Lights, camera, silence on the set, take rolling, 3, 2, 1, I-
Riffology, yeah, Riffology, yeah.
Woo!
Hello.
I did a woo.
Yes, woo.
I have to say, that was one of the least appropriate Riffology intros you've done.
This is hardcore skate punk.
We're doing Suicidal Tendencies.
Suicidal Tendencies.
That's how you sing their band name.
Mike Muir will like sewers now.
He'll be like, no, don't like that.
Don't like that.
That's not my band name.
We're doing-
You're Neil.
Oh yeah, I'm Neil.
You're Chris.
Yeah.
We're Riffology.
Yeah.
Welcome.
No, welcomes.
I don't know whether-
Just welcome.
I noticed on YouTube.
Yeah.
Everybody says-
Hey guys.
Hey guys, welcome back to the channel.
Oh guys, what have I got to say?
And I'm like, I don't, I don't, just, hey, don't do the hey guys.
Just get into it.
Just, oh, they go, they do that, and then they pause a bit, and then they go, oh, let's
get right into it.
Yeah, just get into it in the first place.
Just get into it in the first place.
Just get on with it.
I don't need you to tell me about what you, I don't.
What about if we had sloth off the Goonies at the start of every episode?
Oh.
Hey, you guys.
And then we go into it like that, you see.
That would be pretty good.
That's what they should all do.
They should just do that.
For every channel.
Do you know, I don't have anything against the intros on YouTube, but it's just that they're
all the same.
And all of the thumbnails are the same.
Yeah, yeah, yeah, yeah, yeah.
Do you know what I mean?
Everything is the same.
Yeah.
On YouTube.
And it's like, because one person's been really successful.
Yeah, they all do it.
Everyone goes, well, I will just do that.
So it's a nice photo with them off to the side, then the big, bold text.
That's it.
Looking a bit shocked.
Yeah, yeah, yeah, yeah.
With a clickbait headline, and then it opens, and then, hey, guys, welcome back to the channel.
Yeah.
Even if it's the first episode.
You know, what?
You dickhead.
What are you doing?
And this is actually our second try at this, isn't it?
Oh, do you want to tell everybody what happened?
I think it was God.
It is God.
Definitely God.
We had a try last night.
Which was today's Monday.
I would say Monday afternoon, although it's dark.
It's quarter past four.
Yeah, so it's getting into evening, isn't it?
It's dark.
Yeah.
It's the gloaming.
Gloaming.
Yeah.
It is gloomy.
Yeah.
So that's what's happening.
And last night, so Sunday night, we came, and we started doing the podcast, and we did
the editing bit, and we did a good faff.
I think we had a good hour and a half faff last night.
Well, you're doing another podcast, aren't you?
Yes.
So we had to go and faff and do that.
Yeah, yeah, yeah.
And then we ate all the fruit pastels and drank all the Diet Coke.
And then the problem was, is that I think the fruit pastels were the wrong colour.
They were green fruit pastels, which we've talked about many times before, are inadequate
for this show.
You have to have the red ones.
We do.
Red and black ones.
But we did have our bongo cokes.
We did.
It just sounds so bad, didn't it?
We hid in the studio, because people steal stuff.
Yeah.
We hid our Coke zeros, actually, under the bongos.
And there was one in each bongo.
There was.
I've done it again, Lord.
Have you done it for the net ready?
Because what we do is we get now, because when we get the shop, there's a four-pack, because
it's less than a pound of can then.
Yeah.
Whereas if you get a single can, it's actually like getting towards 130, 135 now, which isn't
good enough.
No.
So if we get a four-pack, it means we've got the two cokes for the night, and then we've
got two cokes for the bongos.
It's a cost of living, isn't it?
That's what it is.
Screw you, Rachel Reeves.
We're going to do this.
But we were in last night, and the power kept cutting off, didn't it?
Yeah, yeah.
And then it was all terrible.
I think we recorded about seven minutes.
We did, and then the power went off, and then we did it again, and then we couldn't
get Pro Tools working, and then the light started buzzing, and then we just went home.
Yeah.
That's basically...
But we've come back today.
We have come back.
The light stopped buzzing.
And it's working.
We've got the right colour fruit pastels.
Yeah.
And we've replenished the bongo cokes.
We're going to do it for next time.
We are.
And we're going to cover one of my favourite albums.
Yeah.
There's a few albums that are...
Lots of these albums that we do, I think are just brilliant.
I think they're absolutely brilliant.
This is one that I think is brilliant, but I've also smashed, like absolutely smashed.
We're up there.
There's a handful, probably like five or six records that I listen to really regularly still
today.
This is one of my decorating records.
Is it?
So if I've got...
We've talked about this before, but I quite like decorating the house.
You know, when the family...
We are out.
Yeah.
I'll go and get my little...
I've got this little...
It's a really old Sonos move, right?
And it's got like a battery in it.
Mm.
So I take it into the room and it sounds quite good.
So I take it in the room and then I blast out music while I'm painting.
And I like...
It's quite mindful.
I don't like the word mindful, but I quite like it.
It's quite...
You know, it's this...
I don't know, therapeutic.
Yeah.
It's quite...
So painting happens at the speed it happens.
Yeah, yeah, yeah.
And you just kind of...
You know what I mean?
It's like...
It's a bit brainless.
It's like, I'm going to do all these things.
I'm going to sand these things.
I'm going to clean these bits down.
I'm going to paint it.
And it's nice and orderly.
This is one of the albums that I quite often...
I like Back in Black as well.
Yeah, yeah, yeah.
Like this one.
Appetite for Destruction is another one.
Really?
I'll do that.
So you know when you listen to those albums?
Because I've known this thing goes two ways.
Yeah.
So when you listen to those albums, do you imagine yourself painting?
Oh, no.
That doesn't work like that.
It doesn't work that way around.
No, no, no, no.
It doesn't.
Oh, that's interesting.
Often, like when I listen to this album, like now, when I was listening to this album for prep,
I guess it's weird because an album you know really, really well.
And then to listen to it through thinking, how do I talk about this record?
Yeah.
I remember we used to play, there's my mate Adrian and my mate Anthony.
Mad Tony, we've talked about.
Mad Tony, yeah, yeah.
And we used to play board games.
We would have been, I don't know, 12, 13, 14, 15, that kind of age.
And we used to go around to my mate Adrian's house and we used to go and play board games.
All kinds of board games.
And this would have been an album that we, we would have had on in that, in that, in
that time.
And the, and the, and actually the album before this as well.
Yeah.
Suicidal Tendencies were a big part of our music.
This is, for me, this is where they peaked, right?
Lights, Camera, Revolution was where they peaked.
Yeah.
Because they'd been around about eight years before this.
Is that right?
Yeah.
They were kind of a skate band.
They were kind of a skate punk band.
They had quite a nasty sound.
I think kind of that, you know, that hardcore, nasty sound that your mom and dad wouldn't
like.
Yeah.
That kind of, I think a lot of, a lot of thrash came from that skate punk kind of, you know,
that kind of, that kind of energy, but it had that kind of like dry as a bone punk kind
of, you know, no reverb, just, do you know what I mean?
Just kind of hard sounding.
Yeah.
Record, you know, it's kind of menacing almost, right?
And I think it's interesting because if you listen to the back catalogue of, of ST, you
can kind of hear the steps.
Every record gets a little bit more consumable, a little bit more consumable.
The energy level stage, I think for this record, this was the first one where Rob Trujillo
played on it.
Gotcha.
Yeah.
Off of Metallica.
Metallica.
Yeah.
And he was in, there was a side project called Infectious Grooves as well, which he did with
Mike Muir, but yeah, that, for me, this is like just uber peak.
Yeah.
Like this one, it's still got that like menacing kind of like non-conforming punk edge
to it.
It's still kind of quite, you know, I think Mike's got something to say.
Yeah.
He's pretty angry at the world and he's, you know what I mean?
He's pretty, the lyrics are really cool on this record.
But the production, it's really cool.
It's Mark Dodson was the producer and then the band too, but yeah, the production I think
is pretty cool.
It's got like this thrash, it's where thrash went, if you like.
Yeah.
It's kind of got like a thrashy vibe to it.
But like for hardcore skate punk, didn't sound like this.
Right, right.
