Anthems - Sasha vs Green Day

[00:00:00] Speaker A: Hey, man. [00:00:01] Speaker B: Hi, dude. [00:00:02] Speaker A: Cheers. [00:00:03] Speaker B: Cheers, bud. [00:00:15] Speaker A: Hi. [00:00:16] Speaker B: This is Jake and this is Elliot. [00:00:19] Speaker A: And you are listening to Sip and Mimos, the Internet's premier citrus space sometimes citrus space libation podcast wherein Elliot and I talk about 90s rock and electronica albums. [00:00:34] Speaker B: That's correct. I'm Elliot and that's Jake. Jake's the radio rock guy and I'm I, Elliot and the electronica guy. So we give each other a album or an EP or a song every other episode and. And we. We compare, contrast and enjoy each other's company. And we hope you do too. [00:00:55] Speaker A: Side note, I, Elliot, awesome name for a mixtape. I love it. [00:01:00] Speaker B: I, Elliot, that's some like, Asimov esque, iRobot kind of dude. [00:01:06] Speaker A: That's. That's what I was picking. You can like, do like, you can give yourself like a blue tint and, you know, just kind of make yourself see through. [00:01:13] Speaker B: What. What are the three rules of. I, Elliot, I just lost my voice. Oh, no, we just started recording. Oh. The whole episode shot. Elliot. Sasha is good. Green is good. Goodbye, everybody. [00:01:26] Speaker A: Elliot's finally hit puberty on the air. [00:01:29] Speaker B: No, we already did that bit. How was your New Year's Eve? [00:01:36] Speaker A: It was good. You know, we. We stayed in mainly because, you know, we have. We have kind of a nervous. Nervous doggy and so we stayed in. Yeah, we. We went to visit some family in Houston and we got some hot chicken because I love like Nashville hot chicken, you know. You know, I normally order the hot. Yeah, I wasn't, I wasn't anticipating it was going to be like, crazy. Like, very, like, it was one of those things where like, I started getting lightheaded after eating them. [00:02:09] Speaker B: Oh. [00:02:10] Speaker A: And. Oh my God. But like, do you remember like, with like, man versus food. And I remember he went. He went to one in San Antonio and it was like the Four Horsemen burger. This thing had like four types of peppers, ghost peppers, one of them. And like, he could, like, he had. I think he had to like, sign a contract and he couldn't touch the burger with his bare hands. He had to wear gloves to eat it. Do you remember this? [00:02:37] Speaker B: I. I don't. I remember watching a few of those episodes, but I don't like, I don't remember that specifically, but if you have to wear gloves. Oh, boy. Because like, one touch to your eyeball, like your, Your dunzos, right? Like. [00:02:49] Speaker A: Oh, yeah. [00:02:50] Speaker B: Because those things are no joke. [00:02:51] Speaker A: I didn't know that. And I remember one time I was stalking. I worked in produce and I was stalking and I was doing Habaneros and I was just, like, grabbing them bare, bare hand, like, without gloves on. Just like. [00:03:02] Speaker B: Oh. [00:03:04] Speaker A: One of my. My. One of my teammates came over. He was like, do, do, do, do, do, do, do. Don't do that. Go wash your hand. Yeah. Hurry. [00:03:10] Speaker B: Yeah, yeah, yeah. So how, like, you got to get, like, lemon juice on them and all this I've cooked with plenty of peppers. And, like, they remain on your hands for a while, the oils and the skin. And, like, they seep into your skin. And, like, you use the restroom, you're in big old trouble. You're in a world of pain. [00:03:32] Speaker A: This would be the perfect setup if we were talking about, like, the Red Hot Chili Peppers. [00:03:37] Speaker B: So this. Don't do that. Don't tease the listeners. [00:03:41] Speaker A: This combo is, like, wasted right now. If only we were talking about, like, blood sugar. Blood sugar, sex magic. [00:03:46] Speaker B: But if we ever do rat chili peppers, here's what we do. We. We do a. We do a chicken wing challenge before it so we can talk about that. [00:03:54] Speaker A: Okay. [00:03:54] Speaker B: Yeah, yeah, we'll get. You know what we'll do? We'll get. We'll get the da bomb in the mail or whatever, and then we'll both try it and then do the show on that horrible idea. I'll be, like, puking my guts out. [00:04:07] Speaker A: It does sound kind of not like the best idea, but I love it. And I would. I would do it. I'd be fun, and that'd be. At that point, Jeff is trying this guitar, man. It's just the bed, you know, my tongue be all numb. [00:04:20] Speaker B: And that's. That's the episode. We get new. New fancy mics. I know. Are you a spicy food guy? [00:04:30] Speaker A: You know, I. I like to consider myself adventurous when it comes to, like, spicy food. For sure. I can't handle it as well as I. I could at one time. Yeah. I don't rock as hard as I do as long as hard as I did. But. Yeah, I like to indulge in spicy food. [00:04:51] Speaker B: I like a flavorful spice. [00:04:54] Speaker A: Yeah. Like a nice drunken noodle. Like. Like, with. With, like, some nice, like, chicken. I know it normally comes with beef, but I like it with chicken. [00:05:05] Speaker B: I don't want it to ruin my tomorrow, but. But I do like a little flavor and spice. Might you like a little. [00:05:15] Speaker A: You like a little danger? [00:05:18] Speaker B: I. I don't know. Have you ever been to Texas Chili Parlor here in Austin? Yeah, I went there with my brother, and they have, like, a degree of heat because it gets hot as. And I'm like, yeah, let me get the. The Hot. And they're like. They're like, sir, are you. Have you been here before? I'm like, yeah. Like. Like, so you've tried the hot before? I'm like, well. Well, no, I had the one in the middle before. Like, are you certain? Like, they're about to hand me a waiver, and I'm like, well, I kind of wondered. Let me try it. They're like, okay, okay. And then my brother orders. He's like, I'll take the hot. They're like, absolutely. Right away. Because he just has a different vibe than me. [00:06:09] Speaker A: He does have a very Indiana Jones vibe. [00:06:12] Speaker B: He's gonna. He's gonna. Yeah, yeah. Like, I'll drink the monkey brains. You know, kind of. Kind of. [00:06:20] Speaker A: It's like. It's like very. In Indiana Jones meets Henry Cavill. So. [00:06:24] Speaker B: Oh, so lucky. [00:06:26] Speaker A: Him, like, good job. [00:06:28] Speaker B: I'll cut this out because I can't have him hear this. It'll go right to his head. [00:06:35] Speaker A: I do. One time I went to Torchies. Torchy's Tacos. Sure. And I got the Jamaican Jerk Chicken with, like, the jerk sauce, and it was. It was yellow. So in my, you know, mind, I was like, oh, it's pineapple. Awesome. Like, straight up habanero. Like, yeah. And I just, like, douched my taco in this stuff. And I was with my sister, I took it and she was like, don't eat it. And I was like, no, I paid $5. [00:07:08] Speaker B: I gotta power through. I got. [00:07:10] Speaker A: Yeah, I was brutal. Like, I was lightheaded. We went to a comedy show afterwards, and I was like, oh, no. You know, tripping out. But. But besides indulging in spicy, spicy foods, what else you been up to? Have you. Well, we've talked about tasted. Have you seen. Heard. What's the other touch? The. Well, have you seen or heard anything cool lately? [00:07:39] Speaker B: I've been. [00:07:39] Speaker A: All right. [00:07:40] Speaker B: I've been exploring my all my. All my senses. [00:07:44] Speaker A: Oh, hey, by the way, Happy New Year. [00:07:46] Speaker B: Oh, Happy New Year. [00:07:48] Speaker A: And Happy New Year to you, gentlemen. [00:07:50] Speaker B: Oh, and happy New Cheers. [00:07:52] Speaker A: Happy New Cheers. I love it. [00:07:54] Speaker B: Speaking of Henry Cavill, did you hear he's out as Superman, man. [00:08:00] Speaker A: James Gunn. [00:08:01] Speaker B: James Gunn. [00:08:03] Speaker A: Yeah, man. He's cleaning house. [00:08:05] Speaker B: Cleaned house. Yeah, house is clean. This task is clear. Like, he's like. But like, maybe they're keeping peacemaker, which feels a little like, oh, well, come on, man. Because he. He's the peacemaker guy. I don't know. Start from zero. That's what I say. But, yeah, a little favorite. Well, this is my thing. I don't know. Thoughts? [00:08:28] Speaker A: You know, I was never really invested in the dcu. [00:08:33] Speaker B: Yeah. [00:08:34] Speaker A: You know, not. I mean, not nearly as much as the Marvel. Marvel. Cu. [00:08:41] Speaker B: The mcu. Yeah. [00:08:42] Speaker A: Yeah. Mcu. [00:08:42] Speaker B: That's what it's called. [00:08:43] Speaker A: I thought there was some, like, visually interesting things in. In, like Batman versus Superman and Superman 2013. That. That. That first Wonder Woman was