A Chris: There you go. That's an in joke.
B Neil: It is. Very good. Welcome to rifology.
A Chris: Rifology. I'm Chris.
B Neil: We're here. I'm Neil. I wasn't expecting that so early. Oh, Neil.
A Chris: You're Chris. Yeah. We normally. Ten minutes in, we.
B Neil: We've got the correct fruit pastels. Thanks, Lindsay.
A Chris: Thanks, Lindsay.
B Neil: We've got. We've got Diet Coke, not Coke Zero.
A Chris: They didn't have the Coke Zero.
B Neil: Oh.
A Chris: But they had the Diet Coke in the bigger box.
B Neil: So you've gone for that.
A Chris: I've gone for that.
B Neil: It's nice, I suppose, you know, just in case anyone's listening. And a friend of ours works for Sainsbury's and he was upset because I said they got crappy vegan snacks, but you can get 24 cans of Coke Zero for seven quick pounds.
A Chris: Yeah.
B Neil: What kind of plan is. That's brilliant.
A Chris: Yeah.
B Neil: Everything's like. You got, like.
A Chris: You know, if we do that, we can hide them under it because they're not going to go into the bongos.
B Neil: No, they're not.
A Chris: You're not gonna get that.
B Neil: We've got a wig on them or something. But isn't it mad? Like, I can't. Like, if I look at my car, I've got my car keys. It cost me like 10 quid. Yeah. We can get die cut. If only my car would run on Coke Zero.
A Chris: Yeah, that's it. That's all we need to do.
B Neil: That'd be wicked, wouldn't it?
A Chris: Yeah, yeah, yeah.
B Neil: So get on that. If you can solve that problem, that would be brilliant. We're doing the Goo Goo Dolls.
A Chris: Boy Named Go.
B Neil: I like this album. This is. I think there's a brilliant quote about the Goo Goo Dolls at this era, saying that they were the greatest band that no one had ever heard of from Metal Blade Records.
A Chris: Yeah.
B Neil: Who are horrible to them.
A Chris: Yeah, yeah, yeah. You said that they were nasty.
B Neil: Really horrible to them. But the album before this one, Superstar Car Wash. And if you're new to the Goo Goo Dolls and you're listening to this, just like us.
A Chris: Yeah.
B Neil: Well, first of all, well done. And second of all, I hope you like this. There's so many people that I have gushed about the Goo Goo Doll. And the thing is, with the Goo Goo Dolls, for me, my love affair with the Goo Goo Dolls ends here pretty much. Right. So there's a pre iris few tracks on Dizzy Up. The girl which came next that I really love.
A Chris: Yeah.
B Neil: But not meant like, it's. I. Do you know what I mean? It Peters a little bit. It starts to. It's not like a sudden ending as it was with Metallica for me, with the Black album, where that took a lot of learning to get.
A Chris: Yeah.
B Neil: To love. And I still have quite a sort of like some new Goo Goo doll stuff. But this. This is the last album.
A Chris: Yeah.
B Neil: That I would.
A Chris: But they went from quite an aggressive, punky sounding band or old rock.
B Neil: Yeah.
A Chris: To quite commercially sounding kind of pop rock, I think.
B Neil: It's like this. It feels like, you know, if you imagine you got a slider, right, where. Where you could. You could. Or you got a little knob and you could turn up, like, pop hooks. Right. And it feels like in the. In the very first record, the very first studio stuff that was turned right down.
A Chris: No pop hooks.
B Neil: None of that in there.
A Chris: Yeah.
B Neil: And then, like, every album I see, they're like, you got. It's gone up like 50 and then another 50. You know what I mean? It's like. It's like you. And. And you can kind of hear it in the early stuff where there's that ability, like, John Resnick's a really amazing songwriter and you can kind of hear that that stuff is there. But, like, it's almost like he's embarrassed.
A Chris: Yeah.
B Neil: You know, that's kind of. That's how it feels to me, like, a little bit embarrassed to. To, you know, to go there.
A Chris: Yeah.
B Neil: Yes. Punk rock shouldn't sound like that. And there's loads of stories about them in the studio where producers, like posh producers, were trying to encourage them to do, you know, layering and doing, like, clever stuff and have, you know, you know, exotic recording techniques.
A Chris: Yeah.
B Neil: And. And the band just, like, can't get their head around it. They're like. Like, this isn't it. Doesn't this, like, the. The stories are like, they did it and recorded and it just sounds really polished. They're kind of not liking what they're so not liking. The reflection in the mirror.
A Chris: Yes. Yeah.
B Neil: And I think it's funny because they refer, like, in the interviews, they. The band themselves refer to A Boy Named Goo as being a harder record, like in heavier record almost, than Superstar Car Wash that came before it.
A Chris: Yeah.
B Neil: But it's interesting for me, like, the production on that is a little bit rougher.
A Chris: Yeah.
B Neil: This is a bit more polished.
A Chris: Yeah.
B Neil: I think. But there's more pop hooks here.
A Chris: Yeah.
B Neil: Than in Superstar Car Wash. They're really, for me, those two records. You know, we've talked about this before. Right. And I changed my mind quite a lot.
A Chris: This is why you can't have a tattoo, isn't it?
B Neil: It is. I. I like this. Like this. And Superstar Car Wash Me. Like, they're separated by a hair. Like, just like Master of Puppets and Ride the Lightning. It's such.
A Chris: Depends what day is.
B Neil: Yeah. Between them. And. And I'll. I'll find. I'll, like, flick. I'll. I'll, like, gravitate to one more than the other for, like two or three years.
A Chris: Yeah.
B Neil: Do you. I mean, and then I'll just be like, oh, do you know, I've not listened to. And then I'll. Yeah. Oh, actually, this is better. And then. And then I'm on that for a while. But, yeah, they are slightly different records.
A Chris: I'm. I was really surprised because of what I was into at the time.
B Neil: Oh, it's Melancholy. This is Melancholy.
A Chris: Green Day.
B Neil: Offspring.
A Chris: I was probably still. I was. To be fair, I was probably very much Offspring and Green Day at this time.
B Neil: Yeah.
A Chris: Pumpkins didn't come till later.
B Neil: Okay. So did you pick Melancholy up afterwards, then? We did. You, like, so Melancholy came out in, what, 90?
A Chris: Yeah, yeah. Melancholy came out. I heard it.
B Neil: And then you.
A Chris: I wasn't that keen on it.
B Neil: And then you went back and kind of.
A Chris: Yeah, yeah. And then. And then I found Siamese Dream.
B Neil: Yeah.
A Chris: Then I found Melancholy.
B Neil: Right.
A Chris: And then a door came out.
B Neil: Yeah. Okay. I'm with you.
A Chris: Yeah. So that's kind of. And by. By the time a door came out, that was it. I was in, you know. But, yeah, the. For saying what I was into at the time when this came out, I'm surprised. I wasn't into this.
B Neil: Well, they went on tour with Bush.
A Chris: Yeah.
B Neil: Apparently they hated that. Hated that tour.
A Chris: Yeah.
B Neil: The stories around them at this point, I think, is it. So I think it's easy to, you know, when you look back, why did
A Chris: I think they were Australian? For a bit? That was the thing I had. Because I'm from Buffalo. Yeah.
B Neil: Yeah. Yeah.
A Chris: I had a thing where I was like, oh, Googles, they're that Australian.
B Neil: Is that you thinking of Matchbox? I always think Matchbox 20 are Australian. And then.
A Chris: I know.
B Neil: And the reason I think they're Australian.
A Chris: Yeah.
B Neil: Is because my girlfriend who introduced me to Matchbox 20, she was from New Zealand and she said, this is big in Australia. And I always thought, oh, that. Well, that must be from Australia. So I thought for, like, 20 years that Matchbox 20 were Australian.
A Chris: Yeah.
B Neil: And they're not. They're not even.
A Chris: Because there was. Yeah, there was those guys. There was Toad, the Wet Sprocket. There was these guys. There was, yeah, there were a few others of this, of this ilk. Where it was. It was. Yeah.
B Neil: I don't know how you would classify them. I was looking at their Wikipedia but,
A Chris: but listening to his album this week because, because again I, I, I liked Iris. Like when that came out I was into that. I.
B Neil: Good.
A Chris: And I didn't really hear many of the albums at all, but I was just really surprised that I wasn't into this when it came out because it, because it was right.
B Neil: So many people have not like I was chatting, having a conversation. Kendall Lacy was, was chatting on X this week that like he, he's like. So you never hear anybody talking about Goo Goo Dolls.
A Chris: Yeah.
B Neil: Just you. Yeah, it's literally just you in the entire planet. It's just you talks about the Goo Goo do. And I kind of think that it's there, there is this point where. And I think here. So not so much Superstar Car wash, but definitely here. Definitely a boy named Goo. They're hardcore. Their original punk fan base.
A Chris: Yeah.
B Neil: Was getting alienated.
A Chris: Yeah.
B Neil: With name and then even more so with, you know, I think by the time Iris came out they were all vomiting on their.
A Chris: Yeah.
B Neil: You know, into their pints. Right. It was an unpleasant thing for them to have to deal with and I think that. So you ended up with a bunch
A Chris: of people the Iris likes. It's that meme now, isn't it?
B Neil: Oh God, yeah.
A Chris: What were you doing in the 90s
B Neil: time it's been re. Released, hasn't it? Have you seen people. They've seen the memes where people are showing the petrol prices. So it's the, it's, it's the song Iris. What were you doing in the 90s? And then people are just showing like video clips of petrol stations in the 90s. Yeah. 80 and 90pm yeah. So I love the. That's why the Internet was released. That's why the Internet. That and cat videos.
A Chris: But yeah, so my favorite one was Stacey Solomon. She did one.
B Neil: Yeah.
A Chris: And it was just a picture of dogs.
B Neil: Was it?
A Chris: She did her own one because she put out and it was like long haired, like what are they like? Is it Saluki or.
B Neil: Oh, I don't know, like the long hair. Yeah, yeah, this is Saluki.
A Chris: Yeah, yeah, just them. Just, just, just photos of those.
B Neil: I, I do like Stacey Solomon but her accent, I just wanna. It's like chalk, it's like nails on a chalkboard.
A Chris: So I just like. She didn't take herself so seriously. I quite like that.
B Neil: I know she. I do really like her, but her. I can't stand her accent for very long. She's just too. It's too flat.
A Chris: Yeah.
B Neil: Do you know what I mean? It's like. It's. It's. I don't know, there's just something really weird about it. I find it really hard work.
A Chris: Yeah, yeah.
B Neil: Bless her. But I do really, like. I think she's lovely.
A Chris: Yeah, yeah. Oh, you said it.
B Neil: Now I wish you just wouldn't talk.
