Speaker 1: Do you have that time to listen to me wine
about nothing or everything?
Speaker 2: All I want?
Speaker 3: Hey, this is Scott Foster, Jason's college room mate.
Speaker 4: And you are listening to Shirley you Can't Be Serious Podcasts.
Speaker 3: Hello everybody, and welcome back to the Shirley you Can't
Be Serious podcast where we are covering live throwing cut.
Oh sorry, just being anted something here? Hold on, wait
a minute, okay, sorry, not we are not covering live.
That was We have to do a retraction from last
week's episode. Apparently we are covering Green day to day,
but we have Jeff Johnson with us. Wait uh no, no, wait, sorry,
that's also incorrect information. Wait a minute, what happened here? Okay?
Speaker 4: All right, all right, right, So here's the deal. When
you have guests on, you got to work around their schedule,
and sometimes when you're a not a great planner like myself,
those schedules can get mixed up. And so talk to
Brad Moore. He wasn't able to do it this week,
so I called an audible talked to Jeff Johnson, our
good buddy who's been on many times, and asked him, hey,
do you want to do doochie with us? Green Day.
He's like, hey, yeah, man, let's do it. He's been
listening to the album and I'm like great, And we
talked about the days and here we are and I'm like, hey, Jeff,
you ready to go. He's like, dude, I can't.
Speaker 3: Do it today. We're talking about next week.
Speaker 4: So that's my fault. That is totally my fault. I
blew it.
Speaker 3: But but we're on a deadline at this point. We
heard we are, so we will have to proceed without Jeff.
So this episode will be about two thirds as long
as it would have been.
Speaker 4: I guess well, and Jeff's podcaster at the film by
a podcast. He understands how these things are and he
has graciously let me off the hook. Jeff once again,
I'm sorry. We'll see you again down the road. I'm
sure very soon. But d you and I are back
in nineteen ninety four. This is our second album. As
we go through five weeks of albums of nineteen ninety four,
I guess this is our second one. We're covering Green Day, Duke.
Speaker 3: Dukie also pop. Yes, that's her diarrhea.
Speaker 4: Yes, I had a kid in my neighborhood growing up.
My dog's name was duke, and he used to like
to tease me by calling him Dicky. I didn't like
that at all.
Speaker 3: Yeah. Yeah, So speaking of that name, it relates directly
to the album cover. Have you looked at this album cover.
Speaker 4: Not in detail?
Speaker 3: Okay? So the album cover is a art if you
want to call it. That is an artistic piece by
a guy named Richie Butcher U H. E. R. Okay,
who had done things like this for other bands that
Green Day was familiar with and was kind of a
friend of the band, even played in some bands himself.
But when they told him what the title of the was,
he just went with that. And he always associated dookie
or poop with monkeys and dogs, and so this album
cover is filled with monkeys and dogs dropping dookie bombs
or considering throwing the poop at somebody. And then in
addition to that, it is populated with these various things
like the Lady from the Black Sabbath album, the original
Black Sabbath album, Angus Young of ACDC is on there.
Really the murder of the co founder of the Black
Panther Party, Huey P.
Speaker 4: Newton mess up your Black Panther.
Speaker 3: If you look at his picture on Wikipedia it's that
guy from Forrest Gump. Really totally that guy. Yes, wow,
the say through tower and then like a bunch of
friends that they had, you know, just a little little drawing.
It's so tiny you can't tell what's going on. Patty
Smith is on there with her unshaved armpits. It's it
is really a creative piece. And the you know, the
record execs were like, hey, these are three pretty good
looking guys. We want their picture to be on it.
And they said, no, that is not us, because we're punk.
Speaker 4: Right, they're punk.
Speaker 3: These are the guys that brought back punk to the
main stream. We did Billy Idol last year. He was
the guy that kind of brought punk to the mainstream
in the eighties, and these are the guys that brought
it back in the nineties. Last year we talked about
the Nerds coming into the mainstream, and now we have
the Misfits coming back into the main stream.
Speaker 4: You know, this is like power punk pop.
Speaker 3: That's a lot of peace.
Speaker 4: You know, you've got the punk attitude with the Beatles
like Melody. Yeah, it's no wonder why these guys were
so successful. I told you that they've got a case
for being one of the biggest bands of the nineties.
Speaker 3: Yeah, this and this album is typically on any one
hundred list of best albums of the nineties for sure.
Interesting fact, Good Riddance was actually recorded for this album.
Speaker 4: I was gonna drop that bomb on you?
Speaker 3: Yeah, I was recorded for this album. They just decided to.
Speaker 4: Say, would this album have been with that song on him?
Speaker 3: I don't know that you can have more than what
this album was. This album was as the cover presents
a nuclear bomb.
Speaker 4: It was really it really was. Okay, so this is
released February first, nineteen ninety four. I want to just
drop you in ninety four. What happened on February first? Okay,
so this is just you know, a couple of months
after Jack Nicholson attacks a car with the golf club.
Speaker 3: You remember that, I do kind of remember.
Speaker 4: Remember that he went went crazy On February first, nineteen
ninety four, Jeff Bluley pleads guilty.
Speaker 3: Oh yeah, we had that why why from last Yeah? Yeah.
Tanya Harding's boyfriend pleads guilty to smashing Nancy Kerrigan's kneecap.
Speaker 4: In exchange for turning dirt on Tanya Harding.
Speaker 3: Yeah.
Speaker 4: Also on February first, nineteen ninety four, Harry Styles of
One Direction is born.
Speaker 3: It's weird, weird, Yeah, it's old. Yeah.
Speaker 4: Okay, So Green Day's Duke. He comes out February first,
nineteen ninety four. Yeah, we're gonna dive into this album.
Speaker 3: Now, let's go, man, I'm ready to jump in. Okay.
First song on the album it's called Burnout. Second okay,
this song comes in with a hard punk beat right
out of the gate. That bang.
Speaker 4: No, I've got crackling drum, speedy beat, very pop punk.
Speaker 3: Yeah, this is angsty, it's speedy. This is all things
punk that you want. And then of course it's about
the character's idea that life just sucks. You know, this
is just kind of boring. Life sucks. The kind of
lyrics which punk punk and more punk.
Speaker 4: Right nine apathy, rejecting responsibility, laying around being bored.
Speaker 3: Yeah. So this is what their life was like before
they hit it big, right. They lived in a tiny,
little blue collar you know what. I don't think it
was even fully organized as a town rodeo in Berkeley.
