Music In My Shoes
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Music In My Shoes
E73 More Cowbell and Six Degrees of Don't Fear the Reaper
We delve into meaningful musical coincidences and explore music history, from supernatural car incidents to the legacy of the "More Cowbell" SNL sketch.
• Strange collision of musical omens when "I'm a Loser" by the Beatles coincides with a New York car accident
• Reflections on April 1980 as a pivotal moment in my musical awakening through WPLJ radio specials and deep music exploration
• Celebrating the 25th anniversary of SNL's "More Cowbell" sketch and its lasting cultural impact
• Behind-the-scenes look at Record Store Day 2025 and the challenges facing independent labels and artists
• Historical milestones including The Beatles' "Let It Be" reaching #1 in April 1970 and Judas Priest's "British Steel" release in April 1980
• Personal stories of musical discovery featuring Squeeze, Pavement, and Sinead O'Connor
Visit your local record store on April 12th for Record Store Day 2025 and pick up special releases, including "Songs from the Astral Plane: A Tribute to Jonathan Richmond, Volume Two" featuring The Violets and other independent artists.
"Music in My Shoes" where music and memories intertwine.
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You can contact us at musicinmyshoes@gmail.com.
He's got the feeling in his toe-toe.
Speaker 2:He's got the feeling and it's out there growing. Hey everybody, this is Jim Boge, and you're listening to Music In my Shoes. That was Vic Thrill kicking off episode 73. As always, I'm thrilled to be here with you. Let's learn something new or remember something old. Hey, before we get started, Jimmy, I got to say the pollen has just been unbelievable lately.
Speaker 1:It has it's setting records here in Atlanta.
Speaker 2:It's insane. I have a black vehicle that is yellow.
Speaker 1:Yeah, it's not black anymore.
Speaker 2:It is not, it is yellow. So I might have to stop every once in a while, just grab a little swig to kind of clear my throat of all this pollen.
Speaker 1:A swig of delicious cola. It's Pepsi. Okay, I wasn't sure if we were giving them the free shout out.
Speaker 2:Yeah, you know, this time we're going to do it.
Speaker 1:All right, that one's on the house. There you go that.
Speaker 2:There you go, that one is on the house. So, jimmy, we're going to go back to August 2024, get the show started with. And I was visiting family I was up in New York, my kids were with me and we were coming off a road onto a parkway and we had the Beatles on. We're listening to them and just as John Lennon starts to sing, I'm a Loser. You know the song, I'm a Loser by the Beatles.
Speaker 2:Yeah, I hit this huge pothole and it's so big it kind of knocks off, like on the back of my vehicle, like the bumper type thing. Oh really, yes, and it's just dangling and I have to pull off up on the grass on the side of the road and you know, kind of put it back and take my hand and smash it to get the thing back on. And since then, every once in a while, I just, you know, have to keep an eye on it, make sure it doesn't come loose if I hit something, you know hard, because there's potholes all over. This was the monster of potholes. I just got to be honest with you. It was like this deep entrenchment in the road. It was crazy, it was definitely crazy. So that was August 2024. So just keep that in mind, right, okay? Sends a text and it says I'm on a train going through the Swiss Alps, just opened a crisp Coke and everybody wants to rule the world by Tears, for Fears started playing. I'm living. That's the text.
Speaker 1:She's living you know, sorry, pepsi, about the Coke thing.
Speaker 2:There you go. I take a picture of myself because I'm in a vehicle, I'm a passenger, my brother's driving, we're headed, you know, upstate New York, and I take a picture of myself with a Pepsi can.
Speaker 1:Mm-hmm.
Speaker 2:And I text I'm on the Northern State Parkway with a crisp Pepsi, I'm with my brother and I'm living the life, just kind of a takeoff of what she had. She responds back with if I'm a loser, starts playing your bumper will shortly fall off. Your bumper will shortly fall off. Yeah, as I'm reading that we come around this curve to get on the Long Island Expressway. That's blind and a car has lost control, hit the median. The car in front of us comes to a complete stop, 70 to nothing like that. My brother swerves to miss them but we end up hitting the concrete wall to the left of us. I'm a loser, did not come on, but she mentioned it and at that time the bumper didn't come off but a lot of other things on the car did.
