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Speaker 1: Do you have that time to listen to me wine

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about nothing or everything?

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Speaker 2: All I want?

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Speaker 3: Hey, this is Scott Foster, Jason's college room mate.

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Speaker 4: And you are listening to Shirley you Can't Be Serious Podcasts.

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Speaker 3: Hello everybody, and welcome back to the Shirley you Can't

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Be Serious podcast where we are covering live throwing cut.

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Oh sorry, just being anted something here? Hold on, wait

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a minute, okay, sorry, not we are not covering live.

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That was We have to do a retraction from last

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week's episode. Apparently we are covering Green day to day,

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but we have Jeff Johnson with us. Wait uh no, no, wait, sorry,

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that's also incorrect information. Wait a minute, what happened here? Okay?

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Speaker 4: All right, all right, right, So here's the deal. When

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you have guests on, you got to work around their schedule,

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and sometimes when you're a not a great planner like myself,

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those schedules can get mixed up. And so talk to

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Brad Moore. He wasn't able to do it this week,

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so I called an audible talked to Jeff Johnson, our

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good buddy who's been on many times, and asked him, hey,

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do you want to do doochie with us? Green Day.

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He's like, hey, yeah, man, let's do it. He's been

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listening to the album and I'm like great, And we

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talked about the days and here we are and I'm like, hey, Jeff,

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you ready to go. He's like, dude, I can't.

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Speaker 3: Do it today. We're talking about next week.

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Speaker 4: So that's my fault. That is totally my fault. I

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blew it.

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Speaker 3: But but we're on a deadline at this point. We

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heard we are, so we will have to proceed without Jeff.

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So this episode will be about two thirds as long

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as it would have been.

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Speaker 4: I guess well, and Jeff's podcaster at the film by

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a podcast. He understands how these things are and he

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has graciously let me off the hook. Jeff once again,

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I'm sorry. We'll see you again down the road. I'm

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sure very soon. But d you and I are back

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in nineteen ninety four. This is our second album. As

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we go through five weeks of albums of nineteen ninety four,

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I guess this is our second one. We're covering Green Day, Duke.

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Speaker 3: Dukie also pop. Yes, that's her diarrhea.

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Speaker 4: Yes, I had a kid in my neighborhood growing up.

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My dog's name was duke, and he used to like

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to tease me by calling him Dicky. I didn't like

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that at all.

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Speaker 3: Yeah. Yeah, So speaking of that name, it relates directly

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to the album cover. Have you looked at this album cover.

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Speaker 4: Not in detail?

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Speaker 3: Okay? So the album cover is a art if you

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want to call it. That is an artistic piece by

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a guy named Richie Butcher U H. E. R. Okay,

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who had done things like this for other bands that

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Green Day was familiar with and was kind of a

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friend of the band, even played in some bands himself.

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But when they told him what the title of the was,

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he just went with that. And he always associated dookie

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or poop with monkeys and dogs, and so this album

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cover is filled with monkeys and dogs dropping dookie bombs

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or considering throwing the poop at somebody. And then in

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addition to that, it is populated with these various things

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like the Lady from the Black Sabbath album, the original

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Black Sabbath album, Angus Young of ACDC is on there.

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Really the murder of the co founder of the Black

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Panther Party, Huey P.

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Speaker 4: Newton mess up your Black Panther.

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Speaker 3: If you look at his picture on Wikipedia it's that

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guy from Forrest Gump. Really totally that guy. Yes, wow,

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the say through tower and then like a bunch of

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friends that they had, you know, just a little little drawing.

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It's so tiny you can't tell what's going on. Patty

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Smith is on there with her unshaved armpits. It's it

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is really a creative piece. And the you know, the

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record execs were like, hey, these are three pretty good

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looking guys. We want their picture to be on it.

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And they said, no, that is not us, because we're punk.

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Speaker 4: Right, they're punk.

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Speaker 3: These are the guys that brought back punk to the

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main stream. We did Billy Idol last year. He was

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the guy that kind of brought punk to the mainstream

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in the eighties, and these are the guys that brought

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it back in the nineties. Last year we talked about

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the Nerds coming into the mainstream, and now we have

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the Misfits coming back into the main stream.

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Speaker 4: You know, this is like power punk pop.

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Speaker 3: That's a lot of peace.

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Speaker 4: You know, you've got the punk attitude with the Beatles

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like Melody. Yeah, it's no wonder why these guys were

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so successful. I told you that they've got a case

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for being one of the biggest bands of the nineties.

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Speaker 3: Yeah, this and this album is typically on any one

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hundred list of best albums of the nineties for sure.

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Interesting fact, Good Riddance was actually recorded for this album.

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Speaker 4: I was gonna drop that bomb on you?

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Speaker 3: Yeah, I was recorded for this album. They just decided to.

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Speaker 4: Say, would this album have been with that song on him?

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Speaker 3: I don't know that you can have more than what

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this album was. This album was as the cover presents

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a nuclear bomb.

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Speaker 4: It was really it really was. Okay, so this is

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released February first, nineteen ninety four. I want to just

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drop you in ninety four. What happened on February first? Okay,

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so this is just you know, a couple of months

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after Jack Nicholson attacks a car with the golf club.

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Speaker 3: You remember that, I do kind of remember.

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Speaker 4: Remember that he went went crazy On February first, nineteen

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ninety four, Jeff Bluley pleads guilty.

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Speaker 3: Oh yeah, we had that why why from last Yeah? Yeah.

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Tanya Harding's boyfriend pleads guilty to smashing Nancy Kerrigan's kneecap.

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Speaker 4: In exchange for turning dirt on Tanya Harding.

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Speaker 3: Yeah.

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Speaker 4: Also on February first, nineteen ninety four, Harry Styles of

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One Direction is born.

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Speaker 3: It's weird, weird, Yeah, it's old. Yeah.

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Speaker 4: Okay, So Green Day's Duke. He comes out February first,

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nineteen ninety four. Yeah, we're gonna dive into this album.

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Speaker 3: Now, let's go, man, I'm ready to jump in. Okay.

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First song on the album it's called Burnout. Second okay,

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this song comes in with a hard punk beat right

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out of the gate. That bang.

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Speaker 4: No, I've got crackling drum, speedy beat, very pop punk.

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Speaker 3: Yeah, this is angsty, it's speedy. This is all things

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punk that you want. And then of course it's about

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the character's idea that life just sucks. You know, this

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is just kind of boring. Life sucks. The kind of

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lyrics which punk punk and more punk.

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Speaker 4: Right nine apathy, rejecting responsibility, laying around being bored.

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Speaker 3: Yeah. So this is what their life was like before

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they hit it big, right. They lived in a tiny,

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little blue collar you know what. I don't think it

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was even fully organized as a town rodeo in Berkeley.

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Speaker 4: Yeah, this is like three towns. They're all small, not

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a lot going on, Like part of it was unincorporated.

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Speaker 3: Yeah, that's it. Yes, an unincorporated town, and Billy and

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Mike eventually would meet there. Billy grew up in this town.

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I think he moved out there when he was about

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three or four years old. He was the youngest of

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six kids and was babied by his sisters. His oldest

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brother was twenty one years older than him, which means

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his mother was closer to his brother's age than he

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was to his brother's age. She'd had him at like

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eighteen or nineteen years old. Now. She came from Oklahoma,

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by the way, moved out during the war to help

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with armaments and stuff like that.

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Speaker 4: I did hear that they had some o Klahoma roots.

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Speaker 3: Yeah, she's an Oklahoma girl. Moved out to California. And

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his dad was a Golden Gloves boxer, like was a

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powerhouse of a guy.

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Speaker 4: Yeah.

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Speaker 3: And also throw back to the last week's episode with Weezer,

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his dad was a drummer, did jazz drumming, and so

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cute little baby Billy Joe got all of the attention,

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but he also got a lot. Both of the parents

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were musical and he got a lot of their abilities

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to started singing when he was very young. Actually ended

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up pressing an album when he was just a little kid.

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Speaker 4: It's I told you he's like a prodigy. Like his

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voices spot on sounds great, and they're like, how do

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you like making a record? I love it?

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Speaker 3: Five year old Billy Joe Armstrong look for Love is

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the name of the song. Yeah, you know, he's like

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six years old and singing. And then a few years

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later he gets a guitar, starts playing guitar. At eight

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years old, he is touring around with his dad, playing

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drums like they're tight. And then tragically, just a couple

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of years later, when he's ten, his dad realizes he

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has cancer, and this mountain of a man withers away

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over the next four months and passes away. Had to

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be a very tough childhood.

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Speaker 1: I walk a.

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Speaker 2: Only road, the only one that I have haven't known.

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Speaker 4: A sophageal cancer, Yeah, he said. Three months between the

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time he was diagnosed to him the time.

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Speaker 3: He was dead. Yeah. Well, very fortuitously, very interestingly, the

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month that his dad passed away, he met a guy

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named Mike.

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Speaker 4: Yes, Mike Pritchard was in his fifth grade class at school.

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Speaker 3: Yeah, Now, Mike had Mike had been adopted as a

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baby he had. His mother was a foster mother got

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in a call that they need to place a baby

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somewhere just six weeks old, and she ultimately she and

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her husband ended up adopting him. She and her husband

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split up and an older sister and he went to

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live with his dad for a while, but ultimately the

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mother and the dad had enough bad interactions that the

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mother was able to get full custody and that's when

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they went out to California and where Mike met Billy Joe. Yep.

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Speaker 4: I heard him described as skinny, loud, and obnoxious, and

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you might know him more as Mike Durnt, yeah, which

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I thought this was hilarious story. The dirt comes from

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him screwing around on his bass going like, okay, what

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if we did this.

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Speaker 3: Durnt yep, Durnt Durnt. That's how he got the name Dart.

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Speaker 4: Yeah, and so they become buddies in fifth grade. Billy

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Joe had to wait for him to kind of get

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his chops to get up to speed.

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Speaker 3: By about seventh grade. Yeah, well, they were both playing guitar, right.

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They had two guitarists and a drummer, and then they

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got a guy to come in and play bass. And

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the guy had come and play bass his named Sean,

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and then Sean, you know like kids do, had to

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go to the dentist or something during practice, and so

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they're like, he leaves and they're sitting around and Billy

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Joe says to Mike, hey, why don't you try to

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play the bass, and he picks it up. They start playing,

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and he said, I looked at him, and he looked

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at me, and instantly we knew he was the new

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bass player.

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Speaker 4: That's good.

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Speaker 3: And he was kind of bummed out about it because

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he's like, I don't get to play guitar anymore. But

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then Billy Joe's brother was like, hey, man, you're not

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a rhythm guitarist, you're a lead bass player, and that

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was enough to change him.

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Speaker 4: Well, and the bass features prominently in a particular hit

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we're going to talk about here in a few minutes.

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Speaker 3: Yeah, I mean the bass on these songs. I mean

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number one, This is a three man band. Every single

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member is critical, and we know that Billy writes a

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lot of the songs, but there is no question that

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the bass is a huge part of this. And I

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would say Mike is one of the best bass players

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that I've heard play from the guys in the nineties.

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Really yeah, I mean, I'm putting him up there with Flee.

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He's flea guy from Primus, Wow, Mike Dirt.

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Speaker 4: Okay and You and I talked about this their early

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influences Molly Crue, Van Halen, Kiss, Deef Leppard.

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Speaker 3: Billy Joe said, when he was thirteen years old, his

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sister took him to a few concerts. Took him, like

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they said that he was born in seventy two, so

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this would have been about eighty five. Took him to

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see ari Em ten thousand, Maniacs, Okay and the Replacements,

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and he was He became a huge Replacements fan, became

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a fan of Husker Doo as well. But he said

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when he heard these songs, this was an entirely different reaction.

235
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I mean, he obviously loved the metal songs, but these

236
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songs that these bands were playing hit him on an

237
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emotional level and that heavily influenced how he would write

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his own songs later on.

