WEBVTT 00:00:00.000 --> 00:00:02.339 Hey what's up this is Will with Collective Soul. 00:00:02.640 --> 00:00:05.339 You're listening to my weekly mixtape with Brian 00:00:05.339 --> 00:00:09.240 Colburn. Yes you record it, you mix it, you listen 00:00:09.240 --> 00:00:23.500 to it, and then you rock my friends. Welcome 00:00:23.500 --> 00:00:25.739 to My Weekly Mixtape, a podcast that takes the 00:00:25.739 --> 00:00:28.339 classic mixtape approach to building a modern 00:00:28.339 --> 00:00:31.140 playlist. I'm your host, Brian Colbert. One of 00:00:31.140 --> 00:00:33.140 the things I'm excited to do each week is speak 00:00:33.140 --> 00:00:35.259 with some of the incredible artists whose music 00:00:35.259 --> 00:00:38.539 has been featured on countless mixtapes and playlists 00:00:38.539 --> 00:00:41.320 of mine. And one of those artists just so happens 00:00:41.320 --> 00:00:44.219 to be my guest this evening. And that would be 00:00:44.219 --> 00:00:47.500 the amazing bass player for Collective Soul, 00:00:47.859 --> 00:00:50.219 Will Turpin. Will, thank you so much for joining 00:00:50.219 --> 00:00:53.939 me on My Weekly Mixtape. Be amazing, huh? Oh, 00:00:54.020 --> 00:00:57.219 hell yeah, man. Well, thanks, man. Appreciate 00:00:57.219 --> 00:00:59.240 it, man, as always. Glad to talk to you again. 00:00:59.539 --> 00:01:02.060 Yeah, we had a chance several years ago to talk 00:01:02.060 --> 00:01:04.319 on my old TuneStyles podcast. I'm so glad to 00:01:04.319 --> 00:01:07.400 have you back. I'd like to start this show with 00:01:07.400 --> 00:01:09.760 the question I ask every single guest of mine, 00:01:09.859 --> 00:01:12.359 and that is, Will, what does the word mixtape 00:01:12.359 --> 00:01:15.599 mean to you personally? Yeah, I mean, heck, I 00:01:15.599 --> 00:01:18.459 grew up in the 80s, man. Yeah. So mixtape is, 00:01:18.560 --> 00:01:22.079 you know, you lost a little fidelity. But you 00:01:22.079 --> 00:01:24.459 were able to listen to the radio and go over 00:01:24.459 --> 00:01:27.379 to the cassette and hit record and play at the 00:01:27.379 --> 00:01:31.540 same time. And you could record a song from the 00:01:31.540 --> 00:01:33.959 radio. And then I would kind of wait and try 00:01:33.959 --> 00:01:36.620 to just, you know, you couldn't mix and match. 00:01:36.719 --> 00:01:38.459 You couldn't drop, you know, change your order 00:01:38.459 --> 00:01:39.920 like you can now with all the digital files. 00:01:40.060 --> 00:01:42.519 But you would just make a mixtape while you're 00:01:42.519 --> 00:01:44.340 listening to the radio in your house. That's 00:01:44.340 --> 00:01:46.859 what we would do. And then I'd write, I'd call 00:01:46.859 --> 00:01:50.000 the mixtape a name. And we'd listen to them in 00:01:50.000 --> 00:01:51.819 our car. You'd lose just a little bit of fidelity, 00:01:51.959 --> 00:01:55.239 but nobody was really, you know, I was collecting 00:01:55.239 --> 00:01:58.379 cassettes, obviously, and albums. And then right 00:01:58.379 --> 00:02:00.439 there, you know, guess it would have been like 00:02:00.439 --> 00:02:03.040 right around 87. We started buying CDs, right? 00:02:03.140 --> 00:02:07.459 Maybe 86, 87. We started buying CDs. But before 00:02:07.459 --> 00:02:09.599 CDs, yeah, man, you would sit there and listen 00:02:09.599 --> 00:02:11.719 on the radio. Just be like, especially if it 00:02:11.719 --> 00:02:13.759 was that song that wasn't quite the popular song, 00:02:13.819 --> 00:02:15.979 which you wanted, you know, you'd have to sit 00:02:15.979 --> 00:02:20.370 around and run over to the. It record a lot of 00:02:20.370 --> 00:02:22.789 times you'd miss the first four or five seconds, 00:02:22.889 --> 00:02:25.449 you know, but that's what a mixtape was to me. 00:02:25.629 --> 00:02:28.969 And that's the beauty of it. And the time and 00:02:28.969 --> 00:02:32.129 effort being put into mixtapes is what I'm trying 00:02:32.129 --> 00:02:35.530 to bring back with this show, because when people 00:02:35.530 --> 00:02:38.050 make a playlist, they just drag songs into a 00:02:38.050 --> 00:02:40.490 playlist in no shape or order and hit shuffle. 00:02:40.550 --> 00:02:43.740 And you kind of lose that. moment in time and 00:02:43.740 --> 00:02:45.939 that effort that goes into actually crafting 00:02:45.939 --> 00:02:48.639 something that you want to share with somebody 00:02:48.639 --> 00:02:51.800 else. Yeah, there was an order that you had to 00:02:51.800 --> 00:02:54.020 be aware of. There was no shuffle and there was 00:02:54.020 --> 00:02:56.020 no way to change the order. Once it was done, 00:02:56.120 --> 00:02:59.400 it was done. Yeah, you locked it in. So since 00:02:59.400 --> 00:03:02.000 this show is centered around the art of curating 00:03:02.000 --> 00:03:05.080 mixtapes, I've spent the last week putting together 00:03:05.080 --> 00:03:08.919 a Songs of Collective Soul playlist to tie into 00:03:08.919 --> 00:03:11.240 our discussion this evening. Now, these are songs 00:03:11.240 --> 00:03:14.740 that I both resonate with as a fan, as well as 00:03:14.740 --> 00:03:18.800 feel are important in telling the story of Collective 00:03:18.800 --> 00:03:22.039 Soul to someone who may have not heard it before, 00:03:22.099 --> 00:03:24.479 even though everybody has heard Collective Soul 00:03:24.479 --> 00:03:27.030 before. The first song I'd like to talk about 00:03:27.030 --> 00:03:29.909 is one that I've already spoken about on this 00:03:29.909 --> 00:03:31.930 show several weeks back, and it would be from 00:03:31.930 --> 00:03:36.650 our Songs of 1993 episode. As this track is celebrating 00:03:36.650 --> 00:03:39.030 its... I can't even believe I'm saying this, 00:03:39.110 --> 00:03:43.310 30th anniversary in 2023. And that would be the 00:03:43.310 --> 00:03:47.129 song Shine from 1993's Hints, Allegations, and 00:03:47.129 --> 00:03:50.150 Things Left Unsaid. Now, I am using the original 00:03:50.150 --> 00:03:53.270 Rising Storm Records release of the album, not 00:03:53.270 --> 00:03:56.770 the 94 Atlantic Records re -release that most 00:03:56.770 --> 00:04:00.650 will be familiar with. Yeah, it was on the independent 00:04:00.650 --> 00:04:03.069 label in 93, but everybody associates really 00:04:03.069 --> 00:04:06.219 that song with 94. But yeah, but you're correct. 00:04:06.300 --> 00:04:08.340 Keep going. Keep going. All right. Now, this 00:04:08.340 --> 00:04:10.759 is a song that everybody knows from Collective 00:04:10.759 --> 00:04:14.680 Soul was essentially your demo that just happened 00:04:14.680 --> 00:04:16.519 to take off. Can you talk about how that all 00:04:16.519 --> 00:04:20.279 unfolded? Yeah, you can. And we've had to go 00:04:20.279 --> 00:04:22.259 back and listen to a decent amount recently. 00:04:22.360 --> 00:04:26.399 But Collective Soul was a band and Ed. But I 00:04:26.399 --> 00:04:28.579 tell everybody that, you know, Ed was he was 00:04:28.579 --> 00:04:32.339 twenty eight, twenty nine. And he was like, man, 00:04:32.439 --> 00:04:34.620 maybe maybe being least here with the band, is 00:04:34.620 --> 00:04:36.720 it? necessarily where i need to put all of my 00:04:36.720 --> 00:04:40.779 eggs so he was going to focus on songwriting 00:04:40.779 --> 00:04:43.000 and seeing if somebody would record one of his 00:04:43.000 --> 00:04:47.699 songs um so shine is an example off of hints 00:04:47.699 --> 00:04:51.399 and allegations where you can tell there's programmed 00:04:51.399 --> 00:04:55.319 drums there's real guitars but it's not necessarily 00:04:55.319 --> 00:04:58.980 a band effort you know it's obviously the guitar 00:04:58.980 --> 00:05:02.269 solo's epic in there but Ed was putting those 00:05:02.269 --> 00:05:04.810 songs together for a songwriter demo to show 00:05:04.810 --> 00:05:06.709 to other people to say, Hey, I'm a songwriter. 