Speaker 1:That's rough.
Speaker 2:And I believe my brother said the car is going to be totaled. You know, we ended up being able to get the car towed. We got a rental car and we made our merry way. But what are the odds? That, as I'm reading this text, if I'm a loser comes on, your bumper will shortly fall off, that we're involved in an actual wreck. Again, I'm a passenger, I'm not driving. You know, I'm just reading the text. Boom, just like that. What a coincidence.
Speaker 1:That is.
Speaker 2:I mean, it was just absolutely crazy.
Speaker 1:I'm glad you're okay.
Speaker 2:Well, thank you, I'm glad I'm okay also. So check this out. The next day we're listening to my music playlist, just random songs, and back to back my funeral playlist starts coming on Like it's not again. Out of 4,000 songs I have on my phone, back to back were two of the three songs that I want played at my funeral. I'm like, wait a minute, this is a little creepy now. Yeah, you know a little creepy. So those two things were All Things Must Pass by George Harrison and Hell yeah by Neil Diamond. My brother really didn't like Neil Diamond's song. He likes Neil Diamond but he didn't like Hell yeah. I was kind of surprised. I think it's a good song.
Speaker 2:But enough about this past weekend, let's go back to April of 1980. And April of 1980 is really big for me from the standpoint of really listening to music that now started to become my own and listening to the radio, picking out the radio stations that I wanted to listen to. And in April 80, wplj 95.5, rock station in New York at the time, had these different, you know, specials, live shows, interviews, all these different things that they did in April. And then they did it again six months later, in October, and they called it Rocktober, but it was really cool because it seemed like every day there was a different thing and you could get the calendar. It was like a black and white piece of glossy paper and it would say what specials would be on at what time or what were they doing on the weekend or or whatever. And I can't remember specifically the April verse, what they did in in Rocktober, but I remember listening to this two-hour special on the doors and had interviews with the band, played music, them explaining it, and to me I was 13 at the time it was just super cool, like to hear all this stuff. Like you know, I had listened to the radio and it always been. You just hear all these hits and you just hear music. Hear all these hits and you just hear music. And then, you know, I started to hear songs that I really liked. But now it was really kind of going deep into stuff. So I'm listening to shows, bands I've never even heard of. I have no idea, but I thought this was just so cool, what they were doing. Again, I can't remember what was in April, what they did in October of 1980, but it was just really something that really piqued my interest and I don't think my interest has stopped since then. I mean, it's just been like I love this. This is really just super cool.
Speaker 2:I remember one weekend and I don't know if it was the weekend or maybe it was just a Sunday, but they played the Beatles, the Rolling Stones, the who, the Grateful Dead, which always in my mind I was like why the Grateful Dead? They just didn't fit in. It might have been the Kinks, I don't remember who else they played. They played one other band. It might have been the Kinks, I don't remember who else they played. They played one other band. But really getting to hear deep tracks, not just the hits, and really, you know, exploring a lot further than what I had up until that point, and it was just really cool for me.
Speaker 1:Sounds like it yeah.
Speaker 2:Like you know, do you remember being in that stage where it's kind of like you're exploring music? It doesn't have to be new music, it just has to be new music to you.
Speaker 1:Right, yeah, and that was the case, I think, for us in the 80s a lot, because a lot of the music on the radio wasn't good, and so we were learning about music from the 60s and 70s, because you know, I wasn't into Donna Summer.
Speaker 2:And I understand what you're saying, jimmy. You know it was. You know for me, I knew the Doors Light my Fire. I think everybody knows that song. But I had the opportunity during that two-hour special where they just were playing the end.
