No Filler Music Podcast - No Doubt: The Beacon Street Collection

Episode Date: April 27, 2020

Before finding global success with 1995's Tragic Kingdom, ska punk darlings No Doubt were going nowhere fast after signing a record deal at Interscope Records. With little support from the label, no access to studios, and a growing list of 60+ songs under their belt, No Doubt took things into their own hands and built a studio in their garage in Anaheim, California. After a long weekend recording, The Beacon Street Collection was born. Join us as we dive deeper into this DIY gem, a slightly heavier, more raw and punk-inspired album than both their previous self-titled and their mega successful Tragic Kingdom, and proving No Doubt's worthiness on the global stage. Tracklist No Doubt - Squeal The Specials - Gangsters Madness - Razor Blade Alley No Doubt - Greener Pastures No Doubt - Move On No Doubt - Snakes Black Sabbath - Electric Funeral No Doubt - By The Way Hum - If You Are To Bloom Midwife - S.W.I.M. Bad Brains - Sailin' On This show is part of the Pantheon Podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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I have a problem with you. Yes, you. None of y'all told me that AutoTrader has millions of new and used cars that I can shop from home. I thought we were friends. I put smiles on your face. But I'm not smiling. No one told me that with AutoTrader, a dealer can deliver cars to my home

or that I could shop by price on AutoTrader. No one. Consider this friendship that you just learned we had officially over. Finally, it's easy. Auto Trader. We put a record out in 91 and we went on tour. We came back and we're going to make a new record and we built a studio in our garage, which is like the best thing we ever did ever.

And it still is, I think, definitely the best thing we ever did. And we made millions and millions of demo tapes and kind of learned how to become a recording band and record songs in the studio. And welcome to No Filler. The music podcast dedicated to sharing the often overlooked hidden gyms that fill the space between the singles on our favorite records. My name is Travis. Got my brother Quentin with me as always. And that was the voice of Gwen Stefani. Talking about their decision to record the album Beacon Street collection in their garage

queue, going back to the garage, man. You know, every band, just like Metallica did, every band needs to go back to the garage every once in a while, you know. Yeah, and we had mentioned in previous episodes that we were going to cover Tragic Kingdom, but I went back and listened to this album and it was a no-burner dude. This is such a great album. They were kind of doing their own thing apart from the record label that they had signed to. And we'll get into this in a little bit. But yeah, dude, there's just something about this album.

I feel like this is like the perfect snapshot of no doubt in early 90s. what they were all about. I'm with you on that. I was listening to Tragic Kingdom. And I don't know. There just wasn't anything too compelling to me about it. But this one sounds like, especially from what she's saying there, like, they went back to the garage, you know. And I think that comes across it.

It's not as polished and produced as Tragic Kingdom was. Yeah. And so here's the thing about that. So for one, Tragic Kingdom was. the first album where Gwen Stefani took over for most of the songwriting, which, I mean, it's obvious when you think back to the songs and the lyrics in, uh, Tragic Kingdom, you know, like, I'm just a girl, Spiderweb. There's that obvious like front woman, you know, feminine voice, which is badass, I think, especially for the time that it came out, which is in 95. I think, punk,

needed a voice like that. Well, and just maybe the rock landscape, the rock landscape in general needed something like that because this was sort of a counterpoint to the testosterone of grunge, you know. Right. But the two albums that came out before Tragic Kingdom, Beacon Street Collection and they're self-titled, most of the songs were written by her brother,

Eric Stefani, who left the band shortly before Tragic Kingdom came out, and he is now an animator on The Simpsons. Whoa. He was just like, that's my calling, man. I got a different shit to do in my life. So he's an animator. Yeah. Yeah.

So quick history on No Doubt. They've been around for a long time, even like many, many years before even releasing their first album. and they kind of pride themselves in being a live, a live act. You know, like they're all about the live performance. And they kind of made a name for themselves in Anaheim, California. Started out just playing songs from bands that they loved. Bands like the specials, the English beat, and another band called Madness.

Third Wave, Ska, which is like a blend of ska and punk. I mean, this is definitely our first discussion of ska on this podcast. Well, dude, let me tell you. So I've got a couple of songs I want to play from a couple of their major influences. It's good stuff, dude. Like, I don't know why, but ska has always, I don't know, left a bad taste in my mouth, dude. And I feel like that's because we, the only ska that we were aware of was, I always go back to Mighty, Mighty Boss tones. Yeah, I mean, that's like the biggest, the biggest, like, mainstream version of that,

that everybody remembers that song. Impression, what is it, impression that I get? Something. I don't fucking know, dude. Dude, there was a lot of ska on Tony Hawk Pro Skater. I remember that. Yeah, yeah, I mentioned that last week, I think. Here's what I didn't like about it.