Speaker 4: Yeah, this is like three towns. They're all small, not
a lot going on, Like part of it was unincorporated.
Speaker 3: Yeah, that's it. Yes, an unincorporated town, and Billy and
Mike eventually would meet there. Billy grew up in this town.
I think he moved out there when he was about
three or four years old. He was the youngest of
six kids and was babied by his sisters. His oldest
brother was twenty one years older than him, which means
his mother was closer to his brother's age than he
was to his brother's age. She'd had him at like
eighteen or nineteen years old. Now. She came from Oklahoma,
by the way, moved out during the war to help
with armaments and stuff like that.
Speaker 4: I did hear that they had some o Klahoma roots.
Speaker 3: Yeah, she's an Oklahoma girl. Moved out to California. And
his dad was a Golden Gloves boxer, like was a
powerhouse of a guy.
Speaker 4: Yeah.
Speaker 3: And also throw back to the last week's episode with Weezer,
his dad was a drummer, did jazz drumming, and so
cute little baby Billy Joe got all of the attention,
but he also got a lot. Both of the parents
were musical and he got a lot of their abilities
to started singing when he was very young. Actually ended
up pressing an album when he was just a little kid.
Speaker 4: It's I told you he's like a prodigy. Like his
voices spot on sounds great, and they're like, how do
you like making a record? I love it?
Speaker 3: Five year old Billy Joe Armstrong look for Love is
the name of the song. Yeah, you know, he's like
six years old and singing. And then a few years
later he gets a guitar, starts playing guitar. At eight
years old, he is touring around with his dad, playing
drums like they're tight. And then tragically, just a couple
of years later, when he's ten, his dad realizes he
has cancer, and this mountain of a man withers away
over the next four months and passes away. Had to
be a very tough childhood.
Speaker 1: I walk a.
Speaker 2: Only road, the only one that I have haven't known.
Speaker 4: A sophageal cancer, Yeah, he said. Three months between the
time he was diagnosed to him the time.
Speaker 3: He was dead. Yeah. Well, very fortuitously, very interestingly, the
month that his dad passed away, he met a guy
named Mike.
Speaker 4: Yes, Mike Pritchard was in his fifth grade class at school.
Speaker 3: Yeah, Now, Mike had Mike had been adopted as a
baby he had. His mother was a foster mother got
in a call that they need to place a baby
somewhere just six weeks old, and she ultimately she and
her husband ended up adopting him. She and her husband
split up and an older sister and he went to
live with his dad for a while, but ultimately the
mother and the dad had enough bad interactions that the
mother was able to get full custody and that's when
they went out to California and where Mike met Billy Joe. Yep.
Speaker 4: I heard him described as skinny, loud, and obnoxious, and
you might know him more as Mike Durnt, yeah, which
I thought this was hilarious story. The dirt comes from
him screwing around on his bass going like, okay, what
if we did this.
Speaker 3: Durnt yep, Durnt Durnt. That's how he got the name Dart.
Speaker 4: Yeah, and so they become buddies in fifth grade. Billy
Joe had to wait for him to kind of get
his chops to get up to speed.
Speaker 3: By about seventh grade. Yeah, well, they were both playing guitar, right.
They had two guitarists and a drummer, and then they
got a guy to come in and play bass. And
the guy had come and play bass his named Sean,
and then Sean, you know like kids do, had to
go to the dentist or something during practice, and so
they're like, he leaves and they're sitting around and Billy
Joe says to Mike, hey, why don't you try to
play the bass, and he picks it up. They start playing,
and he said, I looked at him, and he looked
at me, and instantly we knew he was the new
bass player.
Speaker 4: That's good.
Speaker 3: And he was kind of bummed out about it because
he's like, I don't get to play guitar anymore. But
then Billy Joe's brother was like, hey, man, you're not
a rhythm guitarist, you're a lead bass player, and that
was enough to change him.
Speaker 4: Well, and the bass features prominently in a particular hit
we're going to talk about here in a few minutes.
Speaker 3: Yeah, I mean the bass on these songs. I mean
number one, This is a three man band. Every single
member is critical, and we know that Billy writes a
lot of the songs, but there is no question that
the bass is a huge part of this. And I
would say Mike is one of the best bass players
that I've heard play from the guys in the nineties.
Really yeah, I mean, I'm putting him up there with Flee.
He's flea guy from Primus, Wow, Mike Dirt.
Speaker 4: Okay and You and I talked about this their early
influences Molly Crue, Van Halen, Kiss, Deef Leppard.
Speaker 3: Billy Joe said, when he was thirteen years old, his
sister took him to a few concerts. Took him, like
they said that he was born in seventy two, so
this would have been about eighty five. Took him to
see ari Em ten thousand, Maniacs, Okay and the Replacements,
and he was He became a huge Replacements fan, became
a fan of Husker Doo as well. But he said
when he heard these songs, this was an entirely different reaction.
I mean, he obviously loved the metal songs, but these
songs that these bands were playing hit him on an
emotional level and that heavily influenced how he would write
his own songs later on.
Speaker 4: Okay were ready for the next song on the album.
Speaker 3: Yeah, Let's do It. Song number two is called having
a Blast.
Speaker 2: Day.
Speaker 3: Well you Zay.
Speaker 2: Say nine say.
Speaker 3: Okay, So this was a little rough, okay in this
day and age. Now this says talking all you down
with me, explosive duct tape to my spine. Nothing's gonna
change my mind. I won't listen to anyone's last words.
There's nothing left for you to say. Soon you'll be
dead anyway, So plea shot and you shot South five and.
Speaker 2: Bad.
Speaker 3: No one is getting out of here alive. This played
okay in nineteen ninety four. It wasn't a big deal
because it would be another five years before Columbine happened.
That's right. And now it's the most uncomfortable so on the.
Speaker 4: No doubt about it. The song was written in Cleveland
in June of ninety two, and it was way before
that homicidal epidemic that we went through in the nineties.
Speaker 3: Yeah.
Speaker 4: We even had a guy though, you came to a
football game and blew himself up.
Speaker 3: I was there for that game. Yeah. Yeah, we thought
the cannons had gone off at the wrong time, that's right. Yeah.
Speaker 4: So once Billy, Joel and Mike discovered punk, that really
lit the fuse.
Speaker 3: Yeah, they had they had really gelled as a band.
I've seen him in you know, the old high school
talent shows, and they were still playing very much rock
and roll kind of music, but punk was a new
way to think about things. And this was interesting because
we talked about how rock and roll and heavy metal
was the thing of LA. Right Sunset Strip. You got
guns n' Roses, You've got Motley Crue, you got all
of those.