A Chris: So tomorrow, that's all I'm doing is convert all, like, get AI to convert loads of. SOLOMON voice.
B Neil: No, I do, I do. I do. Like a Lizzie. Listen, she. There's a. There's a thing on.
A Chris: Is it the one where they empty the house? Yeah, yeah, yeah. She has that all the time.
B Neil: She loves it and it's. And like I say, she's lovely. She's so kind and I think the world should be full of more people like Stacey. As long as I don't sound like it, that would be great. Where is she from? Where's her accent from?
A Chris: I don't know. But she was always on Essex. Yeah, yeah. She was always on the thing, like panel shows. She was always on a lot of those, I think.
B Neil: Was she?
A Chris: But. But they were like. Because they'd. Ripper. Because she's got that kind of thing, you know, she's, you know, quite. I don't know. She comes across as quite naive. I don't think she is.
B Neil: No, no, no, no.
A Chris: I don't think. She's just quite sharp. But, yeah, they were, you know, they're having fun with her and stuff and. And you just think it's totally unfounded, you know?
B Neil: Yeah. Anyway, naturally, I like her a lot. I just wish she wouldn't speak a lot. There must be a lot of people like that in the world. They're lovely. But.
A Chris: Yes.
B Neil: Probably better off if they didn't speak. Oh, yeah. So, anyway, I was talking. Yeah. I was talking about why people haven't heard of this out these albums. Right. Because. So you. So imagine, like, you. You. You weren't aware of these. These records. Your first. The likelihood. The first music you hear from Goo Goo Dolls is Name or Iris.
A Chris: Yeah, Right.
B Neil: They're the two. There were big singles off Superstar Car Wash, but not that they weren't really in the charts that much, so. And so, if you liked, like. I quite like the kind of punky nature of these. I quite like the fact that they're a bit scrappy. I like the fact that they're not overproduced. I mean, it's quite polished. This is actually for the time, but it's not. It's kind of a raw rock and roll record. It's. It's well produced, but it's not, you know, it's not kind of mutlang polished. It's still got some rough edges to it. The guitars have got a bite to them.
A Chris: Yeah.
B Neil: You know, you. I don't know. There's just something. For me, this is something really authentic about the sound of these. Right. You would never have heard these albums. You would have heard. You would. You would have heard Iris, probably.
A Chris: Yeah.
B Neil: Then you might have listened to Dizzy up the Girl. Right. And you'd have been. Oh, okay, fair enough. Every record that came after that just got more and more poppy.
A Chris: Yes.
B Neil: And you get to the point where you're up at, like, boxes and stuff and the kind of modern stuff, and it is like. It's not even. I mean, still guitar music, but. But it's. It's kind of gone. Yeah. It's gone more poppy than.
A Chris: Yeah.
B Neil: Than where we are. Where we are here. So I like. So if. If you were on that journey, you're like, oh, well, that's interesting. I've heard Iris and I listened to this album. I don't think you would ever know that this is where they came from.
A Chris: No.
B Neil: And there's probably no reason for you to want to go and do that.
A Chris: Yeah, yeah, yeah, yeah.
B Neil: So I can go and get it. But I think the world is missing some of the two. Probably of the greatest like. Like guitar.
A Chris: Yeah.
B Neil: Albums that have ever been made. I just think this. The songwriting is phenomenal and John Resnick is just pick here.
A Chris: Yeah, yeah, yeah.
B Neil: I love the. The l. I love the stuff he talks about. You know, there's a kind of. There's a real variation in. In subject matter as well. And I think he does quite a good job of telling a story. And I love the kind of simple, like, there's nowhere to hide here in the songs. You know, they're. They're beautifully written. I do. I love the. The kind of multi vocalist thing as well. I kind of quite like that. It gives it a bit of. Bit of texture as well. But like, for me, like I say, these have never got old. It's. It's funny. There's albums that you. You go back to, you know, you think, oh, I love that. And when you go back to it again, you realize it was a bit crappy. Yeah, yeah. You know, after like 20 or 30 years. Yeah. You would have loved it then.
A Chris: Yeah.
B Neil: And then you go back and we're listening like, these. Like these especially these two.
A Chris: They're still there.
B Neil: Yeah. And I just think they're really old. I think they've aged really well.
A Chris: Yeah.
B Neil: The production's age. Really well.
A Chris: I like when we saw. Listening to the interviews earlier and editing them and stuff. I really like listening to the way the two guys bounce off each other. So it's John and Robbie, isn't it?
B Neil: Yeah.
A Chris: And they're just. They're. They're like totally different people. You get the sense they're quite different people. They're into different stuff.
B Neil: Yeah.
A Chris: But they're very complementary to one another. Their personalities are really complementary to one another. And it made me. That made me kind of go, well, that's why it works, then. That's why this band works, is because you've got two guys there that are, you know, totally different kind of people, but resonate really, really well together and, like, have got. You can sort of hear they've got each other's backs. Yeah. You know, they kind of. You know what I mean?
B Neil: I've been inspired by countless friends of mine. I've also been, like, lucky enough to
A Chris: have some of the.
B Neil: There's some of the best, incredible, most incredible human beings. And when you watch them do things, like, you watch Kennedy, like, live her truth and live out her dreams and work every day to achieve those, and with that comes fearlessness. Like, it pushes you. It is motivational. Yeah, it's very true. You are the people you are around. Yeah, definitely. Definitely. You do get the feeling there's not so much E. I mean, I'm sure there is an ego, but you, you know, you get the feeling that they are. I don't know, I can imagine them going, I know your voice sounds better for this.
A Chris: Yeah.
B Neil: It would be that kind of conversation rather than, you know, there's my. You know, it's. No, it's my turn for this.
A Chris: Yeah.
B Neil: Do you know what I mean?
A Chris: Yeah. The anti. Oasis.
B Neil: Yeah.
A Chris: Like, because that Morning Glory thing where they just fought over who was singing
B Neil: what all the time. Yeah.
A Chris: They just thought, I'm singing that one. No, I'm singing that one. It's like, oh, God, yeah. Fight over Wonderwall.
B Neil: I do, I do. Yeah. He's bonkers, isn't it?
A Chris: Yeah.
B Neil: Actually, I. I hadn't realized with Oasis until we did the show on. On. Definitely. Maybe the. Like, Liam was sitting towards the end of that. I guess towards the end of the band existing. Liam was just sitting in the audience watching.
A Chris: Yeah, yeah.
B Neil: And. And you know, and his brother's singing all this and it's just like.
A Chris: Yeah, yeah. It's crazy.
B Neil: But yeah, I think. I mean, I think John Resnick writes most of it. I think. I think he wrote. Yeah, I think he wrote most of this. And then still does. And then. And then. Yeah, there are. There are bits where they both got really different voices.
A Chris: Yes. Yeah.
B Neil: I mean there are bits on here where I think they. It's sounds like love hate. There's a bit in there. You know, we talked about Jizzy Pearl. He's got a great name. But there are bits on here which sounds like Jizzy Pearl.
A Chris: It sounds like.
B Neil: It sounds like a love hate song. It's got that kind of, you know, that rock and roll punky bit of a snarl beat, fast tone to it. And there are bits where you've got name where it's like, you know, beautifully.
A Chris: I have to say the two for me and Naming Naked. I mean they're. They're both incredible songs. But name in particular, like that riff.
B Neil: Name's mad. It is. Is incredible. I. One of my favorite podcast is Allison. I'm gonna get a name wrong because you said. You made me laugh earlier with. Her name's Alison Hagendorf.
A Chris: Yes.
B Neil: And Hogan Hagendorff. Yeah. And you said Haagen Dass. All I could think is Arkadas now.
A Chris: But game over.
B Neil: If you like what we do. You love what she's.
A Chris: She does it loads so much.
B Neil: She's such an incredible storyteller. So, yeah, if you search for Alison Haagen Das. Alison Haagen Das. Yeah. That's exactly what to search for. She is just, I mean, prepared to lose your life for an hour or two. She does. She loves the 90s. It's similar. She's similar era to. To us what he focuses on. And it's fair to say we get a bit of inspiration from what, you know, if she can find a story in the track. She often talks about the particular track.
A Chris: Yeah.
B Neil: Or a particular. Like a pivotal moment in an artist rather than the whole album. But like often I'll be. I'll be kind of doom scrolling and stuff and I get a lot of her stuff in my feed and she's got this ability to pick out a. A story and it was this. She covered Name.
A Chris: Ye.
B Neil: Yes. And it just. It just stopped me in my tracks. I said, why have we not. Yeah, I saw one of my favorite records. So why have you.
A Chris: Why.
B Neil: How could we have not done it?
A Chris: Yeah.
B Neil: But yeah, she is just. She's just bloody brilliant. She's got her own podcast, which is excellent. And she's all over the shorts and stuff and I think she's just.
A Chris: She's got it.
B Neil: She's just. She's just way better than we are. That's the way I would put it. But she's lovely. I like it. And. Yeah, but she talks about the story.
A Chris: She's about 10 minutes talking. She didn't spend 10 minutes talking about free pastels. You see, that's the.
B Neil: She doesn't talk about free pastels. She looks. She just.
A Chris: She goes straight to business. She's been. She goes to the content school. That's what she does.
B Neil: She's like, no, no mucking about. Straight. And even though the moment passed me by I still can't turn away. Cause all the dreams you never thought you'd lose Tossed along the way. Letters that you never meant to send Lost a throne away. And now grown up orphans I never knew their names don't belong to no one that's the same you could hide beside me maybe for a while And I won't tell no one your name and I won't tell your name. The scars are souvenirs you never lose the past is never far. Did you lose yourself somewhere out there? Did you get to be a star? Don't it make you sad to know that life is more than who we are? You grew up way too fast now there's nothing to believe Reruns all become a history mystery A tired song keeps playing on a tired radio And I won't tell no one your name Now I'll tell them your name. Now I'll tell him your name. I think about you all the time But I don't need the same. It's lonely where you are Come back down now tell me your name. We were a three piece band and I was also such a huge fan of Hooskadoo and Soul Asylum, you know, to a lesser degree. That whole sound I could relate to. That whole. They had this great music scene there. And I could relate to it being from Buffalo, which is basically just east of the Midwest. And I think that was part of what the abrasiveness of their sound. There was so much beauty underneath it.
A Chris: Oh, yeah.
B Neil: I mean, one of the things that I started delving into was using open tunings, alternate tunings. Mooled did that, you know, to create this sort of sonic thing where there's like, you're filling in space, right? Like, you know, we're not rush. You Know, it's like Robbie's thumping eights. That was a trick that I think Mold did really well. I read that you were.
A Chris: When you were kind of strumming, you're
B Neil: like, oh, this is cool. Yeah.