I think the, so I wasn't a fan of the horns section, and those, that, that, that, style of ska is just, it's just too heavy on the horns. And it's, it's just, I don't know, it's a little too upbeat for me and happy and all that stuff. And you got to think about it, too. This is early 90s when no doubt was trying to burst out on the scene. And this is right when grunge hits, you know? So you got grunge going on up in Seattle. But down in California, the punk scene was starting to steer towards ska punk rock, which is a lot more upbeat and happy and, you know, just lets everyone have a good time and have fun.

Can we all just have a good time? Exactly. So before we get deeper into No Doubt, I just wanted to play just some quick clips from a couple of their influences. You can definitely see it come through in their early stuff. So I'm going to play a song by a band called The Sucet. specials. They're an English two-tone ska revival band. So two-tone, it's a specific type of ska that fuses ska with elements of punk rock and new wave and influences of reggae as well. So anyways,

the specials, I'm going to play a song from their first album that came out in 1979. This song is called Gangsters. Yeah, that's really cool. You know what I like... It's 1979. Yeah, that's great, man. Crazy. I could definitely hear, like, the English beat was probably influenced by them, too, you know?

But yeah. Oh, yeah. You know what I didn't... You know what I liked about that? What? No horns. No horns, dude. I actually, I actually don't.

I'm kind of with you. Like, I thought the... To me, for Scott, I always thought that the horns were a little too, a little too corny. Yeah, dude, I'm with you. I just couldn't get into the horns. Yeah, but I mean, I can totally see the influence on no doubt. No, I mean, there's just no doubt about it that they were influenced by that. Damn it, dude.

It's twice now you've used that joke. I mean, no doubt, dude, that's getting old, bro. All right, I want to play a song from another influence of theirs. Madness is this, the band, which, dude, I fucking love this album cover, man. Have you ever seen this? You recognize that album cover? so their debut album is called One Step Beyond. That's fucking great, man.

I mean, that looks like something that could easily turn into a TikTok video. People trying to do that. I'm trying to stay topical. So madness. Shit, dude. So this is the same year that that specials album came out, 1979. So this is, again, their debut album called One Step Beyond. This song is called Razor Blade.

Allie. Yeah. Like I can almost hear Gwyn singing a cover of that, you know? Yeah. And that's there. They said earlier on that's, that's, when I first started out, they were just a bunch of friends hanging out, playing a bunch of ska covers just for fun.

What I love about that song and the reason I wanted to play it, I don't know, it's got like this like old school, um, I don't know what the word is, like swing, like swing, B-B-B-B-B-B-B-B-B. Yeah, kind of like... Maybe like a Zoot suit kind of thing going on.

Yeah, Zoot suit. Thank you, man. I was trying to think of the term. Yeah, dude. Exactly. I love that kind of stuff. You want to talk about a phase that we all went through

that this country went through for some reason. Dude, if you ever watched the mask again... I was about to bring up the mask. Isn't that crazy? I know, man. I mean... Yeah.

Anyway, but that was around the same time, you know? Yeah. I remember we had to do some sort of super corny performance like in our like a middle school choir or something like that where we all had to wear zoot suits. I remember that too. I remember taking chalk and trying to add pinstripes to a thrift store jacket that we bought. Yeah.

I remember that too, man. It was like a, I don't know, some performance where we like dove into all the different musical styles of the last several decades. Yeah. Yeah. Yeah. So, I mean, for whatever reason, everybody was wearing suit suits for a brief. You know, you think about the, I'm just randomly just came into my head. You remember the Mambo number five or whatever?