Speaker 4: Guys, stock and all those guys.
Speaker 3: All those guys down in LA. But they're up near
the Bay Area, and San Francisco was where you had
the punk scene. And by the nineties, the punk scene
had build over into those kind of blue collar suburbs
of the Bay Area what they call the East Bay,
and there was this contingent of kids who would go
to these clubs and listen to and play punk music.
And he said when he fell in with them, it
was like he met his people, right, like these were
the people that he just gelled with, and so that
really became their form of music. But that club, which
was nine to twenty four Gilman Street, they called it
Gilman Club. They wouldn't let them play when they first
started because their music was too melodic, like it was
to pop even at the beginning. Wow, But eventually they
changed their drummer.
Speaker 4: So I heard Billy Joe Armstrong talking about initially when
they first started out, he thought his brother was going
to be the drummer for the band, right, And they thought, Hey,
we're going to be like this Van Halen thing. Right,
I'm gonna play guitar, you're gonna play drums, and we're
gonna go be Van Halen. Yeah, but that didn't work out,
and so.
Speaker 3: Yeah, they ultimately they picked a guy up who had
been playing with another band. His name was John Kiffmeyer.
But that guy had played plenty of times over at
the Gilman, and so with him drumming for their band,
number one, they were better because he was a more
experienced drummer. But number two, he gave them the street
cred to get in. Now here's the problem. They go
on with him, they record a couple of EPs and
then he's like, guys, I think I'm gonna go study.
I think I'm gonna go to school.
Speaker 4: It's college time for me.
Speaker 3: Yeah. They're like, but you're our drummer. We were a
three man band. We don't have an extra drummer.
Speaker 4: Yeah, we are not sticks, right, So at this point
they're sweet children. That's the name of the band, yeah,
which it was in the name of one of their songs.
But yeah, at that time the band was called Sweet Children.
You talked about the EPs that they released, right, They
released an EP in nineteen eighty eight. YEP, they released
one in nineteen ninety. These guys are born in nineteen
seventy two. They're sixteen, seventeen, eighteen years old at this time.
Speaker 3: Yeah, and in fact.
Speaker 4: Before they could go on tour, they waited for Mike
to graduate from high school. Billy Joe dropped out. He's
I know what I'm doing, right, and so they're class
of ninety guys. But as soon like the day after
Mike Durt graduated from high school, they.
Speaker 3: Were on tour, off and touring. Yeah, so they've lost
their drummer. Now. Interesting, these two EPs that they've done,
they've done with an independent record label. That record label
is called Lookout Records. Right. The guy who started Lookout
Records was a guy who's also playing punk and his
band was called Lookout that's right. Now, he's an older guy.
He was born in like forty nine or something like that,
so he was like my dad's age. You know, these
guys are close to my age. This guy was close
to my dad's age. Yeah, but he's got this record
label and he's got this band. He had gotten started
in music and wanted to do a record label and
wanted to have a band. But he loved punk. This
baby boomer loved punk. And so the community that he
was in in near Berkeley, California, was a bunch of
old hippies who are all into their own you know,
Jefferson Airplane and Jimmy Hendrick's kind of music. And so
he hits up this kind of wild kid son of
his neighbors who just going nuts, and he's like, man,
maybe this kid will you know, he's not got his
influences of music yet maybe I can hit him up. Kid,
try these drums out.
Speaker 4: That's right. His name is Frank Right, otherwise known as.
Speaker 3: Trey Cool Tray Cool, which I mean we've learned from
the sex Pistols that you get a cool name when
you become a punk rocker. You are allowed to change
your name and it can be something very cool, and
it can be Trey Cool if you will.
Speaker 4: Yeah, that's right. I did see that. He's Frank Right,
the third, so he was actually they called him Trey yeah,
I did think it was funny. So they just recruited
him to be a drummer. He didn't even didn't know
how to play drums. Twelve years old, Hey, come play drums.
Speaker 3: For us, twelve that's crazy. So Trey Cool had been
playing with Lookout, this band for some time. Now Green
Day has lost their drummer. Look Out obviously is having
some success with these albums. And so Larry Liverpool, the
guy who is the old guy, he rides the band
and the record Larry Liverpool, Larry Liverpool, He's his name's
Larry Hayes. Larry Liverpool was his punk name based upon
a nuclear power plant I believe in the California area.
And he says, well, maybe Trey can play for you guys,
And man, when that magic happened, the Trinity was formed.
That's it.
Speaker 4: You know you mentioned the name Green Day. They actually
changed their name from Sweet Children to Green Day like
a couple of days before their EP was released.
Speaker 3: Oh yeah, Larry had seen them playing live and he
was like, oh my gosh, you guys are fantastic. Do
you want to make an album? And they were like yeah, sure,
oko I guess and they walk in and They're like, hey,
we're changing our name, and he's like, what, No, everybody
knows you as sweet Child. Why would you change your name. Well,
they there was another band in the area called Sweet Baby,
and they didn't want to get confused with that band,
and so they decided, Hey, you know, we spend many
of our days in the green if you will.
Speaker 4: Yeah, you and I were talking about that. I was like, what, Look,
what the heck does that mean?
Speaker 1: You had to.
Speaker 4: Explain it to me.
Speaker 3: Yeah, Jason, the Baptist member of the podcast, did not
know what a green day was, and so yeah, that
green day comes from the idea of a day where
you just sit around and doing nothing but smoking marijuana.
So they become green Day. They have Trey Cool. I
think we are now ready to hear song number three chump.
Speaker 4: Okay, before we go any further DP, there are fifteen
songs on this album. It adds up to thirty eight minutes.
Speaker 3: Yeah, this is You're You're lucky if you get a
song over three minutes on the top.
Speaker 4: Oh my gosh, they're so quick.
Speaker 3: Yeah they are. But that's a punk signature move it is.
And yeah, this one, I mean short to the point.
This one is Nope, not quite three minutes, Nope, you
and something that's right. But this one, I love how
it starts off. I don't know you, but I think
I hate you. This is a great This is a
great little place that we probably of all have been
where you see somebody and you're like, I just I
don't know what that is about that guy's face, but
I just want to punch it. And then of course
he this guy kind of realizes the error of his
ways by the end of the song and he's like,
maybe it's me. Maybe I'm just jealous.
Speaker 4: Maybe I'm the chump.
