WEBVTT 00:00:10.800 --> 00:00:13.560 Welcome to My Weekly Mixtape, a podcast that 00:00:13.560 --> 00:00:16.120 takes the classic mixtape approach to building 00:00:16.120 --> 00:00:19.000 a modern playlist. I'm your host, Brian Colburn. 00:00:19.219 --> 00:00:21.500 Joining me for tonight's collaboration is fellow 00:00:21.500 --> 00:00:24.600 podcaster and friend, Jason Whistle, host of 00:00:24.600 --> 00:00:27.460 the It's Not That Bad podcast. Jason, thanks 00:00:27.460 --> 00:00:29.750 so much for joining me tonight. Brian, thank 00:00:29.750 --> 00:00:32.170 you so much for bringing me on. It's been way 00:00:32.170 --> 00:00:34.270 too long since we've been on a podcast together, 00:00:34.390 --> 00:00:36.310 whether it be Playlist Wars or It's Not That 00:00:36.310 --> 00:00:39.570 Bad. So the opportunity to go through my entire 00:00:39.570 --> 00:00:42.409 Spotify playlist and pick out some great opening 00:00:42.409 --> 00:00:44.789 riffs, this has been so much fun. I'm happy to 00:00:44.789 --> 00:00:47.270 be here. Well, I am glad to have you. But before 00:00:47.270 --> 00:00:49.729 we get down to business, let's get nostalgic 00:00:49.729 --> 00:00:53.020 for a moment. What is something about mixtapes 00:00:53.020 --> 00:00:56.700 that you personally feel hasn't translated into 00:00:56.700 --> 00:01:00.679 the present day creation and curation of playlists? 00:01:00.920 --> 00:01:04.780 I think the problem with playlists these days 00:01:04.780 --> 00:01:09.079 is it doesn't have the time commitment. that 00:01:09.079 --> 00:01:11.579 it took to actually make a mixtape. When you 00:01:11.579 --> 00:01:14.620 sat down to make a mixtape, and I'm sure you're 00:01:14.620 --> 00:01:16.420 probably the same way, but let me go through 00:01:16.420 --> 00:01:19.200 what it used to be for me. I would get my stack 00:01:19.200 --> 00:01:22.439 of CDs and place them in order, have the ghetto 00:01:22.439 --> 00:01:25.000 blaster right in front of me, time everything 00:01:25.000 --> 00:01:28.079 out, and it was a day. You would spend two to 00:01:28.079 --> 00:01:31.620 three hours meticulously planning it, tweaking 00:01:31.620 --> 00:01:34.219 tapes just back a little bit far enough so you 00:01:34.219 --> 00:01:37.980 miss the end bit of the previous song. It was... 00:01:38.319 --> 00:01:41.280 a commitment like you put work into that so that 00:01:41.280 --> 00:01:43.420 when you finally got into the car or popped it 00:01:43.420 --> 00:01:46.280 into your walkman it was exactly how you wanted 00:01:46.280 --> 00:01:50.439 it the work paid off now with the spotify playlist 00:01:50.439 --> 00:01:52.019 it's like i'll throw this song in there throw 00:01:52.019 --> 00:01:55.379 this song in there and you lose almost the sense 00:01:55.379 --> 00:01:59.560 of satisfaction of hearing that tape and everyone 00:01:59.560 --> 00:02:02.120 knew that person You know, in the car, you'd 00:02:02.120 --> 00:02:04.719 open it up and there were like 20 mixtapes and 00:02:04.719 --> 00:02:07.980 each one had its own purpose, whether it be for 00:02:07.980 --> 00:02:10.379 a road trip, whether it be for the psych up, 00:02:10.439 --> 00:02:12.539 whether it be, you know, the mixtape you made 00:02:12.539 --> 00:02:14.780 for the girlfriend in high school, like whatever 00:02:14.780 --> 00:02:18.340 it was, there was meaning behind it and work 00:02:18.340 --> 00:02:21.500 and you appreciated it a bit more, I think. And 00:02:21.500 --> 00:02:23.680 that's something that I'm trying to recapture 00:02:23.680 --> 00:02:26.460 through this new podcast. And I'm hoping that. 00:02:27.099 --> 00:02:30.680 by our conversations and building mixtapes on 00:02:30.680 --> 00:02:33.539 the fly like we used to do growing up, putting 00:02:33.539 --> 00:02:35.879 the effort into deciding which song is going 00:02:35.879 --> 00:02:39.719 to come next really shines through in this show. 00:02:40.080 --> 00:02:43.000 Now with this being episode one, I feel it's 00:02:43.000 --> 00:02:45.240 only fitting that our topic is like you mentioned 00:02:45.240 --> 00:02:48.520 at the top, opening guitar riffs. Now Jason, 00:02:48.580 --> 00:02:50.699 when I was putting my bank of songs together 00:02:50.699 --> 00:02:53.780 for tonight, the songs that rose to the top for 00:02:53.780 --> 00:02:58.759 me were those instantly recognizable guitar riffs. 00:02:58.800 --> 00:03:02.259 Songs that I would easily guess within one second 00:03:02.259 --> 00:03:05.039 if I was playing Hurdle and this song happened 00:03:05.039 --> 00:03:07.939 to be the song of the day. Simply because these 00:03:07.939 --> 00:03:11.240 songs are truly ingrained in my musical DNA. 00:03:11.699 --> 00:03:14.620 What were you looking for in the songs that you've 00:03:14.620 --> 00:03:16.840 brought to the table this evening? You know, 00:03:16.860 --> 00:03:19.060 it's funny. My process changed from the moment 00:03:19.060 --> 00:03:21.340 we were first talking about this episode to the 00:03:21.340 --> 00:03:24.360 short list that I finally have. Because I first 00:03:24.360 --> 00:03:26.360 started thinking about all these great intros 00:03:26.360 --> 00:03:28.939 to songs, then I realized, like, but it's not 00:03:28.939 --> 00:03:32.599 really a guitar riff. I'll throw one example 00:03:32.599 --> 00:03:34.699 out of a song that actually didn't make the shortlist. 00:03:35.020 --> 00:03:39.099 The live version of Love Song by Tesla off the 00:03:39.099 --> 00:03:42.500 Five Man Acoustical Jam album. It is one of the 00:03:42.500 --> 00:03:46.199 best acoustic guitar intros I've heard on a live 00:03:46.199 --> 00:03:49.259 album ever, but it's not really a riff. It's 00:03:49.259 --> 00:03:52.509 more like a solo jam kind of thing. All of a 00:03:52.509 --> 00:03:53.930 sudden, it's like, well, all of a sudden now 00:03:53.930 --> 00:03:57.289 it's not a riff. And I try to narrow it down. 00:03:57.449 --> 00:04:00.509 If it was a drum intro, I'd eliminate it. If 00:04:00.509 --> 00:04:03.090 it was more of a vocal intro, I'd eliminate it. 00:04:03.250 --> 00:04:04.969 There's some songs where you can tell the song 00:04:04.969 --> 00:04:07.569 right away, but it's not necessarily a great 00:04:07.569 --> 00:04:10.889 riff per se. So it's been a bit of a process 00:04:10.889 --> 00:04:13.449 and the list has gone through a few permutations. 00:04:13.449 --> 00:04:16.550 But I think of the songs that I have shortlisted, 00:04:16.769 --> 00:04:19.069 there's some really good ones here. Ones that 00:04:19.069 --> 00:04:21.410 people are going to be like... Yep, as soon as 00:04:21.410 --> 00:04:23.750 the guitar hits, you can hear the crowd almost 00:04:23.750 --> 00:04:26.569 scream at a live show. Well, I love where you're 00:04:26.569 --> 00:04:29.069 coming from with that, Jason. I'm glad you mentioned 00:04:29.069 --> 00:04:31.529 Tesla's Love Song because that version on Five 00:04:31.529 --> 00:04:35.050 Man Acoustical Jam is one of my may -I -help 00:04:35.050 --> 00:04:37.670 -you riffs when I go to a guitar store. I start 00:04:37.670 --> 00:04:40.209 playing the opening on an acoustic because that 00:04:40.209 --> 00:04:42.250 gives me an idea if that's the guitar that's 00:04:42.250 --> 00:04:44.709 right for me. So I love that you chose that one 00:04:44.709 --> 00:04:47.620 as an example, but I digress. Let's get down 00:04:47.620 --> 00:04:49.680 to business. For those that are listening tonight, 00:04:49.899 --> 00:04:52.259 if you haven't figured it out, Jason and I will 00:04:52.259 --> 00:04:55.660 be curating our own opening guitar riffs mixtape, 00:04:55.720 --> 00:04:58.519 and we'll use the old cassette deck approach, 00:04:58.779 --> 00:05:01.160 meaning our mixtape will be broken up into two 00:05:01.160 --> 00:05:05.420 sides, side A and side B. Jason, as my guest 00:05:05.420 --> 00:05:07.720 this evening, will begin side A with his first 00:05:07.720 --> 00:05:10.259 song choice, and then I'll add a song that I 00:05:10.259 --> 00:05:13.850 feel best follows up. Jason's choice. We'll then 00:05:13.850 --> 00:05:16.129 flip -flop for our choosing songs until we've 00:05:16.129 --> 00:05:19.810 mapped out 10 songs for side A. Then we'll give 00:05:19.810 --> 00:05:22.889 our mixtape a proverbial flip and we'll begin 00:05:22.889 --> 00:05:26.509 to map out side B. And on that side, I will begin 00:05:26.509 --> 00:05:28.949 with my song of choice and Jason will follow 00:05:28.949 --> 00:05:32.250 up. Our overall goal for this episode is to craft 00:05:32.250 --> 00:05:35.209 the best opening guitar riffs mixtape possible 00:05:35.209 --> 00:05:39.230 through the 20 songs we're choosing. At the end 00:05:39.230 --> 00:05:41.189 of the show, you could take our conversation 00:05:41.189 --> 00:05:43.810 to the next level by visiting the opening guitar 00:05:43.810 --> 00:05:47.870 riffs page at myweeklymixtape .com and give our 00:05:47.870 --> 00:05:50.750 final album a listen via the embedded playlist. 00:05:51.050 --> 00:05:53.629 The best part, you don't even have to worry about 00:05:53.629 --> 00:05:57.430 any blank space at the end of each side. Finally, 00:05:57.550 --> 00:05:59.110 if you like what you're hearing on the show, 00:05:59.189 --> 00:06:02.189 please consider becoming a Patreon mixtaper at 00:06:02.189 --> 00:06:06.600 patreon .com forward slash myweeklymixtape. Jason, 00:06:06.660 --> 00:06:08.920 before I turn it over to you to reveal your track 00:06:08.920 --> 00:06:11.480 one, some of the fellow mixtapers who follow 00:06:11.480 --> 00:06:14.399 us at My Weekly Mixtape on Facebook, Twitter, 00:06:14.600 --> 00:06:17.399 Instagram, and TikTok have chimed in with their 00:06:17.399 --> 00:06:20.800 ideal opening track for a greatest opening guitar 00:06:20.800 --> 00:06:24.519 riff mixtape. And these truly run the gamut, 00:06:24.519 --> 00:06:26.959 so this could be some food for thought for the 00:06:26.959 --> 00:06:30.339 two of us. Coach Fisher chimed in with Metallica's 00:06:30.339 --> 00:06:33.610 For Whom the Bell Tolls. Bobby Schultz chimed 00:06:33.610 --> 00:06:37.149 in with Black Sabbath's Iron Man. Simon Evans 00:06:37.149 --> 00:06:41.029 chimed in with Audioslave's Cochise. Eric, Time 00:06:41.029 --> 00:06:43.769 to Get Ill chimed in with Pantera's Cowboys from 00:06:43.769 --> 00:06:47.430 Hell. Conerdian Girl chimed in with Simple Mind's 00:06:47.430 --> 00:06:50.870 Changeling. Jason Donsis chimed in with Black 00:06:50.870 --> 00:06:54.430 Crow's Twice as Hard. And Gary Radcliffe chimed 00:06:54.430 --> 00:06:56.509 in with The Rolling Stones' Can't You Hear Me 00:06:56.509 --> 00:06:59.540 Knocking. Now, just from those choices alone, 00:06:59.639 --> 00:07:02.120 you can already see the various directions that 00:07:02.120 --> 00:07:05.339 this topic can conceivably take us. So, Jason, 00:07:05.420 --> 00:07:08.079 I've officially pressed record on our mixtape 00:07:08.079 --> 00:07:11.100 and the floor is yours. Why don't you dive into 00:07:11.100 --> 00:07:15.660 the song you chose to kick off side A? OK, I'm 00:07:15.660 --> 00:07:18.699 going to go with a song from probably my favorite 00:07:18.699 --> 00:07:21.540 era of music, like right in the thick of the 00:07:21.540 --> 00:07:25.360 really good rock 90s. It's a song that. Not only 00:07:25.360 --> 00:07:27.620 we'll start our playlist here, but basically 00:07:27.620 --> 00:07:31.339 introduced us to Bush, and that's Machine Head. 00:07:31.779 --> 00:07:34.860 When you think about that opening riff, starting 00:07:34.860 --> 00:07:38.019 off before the full band kicks in, you know the 00:07:38.019 --> 00:07:41.040 minute they play this song, the crowd is going 00:07:41.040 --> 00:07:42.860 to go nuts. It's probably the encore at this 00:07:42.860 --> 00:07:46.579 point. But that song, when you think about it, 00:07:46.600 --> 00:07:48.540 has stood the test of time. And it's nice to 00:07:48.540 --> 00:07:50.480 see that Bush is still out there and touring 00:07:50.480 --> 00:07:52.860 right now. They're getting ready to hit the road 00:07:52.860 --> 00:07:56.480 again with Candlebox. This song, it's timeless. 