Yeah, dude. How can I forget? Oh, my God. All right. So, no doubt was lucky in that the Scrow, the Scrowd, the Skow crowd welcomed them with open arms. So, yeah, they played a bunch of live shows. early on. Like even before they got signed to any record label, they perfected their live show. Now, here's a question, and you might not know the answer to this, but I wonder how prevalent females were in the ska scene in general, as far as like lead singers and stuff. I mean, it's rare enough in punk rock, right? Yeah, I listened to a lot of interviews, watched a lot of

interviews with no doubt, and that's something that Gwen Stefani brought up, like, you know, early on, you know, they'd be backstage preparing for a show. And she said that most people that worked at the club just assumed that I was a girlfriend. Or a groupie or something. Yeah, exactly. And then she said over time, it does start to change. So she feels like it just something changed in the 90s. And rock or punk or whatever was more welcoming of front women for bands.

and I think she had a big part in that. Maybe she didn't realize that at the time, but yeah, I think no doubt and Quinn Stefani had a pretty big hand in that. So they get signed to a record label called Interscope Records, and this is a fairly new label. They released one album with Interscope,

which is their debut album, which came out in 1992. So this has a lot of parallels to what happened to Spoon. Okay. You remember the early days with Spoon? The agony of Lefeet? Exactly, dude. And, you know, it's funny, when you listen to No Doubt's self-titled,

it kind of reminds me of what Spoon was doing with a series of sneaks. You know, Britt Daniel said, you know, this was like, our attempt at capturing our live show in an album. So that to me is just a band trying to play it safe. You know, you think about it. You have this band. You've been playing together for a while. You finally get signed to a quote-unquote major record label.

It makes sense to just play it safe and record a bunch of songs that you've just like perfected live. It's a really fun record, but it's just, I don't know, it's just too upbeat. and I don't know, they just played it safe in that one. And that's why Beacon Street collection is so fucking great. So long story short, they released this album with Anterscope, their first, their debut album. And then they got back from this little tour that the record label set up for them. And then the record label just didn't push for the record at all. There wasn't any kind of support for them.

and then they were just writing and writing and writing and had all this new material and the record label just would not let them get into the studio. Months and months and months go on. They're like, when the fuck can we get into the studio? What the hell? And they got so fed up that they're like, you know what? Fuck it. Let's just build our own studio and release some seven inches on our own.

So let's take a listen to the first track that I'm going to play off of Beacon's Street. This is track five off the record. It is called Greener Pastures. That song is more interesting than anything on Tragic Kingdom. I'm serious. Well, I mean, that's the thing. So that interview clip that I had for our intro, that was after Tragic Kingdom came out. So that was then being interviewed after they found major success. So a tragic kingdom came out in 95.

And she's looking back at it and saying, that's the best thing that we ever did. I'm so glad that we did that. You know, we created, we built our own studio and recorded all this stuff on our own. Best decision we ever made as a band because it taught them how to be

a recording group, you know? Yeah. Because like I said, like all the, they were only ever focusing on perfecting their live performance. they didn't really know and they weren't getting any guidance from Interscope, the record label. So, you know, I think it's awesome.

I love when bands do that when they, rather than just continue to get fucked over, they say, you know, fuck it, let's do our own thing. They were still with that record label during all of this. I mean, whenever a band decides to do something like that, when is the result ever bad? I mean, like, when is it ever like, oh, shit, well, we definitely shouldn't have done that.

I mean, you think about it, dude. How many great tunes? That gives them the freedom to work at their own pace, you know? Yeah, I mean, I think every band, if they have the opportunity, it should do something like this. I mean, you know, we've talked about when we covered Interpol and even Radiohead, this is sort of related in some way. Interpol recorded Turn on the Bright Lights in an abandoned asylum.

Yeah. Or it used to be an asylum. It wasn't abandoned. It used to be an asylum, you know, and the environment of which, you know, where you record something,

obviously it comes through, you know. So like the studio, it just doesn't always lend itself to the best work from a band. So like, I think, right,

forcing yourself as a band to change. your surroundings and stuff, it's only going to help with your creativity. And in their case, they're like, we need, we need a place to fucking record, you know? We need to fucking play. Yeah, our record label will not let us use any of their studios. So fuck it, we're going to do it on our own. Yeah, that's awesome.

Apparently, they wrote over 60 songs while waiting around for studio time. And like I said, they released two seven-inch singles during this time. And then, you know, just getting more and more frustrated. with Interscope just kind of twiddling thumbs, they spit out this full-length LP. They recorded the entirety of Beacon Street's collection in one weekend. One weekend, they recorded this entire album. And then Interscope was like, oh, shit, okay, this is, all right.

So after Interscope heard what they did on Beacon Street Collection, they finally realized, okay, we should probably like... That's fucking dumb. We should probably pay a little bit more attention to these guys. I don't like that, dude. I know, dude. You know, they're just licking their chops over there. Right.