Speaker 3: Maybe I'm the chump. Yeah, this is the first song
that he mentions Amanda, and I know.
Speaker 4: Amanda is the former girlfriend who ran off, broke up
with him, joined the Peace Corps, moved away right before
Dookie took off.
Speaker 3: How to go on the Peace Corps? Amanda, how's that case?
Speaker 4: I'm Hilaria clearly enjoy Ecuador.
Speaker 3: You know.
Speaker 4: Billy Joe Armstrong recorded like sixteen or seventeen songs. The
vocals took two days. Most of the songs he took
one take. Yeah, he just jumped in, fired it out there.
You know, we talk many times about the ten thousand Hours.
This is a guy who's been singing since he was
four years old. So yeah, he was a very young man,
like twenty one when they recorded this album, but that
means he'd been singing for seventeen years. That's pretty you
got you got you ten thousand hours in a couple
times over on that's right, and he was obsessed with it,
so yeah, he's a guy could do it. You know.
This song was one they had to re record because
they had this tape hisss that they could not get
rid of.
Speaker 3: Yeah, and this is kind of an interesting thing about
the Gilman Club. This was you know, there was a
very strict criteria obviously because they couldn't get in initially
because they were too melodic and their music right. But
it also went the other way that if you became
too successful, then you weren't punk enough anymore, and ultimately
that you would get banned from the club for being sellout,
which is absolutely what came with this album. But part
of that was this idea that do we want to
have a tape hisss on our record? No, we want
our record to sound good. We wanted to sound full.
They had recorded these other two EPs in a day
or two. This one they got to sit in and
kind of soak in it and spend some time experimenting
with tones and sounds. And I mean, I gotta say,
most of the guitar in each of these songs sounds
pretty much the same, like it's that same tone. Sure,
but they found that magic tone that they wanted by
having an opportunity to spend time in a professional recording studio.
Speaker 4: All right, So before we go any further, in nineteen
ninety two, they released an album called KerPlunk.
Speaker 3: The theme here.
Speaker 4: Yeah, but that's when they really started to take off.
They got some traction. They sold out the first ten
thousand copies of that album. And you we talked about
how you're too successful in the punk scene. You're rejected
because you're a sellout. But once that album had come
out and been a success, the big record company started
come calling, and so they ended up signing with Reprise Records.
Speaker 3: Which was an arm of Warner bro Brothers.
Speaker 4: Yeah, did you read that story about the executive who
wanted them to come to his office and meet with them.
So this record exec name Weiss, wanted them to come
to Warner Brothers and let's talk about the marketing for
this album. And he knew they were a punk band
and he expected them to be like, you know, Johnny
Rotten and said vicious. These a hole you know, right,
you guys right right, punch you in the face type
of guys. And when he got there, he was like,
these guys are just kids. They're intimidated. They really don't
even want to be here, like they're scared of this
meeting with me. But he found them to be kind
of sweet guys, you know, and sat down he talked
about He's like, Okay, for Dookie, I think our goal
should be two hundred thousand records sold. Well they far
outshot that, Yeah, ten million copies sold.
Speaker 3: Yeah. And when they had been with Lookout, they had
had they were Lookout's biggest success because they sold ten thousand, right,
they sold ten thousand. Like the first day was pressed.
I mean it was like the Lookout was having trouble
keeping up with the demand for the record and they're
literally I mean, this is a tiny little record company
and these guys are just touring around. But it's it's
incredible the word of mouth, Billy Joe comes home. At
one point he was like I couldn't believe it. We
were in Ohio and people were singing the words that
I wrote. That's incredible.
Speaker 4: Well, let's get to the first single on the album. First,
really big Sama here.
Speaker 3: I mean I not having had this album, I just
got to say. These first three songs were the scrolling
prologue to the album. Right and now is when we
get the Star Destroyer looming over as it comes down
crashing in. This is song number four, longview around.
Speaker 4: And watch the tube but nothing.
Speaker 5: James jan now zoo.
Speaker 3: For a bit.
Speaker 5: The same moment ins.
Speaker 3: And well this one comes in at whopping three minutes
and fifty two seconds. No wonder they call that long view.
Speaker 4: Okay, so this was not a single. Okay, this is
the same thing we talked about last week with Weezer,
and we're going to talk about it again with Live.
They didn't actually release physical singles because they wanted to
drive album sales.
Speaker 3: Yeah, well they had the benefit of MTV, and with MTV,
if you had a video, it was better than a single.
That's right to get people interested in your band. And
I'll read this lyric to you see you tell me
what you think is going on here? Bite my lip?
And close my eyes, take me away to paradise. I'm
so damn board, I'm going blind. Do you think he's
doing Does the term spanking the monkey mean anything to you? Well,
could be.
Speaker 4: Yeah, I think it is.
Speaker 3: Yeah.
Speaker 4: All of these songs are about laying around doing nothing
but spanking the monkey and drugs.
Speaker 3: Yeah right, yep. Which what is great is that when
they made this video, they did it in the house
that they used to hang out and play together. And
it's like, literally, this is what I used to do
in this chair in this video that I'm about to destroy.
Speaker 4: This is the same thing the Weezer did. We talked
about that last week. Yeah, And at the end of
this video he takes a knife and he's like gutting
that couch and there's feathers flying everywhere and the music's crashing.
First of all, this is a killer hit, right, This
speech number one in the Modern rock charts. It's just
such a great pop punk song.
Speaker 1: I'm not.
Speaker 3: I love how on this song that you have this
blended transition from the last song as the drums come in, right,
because the drums on this one are so to start
off with, are not punk. You've got the Tom's coming
in groove. It is a very groovy mix. And I've
I've listened to Trey Cool talk. You know, I've seen
drummers like, who is your most influential guy? Trey Cool said,
ringo star, which you just don't hear that too often.
But then the next question is obviously, well why, and
he said, well, because he didn't try to stand out
and be some sort of rock star drummer. He played
the drums that fit the song. And that's what I've
tried to do with all of our songs, is I
try to make the drums accentuate what the song is not. Hey,
look at me, I'm playing some incredibly drums, right and
he I mean, he nails it on this one. This
is great. I love this the drum beat on this one. Yeah.
Speaker 4: Bassist Mike Dirnt said that he wrote the signature baseline
while high on LSD.
Speaker 3: So they've got this song, they've got it written right,
and there's there's more than just these guys in the house, right,
They've got friends over or whatever. Right, But Billy Joe
is like, we can't you know, I can't. Mike is saying,
I can't figure out the baseline. Billy's like, I don't
know what it is. They're not they're not figuring it out.