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Speaker 4: Okay were ready for the next song on the album.

240
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Speaker 3: Yeah, Let's do It. Song number two is called having

241
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a Blast.

242
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Speaker 2: Day.

243
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Speaker 3: Well you Zay.

244
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Speaker 2: Say nine say.

245
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Speaker 3: Okay, So this was a little rough, okay in this

246
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day and age. Now this says talking all you down

247
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with me, explosive duct tape to my spine. Nothing's gonna

248
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change my mind. I won't listen to anyone's last words.

249
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There's nothing left for you to say. Soon you'll be

250
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dead anyway, So plea shot and you shot South five and.

251
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Speaker 2: Bad.

252
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Speaker 3: No one is getting out of here alive. This played

253
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okay in nineteen ninety four. It wasn't a big deal

254
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because it would be another five years before Columbine happened.

255
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That's right. And now it's the most uncomfortable so on the.

256
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Speaker 4: No doubt about it. The song was written in Cleveland

257
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in June of ninety two, and it was way before

258
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that homicidal epidemic that we went through in the nineties.

259
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Speaker 3: Yeah.

260
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Speaker 4: We even had a guy though, you came to a

261
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football game and blew himself up.

262
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Speaker 3: I was there for that game. Yeah. Yeah, we thought

263
00:14:15,279 --> 00:14:18,399
the cannons had gone off at the wrong time, that's right. Yeah.

264
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Speaker 4: So once Billy, Joel and Mike discovered punk, that really

265
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lit the fuse.

266
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Speaker 3: Yeah, they had they had really gelled as a band.

267
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I've seen him in you know, the old high school

268
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talent shows, and they were still playing very much rock

269
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and roll kind of music, but punk was a new

270
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way to think about things. And this was interesting because

271
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we talked about how rock and roll and heavy metal

272
00:14:41,879 --> 00:14:45,480
was the thing of LA. Right Sunset Strip. You got

273
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guns n' Roses, You've got Motley Crue, you got all

274
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of those.

275
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Speaker 4: Guys, stock and all those guys.

276
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Speaker 3: All those guys down in LA. But they're up near

277
00:14:54,200 --> 00:14:56,879
the Bay Area, and San Francisco was where you had

278
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the punk scene. And by the nineties, the punk scene

279
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had build over into those kind of blue collar suburbs

280
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of the Bay Area what they call the East Bay,

281
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and there was this contingent of kids who would go

282
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to these clubs and listen to and play punk music.

283
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And he said when he fell in with them, it

284
00:15:15,279 --> 00:15:17,639
was like he met his people, right, like these were

285
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the people that he just gelled with, and so that

286
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really became their form of music. But that club, which

287
00:15:24,399 --> 00:15:26,759
was nine to twenty four Gilman Street, they called it

288
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Gilman Club. They wouldn't let them play when they first

289
00:15:30,360 --> 00:15:34,840
started because their music was too melodic, like it was

290
00:15:34,919 --> 00:15:38,440
to pop even at the beginning. Wow, But eventually they

291
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changed their drummer.

292
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Speaker 4: So I heard Billy Joe Armstrong talking about initially when

293
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they first started out, he thought his brother was going

294
00:15:45,879 --> 00:15:48,519
to be the drummer for the band, right, And they thought, Hey,

295
00:15:48,559 --> 00:15:50,559
we're going to be like this Van Halen thing. Right,

296
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I'm gonna play guitar, you're gonna play drums, and we're

297
00:15:52,919 --> 00:15:55,799
gonna go be Van Halen. Yeah, but that didn't work out,

298
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and so.

299
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Speaker 3: Yeah, they ultimately they picked a guy up who had

300
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been playing with another band. His name was John Kiffmeyer.

301
00:16:03,000 --> 00:16:05,279
But that guy had played plenty of times over at

302
00:16:05,279 --> 00:16:07,759
the Gilman, and so with him drumming for their band,

303
00:16:07,879 --> 00:16:09,440
number one, they were better because he was a more

304
00:16:09,480 --> 00:16:12,240
experienced drummer. But number two, he gave them the street

305
00:16:12,279 --> 00:16:16,000
cred to get in. Now here's the problem. They go

306
00:16:16,080 --> 00:16:18,279
on with him, they record a couple of EPs and

307
00:16:18,320 --> 00:16:20,600
then he's like, guys, I think I'm gonna go study.

308
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I think I'm gonna go to school.

309
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Speaker 4: It's college time for me.

310
00:16:23,279 --> 00:16:27,200
Speaker 3: Yeah. They're like, but you're our drummer. We were a

311
00:16:27,320 --> 00:16:30,559
three man band. We don't have an extra drummer.

312
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Speaker 4: Yeah, we are not sticks, right, So at this point

313
00:16:34,279 --> 00:16:36,559
they're sweet children. That's the name of the band, yeah,

314
00:16:36,600 --> 00:16:38,799
which it was in the name of one of their songs.

315
00:16:38,799 --> 00:16:41,879
But yeah, at that time the band was called Sweet Children.

316
00:16:42,000 --> 00:16:44,120
You talked about the EPs that they released, right, They

317
00:16:44,159 --> 00:16:46,720
released an EP in nineteen eighty eight. YEP, they released

318
00:16:46,720 --> 00:16:49,000
one in nineteen ninety. These guys are born in nineteen

319
00:16:49,039 --> 00:16:52,559
seventy two. They're sixteen, seventeen, eighteen years old at this time.

320
00:16:52,759 --> 00:16:54,080
Speaker 3: Yeah, and in fact.

321
00:16:54,080 --> 00:16:56,679
Speaker 4: Before they could go on tour, they waited for Mike

322
00:16:56,840 --> 00:16:59,440
to graduate from high school. Billy Joe dropped out. He's

323
00:16:59,799 --> 00:17:02,919
I know what I'm doing, right, and so they're class

324
00:17:03,000 --> 00:17:06,200
of ninety guys. But as soon like the day after

325
00:17:06,400 --> 00:17:08,720
Mike Durt graduated from high school, they.

326
00:17:08,559 --> 00:17:12,839
Speaker 3: Were on tour, off and touring. Yeah, so they've lost

327
00:17:12,920 --> 00:17:16,279
their drummer. Now. Interesting, these two EPs that they've done,

328
00:17:16,279 --> 00:17:19,519
they've done with an independent record label. That record label

329
00:17:19,559 --> 00:17:23,440
is called Lookout Records. Right. The guy who started Lookout

330
00:17:23,440 --> 00:17:26,279
Records was a guy who's also playing punk and his

331
00:17:26,400 --> 00:17:29,079
band was called Lookout that's right. Now, he's an older guy.

332
00:17:29,119 --> 00:17:31,240
He was born in like forty nine or something like that,

333
00:17:31,319 --> 00:17:33,400
so he was like my dad's age. You know, these

334
00:17:33,440 --> 00:17:35,559
guys are close to my age. This guy was close

335
00:17:35,599 --> 00:17:38,240
to my dad's age. Yeah, but he's got this record

336
00:17:38,319 --> 00:17:41,440
label and he's got this band. He had gotten started

337
00:17:41,480 --> 00:17:43,880
in music and wanted to do a record label and

338
00:17:43,920 --> 00:17:47,000
wanted to have a band. But he loved punk. This

339
00:17:47,160 --> 00:17:50,960
baby boomer loved punk. And so the community that he

340
00:17:51,079 --> 00:17:53,880
was in in near Berkeley, California, was a bunch of

341
00:17:53,880 --> 00:17:56,559
old hippies who are all into their own you know,

342
00:17:56,839 --> 00:18:00,880
Jefferson Airplane and Jimmy Hendrick's kind of music. And so

343
00:18:01,039 --> 00:18:04,599
he hits up this kind of wild kid son of

344
00:18:04,640 --> 00:18:07,440
his neighbors who just going nuts, and he's like, man,

345
00:18:07,480 --> 00:18:09,079
maybe this kid will you know, he's not got his

346
00:18:09,119 --> 00:18:12,440
influences of music yet maybe I can hit him up. Kid,

347
00:18:12,519 --> 00:18:13,559
try these drums out.

348
00:18:13,759 --> 00:18:16,599
Speaker 4: That's right. His name is Frank Right, otherwise known as.

349
00:18:16,680 --> 00:18:21,039
Speaker 3: Trey Cool Tray Cool, which I mean we've learned from

350
00:18:21,119 --> 00:18:24,559
the sex Pistols that you get a cool name when

351
00:18:24,599 --> 00:18:26,680
you become a punk rocker. You are allowed to change

352
00:18:26,680 --> 00:18:29,079
your name and it can be something very cool, and

353
00:18:29,319 --> 00:18:31,559
it can be Trey Cool if you will.

354
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Speaker 4: Yeah, that's right. I did see that. He's Frank Right,

355
00:18:34,519 --> 00:18:38,480
the third, so he was actually they called him Trey yeah,

356
00:18:38,519 --> 00:18:40,200
I did think it was funny. So they just recruited

357
00:18:40,279 --> 00:18:42,200
him to be a drummer. He didn't even didn't know

358
00:18:42,200 --> 00:18:45,400
how to play drums. Twelve years old, Hey, come play drums.

359
00:18:45,119 --> 00:18:48,359
Speaker 3: For us, twelve that's crazy. So Trey Cool had been

360
00:18:48,440 --> 00:18:52,599
playing with Lookout, this band for some time. Now Green

361
00:18:52,680 --> 00:18:55,960
Day has lost their drummer. Look Out obviously is having

362
00:18:56,000 --> 00:18:59,720
some success with these albums. And so Larry Liverpool, the

363
00:18:59,720 --> 00:19:02,400
guy who is the old guy, he rides the band

364
00:19:02,480 --> 00:19:06,200
and the record Larry Liverpool, Larry Liverpool, He's his name's

365
00:19:06,240 --> 00:19:10,240
Larry Hayes. Larry Liverpool was his punk name based upon

366
00:19:10,240 --> 00:19:13,279
a nuclear power plant I believe in the California area.

367
00:19:13,519 --> 00:19:17,200
And he says, well, maybe Trey can play for you guys,

368
00:19:17,759 --> 00:19:23,400
And man, when that magic happened, the Trinity was formed.

369
00:19:23,480 --> 00:19:23,759
That's it.

370
00:19:24,039 --> 00:19:26,640
Speaker 4: You know you mentioned the name Green Day. They actually

371
00:19:26,960 --> 00:19:29,680
changed their name from Sweet Children to Green Day like

372
00:19:30,160 --> 00:19:32,640
a couple of days before their EP was released.

373
00:19:32,720 --> 00:19:35,000
Speaker 3: Oh yeah, Larry had seen them playing live and he

374
00:19:35,079 --> 00:19:37,279
was like, oh my gosh, you guys are fantastic. Do

375
00:19:37,319 --> 00:19:39,319
you want to make an album? And they were like yeah, sure,

376
00:19:39,359 --> 00:19:41,960
oko I guess and they walk in and They're like, hey,

377
00:19:41,960 --> 00:19:44,680
we're changing our name, and he's like, what, No, everybody

378
00:19:44,680 --> 00:19:47,359
knows you as sweet Child. Why would you change your name. Well,

379
00:19:47,400 --> 00:19:51,559
they there was another band in the area called Sweet Baby,

380
00:19:51,680 --> 00:19:53,839
and they didn't want to get confused with that band,

381
00:19:54,039 --> 00:19:58,200
and so they decided, Hey, you know, we spend many

382
00:19:58,240 --> 00:20:00,839
of our days in the green if you will.

383
00:20:01,440 --> 00:20:03,880
Speaker 4: Yeah, you and I were talking about that. I was like, what, Look,

384
00:20:03,920 --> 00:20:04,880
what the heck does that mean?

385
00:20:05,880 --> 00:20:06,240
Speaker 1: You had to.

386
00:20:06,240 --> 00:20:06,960
Speaker 4: Explain it to me.