This was kind of like a bigger, thicker production to it, which is a little bit more, I don't
know, I think it was, I think it let people enjoy them a little bit more, like it broadened
their audience.
Yeah.
And it's, one of the things that's really interesting about it is that Mike Muir would later go on
to say that like, it was this record that broke them, right?
You Can't Bring Me Down, absolutely broke.
Yeah.
Because they had a really big hit with Institutionalized earlier on, but You Can't Bring Me Down was
like another, and it was all over MTV.
I was going to say it was Beavis and Butthead.
Beavis and Butthead, yeah, all of that stuff.
It was, it was a big deal.
A lot of people discovered ST from this record.
Yeah.
And Mike Muir would later go on to say that like, he felt that they'd sold out.
He felt that like from, from his perspective, they were an underground band.
Yes.
And all of a sudden they were in, they, like for two or three years off the back of this
record, they were in stadiums.
They weren't headlining stadiums, but they were opening for Metallica.
They were opening for, you know, these, these massive bands.
They were, yeah, they would open for huge bands on arena tours.
And Mike Muir would later go on and go like, do you know what?
That wasn't, wasn't us.
Yeah.
We were the underground band.
We were the, yeah, exactly.
And then that's, it's interesting because that's where their career kind of almost went
like Mike almost killed their career.
It kind of almost went, yeah, no, and then they released a bunch of tracks that were just
like harsher than harsh.
They kind of went right back to that harsh skate punk sound, but it's interesting to me.
And so they did that and almost like, like suffocated ST, but then in parallel to that
we're doing, um, uh, infectious grooves, which is like, that's the funky stuff.
Yeah.
Funky and groovy.
And I, and I think, I mean, that was, I mean, you played some of that stuff and that's almost
got like that faith no more thing going on.
Yeah.
There was definitely that aspect to it.
Like Rob to heal it.
Rob, it's, it's funny listening to Rob play Metallica knowing this is where he came
from, you know, that kind of, but he's, he's got such bad.
That kind of funky, I don't know.
There's just some, he's, he's really cool bass player, Rob.
Yeah.
And, um, but yeah, I just think it's really interesting that, that like Mike was, you know,
that's not who we are.
We're not, do you know what I mean?
Like it kind of feels to me like Metallica always were destined to be this massive arena
band.
And there are other bands that you, you just think, um, I don't know, like Coldplay, right?
You think, you imagine Coldplay in a dingy little club somewhere.
It's not, do you know what I mean?
It's not quite right.
Well, it's ST.
You put them there.
That's where they're at home.
That's where they live.
ST in an arena were like fish out of water almost, you know, even though it was amazing.
If you ever read the reviews and see the footage of them, like they were brilliant.
But then if you see them, like there's a lovely footage of them at, um, at Rock City, um, and
Mike Muir just kind of like, he's like a gorilla, just kind of bounds around the stage.
And there's, um, there's just a really high energy gig.
Do you know what I mean?
It's full on.
Um, it's, it's, it's really fun as well because, uh, Ben Weinman from Dillinger is now their guitarist.
Oh, I didn't know that.
And if there's, that's the thing about it, cause suicidal sentences to me, in my brain,
they're a super group in my brain.
They're like, they're like all that.
But I didn't realize that that's just because it's the lineup has changed so much over the
years and they've just got different people as the story's gone on.
Yeah.
They did.
They, yeah.
I mean, I think for, for this era, it was pretty stable, stable-ish.
Um, I thought that's what it was.
It was, I always thought it was like all these bands that had then come together to create
suicidal sentences and that's not what it is.
No.
It's Mike Muir's baby.
Yeah.
If you like, it's kind of his band.
You kind of, when you hear them speak, kind of his band, but these people kind of come and
join and contribute and get involved.
You know, we've been in the band for eight years and I don't know how much longer we'll
be doing this band, but we got to go on with our lives after it's over with.
And if this is our claim to fame, then our lives are screwed up because this ain't got no meaning
as far as it comes to the real world and stuff.
Well, basically when it's talking about people say, well, what the suicidal lyrics about is
my world, but see, my world is the whole world.
And it's a lot of times people put me down for the way I see things, but they were never
there when I was a kid and they never were there when I went through things I did.
And before they can put down my world, they better take a walk inside my world.
And when they take a walk inside my world, they're going to see things differently.
And I'm not telling people to see things the way I do.
And I'm not saying, a lot of people say, you got a bad attitude.
I don't got a bad attitude.
I got the best attitude there is because I won't quit because I'm going on and I'm going
to do things.
And being on this show don't mean a lot to me, you know, it does to some other people.
And people always, when I say that, people get upset, but it's like, you know, I'm going
to be 40, I'm going to be 50 if I make it that far.
And there's a lot of things that are a lot more important.
And when you see things in the world and when you see people dying, people that get screwed
up that you care about, you're telling me it's important that you got like a song that
goes number one on the radio.
It don't mean a lot to me, you know?
Yeah, I think so.
I think, yeah, it's definitely Mike Muir's band.
But then you've got like, like I think on this record, you've got Rocky George, who did
the lead work.
Great player.
Oh, she was just epic.
I think.
Proper shredder.
Really good.
Yeah.
There's like, I think you can't bring me down particularly.
The lead work.
But it's not just because there's melody there as well.
Oh, yeah, yeah, yeah.
And there's riffs.
And it's not just pure shred.
It's, you know, there's like a real versatility to it.
You say that there's a melody to it, which a lot of hardcore bands and a lot of thrash
bands were not, they were like almost afraid to experiment with, I think.
Yeah, yeah.
And ST just kind of took it to that next level.
Loads of bands would do that in 90s, like for that early part of the 90s.
You had Metallica, even like Megadeth and Anthrax and Testament and all these others were,
the melody was just kind of, it was, you know, I guess the five years previous to that, like
the late 80s, especially in fast and extreme music, melody wasn't a big deal.
It was, you know, it was about how fast you could play, how aggressive you could play.
Yes.
Do you know what I mean?
It was about, it was about, you know, setting your stall out to be more aggressive and faster
than everybody else.
And then after the 90s, after that, after 90, you could see it kind of, like as bands started
to break and get like uber popular by including some like melodic bits in there.
Yeah, yeah.
And even like the death, I love thinking like Carcass and stuff were putting, there's a lot
of melody coming in there.
And then you had like Arch Enemy and that melodic, all of that stuff kind of followed on afterwards.
But yeah, I think it was, it's a just, it's a phenomenal line because you had, you had Mike
Muir on vocals and I love Mike's, there are bits in this like where, I love Mike's rants
where he kind of just breaks that into these rants.
They're phenomenal live.
There are bits that he, and I wonder if he did this on purpose, but there are bits in there
that just play so well to a live audience, a small, you know, like a thousand seater gig,
right, where the whole audience knows every word and they're kind of spitting them back.
Like the, the rant that he does, everyone knows every word.
Yes.
So they're all kind of saying it at the same time.
And he just kind of, it's, I think he's just epic.
And, and like some of the, some of the lyrics and some of the takes that he has on stuff and
he builds that into this story, like emotion number 13 is this kind of, you know, it was
this, uh, pushback really about trying to quantify humanity and, and trying to, you know, like,
like, so the, the, the concept is that, um, you know, eventually all of, all of our feelings
will have some kind of number or description next to them so that, you know, you can write
them down and like, if it's emotion number 13, it's just an emotion that might be happy,
it might be sad or whatever.
And he was, he just felt that was absurd.
Um, you had, um, you, you had like, yeah, you can't bring me down as well, which is, you
just epic.
You had, uh, bring me your money, which I was, you know, all about televangelists and stuff.
And the lyrics through all of these, all of these songs is, that's just, they're clever,
but without being, you know what I mean?
It's, they're not, um, not too clever.
No.
You don't need a degree to understand them.
Yeah, yeah, yeah, yeah.
They're just, I don't know, they're, for me, they're like really, they're storytelling and
clever at the same time.
And they make you think, oh yeah, that's clever, you know, as you, as you're kind of listening
to it.
Got something to say.
Yeah.
That's the bit that I, when I was listening to this, I was going, no, this, these, this
is a band that, particularly him, Mike, you know, with something to say, that's what
this is about.
I think you're right.
I think he's definitely got something to say.
The title was taken from two different songs.