A Chris: You had a post it note that you're writing it down on, right? The tunings.
B Neil: Yeah, the tunings. I still do that. I still do that. Or I'll put tape on the back of the guitar and I'll have a tuner and I'll write the tunings down on it. Cause I forget. I forget. The thing, this is one of the stories that she pulled out for this was. Was that the band are kind of nowhere, right? They're not. No one's heard of them. Nobody's really a Goo Goo Dolls fan. Right. Unless you know them. Like, the band are from Buffalo. If you're from Buffalo and you're into punk, then you know Goo Dolls, Right. If you weren't, then you probably didn't.
A Chris: Yeah.
B Neil: Yeah. New records. A lot more aggressive than. Than our last record. It's not so polite. I think it's pretty fair representation of where our heads are at at that particular time that that record was made. Just like all of them are, you know, I mean, that's. I guess that's why they call them albums because it's because they're album. A document of where you are at that particular time in your life. We are progressing forward at, you know, at a real good rate. We've always done our best for Buffalo and, you know, this is still our hometown. And, you know, I mean, we love it here. It's our home. We believe in the people here. And I hope they still believe in us. And, you know, that's really important to us. And so they were doing. So they'd done their album and it sold enough copies to like, you know, buy guitars and stuff. But they were all still working. They're all still pinning jobs down.
A Chris: Yeah.
B Neil: And they were recording a video, I think it was for Flat Top. Right. So they're recording a video for Flat Top. And while they're recording that video. So they're on set, they're on this, like, fake desert island. They're all trying to, you know, you know, mime away to the thing to do the video.
A Chris: Yeah.
B Neil: And someone comes running into the set to say that KROC in the U. S. That kind of massive radio station in the US had put name on. On rotation. And that essentially meant that every other radio station would put it on rotation. So they all copied whatever. Whatever K Rock were doing. Yeah, yeah, yeah. And it just blew up from there. Like, it went like. It was never. Nobody thought Name was going to be a good single.
A Chris: Yeah.
B Neil: You know, crazy thinking that. The band certainly were not thinking that. I think the record.
A Chris: But then it is. But then at the time, you're battling against Bush, you're battling against the Pumpkins, you're battling against Nevada. Yeah, it's kind of.
B Neil: Yeah, it's. It's post grunge, isn't it? So you're like, it's a year or so after Kurt Cobain's death. This post grunge era is coming in slightly more polished. It's kind of. It's grungy, isn't it? But it's like. But it's like. Like rock production.
A Chris: Yeah.
B Neil: Proper production. The guitars are in tune and all
A Chris: that kind of stuff. But there's a lot of it.
B Neil: Yeah.
A Chris: You know, it'd be easier to get like. Yeah, there's probably a lot of bands from the era. They were very good. That no one actually heard of, you know.
B Neil: Yeah, that is very, very true, I think. But I think it's fascinating here, though, that they. They kind of dropped what they were doing and went to record stuff for Name.
A Chris: Yeah. Yeah.
B Neil: They. I think they realized it was going to go. Go off the hook and so they went off and then supported that and a. Loads of TV appearances and, you know, they were doing all kinds of stuff to try and push Name to get it. To get it to go really, really well. Which it did kind of kicked off and then. And then that was it. Right. This is interesting. Every Goo Goo Dolls album up to. I think it was up to Dizzy sells double the amount of copies of the album before.
A Chris: Wow. Yeah.
B Neil: Which is extraordinary growth, isn't it? The thing that I didn't know about this one until I did the prep for the blog was they were on Metal Blade and John Resnick talks about the fact they didn't know what he was doing. He was just happy that someone's going to pay for studio time. Right. Because they couldn't afford to to record their own stuff. So he was just happy that somebody was saying that they're going to pay for studio time. That contract was horrific. They were getting paid like, zero. Right. So really, really bad contract. And that's what A Boy Named Goo.
A Chris: Yeah.
B Neil: Was released on.
A Chris: Yeah. Yeah.
B Neil: So even though Name was. Went really well and the album sold 2 or 3 million copies in the US, the band got zero from it. They got absolutely nothing from it. They were. The contract was something crazy. Like they got paid, like. I think it was something like 30 of the royalties went to the band. But the band were responsible for paying studio costs.
A Chris: Yes.
B Neil: Out of their royalties.
A Chris: Yeah, yeah.
B Neil: So the record label got 70 of all of the royalties.
A Chris: Yeah.
B Neil: And didn't have to pay anything from it.
A Chris: Yeah, yeah, yeah.
B Neil: The band got 30 of the royalties, but then had to cover all the studio costs and all the other things. Yeah. And also distribution costs and everything else. So they said it was.
A Chris: It was.
B Neil: It was just. It was like that. They. They said that even though it sold a lot of copies, it literally just broke even with the costs to make.
A Chris: There's a couple of guys from around here back in the day that, you know, they made it made a bit of fuss about getting signed and, you know, we're going to be big and all that sort of stuff. But they signed a bit. They signed one of those.
B Neil: A bad deal.
A Chris: Really bad deal.
B Neil: It's crazy.
A Chris: You know, the problem is with things like that is it ends the band and.
B Neil: But then they also the. The deal. They had to buy themselves out of that deal from. From Metal Blade.
A Chris: So they've got no money to record with.
B Neil: And then Warner Brothers signed them.
A Chris: Yeah.
B Neil: And then they went on to do Dizzy. Right. Which is obviously great. And then the band went on to do really well. But he answered the question for me of. You know, I'm a big fan of the. This era of the band. Certainly New Car Wash and. And Goo. I really like those two records. Trying to get hold of them. Copies of those.
A Chris: Yeah, you've said about that before.
B Neil: Insane. It's really, really hard. And it's because they're on Metal Blade and they're not. They were pressed, I think in 2015.
A Chris: Yeah.
B Neil: In the US.
A Chris: Yeah. So that box set.
B Neil: No, the box set was done. So they were pressed after that in the box set. But the box, that was only a fraction. There were hardly any copies of that. So I was lucky enough to get a copy of the Bo. And I've got a copy of Car Wash. I don't have a copy of A Boy Named Goo, but the. The only copies I can find are 330canadian dollars.
A Chris: Yes.
B Neil: With like a hundred dollars shipping.
A Chris: Yeah.
B Neil: And I've. I'm not. I just know I'm not doing that.
A Chris: I like.
B Neil: It's. There isn't. Yeah, we've talked about this before. There's something really, really special for me about putting on a physical bit of media, but not for. I mean, it's nuts, isn't It. It's like just. I. I just stupid. So I, I keep looking. Okay. I can set my ceiling like for an album that I absolutely love. I think I ended up paying like 90 quid for the Superstar Car Wash, which is up there as the. But I think it's probably the most expensive record I've ever, ever bought. But they're not even from the 90s.
A Chris: Yeah, yeah.
B Neil: Do you know what I mean? It's like 10. It's. It's a repress essential. Pressed on vinyl. Neither of them were pressed on vinyl.
A Chris: So they were just come out on cd.
B Neil: Yeah. Car wash and tape. Yeah, yeah, yeah. It would have been cassette and tape. I don't think it would have been cassette and cd. I don't think they would have come out on anything else. This was like early to mid-90s. Just. Just on the verge actually of MP3s.
A Chris: Yes. Yeah. Just before, isn't it?
B Neil: Yeah. So like just. This is just on the verge of. I think we would have had MP3s at this point. Yeah, they're like lame. Would have been. I can't remember when the lame encoder came out, but it was. That was kind of a mid-90s time. But you wouldn't. Yeah, but you. I don't think you really kicks the llama's ass.
A Chris: Yeah.
B Neil: So. No, so. So was a player. Yeah, but lame. Lame was the encoder bit. Lame was the bit that took the, you know, the really big music files and made them little.
A Chris: I see.
B Neil: Because we didn't have much disks and storage space and networks were slow and the Internet was slow. So. So you would have had like 128 kilobit MP3, something like that. And no one would have gone much more than that because they've made the files to be. But yeah, I don't think there would have been. There were certainly. These two were never pressed on vinyl. There was never. That 2015 re release was the very first pressing and they didn't make any. There were so few done and. And as far as I can see, there's no plans to redo them.
A Chris: No.
B Neil: So you kind of stuck with. With whatever. So. So it's just. It's just nuts.
A Chris: Yeah. It'd be interesting now though, after that meme. After that 90s me. Oh. If I interested to see if the
B Neil: thing is the band don't own it's Metal Blade, isn't it? I mean you would. You were explaining like the. So the band might want to. Yeah, but they can't do it because they don't own.
A Chris: And there's no sunset because it's a bad deal. There's no sunset. They can't do a buyout.
B Neil: No. So they can't do it. So this is our Metal Blade to do it.
A Chris: Yeah. He.
B Neil: I don't know.
A Chris: Yeah.
B Neil: God.
A Chris: If you ever get a contract, right, In a sunset clause, please. It's crazy endpoint, but you've got, like, you.
B Neil: Sometimes you end up with the opposite of this, right? So at the minute, like Metal Blade, obviously, they did that pressing in 2015. Then you get Earache. Now, Earache just shove versions, like some. They. They of my favorite bands, so Napalm Death and Carcass and. And they got, like, Buck Cherry and Skindred and a bunch of others. Right. But they. That, like, I bought the. I look absolutely adore Carcass. Right. I think one of the best bands ever. There was a box set of every studio album that they'd ever done with the original artwork, which are impossible to get hold of. The artwork for Carcass was like, really?
A Chris: Yeah.
B Neil: I mean, not family friendly.
A Chris: Yeah.
B Neil: So you just couldn't get it.
A Chris: Yeah.
B Neil: And they were only available, like, fleetingly, if you were lucky and you knew. And you have to bear in mind, way back at this time, when these albums first came out, the only place you'd have been able to buy them was a show. They wouldn't. If they wouldn't have been in, like, the record stores and stuff. You have what you have as far as being a writer, and you can always, always draw from different sources. I think it's a. You know, it's a matter of how honest you want to be with yourself, you know, and if I felt like writing country and western on this record, that's what I would have done, you know, But I didn't. I felt like writing really aggressively.
A Chris: And I think the more.
B Neil: And I hate this word, but the more you mature as a player and a writer, you sort of discover things that you can do that you maybe never knew you could do before. You know, things that you may have wanted to do but didn't have the confidence or the know how to actually. Actually go ahead and get those things done. So anyway, they did this boxer, and I thought, yeah, do you know what I. I really like. The nostalgia is really strong for me. I'm gonna get that. So I ordered that and I got it. But then, like, every other week, they release another version.
A Chris: Yeah. Yeah.