387
00:20:07,079 --> 00:20:10,920
Speaker 3: Yeah, Jason, the Baptist member of the podcast, did not

388
00:20:11,039 --> 00:20:13,440
know what a green day was, and so yeah, that

389
00:20:13,599 --> 00:20:16,400
green day comes from the idea of a day where

390
00:20:16,400 --> 00:20:19,319
you just sit around and doing nothing but smoking marijuana.

391
00:20:19,839 --> 00:20:23,640
So they become green Day. They have Trey Cool. I

392
00:20:23,680 --> 00:20:31,960
think we are now ready to hear song number three chump.

393
00:20:38,440 --> 00:20:41,079
Speaker 4: Okay, before we go any further DP, there are fifteen

394
00:20:41,119 --> 00:20:43,680
songs on this album. It adds up to thirty eight minutes.

395
00:20:44,039 --> 00:20:46,839
Speaker 3: Yeah, this is You're You're lucky if you get a

396
00:20:46,880 --> 00:20:48,200
song over three minutes on the top.

397
00:20:48,240 --> 00:20:49,359
Speaker 4: Oh my gosh, they're so quick.

398
00:20:49,519 --> 00:20:52,680
Speaker 3: Yeah they are. But that's a punk signature move it is.

399
00:20:53,079 --> 00:20:55,519
And yeah, this one, I mean short to the point.

400
00:20:55,880 --> 00:21:00,039
This one is Nope, not quite three minutes, Nope, you

401
00:21:00,160 --> 00:21:02,759
and something that's right. But this one, I love how

402
00:21:02,759 --> 00:21:04,720
it starts off. I don't know you, but I think

403
00:21:04,759 --> 00:21:06,680
I hate you. This is a great This is a

404
00:21:06,680 --> 00:21:09,200
great little place that we probably of all have been

405
00:21:09,759 --> 00:21:12,039
where you see somebody and you're like, I just I

406
00:21:12,079 --> 00:21:13,720
don't know what that is about that guy's face, but

407
00:21:13,720 --> 00:21:16,200
I just want to punch it. And then of course

408
00:21:16,440 --> 00:21:19,839
he this guy kind of realizes the error of his

409
00:21:19,880 --> 00:21:21,400
ways by the end of the song and he's like,

410
00:21:21,440 --> 00:21:23,119
maybe it's me. Maybe I'm just jealous.

411
00:21:23,279 --> 00:21:24,039
Speaker 4: Maybe I'm the chump.

412
00:21:24,160 --> 00:21:26,680
Speaker 3: Maybe I'm the chump. Yeah, this is the first song

413
00:21:26,720 --> 00:21:29,640
that he mentions Amanda, and I know.

414
00:21:29,559 --> 00:21:33,279
Speaker 4: Amanda is the former girlfriend who ran off, broke up

415
00:21:33,279 --> 00:21:36,680
with him, joined the Peace Corps, moved away right before

416
00:21:36,839 --> 00:21:37,640
Dookie took off.

417
00:21:39,400 --> 00:21:41,920
Speaker 3: How to go on the Peace Corps? Amanda, how's that case?

418
00:21:41,920 --> 00:21:44,319
Speaker 4: I'm Hilaria clearly enjoy Ecuador.

419
00:21:44,960 --> 00:21:45,160
Speaker 3: You know.

420
00:21:45,359 --> 00:21:48,920
Speaker 4: Billy Joe Armstrong recorded like sixteen or seventeen songs. The

421
00:21:49,039 --> 00:21:51,640
vocals took two days. Most of the songs he took

422
00:21:51,880 --> 00:21:55,000
one take. Yeah, he just jumped in, fired it out there.

423
00:21:55,200 --> 00:21:57,960
You know, we talk many times about the ten thousand Hours.

424
00:21:58,039 --> 00:22:00,400
This is a guy who's been singing since he was

425
00:22:00,559 --> 00:22:03,960
four years old. So yeah, he was a very young man,

426
00:22:04,079 --> 00:22:07,960
like twenty one when they recorded this album, but that

427
00:22:08,079 --> 00:22:13,240
means he'd been singing for seventeen years. That's pretty you

428
00:22:13,359 --> 00:22:15,359
got you got you ten thousand hours in a couple

429
00:22:15,400 --> 00:22:17,920
times over on that's right, and he was obsessed with it,

430
00:22:18,359 --> 00:22:20,759
so yeah, he's a guy could do it. You know.

431
00:22:20,839 --> 00:22:23,240
This song was one they had to re record because

432
00:22:23,240 --> 00:22:25,880
they had this tape hisss that they could not get

433
00:22:26,000 --> 00:22:26,240
rid of.

434
00:22:26,519 --> 00:22:28,519
Speaker 3: Yeah, and this is kind of an interesting thing about

435
00:22:28,519 --> 00:22:31,519
the Gilman Club. This was you know, there was a

436
00:22:31,759 --> 00:22:35,079
very strict criteria obviously because they couldn't get in initially

437
00:22:35,119 --> 00:22:38,720
because they were too melodic and their music right. But

438
00:22:39,000 --> 00:22:41,079
it also went the other way that if you became

439
00:22:41,359 --> 00:22:44,559
too successful, then you weren't punk enough anymore, and ultimately

440
00:22:44,599 --> 00:22:48,880
that you would get banned from the club for being sellout,

441
00:22:48,920 --> 00:22:52,359
which is absolutely what came with this album. But part

442
00:22:52,400 --> 00:22:55,440
of that was this idea that do we want to

443
00:22:55,480 --> 00:22:59,079
have a tape hisss on our record? No, we want

444
00:22:59,119 --> 00:23:02,000
our record to sound good. We wanted to sound full.

445
00:23:02,200 --> 00:23:04,200
They had recorded these other two EPs in a day

446
00:23:04,319 --> 00:23:06,200
or two. This one they got to sit in and

447
00:23:06,279 --> 00:23:09,039
kind of soak in it and spend some time experimenting

448
00:23:09,039 --> 00:23:12,039
with tones and sounds. And I mean, I gotta say,

449
00:23:12,279 --> 00:23:14,759
most of the guitar in each of these songs sounds

450
00:23:14,759 --> 00:23:17,759
pretty much the same, like it's that same tone. Sure,

451
00:23:17,839 --> 00:23:20,559
but they found that magic tone that they wanted by

452
00:23:20,599 --> 00:23:24,559
having an opportunity to spend time in a professional recording studio.

453
00:23:24,640 --> 00:23:26,680
Speaker 4: All right, So before we go any further, in nineteen

454
00:23:26,720 --> 00:23:29,599
ninety two, they released an album called KerPlunk.

455
00:23:36,640 --> 00:23:37,920
Speaker 3: The theme here.

456
00:23:38,000 --> 00:23:40,599
Speaker 4: Yeah, but that's when they really started to take off.

457
00:23:40,640 --> 00:23:43,400
They got some traction. They sold out the first ten

458
00:23:43,440 --> 00:23:45,559
thousand copies of that album. And you we talked about

459
00:23:45,559 --> 00:23:48,319
how you're too successful in the punk scene. You're rejected

460
00:23:48,319 --> 00:23:50,880
because you're a sellout. But once that album had come

461
00:23:50,920 --> 00:23:53,599
out and been a success, the big record company started

462
00:23:53,680 --> 00:23:57,720
come calling, and so they ended up signing with Reprise Records.

463
00:23:57,759 --> 00:23:59,799
Speaker 3: Which was an arm of Warner bro Brothers.

464
00:24:00,079 --> 00:24:03,039
Speaker 4: Yeah, did you read that story about the executive who

465
00:24:03,119 --> 00:24:05,279
wanted them to come to his office and meet with them.

466
00:24:05,680 --> 00:24:09,559
So this record exec name Weiss, wanted them to come

467
00:24:09,559 --> 00:24:11,799
to Warner Brothers and let's talk about the marketing for

468
00:24:11,839 --> 00:24:13,799
this album. And he knew they were a punk band

469
00:24:13,920 --> 00:24:16,480
and he expected them to be like, you know, Johnny

470
00:24:16,519 --> 00:24:19,519
Rotten and said vicious. These a hole you know, right,

471
00:24:20,319 --> 00:24:22,319
you guys right right, punch you in the face type

472
00:24:22,359 --> 00:24:24,400
of guys. And when he got there, he was like,

473
00:24:24,559 --> 00:24:27,519
these guys are just kids. They're intimidated. They really don't

474
00:24:27,519 --> 00:24:30,519
even want to be here, like they're scared of this

475
00:24:30,640 --> 00:24:32,880
meeting with me. But he found them to be kind

476
00:24:32,880 --> 00:24:35,000
of sweet guys, you know, and sat down he talked

477
00:24:35,000 --> 00:24:37,279
about He's like, Okay, for Dookie, I think our goal

478
00:24:37,359 --> 00:24:41,480
should be two hundred thousand records sold. Well they far

479
00:24:41,720 --> 00:24:44,680
outshot that, Yeah, ten million copies sold.

480
00:24:44,920 --> 00:24:48,119
Speaker 3: Yeah. And when they had been with Lookout, they had

481
00:24:48,160 --> 00:24:53,599
had they were Lookout's biggest success because they sold ten thousand, right,

482
00:24:53,799 --> 00:24:57,119
they sold ten thousand. Like the first day was pressed.

483
00:24:57,160 --> 00:24:59,480
I mean it was like the Lookout was having trouble

484
00:24:59,559 --> 00:25:02,079
keeping up with the demand for the record and they're

485
00:25:02,119 --> 00:25:04,519
literally I mean, this is a tiny little record company

486
00:25:04,519 --> 00:25:06,599
and these guys are just touring around. But it's it's

487
00:25:06,640 --> 00:25:09,640
incredible the word of mouth, Billy Joe comes home. At

488
00:25:09,640 --> 00:25:11,839
one point he was like I couldn't believe it. We

489
00:25:11,839 --> 00:25:15,000
were in Ohio and people were singing the words that

490
00:25:15,079 --> 00:25:17,599
I wrote. That's incredible.

491
00:25:17,759 --> 00:25:20,400
Speaker 4: Well, let's get to the first single on the album. First,

492
00:25:20,480 --> 00:25:21,519
really big Sama here.

493
00:25:21,759 --> 00:25:24,319
Speaker 3: I mean I not having had this album, I just

494
00:25:24,319 --> 00:25:27,720
got to say. These first three songs were the scrolling

495
00:25:27,799 --> 00:25:31,359
prologue to the album. Right and now is when we

496
00:25:31,440 --> 00:25:36,359
get the Star Destroyer looming over as it comes down

497
00:25:36,519 --> 00:25:43,359
crashing in. This is song number four, longview around.

498
00:25:43,200 --> 00:25:46,119
Speaker 4: And watch the tube but nothing.

499
00:25:48,720 --> 00:25:52,319
Speaker 5: James jan now zoo.

500
00:25:57,200 --> 00:25:58,240
Speaker 3: For a bit.

501
00:26:00,240 --> 00:26:07,799
Speaker 5: The same moment ins.

502
00:26:05,160 --> 00:26:26,119
Speaker 3: And well this one comes in at whopping three minutes

503
00:26:26,160 --> 00:26:28,920
and fifty two seconds. No wonder they call that long view.

504
00:26:29,519 --> 00:26:33,079
Speaker 4: Okay, so this was not a single. Okay, this is

505
00:26:33,119 --> 00:26:35,240
the same thing we talked about last week with Weezer,

506
00:26:35,279 --> 00:26:36,799
and we're going to talk about it again with Live.

507
00:26:37,240 --> 00:26:39,960
They didn't actually release physical singles because they wanted to

508
00:26:40,039 --> 00:26:40,920
drive album sales.

509
00:26:41,039 --> 00:26:44,079
Speaker 3: Yeah, well they had the benefit of MTV, and with MTV,

510
00:26:44,200 --> 00:26:47,119
if you had a video, it was better than a single.