00:05:06.750 --> 00:05:09.050 Can I get a publishing deal? Or would somebody 00:05:09.050 --> 00:05:11.089 else like to maybe rerecord some of my songs? 00:05:11.649 --> 00:05:16.009 Well, we put a lot of those songs on a record 00:05:16.009 --> 00:05:21.149 for release also. And it was kind of, I mean, 00:05:21.149 --> 00:05:24.149 now that I think about it, I wouldn't say last 00:05:24.149 --> 00:05:27.060 ditch effort. but it was like okay well let's 00:05:27.060 --> 00:05:30.040 also make a band make it a band record and see 00:05:30.040 --> 00:05:33.139 what happens and and shine just kind of started 00:05:33.139 --> 00:05:36.680 with the independent release it started on college 00:05:36.680 --> 00:05:40.420 radio in atlanta and next thing you know a commercial 00:05:40.420 --> 00:05:43.839 station in orlando is picking it up steve robertson 00:05:43.839 --> 00:05:49.819 at wjrr and by february late february of 94 atlantic 00:05:49.819 --> 00:05:54.220 records is flying me and ed to new york and We're 00:05:54.220 --> 00:05:55.699 talking to Atlantic Records and doing interviews, 00:05:55.939 --> 00:05:58.600 and they stamped Atlantic Records on hints and 00:05:58.600 --> 00:06:01.579 allegations. In 94, you couldn't get Sean off 00:06:01.579 --> 00:06:03.899 the radio, and we came away with Rock Song of 00:06:03.899 --> 00:06:07.060 the Year. Well -deserved, and a song that is 00:06:07.060 --> 00:06:10.639 beloved by generations because Dolly Parton, 00:06:10.680 --> 00:06:12.319 who's now in the Rock and Roll Hall of Fame, 00:06:12.420 --> 00:06:14.980 did a cover version of it. Yeah, I mean, what 00:06:14.980 --> 00:06:17.279 an honor, and what a great version. It was a 00:06:17.279 --> 00:06:19.379 super honor. She played it. She performed a lot 00:06:19.379 --> 00:06:22.379 of it. on jay leno and you know we try to do 00:06:22.379 --> 00:06:24.100 our best to let her know how appreciative we 00:06:24.100 --> 00:06:26.300 were uh we sent her flowers and everything but 00:06:26.300 --> 00:06:29.019 uh yeah we can't we we can't you know things 00:06:29.019 --> 00:06:30.699 like that that have happened in our career we 00:06:30.699 --> 00:06:34.399 can't uh you can't really under emphasize how 00:06:34.399 --> 00:06:37.120 important those those moments are and and um 00:06:37.120 --> 00:06:40.019 and how you know how honored we are that somebody 00:06:40.019 --> 00:06:43.079 like dolly parton would grace you know her her 00:06:43.079 --> 00:06:47.139 vocals with with on a song like sean It's an 00:06:47.139 --> 00:06:49.740 amazing track. Well, for the second track, it's 00:06:49.740 --> 00:06:51.959 time for me to talk to you bass player to bass 00:06:51.959 --> 00:06:54.600 player here, because this one is a selfish pick 00:06:54.600 --> 00:06:57.879 of mine. But the bass line in this song is such 00:06:57.879 --> 00:07:01.379 an absolute monster, in my opinion. It's a perfect 00:07:01.379 --> 00:07:04.180 second track of the night song, and that is the 00:07:04.180 --> 00:07:08.240 title track from 1997's Disciplined Breakdown. 00:07:08.480 --> 00:07:10.639 Can you talk about how this song came together? 00:07:10.720 --> 00:07:12.379 Because I know there was some turmoil happening 00:07:12.379 --> 00:07:15.560 with management at the time. And then more importantly, 00:07:15.759 --> 00:07:18.899 how did... that baseline drum sequence come together 00:07:18.899 --> 00:07:21.420 where it just kind of strips it all down to you 00:07:21.420 --> 00:07:24.560 and drums and vocals because that is so powerful 00:07:24.560 --> 00:07:27.860 in that song in my opinion thanks buddy and i'm 00:07:27.860 --> 00:07:30.279 glad you chose that one because it that was definitely 00:07:30.279 --> 00:07:33.860 a moment where i thought okay you know we were 00:07:33.860 --> 00:07:35.439 super proud of the second record but i was like 00:07:35.439 --> 00:07:37.959 we had backed down to a log cabin in the middle 00:07:37.959 --> 00:07:40.319 of the woods near where we grew up in mcdonough 00:07:40.319 --> 00:07:43.879 georgia we were locked into a lawsuit with our 00:07:44.160 --> 00:07:46.939 first manager. Atlantic Records couldn't give 00:07:46.939 --> 00:07:49.300 us any money. They couldn't. Everything was locked. 00:07:49.519 --> 00:07:53.019 They couldn't. I think even in theory, we couldn't 00:07:53.019 --> 00:07:55.279 even start planning to release a record. So we 00:07:55.279 --> 00:07:56.920 did it on our own. There was no way you were 00:07:56.920 --> 00:07:59.939 going to stop the creative flow that we were 00:07:59.939 --> 00:08:03.519 going to keep coming at. So we rented a log cabin. 00:08:03.620 --> 00:08:06.740 We stripped out carpet. There's drums in the 00:08:06.740 --> 00:08:10.939 kitchen. And it's me and Ed and Shane in the 00:08:10.939 --> 00:08:14.110 kitchen. We're developing that groove. And I 00:08:14.110 --> 00:08:16.410 remember being super proud of it. I remember 00:08:16.410 --> 00:08:19.649 being, okay, Shane's playing on rods. And it 00:08:19.649 --> 00:08:22.170 was a moment where, you know, I don't know how 00:08:22.170 --> 00:08:24.810 much people know about the story also about how 00:08:24.810 --> 00:08:27.149 often I played bass at that point. You know, 00:08:27.170 --> 00:08:29.370 I joined Collective Soul because they were my 00:08:29.370 --> 00:08:31.329 best friends and I felt the music. I felt Ed's 00:08:31.329 --> 00:08:33.409 music. We all grew up together and I told him 00:08:33.409 --> 00:08:36.009 I would play bass. And that was right before 00:08:36.009 --> 00:08:39.210 we got signed. So by the time 97 rolled around, 00:08:39.389 --> 00:08:42.759 we're in a lawsuit. We don't really have a lot 00:08:42.759 --> 00:08:46.559 of money. I'm driving my grandfather's Cadillac 00:08:46.559 --> 00:08:49.159 Coupe de Ville two -door, but we're confident. 00:08:49.279 --> 00:08:50.879 When I look back, we were still confident. We're 00:08:50.879 --> 00:08:53.500 like, okay, bumping the road. It's not over. 00:08:53.600 --> 00:08:55.519 We're still stuck in this cabin, but we're going 00:08:55.519 --> 00:08:58.679 to make music. And Discipline Breakdown, now 00:08:58.679 --> 00:09:01.200 you're understanding what exactly it was. It 00:09:01.200 --> 00:09:03.080 was a Discipline Breakdown. We were broke down, 00:09:03.240 --> 00:09:06.720 but as a band, we weren't broke down. As creators, 00:09:06.860 --> 00:09:09.360 we weren't broke down. We figured out a way to 00:09:09.360 --> 00:09:13.029 get into there. and make some stuff. So the moment 00:09:13.029 --> 00:09:15.830 that I felt like that song and that groove, the 00:09:15.830 --> 00:09:18.370 baseline, uh, I remember thinking, okay, I think 00:09:18.370 --> 00:09:20.669 I'm kind of getting close to being a decent bass 00:09:20.669 --> 00:09:23.429 player now. And, and you mentioned the groove 00:09:23.429 --> 00:09:25.710 with me and Shane, uh, you know, there's something 00:09:25.710 --> 00:09:27.570 special in the sauce. Me and Shane were as tight 00:09:27.570 --> 00:09:30.309 as rope and we, we found a groove. We found a 00:09:30.309 --> 00:09:33.090 pocket on that song and, uh, became the title 00:09:33.090 --> 00:09:35.659 track. And like I said, there's a story behind 00:09:35.659 --> 00:09:37.419 the title track. It was, we were broke down, 00:09:37.600 --> 00:09:39.440 but we were staying on track, you know, got to 00:09:39.440 --> 00:09:42.700 stay on track. Well, as a massive fan of this 00:09:42.700 --> 00:09:44.879 track, it's only sporadically been a part of 00:09:44.879 --> 00:09:47.960 the band's live shows. I'm wondering that considering 00:09:47.960 --> 00:09:50.340 there's an expanded edition of Discipline Breakdown 00:09:50.340 --> 00:09:53.080 that came out in 2022, is there any chance that 00:09:53.080 --> 00:09:55.000 this song might make its way back into the live 00:09:55.000 --> 00:09:58.200 rotation? You know, I don't know. Let's keep 00:09:58.200 --> 00:09:59.740 talking about it. Keep throwing that out there 00:09:59.740 --> 00:10:02.639 in the universe. Me and Johnny, our drummer. 