One of them is like, Give It Revolution, and that's kind of why it's on the 4th of July.
And the way a lot of people look at things is like what's happening in the world and
Eastern Europe and stuff and all the freedom and things like that.
And with the suicidal thing is it's like there's a war that's going on, and all wars are not
fought with guns and they're not fought with fists.
There's a war and, you know, each person has to deal with.
And when we say Give It Revolution, it's not about politicians because there's no law that
can make you free.
Someone can't pass a law and say that I'm free.
That's not it.
You have to be free inside yourself and stuff.
And you can put me in any jail you want in the world and I'll still be free because I am who
I am and I believe in it and no one can change the way I think.
And I think freedom is something that's not like, OK, you're free now.
Go off and do it.
No, that's something that you have to gain for yourself, that you have to fight for.
And like I said, it doesn't have to be with fists, but that's it's like life's a war.
And, you know, you're going to have a lot of battles and sometimes you lose.
But the whole thing is when it's all said and done, you win the war.
And that's what Suicidal is about.
You have Rocky George on the lead.
He was just I think that combination of Mike and Rocky's is just phenomenal.
And the lead guitar work on this record is great.
Then you have Mike, Mike Clark for Rhythm Guitar.
Yeah, he he was in a side project called No Mercy.
But the rhythm is really like chuggy.
It's kind of like it doesn't feel like if you if you roll back to the early parts of their career.
Sounded punky.
Yeah.
That kind of, you know, that kind of jaggedy riff style that you get from from punk.
This feels different.
This feels quite weighty and chuggy.
I was going to say when I was listening to the back, the sort of background guitar, it was more like what prong do.
It was more like that sort of stuff.
Yeah, yeah.
There's definitely there is definitely a similar in the rhythm section.
Yeah, yeah, yeah.
With those those two.
Yeah, absolutely.
And then you have Robert Tuhilo, who this is the first record for Rob.
Weirdly.
And I might be wrong with this.
I'm sure somebody will.
People always tell me when I'm wrong.
I think he was credited on the album before.
So he might have done a bit.
He didn't.
He definitely didn't.
I saw an interview with him and he it was funny.
Like he said something like, you know, contrary to rumors, I didn't did not play on that record.
Right, right.
But he's credited on it.
Yes.
He was credited on the record.
Didn't play on it.
Not that I'm aware of anyway.
I think he then toured on it.
I think he did some live shows with it.
But this was the first one that he was he was on.
Well, everybody in the band when we started off before we weren't suicidal all came from different kind of music and stuff.
And with the stuff that we do, it's not like, you know, we're trying to be like a certain kind of music or whatever.
If people want to categories in one way, that's what they can do.
But we're just doing our whole thing and what's happening with the music is like, I mean, he slaps the bass and that's where it's at.
And that's what we do with our sound.
And it's just basically it's what we like.
He has a big I think looking back on it now, you can see the influence he has on on on the band here.
But yeah, he's I don't know, he's like a chameleon almost because he can just fit in and play like in just his ability to kind of go with the project, if you like, rather than enforce his like his one style.
I think he's, you know, like some people like a one trick pony and you can hear their style.
Yeah.
Not that that's necessarily a bad thing, because Dave Lombardo ended up playing the drums for for ST on World Gone Mad in 2016.
And you can hear it's Dave Lombardo playing.
Yeah.
I'm not saying that's a bad thing because it is really cool.
But what Rob Trujillo seems to do to me is kind of embody the project that makes sense what everybody's doing, the direction things are going in.
I think you probably still hear it's Rob Trujillo because he's got a really cool style.
But do you know what I mean?
He's not he's not he didn't make Metallica sound like ST.
And yeah, yeah, yeah, yeah.
Do you know what I mean?
He kind of is fitting in with the project.
And then you add RJ Herrera on drums.
Now, I really like his drumming on this record.
I think that yeah, thrash thrash for me thrash drumming is really important.
You can you can go a bit overboard if you're not careful.
Yeah, yeah, yeah.
And I don't think he does.
I think it's really beautifully placed.
It's the kind of drumming that if you can hear it, you notice it, it's kind of wrong.
Yeah, it's the sort of drumming that when you know it's right, you don't really know it's there.
It's just doing its thing.
It's kind of driving.
But then it's where it's where it's used, like the kind of stop start stuff and where it's like there are bits in this where it kind of develops into like a stomp.
It's like, but the drums are kind of, they become a bit more visible in that point because they're driving the change in the song.
You know, sorry, unlike me, I'm going a little bit off piste.
Not you.
You know, you've got like Mike Muir.
Mike Muir, when you listen to him speak, he's obviously got, he's a big personality, isn't he?
He is, yeah.
You know, if you walk in a room and Mike Muir's in there, you kind of know he's there.
Yeah.
You get the sense of that, that he's someone that's, you know, takes up space, if you like.
I wonder if, because you have a few bands where it revolves around a personality like that.
And I wonder if that's how the bands become so cohesive and tight.
Because they're, and I don't think it's like in a punitive sense, but there's almost that kind of like, you know, no, this is the identity of the band.
Like there's a leader.
There's a direction.
Yeah, I think that's it.
Yeah, yeah.
Yeah, I think you're right.
But someone with such a strong vision of what it is.
Yeah.
And that's why, you know, your Robs and your different people like that, they kind of fall into line with that vision.
I think you're right.
I think there are people that you see like that.
Yeah, one person I always think of when you think of that is Paddy.
I think Paddy's always got, he's got that vision.
Yeah.
Like, and it's, I think there's a skill, and I think Paddy's brilliant at this, but sometimes you see people, they've clearly got this vision and they just can't articulate it.
So they can't get people around them to join them because they can't, the vision's there, but they don't have the tools to describe it.
And I just think, I think it's such a rare skill to be able to, A, have that kind of vision of a project of where it's going to go.
I don't think it matters whether it's a musical project or any kind of project, but just to have that kind of vision of, you know, where it's going to go and what it's going to be.
Yeah.
But then be able to be articulate enough.
Yeah.
And storytell sufficiently to get people to go, yeah, we get, I get it.
I get what that's about.
Yeah, yeah, yeah.
I get what that's about, right.
And they might not be, you know, they might not have the same vision in their head, but they're close enough that they're coming, you know, they're like, yeah, I'm, I'm on this journey with you.
I'm with it.
Yeah.
Yeah, yeah, yeah, yeah.
Because there's some albums we've done where I think that is probably quite easy.
Yeah.
So, like Queensryche, Operation Minecraft.
Yeah.
Right?
Yeah.
I reckon that was pretty easy.
I reckon somebody's gone, hey, I've got this idea, this story, this dude, this is what happens to him.
Here's a story arc.
We're going to write some Queensryche.
It's similar, wasn't it, with that guy, Chris Summey, wasn't it?
The singer of Queensryche.
What was his name?
Tate.
Oh, Jeff Tate.
Jeff Tate.
Where did Chris from?
Yeah.
He's not a dissimilar personality.
Yeah, quite strong.
Yeah, yeah, yeah.
Quite strong personality and famously fell out with the, near the band.
Yeah, because there's two Queensryche right now, isn't there?
Yeah, basically, yeah.
It's like, what was the other band that was like that?
Wishbone Ash.
Yes, that's exactly what I was thinking of.
And it's Entombed as well.
Oh, Entombed the same.
Entombed AD.
Yeah.
And then you had...
Sepultura.
Sepultura that were called...
Went off to Soulfly.
They went off to Soulfly and then what actually was called Soul...
Sepultura wasn't really Sepultura, was they?
I think that stuff happens all the time.
Yeah, yeah.
But I do...
Yeah, I don't know.
I think there's definitely something there, isn't there?
When you've got somebody who's got a vision of a thing.
And it can go really wrong.
Well, I think about Guns N' Roses.
Yeah, yeah.
Where you've got Axl.
I think the band didn't have a vision.
The band were just playing rock and roll.
Yeah, yeah.
And then all of a sudden, Axl tasted success and then did that stupid double album of Use Your Illusion.
It should have been one album and they should have junked the rest.
But then, and then, sorry about that.
But then, yeah, and then he went off down the...
What if that's someone's favourite album who listens to this show, though?
Oh, I don't know.
Lots of people really like those albums.
And I'm like, there's some good stuff here.
Yeah, yeah, yeah.