511
00:26:47,440 --> 00:26:51,039
That's right to get people interested in your band. And

512
00:26:51,599 --> 00:26:53,759
I'll read this lyric to you see you tell me

513
00:26:53,799 --> 00:26:56,400
what you think is going on here? Bite my lip?

514
00:26:56,519 --> 00:26:59,920
And close my eyes, take me away to paradise. I'm

515
00:27:00,119 --> 00:27:03,839
so damn board, I'm going blind. Do you think he's

516
00:27:03,880 --> 00:27:09,799
doing Does the term spanking the monkey mean anything to you? Well,

517
00:27:10,519 --> 00:27:10,920
could be.

518
00:27:11,200 --> 00:27:12,160
Speaker 4: Yeah, I think it is.

519
00:27:12,559 --> 00:27:12,759
Speaker 3: Yeah.

520
00:27:13,000 --> 00:27:15,519
Speaker 4: All of these songs are about laying around doing nothing

521
00:27:16,000 --> 00:27:18,200
but spanking the monkey and drugs.

522
00:27:18,279 --> 00:27:22,000
Speaker 3: Yeah right, yep. Which what is great is that when

523
00:27:22,000 --> 00:27:24,119
they made this video, they did it in the house

524
00:27:24,160 --> 00:27:26,119
that they used to hang out and play together. And

525
00:27:26,599 --> 00:27:28,519
it's like, literally, this is what I used to do

526
00:27:28,559 --> 00:27:31,440
in this chair in this video that I'm about to destroy.

527
00:27:32,000 --> 00:27:33,680
Speaker 4: This is the same thing the Weezer did. We talked

528
00:27:33,680 --> 00:27:35,920
about that last week. Yeah, And at the end of

529
00:27:35,920 --> 00:27:38,640
this video he takes a knife and he's like gutting

530
00:27:38,680 --> 00:27:42,160
that couch and there's feathers flying everywhere and the music's crashing.

531
00:27:42,319 --> 00:27:44,000
First of all, this is a killer hit, right, This

532
00:27:44,039 --> 00:27:46,680
speech number one in the Modern rock charts. It's just

533
00:27:46,720 --> 00:27:48,279
such a great pop punk song.

534
00:27:48,720 --> 00:27:49,039
Speaker 1: I'm not.

535
00:28:08,519 --> 00:28:11,200
Speaker 3: I love how on this song that you have this

536
00:28:11,319 --> 00:28:15,960
blended transition from the last song as the drums come in, right,

537
00:28:16,079 --> 00:28:18,440
because the drums on this one are so to start

538
00:28:18,480 --> 00:28:22,400
off with, are not punk. You've got the Tom's coming

539
00:28:22,480 --> 00:28:27,119
in groove. It is a very groovy mix. And I've

540
00:28:27,119 --> 00:28:29,920
I've listened to Trey Cool talk. You know, I've seen

541
00:28:30,039 --> 00:28:34,039
drummers like, who is your most influential guy? Trey Cool said,

542
00:28:34,839 --> 00:28:37,720
ringo star, which you just don't hear that too often.

543
00:28:38,119 --> 00:28:40,839
But then the next question is obviously, well why, and

544
00:28:40,880 --> 00:28:43,640
he said, well, because he didn't try to stand out

545
00:28:43,680 --> 00:28:47,480
and be some sort of rock star drummer. He played

546
00:28:47,480 --> 00:28:50,599
the drums that fit the song. And that's what I've

547
00:28:50,640 --> 00:28:52,559
tried to do with all of our songs, is I

548
00:28:52,599 --> 00:28:57,559
try to make the drums accentuate what the song is not. Hey,

549
00:28:57,599 --> 00:29:01,079
look at me, I'm playing some incredibly drums, right and

550
00:29:01,160 --> 00:29:03,119
he I mean, he nails it on this one. This

551
00:29:03,200 --> 00:29:05,880
is great. I love this the drum beat on this one. Yeah.

552
00:29:06,319 --> 00:29:09,119
Speaker 4: Bassist Mike Dirnt said that he wrote the signature baseline

553
00:29:09,119 --> 00:29:10,160
while high on LSD.

554
00:29:10,880 --> 00:29:13,799
Speaker 3: So they've got this song, they've got it written right,

555
00:29:14,000 --> 00:29:16,519
and there's there's more than just these guys in the house, right,

556
00:29:16,559 --> 00:29:19,599
They've got friends over or whatever. Right, But Billy Joe

557
00:29:19,680 --> 00:29:22,599
is like, we can't you know, I can't. Mike is saying,

558
00:29:22,599 --> 00:29:24,519
I can't figure out the baseline. Billy's like, I don't

559
00:29:24,559 --> 00:29:27,200
know what it is. They're not they're not figuring it out.

560
00:29:27,640 --> 00:29:30,720
So Billy goes and watches a movie, goes to the movies,

561
00:29:30,799 --> 00:29:33,319
goes and watch the movie, and he comes back and

562
00:29:33,400 --> 00:29:37,880
everyone in the house is tripping balls on LSD and

563
00:29:37,920 --> 00:29:41,160
he's and he says, Mike is just sitting in the floor,

564
00:29:41,400 --> 00:29:43,759
you know, kind of out of it, zen like, and

565
00:29:43,799 --> 00:29:45,960
he's like, oh, I got the base line. You got

566
00:29:45,960 --> 00:29:48,440
the baseline. He's like, oh man, okay, let's hear it.

567
00:29:48,880 --> 00:29:51,839
He says, he plays it, and he's like, oh, that's it.

568
00:29:52,359 --> 00:29:54,200
And then he spends the rest of the night worried

569
00:29:54,240 --> 00:29:56,160
that he's gonna forget it because of the drugs. But

570
00:29:57,119 --> 00:29:59,119
God bless him. Next day he got up and he

571
00:29:59,160 --> 00:30:02,400
remembered it completely. So that's how we get this awesome,

572
00:30:02,559 --> 00:30:05,960
awesome baseline. Probably made millions of dollars from that LSD hit.

573
00:30:06,039 --> 00:30:08,240
Right there, well, him and the Beatles. I mean, I

574
00:30:08,240 --> 00:30:08,960
don't know what to say.

575
00:30:09,039 --> 00:30:09,319
Speaker 4: That's it.

576
00:30:09,759 --> 00:30:11,920
Speaker 3: Yeah, this song is don't do drugs kits.

577
00:30:12,000 --> 00:30:16,000
Speaker 4: That's right. This song named after Longview, Washington. Okay, I

578
00:30:16,039 --> 00:30:18,119
don't know what happened there, but there you go. This

579
00:30:18,319 --> 00:30:21,759
video was nominated for three MTV Music Awards Best Group Video,

580
00:30:21,839 --> 00:30:25,640
Best Alternative Video, and Best New Artist. These guys literally

581
00:30:25,680 --> 00:30:30,200
became a success pretty I mean a mainstream success overnight. Okay,

582
00:30:30,240 --> 00:30:33,440
so this was the first big hit from this album. Yeah,

583
00:30:33,440 --> 00:30:36,839
this broke them right definitely. So they leave two weeks

584
00:30:36,880 --> 00:30:39,319
after the release of Doochie. They go on tour, using

585
00:30:39,400 --> 00:30:44,279
Trey Coole's dad's bookmobile as their tour bus.

586
00:30:44,440 --> 00:30:44,599
Speaker 3: Right.

587
00:30:45,160 --> 00:30:48,440
Speaker 4: They started so low on the totem pole and they're

588
00:30:48,440 --> 00:30:51,160
touring round. Okay, we'll play this keger, you know, for

589
00:30:51,240 --> 00:30:53,319
a couple of beers and twenty bucks whatever.

590
00:30:53,400 --> 00:30:54,279
Speaker 3: They just wanted to play.

591
00:30:54,319 --> 00:30:58,039
Speaker 4: They're playing anywhere and everywhere. Meanwhile, MTV starts to play

592
00:30:58,079 --> 00:30:58,640
the crap out.

593
00:30:58,559 --> 00:30:59,680
Speaker 3: Of their video, right right.

594
00:30:59,720 --> 00:31:02,960
Speaker 4: I was interesting, Trey Coole's dad said. I watched these

595
00:31:03,000 --> 00:31:05,640
guys write the song. They practiced it in my living room.

596
00:31:05,839 --> 00:31:08,440
I thought, hey, that's pretty cool. I mean, they're having fun,

597
00:31:08,440 --> 00:31:11,319
they're doing stuff because it's one thing for people to

598
00:31:12,079 --> 00:31:14,119
really like their songs, which I was kind of blown

599
00:31:14,119 --> 00:31:16,599
away about, and then for them to buy it. He goes,

600
00:31:16,720 --> 00:31:19,079
I just couldn't believe that the songs that they were

601
00:31:19,119 --> 00:31:23,279
playing in my living room became this worldwide phenomenon. He's like,

602
00:31:23,640 --> 00:31:26,160
I still don't know how all this happened. It's pretty

603
00:31:26,200 --> 00:31:26,920
incredible story.

604
00:31:27,039 --> 00:31:30,799
Speaker 3: Yeah, Okay, time to move on to another fantastic song.

605
00:31:31,000 --> 00:31:34,440
This one is a remake of a song that appeared

606
00:31:34,480 --> 00:31:51,519
on their Cerplunk album. This song is called Welcome to Paradise. Okay,

607
00:31:51,559 --> 00:31:54,839
So have you ever heard the song Hello Mata, Hello Fada? Yeah? Yeah,

608
00:31:54,880 --> 00:31:58,000
this is the nineties version of that song. Okay. So

609
00:31:58,039 --> 00:32:01,640
when they moved out of their parents homes, right, it

610
00:32:01,720 --> 00:32:05,079
wasn't just a cheap house that they lived in. It

611
00:32:05,200 --> 00:32:09,000
was an abandoned house. Like they weren't paying rent. They

612
00:32:09,000 --> 00:32:11,880
were squatting. So when I say there were other people

613
00:32:11,880 --> 00:32:15,519
at the house, there were probably some drug addle bums

614
00:32:15,559 --> 00:32:18,839
and other stuff. You couldn't go out at night. You

615
00:32:18,839 --> 00:32:21,160
could go play some street basketball during the day, but

616
00:32:21,240 --> 00:32:24,279
you don't. It was a dangerous part of town that

617
00:32:24,319 --> 00:32:25,440
these guys were living.

618
00:32:25,440 --> 00:32:26,960
Speaker 4: It was an abandoned house.

619
00:32:27,440 --> 00:32:30,200
Speaker 3: Yeah. So the first part of the song, he's writing

620
00:32:30,200 --> 00:32:33,039
to his mother telling her, you know how awful it

621
00:32:33,119 --> 00:32:36,039
is there, and then six months later he's writing to

622
00:32:36,079 --> 00:32:37,640
her at the end of the song saying, what a

623
00:32:37,640 --> 00:32:40,640
great place this is? I know, right, paradise tongue in

624
00:32:40,720 --> 00:32:42,480
cheek becomes actual paradise.

625
00:33:02,920 --> 00:33:04,119
Speaker 2: Welcome Tampa.

626
00:33:05,279 --> 00:33:07,799
Speaker 4: This was the third song released to radio. We talked

627
00:33:07,799 --> 00:33:10,680
about how there weren't physical singles in the US.

628
00:33:10,160 --> 00:33:13,039
Speaker 3: Right, UK had some physical singles, but right, not in

629
00:33:13,079 --> 00:33:13,680
the US. Right.

630
00:33:13,720 --> 00:33:16,359
Speaker 4: They released this to radio October seventeenth and ninety four.

631
00:33:16,480 --> 00:33:19,160
This was originally recorded on KerPlunk, which you just mentioned.

632
00:33:19,240 --> 00:33:22,519
KerPlunk was Green Day's second album. They re recorded it

633
00:33:22,559 --> 00:33:25,240
and re released it in ninety four. This is a

634
00:33:25,240 --> 00:33:25,680
fun song.