B Neil: I mean, like, Metal Earache are constantly shoving these. These things out of the door, you
A Chris: know, so, like, here's a new one with an extra track. Yeah, yeah.
B Neil: It's just different color. Yeah. And. And I don't know, you know, but they're not asking mega money for them.
A Chris: No.
B Neil: Do you know what I mean? Like, they. I think I bought. I bought some of the book. Cherry albums are like 14 quid.
A Chris: They've got you, Susan, haven't they?
B Neil: Yeah. And I think I'm. I'm down with that. I'm. I'm totally down with 14 quid from a, you know, for album that. I'm good. I'm good with that. Yeah, that's about right for me. But. But like. Yeah, I don't know. Paying like 330.
A Chris: It's a lot of money.
B Neil: Dollars.
A Chris: Yeah.
B Neil: And to get smashed in the post,
A Chris: I was really happy because I got a copy of Melancholy.
B Neil: Did you?
A Chris: Yeah, that was the same sort of thing, you know, where it was hundreds and hundreds of pounds.
B Neil: Yeah.
A Chris: And then one came up and I'm sure It was like 50 quid.
B Neil: Yeah.
A Chris: Not a lot in comparison to the rest at all. So, yeah, definitely got that.
B Neil: Do it. I. There is something very, very nice. I've got my car. It's got. I've got quite an old car. It's not got a very.
A Chris: It's got a record player in it. It's got.
B Neil: It's not got a fancy audio system in it. But I found out it's got a cd. It's got.
A Chris: It has got cd.
B Neil: Yeah.
A Chris: The way you flip the front down.
B Neil: No, it's just. It's just got. It's got.
A Chris: In the boot six exchanger.
B Neil: It's got like a little hole. You just put it in and you can hardly see it.
A Chris: Yeah, yeah, yeah.
B Neil: It's really neat. It's kind of. Yeah, it's very German, kind of.
A Chris: My Audi was like that was it.
B Neil: It's really nice. You just kind of put in. It goes.
A Chris: Yeah.
B Neil: And then it goes.
A Chris: It feels good.
B Neil: Oh, yeah, it's been brilliant. I've been able to listen to the compact discs in there. So I've got a few in there. And do you know the other thing that's really cool about it? It in the glove compartment when you.
A Chris: You fridge.
B Neil: Yeah. No, it's not good at fridge, but you open the flap and like there's like a groove across the bottom and it's exactly a CD's width.
A Chris: Oh, wow.
B Neil: And I remember got it and. And the first one was Superstar Car Wash. I took my Superstar Carbohydrate CD in there, put it in my little slot yeah.
A Chris: And then put the thing in there.
B Neil: Put it. And I was like, like, oh, fits perfect. And then you. And it's like, oh, they've nailed it. Somebody. Some. Somebody did that. I think some. Somebody was like, you know, with a Vernier calipers.
A Chris: Yeah, exactly.
B Neil: How big does the slot need to be? It's beautiful. I like that a lot.
A Chris: My.
B Neil: My kids are still. They're still. I don't know. They still don't believe me. That's how we used to listen to. But they kind of get that. That's. You can listen to music.
A Chris: Yeah. But they're like, that's not the only way.
B Neil: Yeah, but they're like, why would you do that? Do you know what I mean? They don't. They don't get it. They're not like, why. Why don't you. What?
A Chris: What?
B Neil: Why did you not just listen to. On your phone?
A Chris: God. Can you. Thing is, can you imagine when. When AI AI gets to the point where it's that same conversation, it's like, well, why wouldn't you do it like that?
B Neil: Yeah. How could you just not use AI?
A Chris: Yeah. Yeah. I'm pretty there now.
B Neil: I. I can't.
A Chris: I couldn't go back. No way.
B Neil: It's brutal when I've just got really lazy. So when at work, somebody. We had an. We had a Claude outage this week, so we couldn't. There's a couple of models that we needed to use.
A Chris: Yeah.
B Neil: And that's it. I was trying to do some. I was trying to review some pull requ requests on one of our repos. And I've just got to the point now where I just kind of go, what's the pull request do? Explain it to me. Show me the. You know, just show it to me. And then you, like, what's the risk? And then I test it. I'm gonna have to read this, like, by hand. I've got to actually read, like, all of the stuff here. And it's like, this is ridiculous. You know, it's like. But it is. It's.
A Chris: It's got there on it. It's properly got there.
B Neil: Yeah.
A Chris: I've won, like, so I was doing, like, bids for, you know, money for charities. Yeah, like that. And like, you normally spend two or three weeks, like, putting a bid together.
B Neil: Yeah.
A Chris: Getting it right, checking it through, getting the spelling, all that. I did three in one day because you. You know, it was great. It was so simple.
B Neil: I had to do a. A podcast. So I've been invited on a podcast where they. They invite people Who've been in I T for a long time to talk about their careers of kind of how did you get into it and what, you know, what's been involved and stuff. And I think I'm the oldest person they've ever seen. The girls, the girls, bless them, who do it, do you know what I mean? They were, they were that kind of age where they're young and energetic.
A Chris: Yeah.
B Neil: And I think they've, I think they've seen people in their 30s and 40s.
A Chris: Yeah, yeah, yeah, yeah, yeah.
B Neil: And then they've not seen, they're not used to.
A Chris: That's so good.
B Neil: So, so I was chatting to them and, and I was saying, well, the granddad. Yeah. Like the first job I ever did really in it was, you know, network. Oh, do you like, like, like redoing switches and things like that? Well, there was no network when I started this company. There was zero network. So if you wanted to share a file with somebody. Oh, you use USB drives, didn't you? No. You used a floppy drive. So you would have copied it onto the floppy disk, maybe two or three floppy disks.
A Chris: Yeah.
B Neil: And then you would have walked to the next person's computer and then they would, they would do that and obviously connecting them together was a big deal. So that was what? Yeah, and then. Oh right, okay. Yeah, and then, and it's really funny.
A Chris: Why?
B Neil: Well, so wouldn't it be easy just to email it or something? The Internet's not been invented yet.
A Chris: I remember Monkey island had 11 discs. Oh yeah, it's perfect.
B Neil: One of them.
A Chris: A little copy protection disc that you spun around.
B Neil: Yeah, yeah, yeah, yeah.
A Chris: You spin it around to get the code and then you put it in.
B Neil: I might have been one of them. It might have been Elite that did this or. Yeah, you had it asked you for a word on the page.
A Chris: Yes. Manual. Yeah, yeah.
B Neil: So you had to get to like page like, you know, word 12, paragraph 6, you know, or whatever.
A Chris: Yeah.
B Neil: That's copy protection, isn't it?
A Chris: Yeah, proper.
B Neil: You can never find the bloody manual or whatever.
A Chris: That's it. You can't play that game anymore.
B Neil: Done.
A Chris: I, I everything items cracks.
B Neil: Yeah, pretty much. That was Amiga.
A Chris: Yeah.
B Neil: Everything was always cracked on the Amiga.
A Chris: And then like everyone had like, everyone's mum always had a mate who were, who like basically had a list of games you could buy from them. Oh yeah. And it was like maybe 50p a disc. So if you had like a, you know, like a ten discer.
B Neil: Yeah.
A Chris: You know, that's five quid in it.
B Neil: Well, there's like it was at school for us, it was a load to swap in.
A Chris: Yeah, yeah, yeah.
B Neil: And then for me it was on the zone.
A Chris: Copying it.
B Neil: Copying the dissocum.
A Chris: Okay.
B Neil: Yeah, the Commodore 64.
A Chris: Yeah.
B Neil: You'd have like a C60 or C90.
A Chris: Yeah.
B Neil: And then it'd be like handwritten with the, you know, the. The wheel that told you where you were on the. On the cassette.
A Chris: Yeah.
B Neil: And it would just have the number written next to it so you could fast forward to that bit. And then you'd have to find the gap.
A Chris: Yes.
B Neil: And then you'd be. Then you'd be. Right, loads of that. Yeah, I really liked that. Yeah, it was good. Different times back then. Yes.
A Chris: Blows power.
B Neil: I would. Yeah, that would. For me, that would have been eight, that. Yeah, it would be. It would have been just on the verge, actually. Late 80s.
A Chris: Yeah, it is, yeah.
B Neil: But I do think that. Yeah, we're talking about media, weren't we? And. And there is still something that I really like about it, you know, and it's.
A Chris: Yeah.
B Neil: And although it's a faff, it's not that big of a faff. Like, it's not as big of a faff putting vinyl on or listening to a cd.
A Chris: Yeah.
B Neil: As like Leo, like, my eldest really wants to do film photography.
A Chris: Yeah.
B Neil: So we were going. Some of my old cameras and stuff I'd use for gigs and shooting jets and stuff. And then we looked at how much film costs nowadays. And then we looked at how much it costs to. To, you know, to. To, you know, develop that and. And get a. Yeah. And it's. It's extortionous. So expensive. I always remember it was like. It was never like super cheap, but it was never.
A Chris: Yeah, no, no, it's proper thing now, isn't it? Have you got one? You've got film camera.
B Neil: Yeah, I've got. I've got quite a few film cameras. I've got. Yeah, I've got. I've got a bit of a collection.
A Chris: Yeah.
B Neil: Which. They're lovely. They're really nice things to use film cameras. But, you know, the film's like eight, nine quid.
A Chris: Yeah, yeah, yeah.
B Neil: And then. And then to get developed is like 15 or 15, 16, 17 quid, something like that. And then that's. That's. That's just to get the negatives back.
A Chris: Yeah, yeah, yeah.
B Neil: And then if you want them scanned, you got like another 10 quid on top of that. And then if you want actual images, you know what I mean, you then got to have that on top of It. So, yeah, for one roll of, like, 36, you're kind of into, like. I mean, it's. It's the best part. I would say, like, 70p to a pound.
A Chris: Yeah. Yeah.
B Neil: Per picture.
A Chris: Yeah.
B Neil: And like, half of them are rubbish. Do you know what I mean? You've got your thumb on them or.
A Chris: A bit.
B Neil: They're a bit blurry.
A Chris: Yeah.
B Neil: You've read the light.
A Chris: Yeah.
B Neil: You've read the light meter wrong or whatever. Right. So. Yeah, it's. It's not that faff.
A Chris: Yeah.
B Neil: And it's. I. I don't know. There's something I really like, like just getting in the car and putting a CD in the car. Yeah. Feels like a. Yeah. I don't know.
A Chris: Yeah.
B Neil: Because, I mean, genuine. It's probably not. I mean, I don't think I could tell the difference in the way they sound. I'm sure people claim they can, but I can't. No. And I don't see, like, in my car. It doesn't even give me the track list.
A Chris: No, exactly. Yeah.
B Neil: I mean, it just kind of goes, I'm playing a cd.