There's some that's a bit...
It's not appetite, is it?
Somebody sold a double album and just filled it.
Yeah.
And I just think it shouldn't, it should have been Use Your Illusion.
Yeah.
And it shouldn't have had, there's a bunch of tracks on there.
There may be some B-sides.
Maybe there was like half another album there, a quarter of another album there.
Maybe if you worked some of that riffs around and fixed it up.
But it didn't have the same punch that Appetite did.
It was a more grandiose record.
Yeah.
But it was, I don't know.
And there's some like phenomenal bits on there.
But yeah, it clearly had the vision of this double album.
And I think, I don't know, somebody should have reeled him in a little bit.
Yeah.
But then you had Chinese Democracy, which is like a decade long, even longer.
Although the number of people that played on Chinese Democracy,
it's like you feel a small, you feel like a village hall with the number of...
A village hall?
Specifically a village hall?
Which one?
Which village hall?
Newton Solney.
Newton Solney Village Hall.
Linton Village Hall.
I think you could fill with ex-guitarist members, ex-Goods and Roses members.
But I guess the point is that there's, you know, when the vision goes wrong.
Yeah, yeah, yeah.
You know, so in some cases that is incredibly powerful.
But when you're behind, or when the person you're behind is misfiring a little bit.
Yeah, yeah.
Then you're 10 years later.
Yeah, and he really struggled, Axl.
Yeah.
He really struggled.
And they produced an album that was like, I mean, it was a bit crapper than Use Your Illusion 2.
And I think for 10 years, I expected something better than that.
Did I have, which one did Use Your Illusion 2?
Was that November Rain and all that?
Yeah, yeah.
I get them mixed up by Thinks, I think so, yeah.
Yeah.
I mean, there was Spaghetti Instant as well.
That was an album, wasn't it?
I like that.
Spaghetti Instant, I like it, but that was all covers and stuff, wasn't it?
Oh, was it?
Right.
I think so, yeah.
I don't really, yeah, just Appetite for me.
That's the one that I like.
It's difficult to beat, though.
It's absolutely a banger.
But, I mean, I don't think there was a vision there.
I just don't think there was, I just think that was them blasting on all.
They were in the, yeah, they were all in LA, all.
Yeah, that was just serendipity.
That was just, there were people there, the right people, right time, right, you know, backing.
And it just kind of went crazy.
And sometimes you need the vision to make these things.
Isn't it crazy?
The idea of, sorry, we're going really off-piste here, but the idea of like, at that time,
because of those circumstances, Sweet Child of Mine happens.
Yeah.
You know?
Yeah.
And it's one of the most incredible songs ever written.
And that was just the product of that scenario, the product of those brains coming together.
Chance.
Yeah, yeah.
It's what makes it special, though, I suppose, isn't it?
Yeah, I agree.
It is.
Let's, let's, I want to talk a little bit about the timing of this album, Suicidal Tendencies,
Lights, Camera, Revolution.
So, I was there, and I loved this album.
Like, as it launched, the albums that came before it, I loved all of this stuff.
And I was trying to think, right, back in the day, when these albums were around, we never
called it Funk Metal.
No.
We didn't, that wasn't a thing.
No, it was just Suicidal Tendencies.
It was just thrash.
It was just outcast, what you mean, yeah.
Well, for us, it was, like, Black Sabbath was, there was no such thing as classic rock.
Yeah, yeah.
Well, classic rock might have been, I don't know, Rush, maybe.
Yeah.
Do you know what I mean?
Or, I'm trying to think of what might have been, like, considered classic rock at that
point.
Yeah, Boston, that kind of stuff.
Journey.
Yeah, Journey as well.
I quite like Journey, actually.
Whitesnake.
Yeah, maybe.
I suppose they were.
But it's interesting.
Deep Purple.
White, yeah.
Deep Purple, definitely.
Yeah, yeah, yeah.
Uriah Heep.
Yeah.
All of that.
So, we had, like, Metal, which is the Iron Maiden, right, and the band that floated around
that.
And then you had Thrash, which would have been the bands, the big four and around the big
four, the kind of, you know, the Metallicas and the Anthraxes and Panteras and all of that
stuff, right?
And for us, ST were just part of that, right?
Yeah, yeah, yeah.
They had similar production and tone to them, just Thrash.
Yeah.
Faith No More, Thrash.
Everything was just, it was either, it was either Iron Maiden and Metal, Classic Rock
and, like, Uriah Heep and that stuff, right?
Or it was Thrash.
And then, and then around, like, the late 80s, you got, like, extreme stuff as well.
So, you would get, like, Grindcore and you had, like, Death Metal.
Well, that was about it.
Yeah.
That was, and you would be splitting hairs a little bit.
You would still argue with your mates in the pub, oh, Faith No More, they're not Thrash,
they're this or that.
Do you know what I mean?
With that, but they were the genres that you, that you had.
Looking back, at that time, where the genres did not exist, they just didn't exist.
Yeah.
Everybody's now like, oh, no, well, they were, they were funk metal, and they were this metal,
and they were blah, blah, and you're like, at the time, none of that existed at the time.
No, no.
It was just kind of metal, really.
And if you were being a little bit anal, you'd be like, oh, Metallica, a thrash.
Yeah, yeah, yeah.
You know, or, you know, Testament, a thrash, and entombed to death.
You know?
And it's like, oh.
But now?
Now, oh, this is techno-mellow death.
Techno-mellow death.
Yeah, there'll be loads of that.
Do you know what I mean?
Yeah.
It's like, why do we need all of these?
Yeah.
Why do we need all of these different things?
I think it's, I don't know, sometimes, you can say they're kind of like that, but they're
the band of the band, and it's really interesting how Mike Muir refers to suicidal tendencies
as suicidal, like, the name, you know?
Yeah, yeah, yeah.
That's like, the whole ethos is that.
It's that thing.
It's not rock.
It's not metal.
It's not thrash.
It's not.
It's suicidal.
That's what it is.
Do you know who was the first domain I ever registered?
Suicidal.org.
Really?
It was the first domain I registered.
I don't know when it would have been.
It would have been like 90, I don't know, 97, 98, something like that.
And I did it, because I wanted a website, and so I did it, and I built this website in
like 97 or whatever it was.
And it was dead good.
I was really pleased with myself.
And then I created myself an email, and I started to get these like really harrowing
emails from people that were genuinely like, and you know, I mean,
I don't know how old I would have been, like, I'm trying to think, that would have made me
10, that would have made me 20, like, I don't know, like, in the early 20s, I wasn't equipped
to deal with people telling me that they were going to like, you know, end their existence.
And they'd found my domain, which was a domain about music.
And they were like, I'm just going to end it all.
And it was bizarre.
So I used to go and like, I found this site, and I used to send them to that, and I used
to go and do all that stuff.
And it got to the point where I kept it for like two years, and then just like, I'm not
doing this again.
I can't do it.
It's too hard.
If you look on the Wayback Machine, you might find it, actually.
What's the Wayback Machine?
Can you not know what the Wayback Machine is?
That's your homework for next week.
Is it?
Yeah.
Your homework for next week is, go and check out the Wayback Machine.
You know how notoriously bad I am for homework.
I do, yeah.
But you should do this.
So the Wayback, if anyone does not come across the Wayback Machine, so Google the Wayback Machine,
and essentially, it's like a snapshot of websites going back in time.
Yeah.
Oh, wow.
Okay.
So, yeah.
So you can kind of go back.
And if you can remember the URL, if you type the URL in, it'll probably have a snapshot
of...
So like a screenshot type thing, or like a usable version of it?
You can interact with it.
Yeah, yeah.
Often.
But yeah, you can go back there, and it will be...
They're not screenshots.
It's the HTML that they grab.
And sometimes the images are missing.
Sometimes the images get lost.
But yeah, they're very cool.
If you've got like...
I think it's quite fun to go back and look at like AltaVista and Google in the early days
and that kind of stuff.
But yeah, suicidal.org will be there somewhere.
If you go and have a look at that.
Oh, wow.
I can't remember what I used to put on there now.
As a 20-year-old that I felt was urgently to share with the world.
It was Goo Goo Dolls, wasn't it?
I don't know.
I don't know whether it was back then.
It would have been...
I was into IRC quite a lot back then.