635
00:33:25,680 --> 00:33:28,319
Speaker 3: I love it, oh yeah. And they, you know, talk

636
00:33:28,359 --> 00:33:30,960
about a melodic chorus on this one. You know the

637
00:33:31,279 --> 00:33:33,440
verse on this one, you know it pushes through and

638
00:33:33,480 --> 00:33:35,359
it's rhythmic. But when you get to the chorus on

639
00:33:35,400 --> 00:33:38,279
this song, it is an absolute hook. I love it.

640
00:33:38,440 --> 00:33:38,640
You know.

641
00:33:38,640 --> 00:33:41,440
Speaker 4: We talked about how it's it's speed drums, it's it's

642
00:33:41,759 --> 00:33:45,279
power chords, it's fast paced, but the melodies are what

643
00:33:45,440 --> 00:33:47,319
makes the songs absolutely.

644
00:33:47,480 --> 00:33:51,839
Speaker 3: This video has Matt Bernalini Olpen in it and he

645
00:33:51,880 --> 00:33:55,200
gets kicked in the face in this video. Okay, if

646
00:33:55,240 --> 00:33:57,319
you don't know who this is, he is a founding

647
00:33:57,400 --> 00:34:00,279
member of the punk band Link eighty and and he

648
00:34:00,599 --> 00:34:05,599
is a co creator of some film making productions, including Chad,

649
00:34:05,880 --> 00:34:10,199
Matt and Rob and Radio Silence, but he is best

650
00:34:10,280 --> 00:34:15,320
known for working in horror films, including VHS Southbound, Ready

651
00:34:15,400 --> 00:34:20,159
or Not, Scream, Scream six, and abag Nail. So he's

652
00:34:20,199 --> 00:34:22,679
been around and he gets to get kicked in the

653
00:34:22,679 --> 00:34:23,719
face in a Green Day video.

654
00:34:23,840 --> 00:34:24,760
Speaker 4: Oh well, good for him.

655
00:34:24,800 --> 00:34:27,639
Speaker 3: He said that the papers like in the in the video,

656
00:34:27,719 --> 00:34:30,079
it's a live performance and there's like fires on stage.

657
00:34:30,079 --> 00:34:32,559
He said, all of those papers were like newspaper articles

658
00:34:32,599 --> 00:34:34,400
that were talking about Green Day, and so they decided

659
00:34:34,400 --> 00:34:35,039
to just spread them.

660
00:34:35,599 --> 00:34:37,599
Speaker 4: Okay, all right, We're ready for the next one.

661
00:34:37,679 --> 00:34:37,880
Speaker 3: Yeah.

662
00:34:38,000 --> 00:34:40,639
Speaker 4: The next song on the album is called plain Teeth.

663
00:34:58,119 --> 00:35:01,400
Speaker 3: So this is a what was the name of the

664
00:35:01,440 --> 00:35:04,559
movie where Tom Hanks directed, where it was like the

665
00:35:04,599 --> 00:35:07,280
band that thing you do, That thing you Do. Yeah,

666
00:35:07,320 --> 00:35:11,239
this has that kind of poppy little beat, happy little

667
00:35:11,800 --> 00:35:15,000
melody and just happens to be about a guy getting

668
00:35:15,039 --> 00:35:17,159
the crap beat out of him by his girlfriend.

669
00:35:18,039 --> 00:35:18,239
Speaker 5: Right.

670
00:35:18,920 --> 00:35:22,559
Speaker 4: I totally agree with you. It feels very like like

671
00:35:22,719 --> 00:35:23,480
Scooby Doo.

672
00:35:23,880 --> 00:35:25,559
Speaker 3: Yeah, the Archie's archiees.

673
00:35:25,719 --> 00:35:29,239
Speaker 4: Yeah, you know, just strumming the guitar. It's not speedy

674
00:35:29,239 --> 00:35:32,199
punk rock or anything like that. They were very influenced

675
00:35:32,239 --> 00:35:32,880
by the Beatles.

676
00:35:33,119 --> 00:35:33,360
Speaker 3: Yeah.

677
00:35:33,400 --> 00:35:37,000
Speaker 4: In fact, Trey Coole said that Please Please Me was

678
00:35:37,079 --> 00:35:40,320
the album that this is kind of modeled after. Right,

679
00:35:40,559 --> 00:35:42,639
All the songs are short, they get right to the point,

680
00:35:42,800 --> 00:35:44,760
just like the Beatles Please Please Me. There you go

681
00:35:45,199 --> 00:35:47,880
check out our buddies Deaf Dave and Jackson Wright at

682
00:35:48,119 --> 00:35:49,400
the Apples and Oranges podcast.

683
00:35:49,519 --> 00:35:51,119
Speaker 3: Yeah, you know you said.

684
00:35:51,119 --> 00:35:52,719
Speaker 4: It's about a guy getting the crap beat out of

685
00:35:52,760 --> 00:35:56,000
him by his girlfriend. This was inspired by a pillow

686
00:35:56,079 --> 00:35:57,960
fight that Mike Dirt had with his girlfriend.

687
00:35:58,000 --> 00:36:00,519
Speaker 3: Oh, that's right, like broke his arm or something like that.

688
00:36:01,519 --> 00:36:02,400
Speaker 4: That's it.

689
00:36:02,519 --> 00:36:06,559
Speaker 3: Well, hey, it happens not a laughing matter for the victim.

690
00:36:06,599 --> 00:36:08,320
Speaker 4: Here, I'm gonna give a quick shout out to my

691
00:36:08,400 --> 00:36:12,199
college buddy and current Patreon member of Cameron Neckert. In college,

692
00:36:12,920 --> 00:36:16,039
he got his nose destroyed in a pillow fight and

693
00:36:16,079 --> 00:36:17,760
he got a fist right across the nose. So it

694
00:36:17,800 --> 00:36:18,360
can't happen.

695
00:36:18,480 --> 00:36:21,440
Speaker 3: Yeah, fell those are dangerous things. Boys and girls. Be careful.

696
00:36:21,880 --> 00:36:23,519
Speaker 4: Hey, I want to talk about something real quick. One

697
00:36:23,559 --> 00:36:26,599
of the places that they played while Doukie is on

698
00:36:26,719 --> 00:36:31,199
its ascension, they played Woodstock ninety four. Yeah, and when

699
00:36:31,280 --> 00:36:34,519
they got on stage, it had been raining and wet

700
00:36:34,599 --> 00:36:37,920
and muddy, and they were not really welcomed by the crowd,

701
00:36:38,000 --> 00:36:40,760
and so they started mud slinging at them.

702
00:36:41,000 --> 00:36:44,320
Speaker 3: Yeah, and these are punk guys.

703
00:36:44,039 --> 00:36:46,280
Speaker 4: They're ready for that, so they're throwing it back at him.

704
00:36:46,519 --> 00:36:49,239
And then the people encouraged them more, and so there's

705
00:36:49,280 --> 00:36:52,559
just like this mud fight between Green Day and the fans.

706
00:36:52,880 --> 00:36:54,920
Speaker 3: At some point, Billy Joe picks up one of the

707
00:36:54,920 --> 00:36:57,599
pieces and puts the mud in his mouth, puts it

708
00:36:57,639 --> 00:37:01,719
in his mouth. After that, all hell breaks loose.

709
00:37:01,800 --> 00:37:06,400
Speaker 4: People start climbing on stage. A security card full on

710
00:37:06,559 --> 00:37:10,079
football tackles Mike Dirnt because thinking he had climbed on

711
00:37:10,119 --> 00:37:12,840
the stage. You can see it like on the video.

712
00:37:13,039 --> 00:37:14,920
He decks him like a linebacker.

713
00:37:14,960 --> 00:37:18,079
Speaker 3: He knocked out his front teeth. On the monitor, he

714
00:37:18,199 --> 00:37:21,719
knocked out his front teeth. Now, they described this this

715
00:37:21,840 --> 00:37:24,679
whole experience, and it's like a it's like a scene

716
00:37:24,679 --> 00:37:27,239
out of Platoon, Like they come in in a helicopter

717
00:37:27,760 --> 00:37:30,960
they see this. I mean, if you haven't heard about

718
00:37:31,000 --> 00:37:36,000
the the Woodstock Reunion concert, it's infamous, right, there's a

719
00:37:36,039 --> 00:37:39,920
great documentary on it out there. But anyway, they they

720
00:37:40,000 --> 00:37:44,559
come in in this helicopter and it's just this nasty kept,

721
00:37:44,840 --> 00:37:49,320
poorly run mess of all of these stupid gen X

722
00:37:49,360 --> 00:37:53,440
guys like me doing wrong things. They lay in, they

723
00:37:53,480 --> 00:37:55,960
start putting on a show and war breaks out and

724
00:37:56,000 --> 00:37:58,920
they literally have to run off of the stage, jump

725
00:37:58,920 --> 00:38:01,440
in the helicopter and get away before they're killed.

726
00:38:02,360 --> 00:38:06,239
Speaker 4: What's dog ninety four back in the day? All right, Okay,

727
00:38:06,920 --> 00:38:09,599
let's go to another one of the biggest and heaviest

728
00:38:09,639 --> 00:38:12,320
hitters on the album. Next song on the album is

729
00:38:12,360 --> 00:38:13,480
called Basketcase.

730
00:38:13,760 --> 00:38:18,239
Speaker 5: Do you have that time to listen to me whine

731
00:38:19,000 --> 00:38:21,480
about nothing and everything?

732
00:38:21,719 --> 00:38:22,239
Speaker 2: Alowe?

733
00:38:22,480 --> 00:38:30,920
Speaker 5: Once, I am one of those mala dramatic bulls, rode

734
00:38:31,079 --> 00:38:33,519
into the bone out down about it.

735
00:38:35,000 --> 00:38:38,159
Speaker 3: So I love how this one starts off differently. You

736
00:38:38,159 --> 00:38:40,239
can tell this the same guitar, but he's got it muted.

737
00:38:40,320 --> 00:38:42,159
He's got his palm on the strings and he's this

738
00:38:42,199 --> 00:38:46,280
is just him and the guitar with these muted strings.

739
00:38:46,719 --> 00:38:50,400
And then you can hear these little plinks and pops

740
00:38:50,559 --> 00:38:53,639
of Trey just putting the little little accent marks of

741
00:38:53,920 --> 00:38:57,920
foreshadowing on what's to come. For the first thirty seconds

742
00:38:57,960 --> 00:39:01,519
of the song, right, and then in full punk passion,

743
00:39:02,000 --> 00:39:03,400
they come crashing it.

744
00:39:03,400 --> 00:39:07,320
Speaker 4: It explodes, right, Yeah, explodes with energy. This was the

745
00:39:07,360 --> 00:39:10,880
second single, released August first, nineteen ninety four. It was

746
00:39:10,960 --> 00:39:14,199
number one on the US Hot Alternative for five straight weeks,

747
00:39:14,400 --> 00:39:17,239
got a Grammy nomination for the Best Rock Vocal Performance.

748
00:39:17,320 --> 00:39:21,719
Over one billion streams on Spotify. This is a gangbuster song.

749
00:39:25,199 --> 00:39:37,920
Speaker 2: Myself, since I six on.

750
00:39:45,559 --> 00:39:47,920
Speaker 3: To me, this is the defining song of Green Day,

751
00:39:48,119 --> 00:39:50,400
Like I love good Riddance. I love it a lot.

752
00:39:51,400 --> 00:39:54,280
That was the first green Day album that I bought

753
00:39:54,400 --> 00:39:58,000
was Nimrod. But Good Riddance is a departure from what

754
00:39:58,039 --> 00:40:01,000
Green Day is. This song to me, he defines the

755
00:40:01,039 --> 00:40:03,039
band and their staying power.

756
00:40:03,519 --> 00:40:06,039
Speaker 4: I can't really argue with that, except for when I

757
00:40:06,079 --> 00:40:10,519
Come Around is massive and Good Renance is off the

758
00:40:10,639 --> 00:40:11,599
chart humongous.