A Chris: Yeah.
B Neil: And. And it's just.
A Chris: I think that's why I never remember the names of any songs, because I would have just listened to, like, ICE Tracks 7.
B Neil: Yeah. Yeah.
A Chris: I wouldn't have ever, like, learned the song names.
B Neil: The beginning and the end.
A Chris: I like that one, actually.
B Neil: This.
A Chris: This one with that bit. The one with the riff. Yeah.
B Neil: I said this album is. It's a. I think this is a funny album because it starts off so. It starts with A Long Way Down.
A Chris: Yeah.
B Neil: Right. So we start with Long Way down, and I think it's really cool. Do you know there's something you didn't know about this track? I bet there's something. No. Well, I bet something. Virtually no one knows who's listening unless
A Chris: they've been on the blog.
B Neil: Yeah, it's. It must be. They performed it live on Beverly Hills 90210. Do you remember Beverly Hills 90210? That was a 90s show.
A Chris: Isn't they. The Goo Dolls were on it.
B Neil: They were on the show and they played Long Way down, which I think it's. I think that's really interesting. But it starts with Long Way down, which is kind of a bit rocky. And then it kind of ebbs and flows a little bit.
A Chris: That was always a thing, though, back in the, you know, the mid to late 90s. Like, things like Buffy and stuff. They always had bands on.
B Neil: Yeah. Anthrax were on Married With Children.
A Chris: Yeah.
B Neil: I Think that's brilliant. But, yeah, kind of ebbs and flows, the album just. Right. Kind of speeds and I like albums like that. This. It feels like a proper album. Ebbs, flows, ebbs and flows. Right. Until you get to the end and then you've got 12 and 13, which is disconnected and Slave Girl. Don't feel connected to the album. I often will. Stop this record.
A Chris: Yeah, yeah, I know where you're coming from. Yeah.
B Neil: And. And it was because the drummer left the band and he had written. Oh, there is. Yeah, the last. No, that. Well, their covers.
A Chris: Okay.
B Neil: So Disconnected and Slave Girl.
A Chris: So the drummer wrote songs that didn't feature on the album.
B Neil: Yeah.
A Chris: Replace them with those.
B Neil: Yeah, exactly. Yeah. So. So let me. So George Tatuska, right. And so he was. The drummer, fell out with the band over royalties. He. He claimed that Resnick was getting royalties for. He'd written a track on Superstar Car Wash and it's a long way down, I think. Oh, no. Long way down. Oh, come on. The track on Superstar Car Wash said. Tatuska said that he was getting royalties for it. Went to the management, said, if you don't fix the royalties, I'm out. He recorded the drums for A Boy Named Goo.
A Chris: Yeah.
B Neil: But then by the time the album was released, he'd kind of left. Yeah, yeah, the band. But he. There was a song on there called Standalone, which was on the original pressings.
A Chris: Right.
B Neil: So if you got the original CD of A Boy Named G will have a track on.
A Chris: Okay.
B Neil: The original promo stuff had got Standalone on there. Resnick didn't. Talked about. Didn't want to have that on the record. He felt he was being exploitative. Like he. Obviously he's not going to get paid royalties and blah, blah, blah. So he didn't want to do it. So they weren't sure what to do. So what they did is they put two covers. They recorded two covers. Disconnected and Slave Girl, who were both Buffalo. Well, there was a. One punk band from Buffalo, one punk band from Sydney. It's called the Enemies and Lime Spiders. Like defunct. Almost.
A Chris: Yeah, yeah.
B Neil: But the bands didn't exist almost by the time the album would. Was released. And that's what happened. So you ended up with Disconnected, which was by the Enemies, and Slave Girl, which was by Lime Spiders. But they don't. They're quite spiky, both of those tracks. Yeah, they're kind of quite. They're a little bit lighter. They. They have a. Yeah. Really different energy to them, I think.
A Chris: Yeah. I know what you're saying when you say they don't fit. Because I've. I sense that. I felt that as well. They didn't really fit the rest of the stuff.
B Neil: Yeah, they. They had like. Yeah, I don't know. I don't know whether they would fit on, like. Like they would fit on Jed or Hold Me up or something like that, but they even feel a bit spiky for. For Car Wash. Yeah, they just. They're just not. The energy is not quite right there for me. But if you. If you. If you, like, take those off. I. I don't know. I think the album actually stands up really well. You know, I think it's. I think it's like a. Yeah, it's a. For me, it's a really good album. It's. It's. It's.
A Chris: I never thought they were bad, but I just think. Just didn't think they.
B Neil: Yeah, they're not bad at all, but they don't fit the vibe of the rest of the album for me. Do you know another album that did that was you. I'm. I'm a massive Prong fan, right. And I'm going to get. I'm going to get the. The. The name of this correct and I'm going to have a quick look on the Wikipedia. But. So Prong did a album, a recent album called. Oh, God, what's it called now? State of Emergency.
A Chris: Yeah.
B Neil: And on there is a Rush cover.
A Chris: Oh, yes, I remember. Yeah, yeah, yeah.
B Neil: And I stopped that album,
A Chris: I think.
B Neil: I don't like it. Don't like it at all. I don't. I don't mind. Don't mind covers. Well, I don't really like covers, but I like. I don't know, some bands do cover.
A Chris: Unless you're Faith no More. Faith no More, Carry It Off.
B Neil: Faith no More did it. Anthrax did it with. What did they do? They did Antisocial, which was epic. Megadeth have done covers like this. Metallica have done covers like Garage Incap, didn't they? Yeah. So, like, some. I don't know. There's some. Some. Some covers I think are just brilliant and, you know, you word up, right? Gun.
A Chris: Yeah, definitive.
B Neil: Yeah, it's a Gun track, you know, but I don't know it. Like, it's. It's weird. Like, if you take Word up for an example, right, it fits the energy of that album so well.
A Chris: It's like.
B Neil: It's not. It doesn't stand out in any way. It's like it's just another. A great track on a great album.
A Chris: Yeah.
B Neil: These two for me on here. So by the time you get disconnected in Slave Girl, they're cool tracks, but they don't. Like, as an. As a lover of albums.
A Chris: Yeah, yeah.
B Neil: For me, I like the album because it. It's a point in time. It's where. It's where. It's where you are as the person. So. Yeah.
A Chris: Yeah.
B Neil: This record is where Goo Goo Dolls were at this point in time. They were writing, Resnick's writing about things that mattered occurring to him at that point in time. And, like, for me, it's like a little time capsule. Like, kind. There's something. I don't know, something really, really cool about that.
A Chris: And those two just take you out of that.
B Neil: Yeah. They're just not quite there. Do you know what? Maybe that's why Superstar. I mean, I would. I would take Superstar Car Wash over this, but with a. Like a hair absolute. It's like the tiniest of has. And it's probably. Probably down to that. I think they should probably just have left this as 11 tracks. Yeah, I think, but I don't know. I don't know.
A Chris: Shall we? What? Listen to a song.
B Neil: Yeah.
A Chris: And then do some facts.
B Neil: Facts. I like facts. Yeah. I'm fading and I call out no one hears me Never been, never felt, never thought I'd say a word down say now you're naked inside your fear you can't take Way back all those years and shots in the dark from them dead guns Never heard by anyone Never heard by anyone? Yeah, I am in the fallout Now I'm wasted they don't need me to want me don't hear a word I say Way down stay now you're naked inside your fear can't take back all those years the shots in the dark from them dead guns Never hurt by anyone Never hurt by anyone. Sam. Inside your head no one's there and I don't think I'll ever be and I don't care. You're naked inside your fear you can't take back all those years. And shots in the dark from Empty guns. Never hurt by anyone. Never hurt by anyone. We used Boston producer Lou Giordano, who was really big in the Fort Apache sound, the Boston sound he did. He put together a couple of, you know, albums by, like, the moving Targets and that he really understood, understood where we were coming from as far as, like, what kind of sound we wanted on the album. He's rubbing into the aggressive guitar sound. Yeah. He worked with Sugar and Husker do for years. And, you know, we've been Ripping them off since the beginning. So it's pretty logical to use a guy like that, I guess. So you can. Just for that extra authenticity.
A Chris: It's fact time.
B Neil: So, being a big fan of the Goo Goo Dolls, I don't know whether the band's called Goo Goo Dolls or the Goo Goo Dolls. So in the W. Wikipedia, it says Goo Goo Dolls.
A Chris: Yeah.
B Neil: On the albums I've got, it says Goo Goo Dolls. In Apple Music it says Apple.
A Chris: They make it make. They make it all up.
B Neil: Do they?
A Chris: Yeah, they do what they want.
B Neil: So I don't know. And so, like, if I look on the Wikipedia, they're just called Goo Goo Dolls.
A Chris: Yeah.
B Neil: But then like I said in the Social, almost all the socials, it says the Goo Goo Dolls.
A Chris: Does it?
B Neil: Yeah. I don't know. So if you know. I. I don't.
A Chris: Does Apple control their socials? Probably, yeah.
B Neil: Tim Apple.
A Chris: Tim Apple.
B Neil: He knows. Release date 14 March 1995. Released on metal Blade Records and Warner Brothers. I think Warner Brothers did the Universe, the. Not Universal, the international release, but Metal Blade owned it.
A Chris: That's their subsidiary or anything like that.
B Neil: I don't know. I thought Warner Brothers was bigger. So this is the biggest selling app album that Metal Blade had had.
A Chris: Yeah. Yeah.
B Neil: Right. So I don't think they ever had one that was bigger.
A Chris: No.
B Neil: Than this. And they made a lot of money from it.
A Chris: Yeah.
B Neil: Producer Lou giordano did tracks one to 11 and Rob Cavallo and the Goo Goo Dolls did 12 and 13. Those the kind of the. The covers that were done at the end. I like the production on this record.
A Chris: Yeah. Yeah, it is good.
B Neil: I like the production on. On Superstar Car Wash as well. Recorded Bear Track Studios. It was recorded at Trackmaster Studios in Buffalo Sound Castle in la. So it's kind of this. Kind of scattered around. Yeah, they did. I think they did writing in some. I think some of the writing was done before and then, you know, all good track count. 13 tracks. Runtime 42 minutes long. Very punky key.
A Chris: Yeah.
B Neil: Do you know what I mean? Yeah. The tracks are short, sharp.
A Chris: Yeah.
B Neil: They start well.
A Chris: Yeah.
B Neil: They're finished. Well, I. I like it. There's not. I don't know. Yeah. You kind of get the feeling that they. That there are not ideas. I don't know. Like. Like you. You don't get the feeling like they're just regurgitating something.
A Chris: Go.