pretty great. Oh, I really enjoyed Aquaman. I never went on Reddit to read, like, fan theories for any of those. Any of those movies, you know, So. I mean, I don't know. He seems like he knows what he's doing with superhero movies. [00:09:11] Speaker B: Yeah. I mean, I trust Gun and, like. And. Come on. That. That. That. That was. That whole universe was a dumpster fire, dude. Like, with the re. Editing and all that, so. Oh, boy. Like, it's a bummer to. I must. I'm feel bad for Cavill, but he's gonna be fine. He'll probably. He's got Warhammer lined up. He's. He'll probably be James Bond at a certain point. Like, forget it. He's fine. [00:09:34] Speaker A: Well, dude, speaking of, did you see who. Who? They're kind of tapping for James Bond. [00:09:40] Speaker B: I heard someone had a meeting. [00:09:43] Speaker A: Your boy, Aaron Taylor Johnson, AKA Kick Ass. [00:09:48] Speaker B: I heard Kick Ass had a meeting. Did you see Bullet Train? [00:09:53] Speaker A: I still. It's. It always pops up on my Netflix, like, movies you might like. [00:09:58] Speaker B: Yeah. [00:09:58] Speaker A: Have you checked it out? [00:10:00] Speaker B: I fell asleep to it. [00:10:02] Speaker A: Oh. [00:10:03] Speaker B: So I saw half of Bullet Train. [00:10:06] Speaker A: I mean, I love him. I mean, he's great as Kick Ass. He was awesome as John Lennon in a movie called Nowhere Boy. Oh, really Cool. It's about the young John Lennon kind of dealing with, like, his mom and his aunt and meeting Paul McCartney. [00:10:26] Speaker B: Far out. [00:10:28] Speaker A: The big. The big line from the trailer was, hi, I'm John. And then the guy goes, I'm Pooh, you know, so if you see it streaming, it's. I think it's worth the watch. But, yeah, I think he'd be a cool. Maybe like a younger Bond. [00:10:43] Speaker B: Like, you know, he just looks younger. I don't think he's younger necessarily, but he looks younger. Yeah, yeah, yeah, yeah. James Bond Jr. Over here. I feel like it's a power move to get Caval, honestly. But Caval doesn't seem concerned with that, playing that game because he wants to do his nerdy stuff and all power to him because it's like a Warhammer player. Warhammer. I don't know. Tabletop. I don't even know if it's like a card Tabletop game. But he, like, paints the models and all that. He's, like, obsessive about it. He's a big old nerd. This is why I love him so much. [00:11:20] Speaker A: Well, that's. That's kind of like Vin Diesel being obsessed with Dungeons and Dragons. [00:11:25] Speaker B: Exactly. I love it when these slabs of granite of men are, like, way into dorky shit. Just like you and me, being as buff as we are, are way into 90s music. [00:11:36] Speaker A: Ellie and I, like, think Dave Bautista. That's what you know. [00:11:43] Speaker B: And I'm John Statham. I'm just like. We're just, like, insane. Zero percent body fat. [00:11:48] Speaker A: Oh. Jason Statham. What? [00:11:51] Speaker B: Did I say John Statham? Did I say John Statham? Yeah, I think I got Stamos and Statham. Yeah, I was gonna say mixed up. We'll take either one. I'll take you. [00:12:03] Speaker A: Whereas jacked is those guys. And as handsome is John Stamo. Hysteres. [00:12:06] Speaker B: Okay, thank you. Thank you. That's what I was trying to say. Wow. But should we say our last episode about lit in the Orb got some attention? [00:12:17] Speaker A: Yeah. A major shout out to. To lit for sharing our season Sippings episode where we talked about their song Miserable and the Orbs. [00:12:27] Speaker B: Little fluffy clouds. [00:12:29] Speaker A: Little fluffy cloud. See, I still want to say strange. [00:12:32] Speaker B: Oh, I was trying to save you, dude. [00:12:34] Speaker A: Oh, sorry. So, yeah. So check it out. And yeah, thanks again, lit, for making my boyhood dream come true. [00:12:43] Speaker B: Yeah. And come on the show. Come on. Whatever. [00:12:46] Speaker A: Oh, please come on the show so we can talk about a place in the sun. [00:12:49] Speaker B: Oh, they're gonna listen to me talk about them like your homeboy pulling up on the strings, and they're like, these guys get it, and they'll come on because of me, dude. [00:13:01] Speaker A: You know, I just realized with my band today, and honestly, my band next episode, I'm. I'm Mr. West coast these days. [00:13:13] Speaker B: You've been Mr. West coast like, the whole time. [00:13:16] Speaker A: That's true. [00:13:18] Speaker B: Well, I've been Mr. UK, I suppose. I don't know. [00:13:21] Speaker A: I'm not. But I'm very. I'm very excited. But before we dive into that, we talked about Daniel Craig, James Bond, and Dave Bautista. Elliot, have you seen this? Glass Onions. Have you heard about this? Have you heard about this? Glass Onion. [00:13:32] Speaker B: I've seen Glass Onion twice now. I saw Glass Onion in the theaters in its little short run, and I saw it on Christmas Eve. Me and my stepbrother and friend came back here, we watched Glass Onion, and it was a good old time. So I've seen it twice now. Now, if you're going to ask me to, like, break it down, it's complicated on purpose. And in a weird way, we were still trying to, like, figure it out. Like, what did this mean? What did that mean? Okay, go, go. What? Did you see it then? [00:14:04] Speaker A: I saw it. Yes. [00:14:05] Speaker B: Okay, thoughts? [00:14:07] Speaker A: I liked everything except at the end. I really, really like the cast. I wanted more like Daniel Craig. The. Solving the crime and getting the bad guy that, like. Like, the way he got, like. Spoiler alert. Spoiler alert. Chris Evans in. In Knives out, you know, so I. [00:14:23] Speaker B: But you have. Okay. But you have seen Knives Out. [00:14:25] Speaker A: Yeah. [00:14:26] Speaker B: You have seen other works by Ryan Johnson. [00:14:30] Speaker A: Ryan. Yeah. [00:14:31] Speaker B: And you realize his methodology of subverting expectations. [00:14:38] Speaker A: Is that. Is that a thing? I'm not. [00:14:40] Speaker B: That's okay. That's, like, his whole idea. That's, like, his whole thing. Last Jedi, Looper, Brick. Like, have you seen his. Have you seen his filmography? [00:14:49] Speaker A: I. Dude, I didn't realize he directed Looper. [00:14:54] Speaker B: He's the Looper guy. [00:14:56] Speaker A: Yeah. Is Paul, Daniel and Looper. [00:14:58] Speaker B: He sure the is, man. He gets someone, like, who's it. Whose, like, fingers start eroding away as they torture his. [00:15:04] Speaker A: Like, he gets, like, super killed. [00:15:06] Speaker B: Oh, he gets super killed. [00:15:07] Speaker A: Yeah. [00:15:07] Speaker B: It's brutal. Brutal. I love Looper. [00:15:11] Speaker A: I didn't realize that was Rion Johnson, but I feel like that was. [00:15:15] Speaker B: It's Ryan. It's Ryan. [00:15:16] Speaker A: Am I. I keep on calling him Rhian. Rion. [00:15:19] Speaker B: It's Ryan with an I. I think we've had this discussion before. I've had her pronounce Ryan Johnson. [00:15:24] Speaker A: Ryan Johnson. [00:15:26] Speaker B: It's just with an I. Ryan. [00:15:28] Speaker A: Ryan. [00:15:29] Speaker B: I imagine that throws everyone off. I'm sure he's sick of talking about it. So you were. You were kind of like you were into glass onion until you were. Not at all. You didn't like, the end again? [00:15:40] Speaker A: I didn't. I didn't care much for the ending. Um, Okay. I don't know. [00:15:45] Speaker B: It's a bummer to, like, set up these murder mysteries because, like, damn you. Like, if it's a murder mystery, you better nail the ending, because that's kind of the whole idea. Like, do you remember the Simpsons joke, I hope you do, when, like, I don't know who it is. Maybe it's Lisa. [00:16:01] Speaker A: Whatever. [00:16:01] Speaker B: She wants to buy a puppy, and she. And, like. And she picks up a puppy, and the guy's like, oh, that puppy is really good. He writes mysteries. And she's like, how does a dog write mysteries? And the guy goes. He figures out the ending. And then writes backwards like, like, like narratively. How does it. [00:16:23] Speaker A: Okay. [00:16:24] Speaker B: Yeah. I always thought was the. One of the best jokes in the story. But he's like subverting that by like and knives out. Like, oh, the death. We realize what happens immediately. And then it's like, wait, what the hell is going on? So like. And then. And then. And Glass Onion. He's subverting your expectations. It's okay to not like things. Dude. We're a music criticism show. You're allowed to not like. [00:16:48] Speaker A: This is true. But yeah. [00:16:51] Speaker B: Stand by your dislike of things. [00:16:53] Speaker A: Okay. Okay. [00:16:55] Speaker B: But miss, I'm trying to be supportive. [00:16:58] Speaker A: Thank you. Thank you. [00:16:59] Speaker