So Billy goes and watches a movie, goes to the movies,
goes and watch the movie, and he comes back and
everyone in the house is tripping balls on LSD and
he's and he says, Mike is just sitting in the floor,
you know, kind of out of it, zen like, and
he's like, oh, I got the base line. You got
the baseline. He's like, oh man, okay, let's hear it.
He says, he plays it, and he's like, oh, that's it.
And then he spends the rest of the night worried
that he's gonna forget it because of the drugs. But
God bless him. Next day he got up and he
remembered it completely. So that's how we get this awesome,
awesome baseline. Probably made millions of dollars from that LSD hit.
Right there, well, him and the Beatles. I mean, I
don't know what to say.
Speaker 4: That's it.
Speaker 3: Yeah, this song is don't do drugs kits.
Speaker 4: That's right. This song named after Longview, Washington. Okay, I
don't know what happened there, but there you go. This
video was nominated for three MTV Music Awards Best Group Video,
Best Alternative Video, and Best New Artist. These guys literally
became a success pretty I mean a mainstream success overnight. Okay,
so this was the first big hit from this album. Yeah,
this broke them right definitely. So they leave two weeks
after the release of Doochie. They go on tour, using
Trey Coole's dad's bookmobile as their tour bus.
Speaker 3: Right.
Speaker 4: They started so low on the totem pole and they're
touring round. Okay, we'll play this keger, you know, for
a couple of beers and twenty bucks whatever.
Speaker 3: They just wanted to play.
Speaker 4: They're playing anywhere and everywhere. Meanwhile, MTV starts to play
the crap out.
Speaker 3: Of their video, right right.
Speaker 4: I was interesting, Trey Coole's dad said. I watched these
guys write the song. They practiced it in my living room.
I thought, hey, that's pretty cool. I mean, they're having fun,
they're doing stuff because it's one thing for people to
really like their songs, which I was kind of blown
away about, and then for them to buy it. He goes,
I just couldn't believe that the songs that they were
playing in my living room became this worldwide phenomenon. He's like,
I still don't know how all this happened. It's pretty
incredible story.
Speaker 3: Yeah, Okay, time to move on to another fantastic song.
This one is a remake of a song that appeared
on their Cerplunk album. This song is called Welcome to Paradise. Okay,
So have you ever heard the song Hello Mata, Hello Fada? Yeah? Yeah,
this is the nineties version of that song. Okay. So
when they moved out of their parents homes, right, it
wasn't just a cheap house that they lived in. It
was an abandoned house. Like they weren't paying rent. They
were squatting. So when I say there were other people
at the house, there were probably some drug addle bums
and other stuff. You couldn't go out at night. You
could go play some street basketball during the day, but
you don't. It was a dangerous part of town that
these guys were living.
Speaker 4: It was an abandoned house.
Speaker 3: Yeah. So the first part of the song, he's writing
to his mother telling her, you know how awful it
is there, and then six months later he's writing to
her at the end of the song saying, what a
great place this is? I know, right, paradise tongue in
cheek becomes actual paradise.
Speaker 2: Welcome Tampa.
Speaker 4: This was the third song released to radio. We talked
about how there weren't physical singles in the US.
Speaker 3: Right, UK had some physical singles, but right, not in
the US. Right.
Speaker 4: They released this to radio October seventeenth and ninety four.
This was originally recorded on KerPlunk, which you just mentioned.
KerPlunk was Green Day's second album. They re recorded it
and re released it in ninety four. This is a
fun song.
Speaker 3: I love it, oh yeah. And they, you know, talk
about a melodic chorus on this one. You know the
verse on this one, you know it pushes through and
it's rhythmic. But when you get to the chorus on
this song, it is an absolute hook. I love it.
You know.
Speaker 4: We talked about how it's it's speed drums, it's it's
power chords, it's fast paced, but the melodies are what
makes the songs absolutely.
Speaker 3: This video has Matt Bernalini Olpen in it and he
gets kicked in the face in this video. Okay, if
you don't know who this is, he is a founding
member of the punk band Link eighty and and he
is a co creator of some film making productions, including Chad,
Matt and Rob and Radio Silence, but he is best
known for working in horror films, including VHS Southbound, Ready
or Not, Scream, Scream six, and abag Nail. So he's
been around and he gets to get kicked in the
face in a Green Day video.
Speaker 4: Oh well, good for him.
Speaker 3: He said that the papers like in the in the video,
it's a live performance and there's like fires on stage.
He said, all of those papers were like newspaper articles
that were talking about Green Day, and so they decided
to just spread them.
Speaker 4: Okay, all right, We're ready for the next one.
Speaker 3: Yeah.
Speaker 4: The next song on the album is called plain Teeth.
Speaker 3: So this is a what was the name of the
movie where Tom Hanks directed, where it was like the
band that thing you do, That thing you Do. Yeah,
this has that kind of poppy little beat, happy little
melody and just happens to be about a guy getting
the crap beat out of him by his girlfriend.
Speaker 5: Right.
Speaker 4: I totally agree with you. It feels very like like
Scooby Doo.
Speaker 3: Yeah, the Archie's archiees.
Speaker 4: Yeah, you know, just strumming the guitar. It's not speedy
punk rock or anything like that. They were very influenced
by the Beatles.
Speaker 3: Yeah.
Speaker 4: In fact, Trey Coole said that Please Please Me was
the album that this is kind of modeled after. Right,
All the songs are short, they get right to the point,
just like the Beatles Please Please Me. There you go
check out our buddies Deaf Dave and Jackson Wright at
the Apples and Oranges podcast.
Speaker 3: Yeah, you know you said.
Speaker 4: It's about a guy getting the crap beat out of
him by his girlfriend. This was inspired by a pillow
fight that Mike Dirt had with his girlfriend.
Speaker 3: Oh, that's right, like broke his arm or something like that.
Speaker 4: That's it.
Speaker 3: Well, hey, it happens not a laughing matter for the victim.
Speaker 4: Here, I'm gonna give a quick shout out to my
college buddy and current Patreon member of Cameron Neckert. In college,
he got his nose destroyed in a pillow fight and
he got a fist right across the nose. So it
can't happen.
Speaker 3: Yeah, fell those are dangerous things. Boys and girls. Be careful.
Speaker 4: Hey, I want to talk about something real quick. One
of the places that they played while Doukie is on
its ascension, they played Woodstock ninety four. Yeah, and when
they got on stage, it had been raining and wet
and muddy, and they were not really welcomed by the crowd,
and so they started mud slinging at them.