B Neil: Done. Yeah, great. Run the idea out. It's finished now. And then we stop the song. Yeah, I like that. Guess where it charted in the UK. So in the US it peaked at number 27.
A Chris: Yeah.
B Neil: In the UK, probably nowhere. Didn't chart at.
A Chris: Yeah, I was going to say. Yeah, yeah.
B Neil: Nada. Not even in the. I. No. I don't know. I don't know where it's. Is it like 200 or whatever it
A Chris: goes up to get there.
B Neil: Nothing at all. Number 15 in Canada.
A Chris: Yeah.
B Neil: It got 2 million copies. It sold in the US. It was quite. It was a big album in the us, not so big here. And I think, partly as you were talking about, there was a lot of stuff going on.
A Chris: Yeah.
B Neil: There were bands that we had over here. They just did not make it to the simple.
A Chris: As if you're on TFI Friday, everyone's heard of you.
B Neil: Yeah.
A Chris: I think if you're on Jules Holland, everyone's heard of you and I think. So there was a lot to do with, like, who's on the Telly?
B Neil: I think there would. Like. Certainly in the US it would have been kroc, that radio station, and with it, you know, that would have.
A Chris: But there wasn't really an equivalent. I mean, Krang came a bit later, but there wasn't really a radio thing. There was a lot of. But there were.
B Neil: Kind of had a scene, didn't we? But it was Brit pop.
A Chris: Yeah. This was.
B Neil: This was Oasis and Blur and. And while we were Oasis and Blurring, the US were doing. We're doing this. So I. I like. I keep coming back to this, but this. This is one of the. These two albums. One of the two greatest albums.
A Chris: Yeah.
B Neil: That people have never heard.
A Chris: Yeah, yeah, yeah.
B Neil: And they've got this perception of. Oh, I don't like that because I didn't like. Like. Like some poppy single that came out in 2000 or whatever, or I didn't really like Iris or. You know, I didn't. But they're quite a punk rocky band. They're quite.
A Chris: Yeah, yeah.
B Neil: They're quite rock and roll.
A Chris: I think that was when I. It might be when you first started playing them, like really early doors, when we were doing these shows.
B Neil: Yeah.
A Chris: And I remember having that conversation. I was like, oh, I thought they were popular than this.
B Neil: Yeah, yeah.
A Chris: You know, and they're not. They're really. They were really quite spiky.
B Neil: They were like. The earlier you go back.
A Chris: Yeah, yeah.
B Neil: The. The. The More. More kind of punk rocky that you get. Singles. Only one.
A Chris: Yeah.
B Neil: Flat Top name, which is the one that made it really.
A Chris: Yeah.
B Neil: Naked and Long Way Down.
A Chris: Yeah, yeah. Good songs.
B Neil: Long Way down to how the album begins. The band first began with the name Sex Maggots. Oh, yeah. Which I really like.
A Chris: Yeah.
B Neil: I can't imagine.
A Chris: Very different name, isn't it?
B Neil: I can't imagine why. Why, why they changed. Why they changed that. There's a lovely quote from Resnick. He says when a club owner insisted they change it because the local paper couldn't print it.
A Chris: Yeah.
B Neil: They grabbed a name from an advert for a toy in True Detective magazine. That's where Goo Dolls came from. Resnick later admitted it's kind of stupid. It stuck. Bit like Foo Fighters, I think.
A Chris: Yeah, yeah, yeah. Very much so, yeah. Going fu.
B Neil: Yeah, same thing. It's interesting. And again, in the. I've just relooked in the blog. I mix the Goo Goo Dolls and Goo Goo Dolls throughout. So. So there you go to do a poll. I don't. I don't. Don't think anyone cares. Right. Let me scroll down to the bottom of my list where it's interesting. Oh, where's my. Oh, sorry, I've got to scroll up there. I'm scrolling to the bottom of the bottom of the blog where I put my facts. So things you might not know. The album's promo version had different track lists. So standalone was written by George Tatuska, the drummer. Instead of the two covers, Ain't that Unusual was listed. Oh, Ain't that Unusual was listed under the title Someday as well. On the promo name uses different songs aisle. Yeah. In the promo version, right to name uses a highly unusual gu tuning.
A Chris: Yeah.
B Neil: So. Yeah. So of D, A, E, A, E, E. Yeah. Requiring resneck to replace the B string with a second high E string. Because a standard B string would snap.
A Chris: Yeah. Yeah.
B Neil: Is that. Is that guitar nerdy?
A Chris: Pretty hard to snap it.
B Neil: Is that like. Is that normal? Is that. Is that how unusual A lot of.
A Chris: A lot of Goo Goo Doll stuff is. Alternative tunings.
B Neil: Is it?
A Chris: Yeah, a lot of it, yeah. Like Iris in particular is know name is there. It's. We know like that Google Dolls, particularly the acoustic guitar.
B Neil: Yeah.
A Chris: Has got that kind of droning quality.
B Neil: Yeah.
A Chris: Like it rings out. It's quite shimmery.
B Neil: Yeah.
A Chris: That's the. That's the tunings.
B Neil: Ah. I have to be honest, I really love the production that they got for these. They're kind of not. There's a risk, I think, with a lot of acoustic guitars that you sound like. You sound like a Jon Bon Jovi album.
A Chris: Yeah, yeah, yeah, yeah, yeah.
B Neil: You know, that kind of. Everybody. Everybody wants that acoustic sound because it sounds. It's just so epic and I really like the fact that Goo Goo Dolls kind of kept.
A Chris: They've got their own thing.
B Neil: Yeah. A bit drier and I quite like it. Name. The track name was written about MTV Lisa Kennedy Montgomery who hosted the MTV show from 92 to 97 and he had a bit of a crush on her and he used to go and see her and he was dead impressed with her with how she. She was like. Inspirational stuff. Yeah. The fact that she like the way that she went about things and it made him question himself and how he. How he went about things. So that's where the. The track came from. Despite selling over 2.1 million copies, the band members never received a single penny in royalties from the album due to their original Metal Blade contract which paid them roughly 25 cents per se CD.
A Chris: Unbelievable.
B Neil: The album photo was taken by father of two Carl Gellert. The boy was 12 by the time the image was actually used and the blood was actually black produce that caused upset in Walmart who pulled it off the shelves and would later go on when it was obvious that it wasn't blood. They said it was pulled due to lack of sales.
A Chris: Yeah.
B Neil: The flat top music video was mid production which when KROC started playing Name forcing the band to halt filming and rush out a name video instead. On the new invention See it there in pieces on the ground A television war between the cynics and the saints Flip the dial and that's who sides are on Sleeping on the White House lawn Ain't never changed a thing look at our washed out hippie dreams and it's falling all around us this is some kind of joke they're trying to pull on us Falling all around us I turn my head off for a while Tabloid generations lost Choking on its fear Used to be that's all we had to fear the conscience keeps us quiet While the crooked love to speak his knowledge Wrapped in blankets on the streets A visionary coward says that anger can be power as long as there's a victim on TV it's falling all around us this is some kind of joke Trying to pull on us Falling all around us I turn my head off for a while and my dirty dreams all come alive on my TV screen and assassination plots show me what I haven't got show me what what I love who I'm supposed to be show me everything I need show it all to me show it all to me. Sam. It's falling all around us it's just some kind of joke that Trying to pull on us Falling all around us I turn my Head off for a while. Sam. Resnick told Grammy.com that they literally stopped one video to make another. So halfway through making one and decided to just, you know, do. Get. Get one for. Name out each of the Goo Goo Doll's first five albums. That's the box set there. Yeah. That I told you about that box. Petty Thieves and something else it's called. I've forgotten the name of it now. Dead Red. Really hard to get hold of. If you're a bit of a Goo Goo Dolls fan, it's worth. It's really good. It's the first five albums on vinyl. There were. None of them were pressed on vinyl.
A Chris: Right.
B Neil: Originally. It's really, really cool. Loads of cool stuff inside it as well, like tidbits of where it was recorded and. And, you know, just. Just cool things that you get in physical media. So each of the first five albums sold roughly twice as many copies as the one before it, which I think is bonkers.
A Chris: That's super cool. Yeah. Growth, isn't it?
B Neil: Yeah. The band was so broke during the album's success that they toured with Bush and no Doubt to cover legal bills for their Metal Blade lawsuit. Because they took metal blades to court to. To kind of get out of that. Of that thing. They were saying that it was that they had so little money that they were having to tour, like, relentlessly. They were. They would. Yes. Any tour that was going. Yeah, they were on it. Which no doubt did them no harm. What? You know, getting in front of. You know, imagine getting out in front of the Bush crowd.
A Chris: Yeah, yeah, yeah.
B Neil: You know, there's a whole.
A Chris: But it's just that I always get that thing about, you know, thinking about the timeline and where they are in their story.
B Neil: Yeah.
A Chris: And. And of course, we know now that like, Iris. Iris was rather.
B Neil: It's coming. Yeah. But they didn't.
A Chris: They didn't know. No, no. So they were really hard to time not knowing this huge hit was kind of about to take them into the stratosphere. Yeah, yeah, yeah.
B Neil: And that's it for facts. They're all the facts that I've got in the blog. Well, there might be more facts in the blog, but they're the ones that I felt were.
A Chris: So the blog is Refology. Co.
B Neil: It is, yeah.
A Chris: And you can go to that. And it's getting lots of interest. And the podcast. Getting a lot of interest.
B Neil: It is, yeah. Lots of you are listening to it. So I've noticed Overcast is good. We're getting people from Overcast, so.
A Chris: Yeah.
B Neil: Welcome.
A Chris: Yeah.
B Neil: Is that Europe, I don't know.
A Chris: Sounds like it'd be European.
B Neil: I know. So to our iHeartRadio. If you're listening to us on iHeartRadio. Well done you for listening to us on iHeartRadio. I have to be honest. We get lots of. According to our stats, we get lots of people listening on iHeartRadio, and we didn't know what that was, so that's lovely. So here in the heart of England, we appreciate you very much for enjoying this stuff with us. Um, but, yeah, lots of people are listening. It's good. More people are listening than probably we have any right to have people listening to. But we do appreciate it. It's lovely. And I do. I do worry sometimes that, you know, we don't translate particularly well. I have lots of American friends and they kind of stop me sometimes when we're having meetings and stuff.
A Chris: Yeah. What are you on about?
B Neil: Yeah. Or just what are you. What are you on about?
A Chris: What does that mean?
B Neil: I don't know whether fruit pastels. What fruit pastels called in America. Can you imagine?
A Chris: Yeah.
B Neil: If it was, like, called something stupid. Yeah, I do know. I saw a lovely quote today that said that if. What. What would you.
A Chris: If you.