B: You're very well. [00:17:02] Speaker A: Even though I. I really wasn't like fully on board with that initial viewing of Glass Onion, that whole Knives out universe is really. Is really something I'm very interested in. It's a. It's a very interesting concept to me and I love yeah. Benoit Blanc character and I hope that Rian Johnson really assumes the role of the Expander and expands that universe. Here we go. Elliot, tell me about Sasha. Elliot just bit his lower lip and looked longingly out the window. [00:18:21] Speaker B: So. So we've talked a lot about 90 days electronica. We've talked a lot about the boom in 97 and all this. I think digging on a hole in 97 fabulous limbs. You've come a long way would be in 98, 99. Someone showed up and had been there for quite a minute for the decade, but solidified himself as a mythical creature in the genre when Sasha released the Expander ep. The Expander EP is four tracks. It's Expander. His Bell funk is Rabbit Weed and his Baja, his four tracks and they were all movements and Sasha comes from the world of. He was subjugated to. Of trance music. Trance DJs and stuff like that. Your Paul Oakenfolds and then the producers like your BTS keys and all this. This seems so opposite and opposing to. You've come a long way baby that we talked about previously. This is precise and progressive and this is a musical art piece that Sasha made. It's gorgeous. And the title track Expander became one of the best trance quotes trance tunes of all time. Jake, what'd you think of Expander by Sasha? [00:19:51] Speaker A: Well, I loved it so little bit on DJ Sasha. Did you go by. Is it DJ Sasha or just Sasha? [00:19:59] Speaker B: It's just Sasha. [00:20:01] Speaker A: Just Sasha. [00:20:02] Speaker B: Good question. [00:20:04] Speaker A: It's Ryan, not Rianne. I'm learning a lot about names this episode. So this is Sasha birth name Alexander Paul Coe, born September 1969, in Bangor, Wales. That is the United Kingdom. I love this one. This is so right off the bat. Expander edit. It's the shortened version of Expander, Correct. Really? It really hooked me. [00:20:31] Speaker B: I imagine it did. [00:20:33] Speaker A: As I've discussed, you know, I've always been kind of obsessed with synthesizers. I own a micro cord that I just love. And I'm still trying to figure out, even though I've had it for like 15 years. I can remember going into, like, Guitar center and they would have, like, presets on. On like the wall that you can like, push a button for. And it would, like, play what. What the keyboard could do. And there is a trance setting on the microcorg. And this song reminds me of that demo song that I first heard 15 years ago. [00:21:11] Speaker B: Can I guess the trance setting is an arpeggiated beat? [00:21:15] Speaker A: It is an arpeggiated beat, yes. [00:21:18] Speaker B: Okay. There's a reason for that, and it's because of Expand, really. Like, there were a lot of arpeggiated, like, synth hits in the mid and late 90s. They kind of reached its pinnacle with Expander. Expander was a. Is considered one of one of the greatest trance tunes of all time. I say quote, because this is not exactly what Sasha was going for. He's. [00:21:49] Speaker A: He. [00:21:49] Speaker B: I think if you asked him if is are you a trans dj, he would say, what the hell you talk to me about? He's not defined by genre. He's not anchored by it. He's never been a purist. A lot of these trans DJs in this, in his same time as he was coming up were like, this is my genre. I play this genre, meaning I get records from these labels and I play these records from these labels. Sasha was quite the opposite. He would create his own stuff and lower tempos. And especially in his older years, he lowers his tempos. There's something about Sasha that made people become quite obsessive with them, especially aspiring DJs and what we've referred to as Trainspires before and what Sasha refers to as Spotty Boys, meaning a bunch of bros that encircle him when he's behind the booth and watch what he does and see if they could pick out what tracks he's playing. Sasha became this, like, ethereal being in the DJ world, where if you got to see Sasha, it was a gift from above. How do you do this? He moved from Wales and. He moved from Wales. He moved to Manchester. Jake, your favorite city. [00:23:07] Speaker A: Manchester. That is actually my favorite musical city. [00:23:12] Speaker B: Well, here, one of My favorite guys is from one of your favorite cities. [00:23:15] Speaker A: How about that? So he moves to Manchester and gets involved with the scene at a club called the Hacienda. Yes, Hacienda. Where they were doing acid. Was it. What is it called? [00:23:29] Speaker B: Acid House. [00:23:30] Speaker A: Acid House. What is Acid House? [00:23:34] Speaker B: We've approached this idea on the Spawn episode, if you remember Josh Wink, like synth heavy, kind of like arpeggiated synth riffs that, that like mess with, with the cutoff and resonance on the synth and like they get higher and higher until they're going to blow your eardrums out. Always at the 44 behind it. He, he became obsessed with house music, more importantly club music and the idea of what that could be after being exposed to the acid house scene in like the late 80s and early 90s. [00:24:07] Speaker A: Reading his Wikipedia page. Is it here that he meets John Digweed? [00:24:11] Speaker B: I think he, he meets Digweed in passing and then they become a duo. Sasha and Digweed became a thing. So with your oaken fools, with your. With your Tiestos. Sasha and Digby were a different kind of DJ duo to see. Like you knew these guys were so precise. Like. Like perfection kind of became like their thing. And then something special happened where the music they were playing, the way they were playing it became this thing that people kind of tried to replicate. Like you went to a club in this club culture and instead of getting drunk with your friends and, and dancing that way you were actually like feeling a sense of euphoria. Like they were programming the tracks out. They were. They were playing the songs in a certain order where you were now like approaching some sort of nirvana of your evening. He approached this level of mystery. Like how is he doing this? And if you, if you see interviews with him, he's quite humble and unaffable. He regrets that mixed mag, this European DJ magazine that put him on the COVID said Sasha, son of God, question mark saying like he might be like the second coming of like something. There's a certain like religious thing here like as that that we kind of approached with BT escm, remember? But. And he's also worked with BT ETA quite a bit. [00:25:49] Speaker A: Yeah. [00:25:50] Speaker B: So they, they were trying to develop this sound where going to the club to dance was more of a mystical religious experience. And then he put this EP out. Trance tunes are. They have to live by these rules. There's certain things, okay, well it has to be this tempo, this tempo and it has to have a synth riff. It has a breakdown and a build up and all this. But he's filling in the gaps. Of those. It certainly is those things. The synth riff is not what they used to call bees in a coffee can. Like, the hard synth, like, it's like soft. It's like. Like the attack of the synth turned all the way down. Like it kind of, like, it kind of glides over you. Beautiful sense of elevation. It's a truly beautiful piece of work with pristine production, and I think it's quite important. [00:26:48] Speaker A: You are certainly not wrong. I mean, this thing sounds clean. It almost sounds kind of like timeless too. You know, if you would put this out this week, it would still sound fresh. It would still be interesting after, you know, what, 23 years of material, you know, probably that. That has, like, built on things like this. It would still sound cutting edge. Really fantastic stuff. One of the things I saw about Sasha and Digby was that they had a monthly residency at the influential New York club Twilo. Are you familiar with this place? [00:27:25] Speaker B: Yeah, yeah. [00:27:26] Speaker A: And I'm looking at. I was looking at the people who played there. That's one of those things where it's like, you know, for rock clubs, you have Those, like your CBGB's, you have your. Your Fillmores, you know, your. Your troubadours. I'm interested in learning about electronic clubs and the artists that came through there. Looking at that, I saw some familiar names. Saw Richie Hotten was a regular there, your buddy Paul Oakenfold, and my fave, my guy, Paul Van Dyke, amongst others. Um, but those are just the ones that. That played there regularly. Um, and it