So I was writing a lot of code about IRC.
And that's where I found out about music.
Right.
So there would be the other developers and stuff of IRCD, and we would be like, you know, sharing
code.
And it was when Linux kind of started.
And then we all figured out we could port the IRCD code across.
So we did that and then built these big IRC networks.
But then like as part of that, you're not coding all the time.
Yeah.
But that's where we kind of lived.
It was like, you know, you spent a lot of time there.
And there'd be a ton of like people sharing music and new discoveries and stuff.
Wow.
So I discovered tons of music that way.
Yeah, yeah, yeah.
In my 20s.
Yeah.
I would go Friday night, get home.
This is how you used to do rock and roll often.
So on a Friday night, you'd get back, we'd all go to the pub and then come back.
Yeah, yeah, yeah.
And then you go and drunkenly go and write IRCD code.
And most evenings, I'd just write it, but I'd do it sober.
Speaking of that, should we talk about your YouTube browser history for the day today?
Well, I was on holiday today.
I was supposed to be doing stuff and I had a busy morning.
And, you know, I don't know about you, but I kind of feel like my productivity is like an
empty bucket and I get to a point of the day and I just think, I feel that now.
Yeah.
I'm all right.
So, and it was cold.
I've done enough stuff.
Yeah, it was cold and wet today.
Yeah.
And I saw all my cats are in the front room just kind of on the sofa.
Did you get those new cats?
Oh, you know, they went, they were their foster cats, so they went to their foster home.
Oh, right.
So that was another tangent, but off they went to their home last night.
Yeah.
But my cats, they were all kind of killed up on the sofa.
With a heated blanket that the boys get under.
So I went, because I'm a bit soft, I went and switched it on for them.
Yeah.
For the cats.
Yeah.
And then I came back in about 10, 15 minutes later and they were all just purring away.
Yeah.
And I was like, I'm cold.
Yeah.
So I got under the heated blanket and I thought, I'm going to watch YouTube.
So I put YouTube on and I found a video from Alex Steele, who I really like, about making
barrels and it's about an hour long.
And I was just totally engrossed, totally engrossed in the, the making of, of barrels.
And I'd got like a man, a man came to do a delivery and I just ignored the door.
Because you're that into that.
Yeah.
They'll just, they'll just leave it, won't they?
Yeah.
And he did.
Bless him.
It was really nice of him.
But yeah, I, I did, I did do that.
Yeah.
I love that.
I love it when I get into, into things.
Don't you?
I do.
Yeah.
I do get into things.
You like that one.
Alex Steele making barrels.
Really good.
Yeah.
If you, it makes things out of wood and there's hammering, there's fire.
Oh no, if there's fire, I'm definitely watching it.
It's all, all kinds of that one.
That one, my other favorite one is Wristwatch Revival.
Yeah.
My ones were, um, uh, horses getting their hooves changed.
Oh, you told me about that.
Blacksmithing.
Yeah.
Blacksmithing.
Yeah.
And, um, cow hooves, just hooves.
Just hooves.
Yeah.
Cow hooves getting cleaned out.
You never know when that skill might come in handy.
Like the whole world might end tomorrow.
Yeah.
No electricity.
If, if, if we stopped electricity, the world would go back like a thousand years overnight.
You'd know how to do hooves.
I wouldn't know how.
I'd say I watched a really good video about this.
You'd figure it out.
I'd make barrels.
It's a very good looking man, actually.
Was it?
Who does the hooves.
Yeah.
I could make barrels.
You could make hooves.
And it'd be good.
I do like, do you know, um, uh, my, uh, my youngest, um, he's 11 and he keeps describing
the behavior of some of the girls at school and you think they properly fancy you.
Yeah.
Do you know when they're like being, you know what I mean?
Like one of them keeps doing things to him as if, as if, um, and he's, oh, she, she hates
me.
Yeah.
I don't think that doesn't quite work.
Yeah.
And then we had, uh, and then we had, we, we sat down about, it was about a week ago and
I was kind of dude, just avoid girls.
Don't go anywhere near girls.
Right.
Um, but I, the bit I think is really funny is like, if I imagine me dating now, like I'm
the nerdiest, most boring man on the planet.
Do you know what I mean?
My, my profile would just be, you know, I quite like arithmetic, um, quite like doing
code.
Yeah.
Really like doing that.
Um, uh, I, I, I like, uh, you know, I, I like science and that, and I really like watching
YouTube videos about making things.
Oh, and I love tidying up.
Do you know what I mean?
It's like, yeah, yeah, yeah.
Like who's going to go with it?
Yeah.
That's exactly the kind of man I want.
That's the one.
Yeah.
Definitely the kind of person I'm looking for.
Simpler times back then, weren't they?
Got a Porsche though, mate.
I have got a Porsche.
Well, I haven't got a Porsche at the minute.
It's gone back to the, it's gone back because it's wheel bearings broken.
It's the problem with old cars.
You know, when you have old cars, people think, oh, you know, isn't it, isn't it wonderful
having an old car?
And it kind of is when they're working.
Yeah.
And then bits go wrong.
Yeah.
They saw everything, everything's rusty.
They look really pretty on the outside.
As soon as you poke underneath them, because they're old.
Yeah.
I like the smell of my old Porsche though.
Yeah.
You see that.
Cars don't smell like that anymore.
No, no.
I think that's a really, yeah.
It's got a lovely kind of, and you know, other little things like the knobs, you know,
when you touch things.
Yeah.
Kind of feels proper.
Yeah.
Everything feels a bit plasticky and naff nowadays.
And I quite like, I don't know, sound like an old man now.
Like a really boring.
It's when they're built properly.
Yeah.
It feels like everything's got like a clunk to it or a, you know what I mean?
And it feels like, you know, there's metal bits in my car and it's made of metal.
If you touch it, it's cold.
Whereas like most cars, I mean, it looks like metal.
It's plastic.
Yeah.
It looks like metal.
Mm.
It doesn't feel the same.
No.
And it's the smell.
It definitely doesn't smell the same.
No.
And I love that smell when you, when you start it up in the morning, you get that kind
of rich petrol smell.
Benzene's probably going to kill me.
There's something, something nice about it.
Yeah.
Not here for a long time.
Here for a good time.
What the hell's going on around here?
You can't bring me down.
Who the hell are you calling crazy?
You wouldn't know I'm crazy.
Was a child's mask.
Was eating food looks on your front porch.
Don't know.
Let's get something clear.
I speak.
Won't you think what I hear?
Skate gold.
Cover up your fear.
You can't bring me.
You ain't.
The seas of which mine might pour.
All I know is like what all?
You got yourself a fight.
You can't bring me.
Stand up.
We're not singing along.
Together.
Ain't nothing to stop.
Won't quit.
We ain't in the wrong.
You can't bring me.
You can't bring me down.
Bring me down.
You can't bring me down.
Bring me down.
You can't bring me down.
No.
Bring me down.
You can't bring me down.
Bring me down.
You can't bring me down.
Tell me what's up like it.
You can't bring me down.
Bring me down.
You can't bring me down.
Bring me down.
You can't bring me down.
No.
Bring me down.
You can't bring me down.
Bring me down.
You can't bring me down.
It's like you're trying to breathe.
And just cause you don't understand what's going on, don't mean it don't make no sense.
And just cause you don't like it, don't mean it ain't no good.
And let me tell you something, before you go take a walk in my world, you better take
a look in the real world, cause this ain't no Mr. Rogers neighborhood.
Can you say, feel like shit?
Yeah, maybe sometimes I do feel like shit.
I ain't happy about it, but I'd rather feel like shit than be full of shit.
And if I offended you, oh, I'm sorry, but maybe you need to be offended.
But if I apologize and one more thing, fuck you, cause you can't bring me down.
Um, I forgot what we're doing.
What are we doing?
We're doing a podcast, mate, about suicidal tendencies.
Oh, shall we talk?
Shall we do some facts and that?
Let's do some facts and that.
Um, I'm gonna, I've got the blog.
I didn't, I didn't do in a very factual, well, not, I didn't do in a factual, I didn't do in
a very orderly way.
So this might ramble, but I'm going to go through it.
It's a good blog.
This one is very, very in depth.
July 3rd, 1990 is when it was released.