00:10:03.240 --> 00:10:06.600 Me and Johnny, Johnny's been with us barely over 00:10:06.600 --> 00:10:09.240 10 years now, and he's he's me and him are tied 00:10:09.240 --> 00:10:12.940 his rope as well. But we did our due diligence 00:10:12.940 --> 00:10:15.460 for you during the rehearsals and we brought 00:10:15.460 --> 00:10:17.379 out Discipline Breakdown and we jammed in a number 00:10:17.379 --> 00:10:19.779 of times. It just just didn't catch fire with 00:10:19.779 --> 00:10:22.500 the rest of the band. So maybe next time. All 00:10:22.500 --> 00:10:25.159 right. All right. Well, the next song I'd like 00:10:25.159 --> 00:10:28.340 to jump ahead to is Them Blues from 2019's Blood. 00:10:28.840 --> 00:10:32.620 This song has such a unique vibe going on. Again, 00:10:32.659 --> 00:10:35.159 another bass player moment here. The call and 00:10:35.159 --> 00:10:37.340 response that you and Ed are doing between the 00:10:37.340 --> 00:10:40.580 piano and your bass line. To me, it has this, 00:10:40.620 --> 00:10:44.379 I don't even want to say three dog night, but 00:10:44.379 --> 00:10:47.679 it has this 70s vibe going on to it. But it still 00:10:47.679 --> 00:10:51.919 is a distinctly. modern collective soul track 00:10:51.919 --> 00:10:54.179 yeah and i'd love to know how the band could 00:10:54.179 --> 00:10:58.240 so effortlessly shift vibes from song to song 00:10:58.240 --> 00:11:01.940 when writing and recording but still manage to 00:11:01.940 --> 00:11:05.899 keep that collective soul sound locked in you 00:11:05.899 --> 00:11:08.820 know it's uh it's a good question i'll start 00:11:08.820 --> 00:11:12.120 with recognizing that song them blues i knew 00:11:12.120 --> 00:11:15.440 okay ed came in with the piano and the the original 00:11:15.440 --> 00:11:18.090 idea of the song and i was I was blown away personally 00:11:18.090 --> 00:11:20.450 from a creative standpoint. I was like, okay, 00:11:20.570 --> 00:11:24.809 I love it. Turned out to be, to me, it stands 00:11:24.809 --> 00:11:27.809 out. It's really hard to rank songs. It's really 00:11:27.809 --> 00:11:30.690 hard to rank albums, you know. But to me, that 00:11:30.690 --> 00:11:33.190 one stands out. Them Blues is just one of the 00:11:33.190 --> 00:11:35.289 most, it's just one of the moments in our creative 00:11:35.289 --> 00:11:37.529 past. And I would say Discipline Breakdown the 00:11:37.529 --> 00:11:39.909 same way, but that one really stands out creatively. 00:11:40.669 --> 00:11:45.820 Our influences, we just open our... We open our 00:11:45.820 --> 00:11:48.519 hearts and our mind and we just use all of our 00:11:48.519 --> 00:11:50.799 influences that are around us and we create by 00:11:50.799 --> 00:11:54.940 feel. I think if we had to write down in a book 00:11:54.940 --> 00:11:57.340 how to bring in so many different influences 00:11:57.340 --> 00:11:59.580 and still sound like yourself, I don't know if 00:11:59.580 --> 00:12:02.080 there's a technical way to do that, but it's 00:12:02.080 --> 00:12:04.000 something we've always been able to do. You know, 00:12:04.019 --> 00:12:06.659 Collective Soul, every record, there's no record 00:12:06.659 --> 00:12:10.480 that has one type of songs. And that's just one 00:12:10.480 --> 00:12:13.649 of our MOs, man. That's how we operate. We bring 00:12:13.649 --> 00:12:16.330 all our influences to the, to the table. We throw 00:12:16.330 --> 00:12:18.570 it in a pot and it's like a, you know, we try 00:12:18.570 --> 00:12:20.549 to make a really good vegetable soup out of it, 00:12:20.590 --> 00:12:23.870 you know, we'll see which parts you like better, 00:12:23.909 --> 00:12:26.850 but, uh, I'm super proud of them blues. I'm glad 00:12:26.850 --> 00:12:28.970 you picked that song. I am really proud of that. 00:12:28.990 --> 00:12:32.029 I'm proud of the vibe and it's us. I mean, it 00:12:32.029 --> 00:12:34.789 is us. So yeah. Appreciate it, man. And then 00:12:34.789 --> 00:12:36.980 another song I would just. bounce off of that 00:12:36.980 --> 00:12:40.620 one with is Better Now from Youth because in 00:12:40.620 --> 00:12:43.139 that song you incorporated a horn section and 00:12:43.139 --> 00:12:46.299 then took it a step farther on the home DVD when 00:12:46.299 --> 00:12:49.000 you did an entire performance with the Atlanta 00:12:49.000 --> 00:12:51.820 Symphony Youth Orchestra that that is incorporating 00:12:51.820 --> 00:12:54.659 a style that you normally wouldn't think about 00:12:54.659 --> 00:12:57.200 with Collective Soul but it works seamlessly 00:12:57.200 --> 00:13:00.740 it feels like any collective soul song, but sometimes 00:13:00.740 --> 00:13:03.419 when you add horns into a rock band, sometimes 00:13:03.419 --> 00:13:05.840 it'll do a disservice. But with this, it elevated 00:13:05.840 --> 00:13:08.759 the song. Yeah. I mean, again, influences, you 00:13:08.759 --> 00:13:10.840 know, I mean, David Bowie, you know, he wouldn't, 00:13:10.840 --> 00:13:13.139 again, like how many different songs and styles 00:13:13.139 --> 00:13:14.960 would a guy like David Bowie have, you know? 00:13:14.980 --> 00:13:17.399 I mean, those, those are our heroes. The Beatles, 00:13:17.720 --> 00:13:20.139 you know, how many different styles did Paul 00:13:20.139 --> 00:13:22.860 McCartney have? Oh my God. He had four different 00:13:22.860 --> 00:13:26.679 vocal styles he'd sing. Much less the song, you 00:13:26.679 --> 00:13:29.889 know? So it's just a culmination of our influences. 00:13:30.009 --> 00:13:32.029 And Better Now specifically, that one's right 00:13:32.029 --> 00:13:33.870 off the top of Ed's noggin. I mean, he's like, 00:13:33.950 --> 00:13:36.990 I want a sax solo. And I'm like, that sounds 00:13:36.990 --> 00:13:39.549 weird. But sure enough, man, by the time he got 00:13:39.549 --> 00:13:42.029 it all done, him and Dexter Green and Nashville, 00:13:42.190 --> 00:13:44.629 I listened to the song. And first time through, 00:13:44.710 --> 00:13:46.850 I was like, I think that's the first single. 00:13:46.950 --> 00:13:49.850 And sure enough, it was. Hell yeah. Well, being 00:13:49.850 --> 00:13:51.750 you're talking about influences now, let's stick 00:13:51.750 --> 00:13:53.370 with that for a second. Something I've talked 00:13:53.370 --> 00:13:56.350 about for years as a podcaster is the fact that 00:13:56.350 --> 00:13:58.850 the Cars self -titled album is my favorite album 00:13:58.850 --> 00:14:02.809 of all time. And in the band's catalog, Candio 00:14:02.809 --> 00:14:05.289 and Heartbeat City are tied for the number two 00:14:05.289 --> 00:14:08.370 spot, depending on my mood for that day. So I 00:14:08.370 --> 00:14:10.690 guess it'll be no surprise that my next choice 00:14:10.690 --> 00:14:15.460 is Collective Souls seemingly. nod to the band 00:14:15.460 --> 00:14:20.720 the cars yep 2008s afterwards in the track hollywood 00:14:20.720 --> 00:14:24.059 can you maybe talk about one if i'm hitting that 00:14:24.059 --> 00:14:28.200 cars reference on the head there and if so where 00:14:28.200 --> 00:14:32.600 the cars sit in collective souls history or fandom 00:14:32.600 --> 00:14:35.480 and kind of why that influence kind of came out 00:14:35.480 --> 00:14:37.940 in that song yeah i mean they were definitely 00:14:37.940 --> 