know, sort of

01:23:01.399 --> 01:23:05.760
lack of artist development. Yeah. It was, you

01:23:05.760 --> 01:23:08.279
know, there was a lot of just like, all right,

01:23:08.300 --> 01:23:11.439
let's see, you know, let's sign some bands and

01:23:11.439 --> 01:23:14.199
see what works. And, you know, there were so

01:23:14.199 --> 01:23:17.880
many major labels at the time. And, you know,

01:23:17.899 --> 01:23:20.760
they were releasing, each releasing four new

01:23:20.760 --> 01:23:24.159
bands every three weeks. And, you know, so there

01:23:24.159 --> 01:23:26.699
was it was just a lot of running up the flagpole

01:23:26.699 --> 01:23:29.359
and see who salutes. And the part that I could

01:23:29.359 --> 01:23:32.399
never figure out is like, that was a great songs.

01:23:32.460 --> 01:23:34.699
But, you know, why didn't you give him a follow

01:23:34.699 --> 01:23:37.020
up? You know, you're telling me the follow up

01:23:37.020 --> 01:23:39.859
wasn't as good or, you know, you just you were

01:23:39.859 --> 01:23:42.220
too busy going on to the next thing because that

01:23:42.220 --> 01:23:44.760
was the schedule. The schedule was four new bands

01:23:44.760 --> 01:23:46.539
every three weeks. Oh, and you also have all

01:23:46.539 --> 01:23:49.279
of your veteran bands, too. You know, so it was

01:23:49.279 --> 01:23:53.180
just you can't. You can't keep up that schedule.

01:23:53.319 --> 01:23:56.119
Anyway, like I said, whole other podcast. So

01:23:56.119 --> 01:23:57.920
let me just get to my last song then. Yeah, you

01:23:57.920 --> 01:24:00.380
get to close out the whole night tonight. All

01:24:00.380 --> 01:24:02.159
right. Well, then I'm going to close out kind

01:24:02.159 --> 01:24:04.260
of the way that we were going in, you know, talking

01:24:04.260 --> 01:24:08.340
about what is indie alternative rock. So I'm

01:24:08.340 --> 01:24:11.600
going to go a little more obscure and I'm going

01:24:11.600 --> 01:24:15.319
to go with Mockingbirds by Grant Lee Buffalo,

01:24:15.680 --> 01:24:22.670
1994. Such. a beautiful song beautiful ethereal

01:24:22.670 --> 01:24:27.489
song that you know to me again was sort of like

01:24:27.489 --> 01:24:30.409
uh you know this wasn't his first album um it

01:24:30.409 --> 01:24:32.909
wasn't their first album you know there's this

01:24:32.909 --> 01:24:35.689
direct line into the paisley underground you

01:24:35.689 --> 01:24:38.970
know that was that was happening and you know

01:24:38.970 --> 01:24:43.550
making sort of lilting beautiful ethereal music

01:24:43.550 --> 01:24:49.949
that was in direct contrast to the formulaic,

01:24:49.949 --> 01:24:53.949
you know, pop that you were getting from Madonna

01:24:53.949 --> 01:24:58.149
and Michael Jackson and, you know, and this kind

01:24:58.149 --> 01:25:03.789
of thing that it truly was an alternative to

01:25:03.789 --> 01:25:08.029
what else you could listen to. And, you know,

01:25:08.029 --> 01:25:12.090
again, really underrated band making really.

01:25:13.069 --> 01:25:16.909
Beautiful music. And to me, Mockingbirds was

01:25:16.909 --> 01:25:21.810
the sort of the one. Love the pick to me. Grant

01:25:21.810 --> 01:25:24.489
Lee Buffalo kind of fits in the same category

01:25:24.489 --> 01:25:27.510
as a band like the Sundays. If I throw them out

01:25:27.510 --> 01:25:30.649
there. Yes. Yes, please do. Yes. Their cover

01:25:30.649 --> 01:25:34.430
of Wild Horses. Again, like Mockingbirds, it's

01:25:34.430 --> 01:25:42.039
this atmospheric song that really is. It's hard

01:25:42.039 --> 01:25:44.739
to define because, yes, the one I'm talking about

01:25:44.739 --> 01:25:46.439
is a Rolling Stones cover that everybody knows

01:25:46.439 --> 01:25:48.920
the original, but they were able to make it this

01:25:48.920 --> 01:25:53.500
heartfelt, tender ballad, beautiful, soaring.