Okay. Yeah, because Beacon Street Collection did way better than their self-titled it as far as like, they ended up selling over 100,000 copies. Their first album sold only 30,000. Okay, let me ask you this, dude. Did Interscope get any of that money? Because I hope they didn't. That's a good question.

They shouldn't have. Well, well, Interscope did release it kind of in like the back catalog. like later on. Bastert. That's why they're like, oh, shit. Yeah. Oh, oops. Wow, they're doing better on their own now.

So maybe we should give them the time to jump into a studio. And then they freaking drop tragic kingdom. Right. And that thing sold 16 million copies to you. Yeah. So in other words, fuck you. That's the thing, though. Well, I mean, here's the thing, though.

I, obviously, if it goes from Beacon Street, where it sounds like, like that to Tragic Kingdom, obviously the record label is all over Tragic Kingdom. And that's probably why it was such a successful pop record in that, in that regard. You know what I mean? Because it was more poppy. Yeah. And again, like I said, it's because with their debut self-titled and with Beacon Street, that was Eric Stefani writing most of the music.

So Gwen was a little bit more radio-friendly. She was like the McCartney to the linen. Right, right, right. All right, cool. So, hey, let's just do music from now on, dude. Enough chatting. I got nothing else for you. So I want to play a second clip for Greener Pastures.

I really like the way this song ends, dude. It's my favorite part. All right, here it is. I love the way the drums sound on this record. Yeah, it's that super high-pitched, like, piccolo snare. It's that classic, like 3-11. Their drummer had a similar style. I love it, too, man.

He's a great drummer. And I love Quinn's harmonizing with herself and that. Yeah. Really well done, dude. And they fucking did it on their own. Of course they did, man. Good stuff. So I wanted to play a little bit of a song from their date.

just kind of show you a little bit difference in sound again like after listening to a handful of songs from their debut I do feel like what they were doing was kind of trying to replicate their you know excitement the energy and excitement from their live shows so it's a fun listen uh but I like what they do on Beacon Street collection a little bit a little bit better so is this song a little bit more in line with what they do on tragic kingdom like is it more poppy you tell me dude honestly you listen to more of Tragic Kingdom than I did. Yeah. When we were trying to figure out what album to do.

All right. So this is a song called Move On. Yeah, that's, I mean, again, it's way more interesting than what they're doing on Magic Kingdom. I mean, tragic kingdom. That's actually, that is exactly why they named it that, dude, because they're from Anaheim, which is where the Magic Kingdom exists. Right. That's a song that's a blast to see live, you know what I mean? Oh, yeah.

Hell yeah. I would have loved to see them live back then. Oh, my God, yeah. I mean, it must have been, no doubt it was awesome. Ah, dude. So, Q, the first thing I thought of when you played that song with the guitar riff in the beginning, number one, it didn't sound like anything else that I heard on Tragic Kingdom. Like, he never brought that level of distortion to the mix, right?

Yeah. number two, and I looked it up to see if this guy was influenced by heavy metal, and he was. The guy, the guy being Tom DeMont. Tom DeMont, yeah, he used to play in heavy metal bands before he joined, no doubt. So here's what we're going to do. I like to do this whenever we can. Okay. You tell me, how about this?

Play the intro of that song again. Okay. And then I want you to pull up another song, and I'll say, what it is here in a second. All right. Okay, so that little diddy right there. Now, let's play a little song by Black Sabbath Cue called Electric Funeral. Oh, he was definitely a fan, dude.

Big time, dude. Big time. Yeah, well, it says here that he was influenced by heavy metal bands such as Iron Maiden, Judas, Priest, and Kiss. And I promise you, he listened to Sabbath, too. Yeah. So he was in this metal band and they rehearsed in the same, uh, studio space in Anaheim as no doubt. And he would kind of peek in and watch no doubt practice.

He'd be like the kid on the, on the, uh, like on the soccer team or something like that. And you'd watch the kids play baseball. He'd be like, I want to go play baseball. Yeah, that's fine. He said, uh, I had never heard music like that before, ska music. And he said, their scene seemed so much healthier to me. People would come to shows, dance, and just have fun. So he was like, I'm tired of, I'm tired of seeing guys.