sounds like it was just in a warehouse in Chelsea, the Chelsea neighborhood of New York. As we've. As we've discussed, I'm kind of like mesmerized by the idea of boroughs and neighborhoods of New York, so. Thought that was really interesting. [00:28:18] Speaker B: Chelsea is a neighborhood in the west side of Manhattan, and it's right above the. We call the Meat Packing District. Guess what that's known for? That's actually known for clubs now. It used to be, you know, like, meat packing. That's what they call it, that. But above there was Chelsea. [00:28:38] Speaker A: Is that where the Hotel Chelsea is? [00:28:40] Speaker B: I imagine so. [00:28:41] Speaker A: Okay. It's not just a clever name. [00:28:43] Speaker B: It's not just a. Yeah, yeah, yeah. [00:28:47] Speaker A: But let's talk about the tracks. Do you have any favorite that stand out from the Expander ep? [00:28:52] Speaker B: I think they're all quite fantastic. Expander is a absolute classic progressive house tune. Progressive trans tune. Like progressive, meaning it takes a long time and it progresses. Works in movements. No, 12 bars of this, 12 bars of that. And then we're going to change the tune up a little bit and we're going to drop you in a different world. I'm going to work your way back up. We're gonna. We're gonna half set the beat, we're gonna move it right back up there and then drop it back into the world. And then, like, crescendo and all this. These are like operatic pieces. It's truly incredible. Trans classics of, like, the late 90s were doing a similar thing. But this has so much, like, reverb, echo production tech, like, technology behind it, where it's like, they worked a long time on this. It is so leagues beyond the, like, 909 quality of some of these other classic tracks at the time. It just kind of like, took everything to a new limit and maybe might have destroyed the genre. [00:29:57] Speaker A: The expander, the extended version, it's the original version. The original version, I felt like a goofball because I listened to the shortened version, because the way it is on Spotify, it's like the radio edit version. [00:30:10] Speaker B: I looked it up on Spotify. I'm like, oh, he's not gonna. That's why I text you today. I'm like, are you sure you got to. Okay. [00:30:15] Speaker A: And I, I, you know, I was. I had my headphones in and I was like, taking my notes. You know, the original version starts and I'm just like. I wonder if this is like. Like a. Like a reprise or something or, you know, of the original, if he's in the incorporated. And I looked and she said, oh, it's. It's the extended version. Oh, no, I, I really, really liked it. The longer version has some really, like, punchy or maybe even like plucky synth sounds. And the drop it minute, nine, nine and 19 seconds. I had to replay that a couple times. [00:30:52] Speaker B: It's just another one where everything's like. Yeah, that's when, like, the lights have been to, like, strobe. And then, like, everyone else loses their minds and. Yeah, and you are. Now you're. You have ascended to a new level of understanding. [00:31:11] Speaker A: So after Expander, we have Bell Funk, which, as we discussed, started off as a remix track for a bt. Their song Belfast. [00:31:21] Speaker B: No. [00:31:21] Speaker A: Oh, no. Orbital. [00:31:23] Speaker B: Orbital, Bellefunk. Yeah, it's okay. Bell Funk. I found this out today. I didn't know this. I've been a fan of the CP for a long time and, like, one of my favorite duos, like Bell Funk started off as a re. As a remix of Belfast, this track from Orbital's Green album. The first track, which is a great, great, awesome tune. And I listened back to him, like, son of a. I can hear the. I can hear the. Like, the. The only human voice on the ep. Like, you can hear it like, oh, it's from Orbo's Belfast. Orboro did not like what he did with it. So they split in two different directions. He's like, well, I'm gonna continue working on this Bell Funk tune. And then this guy called the Light took over and finished up the remix, adding more Orbital elements to it to make it seem more like a remix. [00:32:23] Speaker A: That's so interesting. I've. That's the first time, I think, that we've encountered that, where the remixer got rejected by the creator. [00:32:33] Speaker B: Do you think that would be rare? [00:32:35] Speaker A: I feel like that would be rare. Is that. Is that like a normal. [00:32:38] Speaker B: I think if you ask someone to remix your tune like you want them to do it, and, like, you'll put whatever you want on there on your, you know, single, whatever. [00:32:46] Speaker A: That's what I would think. [00:32:47] Speaker B: That's what I would do. But if you have a certain. You want this to be recognizable. And if it gets, like, radio players, something like that, you want that. You want this, that the other. You want them to realize, oh, this is Sasha's remix of an Orbital song. [00:33:03] Speaker A: Yeah. [00:33:03] Speaker B: There's a whole thing in, like, in my world where there are prominent remixes where they don't sound anything like the originals. And it's kind of hilarious to me. I think it's so funny. I'm like, this is just another song. But no, the bass. The bass line is kind of influenced by the original. Like, is it, like, this is just another song? So. So Orville didn't, like, the first run. To tell Sasha that. That, like, no, this isn't good enough is beyond the meme. [00:33:39] Speaker A: So at this. At this point, Sasha was already the guy, right, for Belfast. [00:33:45] Speaker B: So Orbital's Belfast came out on the Green album, which came out in 1991. Bell Funk was released on the expanded AP in 99. In 91, Orbital was on top of the electronic world. Sasha was not. Sasha was getting started. Now switch the tables and, like, ain't no way. Or was going to turn down a Sasha remix no matter what he want. He could fart into a microphone for nine minutes. They'll. They'll press it on vinyl. I'll tell you right now, that's how big of a deal this guy is. People worship him. It's. It's. [00:34:21] Speaker A: It's odd about Belfunk, so I didn't find this one as exciting as Expander, certainly, but it's probably more sonically interesting if that makes sense. I feel like there was like some like really, really neat things going on in there. [00:34:39] Speaker B: He has a lot of grindy, grimy bass. Like he's got like cool bass lines. The synth piano that drops in is pretty lovely. [00:34:49] Speaker A: I was gonna say there's some really interesting like, really like, like soundscape throughout this one. And there's really no drums until the 8 minute mark when this like buzzy synth kind of just like creeps in and just drives the song all the way home. After Belfont is Rabbit Tweed. So I love the drums on this one. Yeah. Honestly, probably some of the best I can recall while doing research for the show. I mean up there with like Fat Boy, Slip Slim. Yeah, I was truly blown away. And this one actually reminds me of Hybrid in that it's very cinematic, especially when you have the organ and the strings drop in around the 3 1/2 minute mark. [00:35:35] Speaker B: It's also the broken beat. The broken beat. It's the breaks. Progressive breaks. [00:35:42] Speaker A: Yeah. That really. I, I just really, really connected with the drums on, on Rabbit we. But the probably my favorite song on the album is. Is Baja. Oh man. [00:35:54] Speaker B: Baja is a glorious journey. [00:35:58] Speaker A: Dude. [00:35:58] Speaker B: Isn't it beautiful? [00:36:00] Speaker A: It was just. I listened to it on the drive home today and. [00:36:06] Speaker B: Oh, beautiful drive home song. Perfect. [00:36:09] Speaker A: It's kick ass. [00:36:12] Speaker B: Like it's so good. [00:36:13] Speaker A: It's fantastic. Like the drums, the synths, everything's just firing on all cylinders. And what a way to end this extended play. [00:36:23] Speaker B: Yeah, I think it's glorious. Baja is truly beautiful. [00:36:27] Speaker A: So last week we talked about how Little Fluffily Clouds, Little Fluffy Clouds by the Orb was the comedown song right after. From a night night on the town. Come down, relaxing. At what point of the night is Sasha being played? [00:36:45] Speaker B: So think about Sasha. Sasha plays all night. I like that Sasha plays all night. I don't know how best to put it, but Sasha plays all night, baby. He's not your. Like, you know, there's an opener, there's a mid. There's like a. The headliner and then you know, and there's the. At the party and this and that. It's Sasha all night long. He's been known for very long sets, especially him and Digweed when they're. When they're trading off 8 to 10 hours. I think Digweed has a