00:07:56.819 --> 00:07:58.980 Say what you will about some of their middle 00:07:58.980 --> 00:08:03.579 career albums, but the 16 stone is such a good 00:08:03.579 --> 00:08:06.500 album. And sure, people will point to glycerine 00:08:06.500 --> 00:08:08.920 as being the biggest song on that album. But 00:08:08.920 --> 00:08:12.560 Machine Head, for me, the minutes on the radio, 00:08:12.740 --> 00:08:15.360 the car stereo is turned up. I don't care what 00:08:15.360 --> 00:08:17.139 the kids in the back are saying. I'm cranking 00:08:17.139 --> 00:08:19.519 that song. I'm glad you're doing that because 00:08:19.519 --> 00:08:24.339 honestly, that to me is a perfect. snapshot of 00:08:24.339 --> 00:08:29.199 90s hard rock. Not necessarily your Soundgarden, 00:08:29.379 --> 00:08:32.860 Alice in Chains, Pearl Jam, Nirvana grunge, but 00:08:32.860 --> 00:08:34.799 it had a little bit more of a straight ahead 00:08:34.799 --> 00:08:38.480 meat and potatoes rock vibe. I've played that 00:08:38.480 --> 00:08:41.080 song in cover bands over the years in my life, 00:08:41.120 --> 00:08:43.519 and it's one of those songs that no matter how 00:08:43.519 --> 00:08:47.220 many years has passed since it came out in 1994, 00:08:47.299 --> 00:08:52.250 if I'm not mistaken. Here we are in 2023. And 00:08:52.250 --> 00:08:56.730 the song still sounds fresh and still sounds 00:08:56.730 --> 00:09:01.070 modern. The song is timeless and it's a perfect 00:09:01.070 --> 00:09:03.929 choice to start things off tonight. I love, love, 00:09:04.009 --> 00:09:07.070 love the pick. So now to bounce off that, I'm 00:09:07.070 --> 00:09:09.429 scrolling through my songs trying to decide what's 00:09:09.429 --> 00:09:12.509 a good way to follow that up because that one 00:09:12.509 --> 00:09:15.330 is powerful. And I think the way I'm going to 00:09:15.330 --> 00:09:18.529 do it is instead of naming the song, I'm just 00:09:18.529 --> 00:09:20.809 going to. Say something and you're immediately 00:09:20.809 --> 00:09:24.210 going to know the song I'm thinking about. And 00:09:24.210 --> 00:09:26.330 during the few moments that we have left, we 00:09:26.330 --> 00:09:29.029 want to talk right down to earth in a language 00:09:29.029 --> 00:09:32.950 that everybody here can easily understand. And 00:09:32.950 --> 00:09:35.309 right now, everybody listening and you, Jason, 00:09:35.350 --> 00:09:38.590 as I see you nodding, are hearing the iconic 00:09:38.590 --> 00:09:43.090 Vernon Reed riff that kicks off one of my favorite 00:09:43.090 --> 00:09:46.490 hard rock songs of the 1980s. I'm going with 00:09:46.490 --> 00:09:51.490 from 1998's Vivid. Living Color, Cult of Personality. 00:09:52.029 --> 00:09:56.049 This song won a very well -deserved Grammy for 00:09:56.049 --> 00:09:59.029 Best Hard Rock Performance. Let's be honest. 00:09:59.370 --> 00:10:03.110 Vernon Reed is one of the most underrated guitar 00:10:03.110 --> 00:10:08.049 players on the planet. And this song is easily 00:10:08.049 --> 00:10:11.250 an example why he should be put up there with 00:10:11.250 --> 00:10:16.509 all of the greats. This song has a timeless energy 00:10:16.509 --> 00:10:20.879 to it. It is manic. It is heavy. It is visceral. 00:10:21.000 --> 00:10:24.220 And it is everything I love about it. Opening 00:10:24.220 --> 00:10:27.019 guitar track to really make the hair on your 00:10:27.019 --> 00:10:31.080 arm stand up and just bring you all in full bore, 00:10:31.340 --> 00:10:34.980 guns blazing, living color, cult of personality. 00:10:35.669 --> 00:10:37.769 Yeah, I can't disagree with that song. I mean, 00:10:37.789 --> 00:10:40.909 you're right. Vernon Reed is such a monster guitarist. 00:10:40.970 --> 00:10:43.750 And the fact that that song carried on, not just 00:10:43.750 --> 00:10:46.529 on radio, but the fact that it became an entrance 00:10:46.529 --> 00:10:50.090 music for, of course, CM Punk. It's such a big 00:10:50.090 --> 00:10:53.450 song. So you have to think, if I'm going to follow 00:10:53.450 --> 00:10:58.970 that, a great guitarist song, you know what? 00:10:59.230 --> 00:11:02.529 I think I'm going to go with a little bit of 00:11:02.529 --> 00:11:06.759 Ian Thornley, The Oaf. from Big Wreck. Now, again, 00:11:06.820 --> 00:11:10.500 another debut album, another introduction to 00:11:10.500 --> 00:11:13.580 this band. Ian Thornley is a phenomenal guitarist, 00:11:13.600 --> 00:11:16.139 and we talked a little bit about this with Love 00:11:16.139 --> 00:11:19.679 Song from Tesla, in that this song is almost 00:11:19.679 --> 00:11:23.379 more of an intro, but just the warble on that 00:11:23.379 --> 00:11:25.480 opening riff, and then all of a sudden when they 00:11:25.480 --> 00:11:29.379 kick into the song. To me, this is Big Wreck. 00:11:29.519 --> 00:11:32.399 This song, and Ladylike from their second CD 00:11:32.399 --> 00:11:35.450 is another... great song but just the opening 00:11:35.450 --> 00:11:38.850 the reverb you know almost clean sound and then 00:11:38.850 --> 00:11:42.750 when the full band kicks in absolutely love this 00:11:42.750 --> 00:11:47.070 song so yeah the oaf big wreck in loving memory 00:11:47.070 --> 00:11:49.750 of definitely one of those underrated albums 00:11:49.750 --> 00:11:52.649 of the 90s that when you listen to it you have 00:11:52.649 --> 00:11:56.990 to wonder why they didn't become bigger than 00:11:56.990 --> 00:11:59.049 they were obviously you had the oaf and that 00:11:59.049 --> 00:12:01.970 song being like the two memorable tracks from 00:12:01.970 --> 00:12:05.259 the album but These guys were kind of flying 00:12:05.259 --> 00:12:07.799 beneath the radar, at least in the U .S. Maybe 00:12:07.799 --> 00:12:10.100 they were larger in Canada where you're from. 00:12:10.179 --> 00:12:13.360 But from what I heard on radio, I feel like they 00:12:13.360 --> 00:12:17.679 just didn't get the love outside of, let's say, 00:12:17.700 --> 00:12:21.559 college radio and independent radio because the 00:12:21.559 --> 00:12:24.039 mainstream just kind of overlooked it. And it's 00:12:24.039 --> 00:12:28.029 really a shame. I will say that when In Loving 00:12:28.029 --> 00:12:30.690 Memory Of came out, much music was playing their 00:12:30.690 --> 00:12:35.190 videos ad nauseum. Blown Wide Open was in constant 00:12:35.190 --> 00:12:38.970 heavy rotation. Not so much second album and 00:12:38.970 --> 00:12:42.330 on. And yes, Big Wreck is back together. They're 00:12:42.330 --> 00:12:46.149 actually using the drummer from Thornley's solo 00:12:46.149 --> 00:12:49.509 band. So they're still going. They're still putting 00:12:49.509 --> 00:12:52.450 out music. So it's still out there. Go find some 00:12:52.450 --> 00:12:55.659 of those new albums. Well, as we're talking now, 00:12:55.779 --> 00:12:58.779 I am scrolling through my list thinking, what 00:12:58.779 --> 00:13:02.019 could possibly follow this up? And we've kind 00:13:02.019 --> 00:13:04.799 of touched 90s, 80s, 90s. So what I'm going to 00:13:04.799 --> 00:13:06.799 do now is I'm going to dip back a little bit 00:13:06.799 --> 00:13:09.220 because I know we have people listening from 00:13:09.220 --> 00:13:12.500 all different eras. But with the mixtape we're 00:13:12.500 --> 00:13:14.240 putting together here, I kind of want to cross. 00:13:14.779 --> 00:13:18.000 some eras of music and i'm gonna go to for a 00:13:18.000 --> 00:13:21.820 song that in 2010 was ranked number 300 in rolling 00:13:21.820 --> 00:13:25.320 stones the 500 greatest songs of all time and 00:13:25.320 --> 00:13:29.320 also ranked number one in q magazine's 20 greatest 00:13:29.320 --> 00:13:36.519 guitar tracks for me this is the quintessential 00:13:36.519 --> 00:13:40.539 led zeppelin riff and i'm going with Black Dog 00:13:40.539 --> 00:13:44.139 from 1971's Untitled, or as the rest of the world 00:13:44.139 --> 00:13:47.600 knows, it led Zeppelin IV. This song was actually 00:13:47.600 --> 00:13:50.440 inspired by the pre - Stevie Nicks and Lindsey 00:13:50.440 --> 00:13:53.059 Buckingham version of Fleetwood Mac. They put 00:13:53.059 --> 00:13:56.820 out a song in 1969 called Oh Well, which if you're 00:13:56.820 --> 00:13:59.059 looking for a really cool cover of that song 00:13:59.059 --> 00:14:01.519 on Tom Petty and the Heartbreakers, the live 00:14:01.519 --> 00:14:04.120 anthology, they do an absolutely kick -ass version 00:14:04.120 --> 00:14:06.960 of it, but I digress. Jason, I know you're a 00:14:06.960 --> 00:14:10.419 bass player. I'm a bass player. And for me, it 00:14:10.419 --> 00:14:12.740 doesn't get any better than the pride that I 00:14:12.740 --> 00:14:16.240 take in the fact that this monster riff has nothing 00:14:16.240 --> 00:14:20.399 to do with Jimmy Page. This is a John Paul Jones 00:14:20.399 --> 00:14:24.159 riff, and it is one of the most iconic songs. 00:14:24.379 --> 00:14:27.620 Not only is that riff completely undeniable by 00:14:27.620 --> 00:14:32.159 anybody, the fact that John Bonham plays straight 00:14:32.159 --> 00:14:34.960 through the song's turnaround in the chorus. 00:14:35.789 --> 00:14:38.610 And it almost gives you a perception that the 00:14:38.610 --> 00:14:41.889 timing of the song is being thrown off. It adds 00:14:41.889 --> 00:14:45.149 this layer of complexity to a song that's not 00:14:45.149 --> 00:14:49.429 necessarily complex when you listen to the individual 00:14:49.429 --> 00:14:52.629 parts. But the way that timing and it kind of 00:14:52.629 --> 00:14:55.590 creates this madness during the second half of 00:14:55.590 --> 00:14:59.169 the riff, it always stuck out to me like, wow, 00:14:59.269 --> 00:15:01.669 these guys are insanely talented. But when you 00:15:01.669 --> 00:15:04.669 start listening to each instrument. Yes, they 00:15:04.669 --> 00:15:07.529 are insanely talented, but they're not doing 00:15:07.529 --> 00:15:09.990 anything that would be at the level of like a 00:15:09.990 --> 00:15:12.909 Rush turnaround where the song kind of whittle 00:15:12.909 --> 00:15:16.649 diddles into some other stratosphere. These guys 00:15:16.649 --> 00:15:20.049 are keeping it meat and potatoes rock, but Bonham's 00:15:20.049 --> 00:15:22.570 straight drumming through it actually adds a 00:15:22.570 --> 00:15:25.549 layer of complexity. So with this one, the riff 00:15:25.549 --> 00:15:28.450 is a monster. The song is a monster. And I'm 00:15:28.450 --> 00:15:31.570 going with Black Dog by Led Zeppelin. You know, 00:15:31.590 --> 00:15:33.809 it's funny when we were talking about making 00:15:33.809 --> 00:15:35.629 this list and you were saying, I'm sure you'll 00:15:35.629 --> 00:15:40.009 pick up some Led Zeppelin. No, actually, I have 00:15:40.009 --> 00:15:43.350 no Led Zeppelin actually on my short list. So 00:15:43.350 --> 00:15:46.009 it's going to be very interesting to see what 00:15:46.009 --> 00:15:49.889 I pull out to follow that one up with. And I 00:15:49.889 --> 00:15:53.549 think I'm going to go with something. It's a 00:15:53.549 --> 00:15:57.389 heavier, chunkier riff, but not from a band that 00:15:57.389 --> 00:16:00.779 you would expect it from. I'm going to go with 00:16:00.779 --> 00:16:06.460 Lakini's Juice from Live. If ever there was a 00:16:06.460 --> 00:16:10.570 song where the guitar tone said everything. about 00:16:10.570 --> 00:16:13.309 what you're about to hear and this is coming 00:16:13.309 --> 00:16:16.289 after the throwing copper album where you know 00:16:16.289 --> 00:16:18.830 obviously lightning crashes got a lot of play 00:16:18.830 --> 00:16:21.470 i alone got a lot of play and it's not like they 00:16:21.470 --> 00:16:25.730 were it was more of a melodic album so when lakini's 00:16:25.730 --> 00:16:29.090 juice hits the radio and you just have that heavy 00:16:29.090 --> 00:16:33.330 chunk guitar riff like Anyone who is like, oh, 00:16:33.370 --> 00:16:35.529 hey, a new live album, another Lightning Crash, 00:16:35.629 --> 00:16:38.450 this is a big name. What is this? What is this? 00:16:38.490 --> 00:16:43.710 And it's just so good. I had two songs in my 00:16:43.710 --> 00:16:48.789 mind based on guitar tone alone. And this, I 00:16:48.789 --> 00:16:51.129 think, is the perfect time to drop Lakini's Juice 00:16:51.129 --> 00:16:54.649 from live because, again, it hits that heaviness 00:16:54.649 --> 00:16:57.129 that would follow Black Dog fairly well, I think. 00:16:57.370 --> 00:17:01.669 I am going to get crushed. by live fans for this 00:17:01.669 --> 00:17:06.650 one. Maybe. Uh -oh. But Secret Samadhi is hands 00:17:06.650 --> 00:17:11.950 down with ease my favorite live album. I absolutely 00:17:11.950 --> 00:17:17.170 love this album on a completely other level than 00:17:17.170 --> 00:17:22.089 Throwing Copper. Rattlesnake is a sludgy driving 00:17:22.089 --> 00:17:25.529 opener. That chunky riff of Lachini's Juice, 00:17:25.890 --> 00:17:28.990 it just, your head is bobbing from the first 00:17:28.990 --> 00:17:33.640 two notes. And it's so ridiculously heavy. And 00:17:33.640 --> 00:17:37.119 then you throw a song in there like Freaks, which 00:17:37.119 --> 00:17:40.819 is so creepy and so weird. And it's so perfect. 00:17:40.859 --> 00:17:44.319 I love this album so much, but I know how Throwing 00:17:44.319 --> 00:17:47.440 Copper is kind of their massive mainstream album. 