Tired of all this doom and gloom. Punch themselves in the face and the mosh pit. Yeah, exactly. All right. Well, cute. You know, we're talking about lots of, lots of no doubt. You know what else I don't have any doubts about?

What? I don't have any doubt about where I need to go. If I'm looking for, if I'm looking for stuff for the bedroom. Oh, where? What are you talking about? I mean, come on, do you have any doubts? No, you don't.

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Teddy Pee, huh? Pender Christ? Yeah. Yeah. Tinder. Tinder. Tinder. Tinder 11.

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We'll get some spice in your life. All right, Q, do you have any more tunes for us from No Filler here? I mean, do you have any more tunes from No Filler here? I mean, not know. I got one more song I'm going to play. Okay. We're going to play this one all the way through.

You know, you're talking about that more heavy guitar sound. Yes. Wait until you hear this, bro. Okay. Dude, let me ask you this, Q. This is funny that you said that, and that we talked about how he was in a metal. band beforehand.

I think he showed up with all these freaking riffs that he had been working on as a metal guitar player and then they were like, hey, you know what man? Can you just tone it down a little bit with a skahn band here?

We're trying to have fun. Can you just fucking save some room for the horns to shine? Yeah, we're trying to not incite Amash. Yeah, well, dude, just get ready for this one. So this is track 7

on the Beacon Street collection. This one's called snakes. Yeah, dude, that's a killer track. Man. Yeah, I love that one. I mean, that's great. So many great different parts to it. Her voice is unbelievable. Yeah, dude. There is more metal in that song than a lot of grunge songs, man. I mean, especially with his guitar playing. And the bass was nice and distorted, too. Yeah. I mean, that's the thing. It's like, it's really interesting to hear this, knowing that next comes tragic kingdom, you know, because it really is way different. And how many people out there have, you know, they know don't speak.

They know, you know, I'm just a girl, spider web. Yeah. They have no idea what came before it, you know. Yeah, dude. Good stuff. Another really great song. Actually, fuck it. Let's just play it real quick.

Just a little bit of it. This is one of my favorites from the record. It's got that zoot suit kind of like big, band feel to it. I don't know. She just kind of like swoons. I don't know. It just has that speak-easy vibe. So this is a song called By the Way. I'll just play a little bit of it. Give a little taste. Yeah. I mean, I was reading a little quote from some publication, internet publication called Rock on the Net, calling this album a raw expression of their sound and describing it as 80s punk with 90s grown.

which was great for the two other songs that we played, but that song just throws in another kind of flavor, you know? Yeah. It just shows you how broad their spectrum is, you know? Yeah, and that song is sandwiched in between greener pastures and snakes. That's awesome. Yeah, so that's it, dude. That's what I got for you today for Beacon Street Collection.

Yeah, I'm really glad we decided to cover Beacon Street over Tragic Kingdom. Me too, dude. Because I was going to struggle to find anything, not necessarily to find anything positive to say about it. I just wasn't excited about it. Well, and for one thing, I think you told me, Tragic Kingdom had seven singles. Exactly. Half of the record was singles. So that cut back drastically on songs that we could cover.

It just tells you how freaking, how popular that record was. I mean, here's what's crazy about it. The album came out in 95. Yeah. They were releasing singles off the record all the way. till 98. Three years. Shit.

They were putting out singles from that record. Did they not release an album? The next one came out in 2000. Return of Saturn came out in 2000. Yeah, which had, you know, I think that had some other huge hits.

Ex-girlfriend was one of them. Simple kind of life. They've got some great fucking tunes, man. But I couldn't find anything to get excited about on that record that, between the singles, as we like to talk about.

Yeah. Because, you know, they put out seven fucking singles. I mean, all their good stuff was singles. Yeah. All right, man. So, yeah, dude, let's jump into our Whatcha Hurds. I got a doozy for you.

I've got a doozy for you. We both got doosies for each other. Oh. So I'm going to go first. Go for it. Okay. So if you're new to the show, this is a segment that we do called What You Heard.

Basically, it's just an excuse to play more music and play different music. We try to spread out quite a bit. I mean, it obviously depends on what we listen to. It depends on what we've heard. It depends on what we've been heard. So literally, we just, we bring a song to the table, something that we listen to, you know, in between our episodes. Could be a brand new song.

Could be, I mean, Quentin brought a David Bowie song last week. So, all right. This is a band. that I've listened to off and on here and there. I really dove into them deep this week and listened to all through their records. There's something about these guys. So this band is another 90s rock band called Hum, H-U-M. They're somewhere in between, I think the best genre to put them under is post-hardcore.