00:14:40.840 a big influence um they were a massive influence 00:14:40.840 --> 00:14:44.360 on ed ed went to berkeley First year out of high 00:14:44.360 --> 00:14:47.980 school, he just loved Boston. He loved Rico Kasich 00:14:47.980 --> 00:14:52.000 and the Cars. And yeah, I mean, I think we might 00:14:52.000 --> 00:14:54.620 have even mentioned it to people in the day. 00:14:54.720 --> 00:14:58.960 I mean, Hollywood, sonically, and a little bit 00:14:58.960 --> 00:15:02.659 of what we use sound -wise was definitely a direct 00:15:02.659 --> 00:15:05.659 tip of the hat to the Cars. So that's that. I 00:15:05.659 --> 00:15:07.840 love the song. American Idol picked it up. Who 00:15:07.840 --> 00:15:09.639 would have thought? It's one of my favorites 00:15:09.639 --> 00:15:13.120 from the band, as well as another song off of 00:15:13.120 --> 00:15:16.179 Blood, which is Right As Rain, because Ed said 00:15:16.179 --> 00:15:18.580 the song is a nod to one of my favorite artists 00:15:18.580 --> 00:15:21.200 of all time, Tom Petty. Right. When you guys 00:15:21.200 --> 00:15:23.669 are working on new material. Because obviously 00:15:23.669 --> 00:15:26.809 Hollywood and Right As Rain are distinctly collective 00:15:26.809 --> 00:15:29.669 soul songs, but you're bringing in what you grew 00:15:29.669 --> 00:15:32.490 up with and the songs that you like. It's really 00:15:32.490 --> 00:15:35.590 nice to hear those nods in an album. Is that 00:15:35.590 --> 00:15:37.909 something that you guys set out to do? Or is 00:15:37.909 --> 00:15:39.850 it something that when you're in the room working 00:15:39.850 --> 00:15:41.750 on a song, you're going, man, I'm catching this 00:15:41.750 --> 00:15:44.669 vibe here. Let's keep running with this. Yeah, 00:15:44.710 --> 00:15:48.529 both. And I think the bulk of the song, you know, 00:15:48.529 --> 00:15:51.559 look, I mean. it's western harmony you got 12 00:15:51.559 --> 00:15:53.899 notes you got a melody you got words we got the 00:15:53.899 --> 00:15:58.340 english dictionary everything in some form of 00:15:58.340 --> 00:16:02.820 fashion has slightly been done before so it's 00:16:02.820 --> 00:16:06.720 not um you know we're kind of like putting uh 00:16:06.720 --> 00:16:08.700 what's the what's the quote about uh you know 00:16:08.700 --> 00:16:10.580 we're not we're not making a new tire we're just 00:16:10.580 --> 00:16:13.720 retreading the tire so it's okay to like have 00:16:13.720 --> 00:16:18.840 a song and go oh this song the acoustic sound 00:16:19.309 --> 00:16:22.289 Let's make this acoustic sound as close as we 00:16:22.289 --> 00:16:25.990 can to Mr. Tom Petty and stick it out. And let's 00:16:25.990 --> 00:16:28.230 listen to some of those Petty productions and 00:16:28.230 --> 00:16:30.269 maybe pull a few of those production tricks, 00:16:30.350 --> 00:16:33.350 or not necessarily tricks, but production aspects 00:16:33.350 --> 00:16:36.250 of some Petty songs and pull them right into 00:16:36.250 --> 00:16:39.230 our song. So that's kind of the thought process. 00:16:39.450 --> 00:16:42.649 We're not sitting here. We want to be original. 00:16:42.690 --> 00:16:44.269 We want to be true to ourselves, and we want 00:16:44.269 --> 00:16:47.789 to sound like us. When you look at an influence 00:16:47.789 --> 00:16:51.549 like the Cars or Tom Petty, it's totally just 00:16:51.549 --> 00:16:54.970 pretty easy for us to go, let's do some keyboard 00:16:54.970 --> 00:16:57.750 sounds like the Cars in Hollywood. And let's 00:16:57.750 --> 00:17:00.509 make that acoustic sound as much. We can't make 00:17:00.509 --> 00:17:02.929 it sound like Tom's right hand and Jeff Lynn 00:17:02.929 --> 00:17:05.690 producing or whoever else is going on, but we 00:17:05.690 --> 00:17:09.289 can try. And that's our tip of the cap to the 00:17:09.289 --> 00:17:11.869 people who are our heroes. Excellent. Excellent. 00:17:11.970 --> 00:17:16.269 Well, with the tip of the cap. I am a big cover 00:17:16.269 --> 00:17:18.710 song nerd. I've been playing covers for years. 00:17:18.829 --> 00:17:21.069 I love when I hear a new song, kind of learning 00:17:21.069 --> 00:17:23.609 how to play it. And there's not a ton of covers 00:17:23.609 --> 00:17:26.609 in collective souls discography. However, for 00:17:26.609 --> 00:17:29.769 the half and half EP, you recorded a cover of 00:17:29.769 --> 00:17:32.289 one of my personal favorite REM songs being the 00:17:32.289 --> 00:17:35.769 one I love being a big REM fan as well. There's 00:17:35.769 --> 00:17:37.549 a ton of songs you guys could have chose from 00:17:37.549 --> 00:17:42.089 what made you settle on that one? I don't know. 00:17:42.109 --> 00:17:45.930 We're big fans too. You know what? think and 00:17:45.930 --> 00:17:47.549 we didn't really talk about it we just thought 00:17:47.549 --> 00:17:50.670 you know we'll honestly step one on deciding 00:17:50.670 --> 00:17:53.970 what cover tunes is what fits best with us like 00:17:53.970 --> 00:17:57.430 we we'll run through a song really more than 00:17:57.430 --> 00:17:59.369 likely we probably only run through a song one 00:17:59.369 --> 00:18:01.829 time and we kind of know if it's going to capture 00:18:01.829 --> 00:18:04.069 the best elements of us or not or maybe it's 00:18:04.069 --> 00:18:09.190 not quite in our in our wheelhouse but um outside 00:18:09.190 --> 00:18:11.990 of us knowing that we could capture a great vibe 00:18:11.990 --> 00:18:15.750 on that song i think that record rem number five 00:18:15.750 --> 00:18:18.390 is that right document rem document that was 00:18:18.390 --> 00:18:22.549 the name yes yes um being from georgia we were 00:18:22.549 --> 00:18:24.769 already fans of radio free europe we were already 00:18:24.769 --> 00:18:28.410 fans of record called life's rich pageant but 00:18:28.410 --> 00:18:30.750 they were it was still independent independency 00:18:30.750 --> 00:18:34.769 uh college college radio and we were fans when 00:18:34.769 --> 00:18:37.069 that record broke and it broke national we were 00:18:37.069 --> 00:18:39.759 really proud and we were in high school Ed was 00:18:39.759 --> 00:18:41.079 out of high school, but we were in high school 00:18:41.079 --> 00:18:43.640 and we were proud of a band from Athens, Georgia 00:18:43.640 --> 00:18:46.380 that broke nationally without being a Southern 00:18:46.380 --> 00:18:49.140 rock band or a soul band. And we knew Georgia 00:18:49.140 --> 00:18:52.319 had, we knew the history with Otis Redding, James 00:18:52.319 --> 00:18:57.180 Brown, Ray Charles, Allman Brothers, the country, 00:18:57.279 --> 00:18:59.660 all the country acts, Alan Jackson, Travis Tritt. 00:18:59.920 --> 00:19:03.539 We knew all that history. Atlanta rhythm section 00:19:03.539 --> 00:19:06.259 going back to the seventies, but nobody that 00:19:06.259 --> 00:19:08.299 was alternative, which is what we were listening 00:19:08.299 --> 00:19:12.190 to. Nobody was looking down at Georgia. And when 00:19:12.190 --> 00:19:15.690 REM did that, I remember an extreme feeling of 00:19:15.690 --> 00:19:21.430 pride for my Georgia musician mates. And I think 00:19:21.430 --> 00:19:23.650 that's probably one of the reasons we liked that 00:19:23.650 --> 00:19:27.069 era of REM. Awesome. Awesome. Well, the next 00:19:27.069 --> 00:19:29.309 collective soul track I want to talk about is 00:19:29.309 --> 00:19:32.849 Heavy from 1999's Dosage. Just a killer riff 00:19:32.849 --> 00:19:35.450 and a classic track that remains in the band's 00:19:35.450 --> 00:19:38.349 live repertoire to this day. I asked listeners 00:19:38.349 --> 00:19:40.609 to chime in with some of their favorite collective 00:19:40.609 --> 00:19:43.329 soul songs, and this one was near the top. So 00:19:43.329 --> 00:19:45.430 where does this song sit with the band in terms 00:19:45.430 --> 00:19:48.349 of its longevity and inclusions in most live 00:19:48.349 --> 00:19:51.349 shows since the song was released? Yeah, I guess 00:19:51.349 --> 00:19:53.849 that's what you call a banger these days. Is 00:19:53.849 --> 00:19:55.470 that the new term I've been using for the last 00:19:55.470 --> 00:19:56.869 four or five years? Yes, it is. With that and 00:19:56.869 --> 00:20:01.329 a bop, yes. I like banger. It's a banger, man. 00:20:01.809 --> 00:20:05.339 I remember that one, too. Dosage. Dosage was 00:20:05.339 --> 00:20:07.599 that record that really was our fourth record 00:20:07.599 --> 00:20:11.279 and it really solidified, for me, that era of 00:20:11.279 --> 00:20:13.220 Collective Soul, solidified the Atlantic years. 