00:17:47.480 --> 00:17:50.400 But this one was like, to me, was kind of the 00:17:50.400 --> 00:17:54.099 Green Day's insomniac to Dookie. They had this 00:17:54.099 --> 00:17:57.000 album that was so big. They were never going 00:17:57.000 --> 00:17:59.519 to capture that lightning in a bottle again. 00:17:59.680 --> 00:18:03.160 So instead of just re -recording the album, they 00:18:03.160 --> 00:18:05.099 kind of stretched their boundaries. And Green 00:18:05.099 --> 00:18:10.259 Day on Insomniac kind of went raw punk, not as 00:18:10.259 --> 00:18:12.660 poppy. They kind of sucked the pop out of the 00:18:12.660 --> 00:18:15.000 songs, which is why Insomniac is my favorite 00:18:15.000 --> 00:18:20.779 Green Day album. This one, it's not as... And 00:18:20.779 --> 00:18:23.960 it's not as silky as Throwing Copper is. And 00:18:23.960 --> 00:18:25.799 Throwing Copper has some great songs, some heavy 00:18:25.799 --> 00:18:28.799 songs. I love the album. But it just feels like 00:18:28.799 --> 00:18:31.519 they kind of got four guys in a room and just 00:18:31.519 --> 00:18:35.079 laid it out, warts and all, playing live. It 00:18:35.079 --> 00:18:38.640 just has this real feel to it. So love the album 00:18:38.640 --> 00:18:41.839 and absolutely love this pick, man. This is good. 00:18:41.980 --> 00:18:45.180 I will say Secret Samadhi is probably my second 00:18:45.180 --> 00:18:49.650 favorite live album. right behind The Distance 00:18:49.650 --> 00:18:53.250 to Here. Really? The one that followed it. Songs 00:18:53.250 --> 00:18:56.509 like Run to the Water, The Dolphin's Cry. And, 00:18:56.529 --> 00:18:58.269 you know, if I'm being a little personal about 00:18:58.269 --> 00:19:01.789 it, the song that my wife and I danced to at 00:19:01.789 --> 00:19:05.150 our wedding was Dance With You, the last track 00:19:05.150 --> 00:19:08.470 off of The Distance to Here. So I agree with 00:19:08.470 --> 00:19:10.250 you that Throwing Copper is a phenomenal album, 00:19:10.349 --> 00:19:13.009 but not the best live album. Again, personal 00:19:13.009 --> 00:19:15.660 opinion. Well, I actually know what I'm going 00:19:15.660 --> 00:19:17.660 to follow this up with because you have this 00:19:17.660 --> 00:19:21.140 kind of crunchy driving, get your head bobbing 00:19:21.140 --> 00:19:23.799 riff, and I want to continue that energy. So 00:19:23.799 --> 00:19:27.480 I'm going to go with a riff that on paper will 00:19:27.480 --> 00:19:30.819 probably be one of the easiest riffs to play 00:19:30.819 --> 00:19:35.579 because it is, in fact, one note. And I am going 00:19:35.579 --> 00:19:40.039 with from 1996's Evil Empire, Rage Against the 00:19:40.039 --> 00:19:44.069 Machine, Bulls on Parade. That opening riff where 00:19:44.069 --> 00:19:49.089 Tom Morello is just playing octaves, and yet 00:19:49.089 --> 00:19:54.049 he still manages to pummel you with this riff. 00:19:54.250 --> 00:19:59.309 It is just insane. And to take that a step further, 00:19:59.450 --> 00:20:03.009 it is probably their most iconic riff, besides 00:20:03.009 --> 00:20:07.859 maybe killing in the name. And to me... As much 00:20:07.859 --> 00:20:10.259 as Rage Against the Machine's self -titled album 00:20:10.259 --> 00:20:13.059 is easily in one of my top 10 albums of the 90s 00:20:13.059 --> 00:20:17.000 and maybe of all time, this riff really stands 00:20:17.000 --> 00:20:20.619 out to me when I'm thinking about most memorable 00:20:20.619 --> 00:20:23.160 opening guitar riffs of all time. I do want to 00:20:23.160 --> 00:20:26.000 give a shout out to Rob Ebert, who chimed in 00:20:26.000 --> 00:20:29.000 on social media with this one as well. Rage Against 00:20:29.000 --> 00:20:32.299 the Machine, Bulls on Parade. You know what's 00:20:32.299 --> 00:20:34.740 funny? We've got this a lot of good heavy stuff 00:20:34.740 --> 00:20:38.819 in a row. And, you know, it's one of those things 00:20:38.819 --> 00:20:40.759 where you sit there and go, do you continue with 00:20:40.759 --> 00:20:43.400 the heavy or do you throw a curve ball in there? 00:20:43.680 --> 00:20:46.440 Because around song seven, it's like, okay, I've 00:20:46.440 --> 00:20:50.119 had my good taste of late 80s, early 90s section. 00:20:50.200 --> 00:20:53.680 Then we got our heavier section. So, you know 00:20:53.680 --> 00:20:56.920 what? I think I'm going to go with the curve 00:20:56.920 --> 00:20:59.539 ball here. Uh -oh. And I'm going to go back a 00:20:59.539 --> 00:21:03.730 couple decades as well. I have to say. And, you 00:21:03.730 --> 00:21:05.589 know, again, we're both performing musicians 00:21:05.589 --> 00:21:08.029 here. So we both have songs, I'm sure, that are 00:21:08.029 --> 00:21:10.910 in our set list that you just, you gear up. The 00:21:10.910 --> 00:21:13.130 minute you see it on the set list, on that little 00:21:13.130 --> 00:21:14.910 piece of paper by your feet and by your guitar 00:21:14.910 --> 00:21:17.309 pedals, you're like, all right, here we go. And 00:21:17.309 --> 00:21:20.490 for me, whenever I'm playing live, my favorite 00:21:20.490 --> 00:21:24.630 song in the set list is Long Train Running from 00:21:24.630 --> 00:21:28.430 the Doobie Brothers. There's almost a swagger 00:21:28.430 --> 00:21:32.000 to that opening guitar riff. right and aside 00:21:32.000 --> 00:21:34.599 from you know and having a fun bass groove to 00:21:34.599 --> 00:21:37.920 play along with having some phenomenal uh like 00:21:37.920 --> 00:21:40.279 vocal harmonies through the whole thing but it's 00:21:40.279 --> 00:21:43.430 just that opening riff right? That cross between 00:21:43.430 --> 00:21:45.990 like a plugged in acoustic one. Like it's just 00:21:45.990 --> 00:21:49.150 sounds so good. And the minute you hear it, like, 00:21:49.190 --> 00:21:51.230 and you, you see it too at the clubs, right? 00:21:51.329 --> 00:21:53.369 You start playing that song. People like all 00:21:53.369 --> 00:21:55.089 of a sudden get up out of their chairs and their 00:21:55.089 --> 00:21:57.089 tables and they're ready to hit the dance floor. 00:21:57.390 --> 00:22:00.990 So as a music lover, I appreciate that as a musician, 00:22:01.170 --> 00:22:03.890 I appreciate the effect that that song has. And 00:22:03.890 --> 00:22:07.309 we have a lot of fun songs in our set list. This 00:22:07.309 --> 00:22:10.650 is actually my favorite one to play every time. 00:22:11.430 --> 00:22:15.150 Absolutely. Every time. Fantastic pick, man. 00:22:15.250 --> 00:22:17.470 And, you know, kind of diving a little bit outside 00:22:17.470 --> 00:22:20.049 of the guitar part of it, because that's obviously 00:22:20.049 --> 00:22:23.309 iconic. If you screw up the harmonies when performing 00:22:23.309 --> 00:22:26.670 that song live. Ooh, can you lose a room quick? 00:22:26.950 --> 00:22:30.390 That song needs to be done. Perfect. It's one 00:22:30.390 --> 00:22:33.690 of those iconic vocal songs as well. And that's 00:22:33.690 --> 00:22:35.470 something I think the doobies get kind of overlooked 00:22:35.470 --> 00:22:38.710 on, but their harmonies to me are up there. I 00:22:38.710 --> 00:22:42.890 would say with. The Eagles, Fleetwood Mac, Crosby, 00:22:42.890 --> 00:22:45.009 Stills, Nash & Young. When you hear those harmonies, 00:22:45.009 --> 00:22:46.829 you automatically know what band you're listening 00:22:46.829 --> 00:22:50.549 to. And it's such an amazing classic rock song. 00:22:50.730 --> 00:22:54.029 Obviously, if this was a live show coming out 00:22:54.029 --> 00:22:56.509 of Bulls on Parade, people might want to kind 00:22:56.509 --> 00:23:01.470 of wipe the blood off their face and groove a 00:23:01.470 --> 00:23:03.849 little bit. And honestly, there's no denying 00:23:03.849 --> 00:23:06.269 the power of this song. So I love the pick. And 00:23:06.269 --> 00:23:08.890 what I'm going to do. is stay in a little bit 00:23:08.890 --> 00:23:11.009 of a classic rock vibe here and kind of follow 00:23:11.009 --> 00:23:14.670 off that one. And I am going to go with Dwayne 00:23:14.670 --> 00:23:17.869 Allman's finest riff. Now, you have plenty of 00:23:17.869 --> 00:23:20.769 riffs to choose from when you're talking Dwayne 00:23:20.769 --> 00:23:23.670 Allman. And even just in the three years of his 00:23:23.670 --> 00:23:25.890 time in the Allman Brothers before his untimely 00:23:25.890 --> 00:23:30.609 passing in 1971, I'm going to go with the seminal 00:23:30.609 --> 00:23:34.950 1970s classic, Derek and the Dominoes, Layla. 00:23:35.480 --> 00:23:37.839 If you remember back when we were growing up, 00:23:37.839 --> 00:23:40.539 those K -Tel compilations, there used to be one 00:23:40.539 --> 00:23:43.119 for classic rock. And this guy with this really 00:23:43.119 --> 00:23:47.160 long haired 70s wig on would come out and hype 00:23:47.160 --> 00:23:49.539 it. But this was the song that played. And I 00:23:49.539 --> 00:23:51.000 actually said to my father, I'm like, what is 00:23:51.000 --> 00:23:54.279 this? I don't know this song. And he, you don't 00:23:54.279 --> 00:23:57.059 know this? He's like, I failed as a father. I 00:23:57.059 --> 00:24:00.599 got to fix this. So he pulled out Layla and Assorted 00:24:00.599 --> 00:24:03.240 Love Songs and he introduced me to this. And 00:24:03.240 --> 00:24:07.130 I knew. who Cream was. And I knew who Eric Clapton 00:24:07.130 --> 00:24:10.930 was. I didn't realize until I got older that 00:24:10.930 --> 00:24:13.009 Eric Clapton was part of this as well in Blind 00:24:13.009 --> 00:24:15.630 Faith. And you think about all the amazing things 00:24:15.630 --> 00:24:17.190 that Eric Clapton has been a part of and all 00:24:17.190 --> 00:24:20.170 the iconic riffs. Even though Dwayne Allman's 00:24:20.170 --> 00:24:22.170 playing this riff, this is kind of a twofer for 00:24:22.170 --> 00:24:24.369 me because I get to include Eric Clapton in this 00:24:24.369 --> 00:24:26.829 conversation. Because when you talk about opening 00:24:26.829 --> 00:24:28.950 riffs, it's kind of hard to not think of one 00:24:28.950 --> 00:24:33.519 of the greatest classic rock. slash blues guitarists 00:24:33.519 --> 00:24:36.920 of that time. Now, this riff was based on one 00:24:36.920 --> 00:24:39.500 of my favorite blues artists, Albert King's song, 00:24:39.619 --> 00:24:42.500 As the Years Go Passing By. It's obviously a 00:24:42.500 --> 00:24:45.420 lot more manic and faster, but the other thing 00:24:45.420 --> 00:24:47.359 I want to talk about this one is this song actually 00:24:47.359 --> 00:24:50.240 tanked as a single. They originally released 00:24:50.240 --> 00:24:53.740 it as a radio edit and it was only two minutes 00:24:53.740 --> 00:24:56.319 and 43 seconds and it bombed. And apparently 00:24:56.319 --> 00:24:59.319 it actually caused some like serious. depression 00:24:59.319 --> 00:25:01.539 issues for Clapton, but they ended up re -releasing 00:25:01.539 --> 00:25:05.119 it in its seven plus minute glory. And then it 00:25:05.119 --> 00:25:06.980 became the anthem. It was obviously destined 00:25:06.980 --> 00:25:11.519 to be. This is one that obviously is very mainstream. 