But they have elements of shoe gaze in them, and they have elements of some grunge, just like a hint here and there with some of the guitar work. Their first record came out in, I think it was like 93. The record that I'm playing is the one that they kind of saw the most success with. They had one radio hit called Stars that probably a lot of people. Remember if you were actively listened to rock music back in the 90s. But what I'm going to play is a song called,

actually I'm sorry. I'm not going to play it off this record. I'm going to play it off their next record. I'm, okay, sorry. It took me a while to decide which song to play. I was going back and forth between these three records because they're all really good. It's really consistent, too.

They have a very consistent sound. So I'm going to play a song off of their 1998 record. Downward is Heavenward. And the name of the song is called If You Are to Bloom. That came out in 95? Is that what you said? 98. 98. That record came out in 98, yeah.

That's good, man. It definitely you can feel that almost like emo, hardcore kind of stuff. Yeah, so I'm going to read a couple of quotes here from some critics. Because like I said, the record that came out before this, it's called You'd Prefer an Astronaut. And they had one radio hit off of that record. So this is the next album that came after that.

So there's, you know, probably some expectations of, of some sort of success or something, right? So, anyway, pitchfork said that and listened to Downward as Heavenward actually scrubs off a layer of skin, yet Hum still managed to infuse grace and control into their skyward swirl. And then somebody named Ned Raggett from AllMusic wrote,

Having scored their fluke hit with stars, humkered down and created a follow-up album that went nowhere, leading to the band's splintering. An unfortunate result all around because arguably, Downward is Heavenward isn't merely the group's best album, but a lost classic of 90s rock, period. So if that doesn't give you reason enough to go listen, I don't know what else will.

So go listen to HOM if you don't know about them. I really enjoyed all three of their records. That's all I got. you. That's my very long extended plug for hum. This was the band that I actually had talked to you about covering if we decided not to talk about no doubt. So I wanted to give them their proper cred here. Well, we should circle back and cover one of their albums. Yeah.

Yeah. I think it'll be interesting since we did mostly grunge during this little 90s stint with the exception of no doubt, obviously. I think we would circle back to the 90s because we will at some point. I think we should cover bands like these guys, bands like more of those kind of like not so mainstream successful. Yeah. 90s rock bands that are a little bit more obscure, you know. Yeah, dude.

I'm done. Anyway, all right, Q. What do you got? What is you, what is your, what is you been heard in? What has you been heard in? Yeah. So I listened to an episode of All Songs Considered the NPR. podcast.

They always do new music Fridays and I jump back and listen to their episode a couple weeks back so playing nothing but brand new music

and they played a song from a new album by her name is Madeline Johnston she goes by midwife. Have you heard anything from her? No, I have not.

Man this dude this is some powerful shit dude. So she is, uh, she describes her music as heaven metal. Heaven metal. That's right. Heaven metal. Are you ready for some, some new metal, dude? I'm super intrigued right now. Well, let me tell you. It's, it's on the resident metal head of the two of us. It's, dude, it's way more shoegaze, like droney kind of stuff. Okay. I mean, so would you call it like doom? Doom metal? Because doom metal has a lot of that drone-ish. I don't fucking know. All right. You tell me.

after we hear this. I'll tell you. So the entire album is just, one of the guys on All Songs Considered said that it really slows the blood down. Okay. All right. I bet you it's doom. Doom ask.

Well, like I said, it's very shoegasy. Everything's just drenched in distortion. I'm going to play the last track on this. Just a little tiny six-track album. It's called Forever. ever, just came out a couple weeks ago. This song is called Swim. So, yeah, I mean, I really enjoyed that.

I just didn't see me. I failed to see the metal in that. Well, that's just, she just describes her music that way. You know, she just decided to call it that. Yeah, I liked it. Yeah, definitely Shoegays. Very, yeah, heavy reverb, distorted, just fuzzy goodness, dude. the album is really really emotional and like raw and vulnerable like the lyrics are intense dude

like it's yeah dedicated evening to this album it'll it'll move you it's good so you know we talked about this quite a bit obviously uh you know we've done we did an episode on um my my beletti valentine we did an episode on slow dive so we talked about you guys quite a bit and then you and i had that like I guess it was a realization that like oh dream pop is the same thing as shoe shoogaze and you know yep it's been happening for a long time that I would put that more in the dream pop that the more like contemporary shoe gaze stuff that falls more under the dream pop category than like traditional shoe gaze you know yeah the dream pop that you and I listened to quite a bit in the 2010s you know when we were when we had that

music blog and this was all over the place. I feel like that sounds a little bit more, at least that song. I don't know what the rest of the record sounds like. Well, after we stop recording it, I'll play another song for you. All right. It's intense, man. So yeah, that was Midwife and her brand new album Forever. That song, again, was called Swim.