running bet with like Danny Tanaglia of like the longest DJ sets ever. And those are approaching 30 hours. Just nonstop, just Going, going, going. Now, that doesn't mean that everything is just crazy, crazy dance music all the time. What he's doing is he's creating an atmosphere. He's a curator. He's curating your evening. All he's trying to do is hold the floor. In doing so, you know the, the DJ credo, like playing what you want to hear, but also something you didn't know you needed to hear. Creating this euphoria of something special. I've seen him a couple times. I saw him and Digweed in Miami. I saw Sasha in Orlando, and he was sending music around the room. And when I say around the room, I do mean. So there's a 5.1, like Dolby thing where he was able to send samples like soaring around the room, like around her head. It was really wild. [00:38:22] Speaker A: One of the things that kind of I read on his Wikipedia page was that he attributes his success to his technical skill and ability to, quote, unquote, connect with his dancers. How does one connect with their dancers as a dj? How do you. Can you elaborate on that? [00:38:40] Speaker B: If it's, if I'm interpreting what Sasha is saying, he is washing the floor, the floor that people are dancing upon, and he's seeing what they are dancing to and he is elaborating upon that or elevating that into like. But maybe try this, you know, like, maybe try this, maybe try that. Have you considered this? Maybe we don't have to have two speakers. Maybe you have four and the music can soar around you in a 360 degree angle. Maybe this dancing that we do is a, is a, an experience. And it's, it's an experience to see. To see, to listen to him play. Like, let's, let's go see what heaven looks like. Let's go. Let's approach nirvana together. If you're with me. And if you ask him that, he'd say no, I never thought about that. But there's something special about Sasha. There's something going on here. There's something going on here, dude. [00:39:43] Speaker A: Well, this kind of, this kind of leads into probably my, my two final points, but. So your DJ name was Elijah, right? [00:39:54] Speaker B: It was, yeah. [00:39:56] Speaker A: So one name, Elijah. Sasha did. Being a former part time spotty boy, did your, did your love of Sasha's music, did that influence you as you were starting off, kind of finding your own identity as a dj, or did you discover Elijah before Sasha? Where did that fall into place? That's what I was thinking of in listening to this. [00:40:26] Speaker B: I came up with the name Elijah before, before I discovered Sasha, I think. Okay, but I do like the one end thing. Maybe we're both just big fans of Cher, I don't know. But, but there was one thing like where I, I, I had downloaded a really shitty copy of a Sasha mix and it was just some guy in the microphone beforehand saying like, tonight is every music fan and club goers dream come true. Tonight you get to match the beat of your heart with a beat from Sasha. I'm like, so maybe it's easier just like leave it, drop the dj. It's cleaner. Like the Facebook, you know, like the mysterious mystery behind your Persona or whatever is very interesting to me. [00:41:21] Speaker A: So even though he's. This isn't technically trance as we kind of saw with like, with Paul Paul vd, I, I'm like really into those like keyboard driven arpeggiated arpeggio, arpeggio I. [00:41:37] Speaker B: Thought you would know. [00:41:40] Speaker A: And this was like right in that wheelhouse. And one, I will honestly like probably return to like tomorrow. And final note, Sasha's remix of Ray of Light by Madonna is just, is nuts. Like that song is seriously the dookie. That's, that's two. In an episode that usually doesn't happen. Do you have the time to listen to me whine about nothing and everything all at once? I am one of those melodramatic fools. [00:42:31] Speaker B: Neurotic to the bone, no doubt about it. [00:42:38] Speaker A: Sometimes I give myself the, the creeps. Sometimes my mind plays tricks on me. So my album this week was Green Days Dookie, which came out on February 1, 1994, about 29, almost 29 years ago next month. Elliot, what did you think of Dookie? [00:43:19] Speaker B: Oh man. Okay, well, I dove in and I know Green Day, you know, through cultural osmosis. Have you talked about us? [00:43:29] Speaker A: Yeah, and it kind of just always been there, you know, you know, like. [00:43:33] Speaker B: Yeah, yeah, they've just been around. So I listened to it and like, and I was like, okay, yeah, yeah, sounds like Green Day. And then, and then the hits started rolling. Oh yeah. And I was like, okay, why, why wasn't I the biggest Green Day fan ever? Because this is fun as like these songs are awesome. And I'm like pumped up and I'm feeling good. And even though they're talking about some weird, I really dug it a great deal. Like some of like the call and responsive. Like I was the Clash and like, and I was wondering like, you know, like, oh, where are their influences? Blah blah, blah. When did they show up and like how influenced or how, how influential are Green Day? So I'm very excited. I want to ask you about like, that it's three people, right? [00:44:19] Speaker A: Yes. So. [00:44:20] Speaker B: And like, I want to ask about like, like, does three people. People give you more like, power somehow like, like, as opposed to like four or five? Like, somehow like the. I had to assume, like, they just, they're all like tight enough to like, be so in sync that like, they're just figuring it out so quickly because the tempos are fast, the drummer is playing that, that piccolo snare like a machine gun and the, the hats are always open. I'm very curious what you think about this one, but I dogged the hell out of it, man. There's some absolute fire ass hits on this one. [00:44:57] Speaker A: Oh, man. Well, I'm happy to hear, I'm happy to hear you. You, you enjoyed it. And we're gonna get into like all those things because I have notes for days. [00:45:08] Speaker B: Go on, go on. [00:45:09] Speaker A: I. I am John Doe from seven now, so. [00:45:13] Speaker B: Oh, boy, here we go. [00:45:14] Speaker A: All right, so Billy Joe Armstrong and Mike Dirndt met in elementary school in the town of Rodeo. Now Rodeo is a quote unquote rundown industrial town on the outskirts of San Francisco. In his book Sell out the major label feeding frenzy that swept punk, emo and hardcore 1994-2007, Dan Ozzie says that the Bay Area Quality Management District once deemed Rodeo, California as the most odoriferous community due to the smell of all the oil refineries. So. So these guys are from a town known for its odor and needless to say, they were hungry to get out. Billy Joe and Mike Dirt, they. They found. They start a band called Sweet Children and they're. It's kind of like a garage rock, 60s pop, but with punk energy type band. You can listen to some of their demos. There's. They. They're out there. They very much sound like Green Day. Like, there's no mistaking Billy Joe Armstrong's voice. So these guys, they get. They start getting involved in the club scene in San Francisco. And the club is called 924 Gilman street which opened in 1986. So Gilman street is located in San Francisco's East Bay and it was open as a place for punks to hang out safely. It kind of was like the opposite of like punk ideals. Not a lot of aggression, not a lot of like leather spikes to studs or anything going on there. They had signs posted that said no racism, homophobia, alcohol, drugs, fighting or stage diving. So it was kind of, it was kind of like a safe space for. For San Francisco punks. And that's where Green Day really, really came up. And I bring up Gilman street because it's kind of important to the whole dude, spooky story. [00:47:24] Speaker B: Okay. [00:47:26] Speaker A: So the big band to come out of like the Gilman scene was Operation Ivy and they're actually led that they actually had Tim Armstrong and Matt Freeman from Rancid. [00:47:39] Speaker B: Okay. I'm familiar with Ranson. I've seen the Operation IB T shirts. [00:47:43] Speaker A: Yeah, it's like the, it's like a black and white, like a detective looking guy, kind of iconic logo. They were only a band for like two or three years. [00:47:51] Speaker B: Big fan of Ransom, by the way. [00:47:52] Speaker A: Yeah, like incredibly influential. So Green Day's first show as green day was May 28, 1989. And they were, they opened for Operation Ivy. It was Operations Ivy's last show. So it was kind of. Oh, like Green Day kind of stepping. [00:48:11] Speaker B: Into baton being passed. Yes. [00:48:14] Speaker A: Oh, beautifully, beautifully worded. So like I said. So they changed