01:25:53.659 --> 01:25:57.439
And I think coming out of the big, heavy, in

01:25:57.439 --> 01:26:00.319
the meantime, kind of funneling it down from

01:26:00.319 --> 01:26:04.260
that thought process, except without the distortion,

01:26:04.800 --> 01:26:07.560
Mockingbirds is a perfect way to close this out.

01:26:08.319 --> 01:26:12.869
So there you have it, folks. Side B of our 90s

01:26:12.869 --> 01:26:14.890
indie alternative playlist, starting with the

01:26:14.890 --> 01:26:18.630
refreshments, Bandidos, Wilco, Out of Mind, Out

01:26:18.630 --> 01:26:21.229
of Sight, Presidents of the United States of

01:26:21.229 --> 01:26:24.649
America, Kitty, Ben Folds 5, The Battle of Who

01:26:24.649 --> 01:26:28.010
Could Care Less, Fountains of Wayne, Radiation

01:26:28.010 --> 01:26:32.710
Vibe, G Love and Special Sauce, I -76, Trippin'

01:26:32.710 --> 01:26:36.439
Daisy, I Got a Girl. Buffalo Tom, Soda Jerk,

01:26:36.439 --> 01:26:40.020
Space Hog, In the Meantime, and Grant Lee Buffalo,

01:26:40.380 --> 01:26:44.220
Mockingbirds. I'd listen to that. Wow. Hell yeah.

01:26:44.319 --> 01:26:47.939
And you should by visiting the 90s indie alternative

01:26:47.939 --> 01:26:51.460
page at myweeklymixtape .com to hear all the

01:26:51.460 --> 01:26:54.319
songs we've discussed in this mix through the

01:26:54.319 --> 01:26:58.000
embedded playlist. Now, JT, before we close up

01:26:58.000 --> 01:27:01.149
shop for the night. Getting back to The Uninvited,

01:27:01.189 --> 01:27:03.970
at the end of 2021, your brother Stephen released

01:27:03.970 --> 01:27:07.090
a book through Hearn Publications called The

01:27:07.090 --> 01:27:10.050
Uninvited on the road with the greatest rock

01:27:10.050 --> 01:27:15.189
band you've never heard. My most difficult question

01:27:15.189 --> 01:27:18.649
of the night, did you read the book? Yes, I read

01:27:18.649 --> 01:27:20.149
the book and my brother even gave me an advanced

01:27:20.149 --> 01:27:22.829
copy and said, you have to approve of this because

01:27:22.829 --> 01:27:27.819
there's some revealing information in here. And

01:27:27.819 --> 01:27:29.739
I'm like, just print it, bro. It's all good.

01:27:29.979 --> 01:27:31.960
Well, why don't you tell people a little bit

01:27:31.960 --> 01:27:33.920
about what you read and where they could snag

01:27:33.920 --> 01:27:36.340
a copy? Because I feel like when people understand

01:27:36.340 --> 01:27:40.739
the story, it just creates a bigger connection

01:27:40.739 --> 01:27:42.439
to the music, which is something that certainly

01:27:42.439 --> 01:27:46.220
happened for me. Oh, I appreciate that. Yeah.

01:27:46.399 --> 01:27:49.659
I mean, my brother is a fantastic writer and

01:27:49.659 --> 01:27:54.140
he finally decided to do a memoir of the band.

01:27:54.810 --> 01:27:56.989
And what's cool about the book is that it's more

01:27:56.989 --> 01:27:59.869
than a memoir. It's more than just a, okay, on

01:27:59.869 --> 01:28:01.369
this day, we did this. And then on this day,

01:28:01.430 --> 01:28:04.670
we did that. He really tries to weave a story

01:28:04.670 --> 01:28:10.850
of why he was doing this great adventure. And

01:28:10.850 --> 01:28:15.689
what are you willing to sacrifice for your dream?