759
00:40:11,679 --> 00:40:12,000
Speaker 3: Yeah.

760
00:40:12,079 --> 00:40:13,880
Speaker 4: By the way, this song was written by Billy Joe

761
00:40:13,920 --> 00:40:17,719
Armstrong in Glasgow, Scotland while he was on Crystal meth.

762
00:40:17,920 --> 00:40:19,920
Speaker 3: Don't do Drugs Kids, written.

763
00:40:19,599 --> 00:40:22,519
Speaker 4: About his struggle with anxiety and panic disorder.

764
00:40:22,760 --> 00:40:25,320
Speaker 3: Okay, so this video, Yes, they wheel tray up to

765
00:40:25,400 --> 00:40:29,800
his drums, right yeah, kind of based on one flew

766
00:40:29,840 --> 00:40:31,880
over Kouka's nest very much that vibe.

767
00:40:31,960 --> 00:40:34,280
Speaker 4: Yeah, we talked about Jack Nicholson as a matter of

768
00:40:34,320 --> 00:40:37,559
fact earlier in the episode, losing his cool just a

769
00:40:37,559 --> 00:40:38,280
little bit there.

770
00:40:38,639 --> 00:40:39,800
Speaker 3: It was not Trey cool.

771
00:40:40,039 --> 00:40:42,360
Speaker 4: That's it, all right, and we've done. I mean, I

772
00:40:42,400 --> 00:40:43,920
hate to be done with this banger.

773
00:40:44,320 --> 00:40:47,599
Speaker 3: It's an incredible song, but we gotta keep yelling.

774
00:40:47,800 --> 00:40:50,159
Speaker 4: Hit stop on your tape player, kick it out, flip

775
00:40:50,199 --> 00:40:53,440
it over for side two. First song on side two

776
00:40:53,480 --> 00:40:58,440
is a song called She.

777
00:41:01,960 --> 00:41:04,000
Speaker 3: This is another incredible song.

778
00:41:04,079 --> 00:41:04,679
Speaker 4: It's a banger.

779
00:41:04,800 --> 00:41:09,400
Speaker 3: It starts off so simply like the beat, the chord progression,

780
00:41:09,559 --> 00:41:30,239
the bass line just very straightforward. And then just before

781
00:41:30,639 --> 00:41:34,639
they really come in, you hear Mike really twisted up

782
00:41:34,639 --> 00:41:37,280
a little bit on his bassline. He really is the

783
00:41:37,400 --> 00:41:41,480
lead bass player in this band. It's great what they

784
00:41:41,519 --> 00:41:46,119
transitioned to from the simple into the complicated. And then

785
00:41:46,440 --> 00:41:49,119
with the chorus, you just have this awesome hook of

786
00:41:49,159 --> 00:41:49,719
a melody.

787
00:41:49,760 --> 00:41:53,719
Speaker 4: I love it melody on top of drums and power chords. Yeah,

788
00:41:53,760 --> 00:41:56,280
this song is another song written about Amanda, the girl

789
00:41:56,280 --> 00:41:58,519
who dumped him and moved away in the Peace Corps,

790
00:41:58,639 --> 00:41:59,440
moved to Ecuador.

791
00:41:59,639 --> 00:42:04,119
Speaker 3: Yeah, She She She She was the name of a poem,

792
00:42:04,719 --> 00:42:08,000
a feminist poem that Amanda had given him, and so

793
00:42:08,119 --> 00:42:11,519
after he got it, he wrote another poem called she

794
00:42:11,960 --> 00:42:16,840
for Her or Amanda, And then Amanda moved away and

795
00:42:16,880 --> 00:42:19,400
he was like, maybe I'll use this poem as a song.

796
00:42:19,559 --> 00:42:21,880
Speaker 4: Yep, he gave her his heart and she gave him

797
00:42:21,920 --> 00:42:22,199
a pen.

798
00:42:22,760 --> 00:42:25,840
Speaker 3: He did not just quote George Michael Christmas song did

799
00:42:25,840 --> 00:42:26,800
You No?

800
00:42:27,519 --> 00:42:28,719
Speaker 4: I does quoting say anything?

801
00:42:28,760 --> 00:42:30,079
Speaker 3: But you haven't seen that, okay.

802
00:42:30,960 --> 00:42:31,679
Speaker 4: I love the song.

803
00:42:31,840 --> 00:42:34,760
Speaker 3: So it's very Beatles Esque in its melody, but unlike

804
00:42:34,800 --> 00:42:37,440
basket Case, where you start off with just Billy Joe

805
00:42:37,480 --> 00:42:39,480
and the guitar, this one you don't even get the

806
00:42:39,519 --> 00:42:42,840
guitar until it's thirty seconds in. They are taking a

807
00:42:43,000 --> 00:42:47,880
very punk approach with same sounding guitar, same sounding bassed

808
00:42:48,199 --> 00:42:52,199
definite punk drums, but they're they're mixing and twisting and

809
00:42:52,239 --> 00:42:55,559
doing fancy stuff to make each of these songs unique.

810
00:42:55,960 --> 00:42:58,800
They all have the same feel, they all have the

811
00:42:58,800 --> 00:43:03,559
same vibe and tone about them, but they're all unique songs.

812
00:43:03,880 --> 00:43:06,800
Really well done. Love it. So we should mention that

813
00:43:06,840 --> 00:43:09,519
the producer on this one is Rob Cavallo. He's the

814
00:43:09,559 --> 00:43:12,679
guy from Warner Brothers who said I want to sign

815
00:43:12,760 --> 00:43:15,400
these guys. Okay, And obviously you mentioned that they had

816
00:43:15,400 --> 00:43:17,880
been courted by several other people. He's an A and

817
00:43:18,000 --> 00:43:21,800
R guy with Reprise, and they said, unlike everybody else

818
00:43:21,800 --> 00:43:25,400
who talked to us, he talked to us and he's like,

819
00:43:25,440 --> 00:43:27,320
we'll play some songs for me. And they did, you know,

820
00:43:27,519 --> 00:43:31,400
some Beatles covers or whatever, and he's like, oh, well, here,

821
00:43:31,760 --> 00:43:34,400
let me play something. He started playing with them, and

822
00:43:34,440 --> 00:43:36,960
they're like, oh, this guy is like one of us.

823
00:43:37,639 --> 00:43:40,000
And that's why they signed with him. And that not

824
00:43:40,079 --> 00:43:42,760
only does he sign them as their A and R guy,

825
00:43:43,280 --> 00:43:47,880
he produces their first album and several other albums after that.

826
00:43:48,320 --> 00:43:51,119
Speaker 4: You know, that's incredible, what a great story of that is.

827
00:43:51,159 --> 00:43:53,480
But you know, we talked about how their goal initially

828
00:43:53,519 --> 00:43:56,440
was two hundred thousand albums sold for this one. At

829
00:43:56,480 --> 00:43:59,679
one point this album was selling four hundred thousand copies

830
00:43:59,679 --> 00:44:00,320
a week.

831
00:44:00,760 --> 00:44:02,559
Speaker 3: Crazy, it's crazy.

832
00:44:02,440 --> 00:44:05,480
Speaker 4: Massive success. Okay, let's move on to the next song

833
00:44:05,519 --> 00:44:09,639
on the album. It's called sassafrass Roots.

834
00:44:19,280 --> 00:44:19,519
Speaker 3: Okay.

835
00:44:19,519 --> 00:44:21,639
Speaker 4: I don't know if you know about this girl named

836
00:44:21,679 --> 00:44:25,000
Amanda Broke Billie Joe Armstrong's heart.

837
00:44:25,239 --> 00:44:26,719
Speaker 3: Yeah, she's come up a few times.

838
00:44:26,760 --> 00:44:29,159
Speaker 4: Now, this is the third song we've talked about how

839
00:44:29,519 --> 00:44:32,760
she is mentioned, and right before Doukie took off, she

840
00:44:32,840 --> 00:44:35,519
dumped him, movedway to Ecuador and joined the Peace Corps.

841
00:44:35,599 --> 00:44:38,400
Speaker 3: Yeah, this one sounds a little bit more like their

842
00:44:38,559 --> 00:44:41,400
first couple of albums. This is not as polished, I

843
00:44:41,400 --> 00:44:44,239
guess as the other ones are. Okay, but it's okay.

844
00:44:44,320 --> 00:44:48,119
It's not my favorite on the album, honestly, but it's

845
00:44:48,559 --> 00:44:52,159
it's fine. It's fine. It's not a skipper, but it

846
00:44:52,239 --> 00:44:53,119
is kind of a filler.

847
00:44:53,880 --> 00:44:56,480
Speaker 4: Well, let's move on to another big, big, big hitter.

848
00:44:56,519 --> 00:44:58,960
Speaker 3: Youre goal Ladies and Gentlemen, tenth track on the album. Yes,

849
00:44:59,000 --> 00:45:03,079
we have five more after ten, but here it is

850
00:45:03,679 --> 00:45:18,800
when I come around. So Jason, did poor Billy Joe

851
00:45:19,320 --> 00:45:22,519
ever get over the heartbreak of Amanda. He did.

852
00:45:23,199 --> 00:45:26,639
Speaker 4: He actually met a girl named Adrian Nesser who became

853
00:45:26,760 --> 00:45:29,159
his girlfriend and is now his wife. They've been married

854
00:45:29,159 --> 00:45:30,039
for over thirty years.

855
00:45:30,159 --> 00:45:34,039
Speaker 3: Yeah. So he meets her back when they're on their

856
00:45:34,079 --> 00:45:37,920
current plunk tour, right, Yeah, and she has a boyfriend

857
00:45:37,920 --> 00:45:42,280
at the time, but fireworks weren't allowed in their unincorporated town,

858
00:45:42,639 --> 00:45:44,960
so when they would go outside of California, they would

859
00:45:44,960 --> 00:45:46,920
be able to be like, oh hey, we can buy fireworks,

860
00:45:46,960 --> 00:45:50,519
and so their concerts sometimes would turn into a fireworks show,

861
00:45:51,280 --> 00:45:53,719
which really means they were shooting bottle rockets to people.

862
00:45:53,920 --> 00:45:57,719
And so he saw her and shot a bottle rocket

863
00:45:57,760 --> 00:46:02,559
at her and her boyfriend. But it was all just fun.

864
00:46:02,559 --> 00:46:04,599
I don't know if you had any you know, Roman

865
00:46:04,599 --> 00:46:07,280
candle bottle rocket fights when you were in high school. Yes, yes,

866
00:46:07,320 --> 00:46:10,760
we were very smart kids, yes, very wise. But afterwards

867
00:46:10,800 --> 00:46:13,280
she comes up and she's like, hey, I've got you know,

868
00:46:13,400 --> 00:46:17,719
I've got friends in England who want to buy this album,

869
00:46:17,840 --> 00:46:19,440
or I got friends in these other places want to

870
00:46:19,440 --> 00:46:21,400
buy this album. Do you have any And he was

871
00:46:21,440 --> 00:46:24,920
like no, we sold out of them. But she's like, well,

872
00:46:24,920 --> 00:46:28,159
are they going to make anymore? And she he's like, yeah, yeah,

873
00:46:28,199 --> 00:46:30,000
we're going to make more. She says, well, how do

874
00:46:30,079 --> 00:46:32,480
I get it? And he goes, here's my name and address.