00:25:11.940 --> 00:25:15.500 Everybody knows it, but my God, the song is just 00:25:15.500 --> 00:25:18.500 perfect. And I have to go with it. Derek and 00:25:18.500 --> 00:25:21.480 the Dominoes, Layla. Oh, such a good song. And 00:25:21.480 --> 00:25:23.059 it's one of those songs, too, where you can sit 00:25:23.059 --> 00:25:25.900 there. I'm sure there is a debate waiting to 00:25:25.900 --> 00:25:29.420 happen as to which version of the song is better, 00:25:29.480 --> 00:25:33.059 the original Derek and the Dominoes or the MTV 00:25:33.059 --> 00:25:37.859 Unplugged from Clapton's solo show. But in all 00:25:37.859 --> 00:25:39.619 honesty, you really can't go wrong with either 00:25:39.619 --> 00:25:42.160 or. But yes, the Derek and the Dominoes, it's 00:25:42.160 --> 00:25:45.019 again, it's that swagger in the guitar line. 00:25:46.009 --> 00:25:48.410 Oh, now I have to go through here because I'm 00:25:48.410 --> 00:25:50.549 sitting there thinking, how do you follow that 00:25:50.549 --> 00:25:53.789 one up? That to me feels like it should have 00:25:53.789 --> 00:25:57.589 been a side closer, but coming at a long train 00:25:57.589 --> 00:25:59.730 run and I had to stop and say, you know what? 00:25:59.950 --> 00:26:03.369 It just works perfectly here. But now remember 00:26:03.369 --> 00:26:06.130 at the end of Layla, you got that nice little 00:26:06.130 --> 00:26:10.450 slow melodic jam. So now you could kind of take 00:26:10.450 --> 00:26:13.079 this in a lot of different directions. Oh, I 00:26:13.079 --> 00:26:14.599 know. And there's a couple here where I'm just 00:26:14.599 --> 00:26:18.519 like, I could go this way. I could go this way. 00:26:18.880 --> 00:26:21.720 You know, if I was to go try to match tonality, 00:26:21.759 --> 00:26:24.880 I know which song I think, but I think, I think 00:26:24.880 --> 00:26:28.799 since how you've got that nice piano end, I'm 00:26:28.799 --> 00:26:31.359 going to do a complete 180 and go back to heavy 00:26:31.359 --> 00:26:36.079 and go for a little walk with Pantera. Oh, yeah. 00:26:37.680 --> 00:26:39.759 No one in the history of anyone should ever put 00:26:39.759 --> 00:26:41.700 Pantera after Derek and the Dominoes, but here 00:26:41.700 --> 00:26:45.680 we are. Again, one of those songs, and I'm sure 00:26:45.680 --> 00:26:48.500 people are seeing it now, perhaps sometimes for 00:26:48.500 --> 00:26:51.700 the first time ever, you know, now that Phil 00:26:51.700 --> 00:26:54.180 Anselmo and Rex Brown are back on the road, of 00:26:54.180 --> 00:26:56.720 course, with Charlie Benanti and Zach Wild. But 00:26:56.720 --> 00:27:02.140 just that opening, people have tried to cover 00:27:02.140 --> 00:27:06.279 it. Nothing compares to the original Walk. Like, 00:27:06.480 --> 00:27:09.079 honestly, if you can't hear the crowd screaming 00:27:09.079 --> 00:27:11.940 already, you're doing it wrong. There really 00:27:11.940 --> 00:27:14.259 seems to be a small collective of people online 00:27:14.259 --> 00:27:16.579 that are in no way, shape, or form happy about 00:27:16.579 --> 00:27:19.720 the fact that Phil and Rex are getting together 00:27:19.720 --> 00:27:24.660 with Charlie and Zach to do these legacy or reunion 00:27:24.660 --> 00:27:27.240 shows using quote marks in the air, however you 00:27:27.240 --> 00:27:30.160 want to frame it. Personally, there's no two 00:27:30.160 --> 00:27:33.660 better people, I think, to fill the role of Dimebag 00:27:33.660 --> 00:27:37.470 and Vinny than... zach and charlie i actually 00:27:37.470 --> 00:27:39.269 didn't think charlie in the beginning when they 00:27:39.269 --> 00:27:41.970 when they mentioned his name i said wow that's 00:27:41.970 --> 00:27:44.950 actually perfect i've watched a bunch of the 00:27:44.950 --> 00:27:47.470 videos and i have tickets to see them opening 00:27:47.470 --> 00:27:51.250 for metallica this summer i'm very excited to 00:27:51.250 --> 00:27:54.210 hear zach taking on these guitar parts of one 00:27:54.210 --> 00:27:56.750 of his closest friends and bringing his style 00:27:56.750 --> 00:27:59.309 to it i'm curious what you think of them I completely 00:27:59.309 --> 00:28:02.769 agree. First of all, we know how close Anthrax 00:28:02.769 --> 00:28:05.930 as a band were with Pantera, of course, with 00:28:05.930 --> 00:28:08.710 Vinny and Dime. And if you've gone to see an 00:28:08.710 --> 00:28:11.049 Anthrax show, especially shortly after Vinny 00:28:11.049 --> 00:28:14.900 passed away, whenever they do. in the end they've 00:28:14.900 --> 00:28:16.640 got the the banners that they were bringing out 00:28:16.640 --> 00:28:19.519 there that had diamond and vinnie on there as 00:28:19.519 --> 00:28:22.240 well as the tribute to ronnie james dio as well 00:28:22.240 --> 00:28:26.180 and zach wilde i mean let's be honest if anyone's 00:28:26.180 --> 00:28:29.700 going to match that guitar tone it's him hands 00:28:29.700 --> 00:28:33.880 down there's no question credentials aside because 00:28:33.880 --> 00:28:35.599 we're talking about the guy that you know slung 00:28:35.599 --> 00:28:37.880 guitar for aussie for the longest time you know 00:28:37.880 --> 00:28:40.799 and not to mention in rock star starring mark 00:28:40.799 --> 00:28:44.500 walberg but But I love that soundtrack for there. 00:28:44.539 --> 00:28:46.019 You don't have to sell that for me. You don't 00:28:46.019 --> 00:28:48.279 even have to. I love that soundtrack. I love 00:28:48.279 --> 00:28:50.579 the movie. It's got Jennifer Aniston in it. Right. 00:28:51.140 --> 00:28:54.180 Marky Mark lip syncing to Miljanko Manejevic, 00:28:54.220 --> 00:28:56.240 the lead singer of Steelheart. I was all in. 00:28:56.279 --> 00:28:57.980 I'm like, this is amazing. I love this movie. 00:28:58.569 --> 00:29:01.170 Not to mention the fact that you had Brian VanderArk 00:29:01.170 --> 00:29:03.369 from The Verve Pipe working on some of the songs 00:29:03.369 --> 00:29:05.849 in the background. So yeah, absolutely love that 00:29:05.849 --> 00:29:08.609 album. But I think it's great. I think it's great 00:29:08.609 --> 00:29:11.670 that people who never got the chance to see Pantera 00:29:11.670 --> 00:29:15.390 live, they're getting the closest possible thing 00:29:15.390 --> 00:29:18.210 out there. And anyone who says anything against 00:29:18.210 --> 00:29:20.609 it, sure, they might be purists, but you know 00:29:20.609 --> 00:29:23.369 what? It doesn't matter. Just because they're 00:29:23.369 --> 00:29:26.789 gone doesn't mean that Phil and Rex can't carry 00:29:26.789 --> 00:29:31.130 on that legacy and bring the music to the masses 00:29:31.130 --> 00:29:33.390 for the fans that kept the spirit of Pantera 00:29:33.390 --> 00:29:35.970 alive for all those years. I can tell you there 00:29:35.970 --> 00:29:38.250 are, if you go back to the Motown era, there 00:29:38.250 --> 00:29:42.650 are bands traveling from that era and performing 00:29:42.650 --> 00:29:46.910 at casinos and theaters where I don't think there's 00:29:46.910 --> 00:29:49.730 a single original member. The name has kind of 00:29:49.730 --> 00:29:52.609 become a legacy. And as each member has passed 00:29:52.609 --> 00:29:54.569 on and retired, they've brought in new blood. 00:29:55.250 --> 00:29:59.269 This isn't that. This is 50 % of the original 00:29:59.269 --> 00:30:04.250 lineup and 100 % of the living lineup. So I'm 00:30:04.250 --> 00:30:06.730 also not a gatekeeper when it comes to music. 00:30:06.869 --> 00:30:09.950 If the band wants to go out and play, if I want 00:30:09.950 --> 00:30:12.029 to go, I will go and support it. If I don't want 00:30:12.029 --> 00:30:14.109 to go, I just don't go and I keep my mouth shut 00:30:14.109 --> 00:30:16.309 because there might be other people out there 00:30:16.309 --> 00:30:19.900 that never got a chance. to go see it happen 00:30:19.900 --> 00:30:23.980 on stage. And sure, it's not the same as Vinny 00:30:23.980 --> 00:30:27.079 and dime being out there, but it's the best you 00:30:27.079 --> 00:30:29.900 could possibly get right now. And I'm all in 00:30:29.900 --> 00:30:32.579 on that. And I've also been talking for a while 00:30:32.579 --> 00:30:35.660 because I'm stalling because following that up 00:30:35.660 --> 00:30:39.400 to end the side, you left me with a monster decision 00:30:39.400 --> 00:30:42.359 here because there's really no, I have nothing 00:30:42.359 --> 00:30:47.599 that heavy in my list, but. This is closing out 00:30:47.599 --> 00:30:52.480 side A, so it's got to be a massive tune. And 00:30:52.480 --> 00:30:56.779 while it's not as heavy as Pantera's Walk, I 00:30:56.779 --> 00:31:00.160 am going with an artist and a guitarist where 00:31:00.160 --> 00:31:04.319 every single person listening to this show would 00:31:04.319 --> 00:31:07.980 immediately hit delete and unsubscribe if he 00:31:07.980 --> 00:31:11.079 was not talked about tonight. And that man is 00:31:11.079 --> 00:31:14.140 Eddie Van Halen. And I am going with the opener 00:31:14.140 --> 00:31:18.359 from 1981's Women and Children first. I'm going 00:31:18.359 --> 00:31:21.920 with Mean Street. Reason being, I had several 00:31:21.920 --> 00:31:25.920 Van Halen songs in my list, but to go from Walk 00:31:25.920 --> 00:31:31.259 to Panama, I like it. But then to go from Walk 00:31:31.259 --> 00:31:36.200 into Ain't Talk About Love, it's okay. Mean Street. 00:31:36.759 --> 00:31:39.799 I completely understand that Dimebag was a massive 00:31:39.799 --> 00:31:42.359 Kiss fan, but I have to believe in my heart of 00:31:42.359 --> 00:31:45.299 hearts that there was no way that he also didn't 00:31:45.299 --> 00:31:49.880 have some iota of respect for the way that Eddie 00:31:49.880 --> 00:31:52.619 Van Halen plays because I do hear elements of 00:31:52.619 --> 00:31:56.200 that throughout Dimebag's solos across the Pantera 00:31:56.200 --> 00:32:00.000 albums. And this is probably the heaviest Van 00:32:00.000 --> 00:32:03.880 Halen riff of them all, in my opinion. The song 00:32:03.880 --> 00:32:06.660 was never released as a single. I'll never understand 00:32:06.660 --> 00:32:09.859 that ever. But it's rightfully become one of 00:32:09.859 --> 00:32:12.660 the band's most beloved album tracks. So this 00:32:12.660 --> 00:32:15.200 is a way for me to kind of go with a quote unquote 00:32:15.200 --> 00:32:19.660 deep cut while still honoring the vibe we're 00:32:19.660 --> 00:32:21.640 going for in a song that I really don't think 00:32:21.640 --> 00:32:24.039 people would deny being an awesome guitar riff. 00:32:24.140 --> 00:32:26.180 I do want to give a shout out to Cactus Pete, 00:32:26.380 --> 00:32:29.420 who chimed in with this one on Twitter. He, as 00:32:29.420 --> 00:32:32.769 well as several folks, chimed in with. van halen 00:32:32.769 --> 00:32:35.069 tracks and i'll be honest like i just said i 00:32:35.069 --> 00:32:37.490 could probably list 20 different van halen songs 00:32:37.490 --> 00:32:40.369 here and any one of them would work because eddie 00:32:40.369 --> 00:32:43.269 van halen is just that special but following 00:32:43.269 --> 00:32:47.210 up pantera's walk mean street man it's funny 00:32:47.210 --> 00:32:49.069 when we were talking about lachini's juice i 00:32:49.069 --> 00:32:51.569 said there were two songs and that i had shortlisted 00:32:51.569 --> 00:32:55.509 just based on guitar tone the second one was 00:32:55.509 --> 00:32:58.740 a van halen track But it was, don't tell me what 00:32:58.740 --> 00:33:01.500 love can do. Because just that opening heavy, 00:33:01.599 --> 00:33:04.799 it's a simple riff, but just that opening heavy 00:33:04.799 --> 00:33:07.839 chunk to it. Yeah, there's so much Van Halen 00:33:07.839 --> 00:33:09.559 that you could put in here. And sometimes you 00:33:09.559 --> 00:33:11.940 have to decide. Yeah, that's the thing. And I 00:33:11.940 --> 00:33:14.039 will put this out in the universe right now. 00:33:14.519 --> 00:33:17.940 Jason and I both know there is no way on this 00:33:17.940 --> 00:33:20.140 planet that we're going to please every single 00:33:20.140 --> 00:33:22.559 mixtaper out there that's listening to this show. 00:33:23.680 --> 00:33:27.079 There's only 20 choices and we each get 10. I 00:33:27.079 --> 00:33:29.980 have a list of over 30 sitting on my computer 00:33:29.980 --> 00:33:32.220 in front of me that I've whittled down from 50 00:33:32.220 --> 00:33:35.160 and I have no idea which ones I'm going to pick. 00:33:35.279 --> 00:33:37.859 And there's going to be artists that are left 00:33:37.859 --> 00:33:42.160 off this mixtape for no reason other than the 00:33:42.160 --> 00:33:45.359 flow. But the beauty of it is there's always 00:33:45.359 --> 00:33:48.960 room for a volume two when it comes to mixtapes. 00:33:49.000 --> 00:33:50.920 And this is one of the topics I could definitely 00:33:50.920 --> 00:33:54.259 see revisiting. So here we are at the end of 00:33:54.259 --> 00:33:58.849 side A. and we've got our first 10 tracks mapped 00:33:58.849 --> 00:34:03.789 out. Those would be Machine Head by Bush, Cult 00:34:03.789 --> 00:34:07.509 of Personality by Living Color, The Oath by Big 00:34:07.509 --> 00:34:11.570 Wreck, Black Dog by Led Zeppelin, Lachini's Juice 00:34:11.570 --> 00:34:15.190 by Live, Bulls on Parade by Rage Against the 00:34:15.190 --> 00:34:18.070 Machine, Long Train Runnin' by the Doobie Brothers, 00:34:18.610 --> 00:34:22.670 Layla by Derek and the Dominoes, Walk by Pantera, 00:34:23.190 --> 00:34:27.210 and Mean Street by Van Halen. Now, remember, 00:34:27.329 --> 00:34:29.670 you could always head over to myweeklymixtape 00:34:29.670 --> 00:34:32.590 .com to hear all the songs we've discussed in 00:34:32.590 --> 00:34:35.250 this mix through the playlist I've embedded on 00:34:35.250 --> 00:34:38.829 the episode page. Now, before we flip over our 00:34:38.829 --> 00:34:41.750 proverbial mixtape to Side B, Jason, why don't 00:34:41.750 --> 00:34:43.869 you tell listeners a little bit more about It's 00:34:43.869 --> 00:34:46.190 Not That Bad? Brian, thanks so much for that. 00:34:46.329 --> 00:34:49.090 So It's Not That Bad is, as we joke around, it's 00:34:49.090 --> 00:34:51.849 the podcast that looks for A grades in B movies. 