Speaker 2:I was about to say yeah, you know just like all these different things Soul Kitchen and things I didn't know anything about. I was about to say, yeah, these different bands again, I didn't have to necessarily like them, but I listened because I said maybe I will like them if I know more, if I know more than what their hits are or whatever. It was just a lot of fun. And one of the bands for me in April of 1980 that I really got to like was Squeeze. Oh yeah, argy Bargy. I know you talked about that album on A Minute With Jimmy previously, but that album really was like every song is good. This is definitely not my parents' music, this is mine and I just loved it and listening to it on the radio and it was a lot of fun. It really, really was a lot of fun. And I think you know things that test, you know time. Does it still have that same feeling, that same meaning all these years later? And it definitely does.
Speaker 1:Right, yeah, that record definitely does.
Speaker 2:Without a doubt. So we are at the 45-year mark of when I always say this to people, but when I went from boy music to becoming band music, all right so and it's been special and for me it's exciting to talk about and hopefully people have had those opportunities where things like that have happened for them also.
Speaker 1:It's kind of like right around that time you two went from boy to war. There you go. That's Jim's journey.
Speaker 2:There you go.
Speaker 1:You were the little kid on the cover, without the shirt on and the skinny little arms. And then you were that kid, but he was a couple years older and he's a little mad. Wow, you sound like a pirate.
Speaker 2:Thanks, you're welcome. Hey, speaking of pirates.
Speaker 1:I am the captain now.
Speaker 2:Well, since you're the captain, I'll be Tennille. How about that? Oh, that's good. No muskrat love.
Speaker 2:But what I will talk about is on April 8, 2000, the More Cowbell sketch aired on Saturday Night Live. Hard to believe it's been 25 years already since that came out. I think it was a funny skit. I think it was hilarious. A lot of visual humor. It's kind of tough to talk about. You really need to watch it to really laugh and see everything, because there's multiple things that you'll laugh at, you know, if you watch it several times.
Speaker 2:And it's based on the 1976 Blue Hoist the Cult song Don't Fear the Reaper and kind of like the fictitious recording of the song. But check out this cast of characters that's in it. You got Chris Parnell, jimmy Fallon, chris Kattan, horatio Sands you know they're all members of Blue Ice to Cult in this, you know, sketch. You got Will Ferrell as the cowbell guy Yep, great job. And Christopher Walken as the guy that is, you know, the fictitious producer of the song. So they start playing the track and Will starts playing the cowbell so loud, just like it's annoying everyone in the band, especially the guy that was, you know, the lead singer, and they stop and Christopher Walken comes in in into the studio and he says something like the song needs more cowbell, which is not what the band was thinking whatsoever you know yeah and they start playing it again.
Speaker 2:And now um Will is just kind of obnoxious as he's playing the cowbell yeah, well, christopher Walken tells him to really explore the studio space.
Speaker 1:Yes, he does.
Speaker 2:And boy did he explore it. And so they stop. Christopher Walken, you know, reenters and says the classic line guess what? I've got a fever, and the only prescription is more cowbell. Jimmy, I mean, that is just unbelievable. I think you know more cowbell is something that stayed, you know, in the vernacular. I don't think I've used that word in many, many moons, but I'm going to use it today.
Speaker 2:But it really has is like you know, if you're talking about something, you know, yeah, it's so-so, but more cowbell and that song will be rocking, or that story will be rocking, or whatever. It's just a classic sketch. I mean, I just absolutely love it. Again, I can't do it justice you need to watch it when Will Ferrell has got that shirt on and it starts to come up.
Speaker 1:It's kind of riding up on him, yeah.
Speaker 2:Yeah, it's so funny. I mean just funny.
Speaker 1:And I think you know sometimes if you listen to a song and you're kind of picking apart the instruments like oh, like you said, sometimes I'll listen to the bass, sometimes I'll listen to the guitar, and in that song and some other songs, if you listen to the cowbell sometimes it starts to sound really loud Like another song. That's like that is Vicious by Lou Reed. And next time you listen to it just listen to the cowbell it's like the loudest thing in the song. So I think somebody probably was listening to Don't Fear the Reaper. You know one of the SNL writers, or Will Ferrell or somebody.