875
00:46:33,000 --> 00:46:35,079
You write me and I will get it to you

876
00:46:35,239 --> 00:46:38,280
as soon as that it's out. Well, that turned into

877
00:46:38,320 --> 00:46:42,599
a little pit and power relationship and that went on

878
00:46:42,840 --> 00:46:47,800
for four years and the band somewhere in the all

879
00:46:47,840 --> 00:46:50,000
of that touring that did they did over that time

880
00:46:50,239 --> 00:46:54,280
kept noticing, Hey, we're booking ourselves in these kind of weird,

881
00:46:54,320 --> 00:46:57,760
obscure places. Does this have anything to do with the

882
00:46:57,840 --> 00:47:01,360
fact that Adrian Nesser lives by because he would she

883
00:47:01,360 --> 00:47:03,599
would always find a way to come see him. And

884
00:47:03,639 --> 00:47:06,719
of course, eventually she broke up with her boyfriend and

885
00:47:06,760 --> 00:47:09,559
he's like, please come see me. She had just graduated

886
00:47:09,559 --> 00:47:12,239
from college, and so she gives her parents some excuse

887
00:47:12,280 --> 00:47:14,199
like I'm gonna go see what work is out there,

888
00:47:14,400 --> 00:47:17,960
but immediately moves in with him and he's like, let's

889
00:47:18,000 --> 00:47:22,000
get married now, and she says okay, and three weeks

890
00:47:22,039 --> 00:47:41,000
later they are married well round, and the day after

891
00:47:41,079 --> 00:47:44,440
the honeymoon she's like, I don't feel so good and

892
00:47:44,480 --> 00:47:47,840
he's like, well, we haven't really been being careful over

893
00:47:47,840 --> 00:47:50,960
the last three weeks, and she's like, well, let's go

894
00:47:51,039 --> 00:47:54,760
buy a test and sure enough, pregnant with child number one.

895
00:47:55,079 --> 00:47:58,480
Speaker 4: And we just hit the thirtieth anniversary of this album.

896
00:47:58,559 --> 00:48:01,199
So that means that Billy bil Armstrong, who looks like

897
00:48:01,239 --> 00:48:03,320
he's about seventeen, has a thirty year old child.

898
00:48:03,400 --> 00:48:05,000
Speaker 3: It's weird, weird, weird.

899
00:48:05,280 --> 00:48:08,119
Speaker 4: Yeah, when you said basket Case was the definitive Green

900
00:48:08,199 --> 00:48:10,559
Day song, I think there's a case to be made

901
00:48:10,599 --> 00:48:13,400
that this is the definitive Green Day song. This got

902
00:48:13,519 --> 00:48:17,480
airplay and music video play to this day. I hear

903
00:48:17,519 --> 00:48:18,199
it all the time.

904
00:48:18,559 --> 00:48:22,000
Speaker 3: It's so simple. It's basically two chords for the verse,

905
00:48:22,159 --> 00:48:26,079
four chords for the chorus. But Dart is doing some

906
00:48:26,199 --> 00:48:28,679
cool hammer on and pull offs with this one, and

907
00:48:28,880 --> 00:48:32,280
it's just it is. They've captured lightning in a bottle

908
00:48:32,280 --> 00:48:33,320
with this song. They really have.

909
00:48:33,559 --> 00:48:35,239
Speaker 4: I don't even know if this is punk pop. This

910
00:48:35,320 --> 00:48:37,159
is just good old fashioned rock and.

911
00:48:37,159 --> 00:48:39,039
Speaker 3: Roll, you know, Yeah, it really really is.

912
00:48:39,679 --> 00:48:42,079
Speaker 4: This was the fourth single. It reached number six on

913
00:48:42,199 --> 00:48:46,639
US Billboard Hot one hundred airplay. That means, despite not

914
00:48:46,760 --> 00:48:49,519
having a physical single to sell, it was played on

915
00:48:49,599 --> 00:48:51,320
radio stations everywhere.

916
00:48:51,480 --> 00:48:54,280
Speaker 3: Yeah, they have a cool little thing that they do

917
00:48:54,519 --> 00:48:57,199
with these lyrics frequently through out of it, Like with Chump,

918
00:48:57,239 --> 00:49:00,239
where he's talking about another dude at the beginning of

919
00:49:00,280 --> 00:49:01,679
the song and by the end of the song he

920
00:49:01,760 --> 00:49:04,400
realizes he's the chump. Same thing happens with this one.

921
00:49:04,440 --> 00:49:07,199
When I Come Around it's like this, you know, when

922
00:49:07,239 --> 00:49:09,400
I turned the corner and I'm okay, and then it

923
00:49:09,440 --> 00:49:11,920
turns into when I come around people don't want to

924
00:49:11,920 --> 00:49:12,719
be there.

925
00:49:12,840 --> 00:49:14,000
Speaker 4: Yeah, yeah, there you go.

926
00:49:14,079 --> 00:49:15,719
Speaker 3: Yeah, all right, let's move on to the next one.

927
00:49:15,800 --> 00:49:18,719
All right. Next song on the album is called coming

928
00:49:18,880 --> 00:49:22,800
clean Cut.

929
00:49:32,559 --> 00:49:34,639
Speaker 4: Okay for me, this is the first one that I

930
00:49:34,639 --> 00:49:37,360
can get to and I'm like, this is a straight filler.

931
00:49:37,400 --> 00:49:39,039
We need to get past this.

932
00:49:39,320 --> 00:49:42,639
Speaker 3: I didn't really, I wasn't super familiar with this album

933
00:49:42,760 --> 00:49:47,159
and the lyrics are not blatant in what the meaning is.

934
00:49:47,199 --> 00:49:50,480
It's only once I read what Billie Joe's explanation of

935
00:49:50,559 --> 00:49:54,119
it was that I was like, oh, well, no, I

936
00:49:54,119 --> 00:49:57,679
didn't didn't see that. But this was his struggle with

937
00:49:57,760 --> 00:50:02,480
bisexuality whenever he was young man apparently around seventeen, said

938
00:50:02,519 --> 00:50:05,719
he never actually had a male partner, but those those

939
00:50:05,840 --> 00:50:10,679
thoughts were going around. But that Gilman Club was again

940
00:50:10,880 --> 00:50:15,039
very noteworthy for being very open to all kinds of lifestyles,

941
00:50:15,039 --> 00:50:18,360
which was unique back in the early nineties, right. And

942
00:50:18,719 --> 00:50:21,280
the band that they would, you know, when they started

943
00:50:21,280 --> 00:50:23,800
to hit it big, the band that they would have

944
00:50:23,880 --> 00:50:26,719
open for them was a band called Pansy Division, which

945
00:50:27,639 --> 00:50:33,519
sang very detailed lyrics about homosexual sex, which when they

946
00:50:33,599 --> 00:50:36,719
started touring, there were, you know, some places that would

947
00:50:36,719 --> 00:50:38,280
be like, hey, we're not letting that band play, and

948
00:50:38,280 --> 00:50:40,320
Green Day would be like, Okay, that's fine, we're not

949
00:50:40,360 --> 00:50:44,360
playing either. So stood by their guys. But it's interesting.

950
00:50:44,400 --> 00:50:46,480
I had no idea that this was a this was

951
00:50:46,519 --> 00:50:48,639
an issue that he had dealt with, and I had

952
00:50:48,679 --> 00:50:50,400
no idea that that's what this song was about. But

953
00:50:50,400 --> 00:50:53,199
there you go talking about, you know, trying to explain

954
00:50:53,239 --> 00:50:56,800
to mom and dad, these weird feelings that he's having. Interesting, Okay,

955
00:50:57,440 --> 00:51:00,199
but it right. Didn't know that doesn't do much for

956
00:51:00,320 --> 00:51:03,639
me musically, and so I'm ready to pop on down

957
00:51:03,679 --> 00:51:04,480
to the next song.

958
00:51:05,079 --> 00:51:16,679
Speaker 4: Here we go, Imanias sleep Us my friend.

959
00:51:18,519 --> 00:51:18,800
Speaker 3: All right.

960
00:51:19,039 --> 00:51:21,639
Speaker 4: This is written by Mike Diurnt about two old friends

961
00:51:21,639 --> 00:51:24,079
who meet by chance and then they realize that they

962
00:51:24,159 --> 00:51:25,599
have grown and become different people.

963
00:51:25,840 --> 00:51:28,360
Speaker 3: Yeah. Another one that I'm just like.

964
00:51:28,360 --> 00:51:31,159
Speaker 4: Okay, Yeah, there's some stragglers here at the end, I.

965
00:51:31,079 --> 00:51:34,960
Speaker 3: Think, yeah, this is Yeah. Hey, Mike, you got any songs? Yeah?

966
00:51:34,960 --> 00:51:36,800
I got one. Yeah, Okay, this is the best one

967
00:51:36,800 --> 00:51:37,599
you got. Let's go with that.

968
00:51:37,719 --> 00:51:38,599
Speaker 4: Is it two minutes or less?

969
00:51:38,679 --> 00:51:38,880
Speaker 3: Yeah?

970
00:51:39,239 --> 00:51:41,760
Speaker 4: Okay, throw it in there. Yeah, all right, well, let's

971
00:51:41,960 --> 00:51:43,079
let's go on to the next song.

972
00:51:43,079 --> 00:51:45,280
Speaker 3: Then Okay, here we go. Next song on the album

973
00:51:45,440 --> 00:51:51,599
is in the End.

974
00:52:01,239 --> 00:52:03,119
Speaker 4: All right, folks, sneeze and you'll miss it.

975
00:52:03,320 --> 00:52:05,599
Speaker 3: The song's a wop in one minute and forty five

976
00:52:05,639 --> 00:52:06,440
seconds long.

977
00:52:07,199 --> 00:52:09,559
Speaker 4: Hey, this is straight punk. This is there's no pop here.

978
00:52:09,599 --> 00:52:10,440
This is straight punk.

979
00:52:10,559 --> 00:52:12,960
Speaker 3: This is great. I love this one. So I heard

980
00:52:12,960 --> 00:52:15,079
the song was about how he didn't really like his

981
00:52:15,119 --> 00:52:16,199
mom choosing his stepdad.

982
00:52:16,360 --> 00:52:18,760
Speaker 4: Yeah, and I heard an interview with him. He's like, well,

983
00:52:19,039 --> 00:52:21,639
my sisters didn't like him, but me and my brothers

984
00:52:21,719 --> 00:52:23,119
we did. We thought it was kind of cool.

985
00:52:23,159 --> 00:52:24,760
Speaker 3: Oh, okay, I.

986
00:52:24,719 --> 00:52:26,760
Speaker 4: Guess there's just some family feelings there.

987
00:52:26,800 --> 00:52:28,800
Speaker 3: So well, there's not enough lyrics here for me to

988
00:52:28,800 --> 00:52:30,280
figure it out on my own, right.

989
00:52:30,880 --> 00:52:33,320
Speaker 4: I do have a cool story for you reguarding this album.

990
00:52:33,440 --> 00:52:33,599
Speaker 3: Yep.

991
00:52:34,079 --> 00:52:37,559
Speaker 4: So we're you know, we just hit the thirtieth anniversary

992
00:52:37,559 --> 00:52:40,000
of Dukie, right, it came out ninety four. Yeah, And

993
00:52:40,280 --> 00:52:44,000
we just hit the twentieth anniversary of American Idiot. Yeah,

994
00:52:44,039 --> 00:52:46,639
And they're on tour right now. They're gonna play Dukie

995
00:52:46,639 --> 00:52:49,920
in its entirety that includes this song plus the hidden

996
00:52:49,960 --> 00:52:52,480
track of the End, Yeah, and then American Idiot in

997
00:52:52,519 --> 00:52:53,320
its entirety.

998
00:52:54,039 --> 00:52:54,679
Speaker 3: Wow.

999
00:52:54,800 --> 00:52:56,719
Speaker 4: If you can see these guys on tour right now.

1000
00:52:56,760 --> 00:52:59,079
You definitely should go ground. I know they're coming to

1001
00:52:59,159 --> 00:53:01,119
Nashville in September.

1002
00:53:01,239 --> 00:53:06,440
Speaker 3: That's fantastic. So yeah, wow, great, love it all right.

1003
00:53:06,719 --> 00:53:08,920
Next song on the album, So One. I'm waiting for

1004
00:53:09,000 --> 00:53:14,360
Jason to talk about. This one is fod Something's.

1005
00:53:13,719 --> 00:53:14,559
Speaker 5: On my mind.

