Travis Barker

00:00:15
Speaker 1: Pushkin. The Misfits are like a band that just hard to believe they existed at some point, you know what I mean, Like they're just so perfect and like, yeah, legend, you know what I mean, Like yeah, Jerry Own, I mean just the whole. It's just like.

00:00:32
Speaker 2: Damn, yeah, I saw something the other day. They're like I was always under the impression Misfits with some type of metal band, you know, just by the way they looked if they didn't know, or like yeah, so many people are familiar with the Skull, but they don't even associate it with the band if they don't know who the Misfits are. Yeah, but like wow, what a great band.

00:00:51
Speaker 1: Incredible and like their music is uh like not not everything from that era. I feel like would hit with kids now, like if they listen, but kids now who only knew the Skull. I feel like if they put put Myfits of Misfits album on, or like a couple of songs whatever, maye would just hit instantly, it would click form, you know what I mean, Like yeah.

00:01:09
Speaker 2: Yeah, it's like even my son's two and a half and the shirt when I wear it, I have like a Babylon ad shirt and he goes crazy every time I wear it, and I showed him Skulls because he always wants to know what the music sounds like and he loves that song. So kids like the Misfits.

00:01:26
Speaker 1: Yeah, there's certain artist like that like that just no matter what, like Tupac's saying, you know what I mean, like the legacy just I think just that the iconography is always big, but I feel like every generation also rediscovers the music. You know that Michael Jackson of course saying, you know, for whatever reason, kids never and that's not music that you feel like kids would like either like it's kind of like complex and weird ways, or I could imagine kids thinking it's boring or something just because of it's kind of longer and it's not like I don't know, I guess.

00:01:56
Speaker 2: It could be the beat too. Like we were listening to my son's success or Reggae, and we were listening he loves Jamming by Bob Marley and it was like a reggae playlist, and then Biggie came on and Rocky just kept going more Biggie, We're Biggie, and I was like, okay, you know, I don't know if he saw the baby, like the cover art or what it was, but he always requestsed, now, wow, so I'm not sure what it is.

00:02:19
Speaker 1: But yeah, more biggiees crack dude. Yeah, it's kids one A one. You know, another one of those bands I was thinking about because I saw I went back and revisited when you and Post Malone did That's that Nirvana Live said on the last roam, Nirvana is another one of those bands I feel like continually rediscovered. But it was fun watching you guys play that, and it's fun watching you. I don't know how much, how how much beforehand did you work out those parts or did you just know him?

00:02:48
Speaker 2: Or it was right when COVID happened, so everyone was was locked in. No one was doing anything. And my friend Brian Lee, who's a great songwriter and he always works with Posts, he said, Post wants to do this Nirvana tribute with you during COVID. It's gonna be me, you and Post. And I was like, Brian's high right now, he's tripping, you know, like, there's no way we're doing We're gonna learn Nirvana covers and we're gonna do this during COVID. No one's leaving their houses and he's like, no, I'm serious. I'm like, okay, well have have post hit me whatever and we'll figure it out. Sure enough post hit me he's like, yeah, two days from now, we're doing it. Did you get the set list? And I was like, honestly, I thought Brian was capping the whole time, so I didn't listen to any songs. But obviously we've all listened to Nirvana. Yeah, but it's very different listening to something with like discovery years, like you're trying to you're trying to learn it, to play it, rather than just listening to it. So I dove in and I listened to Nirvana for forty eight hours straight learned. However many songs we ended up playing fifteen or seventeen songs. Drove to Utah, there was no one on the road. There was like no one on the road, and got to got to the crib. We we played a little bit, and then the next morning we woke up and did this the live. It was wild Man and Posts. Because I really didn't know anything. I also didn't know how familiar Post was with Nirvana.

00:04:28
Speaker 1: Right, Yeah, that must have been the other part of it, right, Like, yeah, you got to prepare it, but you weren't even aware of how prepared he was.

00:04:34
Speaker 2: Yeah. I don't know if you've ever heard, but a lot of people talk about how he was a scene kid and he was really into different styles of music and he was in bands. But he killed it. He sounded like Kurt. He knew every song. It wasn't as if he was reading lyrics. He knew every lyric. He was like a diard Nirvana fan. So I was pleasantly surprised and we were just it was just fun.

00:05:00
Speaker 1: That must have been a trip to just to hear it, To be behind a kid counting that off, it's like, yeah, that come out of him must have been insane credible.

00:05:10
Speaker 2: It was. Yeah, it was really special. And then everyone from Nirvana, like all the living members obviously, we were so supportive and yeah it was it was really cool and we raised a bunch of money.

00:05:21
Speaker 1: It was.

00:05:22
Speaker 2: Yeah, it was a cool experience.

00:05:23
Speaker 1: That's right.

00:05:26
Speaker 2: We actually recorded a couple of hardcore songs too, which I'll never see the light of day. Why just I don't know, you know, it's like, it's probably similar if if I recorded a rap song with you and it was just like fun and you're like, it's probably never going to see the light of to day because that's not what Trapp does. Whatever. But we made crazy songs while we were there too. It was it was fun.

00:05:46
Speaker 1: And like covers were originals not originals.

00:05:49
Speaker 2: We would just jams would end up leading to these songs that we would play every time we jammed in between songs, and then we recorded a couple of them. Cool.

00:06:00
Speaker 1: Yeah, you just go do it live at least, you know, I know, because that's it feels like that energy is coming back to you know. It feels like like guitar and heavy music in some ways. It's not that it ever. You know, there's always been great bands around, but it feels like there's like a lot of a lot of really good young bands now.

00:06:20
Speaker 2: I think that would be cool, especially with AI being you know, I'm not going to be a hater about it, but just knowing it's a part of music now. It's also really cool if a bunch of kids start playing guitars and drums and bass and are just anti yeah, a computer making music for you, and yeah, I bet there's gonna be a lot of cool things that come out of it.

00:06:42
Speaker 1: I think so, because it seems like young kids are pretty anti AI, you know, like mostly like the eighteen year olds to talk to and like they want nothing to do with it, you know, beyond maybe like asking it a medical question or something.

00:06:54
Speaker 2: What I mean, Yeah, maybe directions are where to eat? Yeah, I'm a big Yeah, I'm a big fan of that. But yeah, I love I love music, and I love music coming from the soul or someone writing a song that's I don't know that means something that that wins all day.

00:07:14
Speaker 1: What's the first song that meant something to you? M Like, not just like it sounded good, but like the song, like everything about it spoke to you, lyrics and everything.

00:07:23
Speaker 2: I'm trying to think there was a lot of There was a lot of Like Last Caress from the Misfits was like one of my favorite songs, but obviously it didn't mean anything to me. I think it was like songs maybe my mom listened to, like like Tears in Heaven or something Eric Clapton. I would hear and I'd be like, oh, that's cool, you know, and I kind of understand the meeting behind it. Maybe some Buck Owens or Willie Nelson, my dad will bump. There was also a lot of just jazz where there was no singing going on in my household.