Speaker 3: Yeah, and these are punk guys.
Speaker 4: They're ready for that, so they're throwing it back at him.
And then the people encouraged them more, and so there's
just like this mud fight between Green Day and the fans.
Speaker 3: At some point, Billy Joe picks up one of the
pieces and puts the mud in his mouth, puts it
in his mouth. After that, all hell breaks loose.
Speaker 4: People start climbing on stage. A security card full on
football tackles Mike Dirnt because thinking he had climbed on
the stage. You can see it like on the video.
He decks him like a linebacker.
Speaker 3: He knocked out his front teeth. On the monitor, he
knocked out his front teeth. Now, they described this this
whole experience, and it's like a it's like a scene
out of Platoon, Like they come in in a helicopter
they see this. I mean, if you haven't heard about
the the Woodstock Reunion concert, it's infamous, right, there's a
great documentary on it out there. But anyway, they they
come in in this helicopter and it's just this nasty kept,
poorly run mess of all of these stupid gen X
guys like me doing wrong things. They lay in, they
start putting on a show and war breaks out and
they literally have to run off of the stage, jump
in the helicopter and get away before they're killed.
Speaker 4: What's dog ninety four back in the day? All right, Okay,
let's go to another one of the biggest and heaviest
hitters on the album. Next song on the album is
called Basketcase.
Speaker 5: Do you have that time to listen to me whine
about nothing and everything?
Speaker 2: Alowe?
Speaker 5: Once, I am one of those mala dramatic bulls, rode
into the bone out down about it.
Speaker 3: So I love how this one starts off differently. You
can tell this the same guitar, but he's got it muted.
He's got his palm on the strings and he's this
is just him and the guitar with these muted strings.
And then you can hear these little plinks and pops
of Trey just putting the little little accent marks of
foreshadowing on what's to come. For the first thirty seconds
of the song, right, and then in full punk passion,
they come crashing it.
Speaker 4: It explodes, right, Yeah, explodes with energy. This was the
second single, released August first, nineteen ninety four. It was
number one on the US Hot Alternative for five straight weeks,
got a Grammy nomination for the Best Rock Vocal Performance.
Over one billion streams on Spotify. This is a gangbuster song.
Speaker 2: Myself, since I six on.
Speaker 3: To me, this is the defining song of Green Day,
Like I love good Riddance. I love it a lot.
That was the first green Day album that I bought
was Nimrod. But Good Riddance is a departure from what
Green Day is. This song to me, he defines the
band and their staying power.
Speaker 4: I can't really argue with that, except for when I
Come Around is massive and Good Renance is off the
chart humongous.
Speaker 3: Yeah.
Speaker 4: By the way, this song was written by Billy Joe
Armstrong in Glasgow, Scotland while he was on Crystal meth.
Speaker 3: Don't do Drugs Kids, written.
Speaker 4: About his struggle with anxiety and panic disorder.
Speaker 3: Okay, so this video, Yes, they wheel tray up to
his drums, right yeah, kind of based on one flew
over Kouka's nest very much that vibe.
Speaker 4: Yeah, we talked about Jack Nicholson as a matter of
fact earlier in the episode, losing his cool just a
little bit there.
Speaker 3: It was not Trey cool.
Speaker 4: That's it, all right, and we've done. I mean, I
hate to be done with this banger.
Speaker 3: It's an incredible song, but we gotta keep yelling.
Speaker 4: Hit stop on your tape player, kick it out, flip
it over for side two. First song on side two
is a song called She.
Speaker 3: This is another incredible song.
Speaker 4: It's a banger.
Speaker 3: It starts off so simply like the beat, the chord progression,
the bass line just very straightforward. And then just before
they really come in, you hear Mike really twisted up
a little bit on his bassline. He really is the
lead bass player in this band. It's great what they
transitioned to from the simple into the complicated. And then
with the chorus, you just have this awesome hook of
a melody.
Speaker 4: I love it melody on top of drums and power chords. Yeah,
this song is another song written about Amanda, the girl
who dumped him and moved away in the Peace Corps,
moved to Ecuador.
Speaker 3: Yeah, She She She She was the name of a poem,
a feminist poem that Amanda had given him, and so
after he got it, he wrote another poem called she
for Her or Amanda, And then Amanda moved away and
he was like, maybe I'll use this poem as a song.
Speaker 4: Yep, he gave her his heart and she gave him
a pen.
Speaker 3: He did not just quote George Michael Christmas song did
You No?
Speaker 4: I does quoting say anything?
Speaker 3: But you haven't seen that, okay.
Speaker 4: I love the song.
Speaker 3: So it's very Beatles Esque in its melody, but unlike
basket Case, where you start off with just Billy Joe
and the guitar, this one you don't even get the
guitar until it's thirty seconds in. They are taking a
very punk approach with same sounding guitar, same sounding bassed
definite punk drums, but they're they're mixing and twisting and
doing fancy stuff to make each of these songs unique.
They all have the same feel, they all have the
same vibe and tone about them, but they're all unique songs.
Really well done. Love it. So we should mention that
the producer on this one is Rob Cavallo. He's the
guy from Warner Brothers who said I want to sign
these guys. Okay, And obviously you mentioned that they had
been courted by several other people. He's an A and
R guy with Reprise, and they said, unlike everybody else
who talked to us, he talked to us and he's like,
we'll play some songs for me. And they did, you know,
some Beatles covers or whatever, and he's like, oh, well, here,
let me play something. He started playing with them, and
they're like, oh, this guy is like one of us.
And that's why they signed with him. And that not
only does he sign them as their A and R guy,
he produces their first album and several other albums after that.
Speaker 4: You know, that's incredible, what a great story of that is.
But you know, we talked about how their goal initially
was two hundred thousand albums sold for this one. At
one point this album was selling four hundred thousand copies
a week.
Speaker 3: Crazy, it's crazy.
Speaker 4: Massive success. Okay, let's move on to the next song
on the album. It's called sassafrass Roots.
Speaker 3: Okay.
Speaker 4: I don't know if you know about this girl named
Amanda Broke Billie Joe Armstrong's heart.
Speaker 3: Yeah, she's come up a few times.
Speaker 4: Now, this is the third song we've talked about how
she is mentioned, and right before Doukie took off, she
dumped him, movedway to Ecuador and joined the Peace Corps.