Um, genre, official genre genre is thrash metal on the submissions for, um, it's the RIA,
whatever runtime, 42 minutes, 10 songs.
Perfect.
Absolutely.
Perfect.
Was released on Epic Records produced by Mark Dodson.
Um, now Mark Dodson, I did have a list.
You know, shall I give you some things that Mark Dodson's, uh, done?
The producer.
Yeah.
Mark Dodson there.
Shall, shall I give you some of the things that he's worked on?
Yeah.
Uh, Judas Priest, Sin After Sin.
Um, Joan Jett, Bad Reputation.
Yeah.
He did Judas Priest, Defenders of the Faith.
Um, he did Metal Church, The Dark.
He did, um, the album before this one, Suicidal Tendencies, How Will I Laugh Tomorrow When I Can't
Even Smile Today, which is a fantastic record.
He did State of Euphoria with Anthrax.
Oh, wow.
Did Prongs Beg to Differ?
One of the best records on the planet.
Is that one of the early pronged ones or the later ones?
1990, yeah.
Yeah.
Really good record that was.
Uh, he obviously did this one.
Did Anthrax Persistence of Time?
Um, did Prongs Prove You Wrong, Ugly Kid Joe, America's Least Wanted.
Oh, that was a good album.
Um, he did, uh, The Wild Hearts versus The Wild Hearts.
Oh, he did that one?
Um, uh, so either arranging or engineering or producering.
So some involvement, yeah.
Yeah, yeah.
Um, um, he did The Wild Hearts Fuck, which is, uh, again, a really, really cool record.
Uh, more Joan Jett, more Suicidal Tendencies.
Um, God, it's crazy.
Which is well, well versed in that rock vibe, for sure.
Yeah, yeah, more Ugly Kid Joe.
The thick stuff as well.
Yeah, I think so.
I mean, just a little bit meaty.
Yeah, super, super cool.
Um, I've forgotten where I got to.
Anyway, Mark Dodson, dead good.
Um, was recorded in Los Angeles and Hollywood.
So it was recorded in Rimbo Recorders.
It sounds Hollywood, doesn't it?
It does a West Coast sound to it.
It has, for sure.
Um, three singles from it.
You Can't Bring Me Down, Send Me Your Money.
Um, oh, sorry, four.
Alone and Lovely.
Yeah.
You Can't Bring Me Down was the big one.
Yeah, yeah.
Um, Send Me Your Money.
That was the preacher one, wasn't it?
Yeah, that's the one that landed in the chart.
I think, I forget, there might be some of my notes for that.
Is that the one with the rant on it?
Uh, Send Me Your Money.
No, you can't bring me down.
Oh, that's the rant on it, sorry.
Send Me Your Money is the, um, yeah, the preacher one.
The television, it's all about televangelists.
Um, Alone is about...
I've seen that really scary one.
Oh, I don't know.
That really scary televangelist.
I'll show you a video in a bit.
He's really scary.
I don't...
It looks like he's a demon.
I don't like them.
No.
They don't like clowns.
Don't like them either.
Um, Alone, uh, again, is, like, every ST record has, like, a bit of a ballad on it.
Yeah, yeah.
Um, and, yeah, Alone, for me, is really, it's really cool.
It's a really cool thing, and it's about, the context behind it is being, like, in a room
full of people, but not connecting and feeling isolated a little bit, which I think, I don't know,
I feel that.
Like, that, and as soon as I read about that, and I heard Mike talking about it.
Yeah, you kind of resonate with it.
Yeah, massively, and you just think that, so I feel that all the time, and, um, it's almost
like the more people in the room, the more isolated I tend to feel.
Yeah, yeah, yeah.
Um, and, yeah, it's super weird.
And lovely, we just got that fantastic...
La, la, la, la, la, la, la, la, la, la.
Screw those people everywhere, but I ain't got time to care, I feel lovely.
It's good old people everywhere, but I ain't got time to care
I ain't feel lovely
All kind of soul down to the curb
But me, I don't feel absurd
I ain't feel lovely
Cause it's not a problem for society if it don't affect me
And I feel lovely
As long as I feel lovely, yeah
Oh, so lovely
And I'm not guilty of your abuses
It's all so seducing, I feel lovely
Everything's not lovely, lovely
Oh, oh
Oh, you're kind of like the pollution
Like I'm a quick, that's the solution
It's lovely
Wouldn't it that be lovely?
Everything's lovely
Oh, yeah
Some simple babe, don't you remember me?
Now I'm kind of general and so happy
It's lovely
As long as I feel lovely, yeah
Yeah, yeah, yeah
Everything is lovely
Yeah, yeah, yeah
La la la la la la la la la la la la la la la la la la la la la...
La la la la la la la la la la la la la la la la la la...
...
Culture in LA and their shows were getting banned they were yeah it was interesting listening to
kind of various interviews and reading things about them at the time I don't think the band
were but their shows were pretty violent right yeah yeah it was attracting those kind of less
about the band being involved in just the kind of clientele the music attracted yeah yeah I think so
I think that's kind of um yeah I think that's kind of what it was uh what it was about um
uh where did I get to down here I'm scrolling down through my list um oh uh so I made a note that
this album feels like a step up in in complexity it's kind of more layers and it feels more produced
I don't know how much of it is just that with producer or the fact that you've got kind of
Rob Chihilo there and you've got you know there's there's a few different people uh around but um
yeah it did for for saying that Mike was then um you know felt that they'd sold out they put quite a lot
of effort into yeah yeah yeah to making this a like I would say like a um uh like an approachable album
it's you know it lost it didn't lose any of the energy or the aggression for me but it lost a lot
of the harsh edges yeah it was a lot more polished um yeah I remember you flicking through some of the
early stuff and it was really spiky it's yes I mean you know me I quite like that kind of that's
kind of what drew me into them um and I love the melodies in this record and it's one of my favorite
records from ST but um but yeah there's a very real difference in them like a really real difference
um did not really bother the charts this album no it was a bit of an underground success and it was
kind of pretty well um but was it one that was kind of like figured out later not really no just
stayed there I don't think anybody made millions of copies I think they sold like half a million copies
something like that um which you know when you when you consider that back in black sold like 50
yeah yeah yeah um you know I think it was enough to enough to keep the band going for for a while
um but yeah I didn't sell that many copies it's really interesting as well because I was able to
pick up an original copy of this I think for 20 22 quid and so that's they're good yeah yeah I think
that's how my money yeah it's how vinyl should be it was it's proper there's something really nice
about proper old vinyl it's it's floppy and it smells nice and the cardboard's a bit brown and
I mean you get a new one and it's like they feel like big sharp solid bits of kit but vinyl didn't
feel like that no back when I was it when I was a kid proper yeah yeah um where has I got to oh
we talked about the singles a little bit um uh there's uh um we talked about alone oh lovely we didn't
talk about lovely so lovely was that another single that they did off of this album and essentially it's
about censorship uh it's about the pmrc who you always knew yes you always knew when an album was
going to be really good because it did that and it was very funky as well that was kind of peak peak
peak funky maybe I don't know it was quite funky that that record um there was lots like the the feedback
from this record on release was phenomenal just everybody loved it it was one of those records that was just really
really well received um the press really liked it you know in um you know we talked about bush yeah uh a few weeks ago um
the the fans loved it but the press were just ripped it apart really this was not this was like yeah this
was just everybody loved it it was it was just phenomenal um I'll see what you mean yeah yeah
in contrast to it you know where like um yeah and even even now looking back on this um like lots of the
uh uh magazines review this kind of stuff and and and this record as a lights camera revolution is
quite often up there in the you know top 50s of of like metal and thrash albums from the yeah that's
super interesting isn't it but it but it was always consistently there and it wasn't the case where
yeah I see what you're saying so like we said the other week with bush yeah with bush they hammered it
lots of people look back on uh 16 stone from bush and change their perspective you know what I mean
now it's sold billions of copies it's like oh actually we did think oh yeah we thought it was
really really great we were just told to write that um whereas everybody kind of loved it really um
and it was a game changer for the band so uh like they were banned from playing in la right we talked
about that because of the gang stuff the success of this record yeah directly led to their first
live show in la for years that's so interesting because now they were popular now that is similar
to the bush thing isn't it a little bit someone's doing in fact you know about turning about face a
little bit it is a little bit yeah yeah but um and then they went out on like a bunch of different
tours they were um they were out touring with a whole bunch of uh you know um not lollapaloo's i'm
trying to think of the um oh i can't think of the tour they went on um but yeah anyway they they went
out on a on a like it's a big one with all that there's a load of them wasn't there yeah i'm skimming