00:07:54
Speaker 1: Who was the jazz fan my pops?

00:07:57
Speaker 2: Really yeah, so car rides. Now I'm so appreciative, But when I was young, I'm like, there's not even lyrics, like you know.

00:08:07
Speaker 1: What I mean, that's all my kids do right now.

00:08:09
Speaker 2: Yeah, it was like fusion and it was really cool, a lot of noodling around on the instruments. But now I appreciate and I love it. But when I was young, I was like, Dad, can we put on like Metallica or you know, or anything like the Beastie Boys something, you know, Well, what a.

00:08:26
Speaker 1: Gift too, because like, honestly, and not until I saw the documentary, which congratulations by the way, so thank you. It's a great movie and great doc But I mean, I always knew you were an incredible drummer. I saw you guys first, like in seventh grade the Pop Disaster tour, and I remember just being blown away by I think that was the tour. I think you went up. I think that you did like a Tommy Lee where it went, oh yeah you did. I think I think the first time you started doing that. It was the first time i'd ever seen it blew my mind. So I knew you were a great drummer, but I never thought to dissect like how you got there and seeing how rudiments were just like you just ran those as a kid, Like there's a huge part of your training, your drum training. It made sense that rudiments and listening to jazz and having to listen to Buck Owens and Will like all of that is because you don't play like a punk drummer. Really, you know, you don't play like Robo from He's a great drummer. Yeah, but you don't play just like that. Like when you listen to Blink Transplants or anything you do, you can tell that's there. There's a lot of other feels and things in there.

00:09:31
Speaker 2: So yeah, I drew from just everything i'd listened to, and it sort of sort of like someone who I don't know, if what you did at the gym was these three things, you do them really well, right, and that's all I had at one point. You know, when I was young, I learned how to read jazz charts, but beyond that, my teacher who taught me how to reach jazz charts, he's like, I'm not showing you how to play Rain and Blood by Slayer. There's no way you know, or Alex van Halen or any anything you know, So that was all on me. So I would just I'd just listen to anything and everything and even the radio, whatever it was on the radio, and learn how to play it. Just about spending hours locked in a room playing music. Wow, you learned so much, you know. There was no YouTube or anything. It was just discovery from music. I liked copying, like the drums on pause boutique or whatever. That was a drum machine figuring out how can I sound like that?

00:10:36
Speaker 1: Yeah?

00:10:37
Speaker 2: And yeah that I think that helped me a lot.

00:10:41
Speaker 1: How long were you practicing each day?

00:10:42
Speaker 2: As a kid, My parents would would only let me out to go skateboarding and ride bikes and stuff if I played at least two to three hours a day.

00:10:50
Speaker 1: Damn.

00:10:51
Speaker 2: Yeah, which is a blessing, man, I think of like kids now, I guess it's kind of cold if you think about it. But I was fine. I mean, I'm playing the drums. It's not like did you play weeds? Weeds too? But you know, yeah, I mean I loved growing up with with bound and being disciplined like Yo, go do yardwork, Go modolawn, go play drums. After you play drums for two hours, you can go skateboarding. That really made me who I am today. And I couldn't imagine if I wasn't putting in those few hours a day of playing drums, I don't know. Also, like I was never walking around saying I'm bored or I don't know what to do or I don't know. I kind of hear kids say that sometimes, yeah, and I'm like, go find something you love and go get lost in it. It's beautiful. You know. It's the best thing I could ever done. And I think when I experienced hardship in my life, thank god I had music and drumming. That was just something that was home to me that I just felt so comfortable with and I was confident, and that's it was. It was it really. I feel like it really helped me navigate just through life.

00:12:03
Speaker 1: Were you a confident kid outside of music?

00:12:06
Speaker 2: Nah? I always say you ever listened to Tim Grover? Yeah, relentless, And he talks about one time I was speaking to him and he's like a lot of people they have to put a mask on to go to just go out in the world. You know. He was explaining like, oh, like, say, if you are a basketball player, some people have to put a mask on to go play basketball, order.

00:12:26
Speaker 1: To work with Jordan and Kobe and.

00:12:28
Speaker 2: Yeah yeah, or to go on stage and play guitar. And I'm like, I have to put a mask on to go in the real world. When I'm not behind the drums, I'm confident and I'm comfortable behind my drums. There's no mask needed anything without my drums, mask is required, you know, like to go into interviews, to just navigate through life or just do normal stuff. I feel naked without my drums, you know. That's like that's where I'm most comfortable to this day. Yeah, for sure, And even if I don't play for a couple of days, which doesn't really happen. I was just on vacation and I brought a practice kick because I'm learning all these Ramote songs for Oh.

00:13:07
Speaker 1: Yeah, you're doing an anniversary game.

00:13:09
Speaker 2: For the fiftieth anniversary. So I brought a kit and I set up in this weird part of this hotel I was staying at, and I just played for a couple hours every night, and I feel so much better after I do that that's just I don't know, it's just a piece of me.

00:13:24
Speaker 1: How did you just a sidetrack on that? Did you put on Ramone songs? Just play long?

00:13:30
Speaker 2: Same thing as Nirvana. I'd never listened to Ramone songs thinking I was ever gonna play them. Yeah, just enjoying them and you know, listening, so listening to it is different, actually really clever. Some of the things like the Ramones did, or the way they arrange the songs, or the amount of times things happen or sometimes though into song with the pre chorus and never go back to the chorus. Just cool. And I've been watching the Rainbow, the Rainbow Theater concert that was in England, and if you never saw the Ramones you were in a fan, you have to watch that. Just be blown away.

00:14:11
Speaker 1: They're the great they They're one of the few bands that I don't think I probably never have to listen to again, just because I know the catalog so well. But anytime it comes on.

00:14:19
Speaker 2: It's like, oh, so good.

00:14:21
Speaker 1: It's like it's like rediscovering them, you know.

00:14:23
Speaker 2: Yeah, And some of the songs that never got popular like so good too, Like yeah, a lot of sleepers there. There's such an incredible band.

00:14:31
Speaker 1: Like a Van a Fair or something, oh the best. And Tommy Bean like the producer too, the drummer being like the producer of that too. Like the sound of those right, especially that first record, the first three records, they're so good. The sound is amazing. You know who's uh you're playing that with Billy Joe, right.

00:14:48
Speaker 2: Yeah, me, Billy Joe, Tim Armstrong and CJ Cool.

00:14:52
Speaker 1: How did how did the Tim Armstrong relationship come to be?