Speaker 3: Yeah, this one sounds a little bit more like their
first couple of albums. This is not as polished, I
guess as the other ones are. Okay, but it's okay.
It's not my favorite on the album, honestly, but it's
it's fine. It's fine. It's not a skipper, but it
is kind of a filler.
Speaker 4: Well, let's move on to another big, big, big hitter.
Speaker 3: Youre goal Ladies and Gentlemen, tenth track on the album. Yes,
we have five more after ten, but here it is
when I come around. So Jason, did poor Billy Joe
ever get over the heartbreak of Amanda. He did.
Speaker 4: He actually met a girl named Adrian Nesser who became
his girlfriend and is now his wife. They've been married
for over thirty years.
Speaker 3: Yeah. So he meets her back when they're on their
current plunk tour, right, Yeah, and she has a boyfriend
at the time, but fireworks weren't allowed in their unincorporated town,
so when they would go outside of California, they would
be able to be like, oh hey, we can buy fireworks,
and so their concerts sometimes would turn into a fireworks show,
which really means they were shooting bottle rockets to people.
And so he saw her and shot a bottle rocket
at her and her boyfriend. But it was all just fun.
I don't know if you had any you know, Roman
candle bottle rocket fights when you were in high school. Yes, yes,
we were very smart kids, yes, very wise. But afterwards
she comes up and she's like, hey, I've got you know,
I've got friends in England who want to buy this album,
or I got friends in these other places want to
buy this album. Do you have any And he was
like no, we sold out of them. But she's like, well,
are they going to make anymore? And she he's like, yeah, yeah,
we're going to make more. She says, well, how do
I get it? And he goes, here's my name and address.
You write me and I will get it to you
as soon as that it's out. Well, that turned into
a little pit and power relationship and that went on
for four years and the band somewhere in the all
of that touring that did they did over that time
kept noticing, Hey, we're booking ourselves in these kind of weird,
obscure places. Does this have anything to do with the
fact that Adrian Nesser lives by because he would she
would always find a way to come see him. And
of course, eventually she broke up with her boyfriend and
he's like, please come see me. She had just graduated
from college, and so she gives her parents some excuse
like I'm gonna go see what work is out there,
but immediately moves in with him and he's like, let's
get married now, and she says okay, and three weeks
later they are married well round, and the day after
the honeymoon she's like, I don't feel so good and
he's like, well, we haven't really been being careful over
the last three weeks, and she's like, well, let's go
buy a test and sure enough, pregnant with child number one.
Speaker 4: And we just hit the thirtieth anniversary of this album.
So that means that Billy bil Armstrong, who looks like
he's about seventeen, has a thirty year old child.
Speaker 3: It's weird, weird, weird.
Speaker 4: Yeah, when you said basket Case was the definitive Green
Day song, I think there's a case to be made
that this is the definitive Green Day song. This got
airplay and music video play to this day. I hear
it all the time.
Speaker 3: It's so simple. It's basically two chords for the verse,
four chords for the chorus. But Dart is doing some
cool hammer on and pull offs with this one, and
it's just it is. They've captured lightning in a bottle
with this song. They really have.
Speaker 4: I don't even know if this is punk pop. This
is just good old fashioned rock and.
Speaker 3: Roll, you know, Yeah, it really really is.
Speaker 4: This was the fourth single. It reached number six on
US Billboard Hot one hundred airplay. That means, despite not
having a physical single to sell, it was played on
radio stations everywhere.
Speaker 3: Yeah, they have a cool little thing that they do
with these lyrics frequently through out of it, Like with Chump,
where he's talking about another dude at the beginning of
the song and by the end of the song he
realizes he's the chump. Same thing happens with this one.
When I Come Around it's like this, you know, when
I turned the corner and I'm okay, and then it
turns into when I come around people don't want to
be there.
Speaker 4: Yeah, yeah, there you go.
Speaker 3: Yeah, all right, let's move on to the next one.
All right. Next song on the album is called coming
clean Cut.
Speaker 4: Okay for me, this is the first one that I
can get to and I'm like, this is a straight filler.
We need to get past this.
Speaker 3: I didn't really, I wasn't super familiar with this album
and the lyrics are not blatant in what the meaning is.
It's only once I read what Billie Joe's explanation of
it was that I was like, oh, well, no, I
didn't didn't see that. But this was his struggle with
bisexuality whenever he was young man apparently around seventeen, said
he never actually had a male partner, but those those
thoughts were going around. But that Gilman Club was again
very noteworthy for being very open to all kinds of lifestyles,
which was unique back in the early nineties, right. And
the band that they would, you know, when they started
to hit it big, the band that they would have
open for them was a band called Pansy Division, which
sang very detailed lyrics about homosexual sex, which when they
started touring, there were, you know, some places that would
be like, hey, we're not letting that band play, and
Green Day would be like, Okay, that's fine, we're not
playing either. So stood by their guys. But it's interesting.
I had no idea that this was a this was
an issue that he had dealt with, and I had
no idea that that's what this song was about. But
there you go talking about, you know, trying to explain
to mom and dad, these weird feelings that he's having. Interesting, Okay,
but it right. Didn't know that doesn't do much for
me musically, and so I'm ready to pop on down
to the next song.
Speaker 4: Here we go, Imanias sleep Us my friend.
Speaker 3: All right.
Speaker 4: This is written by Mike Diurnt about two old friends
who meet by chance and then they realize that they
have grown and become different people.
Speaker 3: Yeah. Another one that I'm just like.
Speaker 4: Okay, Yeah, there's some stragglers here at the end, I.
Speaker 3: Think, yeah, this is Yeah. Hey, Mike, you got any songs? Yeah?
I got one. Yeah, Okay, this is the best one
you got. Let's go with that.
Speaker 4: Is it two minutes or less?
Speaker 3: Yeah?
Speaker 4: Okay, throw it in there. Yeah, all right, well, let's
let's go on to the next song.
Speaker 3: Then Okay, here we go. Next song on the album
is in the End.
Speaker 4: All right, folks, sneeze and you'll miss it.
Speaker 3: The song's a wop in one minute and forty five
seconds long.
Speaker 4: Hey, this is straight punk. This is there's no pop here.
This is straight punk.
Speaker 3: This is great. I love this one. So I heard
the song was about how he didn't really like his
mom choosing his stepdad.
Speaker 4: Yeah, and I heard an interview with him. He's like, well,
my sisters didn't like him, but me and my brothers
we did. We thought it was kind of cool.
Speaker 3: Oh, okay, I.