Speaker 2:It was actually Will Ferrell.
Speaker 1:Yeah and thought, wow, that's a lot of cowbell. Yeah, we can do something with this.
Speaker 2:Colt has said that the song used to be kind of creepy, kind of you weren't sure about it, but once it hit Saturday Night Live it kind of took the creepiness out of it and made it fun with the cowbell and stuff. Now they love it, they think it's great, but it's definitely changed what people think of the song.
Speaker 1:Yeah, it was. It was kind of scary before.
Speaker 2:Right, and speaking of scary, when Stephen King was writing the 1978 book the Stand, he developed writer's block and he got inspiration from listening to Don't Fear the Reaper. Hmm, isn't that crazy. That is the band the Alarm. Remember them.
Speaker 1:Yeah.
Speaker 2:All right. They got inspiration from Stephen King's book and wrote the 1983 song, the Stand.
Speaker 1:Oh really.
Speaker 2:And it mentions some of the characters that are in the book. It's kind of interesting. Now there's a bunch of different songs that have talked about the stand and so forth, but the song the Stand by the Alarm, I mean, you think that they're just giving you the. What is that? When you buy that little book? That's the Cliff Notes or something.
Speaker 2:Yeah, you know, that's kind of what it is. But, jimmy, after the six degrees of Don't Fear the Reaper, I do need more cowbell. Jimmy. Record Store Day is April 12, 2025 at Participating Independent Record Stores. And what can you tell me about Record Store Day?
Speaker 1:Well, record Store Day was started in 2008. There were 300 participating independent record stores in 2008 that did it, and the idea was to get people physically in the record stores rather than everybody consuming music online. Back then it was all iPods and iTunes, and so it was like, hey, let's have an event that gets people to come into the record stores and realize, oh, this is so cool. You can buy physical media here, you can buy vinyl and you can get that old turntable out. And so they have bands and labels that do special releases just for record store day. You can't buy them online, you can't buy them through the mail, you can only get them, uh, in the store, and so like, for example, they, they might issue 500 of a particular special, you know record by a band, and every record store only gets one or two copies. And so people line up outside the store before it opens up and then they'll have a limit of okay, you can buy this many things or whatever it is, and only this many people are allowed in the store at a time. It's a big deal at a lot of record stores that people get very excited about record store day and buy a lot of stuff, and that was kind of the original idea. Now it's gotten to the point where the major labels have realized oh well, this is a great way for us to get our major label artists and so they'll, you know, put out a special colored vinyl. David bowie album from the past, or lady gaga, or somebody will put something out, and and it's edged out the independent labels that were the founders of it, and so along that, those lines, I've been a part of several releases over the years.
Speaker 1:There's a record store called Crooked Beat Records in the DC area and it's an old friend of mine named Bill Daly that owns it, and he was in a band called Insurgents back when I was in the Violets, like 30 something years ago.
Speaker 2:Both in Athens.
Speaker 1:No, they were out of Raleigh, okay, and so we met them in Charleston, them in Charleston, uh, playing a gig together where we just got kind of put on the same bill and ended up hitting it off. And so we played more shows with them. He put out our records and, uh, he started doing these special record store day releases. The first one was the clash had an, an album called Cut the Crap.
Speaker 2:Yes, without Mick Jones.
Speaker 1:Without Mick Jones right and without Topper right.
Speaker 2:Correct, topper had been gone.
Speaker 1:Yes, so, yeah, it was Joe Strummer and Paul Simonon and Bernie Rhodes was their manager. Well, they only got about halfway through recording this album and they broke up like the. The last two guys were like no, we're we're done with this. Well, bernie Rhodes, the manager, thought oh no, no, no, we've already recorded some stuff. Let's just piece this together and put it out so we can sell it. So this was back in like 1984, I think, and so he mixed it, like all the Clash records had such good producers and mixers and great guitar sounds and stuff and this is just like the worst sounding record. And he put all these synthesizers on it and things were missing drums, and so he would just put a drum machine and you know that really cheesy sounding 80s drum machine on certain things.