down my list because i definitely included it but i can't see it um but yeah they were uh i wanted to
say lollapalooza but it might have been a different one that might be a bit later um but they were out
opening for they toured with uh queensrike on the empire tour and they they were out with uh the big
four relentlessly on on their shows um uh was it clash of the titans i mean clash of the titans i think
it was clash of the titans anyway they they were they were doing big they were out doing uh big big big
shows uh which i think is really really cool um things you might not know about this album um uh it was
grammy nominated yeah they lost out to metallica this was in 1991 um but yeah it's it's it's bonkers a
band with the background that st had got was grammy nominated i think that's i think it's really really
interested yeah um uh this was their first gold album the first that it was their second record
that went gold um the first one was controlled by hatred uh feel like shit deja vu which was an ep
yeah i really like that record too um but gold is 500 000 copies um so for an album that kind of it's
pretty well known yeah yeah didn't didn't sell uh didn't sell that really um there was a home video
version so in 1990 they released a vhs home video titled lights camera suicidal as a companion to the
album um i said that was quite common i searched for this and i can't find like anything yeah i looked
on ebay i looked everywhere i looked on discogs yeah that's so interesting because there were those
those um video companions where it was like it was a collection of music videos and interviews
wasn't it ordinarily like i remember there was a crossroads one for bon jovi but this one was like
the mtv videos and then bits of talking yeah not much like like 90 percent of it was just the video
yeah this yeah it's so similar there was so there was it's quite fashionable i think to do that yeah
yeah i suppose it's an extra bit of merch isn't it it's an extra yeah i suppose you know way of um
i suppose yeah um uh the other fun bit here is that uh money uh never uh like it it didn't chart in
the us uh but it did in the uk um so that kind of uh you know uh you know uh uh send me your money
uh it didn't it's weird because it's about televangelists and we didn't have them in the uk no no but
it's a we i don't know there's like um satirical side to it maybe that seemed to land pretty well
here and didn't land quite so well i suppose it yeah in the us um yeah interesting um i look a bit
about a sense of humor there isn't there maybe maybe yeah well anthrax did that anthrax had that
sense of humor and they they i think they were like landed those those humorous songs landed better here
than they did over in the states as well which is it's a bit interesting um i look to where i've been
used in uh tv and movies and stuff um i found a skateboarding video right uh by danny way i don't
know who danny way is apparently he's a famous skateboarder um so he used it beavis and butthead
yeah so there was a an episode called door to door um which is is uh is quite cool um and they used
um uh send me your money for that one um and again i all i could find really like was just reams and
reams of of um references of it being used on headbangers ball yeah um they were big big fans of it
um tons of after i mean after the uh this album uh more lineup changes so rj herrera left uh the band
um they brought in josh freese for the drums yeah but that was a young josh freese then very young
josh freese straight out of the vandals at that point would go on to play for a perfect circle nine
inch nails guns and roses yeah the period of guns and that decade of guns and roses that that would
they're in they're in linton town hall josh freese would be in there um guns and roses paramour sting
weezer and obviously foo fighters yeah more recently yeah uh which didn't they do a swap with another
bat they did a swap with nine nine inch nails didn't they uh so i think isn't josh freese playing
yeah well josh yeah josh freese was nine inch nails drummer yeah forever yeah he went to join
the food fighters and has then kind of said dave can i go back and play with nine inch nails this is
boring or something like that and then so he's now back in the nine inch nails drummer yeah it's gone
for a few fighters yeah yeah yeah it's interesting swapsies drum swapsies it was a lovely article from
josh freese and basically just saying look i said i just feel so at home playing these nine inch nails
um songs um that it was like you know it was like made my entire life better from from doing those
rather than doing what's doing the food fighters not that the food fighters tracks were bad or i didn't
like you know none of that they these it's just that these like they resonate with me in such a way
yeah and i don't know i just i see that's interesting because the media spin on that was that somehow
dave growling kicked him out yeah i don't i mean maybe badly you know i didn't you know i think a
lot of a lot of times these things are mutual yeah agreements they're like conversations like look
that's not really working yeah i'm not kind of feeling that either yeah but we're still mates yes and
maybe you know maybe i i i don't know but unless you're the who
or spinal tap or spinal tap yeah we haven't seen that yet no i've got to go see yeah it's out it's
probably finished now oh no that could have been our christmas film we should have a day off and go
and see it yeah we should do i don't know you're one of the charities that you're part of we should
do a christmas do where we go to watch final tap and then everyone will complain yeah it'd be great
uh art of yeah so the art of rebellion in 1992 came after this one that i think is a really great
record as well um it's getting more um commercial yeah so the step after this it gets like a lot of
these thrash bands the production just got a bit bigger and a bit better and the more layers and
more compressors and um yeah and it's either there were some uh big singles nobody hears and i hate you
better were massive off that off that record yeah yeah um and then and then that i think it's off
the back of that that led to the breakup and then like mike was just like i was just getting too big
now yeah yeah like this yeah reminded me hugely reading that about uh skin talking about skunk and
nancy yeah just like coming from brixton and having this you know um like like always fighting against
or you always always going against the the current against the grain kind of thing yeah and being an
underground yeah person always being alt something yeah yeah and all of a sudden in this massive band
that were being asked to play on top of the pops and yeah yeah and she was just like this it doesn't
feel right it's not the right thing we had to like pull the plug on it it wasn't doing anybody any good
and it was interesting listening to mike mule it felt really the same thing just like this isn't me
it's and i don't you know this isn't you know i would imagine the record company were pressuring
them really hard yeah bigger and more songs and more interviews and yeah i know we spoke about it
before but that was that was you know probably what happened with kirk with nivana yeah absolutely
absolutely yeah i mean well you saw it to a degree didn't you because they did never mind
um and then and then you had sort of more nastier sounding music to try and yeah to kind of unpick
almost the damage that he felt he'd done to his reputation yeah um and then it's it's worth
pointing out as well had uh infectious grooves around this time as well so just kind of after
uh this so 91 93 you had infectious grooves which was mike muir and um uh rob chihiro yeah
uh but it is interesting they there was this side project and like as st kind of died and it was like
mike had almost killed it that sort of came through yeah exactly so it was kind of kind of there um and
we've talked about this a little bit as well i'm going to i'm going to talk about it here uh so dave
lombardo joined in 2016 so when he left slayer yeah dave seemed to play for every band on the planet
it was like a testament for a while he's an st for a while um he's got a bunch of other uh bands like
rusty uh uh film and um i'm trying to think of all he's in tons of other bands doesn't he yeah um
uh but anyway he was the drummer and uh he played on a record called world gone mad so if you've not
caught up with st lately and you remember this record yeah uh 2016 uh uh album called uh world gone mad
really good really cool record quite punky not it's not quite as i would i would say it's more produced
than this but it's got this real dry punk punky yeah yeah kind of thrashy edge to it i it's one of
my favorites i really really like that um hung around for a while and then went off he did uh did
stuff with testament and did i don't know what dave lombardo's doing yeah yeah but he's i'm sure he's
doing something awesome um and then in 2018 um i in 2018 i shot the dillinger final tour and that was
awesome um dillinger escape plan their guitarist ben wineman uh went to to join suicidal tendencies so
he's now right yeah now the way he plays guitar is uh very vigorous yeah he is uh you know there's a lot
of movies the guitar is never where it's supposed to be yeah i mean the guitar is always over his head or
it's swinging around or he's leaping off stuff um and i wasn't sure how that would work but watching
uh live footage of ben with st it just scary oh it just works it's he i think he pulls out that um