01:28:16.409 --> 01:28:19.890
And then what do you do when your dream changes?

01:28:20.189 --> 01:28:24.729
Then what happens when your dream changes? It's

01:28:24.729 --> 01:28:27.270
a great book. I mean, all humility aside, it's

01:28:27.270 --> 01:28:30.729
just it's a great book. And kudos to my brother.

01:28:30.810 --> 01:28:35.949
It actually hit number one on Amazon's punk rock

01:28:35.949 --> 01:28:39.949
memoirs chart. He actually got over Dave Grohl's

01:28:39.949 --> 01:28:43.250
book. Oh, wow. Just for a week. But he did it.

01:28:44.510 --> 01:28:47.789
And so, yeah, I mean, you can still get on on

01:28:47.789 --> 01:28:50.590
Amazon. You can get it off our website at uninvited

01:28:50.590 --> 01:28:55.680
.com or the uninvited band. And I recommend it.

01:28:55.819 --> 01:28:58.560
I certainly do as well. It's a fantastic read.

01:28:58.659 --> 01:29:01.439
Now, a couple more questions for you, JT. Going

01:29:01.439 --> 01:29:04.659
back to your TikTok page, given all the stories

01:29:04.659 --> 01:29:07.659
that you tell on there, what advice would you

01:29:07.659 --> 01:29:12.079
give an indie band starting out now if you could

01:29:12.079 --> 01:29:14.439
go back and maybe give yourself the same advice

01:29:14.439 --> 01:29:18.439
when you guys were starting out in the 90s? Oh,

01:29:18.439 --> 01:29:20.979
interesting. Very interesting. Because I'd probably

01:29:20.979 --> 01:29:23.859
give two different bits of advice. At this point,

01:29:23.880 --> 01:29:27.420
I would tell a young band, be yourself. Just

01:29:27.420 --> 01:29:31.960
absolutely 100 % be yourself. Look at your musical

01:29:31.960 --> 01:29:34.439
influences and let them influence you, but don't

01:29:34.439 --> 01:29:38.220
try to be them. Don't listen to anybody about

01:29:38.220 --> 01:29:43.420
what your music should be. Be you and take the

01:29:43.420 --> 01:29:46.619
time to really look inside and say, okay, here's

01:29:46.619 --> 01:29:48.399
what makes me special. This is my voice. This

01:29:48.399 --> 01:29:51.630
is my perspective. This is what I do. This is

01:29:51.630 --> 01:29:55.609
how I think, how I feel. This is my perspective

01:29:55.609 --> 01:30:00.010
on things. And then be that. Don't try to be

01:30:00.010 --> 01:30:04.869
anything other than your really authentic self.

01:30:05.270 --> 01:30:08.189
Because in a world of competition where we're

01:30:08.189 --> 01:30:11.149
all competing for attention, authenticity is

01:30:11.149 --> 01:30:14.149
the only thing that's going to capture and maintain

01:30:14.149 --> 01:30:17.930
someone's attention. And the competition has

01:30:17.930 --> 01:30:21.340
never been. more fierce than it is right now.

01:30:21.460 --> 01:30:23.720
So that's what I tell a young man. Then if I

01:30:23.720 --> 01:30:26.180
went back and told myself, you know, had to tell

01:30:26.180 --> 01:30:32.000
myself a bit of advice, you know, it would lean

01:30:32.000 --> 01:30:35.720
a lot more towards believe in yourself, believe

01:30:35.720 --> 01:30:38.180
in your instincts, trust your instincts. And

01:30:38.180 --> 01:30:40.100
I guess, you know what, I guess, honestly, I

01:30:40.100 --> 01:30:43.260
would tell myself as well that, you know, there's

01:30:43.260 --> 01:30:46.359
a business side to this, which I guess is something

01:30:46.359 --> 01:30:48.710
you should tell kids these days too. This is

01:30:48.710 --> 01:30:52.430
as much business as it is art. And, you know,

01:30:52.449 --> 01:30:54.449
not business in the respect of, yo, mind your

01:30:54.449 --> 01:30:58.569
money, because no, like you are a business now.