And let's wrap it up, dude. That will do it for us today. Yes. Why don't you If I can Drop the spiel on us, dude The post show spiel Yeah

Well you can find us on no filler Podcast.com Where you can find all of our show notes For each episode Where we have the track list And any sources that we may have cited All of our resources basically You know

Just like when you wrote a high school paper You had to cite your sources You know Let me try to do that But you can also find us on our Network The network that we're a part of of that's pantheon podcast.com.

And on there, you can find all sorts of great music podcast content. We're lucky to be a part of the Pantheon family of like-minded music lovers. You know, Q and I, we like to be a little bit more casual, have more just sort of like free conversations about things. You know, sometimes we do our research here and there, but, you know, sometimes we don't do research and we just kind of wing it. Yeah. Yeah, that's just our style.

But, you know, on Pantheon, there's lots of shows out there that approach their episodes a little bit more. A bit more scholarly? Yeah, scholarly. So if you're finding that you need, you need more facts, cold, hard facts about stuff, why don't you go listen to some of the other shows on our network, you know, along with, you know, hey, don't stop listen to us, you know. I'm not saying, I'm not saying that you should stop listening to us. But I am saying that there are. What you're trying to say is we've got some like music experts. Yeah, we've got.

We've got people that write books, you know. Yeah. And that's Mr. Martin Popoff. You may have heard of his name. What's funny about Martin Popoff, he has a podcast called History in Five Songs. It's on our network. We actually came across his name on Wikipedia as we were recording the, The Justice for All episode from Metallica.

I read his name on Wikipedia because he's written extensive books about metal. So we're like, holy shit, there he is. Mr. Martin Popoff himself, part of our network. There's lots of stuff on the network. Just go check it out yourselves. Pantheonpodcast.com. You can push play on the network feed and get one episode after another from every show on the network. And it's sort of like, you know, we kind of call it jokingly the MTV of music podcast, right?

It's just this never-ending stream of content. And it's all fantastic. And anyway, that's that. Follow us on Twitter. We're sort of active on there. People like to tell us what we got wrong. If you want to do that, go right ahead. You know what that means, dude?

That means we made it. We finally made it. We're so bad at, uh, research apparently that we get called out on Twitter. That means we made it. That means we made it, dude. Yeah.

But plenty of people tell us that they like us too, and that's great. Tell us what you like, tell us what you don't like, tell us what we should cover. We have a tweeter who actually got us started on this. Is that how you call it a tweeter? A Twitter? Somebody who follows us who reached out and said, hey, you guys are talking about smashing pumpkins. And then we're like, okay, we'll do that.

And then that started us on this 90s journey that we've been on for the last few episodes. So there you go. If you shout out to us on Twitter, we might actually take your idea and run with it. Yep. Anyway, enough fucking talk in, man. Golly. Is this a podcast where you talk? That's what podcasts started.

All right. So that's that. Next week we're going to do our sidetrack on No Doubt. We don't know what we're going to cover. And then we're going to do, have we even tease, what we're going to. going to do after that. Oh, yeah. Recovering Blinkwine 82.

Blink 182. And we're going to talk about Enema of the state a very important record to you and I. Yeah. A seminal record in our formative years.

And then after that, man, we got some fucking goodies. I'm excited for the next few months. Coming right around the corner. Yeah. It's going to be good times. Yeah.

All right. All right, man. That's that. For our outro song, we are going to play a tune from the punk rock band Bad Brains. We're going to cover a song from their debut self-titled from 1982. So no doubt did a cover of this song for a series of compilations called

Music for Our Mother Ocean, which was produced by Surf Dog Records to benefit the Surf Rider Foundation. So anyways, this is a song from Bad Brains from their 19. 1982 debut. This song is called Sail on. Until next time, thank you as always for listening. My name is Quentin. My name is Travis.

Y'all take care.