Speaker 1:So it was just widely known as like a really bad attempt at a clash record. Like the songs were good, the recordings were awful. So bill daly's idea was we will make a record called recutting the crap. And he got all these bands that he knows to redo, to remake a song. And so the violets did a song called cool under heat. That was from cut the crap and it did pretty well on Record Store Day. It got some good press. Then the following year or two years later I think, we did Volume 2. Because there were more songs that weren't on Cut the Crap, that were on some demos, and so people would choose from those, we put out a second LP, recutting the Crap, volume 2. Then the next project that bill did, which was several years ago, was a Jonathan Richmond album, and you might know Jonathan Richmond and the modern lovers road runner road runner.
Speaker 1:Yeah, In fact the violets did road runner.
Speaker 2:Really.
Speaker 1:Yeah, it was the first song on on the album and uh, bill called it songs from the astral plane and a tribute to jonathan richmond. So everybody did jonathan richmond songs and uh, it actually charted it. It was, uh, on the billboard compilations chart the week that it came out, sold out in pre-orders and was an official record store day release and did great. So then this year bill says, hey, we've got uh, songs from the astral plane, a tribute to jonathan richmond, volume two ready to. You know, put that one out and record store day. Powers that be were like no, we've already got all the official releases. You know, uh, whatever taylor, swift or somebody's got to put something out.
Speaker 1:So here, independent bill and and crooked beat records couldn't get the official record store day release. And you realize, well, maybe it's kind of better I just put it out on record store day. Anyway, it's an unofficial release, I've got all the distribution, I'll get it in the same stores. So that's what he he did and it's coming out on record store day um, all across the world and uh, you should check it out if go to your local record store and ask for it. The violets did a song called dodge vege-o-matic on this one and you should check it out. Go to your local record store and ask for it. The Violets did a song called Dodge Vegomatic.
Speaker 2:On this one, you heard it. I was going to say I've actually heard it.
Speaker 1:I enjoyed it so what year did you record that? I think that might have been like 2021. I think it was 2022. We thought it was going to come out that year, and that's another problem with record store day and the major labels getting back into vinyl after they had abandoned it is that they take up all of the pressing plant space because there aren't as many record pressing plants as there were back in the old days when everybody bought vinyl, and so if you want to press something as an independent label, you have to give them like nine months or more of lead time for them to actually press your record wow it's, it's crazy, or you have to pay big fees that end up making it unprofitable to pay to jump the line, and so, yeah, he didn't make it for the deadline that year and it just kind of got postponed, and here we are in 2025.
Speaker 1:Record Store Day is April 12th, right?
Speaker 2:That is correct April 12th.
Speaker 1:So I will tell you some of the other bands that are on this. It's got Too Much Joy. California band. Tall Ships, also from California, violets from Athens, georgia. Geisha Hit Squad, also from Georgia. Peele Wimberly that was the drummer of the connells has uh, has a project on there. Washington dc artist eric huey, uh, joint effort with eric roscoe. Amble from the dell lords, daily combat, teething veils and silent island are the bands on it.
Speaker 2:Well, that sounds pretty good. I hope people go out and support their local record store and get something like that album that the Violets are on.
Speaker 1:Yeah, it's on red vinyl too.
Speaker 2:Wow.
Speaker 1:It looks really cool.
Speaker 2:I bet it does. You know it's funny. You mentioned the Connells Coming into the studio. I was closing the door. I was singing 74-75. You were yeah, yeah it's funny that you know it's coincidences. That's the whole key to everything today. Well, that was pretty good, jimmy. Thank you for that update on Record Store Day.
Speaker 1:No prob.