00:34:52.880 --> 00:34:55.820 Each episode, we'll take a movie that is poorly 00:34:55.820 --> 00:34:58.000 rated by the critics, and we try to keep it at 00:34:58.000 --> 00:35:02.420 about 50 % on Rotten Tomatoes or less. And then 00:35:02.420 --> 00:35:05.219 we try our best to find the good things to say 00:35:05.219 --> 00:35:09.059 about it. Sometimes it's tough. Sometimes it's 00:35:09.059 --> 00:35:12.300 easy. I'll give it that. But we do our best to 00:35:12.300 --> 00:35:14.380 have a lot of fun along the way. And then every 00:35:14.380 --> 00:35:16.380 now and then we'll do a special called Grading 00:35:16.380 --> 00:35:18.719 on a Curve, where we'll have a group of people 00:35:18.719 --> 00:35:22.360 in and we'll pick five movies of a specific category. 00:35:23.280 --> 00:35:25.780 And then rank them. Of course, the movies that 00:35:25.780 --> 00:35:27.559 we pick in that category are the worst movies 00:35:27.559 --> 00:35:30.659 possible in there. But we do have a lot of fun 00:35:30.659 --> 00:35:33.000 with that. And you can listen to that wherever 00:35:33.000 --> 00:35:36.119 you get your podcasts. We also are on Facebook 00:35:36.119 --> 00:35:38.480 now. We're on Twitter at NotThatBadCast. And 00:35:38.480 --> 00:35:42.519 we actually just have a new website now at NotThatBadCast 00:35:42.519 --> 00:35:46.360 .com. By all means, come by. We're always happy 00:35:46.360 --> 00:35:48.559 to hear about movies that people want to hear 00:35:48.559 --> 00:35:51.179 us talk about. Brian has been on the show a couple 00:35:51.179 --> 00:35:53.239 of times. So by all means, be sure to check out 00:35:53.239 --> 00:35:56.039 some of those episodes. It's been a ton of fun. 00:35:56.139 --> 00:35:58.659 And given that there's a bunch of bad movies 00:35:58.659 --> 00:36:01.059 coming out every year, we'll never be at a loss 00:36:01.059 --> 00:36:04.579 for things to talk about. And now that the tape 00:36:04.579 --> 00:36:06.420 has finished winding at the end of the side, 00:36:06.480 --> 00:36:08.019 because there's always a little bit of tape left 00:36:08.019 --> 00:36:11.260 over there, we can flip it over and move on to 00:36:11.260 --> 00:36:14.739 side B. And I'm going to start with a song where 00:36:14.739 --> 00:36:19.440 the guitar riff that is the highlighting part 00:36:19.440 --> 00:36:22.780 of this song doesn't actually start until a minute 00:36:22.780 --> 00:36:27.340 and 36 seconds into the song. But when it does, 00:36:27.460 --> 00:36:33.840 come on. I am going with 1985. The album is Brothers 00:36:33.840 --> 00:36:38.119 in Arms. The band is Dire Straits. And the song 00:36:38.119 --> 00:36:42.199 is Money for Nothing. Another first. This was 00:36:42.199 --> 00:36:45.280 the first video played on MTV Europe, which actually 00:36:45.280 --> 00:36:49.380 started in 1987. Long time after video killed 00:36:49.380 --> 00:36:53.300 the radio star jumpstarted MTV in the US. And 00:36:53.300 --> 00:36:56.380 why wouldn't MTV Europe use this song for the 00:36:56.380 --> 00:37:01.099 first video? Sting is essentially singing a commercial 00:37:01.099 --> 00:37:06.530 for them. Honestly. Mark Knopfler is one of those 00:37:06.530 --> 00:37:10.389 unique rock guitarists that has a style where 00:37:10.389 --> 00:37:13.590 as soon as you hear it, you know it's him. And 00:37:13.590 --> 00:37:16.250 bringing that style that he did on the early 00:37:16.250 --> 00:37:20.030 albums for them, Romeo and Juliet, Tunnel of 00:37:20.030 --> 00:37:22.829 Love, you listen to those earlier songs, and 00:37:22.829 --> 00:37:25.550 he kind of put an 80s sheen on it in Brothers 00:37:25.550 --> 00:37:31.719 in Arms, and it worked. This riff is heavy. But 00:37:31.719 --> 00:37:34.699 it still holds that style that is Mark Knopfler. 00:37:35.059 --> 00:37:38.000 And it kind of blends the two together. And the 00:37:38.000 --> 00:37:40.559 song just kicks all sorts of ass. I mean, look, 00:37:40.639 --> 00:37:43.420 Weird Al covered it as Beverly Hillbillies in 00:37:43.420 --> 00:37:46.539 the movie UHF. That already tells you the song 00:37:46.539 --> 00:37:48.539 is iconic. And I want to give a shout out to 00:37:48.539 --> 00:37:50.960 Jason Spiegel who chimed in with this one. But 00:37:50.960 --> 00:37:53.260 he was unsure as well because you got that opening 00:37:53.260 --> 00:37:56.440 with the drums and Sting just kind of waving 00:37:56.440 --> 00:37:59.889 through the I want my MTV. I feel like that all 00:37:59.889 --> 00:38:03.050 leads up to the reason I chose this song as the 00:38:03.050 --> 00:38:05.630 opening riff. And that's Dire Straits, Money 00:38:05.630 --> 00:38:08.670 for Nothing. I am really glad you mentioned Romeo 00:38:08.670 --> 00:38:10.389 and Juliet because that was actually one of the 00:38:10.389 --> 00:38:14.389 songs on my initial cut down list. It's just 00:38:14.389 --> 00:38:17.809 such a fun song. Absolutely. Okay, I have to 00:38:17.809 --> 00:38:19.989 ask you a question here because we're, again, 00:38:20.090 --> 00:38:22.369 we're both performing musicians. So we'll sit 00:38:22.369 --> 00:38:25.269 there and we'll pour over a set list. So before 00:38:25.269 --> 00:38:28.559 I put my number two song on this side, Let me 00:38:28.559 --> 00:38:31.559 ask you, do you ever put songs in the set list 00:38:31.559 --> 00:38:35.360 in a certain order because it's funny to you 00:38:35.360 --> 00:38:38.380 to put that song there? Oh yeah, most definitely. 00:38:38.440 --> 00:38:41.079 I can give you a specific example of that. My 00:38:41.079 --> 00:38:44.800 band played a show at a bar and you had to play 00:38:44.800 --> 00:38:46.579 till three in the morning there. For some reason, 00:38:46.599 --> 00:38:49.920 they went later. And I thought it would be just 00:38:49.920 --> 00:38:54.300 hysterical to come out of Chop Suey by System 00:38:54.300 --> 00:38:59.139 of a Down and go right into Goodbye, Earl, by 00:38:59.139 --> 00:39:02.760 the Dixie Chicks. Oh, dear God. But we did the 00:39:02.760 --> 00:39:05.400 me first in the Gimme Gimme's version, which 00:39:05.400 --> 00:39:08.219 is a little punkier, and we were an all -guy 00:39:08.219 --> 00:39:12.119 band. So we just came out of Chop Suey, and I 00:39:12.119 --> 00:39:15.019 looked at our guitar player and winked, and he 00:39:15.019 --> 00:39:17.320 knew exactly what to do, and he started chugging 00:39:17.320 --> 00:39:20.880 that G, and I started singing it. And truth be 00:39:20.880 --> 00:39:24.340 told, an actual fistfight broke out during the 00:39:24.340 --> 00:39:27.940 song. This is a hand -to -God story. Gomez, the 00:39:27.940 --> 00:39:30.500 co -host of Playlist Wars and now the host of 00:39:30.500 --> 00:39:33.780 the Sleavy G Show, actually grabbed my wife and 00:39:33.780 --> 00:39:36.119 pulled her out of the melee that was happening. 00:39:37.039 --> 00:39:39.820 And two guys landed on stage, knocked over the 00:39:39.820 --> 00:39:43.280 drum set, and we had to stop the show. Police 00:39:43.280 --> 00:39:46.199 were in the venue within, I'd say, two minutes. 00:39:46.480 --> 00:39:48.940 And the reason for this massive fight had nothing 00:39:48.940 --> 00:39:51.079 to do with the song, but I just love telling 00:39:51.079 --> 00:39:54.639 this story. One of the two guys said to the police, 00:39:55.239 --> 00:39:58.780 That guy looked at me and on the way out, as 00:39:58.780 --> 00:40:01.139 we're unloading our equipment, my guitarist looked 00:40:01.139 --> 00:40:03.079 at me and said, that's what you get for following 00:40:03.079 --> 00:40:05.559 up system of a down with the Dixie chicks. What 00:40:05.559 --> 00:40:07.179 the hell were you thinking? I said, come on, 00:40:07.179 --> 00:40:10.960 man. It's hilarious. Speaking personally, I know 00:40:10.960 --> 00:40:13.719 we have done that. Not necessarily that combination, 00:40:13.940 --> 00:40:15.739 but we've done things in the set list where it 00:40:15.739 --> 00:40:18.579 makes us laugh. Like we used to do hurt. So good. 00:40:18.820 --> 00:40:20.780 Followed by good from better than Ezra followed 00:40:20.780 --> 00:40:24.000 by hella good from no doubt, because why not? 00:40:24.760 --> 00:40:28.440 We would do the acapella intro of Fat Bottom 00:40:28.440 --> 00:40:31.800 Girls right into Babies Got Back, but a bit more 00:40:31.800 --> 00:40:34.900 of a punkier version of it. Long story short, 00:40:35.019 --> 00:40:38.300 too late. Long story has happened. This leads 00:40:38.300 --> 00:40:41.119 me to my choice for number two, because this 00:40:41.119 --> 00:40:46.559 spot on the cassette is worth a deuce. I see 00:40:46.559 --> 00:40:48.619 what you did there. If you're thinking classic 00:40:48.619 --> 00:40:52.719 Kiss songs, Deuce has to have one of the better 00:40:52.719 --> 00:40:56.039 intros, I think. We talked about this before 00:40:56.039 --> 00:40:57.840 when we were talking about doing this episode, 00:40:57.920 --> 00:41:00.619 and I was saying there are certain things that 00:41:00.619 --> 00:41:03.159 I'm noticing in the songs that I'm picking that 00:41:03.159 --> 00:41:06.699 tells me a lot about how I listen to music and 00:41:06.699 --> 00:41:10.159 what actually sparks my ears, like what really 00:41:10.159 --> 00:41:13.079 perks them up. And for me, it's the swagger in 00:41:13.079 --> 00:41:16.059 a guitar riff. There's something about Deuce 00:41:16.059 --> 00:41:18.260 and a lot of these other songs that just have 00:41:18.260 --> 00:41:20.840 a lot of confidence in the guitar riff. I mean, 00:41:20.860 --> 00:41:23.579 it's a classic song, too. Let's be honest, right? 00:41:24.250 --> 00:41:26.989 If you were to make a list of KISS songs, I'm 00:41:26.989 --> 00:41:29.250 sure Deuce is probably going to fit in a lot 00:41:29.250 --> 00:41:32.949 of people's top 10 lists. It's such a fun song, 00:41:33.070 --> 00:41:36.630 and it's Deuce at number two for me. So now my 00:41:36.630 --> 00:41:40.130 question for you is, are you going with the studio 00:41:40.130 --> 00:41:42.630 version, or are you going with the version from 00:41:42.630 --> 00:41:49.030 a live? You know what? If we were talking God 00:41:49.030 --> 00:41:50.909 of Thunder, I'd be going with the live version, 00:41:51.010 --> 00:41:52.409 but now I'm going to go with the studio version 00:41:52.409 --> 00:41:55.789 on this one. Well, I will give you a proverbial 00:41:55.789 --> 00:41:58.449 hat tip from across the recording software here, 00:41:58.530 --> 00:42:01.309 Jason, because you chose my all -time favorite 00:42:01.309 --> 00:42:04.429 Kiss song. That's in my list, and it's one now 00:42:04.429 --> 00:42:07.769 that I don't have to worry about. This song kicks 00:42:07.769 --> 00:42:15.449 ass. This song shows that Kiss had a really insane, 00:42:15.989 --> 00:42:21.210 catchy guitar master in Ace Frehley. And this 00:42:21.210 --> 00:42:24.980 riff... instantly grabs your attention. The song 00:42:24.980 --> 00:42:27.139 is heavy. It's got a swagger. We've used that 00:42:27.139 --> 00:42:30.420 word several times because what is a good guitar 00:42:30.420 --> 00:42:33.480 riff if what's backing it up doesn't make sense? 00:42:33.599 --> 00:42:36.199 And the swagger, that guitar riff kind of brings 00:42:36.199 --> 00:42:39.099 this song to this kind of manic opening energy. 00:42:39.380 --> 00:42:42.679 I absolutely love it. And now following it up, 00:42:42.699 --> 00:42:45.539 I'm going to go with another track that opens 00:42:45.539 --> 00:42:49.139 a side. It doesn't open an album, but it opens 00:42:49.139 --> 00:42:51.880 side B of the vinyl. It's one of my favorite 00:42:51.880 --> 00:42:55.380 albums of all time and probably in my top 10 00:42:55.380 --> 00:42:58.079 favorite songs of all time. My parents used to 00:42:58.079 --> 00:42:59.840 get mad at me because I would play the song, 00:42:59.900 --> 00:43:01.880 take the needle off the record, put it back at 00:43:01.880 --> 00:43:03.300 the beginning, play the song, take the needle. 00:43:03.380 --> 00:43:06.739 And it was like I was my own loop machine. I 00:43:06.739 --> 00:43:09.239 didn't have a CD player at the time to press 00:43:09.239 --> 00:43:11.579 the repeat button. So I would just keep dropping 00:43:11.579 --> 00:43:13.699 it. And every time I would drop it, I would make 00:43:13.699 --> 00:43:15.219 sure I dropped it. So you'd hear a little bit 00:43:15.219 --> 00:43:23.019 of crackle and then you'd hear us. And you're 00:43:23.019 --> 00:43:26.260 hearing the song in your head that I just referenced. 00:43:26.679 --> 00:43:30.820 1980s back in black. ACDC opening song on side 00:43:30.820 --> 00:43:33.400 B. I know it has nothing to do with the guitar 00:43:33.400 --> 00:43:36.199 riff, but that count into the song is my favorite 00:43:36.199 --> 00:43:40.360 count in of all time. When you hear it live, 00:43:40.500 --> 00:43:43.820 the place erupts during the four count because 00:43:43.820 --> 00:43:46.340 the four count is so iconic. It's the start of 00:43:46.340 --> 00:43:48.659 the song, but that guitar riff has been sampled 00:43:48.659 --> 00:43:51.300 in hip hop songs. It's been used in remixes. 