1006
00:53:15,599 --> 00:53:17,480
Speaker 3: It's been funck. What's up time?

1007
00:53:18,440 --> 00:53:26,320
Speaker 5: It's dime my mom to yo. So where's the other face?

1008
00:53:27,159 --> 00:53:29,480
Speaker 3: So Jason, what did it mean to you if somebody said,

1009
00:53:29,599 --> 00:53:32,719
why don't you fo d well?

1010
00:53:33,199 --> 00:53:36,360
Speaker 4: I pulled out my nineteen eighty six eighty seven yearbook

1011
00:53:36,360 --> 00:53:38,920
and I showed it to you, and we're right here.

1012
00:53:39,400 --> 00:53:41,079
Had a buddy of mine, right.

1013
00:53:41,719 --> 00:53:46,159
Speaker 3: Foad foad, which means f off and die.

1014
00:53:46,360 --> 00:53:49,480
Speaker 4: Yeah, thank buddy, Thank you to my friend in nineteen

1015
00:53:49,480 --> 00:53:51,199
eighty six. I wrote that on the front cover of

1016
00:53:51,239 --> 00:53:51,719
my ear bag.

1017
00:53:52,280 --> 00:53:54,159
Speaker 3: So yeah, at least he didn't spell it out like

1018
00:53:54,199 --> 00:53:59,280
Green Days. Right, all right? Yeah, this one is a hot,

1019
00:53:59,440 --> 00:54:02,400
hot mess, is what it is? This is you got

1020
00:54:02,400 --> 00:54:06,360
Billy Joe and a not very sonic kind of acoustic

1021
00:54:06,400 --> 00:54:10,280
guitar for over half of the song Like this is,

1022
00:54:10,719 --> 00:54:14,320
I'm like, when's the when's the loud gonna come in. Yeah,

1023
00:54:14,480 --> 00:54:18,679
it's a minute and thirty five seconds into a minute

1024
00:54:18,719 --> 00:54:21,719
and fifty second long song. Excuse me, a two minute

1025
00:54:21,719 --> 00:54:25,760
and fifty second long song before the hard guitar and

1026
00:54:25,760 --> 00:54:27,800
the drums come in and then it blows up in

1027
00:54:27,840 --> 00:54:29,960
your face. Yeah. I don't think he liked whoever he

1028
00:54:30,000 --> 00:54:31,199
was talking to when he wrote this song.

1029
00:54:31,320 --> 00:54:34,039
Speaker 4: Yeah, this is not my favorite. It starts out kind

1030
00:54:34,079 --> 00:54:42,639
of harmless and then blows up into enough tirade.

1031
00:54:43,039 --> 00:54:45,840
Speaker 3: Yeah, there's a lot of it. But hey, they warned Jack,

1032
00:54:46,039 --> 00:54:48,440
Yeah they did. Here's the title of the song. You

1033
00:54:48,519 --> 00:54:50,679
can't be surprised, all right.

1034
00:54:50,719 --> 00:54:53,119
Speaker 4: And then we have finally, we have a hidden track

1035
00:54:53,159 --> 00:54:53,719
on the album.

1036
00:54:53,840 --> 00:54:56,960
Speaker 3: Yeah, this one, this one is this one that's coming up?

1037
00:54:57,039 --> 00:54:58,719
Is not Billy Joe singing?

1038
00:54:58,880 --> 00:55:08,159
Speaker 4: Interesting? I move alone. I was all by myself. No,

1039
00:55:08,320 --> 00:55:09,199
I was wucking.

1040
00:55:11,800 --> 00:55:11,880
Speaker 2: So.

1041
00:55:12,480 --> 00:55:16,000
Speaker 3: Another interesting thing that happened in nineteen ninety four, well

1042
00:55:16,159 --> 00:55:19,320
December twenty first of nineteen ninety three, to be supercise,

1043
00:55:20,119 --> 00:55:23,840
was the release of a New Kid series called VeggieTales,

1044
00:55:24,480 --> 00:55:28,719
where you had Bob the Tomato and Larry the Cucumber. Yes,

1045
00:55:28,760 --> 00:55:31,159
and when I heard this song, I was like, is

1046
00:55:31,239 --> 00:55:33,320
this Larry the Cucumber singing right here.

1047
00:55:33,880 --> 00:55:36,800
Speaker 4: It sounds like Larry the Cucumber singing about touching himself

1048
00:55:36,800 --> 00:55:38,039
and thinking about other people.

1049
00:55:38,239 --> 00:55:41,599
Speaker 3: Yeah, it's a little weird. I like it's it's it's

1050
00:55:41,639 --> 00:55:44,559
got this little kid voice to it. So I'm like,

1051
00:55:44,960 --> 00:55:47,679
is this got in new window here or is this

1052
00:55:47,840 --> 00:55:51,480
just some little kid who's sad to be by himself? Yeah? No,

1053
00:55:51,559 --> 00:55:53,559
the report is the innu window is fully there.

1054
00:55:53,639 --> 00:55:55,079
Speaker 4: Yeah, for sure, for sure.

1055
00:55:55,800 --> 00:55:57,960
Speaker 3: So that. Yeah, the name of this one is called

1056
00:55:58,400 --> 00:56:00,719
All by Myself in case you could tell from the

1057
00:56:00,719 --> 00:56:03,719
fact that it's repeated multiple times throughout the song and

1058
00:56:03,960 --> 00:56:07,360
Trey Cool is not only singing, he's playing guitar on it.

1059
00:56:07,360 --> 00:56:11,320
It's not a bad melody. It's actually, you know, it's

1060
00:56:11,400 --> 00:56:13,239
kind of cute if you didn't know what he was

1061
00:56:13,239 --> 00:56:16,440
talking about. But that brings us to the end of

1062
00:56:16,480 --> 00:56:21,480
the album. What a phenomenal nuclear bomb. I mean, they've

1063
00:56:21,480 --> 00:56:23,719
got the perfect cover because that's what This was a

1064
00:56:23,840 --> 00:56:25,119
nuclear bomb of an album.

1065
00:56:25,639 --> 00:56:27,559
Speaker 4: Yeah, I mean, this was a nuclear bomb of an album.

1066
00:56:27,559 --> 00:56:33,000
Released in ninety four. They even come back stronger just

1067
00:56:33,039 --> 00:56:36,519
a few years later with Good Riddance. I mean that

1068
00:56:36,599 --> 00:56:39,159
was played at every single prom and graduation in the

1069
00:56:39,199 --> 00:56:41,079
Country and still is you know.

1070
00:56:51,719 --> 00:56:59,559
Speaker 1: Another turning by the Fox Duck in the world.

1071
00:56:57,280 --> 00:57:00,159
Speaker 4: But they win a Grammy. They create this rock op b B.

1072
00:57:00,400 --> 00:57:03,159
These guys are rock and roll Hall of Fame type

1073
00:57:03,199 --> 00:57:04,159
of guys.

1074
00:57:04,880 --> 00:57:08,119
Speaker 3: Yeah. Their next album after this was Insomniac, which they

1075
00:57:08,159 --> 00:57:11,000
came on pretty They were harder with the punk on

1076
00:57:11,119 --> 00:57:13,440
this one, Yeah, and they were changing the style of

1077
00:57:13,440 --> 00:57:15,639
their lyrics a little bit, but it didn't do quite

1078
00:57:15,679 --> 00:57:19,159
as well. And then after a little ep that they did,

1079
00:57:19,480 --> 00:57:23,559
they came out with Nimrod and again blew our doors off. Yeah,

1080
00:57:23,719 --> 00:57:26,440
love it, Love it well, guys, thank you so much

1081
00:57:26,480 --> 00:57:30,199
for joining us for this exploration of green Day. We

1082
00:57:30,280 --> 00:57:33,360
either have Live Throwing Copper coming up next, or we

1083
00:57:33,440 --> 00:57:37,199
have Collective Soul the Blue album coming up next, or

1084
00:57:37,239 --> 00:57:40,760
we have Bush sixteen Stone coming up next. You will

1085
00:57:40,800 --> 00:57:43,719
just have to tune in and see I hope you

1086
00:57:44,000 --> 00:57:47,760
enjoy this journey through the albums of nineteen ninety four.

1087
00:57:47,960 --> 00:57:49,559
We will see you guys next week.

1088
00:57:49,719 --> 00:57:56,400
Speaker 4: Thanks guys. All right, everybody back by Popular Band new

1089
00:57:56,519 --> 00:57:59,559
version of the Shirley theme song in a powerpunk style.

1090
00:58:00,079 --> 00:58:20,360
You think of this one.

1091
00:58:11,639 --> 00:58:12,920
Speaker 3: When I was a little boy.

1092
00:58:13,000 --> 00:58:15,320
Speaker 2: The movie's probably so much Shoy and the music cake

1093
00:58:15,440 --> 00:58:19,400
buttling nothing today, then the Boblins saying thecauseter. Shirley came

1094
00:58:19,480 --> 00:58:22,400
and made me join that same little way. Surely is

1095
00:58:22,440 --> 00:58:27,320
a talking machine, Suley. We were across the strains. Surely

1096
00:58:27,559 --> 00:58:33,639
is can't be the best days Sully a ucky queen.

1097
00:58:34,320 --> 00:58:38,320
I'm a bactic. It's the record Gieve Schurey, you can't,

1098
00:58:38,480 --> 00:58:48,679
you can't be serious, y Jason, Michael Scarrier, dogs and jats,

1099
00:58:48,960 --> 00:58:52,880
mass hysteria. Feels like the dog said off the wall

1100
00:58:53,760 --> 00:58:58,400
the ball. Schully kept her motor Queen. Yes she's a

1101
00:58:58,599 --> 00:58:59,679
killer queen.

1102
00:59:00,079 --> 00:59:02,400
Speaker 3: But we'll spike the football.

1103
00:59:03,199 --> 00:59:07,519
Speaker 2: Sulli is a time scene, Sully. We went across the strings.

1104
00:59:08,400 --> 00:59:15,039
Surely this can't be the best Is Sulli a rocket queen?

1105
00:59:15,719 --> 00:59:16,320
Speaker 3: Come back?

1106
00:59:16,400 --> 00:59:21,280
Speaker 2: It's the record machine. Surely you can't, you can't be serious.

1107
00:59:26,519 --> 00:59:30,519
Sonny and Gina they both knew. Dylan said they knew

1108
00:59:30,519 --> 00:59:39,480
it too. Sully's Roy's delirious, Samuel cranky, Johnny's face, We're

1109
00:59:39,719 --> 00:59:43,960
rock digging in the wrong place. Surely you can't be serious.

1110
00:59:50,199 --> 00:59:53,559
Not shot first, he became a trucker. Ham's Bloomy was

1111
00:59:53,599 --> 00:59:57,679
the worst. Kaye I am serious, and don't call me short.

1112
01:00:00,159 --> 01:00:02,599
Surely you can't, you can't be.

1113
01:00:02,719 --> 01:00:03,719
Speaker 3: Surely you can't.

1114
01:00:04,400 --> 01:00:13,440
Speaker 2: You can't be Surely you can't. You can't be serious, Sully.

1115
01:00:13,480 --> 01:00:17,960
You can't. You can't be sully. You can't. You can't

1116
01:00:18,000 --> 01:00:18,519
be silly.

1117
01:00:18,639 --> 01:00:19,239
Speaker 3: You can't.

1118
01:00:19,320 --> 01:00:23,719
Speaker 2: You can't be serious silly.

1119
01:00:23,840 --> 01:00:24,440
Speaker 4: You can't.

1120
01:00:25,079 --> 01:00:26,280
Speaker 2: You can't be silly.

1121
01:00:26,440 --> 01:00:27,000
Speaker 1: You can't.

1122
01:00:27,679 --> 01:00:28,880
Speaker 2: You can't be silly.

1123
01:00:29,039 --> 01:01:15,840
Speaker 1: You can't. You can't be serious.