00:14:56
Speaker 2: I was let me see, it was right after Inima of the state and even before that though. So I grew up in a place called Riverside, California. That's where once I was like kind of on my own. I was in the Riverside. I grew up in the Inland Empire like Fontana, sam Berdandino Corona. And I lived with my friend Bill Fold, who was also later the manager of the Aquabats, who also started Coachella. But he ran a promotion company out there and a little crew called ninety eight Posse, and he promoted everything from raves to punk shows, hardcore shows, clubs, everything. So I worked for Bill and just did whatever he needed me to do. And I used to see Tim come through the barn to come to shows, and so I met him way back and I was just some kid that passed out flyers at the barn. And then after in him of the state. I'd seen him a few times just around and then I got a call on my phone and was like, Yo, Dravit's Tim. I got this project. You gotta be the drummer. I want you to play drums. You're my favorite drummer. Blah blah blah blah blah. And I was like, WHOA. Tim Armstrong just called me said whatever, wance we play drums. I had. I remember I had a seventy six El Dorado that could barely make it around Riverside and I drove it to La. I was like, I'm gonna drive to La. I'm gonna go see Tim. And then the next two days three days, we spent recording the first Transplants album at his house. He had a basement in his studio where drums were set up. There was like not even a light bulb in there. It was like it was so it was just like that time was crazy. Tim was just learning how to use pro tools and like producing. So we were going bonkers with eight O eights and distorting them and probably using them way too much. It was just like such a cool experimental time. And we recorded that Transplants album and I don't know, drums were done in a day or two.

00:16:54
Speaker 1: Wow, do you know what gave Tim the idea to do it? Because I really did come out of like left field, you know what I mean at the time at least.

00:17:01
Speaker 2: Yeah, Well, he was always he was from the Bay. He was always listening to rap music too, like from the Bay. Yeah, Like that was like one thing we always had in common. And same with Skin. He had Robbed too. Once I met rob Like everyone was into be Legit, like everyone was into mac Dre. Everyone loved all the bass shit that was going on.

00:17:20
Speaker 1: Uh.

00:17:21
Speaker 2: I was obsessed with drum and bass as well, like Goldie, Tim was obsessed with drum and bass. And then that was just the punk rock we were all raised on and hardcore music we were all raised shown, and Transplants was this crazy mixture of it all.

00:17:37
Speaker 1: It's funny how diverse that scene was. I guess the difference is rancid growing up in the Bay late eighties early nineties, getting to experience all these different you know, playing at clubs, and you know, Mac Drae might roll up or too short or whatever. And then by the time like they get popular and the mid nineties or whatever, you know, there's a whole bunch of kids that are just like locked in on that particular sound. Yeah, but in hindsight, it's like, wow, so many of those bands were all over the map in terms of what they listened to and what they liked.

00:18:05
Speaker 2: And for sure, I think back then not everyone was really open to saying what they grew up on or listened to, because I think it was still the time where if you were in a punk band, people expected you to only listen to punk rock music or just kind of put you in a box, which was the opposite of all three of us. And then you have Skinhead Rob, who was like a homie of times and would tour with them, who luckily had no rules. He was like, fuck you, I'll talk about whatever I want, I'll sing about whatever I want, and I'll listen to whatever I want, you know. Yeah, So that was it was just it was a good balance. You know.

00:18:47
Speaker 1: I don't know if you've seen it since it happened, but there's a great interview with you and skinhead Rob with Nardwar back in the day.

00:18:53
Speaker 2: Yeah, you know, I feel bad, I yeah, cause I didn't know who he was like now and I actually love him now and I've seen all these interviews. I'm like, what a sweet guy, you know, and I felt like a dick. But like Rob and I were really high all the time, and I just was so caught off guard. You know, I had actually said to Drew, I was like, man, if I saw Nard War, I would want to apologize and just be like, I actually love what you do. And we were on a lot of drugs and we apologize. You know. It was just, yeah, a crazy time.

00:19:29
Speaker 1: I hope you guys get a redo, man, because that'd be yeah, would be a fun. Oh.

00:19:32
Speaker 2: He's a genius, like all this shit he figures out about people and all of the research he does. Like, yeah, I actually I admire what he does.

00:19:41
Speaker 1: Even in an interview, you could tell part of you was like super respected the stuff he was pulling up and pulling out. But you're kind of like, you're just like because he pulled out, Like, man, we pulled out I don't.

00:19:52
Speaker 2: Remember, but he has he pulled something out on rop like something like old school Rob, right, yeah.

00:19:57
Speaker 1: We pulled out like a photo of him like in college as part of like the Black Student Union in college.

00:20:02
Speaker 2: Yeah, yeah, in high school, in high school.

00:20:05
Speaker 1: High school, Yeah, like a couple of like cool like hardcore records and rap records like Rob was into. And then it was like I can tell you guys were kind of like it things like sick, but like what's going Yeah.

00:20:16
Speaker 2: I think at the time too, it was like I think I was especially on kind of like almost on guard because like people it would be like, oh, you're you're in Blink or you are are this or you have a TV show whatever, so We're gonna try to fuck with you, and I'd be like, no, you're not watch this, you know what I mean. Like, and there was like I just felt like I never really wanted to do press back then because it felt like that, you know, I love music and I love being in a band, and I love touring, but all the other stuff was I don't know. Sometimes it just makes you feel not what you're meant to do, you know what I mean With.

00:21:00
Speaker 1: Some of that, Because you guys got so big so quick.

00:21:03
Speaker 2: The press also, we never thought it was ever going to get big, like Blink, you gotta think like we're writing, you know, pop punk songs that are about like girls or friends or growing up. The banter that happens in between songs. You think, there's no way this is going to work to the masses, you know, and it does. And once it does, and we're playing bigger shows and we're no longer sleeping on people's floors or driving ourselves around in a vand we're in shock, like we we also don't think it's gonna last long, and we're just sort of in disbelief, just you know, like that's not why we started a band. You do start a band and you hope that everyone hears your music. But we never thought people would like our band like that. We never thought it would be that big or pop radio would embrace it. We're grateful. I'm grateful for all of it. We're grateful for all of it. But do we ever expect that to happen? Never?

00:22:04
Speaker 1: When did you? Because it's funny in the dock the label At some points, you guys downs, you don't make more money than you ever thought you you know, and you're going to be bigger and you're going to be more popular. Just get ready, and you guys were like, you gotta be kidding me, Like, no way.

00:22:17
Speaker 2: We were like you're high, Like there's no possible way. Yeah, we just didn't believe it.

00:22:22
Speaker 1: Tom, I said that, Yeah, Tom, it.

00:22:24
Speaker 2: Was yeah, it was all. Uh, it was just like a dream, you know, you just never I don't know, just waiting to be slapped and woke up.

00:22:31
Speaker 1: You know, when did you realize they were right though? The label was right? Like when did that finally set in?