00:43:52.000 --> 00:43:54.800 I've seen countless bands try and fail at covering 00:43:54.800 --> 00:43:57.719 it because nobody's going to get that Angus Young 00:43:57.719 --> 00:44:02.199 look, feel, and sound down the way he has it 00:44:02.199 --> 00:44:05.480 down. Angus Young is one of my top 10 guitarists 00:44:05.480 --> 00:44:08.980 of all time. He is an animal. He is a character. 00:44:09.300 --> 00:44:14.599 He brings the blues to hard rock. And this is 00:44:14.599 --> 00:44:18.480 an anthemic riff. I kind of always have wondered 00:44:18.480 --> 00:44:20.619 what this song would sound like with Bon Scott 00:44:20.619 --> 00:44:23.719 singing it. But Brian Johnson has made this song 00:44:23.719 --> 00:44:28.159 so iconic, it is easily his. And not every guitar 00:44:28.159 --> 00:44:31.340 riff needs to show off this amazing technical 00:44:31.340 --> 00:44:34.659 prowess. Sometimes a song just needs to rock. 00:44:35.119 --> 00:44:39.300 And like Deuce by Kiss, I feel like ACDC's Back 00:44:39.300 --> 00:44:42.039 in Black follows that up perfectly. So that is 00:44:42.039 --> 00:44:47.579 my track three. Of all the ACDC songs, that is 00:44:47.579 --> 00:44:50.079 such a good one. I mean, there were a couple 00:44:50.079 --> 00:44:52.880 that, I mean, obviously Thunderstruck was one 00:44:52.880 --> 00:44:54.599 of the ones that I was thinking of and there's 00:44:54.599 --> 00:44:56.159 no way you can actually go back to back with 00:44:56.159 --> 00:45:00.920 ACDC on it. You just can't do it. Oh, how do 00:45:00.920 --> 00:45:03.420 you follow that one up? As I take a look at my 00:45:03.420 --> 00:45:05.539 list. I mean, the good thing for you is the song 00:45:05.539 --> 00:45:11.239 fades out. But since it fades out, then I'm going 00:45:11.239 --> 00:45:12.980 to come back with a song that I would be remiss. 00:45:13.039 --> 00:45:17.119 I would, I would kick myself if I didn't put 00:45:17.119 --> 00:45:20.000 this song. on the list so the fact that back 00:45:20.000 --> 00:45:23.239 in black does fade out it allows for this song 00:45:23.239 --> 00:45:27.659 to come in first heard this song playing guitar 00:45:27.659 --> 00:45:31.860 hero as i'm sure many people probably did and 00:45:31.860 --> 00:45:33.900 then you hear it more then you start to deep 00:45:33.900 --> 00:45:36.460 dive into the back catalog and you realize how 00:45:36.460 --> 00:45:40.880 good coheed and cambria really is because welcome 00:45:40.880 --> 00:45:46.159 home is such a monster guitar intro, whether 00:45:46.159 --> 00:45:48.320 you hear it on the album, whether you hear the 00:45:48.320 --> 00:45:50.980 live version, like the Never Ender version. And 00:45:50.980 --> 00:45:53.079 then, of course, they used it for WWE's NXT. 00:45:53.320 --> 00:45:56.460 So this is now the second wrestling bass track 00:45:56.460 --> 00:45:58.900 that we've actually had there. Plus, when you 00:45:58.900 --> 00:46:01.440 see them live and he's got the double neck guitar, 00:46:01.679 --> 00:46:04.480 every guitarist is like, oh, there it is. Oh, 00:46:04.519 --> 00:46:06.719 now I know what song we're going to do. And it's 00:46:06.719 --> 00:46:11.260 just such a monster intro. Like the guitar solo 00:46:11.260 --> 00:46:14.559 -ish part of the intro aside, the actual riff 00:46:14.559 --> 00:46:16.440 itself, especially when you get the strings coming 00:46:16.440 --> 00:46:19.679 in as well. Like this song is literally the everything 00:46:19.679 --> 00:46:23.079 you could possibly want. And then some. Love 00:46:23.079 --> 00:46:26.360 this song. It was probably the best choice for 00:46:26.360 --> 00:46:29.500 WWE NXT to use for an intro. It's too bad they 00:46:29.500 --> 00:46:32.159 don't use it anymore. And anyone who hears it 00:46:32.159 --> 00:46:35.400 instantly, they're like, I want more Koei and 00:46:35.400 --> 00:46:38.519 Cambria now. More and more. So welcome home. 00:46:38.920 --> 00:46:42.639 I have to ask you, Jason, do you think that if 00:46:42.639 --> 00:46:48.599 Guitar Hero and WWE didn't embrace this song 00:46:48.599 --> 00:46:51.460 the way it did, do you feel like they would be 00:46:51.460 --> 00:46:54.639 as big of a name? I feel like those two outlets 00:46:54.639 --> 00:46:57.659 introduced their music to so many people that 00:46:57.659 --> 00:47:00.820 may not have heard them before. Because most 00:47:00.820 --> 00:47:03.539 times when I think of this band and I'm going 00:47:03.539 --> 00:47:05.739 to introduce them to somebody who doesn't know 00:47:05.739 --> 00:47:08.849 them. I would go right to this song specifically 00:47:08.849 --> 00:47:12.650 on the fact that I could tie it into Guitar Hero 00:47:12.650 --> 00:47:16.590 and WWE. When you think about the fact that their 00:47:16.590 --> 00:47:21.010 first five albums in a row were all based on 00:47:21.010 --> 00:47:24.469 the same science fiction story, basically their 00:47:24.469 --> 00:47:27.909 own, for lack of a better term, cinematic universe, 00:47:28.090 --> 00:47:32.130 if you will. They're Marvel for musicians. No, 00:47:32.349 --> 00:47:36.139 they're not radio. They are radio friendly in 00:47:36.139 --> 00:47:37.579 a way, because there's certain songs where you're 00:47:37.579 --> 00:47:38.960 like, yep, no, absolutely. I could hear this 00:47:38.960 --> 00:47:41.679 on the radio, but it's getting that introduction. 00:47:41.920 --> 00:47:43.840 You're right. Like if it wasn't for something 00:47:43.840 --> 00:47:46.239 like Guitar Hero, if it wasn't for Guitar Hero, 00:47:46.320 --> 00:47:48.179 no one would know Dragon Force either, I think, 00:47:48.199 --> 00:47:50.800 except for people who are insane musicians and 00:47:50.800 --> 00:47:52.780 listen to Steve Vai, you know, for breakfast, 00:47:53.000 --> 00:47:55.719 which is a shame too, because there are, as you 00:47:55.719 --> 00:47:57.420 go on through their discography, there are some 00:47:57.420 --> 00:48:01.539 great. easily radio friendly songs. And Coheed 00:48:01.539 --> 00:48:03.219 and Cambry is the only band I know that would 00:48:03.219 --> 00:48:05.699 be daring enough to pull off a sequel to Jesse's 00:48:05.699 --> 00:48:08.860 girl and have it sound just as good as the original. 00:48:09.059 --> 00:48:12.940 Oh yeah. Like not a cover. It's a sequel and 00:48:12.940 --> 00:48:17.440 it's awesome. Completely agree. Now with that 00:48:17.440 --> 00:48:21.400 one, ah, you're talking about radio play and 00:48:21.400 --> 00:48:24.699 I'm literally grasping at straws cause it's tough 00:48:24.699 --> 00:48:27.739 to come out of a Coheed song. And find kind of 00:48:27.739 --> 00:48:32.079 the direction to go. But I think I'm going to 00:48:32.079 --> 00:48:36.420 go with a song that wasn't a top 40 hit. It only 00:48:36.420 --> 00:48:40.059 reached number 51. And I'm kind of astonished 00:48:40.059 --> 00:48:43.420 because the band I'm about to talk about is a 00:48:43.420 --> 00:48:46.300 household name. And they only have one top 40 00:48:46.300 --> 00:48:49.059 hit. But they have songs that are ingrained in 00:48:49.059 --> 00:48:52.099 everybody's musical DNA in some way, shape, or 00:48:52.099 --> 00:48:55.670 form. And I'm going back to 1980. from the album 00:48:55.670 --> 00:48:59.230 Permanent Waves, and I'm going with Rush, The 00:48:59.230 --> 00:49:03.250 Spirit of Radio. As a side note, their only top 00:49:03.250 --> 00:49:06.590 40 hit was actually 1982's New World Man, and 00:49:06.590 --> 00:49:10.110 it was not Tom Sawyer. Shocked? I know a lot 00:49:10.110 --> 00:49:12.289 of people are when they hear that. According 00:49:12.289 --> 00:49:15.329 to setlist .fm, the song was played live by the 00:49:15.329 --> 00:49:19.789 band 1 ,294 times, which just goes to show you... 00:49:19.980 --> 00:49:23.699 how popular it was amongst Rush fans. My follow 00:49:23.699 --> 00:49:27.840 -up to Coheed is Rush, the spirit of radio. Now, 00:49:27.900 --> 00:49:31.519 Jason, being from Canada, maybe it is wrong of 00:49:31.519 --> 00:49:33.659 me to assume that maybe you had Rush somewhere 00:49:33.659 --> 00:49:36.739 in there, but as a bass player, I don't see any 00:49:36.739 --> 00:49:38.860 universe where you're not going to have some 00:49:38.860 --> 00:49:41.760 Getty Lee love. But, you know, here we're talking 00:49:41.760 --> 00:49:44.000 about Alex Lifeson, so maybe you found a way 00:49:44.000 --> 00:49:47.909 to skip Rush in some way. No. As a matter of 00:49:47.909 --> 00:49:50.349 fact, if we're treating this mixtape like it's 00:49:50.349 --> 00:49:54.989 a fantasy draft, you just scooped my pick. Yeah, 00:49:55.449 --> 00:50:00.090 pretty much. That was on there. I had a few Rush 00:50:00.090 --> 00:50:03.730 songs that, I mean, for me personally, my favorite 00:50:03.730 --> 00:50:06.510 Rush song is probably Animate off of the Counterparts 00:50:06.510 --> 00:50:10.010 album. Love that one. It baffles me. They didn't 00:50:10.010 --> 00:50:12.909 have more than this one, you know, Billboard 00:50:12.909 --> 00:50:16.440 top hit. Of course, they're constantly played 00:50:16.440 --> 00:50:19.659 on much music here. Anytime Rush spoke, it was 00:50:19.659 --> 00:50:22.119 out there. And we could always go to the Great 00:50:22.119 --> 00:50:23.920 White North album and listen to Geddy Lee sing 00:50:23.920 --> 00:50:27.780 with Bob and Doug McKenzie on takeoff. But yeah, 00:50:27.960 --> 00:50:30.519 no, you actually scooped my pick on Spirit of 00:50:30.519 --> 00:50:32.340 Radio because that was the song I said like, 00:50:32.360 --> 00:50:34.659 okay, that's the one. That's where it's going 00:50:34.659 --> 00:50:39.440 to be. How do you follow that one though? Again, 00:50:40.739 --> 00:50:41.739 it's one of those things where you take a look 00:50:41.739 --> 00:50:44.130 at the list and go. I could put this song, I 00:50:44.130 --> 00:50:47.090 could put this song. But I realize as we're going 00:50:47.090 --> 00:50:50.230 through this, our tape is missing something. 00:50:50.409 --> 00:50:54.550 Oh, really? Our tape is missing some female guitar 00:50:54.550 --> 00:50:57.150 slingers. Ah, yeah. Good point. So I'm going 00:50:57.150 --> 00:51:01.510 to follow up Spirit of Radio with Barracuda from 00:51:01.510 --> 00:51:05.130 Heart. Yes! You know, we've been talking about 00:51:05.130 --> 00:51:07.969 Swagger and I don't think anyone swaggered as 00:51:07.969 --> 00:51:12.869 much as Nancy Wilson on that song. You hear it 00:51:12.869 --> 00:51:15.690 and you are ready to go. The minute you hear 00:51:15.690 --> 00:51:20.550 that opening riff, like, let's be honest. It's 00:51:20.550 --> 00:51:23.570 an iconic song, not just for the decade, not 00:51:23.570 --> 00:51:26.469 even just for the Seattle music scene, but it's 00:51:26.469 --> 00:51:30.199 iconic period. Generation after generation after 00:51:30.199 --> 00:51:32.900 generation. And anyone who tries to do Barracuda 00:51:32.900 --> 00:51:35.059 afterwards, and I've heard some decent enough 00:51:35.059 --> 00:51:38.619 covers, but they all pale in comparison to the 00:51:38.619 --> 00:51:40.980 original. So gotta go with Barracuda from Heart. 00:51:41.139 --> 00:51:43.159 Although I will say that Adrenaline Mob did a 00:51:43.159 --> 00:51:48.119 decent job of covering it, but you cannot. You 00:51:48.119 --> 00:51:50.800 just can't compare. That was going to be the 00:51:50.800 --> 00:51:53.000 one I was going to mention along with Fergie 00:51:53.000 --> 00:51:55.820 from one of the Shrek movies. I remember it being 00:51:55.820 --> 00:52:00.130 in there. Obviously, neither one compares to 00:52:00.130 --> 00:52:02.309 Nancy Wilson and no one's going to hit the vocals 00:52:02.309 --> 00:52:06.190 the way and Wilson sings that song. I'm glad 00:52:06.190 --> 00:52:08.469 you did that because I think we just went scoop 00:52:08.469 --> 00:52:11.530 for scoop right there. I had that song in my 00:52:11.530 --> 00:52:17.309 list. You cannot deny that riff. And I am so 00:52:17.309 --> 00:52:20.130 happy that Hart is making this list because they 00:52:20.130 --> 00:52:23.400 are. obviously a very popular band when they 00:52:23.400 --> 00:52:26.460 reunite they do sell out amphitheaters and arenas 00:52:26.460 --> 00:52:30.599 and stuff but i still feel like a lot of people 00:52:30.599 --> 00:52:33.059 don't put them on the same level as a fleetwood 00:52:33.059 --> 00:52:36.840 mac or an eagles and i think that's wrong i think 00:52:36.840 --> 00:52:39.400 they're right up there i think they're deservedly 00:52:39.400 --> 00:52:42.500 up there as one of the best female fronted classic 00:52:42.500 --> 00:52:46.460 rock bands maybe of all time oh absolutely Like 00:52:46.460 --> 00:52:49.159 even when you hear bands that do decent enough 00:52:49.159 --> 00:52:52.260 covers of their songs, like if you've heard Hellstorm, 00:52:52.400 --> 00:52:54.760 Do All I Want to Do is Make Love to You, you 00:52:54.760 --> 00:52:57.619 can actually hear the influence that Heart had 00:52:57.619 --> 00:53:00.960 on a band like Hellstorm. It was good songwriting. 