Speaker 2:Let's revisit some great music from the past. On April 11th 1970, the Beatles' Let it Be peaked at number one on the Billboard Hot 100 charts, written and sung by Paul McCartney. There were two versions the album version and the single version. I like the album version better. George Harrison's guitar solos are different in both of them and it's more rocking on the album version than it is on the single. It's kind of wimpy on the single. It's not. You know nothing to write home about, but the album one is so good much better version and growing up, let it Be was one of the first albums I had. So I always listened to the album and I remember one day hearing on the radio I'm like what is that? That's different. I don't have that. Well, that's because the single was different and a lot of band singles are different than the regular album. April 11th, 10 years later, judas Priest releases British Steel Great metal album with Rob Halford's vocals, kk Downing and Glenn Tip, fire metal, gods, the rage and of course, the classic metal songs Breaking the Law and Living After Midnight We've mentioned before.
Speaker 2:The album was recorded in Ringo Starr's house in Ringo Starr's house. So just a quick recap. John Lennon owned the house built a recording studio separate of the house and John Lennon actually did the video for Imagine there. So if you ever see the, you know he's on the white grand piano. That's from there, judas Priest. They want to record at the studio and they start. They don't really like it, they go in the house like we kind of like the sound in the house better they move the instruments and everything into the house and they record while Ringo owns it. The last Beatles photo session was taken on that property and that's a lot of history. Just looking at those few things there, I think that's pretty cool.
Speaker 2:First week of April 1985, the WLIR Screamer of the Week. King, won't you Hold my Hand? The Heavy Times mix Again on the album. Not so good, but when they released the single because they mixed it much, much better A dance song with a good beat could be heard in Spittin' Levittown where I would hang out. That was my go-to club. Won't you hold my hand now? Won't you Hold my Hand Now? These Are Heavy Times. I worked with this guy and at the time he owned a Trans Am and he would play this song all the time We'd go to lunch and it was the first song on like a homemade cassette that he made. We would listen to it all the time, loved it.
Speaker 2:First week of April 1990, sinead O'Connor, emperor's New Clothes, was the shriek of the week on WDRE, while her song Nothing Compares to you was about to hit number one on the Billboard charts. In April of 1990, dre moved on and started playing Emperor's New Clothes, a song that wasn't released as a single until June of that year and it peaked at number 60 on Billboard in July. It's a song she wrote about herself. I mean, it's just autobiographical and it's interesting because the drummer is her husband and it's almost like a conversation she's having with her husband about kind of, you know, had a baby. Things have changed. I'm a musician, I got popular blah, blah, blah, all these different things, and it's funny. He does a great job, drumming is excellent in the song, but I just find it comical that you know, it's almost like a conversation to him, you know.
Speaker 2:Yeah, yeah, and they divorced in, I think, 1991, but he still stayed on and did different things on her albums, probably four more albums after that. So you know they were musically compatible. But I'll tell you what's compatible. It's got Marco Peroni on guitar From Adam Ant.
Speaker 2:Yes, he was Adam Ant, adam and the Ants. He was on four of her albums. You know, goody, two Shoes, that guitar sound. That's him. One of my favorite bass players, andy Rourke of the Smiths he's on the track and the last minute and a half of the song is just the band jamming away and it is excellent. It's a really good song. I really like it and I listened to it from the beginning till a minute and a half as one part and then the minute and a half till the end as the second part, and it's really cool. I really do like it. Whoa, whoa, my watch is ringing. According to it, it's minute with jimmy. It's time for a minute with jimmy. Minute with jimmy. Minute with jimmy. It's time for a minute with jimmy. Minute with jimmy minute with jimmy.
Speaker 1:All right back to Pavement talking about Wowie. Zowie Record came out April 11th 1995. It was their third full-length album. It's not my favorite Pavement album but it's a really cool point for them where they became more experimental. There's not really a real catchy pop song on the record but it has a has a lot of good tunes that, uh, if you, if you give them some time, they grow on you. I really like blackout grounded. We dance father to a sister of thought kennel district and rattled by the rush. Um has a lot of songs on the album too. Uh, and you know their. Their live performances during that time were always really fun too, because you never quite knew what to expect with pavement. They might be, they might be arguing with each other, they might be doing headstands on their drum throne and throwing mayonnaise sandwiches to the audience. Yeah, there were all kinds of things. So it was always an experience.