00:22:36
Speaker 2: I mean, everything was moving so fast. It was at that time it was playing two or three shows a day and flying from city to city. So we were just like, yeah, this is our dream times ten come true, so let's do it all. And we were unapologetically not really switching shit around to be professional or doing anything else. We were just we just kept on going like we were as we should. I don't know. It wasn't really formula or it's not like we changed what we were doing or got in with the new producer or got in and with writers and wrote songs with people. We just kept being ourselves and doing what we did. I think after Enema we did try to take ourselves a little more seriously with like take up your pants and Jacket, So it's a slightly darker album, a little more technical. Yeah, but I think we really wanted to prove to everyone we weren't this pop band that some people mistaked us for a pop band because we made fun of all the pop bands. Believe it or not, they never knew that. We grew up like, you know, touring with the Descendants or Penny Wise or whatever bands like playing punk shows. They were like, they're the Backstreet Boys, but they played guitars because the video where we made fun of the Backstreet Boys and and sync. So that was really that was weird.

00:24:00
Speaker 1: That was that's.

00:24:01
Speaker 2: Wild to think people didn't get the joke and they thought we were that you know angers.

00:24:06
Speaker 1: I guess you know too, like funny enough, Like it was sort of you guys came along like the end of like the like if like Nirvana broke things open again for rock music. It's like you guys kind of came out the end of that wave and it got eaten. And when all like the infrastructure was built for like the boy bands and stuff, so like all of a sudden, you're on K rock and then you're on TRL like you know what I mean, Like that's the only other place to go with TRL with the Backstreet where the Backs was on the next day or whatever, you know what I mean.

00:24:35
Speaker 2: Yeah, I try to think back to the time. It was like Backstreet Boys and in Sync were popular, and Blink was popular and like Limp Biscuit.

00:24:46
Speaker 1: Yeah, it was.

00:24:47
Speaker 2: It was a crazy time, you know. DMX. I remember doing stuff in DMX was around, and I was like, oh, DMX is so hard, you know, like I would be obsessed. We'd be doing like MTV things with them whatever. So yeah, it was like I guess it's natural to people to push, you know, just kind of group things together.

00:25:05
Speaker 1: Yeah, because it's also where the DMX was as big as he was, and you like think about it, like, yeah, you know what I mean for him to also be like put on the same bill as our show was like a Britney space like what.

00:25:16
Speaker 2: Like damn Max, Like it was like the height of MTV. That's what they did.

00:25:20
Speaker 1: Yeah, you know, which is kind of fun, which is cool fun. Yeah, you think about it now, it's like incredible. There's so many weird little moments and yeah, and even Brad from Rage, Yeah.

00:25:30
Speaker 2: When I climbed the thing. Yeah, those were the days though, man like MTV was jamming right then, you know it was. It was really cool. That's like the first time I met Wayne was an MTV show like with Hotboys, So I don't know.

00:25:45
Speaker 1: There was like like a Hotboys are Wayne Wow? Hard Wow.

00:25:50
Speaker 2: Yeah. It was in Vegas and it was some MTV I don't know, like you know how they used to do spring Break, but it wasn't quite spring Break. It was like at the hard Rock and Blink was playing with Hot Boys, and I just remember like meeting Wayne, like we said what's up to each other? And Wayne was like sagging past like his boxer line, and I was like hard, Like, you know. The good thing about MTV and even radio shows and stuff when you play them is you'd be around a bunch of bands you're not normally around, which was cool. Yeah.

00:26:23
Speaker 1: Hearing you talk about how it all happened in your interpretation of it or how you experienced it like versus like how it almost seemed planned just because it did happen so fast. But then also it felt like you guys were pretty had it together, like even having your brand famous stars and straps, like I almost felt like that was just ready to go, you know what I mean, or maybe it was already happening anyways behind the scenes.

00:26:48
Speaker 2: But now I was in a small little graffiti crew called Vultron Crew, and we used to just get up wherever out in the Empire where I lived. And then one day I was like, man, it'd be cool if we you know, no one's gonna buy our Vultron cruise shit, you know that could they don't they can't wear it or whatever. And at the time you were either skateboarding or you were at the end of BMX, or you know, you were like it was nostalgic and you'd love BMX, or you'd listen to punk rock, or you'd love like Wu Tang Clan. It was like jamming right then. But there was nothing that was lifestyle for like kids or for anyone that grew up. I grew up break dancing, I grew up like listening to the Beastie Boys, but I also grew up skateboarding and listening to Slayer. So I was like, what if there was a brand that just could represent it all? And that's when I started famous. Actually didn't take a check from Audio and Hurley, who were starting brands at the time. The shoe Yeah, and they were like, you know, paying bands to wear their stuff. I said no, and I said, I'm going to start my own brandow. And that's how I started famous.

00:28:01
Speaker 1: Wow.

00:28:02
Speaker 2: I didn't know what I was doing. I didn't know obviously, didn't think no it was gonna work or if it was gonna work. Just took a risk and just started something, just like how you start a band.

00:28:16
Speaker 1: But that was that was as a mother state was rolling out.

00:28:19
Speaker 2: Yeah, right before I was just printing my own T shirts. Had a little warehouse where I would like play and people would I had a little it was before it was a store, a little spot where all the bands where I grew up could go and rehearse, and just a little community, like a little collective. And then I just started screenprinting T shirts out of there Wow, putting them up everywhere I went. I'd just go skateboarding, leave with a thousand stickers, come home with none. That was how I started it.

00:28:52
Speaker 1: What was Mark and Tom's read on it at the time? Where were they even paying attention to that?

00:28:55
Speaker 2: And they were like cool, You're like you know what I mean? Like they would wear it too, and yeah, it was just a reflection of what I was doing where I was living, Like how I grew up. Combination of skateboarding, punk rock, hip hop, tattoos was just like a lifestyle brand. Yeah, because I felt I at the time Bob Hurley had started Bob Hurley who was He was the person who owned the license for Billabong and I loved Bob, but I was in a surfer I surfed a little bit when I was a trash man in Laguna, but I couldn't call myself a surfer or I feel comfortable wearing surf gear. You know. I wasn't quite skateboarding all the time, and skateboarding has always been very really strict if you're not like a hardcore.

00:29:45
Speaker 1: Skateboarder, like punk rock just like you're a skateboarder.

00:29:48
Speaker 2: So I'm like, yeah, I grew up skateboarding, but I feel kind of weird just wearing like hardcore skate stuff. And that's why I started famous, and I felt like it just embodied everything I loved.

00:30:00
Speaker 1: Wow, And are you still involved with it, dad, like day to day and all that?

00:30:03
Speaker 2: Yeah?

00:30:03
Speaker 1: Wow.

00:30:04
Speaker 2: Yeah. I had built it to this huge place and it was it was like out of control for me. I had no education in how how to build a brand or manage a brand. Once it was built, it was a sixty seventy million dollar brand, and I was getting offers from Tommy Hill figure like Puff called at one point was like, yeah, I want to buy your brand, and I'm like, no fucking way is anyone buying my brand because I know what they're going to do to it. And it's not like it's my it's something it's really precious to me, you know what I mean that I built with this little crew of people that I mean, that's why people build brands now, right, is to like sell it off. But I was so passionate about it and it was my DNA that I just couldn't let go of it.