their name from Sweet Children to Green Day based on an experience of smoking. Smoking weed all day. So that's where the band aid comes. [00:48:29] Speaker B: Green Day. I'm so stupid. I didn't know. I didn't know. I didn't even, I didn't even put that together. I also don't know why Sasha is called Sasha. Yeah, so. [00:48:40] Speaker A: And so what really made Green Day stand out is, you know, they were a punk band. They played loud, fast. They didn't sing about things that punk bands normally sung about. They didn't sing about politics or, or, or, or aggression or anything. They sung about, you know, girls, you know, being bored, masturbation, you know, just kind of some really. I don't want to say weird, but just different things. You know, what was really neat is in my research I found that the fact that they, they sang about these different, you know, subjects, it kind of allowed. It kind of attracted girls to like the band, you know, and not saying, not saying that punk is, or I shouldn't say even just say punk, but not saying. Rock music is predominantly something that, you know, young men gravitate towards, but it's a big part of it. [00:49:37] Speaker B: You know, unfortunately, there's a certain like, yeah, masculine rebellion kind of thing going on. [00:49:45] Speaker A: Exactly. Yeah. But with these, with these like, honestly, kind of like borderline like romantic songs that Billy Joe was writing, it kind of like brought teenage girls into the scene. [00:49:58] Speaker B: Which doesn't hurt that he's a snack either, right? [00:50:01] Speaker A: Dude, all these, you know, all of them are kind of, kind of cuties, you know, Kitty Pies, Cutie Pies. So, yes, so. So you had this band who were, you know, influenced by everyone from the Beatles and Elvis to the Clash and the Ramones. And so they were, they were kind of, you know, they're. It's like, it's like the romantic sensibilities with the hard edge of punk. And I don't think that had been done yet, you know. Wow. And what's, and what's really neat is so Dookie comes out in 1994 and February 1994. Kurt Cobain passes away in April 1994. Oh, right. So what Ozzy says. And another really fantastic author that I read for the show, Ian Winwood, his book Smash, Green Day, the Offspring, Bad Religion, no effects in the 90s, punk explosion. What they kind of, what their kind of thesis is, is like, you know, Nirvana kind of opened the door for major labels to start mining the underground scene, you know, and looking for that new Nirvana, you know, looking for that hard band that wrote catchy songs, you know, and that's. Nirvana kind of opened the door for a band like Green Day to become a band like Green Day, if that makes sense. [00:51:41] Speaker B: Interesting. Interesting. [00:51:43] Speaker A: Wow. It's. It's a really great, really neat story. So Green Day was signed this, this record label called Lookout Records by, by all accounts could not keep up with the demand for Green Day. For Green Day fans, like, they just could not, they couldn't get their records out there. Like, like there's stories of like Green Day would, you know, play a sold out show and, and fans would be like, hey, we want to buy your record, but I can't find it at the store. And they're like, oh yeah, you know, we just. There's nothing we can do about it. So Green Day hires, hires a manager that gets them out of their contract with Lookout. Basically they said, look, y'all can keep those first two Green Day albums that they put out with Lookout and we're just gonna go get a major label contract. So they connected. It was. Jeff Saltzman was one half of the managers. He gave Green Day's demo to Rob Cavalo, who worked for Warner Brothers Records. And this demo included she Standout Track and Basket, Absolutely. And Basket Case. And so Cavalo was blown away and went to visit the guys in their basement apartment in Berkeley, California. Got to meet him. And I love the story. I. The behind the Music episode for Green day is on YouTube. So it was awesome to revisit that. And in it they're kind of like, yeah, we were just kind of sizing each other up. And Rob Cavallo, he's like, they learned that, you know, I could play every Beatles song on guitar. And so they tested me. He was like, they rolled me a joint and started, like, naming off Beatles songs to see if I knew how to play them. And he was like, I nailed it, you know, and so. But then he says, like, he went to the airport and was so stoned that he missed his flight. So. [00:53:48] Speaker B: Yeah. [00:53:51] Speaker A: But in the end, Green Day signed with Rob Cavallo. I think he's produced every album they've put out since. And the album they produced is Dookie. [00:54:01] Speaker B: Tell me about this producer. He's gone to some great things, right? [00:54:04] Speaker A: Rob Cavallo, he. He's an Oscar winner. [00:54:08] Speaker B: Oscar winner, yes. [00:54:11] Speaker A: Because he produced the Tarzan soundtrack. Which one of them? [00:54:17] Speaker B: Yeah. Oh, my goodness. [00:54:19] Speaker A: You'll be. I think it's. You'll be in my heart. He. [00:54:24] Speaker B: Yeah, he. [00:54:25] Speaker A: Homeboy has an Oscar. He's fantastic. And you know, like, he's very unassuming. Like, you know, looking at him, you would not think that he'd be like the guy that, you know, the punks in Green Day would. Would have picked. But I love that he's produced former Subjects, Go Goo Dolls, Dizzy, up, the Girl. [00:54:43] Speaker B: Yep. [00:54:44] Speaker A: He did Green. He did Green Day's Dookie, Insomniac, Nimrod, American Idiot, My Chemical Romance. This guy's kind of just. He's crushed. He's just crushed. Good for you, Rob Cavallo. [00:54:55] Speaker B: Yeah, far out. Now, now, when a band like this comes into a. A studio like this and like, has a, you know, high level producer, do you think they're willy nilly with it or. They did. They. Did they have their songs written and ready to go? [00:55:12] Speaker A: They had their songs written and ready to go. And they were, they were tight, I. [00:55:16] Speaker B: Think, even on their third album. [00:55:20] Speaker A: Oh, yeah. Like, I think the main thing that they did was get Billy Joe's guitar sounds. So Rob Cavallo talked about they just like lined up a bunch of amps for him to try and they settled on like a Marshall amplifier. [00:55:36] Speaker B: Sure. [00:55:37] Speaker A: What an amp. Because the guitars on this record just sound crispy and just out of this world. Good. [00:55:46] Speaker B: That's delicious. [00:55:48] Speaker A: But yeah, so I think they said, like, when they recorded their first two albums, which one of them is called Kerplunk, and the first one is Escaping Me, they had like a 700, like $750 budget, if I'm not mistaken. [00:56:03] Speaker B: $750. Oh my God. [00:56:08] Speaker A: And for. For Dookie. They had the 100,000, 150,000 or something like that. [00:56:13] Speaker B: Far out. How do you. How do you feel about the. The, like, an album of this prestige being called Dookie? [00:56:23] Speaker A: I. It's kind of like an album, like the Blue Album being called the Blue Album. You know, it's just like. It's kind of unassuming, throwaway, like. [00:56:36] Speaker B: Yeah, we don't have time to call it something. [00:56:39] Speaker A: I think the band. I think they named it Dookie because, like, they all had diarrhea at one point. [00:56:43] Speaker B: That's what I read too, man. [00:56:46] Speaker A: I wanted to get back to the Gilman street thing and why I brought that. So Green Day started at this, like, punk San Francisco punk mecca. They were embraced by the community when they signed to a major league. They signed to Warner Bros. Reprise with Rob Caballo. They were outcasts. [00:57:03] Speaker B: Got it. [00:57:05] Speaker A: They were banned from Gilman Street. Gilman street didn't want their punk that. That punk culture exploited for money, which is what they felt Green Day was doing, you know, and which I. I mean, I understand it, but at the same time, I'm like. I kind of. I don't know. I mean, the Sexistles were assigned to a major label, you know, like, so with a Clash, you know, they were. They were banned from Green, from. From their home turf. A lot of, like, the dialogue. A lot of the. During this time, I read, like, Rolling stone pieces around 1994 was. How do you feel about selling out? Like, are you a sellout? You know? Like, you know, do you regret selling out and signing to a major? And that. It's so interesting that that is what a lot of. So many people focused on was the idea of, quote, unquote, selling out, like. [00:57:56] Speaker B: Anymore to be like, well, why is Green Day selling, you know, coffee pods for your. Your