00:53:01.019 --> 00:53:04.380 It was phenomenal musicianship. We're talking 00:53:04.380 --> 00:53:07.119 about the sisters that made Led Zeppelin cry. 00:53:07.559 --> 00:53:09.579 Let's be honest, while they were covering a Led 00:53:09.579 --> 00:53:13.440 Zeppelin song, like vocally, musicianship wise, 00:53:13.739 --> 00:53:17.090 you know me. I'm a massive Queens rec fan. I'm 00:53:17.090 --> 00:53:21.670 also a Bay Allison chains fan, but heart really 00:53:21.670 --> 00:53:26.170 is perhaps the best Seattle act of all time. 00:53:26.929 --> 00:53:30.010 I'm not sure many people would even argue that 00:53:30.010 --> 00:53:32.610 because when heart did the live in Atlantic city 00:53:32.610 --> 00:53:36.590 DVD and blu -ray, their special guests were Allison 00:53:36.590 --> 00:53:39.929 chains, Duff McKagan. I mean, they're influential 00:53:39.929 --> 00:53:43.469 on so many levels. Look, They took a song that 00:53:43.469 --> 00:53:46.769 was originally recorded by I -10 in 1983 called 00:53:46.769 --> 00:53:50.050 Alone. Nobody knew it existed. And it became 00:53:50.050 --> 00:53:54.849 such a massive hit song. And for years, when 00:53:54.849 --> 00:53:56.949 American Idol first launched, people would sing 00:53:56.949 --> 00:53:59.869 that song and butcher it until Carrie Underwood 00:53:59.869 --> 00:54:02.730 came out and slayed it. And I'll be honest with 00:54:02.730 --> 00:54:07.230 you, that cover is what made Carrie Underwood 00:54:07.230 --> 00:54:10.309 a superstar. And it's still not as good as Ann 00:54:10.309 --> 00:54:14.619 Wilson's. So completely agree. But you are leaving 00:54:14.619 --> 00:54:19.280 me with a very tough move. But I'm going to pivot 00:54:19.280 --> 00:54:21.940 this in a slightly personal way, but something 00:54:21.940 --> 00:54:24.420 that will work musically on this list as well. 00:54:24.880 --> 00:54:27.539 Ann Wilson is my favorite female singer of all 00:54:27.539 --> 00:54:30.460 time. I am going to follow it up with my favorite 00:54:30.460 --> 00:54:33.039 musician of all time. So anybody that knows me 00:54:33.039 --> 00:54:36.579 immediately knows I'm going with Tom Petty. But. 00:54:37.130 --> 00:54:39.170 This riff has got nothing to do with Tom Petty. 00:54:39.269 --> 00:54:42.789 This riff is by riff machine Mike Campbell, who 00:54:42.789 --> 00:54:45.269 has been Tom Petty's right -hand man through 00:54:45.269 --> 00:54:48.929 all of his albums, including 1989's Full Moon 00:54:48.929 --> 00:54:51.869 Fever. And this is the album I'm choosing my 00:54:51.869 --> 00:54:54.969 song from. It's the closing track on side A, 00:54:55.150 --> 00:54:59.050 and it is Running Down a Dream. You think about 00:54:59.050 --> 00:55:03.730 Mike Campbell's guitar riffs. You wreck me. Refugee. 00:55:04.610 --> 00:55:07.170 Jamming me. That's just with Tom Petty and the 00:55:07.170 --> 00:55:09.829 Heartbreakers. He also wrote The Boys of Summer 00:55:09.829 --> 00:55:13.030 by Don Henley. Stop Dragging My Heart Around 00:55:13.030 --> 00:55:16.429 by Stevie Nicks, obviously with Tom Petty. And 00:55:16.429 --> 00:55:20.070 yet Running Down a Dream, a Tom Petty solo album 00:55:20.070 --> 00:55:22.809 featuring the Heartbreakers, sticks out amongst 00:55:22.809 --> 00:55:26.309 all those songs. It is legitimately the perfect 00:55:26.309 --> 00:55:31.489 road trip song. So much so that pretty much any 00:55:31.489 --> 00:55:35.460 country song. that name drops playing Tom Petty 00:55:35.460 --> 00:55:38.420 on the radio was probably thinking about this 00:55:38.420 --> 00:55:41.400 song. Because when you go on a road trip, this 00:55:41.400 --> 00:55:44.960 song screams road trip. And obviously for another 00:55:44.960 --> 00:55:47.960 personal reason, Tom Petty being my favorite 00:55:47.960 --> 00:55:51.679 artist, performing at the 2008 Super Bowl halftime 00:55:51.679 --> 00:55:55.699 show, which I was at with my wife, to see the 00:55:55.699 --> 00:55:58.519 New York Giants defeat the undefeated New England 00:55:58.519 --> 00:56:02.289 Patriots to win the Super Bowl. So in one three 00:56:02.289 --> 00:56:05.570 -hour stretch, actually two -hour stretch at 00:56:05.570 --> 00:56:08.289 that point, I got to see Tom Petty close his 00:56:08.289 --> 00:56:11.590 set with this song, followed by the Giants winning 00:56:11.590 --> 00:56:14.329 the Super Bowl. It doesn't get any better than 00:56:14.329 --> 00:56:17.849 that. So for me, my next track, Tom Petty, Running 00:56:17.849 --> 00:56:20.610 Down a Dream. You know what's funny? I knew you 00:56:20.610 --> 00:56:22.449 were going to pick a Tom Petty song. There was 00:56:22.449 --> 00:56:25.989 no question about this whatsoever. I honestly 00:56:25.989 --> 00:56:27.590 thought you were going to go with American Girl. 00:56:27.969 --> 00:56:32.230 No, no. I love the song. Don't get me wrong. 00:56:32.329 --> 00:56:35.710 It's an iconic riff. Having played in cover bands, 00:56:35.949 --> 00:56:38.909 it suffers from overkill for me. I can see that. 00:56:39.050 --> 00:56:42.130 I've seen so many cover bands in New Jersey. 00:56:42.170 --> 00:56:44.610 It's pretty much on every cover band set list. 00:56:44.789 --> 00:56:47.869 So for my group, Colburn and Company, we actually 00:56:47.869 --> 00:56:53.010 deviate and we play Learnin' to Fly, You Got 00:56:53.010 --> 00:56:56.329 Lucky. Mary Jane's Last Dance, which unfortunately 00:56:56.329 --> 00:56:59.869 is pretty much up there with American Girl and 00:56:59.869 --> 00:57:04.210 Running Down a Dream, as well as, again, we have 00:57:04.210 --> 00:57:06.070 a book of songs, so we don't play these all in 00:57:06.070 --> 00:57:07.909 the same night, but we also do Handle with Care 00:57:07.909 --> 00:57:11.590 by the Traveling Wilburys. So we try to avoid 00:57:11.590 --> 00:57:15.010 that one just because every band kind of does 00:57:15.010 --> 00:57:16.750 it around here. Maybe it's different by you in 00:57:16.750 --> 00:57:19.210 Canada, but I'd be very curious if it is because 00:57:19.210 --> 00:57:22.670 it's obviously a song about American Girl. I 00:57:22.670 --> 00:57:25.630 have played, I think, four Tom Petty songs live. 00:57:26.050 --> 00:57:28.030 Running Down a Dream is one of them. Obviously, 00:57:28.110 --> 00:57:29.909 Free Falling, I've played that live a bunch of 00:57:29.909 --> 00:57:34.510 times. We have done Mary Jane's Last Dance, but 00:57:34.510 --> 00:57:37.949 we medley that with Danny California from the 00:57:37.949 --> 00:57:39.489 Red Hot Chili Peppers because it's pretty much 00:57:39.489 --> 00:57:43.750 the same song. Yes. But we also do Stop Dragging 00:57:43.750 --> 00:57:46.809 My Heart Around as well. So yeah, now you've, 00:57:46.889 --> 00:57:49.969 oh, I could go a couple of different directions 00:57:49.969 --> 00:57:52.320 on this next song though. Cause you put your 00:57:52.320 --> 00:57:54.599 favorite artist in. And if I were to put my favorite 00:57:54.599 --> 00:57:56.820 artist in, it would be a toss up between one 00:57:56.820 --> 00:58:00.119 of two songs. But I think you've actually already 00:58:00.119 --> 00:58:02.760 mentioned the next song I'm going to put in, 00:58:02.880 --> 00:58:06.719 but it's going to be the cover version and it's 00:58:06.719 --> 00:58:09.420 going to be the boys of summer, the Atari's version. 00:58:10.179 --> 00:58:13.760 Really? Wow. This is one of those songs that 00:58:13.760 --> 00:58:17.019 much like we've talked about, like no one could 00:58:17.019 --> 00:58:19.519 cover hard and do it justice. I think this is 00:58:19.519 --> 00:58:22.329 one of those songs where, the Atari's really 00:58:22.329 --> 00:58:26.730 made this song that much better as good as the 00:58:26.730 --> 00:58:30.750 Don Henley version is. And the heart of the matter 00:58:30.750 --> 00:58:33.590 was actually another song that I had in my mind 00:58:33.590 --> 00:58:36.369 just for, you know, it's a good intro. It's a 00:58:36.369 --> 00:58:39.869 decent riff, but the boys of summer, and I know 00:58:39.869 --> 00:58:41.989 you like this song and I know you like this cover 00:58:41.989 --> 00:58:43.989 of the song. Cause you've mentioned this on playlist 00:58:43.989 --> 00:58:46.010 awards a couple of times, I think. Oh yeah, certainly. 00:58:46.489 --> 00:58:49.880 Boys of summer. just took a song that was pretty 00:58:49.880 --> 00:58:53.420 good radio airplay song and made it a monster 00:58:53.420 --> 00:58:56.320 massive hit and the minute you hear that opening 00:58:56.320 --> 00:58:58.800 riff once again it's like you know and this is 00:58:58.800 --> 00:59:00.960 i mean the ataris have done covers before and 00:59:00.960 --> 00:59:02.360 actually made them pretty good there there's 00:59:02.360 --> 00:59:05.199 a great cover that they did of i remember you 00:59:05.199 --> 00:59:08.079 from skid row oh yeah that was a fantastic one 00:59:08.079 --> 00:59:10.860 oh yeah but i mean i think this is their piece 00:59:10.860 --> 00:59:13.869 de resistance like if you were to say the ataris 00:59:13.869 --> 00:59:15.690 this is going to be the first song you mentioned 00:59:15.690 --> 00:59:19.010 if you say most 2000 era pop punk this might 00:59:19.010 --> 00:59:20.710 be one of the first songs that you mentioned 00:59:20.710 --> 00:59:24.710 you can't deny how much better they made this 00:59:24.710 --> 00:59:28.670 song completely agree man what a great song and 00:59:28.670 --> 00:59:31.650 look tom petty's in no way shape or form punk 00:59:31.650 --> 00:59:34.949 music but running down a dream has a punky vibe 00:59:34.949 --> 00:59:37.389 to it so going into the ataris coming out of 00:59:37.389 --> 00:59:41.429 tom petty the two just work back to back i love 00:59:41.920 --> 00:59:44.639 the punk version of the boys of summer and colburn 00:59:44.639 --> 00:59:47.820 and company actually plays the atari's version 00:59:47.820 --> 00:59:53.059 acoustically so just picture the atari's energy 00:59:53.059 --> 00:59:59.639 but done with a violin a piano and a female singer 00:59:59.639 --> 01:00:02.380 with the acoustic guitar and that's the way we 01:00:02.380 --> 01:00:04.840 play this version and i think it goes over really 01:00:04.840 --> 01:00:08.639 really well because it's unique in of the fact 01:00:08.639 --> 01:00:11.739 that it's acoustic But it would certainly make 01:00:11.739 --> 01:00:14.699 much more sense to play Don Henley's version 01:00:14.699 --> 01:00:17.840 acoustically. But instead, we bring the Atari's 01:00:17.840 --> 01:00:19.920 energy to the acoustic version. So it's kind 01:00:19.920 --> 01:00:23.139 of its own little meld. Anyway, following that 01:00:23.139 --> 01:00:27.980 up is going to be a bitch because I am not really 01:00:27.980 --> 01:00:30.420 thinking punk tonight. And coming out of that 01:00:30.420 --> 01:00:33.960 song to me is really tough because this is also 01:00:33.960 --> 01:00:37.059 my last pick of the night and my last contribution 01:00:37.059 --> 01:00:40.679 to this tape. So it's got to be a monster. So 01:00:40.679 --> 01:00:43.360 it's got to have a punkish vibe, but it's got 01:00:43.360 --> 01:00:45.980 to be an iconic song that really starts to tie 01:00:45.980 --> 01:00:48.539 this tape together as we're nearing the end. 01:00:49.119 --> 01:00:52.559 So while he is in no way, shape, or form punk, 01:00:52.920 --> 01:00:56.699 I think it would be a crime to not include this 01:00:56.699 --> 01:00:59.320 person through either of the iterations he was 01:00:59.320 --> 01:01:02.519 in musically. I am not actually going to go with 01:01:02.519 --> 01:01:04.860 a Black Sabbath song here, but I am going to 01:01:04.860 --> 01:01:08.210 go with a solo Ozzy song. And I'm going to go 01:01:08.210 --> 01:01:10.349 with the one that everybody's probably thinking 01:01:10.349 --> 01:01:12.170 because you're coming out of a punk song with 01:01:12.170 --> 01:01:16.730 this manic energy. Continue that mania with Crazy 01:01:16.730 --> 01:01:21.590 Train from 1980s Blizzard of Oz. Randy Rhoads, 01:01:21.690 --> 01:01:27.909 one of the greatest hard rock riffs ever. This 01:01:27.909 --> 01:01:30.130 song has accolades everywhere. I could go on 01:01:30.130 --> 01:01:33.630 sports anthems. When have you been to a football 01:01:33.630 --> 01:01:36.739 game? or a hockey game that doesn't have crazy 01:01:36.739 --> 01:01:39.039 train playing at some point in the night you 01:01:39.039 --> 01:01:42.460 haven't nobody has because it's just synonymous 01:01:42.460 --> 01:01:45.619 with sports it's been in video games obviously 01:01:45.619 --> 01:01:49.659 television movies you think about when the osbournes 01:01:49.659 --> 01:01:52.340 became a show and that pat boone version was 01:01:52.340 --> 01:01:56.400 the theme song this song is in everybody's mind 01:01:56.400 --> 01:01:58.880 even to the point where a band like weezer who 01:01:58.880 --> 01:02:00.800 is a little punkier a little more alternative 01:02:00.800 --> 01:02:05.699 used A reworking of that riff. In their song 01:02:05.699 --> 01:02:08.019 Blue Dream. Which was on the Van Weezer album. 