00:20:13.640 --> 00:20:16.720 But that song, I felt it from the very beginning. 00:20:16.960 --> 00:20:20.400 It started off with drums and bass and Ed came 00:20:20.400 --> 00:20:22.539 running in the room and started a guitar riff 00:20:22.539 --> 00:20:25.259 and next thing you know, we're going into a chorus 00:20:25.259 --> 00:20:29.079 and that's how that song happened and it was 00:20:29.079 --> 00:20:33.059 a big single for us. And it's hard to imagine 00:20:33.059 --> 00:20:34.440 a live show that we're not going to play that 00:20:34.440 --> 00:20:37.240 song. Agreed. Along with this next one, because 00:20:37.240 --> 00:20:39.539 again, I did reach out to listeners and they 00:20:39.539 --> 00:20:41.740 chimed in with their favorites. And this one 00:20:41.740 --> 00:20:44.720 was the most chimed in song. So I wanted to add 00:20:44.720 --> 00:20:46.940 it into our discussion today. And that would 00:20:46.940 --> 00:20:50.720 be The World I Know from the 1995 self -titled 00:20:50.720 --> 00:20:53.180 collective soul album, The Love Song to New York 00:20:53.180 --> 00:20:56.359 City. Can you talk about why you feel that this 00:20:56.359 --> 00:20:58.980 song has such longevity with fans some nearly 00:20:58.980 --> 00:21:03.269 30 years later? Yeah, there's a sentiment in 00:21:03.269 --> 00:21:05.309 that song that just rings true with a lot of 00:21:05.309 --> 00:21:08.269 people. You know, it's just one of those songs 00:21:08.269 --> 00:21:10.789 that presents a lot of questions, right? And 00:21:10.789 --> 00:21:14.650 those questions are, it's great at writing lyrics 00:21:14.650 --> 00:21:18.470 that can be used for anybody's perspective. So 00:21:18.470 --> 00:21:20.529 yeah, it presents a lot of questions that all 00:21:20.529 --> 00:21:22.529 of us have at certain point in times in our lives. 00:21:22.930 --> 00:21:26.170 And it doesn't present answers, but it's, you 00:21:26.170 --> 00:21:28.839 know. The culmination is just, you know, it's 00:21:28.839 --> 00:21:30.640 just the world. You know, it's just the world 00:21:30.640 --> 00:21:33.160 we know. So I think it's just one that resonates 00:21:33.160 --> 00:21:35.660 because it's real simple for anybody to hear 00:21:35.660 --> 00:21:40.240 those lyrics and go, I get that. From my perspective, 00:21:40.380 --> 00:21:42.359 I get that. I've got some of those same questions. 00:21:43.099 --> 00:21:46.819 And then, of course, yeah, the vibe of the tune. 00:21:46.920 --> 00:21:50.079 We captured the vibe of the tune, and it still 00:21:50.079 --> 00:21:52.859 lives on. That one will go on for a while, I'm 00:21:52.859 --> 00:21:57.799 sure. As will my pick from the 1995 self -titled 00:21:57.799 --> 00:22:00.339 album, and that will be the song Gel. That song 00:22:00.339 --> 00:22:03.440 was featured on the soundtrack to the 1995 film 00:22:03.440 --> 00:22:06.359 The Jerky Boys. And while the movie wasn't a 00:22:06.359 --> 00:22:09.619 massive hit, the song certainly was. And I have 00:22:09.619 --> 00:22:12.779 the soundtrack as well. And I love hearing the 00:22:12.779 --> 00:22:15.680 collective soul track amongst that mix of songs. 00:22:16.220 --> 00:22:18.480 Can you talk about how you guys became involved? 00:22:18.640 --> 00:22:20.220 Because again, you guys are based out of Atlanta, 00:22:20.359 --> 00:22:23.079 Georgia. This is the jerky boys, which are a 00:22:23.079 --> 00:22:26.839 New York, New Jersey prank phone call duo that 00:22:26.839 --> 00:22:30.160 are somehow catapulting into cult stardom enough 00:22:30.160 --> 00:22:33.279 to make a movie. It's that whole story is in 00:22:33.279 --> 00:22:35.140 and of itself amazing, but I'd love to hear how 00:22:35.140 --> 00:22:36.779 you guys got involved with them for the Saturday. 00:22:36.779 --> 00:22:39.420 And they're getting a little bit of the jerky 00:22:39.420 --> 00:22:41.660 boys are, I felt a little bit of a resurgence 00:22:41.660 --> 00:22:44.599 and people talking about them recently, but. 00:22:45.180 --> 00:22:47.700 Yeah, that was probably almost all through Atlantic 00:22:47.700 --> 00:22:50.500 Records out of New York. And we had the opportunity 00:22:50.500 --> 00:22:52.940 to get on, you know, a cool little soundtrack 00:22:52.940 --> 00:22:56.559 to bridge the gap between the first record and 00:22:56.559 --> 00:22:59.119 the second record. So that that soundtrack came 00:22:59.119 --> 00:23:01.559 out right before the second record. But we knew 00:23:01.559 --> 00:23:03.420 Jail was going to be included into the second 00:23:03.420 --> 00:23:06.200 record. Man, you know, I remember recording that 00:23:06.200 --> 00:23:09.019 song in Chicago. We were on the road on that 00:23:09.019 --> 00:23:11.940 first record. And we would if we had a day off, 00:23:11.960 --> 00:23:14.400 we would stop and record. And we had to record 00:23:14.400 --> 00:23:16.779 Jell a little earlier than the rest of the second 00:23:16.779 --> 00:23:19.420 record, the self -titled record, because we had 00:23:19.420 --> 00:23:22.400 to make a deadline for a soundtrack. So it was 00:23:22.400 --> 00:23:26.299 I am not I am not stretching the truth. And I 00:23:26.299 --> 00:23:29.180 tell you, we were in the studio. I don't think 00:23:29.180 --> 00:23:30.880 we were there two days. We recorded that song 00:23:30.880 --> 00:23:33.160 in one day. Wow. Might have been a day and a 00:23:33.160 --> 00:23:35.000 half. We might have spent we might have had a 00:23:35.000 --> 00:23:36.900 second day where we got like a half day in there. 00:23:37.500 --> 00:23:40.380 But, you know, we had one record and we had just 00:23:40.380 --> 00:23:43.140 been touring on that in 94. So. If you do get 00:23:43.140 --> 00:23:45.740 a chance to listen to any bootlegs from 94, you'll 00:23:45.740 --> 00:23:49.359 hear us play about seven or eight tunes that 00:23:49.359 --> 00:23:52.539 weren't recorded. And a couple of those would 00:23:52.539 --> 00:23:54.440 have been songs that you'll hear on the second 00:23:54.440 --> 00:23:58.000 record. A song called Untitled we played on tour 00:23:58.000 --> 00:24:01.640 in 94. Love that one. We played Jell on tour 00:24:01.640 --> 00:24:04.160 in 94. We played Simple, a version of Simple, 00:24:04.279 --> 00:24:08.660 I believe, on tour in 94. So it made it, since 00:24:08.660 --> 00:24:10.180 we've been playing it live a lot, it made it. 00:24:10.850 --> 00:24:13.349 easy enough to go right in studio and knock it 00:24:13.349 --> 00:24:16.710 out but yeah it's funny it's it's it gets associated 00:24:16.710 --> 00:24:21.250 with jerky boys who are pranksters and uh ed's 00:24:21.250 --> 00:24:24.410 writing lyrics about uh all humanity coming together 00:24:24.410 --> 00:24:30.089 yeah it's definitely a yin and yang moment happening 00:24:30.089 --> 00:24:33.990 there now The band is no stranger to soundtracks 00:24:33.990 --> 00:24:36.470 because besides Jell being on the Jerky Boy soundtrack, 00:24:36.809 --> 00:24:40.089 Run was featured on Varsity Blues, She Said was 00:24:40.089 --> 00:24:43.009 featured on the Scream 2 soundtrack, and then 00:24:43.009 --> 00:24:45.769 Tremble for My Beloved was featured on the Twilight 00:24:45.769 --> 00:24:50.390 soundtrack nine years after the song's initial 00:24:50.390 --> 00:24:53.549 release. While it's safe to say that soundtracks 00:24:53.549 --> 00:24:56.910 open up the band's music to new audiences, in 00:24:56.910 --> 00:24:59.940 the case of Tremble, Is it safe to say that it 00:24:59.940 --> 00:25:02.380 introduced the band's music to a new generation 00:25:02.380 --> 00:25:07.220 of music fans as well for you guys? Yeah, absolutely. 