B Neil: If you could change one thing about your country, what would it be? And, you know, so it was basically saying that it was. A British man said that the one thing he would change about England is he would rename name the seed rape to Canola, like America. So it was easy for British people to say. And I like that a lot.
A Chris: Yeah, yeah, yeah. Is that what canola seeds are?
B Neil: I think so.
A Chris: Yellow stuff?
B Neil: I think. Yeah, it's yellow.
A Chris: Yeah.
B Neil: Pretty seated. Pretty. I like it when they. When they plant that. It's really pretty, isn't it, when it comes out. As a photographer, we always used to go and drag people into fields, Canola fields, let's call them, because they're really pretty. Or poppy. I like poppy fields as well. They're really pretty as well. Do you know. Have you. Did you know why we. While we're off. Off on a bizarre tangent, I've noticed that farmers have been planting sunflowers.
A Chris: Have they?
B Neil: Yeah, it's called something seed. Something. Make wild seed mix or something.
A Chris: Right, right.
B Neil: And the government pay them to. To.
A Chris: Yeah, yeah.
B Neil: Stuff. Yeah. It just looks well smart.
A Chris: Yeah.
B Neil: A field full of.
A Chris: Yeah.
B Neil: Sunflowers.
A Chris: Yeah. Yeah.
B Neil: That look really, really cool.
A Chris: Yeah.
B Neil: Lizzie wouldn't let me. Still. I wanted to go, if you. If you take the head off. Take the head off a sunflower and Dry it. You get loads of sunflower seeds.
A Chris: Yeah, yeah, yeah.
B Neil: And then you can plant the sunflower seeds and then you get sunflowers.
A Chris: Yeah.
B Neil: So we're driving past one of these fields and I, like, pull up and she's like, going, what are you doing? Then I'm gonna go and steal a sunflower. What if you get caught? I was. What do you mean, what if I get caught? Well, she said, what if the police come?
A Chris: What? The police?
B Neil: I'm like, I don't know.
A Chris: Sunflower, please.
B Neil: I'm pretty sure they've not got serial numbers on. And I'll just say that I found it on the floor.
A Chris: This one fell off.
B Neil: Yeah, we fell out massively. And I didn't. I didn't steal it. She's like, there's something about bad influence for the children.
A Chris: Yeah, yeah, yeah.
B Neil: I mean, you shouldn't go around stealing things, but I'm pretty sure that farmer wouldn't have minded.
A Chris: Well, it's biodiversity, isn't it? You're encouraging biodiversity.
B Neil: Of course it is. Wars going on in them in the Gulf. No one cares about a bloody sunflower, do they? They. And they're dead smart. I like some flowers a lot.
A Chris: Some flowers.
B Neil: I do. I really, really.
A Chris: Yeah. We've always led one of the trip. Many trees, many trees. Many plants that we try and grow.
B Neil: Do you.
A Chris: And I kill most of them.
B Neil: Do. I've got some giant sunflower seeds at home.
A Chris: Have you actually got some?
B Neil: Yeah. Do you want some? Yeah, I'll do some, please. I always want to eat them.
A Chris: Yeah, yeah.
B Neil: For those, again, of those of a certain age who remember the X Files.
A Chris: Yeah.
B Neil: Fox moldy.
A Chris: Yeah, yeah.
B Neil: I. And I. I remember getting sunflower seeds and being incredibly disappointed. Fox mold and chocolates. They've got to be brilliant.
A Chris: Yeah, yeah, yeah.
B Neil: They're not very good at all.
A Chris: Yeah, yeah, yeah. The other one was chewing tobacco.
B Neil: I've never done that.
A Chris: Chewing tobacco was a. Was a thing like, you know. You know, like. Like American Western films. They always just have tuned. Spit in the. Yeah, Spittoon is called, isn't it?
B Neil: Spittoon.
A Chris: Spittoon. And, yeah, I always thought like, oh, I'll try that one day. Just see what. It tastes horrible.
B Neil: Is it?
A Chris: Yeah, yeah. Dan's brother had some and it was like, yeah, I try that.
B Neil: And I was like, dan Baker doesn't even exist, so how can you have a brother? Yeah, we should have him on the show, maybe.
A Chris: Yeah.
B Neil: We haven't talked about that for ages.
A Chris: No, we should get him on.
B Neil: We should. Do you Guys need to do a new album.
A Chris: Yeah.
B Neil: And then what you can do is you can make him come on the show.
A Chris: Yeah. The publicity. Yeah, yeah, yeah.
B Neil: You should definitely. They do that. And speaking of pr, where's this going?
A Chris: I know. I wondered if you wanted to speak about pole position app.
B Neil: A what?
A Chris: The pole position app.
B Neil: Oh, my God. If you like Formula one. I have got a fantasy Formula one league and I have to be honest, so I love. I've loved Formula One since in the 80s, so I was about 10 and I love. I just, I just absolutely fell in love with it. And where I grew up, my dad was a mechanic. My dad was an engineer, but he used to do loads of work on cars, race cars and stuff. And the guy next to live next to us, he used to build dragsters, used to get down to race dragsters and stuff. So, like, I kind of grew up around paddocks and, you know, at Donington park and stuff, I first learned how to drive, like most people say. Oh, yeah, I learned how to drive in a. Like a Vauxhall Viva or whatever. Yeah, yeah, yeah. I was learning to drive in race cars around. Around the paddock in. And you know, this was in the 70s where parents, I mean, you would. Do you know what I mean? There was no seat belts.
A Chris: Yeah, yeah, yeah.
B Neil: There would be. They would be smoking. They'd be, you know, they think. They used to think it was dead funny to kids, like, you know, beer and stuff. Yeah, yeah. Of course. You can never go in the race car. Just.
A Chris: Yeah.
B Neil: Try not to kill anybody. So I always love. I always love racing. Just absolutely besotted with it. In fact, the past 10 years I've wanted to build my own fantasy league and. And never really did it, but my youngest is now besotted with it as well. He's just like, totally as you were.
A Chris: Same sort of thing.
B Neil: Yeah. But like, what's weird about it, I like, no one else in the family likes F1 apart from me, so I would watch it on my iPad with my headphones on.
A Chris: Yeah, yeah, yeah, yeah.
B Neil: You know, or I would catch up on the highlights on the Monday. Right. So it's not like he'd seen it around the house.
A Chris: No.
B Neil: And then I just suddenly became aware of him watching catch up stuff on YouTube and, you know, paying attention to it. And then he came downstairs one day and said, I really, I want to buy like the. I think it was F1, 2022 or 2023 for his Xbox. And then I'm like, oh, do you like Formula one? Now then, you know what I mean? And so. So anyway, he's. He's besotted with it and he convinced me to finish it. So I have a fantasy league called Pole Position Fantasy League. So if you type that into the Google, you'll. It's. Yeah, Pole position fantasy league dot com. And it is like a. An F1 fantasy league.
A Chris: Isn't that good?
B Neil: It's that good. Yeah, it's cool. Yeah.
A Chris: Yeah, I liked it. I like. I like the bit where the lap shapes. Oh, yeah, I like that.
B Neil: It's. Yeah, it's lovely. I use. I use a. I found a really cool community project called F1DB and they have all the data and stats, but one of the lovely things they have is circuit diagrams.
A Chris: Yeah, yeah.
B Neil: Kind of pull all that in. Really lovely people as well. I like that. I love community projects like that. Definitely. But it's been really cool to do. It's been really brilliant to be able to pull it together. There's like hundreds of people in there in the league now as well. I thought there might be like 10.
A Chris: Yeah.
B Neil: Like, you know, you know when you get those projects and there's like. It's just you and your mates, but, you know, it's good, it's social strangers, you know, it's really, really cool. And I'm still petrified that the FIA are going to appear in my inbox any. Any day.
A Chris: Cease and desist.
B Neil: Yeah. I know people. I know people in F1 and I know people in the FIA. And they've all said that they'll leave you alone. Right. Until if it gets to a point
A Chris: where it makes money or something like that.
B Neil: Yeah, we're significant. Then. Then they will absolutely. Just stay under the radar.
A Chris: Yeah.
B Neil: But anyway, you're friends. We're all friends here.
A Chris: We're all friends here. Just don't tell anyone.
B Neil: And like, you know what's interesting? So a lot of my US friends, I mean, typically F1 has always been a British.
A Chris: Yeah, yeah.
B Neil: Thing we say British thing. European. Let's call it European. But yeah, loads of my US into it. Yeah, loads of my. They've got. Obviously got Cadillac in there now. Has now. So, yeah, the made some really good quality American drivers. I think that'd be brilliant. Anyway. Yeah, that's it. That's my. That's my Bosch. That's. I'm not very good at adverts.
A Chris: That's good. Good advert.
B Neil: There is a good effort.
A Chris: Yeah, yeah, yeah, yeah, yeah, yeah. Normally pay podcasters, like, 10 quid. Yeah. To do that.
B Neil: Join Pole Position. Fantasy League dot com. Yeah. Dot com. Yeah. Dad. Calm. Martin Clunes would love it, wouldn't he? Whatever happened to Martin Clunes? I like Martin. I love Martin Cloons. It's brilliant.
A Chris: Right, let's do a song and then we'll do what's next week.
B Neil: Sweet. I open up my head a while it's been there for years Must have been a victim of my. One is for my happiness the other for my health. Less of something bigger than myself. I'm the only one I'm the only one I'm the only one to save. I'm talking to myself again. I'll just start a fight and nobody can prove me wrong? I'm right. Anti hero idol with a suicide excuse. A thousand other suckers trying to fill your shoes. I'm the only one I'm the only one I the only one to say. Little pictures in my head Turning inside out again. Cause fucking up takes practice. I feel I'm well rehearsed. Because the past is a bully and the future's even worse. You tell me what you feel. Cause I can feel it like a curse. I the only one I the only one I the only one to sing.
A Chris: Right, then. Next week, the plan is Matchbox 20, isn't it?
B Neil: Yeah. I want to do yourself or someone like you. I kind of think it feeds off this a little bit.
A Chris: Yeah. Yeah, definitely.
B Neil: I like that. I like Rob Thomas. Rob Thomas is dead good.
A Chris: Yeah.
B Neil: Also, they're a little bit in the press, aren't they? They've just. They've just been. And reissued AP stuff that they had found. Older. Older stuff again. Another band that sounded like a grumpy old man. Another band where that used to be
A Chris: good and now they're not very good. I like their older stuff.
B Neil: Yeah, I do. I love. I like. I love this. And then they did Mad Caesar.
A Chris: Yes.
B Neil: And then. And then I kind of got to a point with them where I'm like, I'm not.
A Chris: Yeah.
B Neil: Not that it's terror. It's like. It sounds like you're saying they're terrible and it's not.
A Chris: Doesn't connect with.