01:30:58.729 --> 01:31:01.770
You better know your marketing. You know, you

01:31:01.770 --> 01:31:06.729
got to understand artist development from a sales

01:31:06.729 --> 01:31:09.789
and marketing standpoint, because no one is going

01:31:09.789 --> 01:31:12.310
to help you there. Labels don't do that. Nobody

01:31:12.310 --> 01:31:15.930
does that. Nobody does development. So, you know,

01:31:15.930 --> 01:31:19.289
hone your business chops. Because it is more

01:31:19.289 --> 01:31:22.869
business than it is music, which wasn't quite

01:31:22.869 --> 01:31:25.670
the case back then, but really is the case right

01:31:25.670 --> 01:31:28.670
now. Well, speaking of that business, JT, what

01:31:28.670 --> 01:31:31.949
does the rest of 2023 have in store for The Uninvited?

01:31:31.949 --> 01:31:34.630
Is there any new music on the horizon, shows,

01:31:34.710 --> 01:31:37.930
touring? Absolutely. All of the above. So we're

01:31:37.930 --> 01:31:40.770
going to be releasing a couple of more singles

01:31:40.770 --> 01:31:43.229
from the new album this year before we go off

01:31:43.229 --> 01:31:46.689
and make another album. And we're doing a little

01:31:46.689 --> 01:31:49.310
bit more touring where we're going back up and

01:31:49.310 --> 01:31:52.430
down the West coast again. And then, uh, we're

01:31:52.430 --> 01:31:54.029
keeping our fingers crossed on a couple of festivals

01:31:54.029 --> 01:31:56.550
that we're going to, uh, are, are hopefully going

01:31:56.550 --> 01:31:59.270
to come through. So we're back at it. We're,

01:31:59.270 --> 01:32:01.649
um, yeah. So, you know, if you come to the website

01:32:01.649 --> 01:32:05.470
uninvited .com or the uninvited .band, you can

01:32:05.470 --> 01:32:06.970
get on our email list. You can see all about

01:32:06.970 --> 01:32:10.449
tours and shows. You can buy the album. You can

01:32:10.449 --> 01:32:12.930
find out where you stream The Uninvited, which

01:32:12.930 --> 01:32:14.590
is basically everywhere. We're The Uninvited,

01:32:14.590 --> 01:32:16.890
so you can stream us everywhere. We're the one

01:32:16.890 --> 01:32:20.270
that's not a Viking death metal band, basically.

01:32:20.329 --> 01:32:23.649
There's like six Viking death metal bands that

01:32:23.649 --> 01:32:25.489
decided to call themselves The Uninvited, and

01:32:25.489 --> 01:32:28.649
we couldn't get a cease and desist order to.

01:32:29.029 --> 01:32:31.949
So we're the ones that are not Viking death metal.

01:32:32.350 --> 01:32:35.170
Well, you guys are eclectic, so maybe you should

01:32:35.170 --> 01:32:41.310
write a Viking death metal song. Exactly. Well,

01:32:41.409 --> 01:32:44.310
JT, thank you so much for joining me on my weekly

01:32:44.310 --> 01:32:46.149
mixtape. And I hope to have you back on the show

01:32:46.149 --> 01:32:48.409
again sometime, because I feel like there's a

01:32:48.409 --> 01:32:51.310
lot more of this road we can go down. Brian,

01:32:51.329 --> 01:32:53.869
it was an absolute joy. So thank you so much

01:32:53.869 --> 01:32:56.359
for having me on. Really enjoyed it. Remember,

01:32:56.420 --> 01:32:58.819
Mixtapers, you can find My Weekly Mixtape on

01:32:58.819 --> 01:33:02.420
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01:33:02.420 --> 01:33:05.699
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01:33:05.699 --> 01:33:08.920
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01:33:08.920 --> 01:33:11.420
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01:33:14.300 --> 01:33:18.079
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01:33:18.380 --> 01:33:20.699
That's all for this week. Thanks again for listening.

01:33:20.779 --> 01:33:22.939
And until next time, enjoy the tunes.