00:25:07.500 --> 00:25:10.500 And Twilight was barely in the era where people 00:25:10.500 --> 00:25:12.940 were actually buying CDs still and listening 00:25:12.940 --> 00:25:16.000 to the CDs beginning to end. We were number three 00:25:16.000 --> 00:25:18.940 or number four track on, when you look at sales, 00:25:19.019 --> 00:25:22.500 I think that in this day still sold over 2 million, 00:25:22.599 --> 00:25:26.660 the soundtrack. So 10 years later, that song 00:25:26.660 --> 00:25:29.099 was... part of the soundtrack of a generation 00:25:29.099 --> 00:25:33.400 it was uh the early 2000s it was their footloose 00:25:33.400 --> 00:25:37.019 to the 80s it was their singles to the 90s you 00:25:37.019 --> 00:25:39.319 know the soundtrack of a generation i would say 00:25:39.319 --> 00:25:42.640 the single soundtrack is kind of my generation's 00:25:42.640 --> 00:25:45.200 kind of yeah soundtrack agree unless you go back 00:25:45.200 --> 00:25:46.759 to the 80s and then you got some other ones like 00:25:46.759 --> 00:25:49.400 i said there's there's footloose and uh there's 00:25:49.400 --> 00:25:51.740 a few other ones that were just big big soundtracks 00:25:51.740 --> 00:25:54.690 beginning to end but um Yeah, it became a soundtrack 00:25:54.690 --> 00:25:56.930 to a generation, and it was a song we recorded 00:25:56.930 --> 00:26:00.970 10 years prior, and it's in the movie. Yeah, 00:26:01.089 --> 00:26:03.210 for us, Twilight, I was having this discussion 00:26:03.210 --> 00:26:05.210 with some music podcaster friends, and we were 00:26:05.210 --> 00:26:07.690 talking about the fact, when was the last soundtrack 00:26:07.690 --> 00:26:12.250 that became an event as a group of songs? Because 00:26:12.250 --> 00:26:14.670 around that time was the pivot to streaming, 00:26:14.809 --> 00:26:17.529 where people would just go find... I feel like 00:26:17.529 --> 00:26:20.490 Twilight was kind of the last big soundtrack. 00:26:20.890 --> 00:26:22.450 That's the question I've kind of thought about. 00:26:22.750 --> 00:26:25.410 As well. And if my answer is Twilight, that's 00:26:25.410 --> 00:26:28.410 the last one. Well, unfortunately, we need to 00:26:28.410 --> 00:26:30.390 make that a thing again, because I feel like 00:26:30.390 --> 00:26:32.150 when you have a movie like Top Gun Maverick, 00:26:32.210 --> 00:26:34.890 you have one Lady Gaga song on there. You think 00:26:34.890 --> 00:26:37.549 about the original soundtrack's impact. Yeah. 00:26:37.650 --> 00:26:39.829 They could have certainly gone a lot more than 00:26:39.829 --> 00:26:42.670 just the score and the one song. And that brings 00:26:42.670 --> 00:26:45.009 up another, I mean, the Stars Born soundtrack 00:26:45.009 --> 00:26:48.710 was good as well, but still not quite like a 00:26:48.710 --> 00:26:51.930 collection of different artists type soundtrack. 00:26:52.589 --> 00:26:55.190 Yeah, The Greatest Showman was a fantastic soundtrack, 00:26:55.349 --> 00:26:57.829 but that was a musical. So that's a little bit 00:26:57.829 --> 00:27:01.569 of a different vibe. Yeah, exactly. All right. 00:27:01.589 --> 00:27:04.769 So the last collective soul song that I have 00:27:04.769 --> 00:27:07.950 on my mix for tonight is the track Perfect Day 00:27:07.950 --> 00:27:11.369 from 2000's Blender. This song is an infectious 00:27:11.369 --> 00:27:14.750 pop rock delight with a feature from an artist 00:27:14.750 --> 00:27:17.390 listeners on the show may be familiar with. Some 00:27:17.390 --> 00:27:20.130 guy named Elton John or something. Maybe you 00:27:20.130 --> 00:27:23.140 heard of him. Joking aside, what was it like 00:27:23.140 --> 00:27:25.119 working with him on this song? And what do you 00:27:25.119 --> 00:27:28.920 feel his inclusion brought to the track on a 00:27:28.920 --> 00:27:31.339 musical level? Because this is somebody who is 00:27:31.339 --> 00:27:36.359 a musical icon for decades, generations. He's 00:27:36.359 --> 00:27:40.259 a master. He's an absolute master. What I feel 00:27:40.259 --> 00:27:42.200 like he bought, he bought Elton John. I mean, 00:27:42.200 --> 00:27:45.500 what else needs to be said? Just great ideas 00:27:45.500 --> 00:27:49.119 and vision by Ed. He's like, because Elton John 00:27:49.119 --> 00:27:52.220 had befriended us. for the longest time, spent 00:27:52.220 --> 00:27:54.960 a lot of time in Atlanta. So he befriended us. 00:27:55.059 --> 00:27:57.900 He was a fan of Collective Soul. So we had been, 00:27:57.920 --> 00:28:00.980 you know, one degree away from him, seeing him 00:28:00.980 --> 00:28:02.880 here and there for a couple years. And then, 00:28:02.900 --> 00:28:05.220 you know, Ed's always thinking, he's like, okay, 00:28:05.319 --> 00:28:07.700 friends with Elton, I'm going to game to record 00:28:07.700 --> 00:28:11.299 on a Collective Soul song. So Perfect Day was 00:28:11.299 --> 00:28:14.640 the one. And we had him in the studio with us. 00:28:14.700 --> 00:28:17.700 What a treat. What a great guy. I can't tell 00:28:17.700 --> 00:28:20.359 you what it means to be able to watch Elton John. 00:28:20.829 --> 00:28:23.289 in the studio we were actually in a big warehouse 00:28:23.289 --> 00:28:26.809 we had set up our own gear so it wasn't like 00:28:26.809 --> 00:28:29.069 iso rooms i remember standing behind him watching 00:28:29.069 --> 00:28:31.529 him play you know and he's got these really small 00:28:31.529 --> 00:28:34.309 fingers and stuff but he dances on the piano 00:28:34.309 --> 00:28:38.450 it's really it's kind of amazing i mean his vocal 00:28:38.450 --> 00:28:41.369 in the second verse it just pops the piano part 00:28:41.369 --> 00:28:44.650 pops uh i love the songs you chose man that's 00:28:44.650 --> 00:28:48.269 that's that belongs again that's that's an asterisk 00:28:48.269 --> 00:28:50.720 to me in our career Not necessarily all because 00:28:50.720 --> 00:28:53.079 of Elton, but the song, the way the song pops. 00:28:53.759 --> 00:28:56.380 You serve the song, and Elton served the song 00:28:56.380 --> 00:28:58.839 that day. Collective Soul served the song that 00:28:58.839 --> 00:29:02.039 day, and it was, dare I say, it was a perfect 00:29:02.039 --> 00:29:06.039 day. There you go. Well, talking about serving 00:29:06.039 --> 00:29:09.160 the song, I also want to bring up your 2018 solo 00:29:09.160 --> 00:29:11.759 album, Serengeti Drivers, because I am a big 00:29:11.759 --> 00:29:14.880 fan of that album as well. And I want to talk 00:29:14.880 --> 00:29:16.579 about two of the songs from that album, if you 00:29:16.579 --> 00:29:19.319 don't mind, because I feel like they're the songs 00:29:19.319 --> 00:29:20.960 that stick out to me the most. And they're the 00:29:20.960 --> 00:29:22.700 ones that resonate with me. And I've always been 00:29:22.700 --> 00:29:25.720 curious about them. The opening track, Demons, 00:29:25.720 --> 00:29:29.740 is an absolute jam. And then halfway through 00:29:29.740 --> 00:29:32.059 the album, you have a song like Belong that, 00:29:32.180 --> 00:29:34.839 and I promise you, I mean this as a compliment. 