Speaker 2:Yeah, they can keep the mayonnaise sandwich. I'm not interested in that.
Speaker 1:So I have another short story about Pavement. So Bob Nastanovich, that was their kind of background vocalist and percussionist. He knows my brother-in-law through horse racing. They're both in the horse racing business, and so Brant figured out oh, he was in pavement and Jimmy likes pavement. So Bob was kind enough to send me a record like this picture disc that they did a special like limited edition record Store Day type vinyl record, and so as a thank you I sent him back a small container of mayonnaise and two slices of white bread in a Ziploc bag and said this is reminiscent of your 1992 show in London that I went to.
Speaker 1:Did you really?
Speaker 2:I did, so this guy from the band ended up getting some old mayonnaise.
Speaker 1:It's not old, it's brand new mayonnaise.
Speaker 2:Oh, so it was in a jar.
Speaker 1:It was like a thing that you buy at the store.
Speaker 2:but the small one I'm thinking it was like some mayonnaise put in a bag and then sent in the mail. It was like old or something.
Speaker 1:No, it's fresh, unused mayonnaise. It's unused.
Speaker 2:Oh, my Lord, Jimmy, oh, I don't even know what to say to that. I don't. I mean, I love it. I like how you sent something back and didn't just take something without giving something in return.
Speaker 1:Yeah.
Speaker 2:But the fact that we're talking about unused mayonnaise, oh that, just that's great.
Speaker 1:That's pavement for you.
Speaker 2:That's pavement. Hey, a little bit earlier than April 11th 1995, march 14th 1995, collective Soul, their self-titled second album, came out and the first single, gel, was released in January 95. The song December came out March 17th 95. It peaked at 20 on Billboard September 2nd of 1995. The World I Know peaked at number 19 in March of 96. Where the River Flows was released in March 1996.
Speaker 2:One of those albums that just kind of you know, hung around for a while and it peaked at number one on the Billboard mainstream rock chart, as the other three singles did. They all made it to that. I mean, that was basically about what was being played on the radio and so forth. I saw them open for Aerosmith in September 94 at Lakewood Good show, and then I saw them at Music Midtown in May of 95 here in Atlanta, and it was funny because I was towards the back.
Speaker 2:I was kind of, you know, I was seeing other bands and then I kind of got there and I was like after the whole day I just didn't want to go into the front and get squished. So I hung out kind of towards the back and there were these two guys behind me and my buddy and they were talking loud, like you know when people talk loud because they want you to hear them and they're talking about oh, they're our cousins and we know them well and we hang out with them, and they're going on and on and on. Where it was just like oh, please just shut up, show starts. I forget about it. I don't know how many songs in, but Ed Rowland, lead singer of Collective Soul, at one point says yes, there are people out there that are saying they are our cousins, but they are not. Oh, wow, it was the funniest thing, because we turned around.
Speaker 2:There are people out there that are saying they are our cousins but they are not. Oh, wow, it was the funniest thing because we turned around. I literally turned around. We turn around and we look at them and it was like no man, we really are their cousins. Yeah, sure, you are Sure. It was funny to hear him say that.
Speaker 1:How did that get around to Ed Roland?
Speaker 2:I have no idea, but there we were thousands of people in downtown Atlanta at Music Midtown.
Speaker 1:It's crazy.
Speaker 2:Hey, listen. If you want to contact us because you're interested in knowing some mayonnaise tips from Jimmy, you can at musicinmyshoes at gmailcom. Please like and follow the Music in my Shoes Facebook and Instagram pages. As always, feel free to share the podcast with anyone that you know, your friends on social media, and we are appreciative for those of you that have. That's it for episode 73 of Music In my Shoes. I'd like to thank Jimmy Guthrie, show producer and owner of Arcade 160 Studios located right here in Atlanta, georgia, and Vic Thrill for our podcast music. This is Jim Boge, and I hope you learned something new or remembered something old. We'll meet again on our next episode. Until then, live life and keep the music playing.