that hardcore um i don't know that that that dna that was in the band way back in the 80s you know
and it kind of pulls that out of even even the new stuff which i think is excellent um remasters
reissues and stuff there aren't any which is brilliant um i i don't not that i know of anyway
i don't believe there are any i had i had a good poke around there's some um there's some reissues of
the vinyl so there's i think there's like a 30th anniversary version that i looked around um
which i don't know it didn't look like it'd been remastered no it's just this is the original i
think the original version just pressed on modern thick vinyl yeah um if you like that kind of thing
um and yeah and that's about it really um for me this is i'm going to this is timeless this record
yeah yeah it is a timeless piece of what i would consider thrash crossover thrash yeah kind of hardcore
to thrash but it's for me it's stood up really well i think the lyrics a lot of albums around this
time the lyrics don't stand up particularly well um i think this one does i think they're fairly
universal themes though aren't they it's all about speaking truth to power yeah all of it seems to be
about speaking truth to power it lands and for me it lands really really well production is authentic
uh it's it's you know okay it's not as you know it's not it's not uh like a massive sounding you
know perfectly produced trivium record yeah yeah but this authenticity to this yeah it sounds like it
sounds super believable i i i would imagine that it wasn't done to click i would imagine that it's um
you know uh i i think this one's got you know i think their early records wouldn't have had compressors
on them yeah yeah yeah um but i think this one does i think there's some compression here and i think
there's some you know fancy tools happening yeah um but just enough you know just enough to take the
bite away from the um like that that hardcore sound that they had before um and just to make it so that
it's you know like a casual listener is going to get sucked into this record yeah whereas perhaps like the
earlier eps you know you just bitey enough to keep you away yes yeah yeah yeah but i love this one i'm
very pleased we've done it and that's that's me done i'm done for facts i've i've i've i've that's it
i've i've done all the things now i don't know what do you know i know you're gonna say you're gonna
say let's play a record and then let's talk about what's next yes i don't know well i reckon while
we're playing the record we'll have a chat about it and figure it out yeah go on then
go then
go
go then
go
A moon full of people
Can't nobody hear me
Can't nobody help me
I'm alone, not just me
Someone to take my hand and pick me up when I'm feeling down
Someone to take my heart and give it a hold
Someone to be with me
And every given time put it down in no land
Someone to be with me when I'm alone
I know it's the way I live
It's not the way you want it, but I know I can't give it
I know it's the way I live
And it doesn't quite as bad as a person not to know
So I've been editing
And we're supposed to have a discussion about what we're doing next
The cleansing
He's figured it out
Good, right, that's it
It is one of
I always say it's one of my favourite
This is one that I would
You know the Desert Island Discs
This will be under my arm
And we haven't done a prong one in this format yet
I've not done any prong albums ever
Prong are one of my all-time favourite bands
They're a band that I absolutely
I listen to prong all the time
And you know, we've talked about this before
But you know, if I'm in a meeting
Or you're in like a conference or whatever
And stuff's happening and I'm not that interested
Prong goes on
Prong riffs
Oh, you turn on internal prong
That's what happens in my brain
Internal prong
It's like my brain just goes
I have no idea what's going on
I'm going to do the riff from
Snap your fingers, snap your neck now
And that's what happens
And I have no
Like
I have no involvement in it
It's just like
No, we're doing prong riffs now
And then you go
Neil, what do you think about it?
And I'm like
I have no idea what's going on
And you have to
You know, you have to do that
Could someone just
Repeat that for me?
Yeah, I just
I lost the thread a tiny bit
But yeah
Absolutely, genuinely
But left on my own devices
If there's no
If it's a very quiet room
And I'm not that engaged
In what's happening
Yeah
Prong riffs
Prong's the one
Prong riffs in my brain
Makes me happy
All the time
I love
Absolutely love
They're from New York
Tommy Victor
1994
This album
Yeah
Of The Cleansing
January 25th, 94
There's
For me
There's a really interesting
Tonal difference
Yeah
Between stuff that's recorded
On the east coast
And the west coast
Yeah, yeah, yeah, yeah
There's a harder
Like edge
Yeah
To it
Do you know what I mean
In like tonality
Of recording
But also like in the lyrics
And in the way
Like just where it all came from
There's a
It's a different attitude
So you can hear the place
In the sound
I think so, yeah
I think you can
Yeah
There's very much
Something going on here
Like kind of anthrax
Were
They're kind of this
This neck of the woods
For recording
They would go and record
In New York as well
I don't know
See isn't that interesting
Because aren't they from
The San Francisco area
Or have I got that wrong
Oh I can't remember
I'm pretty sure
They recorded in New York
They're recording in New York
But on the bands
From that other side
Oh they're all over the place
Oh I see
Right, right
But it's about where they
Where they did the tracking
Yeah, yeah, yeah
Yeah
But yeah
There's a thing
With
East coast band
I think
East coast band
Especially
From this area
From New York
Yeah, yeah, yeah
Yeah, they've got this
Kind of harder
Harder
Just the wrong word to it
But they're
I don't know
I'm going to have to listen
I'm going to listen to it
More analytically
And see if I can figure out
What it is
But there's a
There's a thing
There's a
There's a bit of DNA
In here
Yes
That separates them
From
Elsewhere
And the production's
Interested on this one as well
But we'll talk about that
Next week
Wicked
So thanks for joining us
Thank you
Thanks for getting this far
Thank you
Thanks for staying with us
After we didn't do it
Last night
And now we're doing it now
But you wouldn't of course
Know that we didn't do that
But we told you
That we didn't do it
So that
We'll be listening to this
In the future
But in the past
It didn't work out
For the first time
So we're in the present
Which is now
But it's the past for you
It all
Wibbly wobbly
liby wimey stuff
It's one of my favourite
Doctor Who lines
How nerdy is that
You have to have a favourite
Doctor Who line
Yeah I think
I think to be
Like to be nerdy
To be in the club
You have to have
A favourite bit
Of Hitchhiker's Guide
To the Galaxy
Yeah
You have to have
An opinion
On which is better
Star Wars or Star Trek
And I think you have
To have a favourite line
From Doctor Who
And there's probably
Other things you have
To have as well
You have to know
The square root of two
Yeah
And I think that's
But I don't know
Like there's a mixture
Of that kind of stuff
Yeah yeah yeah
And you have to
You have to know
Those things
That like
It's like
You know when you join
A crappy group on Facebook
And it says
You have to answer
Oh yeah those questions
They're the questions
You've got to answer
Yeah yeah
To be in the gang
Yeah yeah
There we go then
Favourite bit of
Hitchhiker's Guide
To the Galaxy
I love that
We should have a podcast
I could totally do
Yeah
A podcast on
Hitchhiker's Guide
To the Galaxy
Yeah yeah yeah
And we just turn up
Every week and just talk
About a different bit
Of Hitchhiker's Guide
I love that
What would you call it
Hitchhiker's Guide
To Hitchhiker's Guide
To the Galaxy
Yeah yeah
Yeah
I think we should just do it
I think it'd be
It would be
I have to read it again
It's been years
Since I've read it
Oh you do
The BBC
Yeah
I'll bring it in
If you've not got
A copy of it
Yeah yeah
The BBC
Audio version of it
The 80s BBC
Audio version
That is the de facto
Yeah
Version
Don't read it
No
It's one of the few times
Where
The book doesn't
The written word
Just doesn't do it
Just
You need to go back
It's the
Radiophonic Workshop
You've got to be in there
You have to go
That is the way
If you've never listened
To Hitchhiker's Guide
You say I'm on it now
I'm doing the podcast now
If you've never done it
Hitchhiker's Guide to the Galaxy
The BBC website
Did
You could go and
You could go and stream it
Like on
If you had a TV license
Or just lie
And say you've got one
I don't think they'd come and check
Just do that
And you can go and
And they had it
You can go and listen to it
But it's the
It's the original radio series
From the BBC
I think 1980
Whatever
Like 88
Or whatever
Yeah
And that's it
And then there's
There's a famously
Five part trilogy
Yeah
The first three are
Phenomenal
And the last two
Are a little bit weird
But those first three bits
Of Hitchhiker's Guide to the Galaxy
Are
That's what you would send to aliens
Yeah
Do you know what I mean
Yeah
That's what I would send
I would just be like
You know
Why is the human race
Just first three bits
Of Hitchhiker's Guide
It's brilliant
Yeah
It covers politics
It covers
It covers everything
It's got pubs
It's got diggers
It's got
How we think aliens will be
It's got council
Yeah
Who getting in the way
Yeah
It's so good
Yeah
And there we go then
Adams was brilliant
Yes he was
Shall we do one
Let's do one
Let's off
Alright off bye
See you bye