B Neil: You fell in love with this band here yourself or someone like. Like you.
A Chris: Yeah.
B Neil: I kind of love the twang in his voice. I love the fact that it's, like, not super produced. It's like, not. It's not overly polished. It's good. I think it's great production.
A Chris: Yeah.
B Neil: Still got the kind of rock and roll, that kind of stuff in there. I think Rob Thomas is one of the Best songwriters of the last 30 years. I think he's just epic. Absolutely epic. And I love the story of the name. So, although a bit of a tidbit of this one. Right, so the original album should have been called the Woodshed Diaries, right. And Rob Thomas and Paul Doucette were. A woman's musical performance at Cafe Largo. And the singer said, this song is for you or someone like you.
A Chris: And that's what they.
B Neil: And. And they. They. They changed the album. The bit that I didn't know was that the. They'd already had 3,500 pressings of the album with the Woodshed Dial Diary's name. I had to go back to the record company and say, can you. Can we change the name, please? Is that all right? Singles from it, long day, push, 3am real world and Back to Good. If you've not heard those, you guys, these are, yeah, big songs. Bloody brilliant, aren't they?
A Chris: This is big tunes, for sure.
B Neil: Do you know how many. Do you know how many albums it sold? How many copies? 21 million.
A Chris: Wow. Yeah. But. But another band that weren't dead. Massive over here.
B Neil: Yeah. In the uk. I don't think this was even released.
A Chris: No. Right.
B Neil: Yeah, I got that. Like, my. Like, I had a Australian. She would die if she heard me call her Australian. She was from New Zealand. She was a Kiwi. Very proud Kiwi, actually. But yes, she came over with this. Again, not on. Not on CD or anything. I think it was on us. I think she gave me a USB key. Yeah, this on the VP3 does. I can't remember exactly. Oh, no, we're in tape. Maybe. I can't remember, but I remember we had it in the car a lot. We had it. It was in the car and. Yeah, it was cool. It was. It was just. It was just. Just a cool, cool album. I really, really liked it. But you never heard of it, really. And. And their. I think their fan base still here in the UK is tiny compared to you.
A Chris: Yeah.
B Neil: What they. What they.
A Chris: Yeah, they're a big deal on. On all the shows, on everything, weren't they?
B Neil: Yeah, I think so. And like I said, I think Rob Thomas is. Rob Thomas interviews really well. He's really good in front of the camera. He's.
A Chris: Yeah, I think that song was Santana later.
B Neil: He does, doesn't he? He does. But I think this is another album for me that stacks up really, really well. Like, I think it's aged really well. I don't think that it's.
A Chris: I think it's just good songs. Though, isn't it? Was this one.
B Neil: Yeah, you're right. It's. It's like. But it's interesting, isn't it? Like, if you pick up a Motley Crue record.
A Chris: Yeah, yeah, yeah, yeah, yeah.
B Neil: I think. I still think the songwriting's really good. Yeah. And. And yeah, I still think, like. Like Mick Mars has written some, like, epic stuff. They're a little bit hard. Harder to.
A Chris: To go back dated, isn't it?
B Neil: It is, yeah. I mean, some of them are pretty good. Like, you know, some like girls. Girls. Girls.
A Chris: Yeah.
B Neil: Slightly harder. Like Dr. Feel Goods. Kind of. Kind of. Okay.
A Chris: I think. Yeah, yeah, yeah.
B Neil: But, yeah, it's funny how some albums date.
A Chris: Yeah, yeah, yeah.
B Neil: I was listening to ZZ Top this week.
A Chris: Yeah.
B Neil: And they're a bit similar.
A Chris: Yeah. What aged or.
B Neil: Yeah, in the way. I think the songs themselves still. Okay. Some of the lyrical content's not potentially aged quite as well as you think it might, you know, but this is one. I think that it's about people.
A Chris: Yeah.
B Neil: This album. So. So.
A Chris: So it lands.
B Neil: Yeah. Yourself or someone like you is. Is. It's a. It's. It's just as relevant now as it was in 96 when it came out. Anyway. I'm very much looking forward to this. I think I have this CD in my car.
A Chris: Ah.
B Neil: I could listen to it.
A Chris: There's a problem on the glove block slot.
B Neil: It's. The problem with CDs is that you can only listen to what you've got. I remember. Did I ever tell you that I got. I got St. Anger, Metallica, St. Anger CD stuck. I had an Mr. 2 and Metallica, St. Anger, Angus got stuck in the CD player.
A Chris: Yeah.
B Neil: And that's like. For like 18 months. I either had that. I had zero or some anger.
A Chris: Did it force you to like the snare?
B Neil: No, I still listened to it and it was funny. I kind of. I quite liked it. You know. I know everyone's got a. They don't like St. Anger, but, like, I was all right. It was. But. But I didn't love it. But it was the only thing I could listen to for a long time. And eventually I still. I had to change the whole head. The whole head unit came out. Yeah, the whole head unit came out. That's. That's. That's. That is exactly what I did with that one. And I don't. It's probably. That head unit is probably still.
A Chris: Yeah. Yeah.
B Neil: So if. If you.
A Chris: Was it. Was it a legitimate copy of it as well, or was it. Was it a cdr Like a burnt cd.
B Neil: It would have probably been original at that point.
A Chris: Wow. Yeah. I don't like it when they get stuck in the C CD player. There's something wrong about that, you know.
B Neil: I don't know. It's funny, isn't it? I don't know, I can't remember. I. I would have guessed that would. I can't imagine I would have got a copy of that.
A Chris: No.
B Neil: I think I would have been excited for a new Metallica album.
A Chris: Yes.
B Neil: Bought it.
A Chris: Yeah.
B Neil: Put it in and then I not liked it. Tried to take it out and then it's like, I'm sorry forever. You bought it now this is it. Every day you have learned and yeah, it was. Yeah, I remember that. And it was. It was a proper running joke in my car that's. That was stuck in there. Loads of people tried to get it out.
A Chris: Yeah. Which car was it? Oh, so you did say that.
B Neil: An Mr. 2 Turbo. Yeah, it's a lovely car. That was.
A Chris: I really like that. Yeah.
B Neil: Really, you know. Yeah. I've had some really stupid cars over the years and that was one of them. It was brilliant.
A Chris: It was just the more rounded shape one.
B Neil: Yeah, the Mark 2. Yeah, it was, yeah. Rounded pop up headlights.
A Chris: Yeah, yeah, yeah, yeah, yeah. Proper car.
B Neil: Yeah, it was, it was lovely. Engine laws kind of bolted to your back.
A Chris: Yeah, yeah.
B Neil: Like loud and noisy. You could hear it breathing and.
A Chris: Yeah, I think it was, yeah. You want one of them and then the other car, you know, that comes out a special occasion. Mitsubishi ggo, twin turbo.
B Neil: Bosch.
A Chris: There you go.
B Neil: Nice. They are, aren't they? My. My mate's obsessed with skylines. Yeah, Skylines and I love sky skylines. Right. Until you get inside them.
A Chris: Yes.
B Neil: Like, they're bizarre. Like if you, if you get into. If you get into like if you into a 911. Yeah, from the 90s, they're pretty well screwed together. They were like, you know, they're all right. And if you get into like Ferraris, if you get into. Well, that's not true. Ferraris fall apart. But they're still beautifully made.
A Chris: Yeah, yeah, yeah, yeah.
B Neil: If you get into a Lotus from the Night Wave, you can find a working lotus from the 90s and you. But they look nice inside the load, you know, they're kind of. They're kind of quite spartan.
A Chris: Yeah.
B Neil: But things still feel quite well screwed together.
A Chris: Yeah.
B Neil: Get inside a Nissan skyline from the 90s and it's awful. It's like getting into a Tupperware container.
A Chris: Yeah.
B Neil: Yeah. Everything's that black hard scratchy but it's not. It just feels cheap.
A Chris: Yeah.
B Neil: Just feels really unpleasant. Everything, you know, I mean, there's not even like nice dials or everything just feels horrible inside them. But they're lovely to drop drive and they look. They look cool.
A Chris: Yeah, yeah.
B Neil: I mean, from the outside, so they're a bizarre thing that has kind of aged well. You have to love it. You know what I mean? You kind of have to. I have to love them.
A Chris: But I think I like sat in a Skyline.
B Neil: Peak. Peak for me, cars that were kind of nine 90s cars.
A Chris: Yeah, yeah.
B Neil: They're dead good.
A Chris: Yeah.
B Neil: The Supra and.
A Chris: Yeah. Oh, God, yeah. Yeah, yeah.
B Neil: I may add a super, because I had a Mark 4 supra. It was lovely. That was. I liked all. Again, interiors were terrible.
A Chris: Yeah, yeah.
B Neil: And they forget. If you ever go back and drive them now, they're awful. But they was proper, like in the. In the day. That's. But I think they were made by that, you know, I don't. I think a. Lots of. I think voxel these days, they're made by people that don't like cars very much. You know what I mean? I think they're kind of. I think they're like. Oh, I don't. You. You got to just get it out. They're like a bunch of people. It's just. Oh, I don't like cars. Just go in. Whereas back in the 90s, I think, like. I mean, I think the skylines and the Mr. 2s and the Supras and all like the Mitsubishis and. I don't know.
A Chris: Yeah.
B Neil: I think they were made by people that loved cars.
A Chris: Yeah, yeah, yeah.
B Neil: I just. I think that's missing a bit. I think there's too many PR and marketing people.
A Chris: Yeah, yeah, yeah, yeah. Not car people.
B Neil: Nerds. Car nerds.
A Chris: I think it was when they graduated Gran Turismo.
B Neil: Oh, yeah, you watched that. You watched that documentary? Yeah. No, Martin. Somebody's name is. It's. I forgot what it's called, but it's a documentary about Gran Turismo.
A Chris: Martin Clunes.
B Neil: Sorry, I've lost the will to live. Yeah. There's a Netflix documentary about. His name's Martin something, I think. But anyway, he was a. He played Gran Turismo, won a competition and then they stuck him in a real Skyline line and then he did really well. And then he went to do weck racing, kind of endurance car racing, and his car flipped upside down and. And he killed somebody and. Oh, God, it was. Yeah, it's a phenomenal documentary. It's really, really cool. Really, really cool documentary. Got some really cool things in there. It's even got. It's got Black Sabbath in it.
A Chris: Right? Yeah.
B Neil: Any. I mean, it's got Gran Turismo, it's got Nissan Skylines, it's got Weck racing in there, and it's got Black Sabbath there. That's it.
A Chris: That's all you need.
B Neil: Oh, the tech chick. Check. Check boxes, check boxes. Nailed it.
A Chris: Shall we go?
B Neil: Sorry.