00:29:34.920 --> 00:29:38.299 I'm a huge jam band fan outside of rock music. 00:29:38.539 --> 00:29:43.420 It has this. fish slash umphreys mcgee funky 00:29:43.420 --> 00:29:47.119 rock vibe the entire album to me is a convertible 00:29:47.119 --> 00:29:50.099 top -down road trip drive album but can you talk 00:29:50.099 --> 00:29:52.819 about how this came together for you and more 00:29:52.819 --> 00:29:56.220 importantly how you decide what songs you want 00:29:56.220 --> 00:29:59.680 to explore as will turpin the artist versus which 00:29:59.680 --> 00:30:01.779 songs you'd like to bring to the collective soul 00:30:01.779 --> 00:30:06.400 camp yeah i think uh well yeah thanks man so 00:30:06.400 --> 00:30:09.009 i appreciate all that uh And that was my first 00:30:09.009 --> 00:30:11.170 full -length CD. Hopefully I get to work on another 00:30:11.170 --> 00:30:13.269 one. I've been busy in the studio a lot here, 00:30:14.029 --> 00:30:16.190 reel -to -reel in Atlanta, Georgia. Come see 00:30:16.190 --> 00:30:22.410 me. But yeah, Demons is kind of, it's that simple, 00:30:22.490 --> 00:30:24.170 it's a simple story where everybody, you know, 00:30:24.210 --> 00:30:26.990 supposedly you got like these two, you know, 00:30:26.990 --> 00:30:28.690 you got the yin and yang in life, right? You 00:30:28.690 --> 00:30:31.849 got an angel on one shoulder and a little devil 00:30:31.849 --> 00:30:34.549 on the other shoulder. And you hear these, you 00:30:34.549 --> 00:30:37.119 get to play between them. And I was kind of just 00:30:37.119 --> 00:30:40.519 playing on the term, I got to get rid of my demons. 00:30:41.180 --> 00:30:44.559 And I was trying to be opposite. I was like, 00:30:44.640 --> 00:30:48.779 huh, as long as I can learn when to go out with 00:30:48.779 --> 00:30:51.619 my demons and when to leave them at home, I kind 00:30:51.619 --> 00:30:54.759 of like my demons. And that's kind of what that 00:30:54.759 --> 00:30:57.539 song's about. When my demons all have gone, I 00:30:57.539 --> 00:31:00.240 don't want to be here to go it alone. If I can't 00:31:00.240 --> 00:31:02.819 hear the angel song. I don't want to go there. 00:31:03.000 --> 00:31:05.240 So just to leave it alone. I kind of, I was just 00:31:05.240 --> 00:31:07.859 trying to say that, uh, I like the dichotomy. 00:31:08.019 --> 00:31:11.400 I like it both. And, um, you know, a little bit 00:31:11.400 --> 00:31:13.359 of a little bit of a love affair with my, uh, 00:31:13.460 --> 00:31:17.440 my association with, with certain recreational 00:31:17.440 --> 00:31:21.279 drug. It's legal in half States now to a little 00:31:21.279 --> 00:31:24.539 double entendre there too. So that's what demons 00:31:24.539 --> 00:31:26.859 is about. Yeah. And belong just a really funky 00:31:26.859 --> 00:31:30.859 baseline that, uh, Mark Wilson started. So Mark 00:31:30.859 --> 00:31:33.359 Wilson played probably a little over half of 00:31:33.359 --> 00:31:35.920 the bass lines on my record. Uh, and we just 00:31:35.920 --> 00:31:38.240 got funky on it, man. And I let it go, man. I 00:31:38.240 --> 00:31:39.900 was like, you know, I'm not going to try to over 00:31:39.900 --> 00:31:41.779 edit this song. I'm gonna let it go, man. It 00:31:41.779 --> 00:31:44.319 ends up being almost a six minute tune. Yeah. 00:31:44.380 --> 00:31:46.859 Appreciate it, man. Six awesome minutes. Now 00:31:46.859 --> 00:31:48.720 on a little bit of a sadder topic, something 00:31:48.720 --> 00:31:50.700 that you and I talked about a couple of years 00:31:50.700 --> 00:31:52.660 ago on tune styles, when you were on with Jay 00:31:52.660 --> 00:31:55.880 and I. We talked a lot about your tour with Van 00:31:55.880 --> 00:31:58.259 Halen in the 90s. Now, obviously, Eddie passed 00:31:58.259 --> 00:32:02.480 back in October of 2020. We have not talked since 00:32:02.480 --> 00:32:06.400 then. I'm very curious, because you had such 00:32:06.400 --> 00:32:08.039 a personal connection with them over the life 00:32:08.039 --> 00:32:12.220 of that tour, how that whole situation impacted 00:32:12.220 --> 00:32:15.500 you. Because just as a fan from the outside, 00:32:15.720 --> 00:32:18.440 I'm still devastated. And I'm not trying to bring 00:32:18.440 --> 00:32:20.420 the interview down. I'm trying to think of a 00:32:20.420 --> 00:32:22.809 way to... to celebrate this man's life because 00:32:22.809 --> 00:32:24.710 he did so much for the music world. I'd love 00:32:24.710 --> 00:32:27.210 to kind of hear your thoughts on that because 00:32:27.210 --> 00:32:29.710 you got to spend some real quality time with 00:32:29.710 --> 00:32:31.990 him for a long period, which is different for 00:32:31.990 --> 00:32:35.109 me just spending time with him at the record 00:32:35.109 --> 00:32:40.910 level or at the CD level. Yeah, he was special. 00:32:42.049 --> 00:32:46.730 Everybody knows how special and innovative he 00:32:46.730 --> 00:32:51.259 was as a musician. Not even just a guitarist. 00:32:51.299 --> 00:32:54.980 Everybody knows also how innovative he was as 00:32:54.980 --> 00:32:58.380 a guitar maker. He could build guitars that were 00:32:58.380 --> 00:33:00.559 amongst the best. He could design and build guitars. 00:33:01.440 --> 00:33:03.319 Yeah, a lot of people don't get the chance to 00:33:03.319 --> 00:33:08.500 know how special of a human he was on a person 00:33:08.500 --> 00:33:11.839 -to -person level. 95, I'd have been 24 years 00:33:11.839 --> 00:33:15.099 old, and we did over three months and covered 00:33:15.099 --> 00:33:17.140 every arena in North America with those guys. 00:33:17.960 --> 00:33:20.579 And I tell you, man, it wasn't a weekend to the 00:33:20.579 --> 00:33:23.279 tour. Eddie Van Halen's walking around with you 00:33:23.279 --> 00:33:25.859 with his arm around you, talking to you about 00:33:25.859 --> 00:33:31.160 music. And yeah, he elevated us as a band. Sammy 00:33:31.160 --> 00:33:34.759 as well. Michael Anthony as well. Alex is always 00:33:34.759 --> 00:33:38.160 off doing his own thing. But those guys couldn't 00:33:38.160 --> 00:33:42.559 have meant more to us. And Eddie was always thinking 00:33:42.559 --> 00:33:46.119 about how I can help those guys. What can I do? 00:33:46.910 --> 00:33:49.069 If he wasn't trying to help us, he really just 00:33:49.069 --> 00:33:51.910 wanted to talk to us about music. He loved talking 00:33:51.910 --> 00:33:55.029 all the time. He knows always about music or 00:33:55.029 --> 00:33:58.730 instruments, which is why he gave me the five 00:33:58.730 --> 00:34:01.970 -string all -black Music Man bass. He gave that 00:34:01.970 --> 00:34:04.849 to me because we were talking about basses. And 00:34:04.849 --> 00:34:07.049 I told him the next one I want is going to be 00:34:07.049 --> 00:34:10.550 all black. And, of course, he went. About three 00:34:10.550 --> 00:34:12.670 weeks later, I had an all -black Music Man five 00:34:12.670 --> 00:34:17.360 -string bass in my dressing room. But man, they 00:34:17.360 --> 00:34:19.599 touched our lives in ways we can't even describe. 00:34:21.239 --> 00:34:24.360 Awesome. Amazing. Amazing. So now I've talked 00:34:24.360 --> 00:34:26.519 about a ton of collective soul songs tonight 00:34:26.519 --> 00:34:28.739 and picked all the ones that I liked and talked 00:34:28.739 --> 00:34:30.739 about ones that listeners of the show liked. 