Speaker 4: Guess there's just some family feelings there.
Speaker 3: So well, there's not enough lyrics here for me to
figure it out on my own, right.
Speaker 4: I do have a cool story for you reguarding this album.
Speaker 3: Yep.
Speaker 4: So we're you know, we just hit the thirtieth anniversary
of Dukie, right, it came out ninety four. Yeah, And
we just hit the twentieth anniversary of American Idiot. Yeah,
And they're on tour right now. They're gonna play Dukie
in its entirety that includes this song plus the hidden
track of the End, Yeah, and then American Idiot in
its entirety.
Speaker 3: Wow.
Speaker 4: If you can see these guys on tour right now.
You definitely should go ground. I know they're coming to
Nashville in September.
Speaker 3: That's fantastic. So yeah, wow, great, love it all right.
Next song on the album, So One. I'm waiting for
Jason to talk about. This one is fod Something's.
Speaker 5: On my mind.
Speaker 3: It's been funck. What's up time?
Speaker 5: It's dime my mom to yo. So where's the other face?
Speaker 3: So Jason, what did it mean to you if somebody said,
why don't you fo d well?
Speaker 4: I pulled out my nineteen eighty six eighty seven yearbook
and I showed it to you, and we're right here.
Had a buddy of mine, right.
Speaker 3: Foad foad, which means f off and die.
Speaker 4: Yeah, thank buddy, Thank you to my friend in nineteen
eighty six. I wrote that on the front cover of
my ear bag.
Speaker 3: So yeah, at least he didn't spell it out like
Green Days. Right, all right? Yeah, this one is a hot,
hot mess, is what it is? This is you got
Billy Joe and a not very sonic kind of acoustic
guitar for over half of the song Like this is,
I'm like, when's the when's the loud gonna come in. Yeah,
it's a minute and thirty five seconds into a minute
and fifty second long song. Excuse me, a two minute
and fifty second long song before the hard guitar and
the drums come in and then it blows up in
your face. Yeah. I don't think he liked whoever he
was talking to when he wrote this song.
Speaker 4: Yeah, this is not my favorite. It starts out kind
of harmless and then blows up into enough tirade.
Speaker 3: Yeah, there's a lot of it. But hey, they warned Jack,
Yeah they did. Here's the title of the song. You
can't be surprised, all right.
Speaker 4: And then we have finally, we have a hidden track
on the album.
Speaker 3: Yeah, this one, this one is this one that's coming up?
Is not Billy Joe singing?
Speaker 4: Interesting? I move alone. I was all by myself. No,
I was wucking.
Speaker 2: So.
Speaker 3: Another interesting thing that happened in nineteen ninety four, well
December twenty first of nineteen ninety three, to be supercise,
was the release of a New Kid series called VeggieTales,
where you had Bob the Tomato and Larry the Cucumber. Yes,
and when I heard this song, I was like, is
this Larry the Cucumber singing right here.
Speaker 4: It sounds like Larry the Cucumber singing about touching himself
and thinking about other people.
Speaker 3: Yeah, it's a little weird. I like it's it's it's
got this little kid voice to it. So I'm like,
is this got in new window here or is this
just some little kid who's sad to be by himself? Yeah? No,
the report is the innu window is fully there.
Speaker 4: Yeah, for sure, for sure.
Speaker 3: So that. Yeah, the name of this one is called
All by Myself in case you could tell from the
fact that it's repeated multiple times throughout the song and
Trey Cool is not only singing, he's playing guitar on it.
It's not a bad melody. It's actually, you know, it's
kind of cute if you didn't know what he was
talking about. But that brings us to the end of
the album. What a phenomenal nuclear bomb. I mean, they've
got the perfect cover because that's what This was a
nuclear bomb of an album.
Speaker 4: Yeah, I mean, this was a nuclear bomb of an album.
Released in ninety four. They even come back stronger just
a few years later with Good Riddance. I mean that
was played at every single prom and graduation in the
Country and still is you know.
Speaker 1: Another turning by the Fox Duck in the world.
Speaker 4: But they win a Grammy. They create this rock op b B.
These guys are rock and roll Hall of Fame type
of guys.
Speaker 3: Yeah. Their next album after this was Insomniac, which they
came on pretty They were harder with the punk on
this one, Yeah, and they were changing the style of
their lyrics a little bit, but it didn't do quite
as well. And then after a little ep that they did,
they came out with Nimrod and again blew our doors off. Yeah,
love it, Love it well, guys, thank you so much
for joining us for this exploration of green Day. We
either have Live Throwing Copper coming up next, or we
have Collective Soul the Blue album coming up next, or
we have Bush sixteen Stone coming up next. You will
just have to tune in and see I hope you
enjoy this journey through the albums of nineteen ninety four.
We will see you guys next week.
Speaker 4: Thanks guys. All right, everybody back by Popular Band new
version of the Shirley theme song in a powerpunk style.
You think of this one.
Speaker 3: When I was a little boy.
Speaker 2: The movie's probably so much Shoy and the music cake
buttling nothing today, then the Boblins saying thecauseter. Shirley came
and made me join that same little way. Surely is
a talking machine, Suley. We were across the strains. Surely
is can't be the best days Sully a ucky queen.
I'm a bactic. It's the record Gieve Schurey, you can't,
you can't be serious, y Jason, Michael Scarrier, dogs and jats,
mass hysteria. Feels like the dog said off the wall
the ball. Schully kept her motor Queen. Yes she's a
killer queen.
Speaker 3: But we'll spike the football.
Speaker 2: Sulli is a time scene, Sully. We went across the strings.
Surely this can't be the best Is Sulli a rocket queen?
Speaker 3: Come back?
Speaker 2: It's the record machine. Surely you can't, you can't be serious.
Sonny and Gina they both knew. Dylan said they knew
it too. Sully's Roy's delirious, Samuel cranky, Johnny's face, We're
rock digging in the wrong place. Surely you can't be serious.
Not shot first, he became a trucker. Ham's Bloomy was
the worst. Kaye I am serious, and don't call me short.
Surely you can't, you can't be.
Speaker 3: Surely you can't.
Speaker 2: You can't be Surely you can't. You can't be serious, Sully.
You can't. You can't be sully. You can't. You can't
be silly.
Speaker 3: You can't.
Speaker 2: You can't be serious silly.
Speaker 4: You can't.
Speaker 2: You can't be silly.
Speaker 1: You can't.
Speaker 2: You can't be silly.
Speaker 1: You can't. You can't be serious.