00:30:53
Speaker 1: It's so wild. It's just wild that you had like the prescien It's like you kint like I mean, I'm sure you've heard it a million times, but similar to you know, you know you're married into the Kardashian family now, but like you kind of like and they're obviously business geniuses. I had that playbook just by intuition early on. You know, it seems like it just came natural, like brand extension of you TV show music. It just it felt like you were kind of owning all your lanes, which is was It's like that now, it's like, of course, like that's the plan everyone runs, but you just sort of lucked into.

00:31:27
Speaker 2: It, and I have a hard time. Like I'm very different too than them. The girls are so smart and like my wife and her sisters are. They're yeah, they're they're the best, and they have cool brands and stuff. Mine came from a self expression creative outlet. Yeah, so I never thought I had no business sense really. You know, it was making money, but I was just as much as it was making money, I had to put money back into it to go make the product, to fulfill the orders. And it's just me and my homies, like we don't know what the fuck we're doing. We're in over our head. I'm hiring childhood friends to help me. I'm just trying to figure it out, you know. So that's that's kind of like where I came from with doing it, and I've learned over the years it's something that's easier to maintain if it's like more core, and I kind of don't want it to get too out of control, you know.

00:32:25
Speaker 1: Yeah, it's amazing, man, I'm Glad it's still around, Glad to sell it and feels like it's bigger than ever though, you know what I mean.

00:32:32
Speaker 2: Yeah, I know, I'm very grateful and it's just feels authentic to me.

00:32:36
Speaker 1: You know, how was the label experience early on where you started your own LaSalle? Yeah?

00:32:42
Speaker 2: I remember I signed The kinnison and I was super into.

00:32:46
Speaker 1: The Kinnison's first EP that is Mortgage or Mortgagees, Mortgages Bank or whatever it was called. It was incredible and I remember hearing like, oh, Travis Barker signed them have to do an album. I was like, woh shit, And that was a great album too, you.

00:32:58
Speaker 2: Know, thank you. Yeah, they're great. Yeah, I mean it was around the time Blink was going crazy and different people approached me for different like business ideas and yo, you want to start a label. But yeah, I signed the Kinnison, the Nervous Return, got to take some of them on tour with me. It was a lot of fun. I now have DTA Records and I just signed this band called the Vanity that are really really great vanity band and yeah, a female fronted singer names Billy. She's there. They're awesome. They're like David Bowie. Queen meets Mike Kim panic at the disco, but like female fronted and she's like a star. She's awesome.

00:33:40
Speaker 1: That's rad. Are you producing them?

00:33:42
Speaker 2: No? I I love what they're doing all by themselves.

00:33:46
Speaker 1: Cool. Yeah, hands off that.

00:33:48
Speaker 2: Yeah, I love, I love. I love what's happening right now.

00:33:51
Speaker 1: That's raight.

00:33:51
Speaker 2: Yeah.

00:33:52
Speaker 1: I'm curious about you your work as a producer, and like how that you've grown into that. It feels like that also started started. It's funny because it started more on rap, right, Like, Yeah.

00:34:04
Speaker 2: I got Skinhead Rob around the time of the Transplants hit me, and he said, Bun Bun needs a beat for his album. Yeah, and I'm like okay, And I said, well ship Rob. Uh, he's gonna send me a beat and he just needs drums. He's like, nah, he wants you to do the beat. Uh, you got to turn it in tomorrow. So I just locked in and I if you listen, it's called Late Night Creeping. It's on like Bun's solo album and uh, and I I figured out how to make a beat with mostly organic like drum, drums and percussion. Uh, and then got a nine O nine and just added some other things in there in some sense. But I delivered bun a beat you know, the next day, and he wrapped on it and it was it was killer. I was like stoked. And then from there it was I don't know, just everyone whoever won the beats, like like skinhed Rob and Dammu had a project and I did all their stuff. Uh did stuff with like too Short, did stuff with Wayne, did stuff with Game. It just that's all I was into at the time, you know, I think Blink was taking a break, so I was either playing with like different artists, like played like the bet Awards with t I uh and.

00:35:27
Speaker 1: Produced on his on his second album.

00:35:30
Speaker 2: Yeah.

00:35:30
Speaker 1: Yeah.

00:35:31
Speaker 2: And when I wasn't out playing with artists or playing with am at the time, I'd be like making beats. I'd just be locked in twenty four to seven making beats.

00:35:39
Speaker 1: That's so funny.

00:35:39
Speaker 2: Yeah.

00:35:40
Speaker 1: When's the first time he produced a rock band.

00:35:42
Speaker 2: I don't know why, but it seemed so on the nose. I didn't do it for a long time. Yeah, Uh, I think the first time I did it was I helped I helped Kels MGK with uh. I think I'm okay. And then he was like yo, can we get in and see if we could do that again and see if it works if I got more in me? And we did, and that's when we wrote Bloody Valentine and we uh started on what would be Tickets to My Downfall.

00:36:12
Speaker 1: Wow, that's the first time you produced rock music.

00:36:16
Speaker 2: Yeah, because it was more interesting to me to do something I didn't do all the time, right, and it just seemed too easy or too on the nose, not sounding like like cocky, It just seemed like I don't know, I don't know if I want to do that or people want me to do that, meaning like do they want me to do anything that's so close to like what my band does for other people, you know? And then I did it and I loved it, Like Tickets to My Downfall was like my like a project. I loved like it was my own Winkels. And same time around the time of COVID where we just locked in and zero distractions and felt like made an incredible body of work.

00:36:55
Speaker 1: And since then you have been doing like a bunch of like bands as well. And the Blink the Last Blink record.

00:37:01
Speaker 2: Yeah, I produced the Last Blink record produce an Alkaline ep had just finished their album, Did a Yellow Card album? Did a horror album? Yeah? A bunch of stuff.

00:37:12
Speaker 1: It's rad Are you doing the new Blink album too?

00:37:15
Speaker 2: Or we haven't even started yet. I think we're just gonna start writing and see what happens.

00:37:20
Speaker 1: What are the songs floating around or like from the last album or anything?

00:37:24
Speaker 2: Or there isn't There's a couple that I had pitched, like to the guys, but they ended up. You know, when like I have stuff sitting around and I play for someone and then if it doesn't, if we don't use it for a Blink album, I automatically none of the top line usually, but everything else I bring to another project I'm doing. So on the Yellow Card album, there's three songs that would have been Blink songs. Damn Yeah.

00:37:49
Speaker 1: Did they hear them after? Did they hear him on the Yellow Card album? No?