00:34:31.000 --> 00:34:33.679 But this would not be a collective soul mixtape 00:34:33.679 --> 00:34:36.099 without getting somebody from the band to put 00:34:36.099 --> 00:34:38.800 their stamp on it. So, Will, I'm going to propose 00:34:38.800 --> 00:34:41.420 this question to you. If you had to pick three 00:34:41.420 --> 00:34:45.469 songs from the band's catalog. that best tell 00:34:45.469 --> 00:34:49.769 the story of your musical legacy across all these 00:34:49.769 --> 00:34:52.070 decades, what three songs would you choose and 00:34:52.070 --> 00:34:59.469 why? Well, you named some good ones. Wow. That's 00:34:59.469 --> 00:35:04.269 a tough one. Well, you know, if you're telling 00:35:04.269 --> 00:35:07.050 the story of the legacy, you might've already 00:35:07.050 --> 00:35:09.570 mentioned three of them that I would use. You 00:35:09.570 --> 00:35:12.010 know, Sean has to be in the legacy. It's what 00:35:12.010 --> 00:35:15.320 got us on the map and it's. It sounds so different 00:35:15.320 --> 00:35:18.480 and it sounded so different than anything that 00:35:18.480 --> 00:35:21.659 was around at the same time. And it, it made 00:35:21.659 --> 00:35:25.719 a mark that was, you know, that was, it was not 00:35:25.719 --> 00:35:27.480 going to be, it was not going to be overlooked. 00:35:27.820 --> 00:35:33.440 Um, so Sean is definitely there. Um, I'm trying 00:35:33.440 --> 00:35:35.420 not to use your songs, but the song discipline 00:35:35.420 --> 00:35:40.119 breakdown, we were in a, we don't, again, I don't 00:35:40.119 --> 00:35:43.659 know how we were, we were a team. I don't know 00:35:43.659 --> 00:35:47.079 how we were so confident, but we were making, 00:35:47.179 --> 00:35:49.219 I mean, Atlantic records had to keep giving us 00:35:49.219 --> 00:35:53.559 a minimum of 150 bucks a week. And we were in 00:35:53.559 --> 00:35:55.559 a lawsuit and we weren't scared. We wanted to 00:35:55.559 --> 00:35:58.980 go create music and, and we kept doing it on 00:35:58.980 --> 00:36:02.500 a shoestring budget. And the record is, is, is, 00:36:02.619 --> 00:36:04.699 uh, to me, to me, it stands out when I listened 00:36:04.699 --> 00:36:06.199 to it, I can tell what we were going through. 00:36:07.000 --> 00:36:09.400 Um, and it's just all in there. All the, all 00:36:09.400 --> 00:36:11.219 the things that we were going through, it's all 00:36:11.219 --> 00:36:13.900 in that record. and that's the title cut from 00:36:13.900 --> 00:36:16.460 the from the record and and as ends growth as 00:36:16.460 --> 00:36:18.840 a musician i mentioned that as well by the time 00:36:18.840 --> 00:36:21.599 i'm playing that bass riff and i've been playing 00:36:21.599 --> 00:36:23.579 bass now for about three years or so at that 00:36:23.579 --> 00:36:26.679 point i'm like okay i'm i can almost call myself 00:36:26.679 --> 00:36:30.619 a bass player now so so discipline breakdown 00:36:30.619 --> 00:36:35.840 and then uh you know the last one uh man i don't 00:36:35.840 --> 00:36:38.320 know i mean perfect days got elton john on it 00:36:38.320 --> 00:36:41.610 what a mark that was But to me, I mean, maybe 00:36:41.610 --> 00:36:43.550 something off of the record we just recorded, 00:36:43.590 --> 00:36:47.469 but nobody's heard it. But to me, artistically, 00:36:47.550 --> 00:36:51.510 the high watermark for me as an individual was 00:36:51.510 --> 00:36:53.849 Them Blues. So you picked that one right out 00:36:53.849 --> 00:36:58.550 of my head. Something about that song raised 00:36:58.550 --> 00:37:00.550 the watermark for me, and it was something I 00:37:00.550 --> 00:37:03.429 felt like I got to explore with my buddies, another 00:37:03.429 --> 00:37:07.690 space that we hadn't really been to yet. I guess 00:37:07.690 --> 00:37:10.929 that's my three for those reasons. It's the bass 00:37:10.929 --> 00:37:14.130 player ESP we've got going here, I guess. You 00:37:14.130 --> 00:37:16.489 were definitely choosing some strong bass songs. 00:37:16.849 --> 00:37:19.250 Yeah, that's unfortunately where my mind automatically 00:37:19.250 --> 00:37:21.929 goes, which is why I love having bass players 00:37:21.929 --> 00:37:23.949 on because I really resonate with the instrument. 00:37:24.230 --> 00:37:28.309 So now I'm going to be news Brian here because 00:37:28.309 --> 00:37:32.030 you said something and I have to jump on this. 00:37:32.489 --> 00:37:35.690 The band released Vibrating back in 2022, and 00:37:35.690 --> 00:37:37.489 it has been known that the band has released 00:37:37.489 --> 00:37:40.630 albums in subsequent years back to back. You 00:37:40.630 --> 00:37:42.550 said something about a new album that no one's 00:37:42.550 --> 00:37:45.309 heard yet. Do you care to spill any details of 00:37:45.309 --> 00:37:47.829 what we might expect coming this year? Yeah, 00:37:47.869 --> 00:37:50.710 there will be a record out at the end of the 00:37:50.710 --> 00:37:54.369 summer. And I think it's the one we're currently 00:37:54.369 --> 00:37:57.530 working on, what we're going to release and when. 00:37:58.030 --> 00:38:03.010 But we did a record during the pandemic. It's 00:38:03.010 --> 00:38:05.849 kind of been just side shelf because we're sure 00:38:05.849 --> 00:38:08.070 what to do with it. And I think that's coming 00:38:08.070 --> 00:38:11.349 out this summer. And we also just got back from 00:38:11.349 --> 00:38:13.769 Palm Springs. We were in Palm Springs for an 00:38:13.769 --> 00:38:16.630 entire month, recorded at Elvis's old house, 00:38:16.750 --> 00:38:19.690 old Palm Springs house. We had an opportunity 00:38:19.690 --> 00:38:22.409 through a friend of a friend to bring in all 00:38:22.409 --> 00:38:24.250 the recording gear, and we lived in Palm Springs 00:38:24.250 --> 00:38:28.630 for a month. Found another plateau of creativity 00:38:28.630 --> 00:38:31.610 and knocked out another great record. We know 00:38:31.610 --> 00:38:34.929 for sure that record will be out spring next 00:38:34.929 --> 00:38:39.510 year. Within the next 15, 18 months, you might 00:38:39.510 --> 00:38:41.590 see two collective soul records. You probably 00:38:41.590 --> 00:38:44.110 will see two collective soul records. Oh, hell 00:38:44.110 --> 00:38:47.269 yeah. I can't wait. And the quintessential documentary. 00:38:47.590 --> 00:38:50.630 Keep your ear out. We are midway through production 00:38:50.630 --> 00:38:54.170 right now. I think next year you'll see it on 00:38:54.170 --> 00:38:57.369 one of your well -known streaming services. So 00:38:57.369 --> 00:39:00.059 keep an eye out for that, man. We certainly will. 00:39:00.159 --> 00:39:01.940 And when those albums come out, I hope to be 00:39:01.940 --> 00:39:03.800 able to have you back on, Will, to talk about 00:39:03.800 --> 00:39:06.300 them. It's been an absolute pleasure. Thank you 00:39:06.300 --> 00:39:08.539 so much for joining me today on My Weekly Mixtape. 00:39:09.000 --> 00:39:10.860 You got it, Brian. Cheers. Thank you, buddy. 00:39:11.659 --> 00:39:13.539 Remember, if you'd like to listen to all the 00:39:13.539 --> 00:39:15.860 songs we've been discussing on this episode, 00:39:16.099 --> 00:39:19.139 head over to myweeklymixtape .com, visit the 00:39:19.139 --> 00:39:22.119 Ultimate Songs of Collective Soul page, and give 00:39:22.119 --> 00:39:24.260 the tracks a listen via the embedded playlist. 00:39:24.739 --> 00:39:27.360 You can also find My Weekly Mixtape on Facebook, 00:39:27.559 --> 00:39:31.190 Twitter, Instagram, and TikTok at My Weekly Mixtape. 00:39:31.289 --> 00:39:34.070 And you can head to MyWeeklyMixtape .com to check 00:39:34.070 --> 00:39:37.190 out the full catalog of My Weekly Mixtape episodes. 00:39:37.530 --> 00:39:40.050 If you want to support the show, please consider 00:39:40.050 --> 00:39:43.550 becoming a Patreon mixtaper at Patreon .com forward 00:39:43.550 --> 00:39:46.530 slash My Weekly Mixtape. That's all for this 00:39:46.530 --> 00:39:48.449 week. Thanks for listening. Until next time, 00:39:48.489 --> 00:39:49.610 enjoy the tunes.