Keurig or whatever? Like, yeah, like, I don't know. It's so the norm now. Yeah. [00:58:09] Speaker A: You know, and. And that's what. That's what I think. This album is so special and, you know, in one of the many ways, you know, like in. In the. Behind the Music, like they say, like, you know, we didn't sell out for money, which. Come on, it's okay if you did, you know, like, get that money, you know, like, you know, if you're. If you're as gifted as you are, as talented as you are, and you can, you know, support yourself with your art, you know, I'm not gonna think anything less of someone, like, yeah, go for it. But they said, you know, like, we believed in our Music so much that, you know, we knew that the underground had taken us as far as it could go, and we wanted our music, you know, to do more, you know. [00:58:51] Speaker B: Sure. Team Green Day and that argument, honestly, like. Yeah, what are you talking about? What are you talking about? [00:58:57] Speaker A: Yeah, I mean, to the point where, like, their, Their, their indie record label could not get their records out to people. Link. [00:59:04] Speaker B: It's. Is the music less good? Of course. Is it less of quality if more people hear it? Like, not necessarily, no. Yeah, but, like, it's more exclusive. Sure. So then what. Who are you really fighting against? You want the exclusivity, you know, and it's mad that other people get to know your friends. That's what it is. [00:59:26] Speaker A: Yeah, exactly. And I bring up Nirvana again because for alternative rock, they were just everything in the 90s, you know, they opened so many doors. The idea of selling out to Kurt Cobain, you know, he could not, you know, that was everything to him. You know, staying true to his punk roots, to his underground roots, like, that was everything to that man, you know, and he took that very seriously, to the point where, like, you know, he just, it just like, ate away him the fact, like, the idea of selling out. But Nirvana signing to Geffen made it okay. Well, like, I, I mean, I, I, I wonder if in, like, Green Day's mind, they're like, okay, well, Nirvana came from the underground and they did it, you know, maybe, you know, we could find success doing it too, even though it, like, tortured Kurt Cobain, you know, signing to a major label. Does that make sense? [01:00:27] Speaker B: It does. It does. Yeah. Like, like, like, well, they made a deal with the devil, and that's so. And they're the close band in the world, so maybe we could do that too, and not lose clout. [01:00:39] Speaker A: Yeah, like, like, still be, still write enduring songs that mean something to us, you know, like, and it's just so interesting how that, how that changed in three years, like, from when Nirvana signed and then when Green Day signed. It's just the parallels are just a really, really, really fascinating between the two bands because of previous episode. The Offspring, like, the Offspring came out with Smash in 1994 as well, you know. And, you know, in, In Rolling Stone, they say, like, punk, punk rock is profitable again, you know, because you had these two band, two, These two rock bands with, like, punk rock ethos, you know, punk rock, like, roots playing their, Their brand of, of punk, you know, and because of the success of dookie bands in that scene where, where discovered, like, no Effects, you know, rancid independent labels were able to, you know, sell records like, like Smash by the Offspring is. Well, for, For a Time was the highest selling independent release from a band, you know, and it wasn't just Green Day selling out to a major label. Oh, God. You know, it was, you know, it was like Green Day being out here introducing these kids to punk rock by playing this, like, fast, hard, edgy, quote unquote music. And those kids being like, well, I want more of this. Where can I find. I'm going to look at, you know, Lookout Records. I'm going to look at Epitaph and Fatwreck Records and find these other bands. And so it just it. To say it was a game changer is kind of like an understatement. [01:02:26] Speaker B: But I, but I really enjoyed Dookie. The name's ridiculous. It's about diarrhea. A lot of open hats, drummers on point. With that piccolo snare which I love so much, I really, really enjoyed it. I think in Longview they say Take me to paradise. Oh, no, sorry. Take me away to paradise. [01:02:50] Speaker A: That's it. Yeah. [01:02:51] Speaker B: All right. [01:02:51] Speaker A: And then there's welcome to paradise, the. [01:02:54] Speaker B: Immediate next song, which I thought was beautiful. And I was like, is this a concept album? And I'm like, oh, tell me that. Like that long view is right here. Take me better Paradise. And then welcome to paradise is side B. But I thought that was really cool, like, as a. Because I'm an album guy and I like that, like, motif. Really enjoyed the hell out of that. [01:03:18] Speaker A: See, I, I, I missed that. Thank you for, for bringing that to my, for pointing that out to me. That, that's incredible. [01:03:25] Speaker B: Taking me away to paradise welcome to paradise like, boom. Like it's this next song. It's. You've arrived. It's kind of interesting. Like, so they're telling a story with the track listing, which they obsess about. I think it's pretty interesting. Yeah, it's cool. [01:03:42] Speaker A: On welcome to paradise, you can got Mike D, the bases just shining on the bass guitar. Like, there's not enough. Like, I love this album for a lot of reasons, and one of them is the fact that they have like a couple different bass solos, which you don't really see a lot of. [01:04:04] Speaker B: Yeah, yeah. [01:04:05] Speaker A: Amazing iconic bass solo. [01:04:08] Speaker B: Yeah, absolutely. [01:04:09] Speaker A: I thought Pulling Teeth was a really interesting one. It's, it's practically a country song, you know, like, like if you were to drop like some like, steel guitar on there, like, I think it would work. It reminded me of Social Distortion, another California punk band that plays Like, a really interesting blend of country punk, cow punk, as they call it. [01:04:32] Speaker B: What's up with Billy Joe's cadence? [01:04:36] Speaker A: See, that's. You know, one of my favorite new podcasts is. It's called Band Splain, and it's on Spotify. And the host. [01:04:45] Speaker B: Are they stealing our. Because that sounds. [01:04:50] Speaker A: No. [01:04:51] Speaker B: Yet again, another podcast stealing our seas. Man. I know, but. [01:04:58] Speaker A: So one of my favorite new podcasts is called Baby Fans Playing. And the host on it, who's also. Her name is Yossi Salik. She asked Dan Ozzie, who was the. The guy from the. The sellout book I was talking about. She asked, like, what's up? What's up with Billy Joe's singing voice? [01:05:18] Speaker B: Yeah, yeah. What is it? Come on. [01:05:20] Speaker A: I remember. What. It's so funny you bring it up. One of my earliest memories of this band, I was talking. Talking to my mom. She was like, what are you listening to? I said, oh, Green Day. I was like, you know who they are? And she's like, yeah, that's that guy who pretends he's British. And I was like, no, he's not. You know, but. And I think I read a quote where Billy Joe was like, I'm an American guy who's trying to sing in, like, a British guy who's trying to sing like an American guy. [01:05:50] Speaker B: Oh, okay. [01:05:52] Speaker A: So I think he's. I think he's doing a definite, like, Joe Strummer from the Clash kind of thing. [01:05:58] Speaker B: He's kind of figuring it out. [01:06:00] Speaker A: Yeah. And I will say there's no one that sounds like him. [01:06:03] Speaker B: It'd be like me doing Malbolgia as a lead singer. [01:06:09] Speaker A: Spawn. [01:06:13] Speaker B: Do you have the time to listen to me whine? [01:06:18] Speaker A: Oh, I love that about the. [01:06:23] Speaker B: Jake. Careful. [01:06:24] Speaker A: I can't do it. So what is. Speaking of first memories, what's your first memory of Green Day? Like, when. [01:06:31] Speaker B: That. You like some school bus shit. Like, friends of friends, blah, blah, blah. Like, yeah, okay, this is. I clearly remember, like, oh, this is better than the other stuff, you know, like, this seems cool. Like. Like, you know, I don't want to judge many cool fighters here, but, like. Like, you know, it was decidedly cooler to, like, Green Day than Backstreet Boys or whatever or. Or. Or frankly, Google Dolls. Your precious Google Dolls. Like, it was because, like, all these guys, you know, this is, like, party music, you know, it's like, my parents are out of town, come over kind of music, you know? Like, yeah, it became, like, American Pie kind of stuff, you