00:37:53
Speaker 2: One of them. Actually Mark guested on it because Mark's like, I love that song. So Mark guested on it.

00:37:58
Speaker 1: Why didn't it Why wasn't it a Blink song?

00:38:00
Speaker 2: Just sometimes you know, for whatever reason, I don't know if it was the end of the writing cycle and we were just done recording or whatever happened, But Yeah, I.

00:38:11
Speaker 1: Was working with Did you did you learn much from Jerry Finn because he was like, learned so much from him. Yeah, tell me about that.

00:38:17
Speaker 2: I was never in my head thinking I was ever going to produce or I could even be capable of producing. But while he was alive and while I spent time with him, there was so many things I learned just from being in the studio with them, you know, everything from like he was very adamant about what snare drum you used on on what songs and how to how to find the snare drum for what tempo the song was was really big. Guitar sounds and guitars were really big arrangement ideas. Jerry was awesome.

00:38:50
Speaker 1: From the first album you did with them, from Undom on the stage. Yeah, were you with the band when you guys hired him?

00:38:55
Speaker 2: Yeah, so I got in the band they were touring Dude Ranch And it's a different, I mean different style of producing because all with the band, most of the songs were already written right and during that time bands you would write all your songs in a rehearsal studio, have them well rehearsed, then go in the studio and record them in of the State. I think that was the album where I went in. I did the drums in about six or seven hours, and then I left on a tour with the Vandals to go play drums for the Vandals, and then for the next two months three months, Tom and Mark recorded guitars, bass, and vocals. But the songs were already written. It's just a matter of getting your performances right.

00:39:35
Speaker 1: So you were able to do it in six or seven hours.

00:39:36
Speaker 2: All the drum tracking, yeah, because you would sometimes even switch studios to do guitars because you don't need the drum room anymore, right, So yeah, I would drink a bunch of coffee, smoke a bunch of cigarettes, and yeah, record my drum parts.

00:39:51
Speaker 1: You're jamming on that album? Yeah, man, like you're driving on that one.

00:39:54
Speaker 2: That was such a fun album, and I think I wanted to be extra good. I mean, I knew Jerry Finn's producing it or recording it like I did. I didn't even understand what producer was at that point. I was just like, Yo, I'm gonna go in and kill it. It's also it's my first album I record with the guys.

00:40:10
Speaker 1: You know.

00:40:10
Speaker 2: I wanted to be on my A game.

00:40:13
Speaker 1: Yeah, listening back to listening back to back to a bunch of blink, there are parts of big songs, even like what's My Age Again, and all the small things. Listening back, there's like the breakdowns and the pre courses aren't necessarily the first things I think of when I think of those songs, But listening back, I'm like, wow, those are a big part of each of those songs, and you really are doing a lot to carry those sections rhythmically, Like there's a lot of interesting stuff happening. And once My Age again, Like the bridge is actually kind of like kind of sad. It's almost like sad, like an Adam song sad. Yeah, the rest of the song is like really, I actually never really noticed since I was listening to talk to you. I was like, it's a really weird song in that way, like it's super like funny and upbeat and like whatever, and then it's just like there's this really kind of sad bridge out of nowhere.

00:41:04
Speaker 2: Yeah. Yeah, well because it is instrumental, and instrumental bridge just musical and it's a downbridge, so it gets quiet and it's like kind of pretty sad chords and then it goes back to being happy again. Yeah, and all the small things is yeah. I mean sometimes they gave me a lot of freedom to just experiment because they would usually say like, look, we're not gonna do guitar solos and we don't know what happens in this part. Just do something cool, do something weird, you know. Tom would say, do some of that crazy shit whatever, and that usually meant do something offbeat or some Latin inspired groove or whatever. You know. Yeah, and it was exciting for me because I grew up playing, like, you know, studying Latin music and learning Boston nova's and sambas and whatever else. So I would incorporate that into Blink songs, you know, dys and Terry Gary is Latin drums, you know, which was just me, you know, Tom going do crazy shit and I'm like, okay, Tom, here's some Latin stuff whatever.

00:42:11
Speaker 1: Did you think that they would keep that stuff or that that would work on those songs necessarily?

00:42:14
Speaker 2: Even Yeah, I mean everything was written, so I knew in the rehearsal room they'd be like, oh, yeah, that's fire, do that, that's cool, you know, So I knew that was like my party, you know. Yeah, it's it's so different now because a lot of people will write in the studio. You're writing in the studio, you're creating, and you're kind of doing it just like you would in a rehearsal room, but it's straight to pro tools or however you're recording. I'm still a big believer in playing though, like playing all together, because you could you could pretend you know the arrangement or how things go and record it into pro tools and all play separate, or you could actually play all together and figure out the song way quicker because you feel what's right, and you feel what's not right. You feel when parts go on too long, you feel when tempos are off. And I love that.

00:43:06
Speaker 1: That's rad I want. I want to ask you what to take off your pants? And Jack too. But when I was listening him back at the thought because I always love the song Aliens Exist. But when when Tom brought that song in at the time, were you aware that he was as into aliens?

00:43:19
Speaker 2: Yeah, from from the from the jump. When I when I first got in the band, we would he'd be we'd get high and he'd be like, come sit on the couch and the bus let's look out the window and we'd be looking for aliens on tour, you know, like or he'd be telling me he was always doing deep dives and aliens and UFOs and Bigfoot. That's from the jump, like from nineteen ninety nine when I joined the band.

00:43:45
Speaker 1: Was it and we like just humoring him from the beginning.

00:43:48
Speaker 2: I mean, yeah, I feel like it was a little easier for me to, uh to just like entertain it because I was high, you know so, But yeah, I mean to this day, to this day, I could see him ten minutes before we go on, and that's what he's talking to me about.

00:44:08
Speaker 1: Yeah, it's incredible. Yeah, I wish man, I wish I could. I wish I could take that ride, you know.

00:44:14
Speaker 2: Yeah. He's like, I love mixed martial arts and like that's my escape from music. Not like I need an escape, but it's just like that breadth of fresh air that it everything from, like the discipline and the hard work that goes into it and the competitiveness everything. I love everything. That's how aliens are for him, you know what I mean.

00:44:34
Speaker 1: The funny thing is, though, like I feel like martial arts is like whatever you're practicing in martial arts, it kind of transfers to music too, like, yeah, it helps the rhythm whatever the alien shit is.

00:44:43
Speaker 2: Just yeah, yeah, it's wild.

00:44:48
Speaker 1: That's so funny, man, take Off your Pants and Jacket you kind of alluded to how you guys wanted to do something a little different for that, But listening back after like having not listened to it in a while, I was shocked at like how many incredibly great hooky songs you guys came out like back around with like I mean almost immediately, you know, like and it's probably a stronger album than this, but it has all of the it retains all of the I think everything that hooked everyone about that album and then just like took it to the next level.