01:02:08.119 --> 01:02:10.039 If you give that a listen. It's not necessarily 01:02:10.039 --> 01:02:13.059 a cover of Crazy Train. But it's definitely an 01:02:13.059 --> 01:02:16.619 homage to it. So yeah. Bobby Schultz had chimed 01:02:16.619 --> 01:02:18.139 in. Like I mentioned at the top of the show. 01:02:18.219 --> 01:02:20.119 With Black Sabbath's Iron Man. And he also said. 01:02:20.260 --> 01:02:22.420 How can you have one of these playlists. Without 01:02:22.420 --> 01:02:26.019 including some form of Ozzy or Sabbath. Realistically. 01:02:26.260 --> 01:02:28.760 We can include them both here. And I think they 01:02:28.760 --> 01:02:33.260 both work. But I'm going with Crazy Train. coming 01:02:33.260 --> 01:02:38.380 out of the boys of summer it's funny because 01:02:38.380 --> 01:02:42.539 i only had one black sabbath era song and it 01:02:42.539 --> 01:02:45.260 was going to be a cover version i was going to 01:02:45.260 --> 01:02:47.900 actually throw in anthrax's cover of sabbath 01:02:47.900 --> 01:02:51.900 bloody sabbath nice from the i'm the man dp exactly 01:02:51.900 --> 01:02:55.119 because of course you know anthrax being awesome 01:02:55.119 --> 01:02:57.940 but that being said too the first song that comes 01:02:57.940 --> 01:02:59.980 to my mind whenever i'm thinking any kind of 01:02:59.980 --> 01:03:03.159 aussie intro I immediately had to disqualify 01:03:03.159 --> 01:03:05.599 from my shortlist because it's a bass intro and 01:03:05.599 --> 01:03:09.500 that's No More Tears. And because of the rules 01:03:09.500 --> 01:03:11.619 I had set for myself, because there are some 01:03:11.619 --> 01:03:13.920 songs where it's like, that's an amazing intro. 01:03:14.059 --> 01:03:17.519 It's on bass. It doesn't qualify. So that eliminated 01:03:17.519 --> 01:03:20.940 songs like No More Tears. It eliminated Wood 01:03:20.940 --> 01:03:24.199 from Alice in Chains. It eliminated some of the 01:03:24.199 --> 01:03:26.420 songs from Concrete Blonde off of the Bloodletting 01:03:26.420 --> 01:03:29.579 album. So many songs got... booted out because 01:03:29.579 --> 01:03:32.820 it's like nope nope it's on bass which leads 01:03:32.820 --> 01:03:36.880 me of course now to the last song and putting 01:03:36.880 --> 01:03:39.800 crazy train in is actually made me second guess 01:03:39.800 --> 01:03:42.800 the song i was going to end with i thought i 01:03:42.800 --> 01:03:45.500 had it figured out and now i'm not sure if i 01:03:45.500 --> 01:03:49.460 do or not i'm think i'm gonna stick with the 01:03:49.460 --> 01:03:52.539 song that i had originally had in mind for closing 01:03:52.539 --> 01:03:55.719 this out And people are going to get a heavy, 01:03:55.739 --> 01:03:58.179 heavy dose of this on the festival tour this 01:03:58.179 --> 01:04:01.639 summer because I'm going to end off with Everlong 01:04:01.639 --> 01:04:05.280 from the Foo Fighters. Look, there are a lot 01:04:05.280 --> 01:04:08.539 of people who are still gutted the fact that 01:04:08.539 --> 01:04:11.699 Taylor Hawkins is no longer with us. But much 01:04:11.699 --> 01:04:14.360 like we talked about with Pantera, it's really 01:04:14.360 --> 01:04:16.559 good to see that the Foo Fighters are getting 01:04:16.559 --> 01:04:18.300 back on their feet and they're going to get back 01:04:18.300 --> 01:04:21.340 out there. And, you know, I'm hoping that people 01:04:21.340 --> 01:04:23.539 don't. sit there and say well they should have 01:04:23.539 --> 01:04:25.840 stopped well you know what people say they should 01:04:25.840 --> 01:04:27.880 have stopped nirvana yes they did but there's 01:04:27.880 --> 01:04:30.099 still it still doesn't mean that the other guys 01:04:30.099 --> 01:04:32.519 can't continue on and bringing that music to 01:04:32.519 --> 01:04:35.719 the live audiences i guarantee you there are 01:04:35.719 --> 01:04:39.159 going to be tears shed when they play this song 01:04:39.159 --> 01:04:41.360 live there's going to be tears shed anywhere 01:04:41.360 --> 01:04:44.960 the foo fighters go this summer and go support 01:04:44.960 --> 01:04:50.260 them honestly go enjoy the music because Not 01:04:50.260 --> 01:04:51.780 that I know him personally or knew him personally, 01:04:51.860 --> 01:04:54.619 but I guarantee you Taylor Hawkins would love 01:04:54.619 --> 01:04:56.539 to know that people are still out there enjoying 01:04:56.539 --> 01:05:01.059 the music that they played. So ending it off 01:05:01.059 --> 01:05:04.219 with a bit of a tear ever long from the Foo Fighters. 01:05:04.820 --> 01:05:07.659 Now, obviously, you know, having seen the Foo 01:05:07.659 --> 01:05:09.940 Fighters that over the last few years when they've 01:05:09.940 --> 01:05:12.679 played it live, they've started it quietly and 01:05:12.679 --> 01:05:15.039 acoustically and then kind of melded it into 01:05:15.039 --> 01:05:18.090 the. heavy version that everyone's familiar with 01:05:18.090 --> 01:05:20.409 so i'm kind of curious because you could technically 01:05:20.409 --> 01:05:22.869 go in either direction here because the sentiment 01:05:22.869 --> 01:05:25.329 of the song i feel is what's awesome to close 01:05:25.329 --> 01:05:28.510 this thing out would you go with the original 01:05:28.510 --> 01:05:30.849 studio version the acoustic version which is 01:05:30.849 --> 01:05:33.849 on the greatest hits album or one of the live 01:05:33.849 --> 01:05:35.869 versions that they've been playing lately where 01:05:35.869 --> 01:05:39.559 it's half and half I think on the mixtape, I 01:05:39.559 --> 01:05:43.199 would put the original version. It just has the 01:05:43.199 --> 01:05:46.340 most power. Don't be wrong. I love like an extended 01:05:46.340 --> 01:05:49.079 live intro, you know, when I go to see them live, 01:05:49.159 --> 01:05:51.840 but if I'm putting it on the mixtape, I got to 01:05:51.840 --> 01:05:55.579 go with the actual album version. Well, I love 01:05:55.579 --> 01:05:59.739 it. Closing outside be a perfect, perfect pick. 01:05:59.900 --> 01:06:02.880 If I do say so myself, I'm extremely happy with 01:06:02.880 --> 01:06:05.320 where we went with this. And look, let me just 01:06:05.320 --> 01:06:07.820 say for the record, before I read out the songs 01:06:07.820 --> 01:06:10.900 on Side B, I'm looking at this list and I can 01:06:10.900 --> 01:06:15.099 already tell you there's at least another dozen 01:06:15.099 --> 01:06:18.260 songs that I am gutted that aren't in this playlist. 01:06:19.079 --> 01:06:21.400 And just from artists, without even saying the 01:06:21.400 --> 01:06:25.920 song, let's just say Guns N' Roses, Maiden, Motley 01:06:25.920 --> 01:06:30.099 Crue, Nirvana, The Police, Queen, Stevie Ray 01:06:30.099 --> 01:06:35.599 Vaughan, ZZ Top. I get it. There's a lot of songs 01:06:35.599 --> 01:06:39.639 that we can't get to, but I am pretty stoked 01:06:39.639 --> 01:06:43.820 with how this mixtape came together. The nice 01:06:43.820 --> 01:06:46.619 thing is just taking a look at the song list, 01:06:46.719 --> 01:06:50.579 like honestly from side A or side B, if this 01:06:50.579 --> 01:06:53.159 is in the car on a road trip, that's going to 01:06:53.159 --> 01:06:55.519 be a great trip because clearly it's going to 01:06:55.519 --> 01:06:57.760 be a 90, right? It's going to be 45, at least 01:06:57.760 --> 01:07:00.280 on either side. It's the extended tape. Oh yeah. 01:07:00.800 --> 01:07:03.690 The flow. That was always the thing about a mixtape. 01:07:03.730 --> 01:07:05.909 It's got to be the flow. And yeah, you listed 01:07:05.909 --> 01:07:08.789 some great bands that aren't on the list. I'm 01:07:08.789 --> 01:07:10.530 just taking a look at my list here and saying, 01:07:10.610 --> 01:07:12.590 my God, I can't believe I didn't pick that. I 01:07:12.590 --> 01:07:15.929 didn't pick that. But it's not always about the 01:07:15.929 --> 01:07:18.670 songs that you want to hear. When you're making 01:07:18.670 --> 01:07:20.369 the mixtape for the car, you got to think about 01:07:20.369 --> 01:07:23.989 everyone else in the car. It should be a group 01:07:23.989 --> 01:07:26.570 effort like this. It should be keeping other 01:07:26.570 --> 01:07:29.429 people in mind. Yeah, sometimes the mixtape is 01:07:29.429 --> 01:07:33.210 about bands you wish other people knew. And sometimes 01:07:33.210 --> 01:07:35.010 you want to put those songs out there so people, 01:07:35.110 --> 01:07:37.030 you know, people get to experience the things 01:07:37.030 --> 01:07:40.829 that you like about those songs. But in a situation 01:07:40.829 --> 01:07:43.989 like this, it's great. I think it flows really 01:07:43.989 --> 01:07:45.809 well. And there's a little bit of everything 01:07:45.809 --> 01:07:47.349 here. There's a little bit of discovery in there. 01:07:47.429 --> 01:07:49.789 There's a little bit of flow. And there's a little 01:07:49.789 --> 01:07:53.530 bit of each person's personality in there. And 01:07:53.530 --> 01:07:57.059 that's the goal of this show. Side B. Money for 01:07:57.059 --> 01:08:01.199 Nothing by Dire Straits. Deuce by Kiss in the 01:08:01.199 --> 01:08:03.639 number two spot. I see what you did there, Jason. 01:08:04.019 --> 01:08:08.000 Back in Black by ACDC. Welcome Home by Coheed 01:08:08.000 --> 01:08:12.079 and Cambria. The Spirit of Radio by Rush. Barracuda 01:08:12.079 --> 01:08:15.079 by Heart. Running Down a Dream by Tom Petty. 01:08:15.179 --> 01:08:18.500 The Boys of Summer by the Ataris. Crazy Train 01:08:18.500 --> 01:08:22.279 by Ozzy Osbourne. And closing it off with Everlong 01:08:22.279 --> 01:08:25.340 by the Foo Fighters. and remember you can head 01:08:25.340 --> 01:08:28.579 over to myweeklymixtape .com visit the opening 01:08:28.579 --> 01:08:31.439 guitar riffs page and hear all the songs we've 01:08:31.439 --> 01:08:35.800 discussed in this mix tonight jason before we 01:08:35.800 --> 01:08:39.239 eject this final mixtape and unleash it upon 01:08:39.239 --> 01:08:41.579 the universe why don't you remind people where 01:08:41.579 --> 01:08:44.489 they can learn more about it's not that bad Brian, 01:08:44.510 --> 01:08:46.510 thank you so much for that. It's not that bad. 01:08:46.630 --> 01:08:49.529 The podcast that looks for A grades in B movies. 01:08:49.729 --> 01:08:52.670 You can find us wherever you listen to your podcast, 01:08:52.850 --> 01:08:56.729 whether it be Spotify, Apple. Good pods, Google, 01:08:57.069 --> 01:09:00.109 Pandora, Stitcher, wherever, even on Samsung 01:09:00.109 --> 01:09:02.390 podcast, you can hear us wherever you get them. 01:09:02.449 --> 01:09:05.050 You can also find us on Twitter for as long as 01:09:05.050 --> 01:09:08.130 Twitter lasts at not that bad cast on Facebook 01:09:08.130 --> 01:09:11.310 at facebook .com slash not that bad cast and 01:09:11.310 --> 01:09:14.210 at our brand new website at not that bad cast 01:09:14.210 --> 01:09:17.930 .com. Jason, thank you so much for joining us 01:09:17.930 --> 01:09:20.109 tonight, man. This has been a blast. Oh, thank 01:09:20.109 --> 01:09:22.010 you for having me, man. This has been so much 01:09:22.010 --> 01:09:25.149 fun. and remember you can find my weekly mixtape 01:09:25.149 --> 01:09:29.189 on facebook twitter instagram and tick tock at 01:09:29.449 --> 01:09:33.289 my weekly mixtape you can also head to myweeklymixtape 01:09:33.289 --> 01:09:36.350 .com to hear the music we discussed on tonight's 01:09:36.350 --> 01:09:39.470 episode and check out the full catalog of my 01:09:39.470 --> 01:09:42.470 weekly mixtape episodes if you want to support 01:09:42.470 --> 01:09:45.350 the show please consider becoming a patreon mix 01:09:45.350 --> 01:09:49.289 taper at patreon .com forward slash my weekly 01:09:49.289 --> 01:09:52.029 mixtape that's it for this week's show thanks 01:09:52.029 --> 01:09:54.430 for listening until next time enjoy the tunes