know, Like. Like that. That was. That was my high school Like. Like, that was my high school life. All these songs are like, you know, anthems of that. [01:07:22] Speaker A: I feel like I played Green Day when I first started playing guitar. And I feel like I played Green Day a couple years ago with our friend Reuben, who we talked about, you know, several times in the show. You know, the songs are. They're welcoming to any type of. Of listener, a teenager or a grown man. I think they're still. There's a lot to find here. Green Day just kind of kept on doing it. You know, they followed this one with Insomniac. And then later on, of course, they dropped the time of your life in 1997. And I. That's kind of. I think that might be the first. My first experience with Green Day because that was like every. Everyone's graduation song that year. [01:08:02] Speaker B: Yes. [01:08:05] Speaker A: And then, of course, in 2004, they kind of had the comeback of the decade with American Idiot, which. That album was huge. It spawned a Broadway musical. Just nuts success. So I've actually had the chance to see Green Day live. I saw them on the 21st century breakdown tour. Amazing show. At one point, I saw it in San Antonio. Like, they're famous in their concerts for picking, like, kids out of the audience and being like, hey, do you know three chords? Then you can play this song. So, like, they'll pick out, like, a basis, a drummer and a guitar sometimes, and they'll play, like, one of their easier songs. In this. This show, Billy Joe was like, we're in Texas. Does anyone know any Pantera, you know, previous episode? And this kid, like, put. Raises her hand and he goes, are you serious? You know Pantera? Okay, we'll get up here. And so Billy Joe puts his guitar on this, like, scrawny kid, and he's just like, go ahead, play Pantera. And this kid just starts ripping Cowboys from Hell really well, he stands on. He stands on the monitor and he's just, like, shredding this song. And Green Day, they're just. The band is. They're just. You know, I feel like when you play together for 30 years, like, you just pick up on things. And so the band starts following him, you know, and they're playing Pantera for a couple bars, and, yeah, everyone loses their mind. And Billy Joe was like, you know, I was at the Alamo today, and I bought this. I bought this sheriff pin. It said Billy Joe. And that was awesome. I want you to have it. And he gave the. He gave the pin to the. To the kid and, you know, and just really seem. They all Seem just like really like kind fan forward artists, musicians, and to be as big as they are and to still have that, that mindset, sellout or no, I think that is incredibly punk rock. Yeah. So I've, I've always really enjoyed Green Day. My favorite band probably wouldn't have been that successful without them. Blink182 from down the road in San Diego. Three piece, another three piece. I. Whether I realize it or not, I have, I have a lot to thank Green Day for, so. And I'm really happy you like the album. [01:10:25] Speaker B: I. I like that a great deal. I think I said. On a couple episodes ago, my brothers went to a Green Day show at, you know, over here at the Coda. And Green Day played for like three hours non stop, all hits. Three hours of hits. Their songs are two and a half minutes long. Yeah. Like, how many hits do you have to have? A lot. Like, like they said it was like one of the best churches you've ever seen in your entire life. So they're doing something right. And if any, if there's any cbgb, you know, deep, deep cut, Lower east side haters out there, fucking, you know, ease up because. Yeah, that's beautiful. I think that's fantastic. [01:11:14] Speaker A: Absolutely. And I mean, at the end of the day, if you can inspire someone to pick up a pair of drumsticks or a bass and a guitar and your music could lead them to the Ramones or the Clash. What more can you ask for? I think Green Day's done a lot. Done that for a lot of people. We would be remiss to not talk about the 1994 Woodstock. Before we go, are you familiar with this one? [01:11:41] Speaker B: And if Woodstock when. [01:11:43] Speaker A: So green day played 94 woodstock. And that's. It's the one where the crowd started throwing mud at them, but not the. [01:11:51] Speaker B: Not the, not the world changing, disastrous 99 1. [01:11:54] Speaker A: No, no, this is not. This is 94. The mud pit, where it wasn't as a much as a disaster as 99. [01:12:02] Speaker B: Like, oof. [01:12:03] Speaker A: No. @ least not that I know of. But this is the one where they play that people really feel they, you know, finally endured themselves to the masses at this show. You know, with this performance. It's the one where they're playing and the crowd starts throwing clumps of mud at them as they're playing. And they get covered. They get covered in mud. And at one point they just stop playing and just start throwing mud back at the crowd. And that's kind of like the thing that they say is like the Catalyst for. For them taking that superstar step, you know, because I. I meant to say, but Trey Cool is the drummer, and he's just such an entertaining musician and just fan. He's solid. Like, he's just. He's not necessarily very flashy. I mean, he's got, like. He's got like, the drum solo in, like, burnout, but he's not. He's just solid. [01:12:59] Speaker B: I have no qualms saying, like, as a drummer, like, that's. I've never. I've. I've never heard something like that before in my life. He is a machine gun on beat to the, like, nanosecond. Like, it's truly, truly amazingly impressive. Yeah. [01:13:17] Speaker A: One of the things we didn't really talk about Dookie, is some of the. I most iconic music videos of the 90s, I would argue, came from this one. You know, you got Basket Case. You have. When I come around Longview. Just really iconic videos that really are just a snapshot. And upon my research, I learned that all of these music videos were directed by the same guy. His name is Mark Core. Mark Core directed another iconic 90s music video by a band the following year, and it's a band that I'm very, very excited to talk about. Finally on the show, we are going to talk about 1995's tragic Kingdom no. By Ms. Gwen Stefani and no Doubt. Wow. [01:14:16] Speaker B: Really? [01:14:17] Speaker A: Yeah. [01:14:19] Speaker B: I'm a big old no Doubt fan. I'm not gonna lie. [01:14:23] Speaker A: So this is. This is a big one. You've got, just, according to Wikipedia, seven singles off this one. It's got Just a Girl. Spiderwebs. [01:14:33] Speaker B: Don't speak Spiderwebs. Forget it. Are you out of your mind? [01:14:36] Speaker A: So very excited to finally welcome Gwen. [01:14:40] Speaker B: Stefani and the boys to the show for my album. Since you're doing no doubt, in 1998, a band I think you're familiar with released an album called Moon Safari. I think we should cover that one finally. And the band is called Air. Parenthetical French band. Let's do Moon Safari. [01:15:05] Speaker A: Oh, by Air. Dude, I know you like it. I'm so. It's a. That's a perfect album. Like, it's. Here's my review now. [01:15:15] Speaker B: It's perfect as a companion piece to. To no Doubt. [01:15:22] Speaker A: Oh, I haven't. I haven't listened to it in the companion sense, but as a. As a standalone album, it's just. It's perfection. No doubt an error. We're. We're kicking off season three of Sipping Mimos with, you know, with the hits. Um. Yeah, thank you for listening to Elliot and I talk about Sasha and Green Day. I hope. I hope you enjoy these albums as much as we do. And send us an email. Tell us what your thoughts on On Dookie and the Expand Repeat were sipping. Mimospodmail.com yeah, drop us an email, send us an Instagram message. Tell us what you think. And if you want to hear us talk about an album of your choosing, I think that'd be fun. Until next time when you're gonna hear me talk about 10 things I hate about you for, like, 45 minutes. [01:16:11] Speaker B: Wait, wait, is that. Is that supplemental viewing? Do I need to watch that? [01:16:15] Speaker A: Absolutely. [01:16:17] Speaker B: Wait, I don't have. Oh, oh, Virgin Suicides. Watch that. Good luck. Best of luck watching that. [01:16:27] Speaker A: All right, well, thank you for listening to Sip and Mimos. If you've been listening for a while. Thank you. And if you just happen to find us, because you were looking for a podcast that talks about mixing mimosas in creative ways, welcome. And I hope you like talking about radio rock and electronica music. I. I think that's gonna do it for me. I am gonna go back to paradise. To borrow a phrase from Billy Joe. All right, man, well, until next time, stay sippin.