00:45:19
Speaker 2: Thank you, Yeah, I think yeah. That was the pressure of recording Take Off Your Pants is can you guys do it again? Can you follow up? And will it be as big or bigger? The story is is we turned in the album and it didn't have First Date on it, it didn't have rock Show, it didn't have Stay Together, and everyone was kind of looking at a sideways being like yo, where's the hits? Like where's the what's my age again? Where's the all the small things? So we literally went in two days later came out with First Date, Rock Show, and Stay Together. I think those were the three shows three songs that we added to it last minute. But yeah, they actually didn't think the album was complete and they were like, yo, you're missing like strong, strong songs or like hits. So that that's what we came back with.

00:46:08
Speaker 1: Wow. I mean I think there's still our hits on that with those ticket.

00:46:11
Speaker 2: But yeah, yeah mole to this day, you know, we just celebrated in an anniversary for it. Like even my son just hit me the other day, he's like, Dad, I just got take off your pants and jacket. I never, I never. I never got the joke. And I was like, you gotta be kidding me. And there's also adults that I know that have no idea, like they don't they didn't get the joke.

00:46:34
Speaker 1: You know, it was. It's the smoothest thing. Cause I remember that era, for instance, trying to go get the Chronic two thousand and one and get my parents to buy it and they like, they're like, I'm down, Like and they saw the chronically, They're like no, they ain't gonna like yeah, but take off your parts and jacket if you wanted to go cop that. It was like, oh, yeah, like you have no problem, but.

00:46:52
Speaker 2: And your parents don't get the joke just totally off the head.

00:46:54
Speaker 1: It was like brilliant, you know, and the different versions of it. It was such a big event album at the time, you know. Yeah, and to have that joke planned raid.

00:47:04
Speaker 2: It's so funny. It's like blank humor disguised.

00:47:09
Speaker 1: Yeah. I wanted to ask you about scenes because you came out of a pretty strong scene in Land Empire. You moved to Orange County Cluna Beach that also had a pretty strong scene, eventually moved to La. You grew up at a time with a really strong regional scenes and bands affiliated with those things. And I'm curious how much that brought to you as a musician and if you feel like that, if you miss.

00:47:37
Speaker 2: That, yeah, it doesn't. It doesn't exist in the same way right like a scene still exists. Hardcore music is so popular right now, it's so cool. It reminds me of sort of like the punk rock scene I grew up being a part of. Just by the time I had moved to Riverside. Even when I was a kid, like I played Spanky's Cafe, like anyone who knows Riverside knows Spanky's Cafe was legendary. Everyone from you know, No Doubt played there. When I was a kid. They were in Battle of the Bands with my band Jinx I was in, which was like a kind of like a rock metal band. Fire Hose would play there a minute men like four one one down set. All these amazing bands would play Spankys. And then we had the showcase theater where I grew up. We had the barn. I saw everyone from you know, face to face to like Voodoo Goal Skulls who were like hometown heroes where I grew up, and the scene was so just vibrant and alive, like every Friday, Saturday and Sunday you could go to a punk rock show. You could see the specials, you could see madness, you could see sick of it all, you could whatever. You know. It was like it was so it was so cool.

00:48:50
Speaker 1: And local bands would open up for some of you know.

00:48:52
Speaker 2: Yeah, yeah, any of those big bands came to town. You knew if if whoever bad religion was coming to town, you knew they were picking openers for it. I mean, that was actually my job at ninety eight posse was to pick what bands would open for whoever Lagwagon when they would come, who would Who's going to open for the Myss. So I would listen to demos and you know, just do my research on bands. But that was like my dream was right in front of me. I got to see it. That's all I wanted to do. You know. At the time, I wasn't I wasn't booked at any of those spots. I wasn't playing any of those venues. It was it was right there, though, and it was like something I could obsess over and and and work hard and practice every day in hopes that I could be one of those bands that are playing one of those shows.

00:49:40
Speaker 1: Yeah, it's incredible, man, Yeah it was.

00:49:43
Speaker 2: It was cool.

00:49:44
Speaker 1: And it wasn't until the Aquabats that you got to play like Showcase theater.

00:49:48
Speaker 2: Well, Feeble we played. We played some shows. That's how I met Chad from BHR who was also in the Aquabats. Like he had a scop new wave band too, so that's how I met him. But yeah, Feeble would play around. We would play like punk shows and we were trashmen in Laguna Beach, so we would also play local spots. In the Gunna that weren't punk clubs or bars, but we would play our music there and everyone would come out. That's how I first met Taylor Hawkins. That's uh, yeah, where our friendships started.

00:50:20
Speaker 1: So were you warmly received in Laguna?

00:50:23
Speaker 2: Yeah?

00:50:24
Speaker 1: Because sometimes hard on outsiders.

00:50:26
Speaker 2: I mean I was definitely nine or nine. I was wearing dickies to the beach. They were like, what dickies to the beach? High ass socks. I stuck out like a sore thumb. But I think that's also why they liked me, because I wasn't trying to pretend I was from there. You know, everyone there, like Noel who who invited me out there, who was the singer of Feeble, was extremely generous and hospitable, and Taylor Hawkins welcomed me with open arms and was so supportive, even like our trash crew, like the people I worked were out there were really nice. Yeah, I'd never really been anywhere like Laguna Beach where I grew up. It wasn't like Laguna Beach. Laguna Beach was like Disneyland or like fairy Tale vibes. You know, I couldn't even believe it was real. I'm like, wait, this place exists, you know, and I was probably doing like a job that most people wouldn't want to do. It's like, yeah, you know what I mean, youah be a trash man. And and uh it was like probably the best time of my life because you're in paradise. Yeah, I was in Paradise picking up trash. I wasn't I wasn't tripping. It was it was nice.

00:51:36
Speaker 1: That's amazing, man, What wasn't Why Why did you end up moving to LA because you uh and what like how did that happen?

00:51:42
Speaker 2: Because so I was I was playing in Blink and I was in Riverside, Corona and then around the time transplants started. Uh my my kid's mom at the time was pregnant. Landing in Alabama's mom Shane, and was pregnant. So I moved LA because I wanted to be there at twenty four to seven.

00:52:09
Speaker 1: Did it take a while to like settle in to that move or.

00:52:12
Speaker 2: I was doing the same things you put me anywhere. I'm gonna do the same things. I'm gonna I'm gonna run, I'm gonna play drums, I'm gonna make music. You know, you could transplant me anywhere and nothing's gonna change.

00:52:24
Speaker 1: That's probably that's probably why everything you do work, Yeah, thankfully, because you put a lot of disparate pieces together, man, like you know, producing bumb records, sign in the Keenness and blink, you know, opabus. Like you think about your career, it's really it's hard to hold. It's hard to even think about talking to you about it sometimes because it's like there's so much, such a variety of things, man, you know.

00:52:47
Speaker 2: Yeah, I think it was just doing things like I felt connected with or I felt passionate about her, I knew like I loved. Yeah, it gives me anxiety to think back if like you know, some people were like, dude, I wish I could go back to when I was like thirty five or whatever, and I'm like, no, I don't. Like, I'm so happy with every decision I made, even the bad ones, and I'm just so for fortunate and so grateful, especially my musical journey, you know, playing with everyone I've played with and the records I've gotten to make, and yeah, like the tours I've done at everything. Everything, I'm just yeah, you know.

00:53:23
Speaker 1: What I'm curious about before I lets you go, is like if just a scenario of the Doris' hypothetical. Like if I were to say, Hey, we're going to track and hear in like two hours, pick a kit, rig it like you know, kit it out how you want, tune it how you want, Like, how would you set up a drum kit from scratch?

00:53:41
Speaker 2: My kid is the smallest kid anyone would have to set up. I grew up setting up my own drum kit, obviously, and I figured out from a young age I didn't want to haul around a bunch of drums. So my kid is a four piece drum kit and it has three symbols, and I don't need anything more than that. I'll never need anything more than that. Uh. The goal is to sound really big on like a really small kit. So like even the trip I just went on, it's like, yo, I'm setting up the smallest practice kit and that's all I need. So it never changes really wow. Yeah, I always say, like, small kit, big sound. You know, that's the goal.

00:54:22
Speaker 1: That's been your kit since before Blink, since I started gigging.

00:54:25
Speaker 2: Yeah, like since since the feeble days. It's never changed, I think once or twice. I think there was a time right before the self titled album that we put a gong behind me because Gilgin gave me a gong and I was so excited, and Alex van Halen had a gong and some of the John Bonham had a gong, and I was like, I'm gonna get a fucking gong and I put it behind me. But I never wanted to lug that around?

00:54:50
Speaker 1: Did you use it?

00:54:50
Speaker 2: And I also felt like a dork making my drum tech lug it around. I'm like, I wouldn't want to lug it around. Why am I gonna make him do it? So I've always just mint I just try to keep keep things minimal simple.

00:55:05
Speaker 1: Do you sit down and try to tune things that? Certainly, like if you have to sit down at someone else's kid and you're able to ask it a bit, how do you like? What do you what sound are you trying to get out of? You know?

00:55:15
Speaker 2: Uh, I guess it's like cooking, you know, like you know what you want to add or you don't want to add same thing with Like depends what I'm doing too. Some things call for my tom's being tuned higher, some things call for them to be muffled. Uh, Lately, depending on what I'm doing but like big fast snare drum makes these these dampers for your kit that are amazing that just makes everything sound like a like a seventies record or like Adilla record. Like the drums aren't too noisy, they don't feel too alive. Almost can disguise live drums to be programmed if they're played right, you know what I mean? Yeah, Like, yeah, it's it's my favorite.

00:55:59
Speaker 1: That's sick using those lot.

00:56:01
Speaker 2: I use them a lot. Yeah.

00:56:02
Speaker 1: Wow. What's the story of the pop disastertor from your perspective? Because it feels like that's the thing fans are always interested in. And green Day has one version of events, Marking his book had another version or what is it.

00:56:15
Speaker 2: I don't know anything about it.

00:56:16
Speaker 1: I guess someone called someone to put the tour together. And green Day's intent, they say secretly, was to like blow blink off the stage like they felt threatened almost by you guys. And in Mark's book, he's like, yeah, we thought we were just gonna go on tour with the band that was like like we looked up to and like we're like, you know, we were just kind of getting to be big like they were, and we thought it'd be like fun and we're supposed to co headline, but then like they seemed like they were pissed and didn't like us or something, and so it feels like, I don't know, like there's two different perspectives on.

00:56:46
Speaker 2: It, but I think I had a different experience probably. I mean at the time, Blink was big, you know, and I think Green Day might have been in like hibernation mode or writing or something. And then I know, internally as a band, we always said it'd be cool if us in Green Day tour, it'd be crazy, you know. I think the world always tries to pinnis against each other. You know. The truth is, Blink didn't even practice for that tour. We didn't. We would never pra we would. We would go out on tour not even practice. Once we went out there and we didn't even have a fucking banner, Okay, and we got out there and Green Day had Piro and like crazy shit. That's how that's how like inexperienced we kind of were as a band, right like we're just like, yo, we're gonna go up and play those songs like we've always played, like we did at the club. I think that tour for me and if I had to speak for our band, was like a good, uh like eye opening experience of like, oh, you play different when you go out and you play big arenas and you play big amphitheaters. We should have a banner, we should have production. I think that was our tour where we had that realization, you know, as far as personalities with the band. So I have a like, my this is like what my dressing room looks like with but instead of guitars and drums. So every day I'd be in there practicing, playing, making something, even bring out a little studio. Billy Joe started coming into my room every day. I was like, can I jam with you? And I said yeah, of course. We would jam every day at that tour, like maybe a week into it then like Mike brought the bassamp in and me, Billy Joe and sometimes Mike would be jamming every day.

00:58:36
Speaker 1: Just making stuff up, just jamming.

00:58:38
Speaker 2: Yeah. Yeah, to the point where Tom was like, hey, what's going on here? Like what are you guys doing? And I'd be like, we're just jamming, Like he'd you know, he knows I'm jamming whatever, so we're just jamming. He's like, fuck, man, I want to jam and I'm like, come in jamm any time. That's kind of how box Car happened, really, Yeah, out.

00:58:55
Speaker 1: Of the jams that were happening in your dressing room.

00:58:57
Speaker 2: Yeah, because I think like me jamming with Billy all the time inspired Tom to be like, I'm gonna come in and bring a guitar. We should jam sometime. So yeah, so there's never been like, yeah, I've never I remember one time I was on tour with Yellowolf and I ran into the Green Day guys and there are nothing but nice. Like honestly, they've never been anything but cool to me in person. And yeah, and yeah they're they're they're badass. They're a great band.

00:59:26
Speaker 1: Did you record any of that stuff you were doing with Billy?

00:59:28
Speaker 2: Yeah no, it might no, but we're gonna play this thing together. So that's gonna be exciting, you know.

00:59:33
Speaker 1: Yeah, where's that boy? What's the deal? What's the story on that?

00:59:35
Speaker 2: It's at Hollywood Forever, at the cemetery for Ramone's fiftieth anniversary.

00:59:40
Speaker 1: Okay, amazing, man, I'm gonna try to come out to Yeah, it's gonna be cool. It sounds fun. Man. I appreciate you taking the time. Man. Yeah, talking music with you forever.

00:59:47
Speaker 2: So yeah, same man.

00:59:48
Speaker 1: Appreciate it. Thanks for checking out Broken Record on YouTube. If you want to listen to us on the go, be sure to subscribe to Broken Record wherever you listen to podcasts.