Faith No More - The Real Thing album artwork

This Episode · No. 1

RIFF032 - Faith No More - The Real Thing

06 January 2025 ·69 min ·Season 2025

0:00 1:09:13

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Show Notes

When Bay Area thrash met hip-hop and created an epic that shouldn't work

Hosts: Neil & Chris
Duration: ~69 minutes
Release: 6 January 2025

Episode Description

Welcome to another episode of Riffology - the podcast where two mates dissect the albums that shaped music history. This week, Neil and Chris tackle Faith No More's shape-shifting 1989 breakthrough, an album that crash-landed into the Bay Area thrash scene and somehow fused funk, metal and alternative rock into something totally its own.

What You'll Hear:

Band Origins: How Sharp Young Men and Faith No Man morphed into Faith No More right in the middle of the San Francisco Bay Area metal scene, crossing paths with Metallica, Exodus and the rest of the thrash family tree.
Producer's Journey: Matt Wallace's story from recording in his parents' garage on an eight-track to shaping a major-label classic while quietly doubting his own abilities and nearly quitting.
Patton Arrives: Mike Patton swooping in from Mr. Bungle, writing all the lyrics and melodies in two weeks and squeezing them into music that was already locked.
Musical Melting Pot: How each member pulled in a different direction – metal, pop, African rhythms and melodic keys – creating that spider-web tension that makes the record sound timeless.
Album As A Whole: Why the opening run of "From Out Of Nowhere", "Epic" and "Falling To Pieces" feels like a rocket launch, yet the deeper cuts and late-album gems like "Underwater Love" keep revealing new favourites.

Featured Tracks & Analysis:

From the thrash-leaning chaos of "Surprise! You're Dead!" to the long, atmospheric title track "The Real Thing" and the overlooked sleeper "Underwater Love", the hosts dig into how the riffs, grooves and hooks fit together. They break down the way Roddy Bottum's keyboards often carry the main hooks, the strange piano blend at the end of "Epic", and why the album's mix of short bursts and sprawling epics still feels fresh rather than dated.

Tangential Gold:

True to Riffology form, expect delightful detours into:

MTV memories of the "Epic" video blaring from pub TVs in the 90s.
Cliff Burton and Jim Martin's high school band and the Bay Area thrash family tree.
Neil's evolving relationship with long songs, from Metallica epics to three-tracks-per-album fantasies.
Counting Crows, Damien Rice and the perils of vinyl New Year's resolutions derailed by rare Goo Goo Dolls box sets.

Why This Matters:

"The Real Thing" is the moment Faith No More stopped sounding like anyone else and became the band other people would spend decades trying to copy. The hosts argue that its genre-smashing mix, oddball hooks and push-pull band chemistry make it feel strangely unplaceable in time, more like a force of nature than a period piece, and they pull out lessons about creativity, self-doubt and trusting the weird ideas that should not work but somehow do.

Perfect for: Fans who grew up with "Epic" on MTV, listeners obsessed with the Bay Area metal and alt-rock crossover years, and anyone who loves albums that reward repeat listens with new favourite tracks hiding on side two.

Transcript

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Speaker0:00 I'm a fan of the world I'm a fan of the world Monster Shop Is it time? Are we on? We're on We are on This is not the album that you may think it is From the intro that we've just played Didn't you? You played the War Pigs at the beginning, didn't you? Yes Yeah, I played the War Pigs They're very good at covers, Faith No More They are very good at covers Because they did this and then they did Easy, didn't they? Yeah, so the real thing that they had this on Yeah And then wasn't it Angel Dust that had Easy Which is better than Easy is better than the original Yeah Lionel Richie would have listened to that and go Oh, these guys play my song better Shit And then stomps around I think he just stomps around going Oh, I hate them I hate them He probably doesn't I bet it's lovely In my mind, that's funny Yeah, I'm sure the royalties didn't do his bank balance any harm No You forget about that Because Yeah I was reading a bit about this, you know With Ren Yes He does lots of remixes and stuff, doesn't he? Yeah, yeah And things like that And he He got in lots of trouble Because he And imagine this Because you all know all about this He subscribes to a service Where he can go and pull Like royalty-free music So he pays a subscription Yeah And then he can go and pull Yeah And do stuff with it And then use it And he did that for one of his songs But then The guy who wrote it Went after him Really? I said, no, no, no, no, no That's not That's not the deal No, that's not That's not what we agreed You owe me like millions of pounds Wow And it's Yeah, it's really Really, really interesting Really fascinating If you like that kind of stuff Do Googling on that So I'm Chris Oh yes Yeah, yeah You are Neil Yeah This is Monster Shop We review We don't review We tell We tell the story on our podcast Of the makings of albums And today the album is The Real Thing by Faith No More And just before Before, sorry Oh, go ahead We did a poll last week And the poll went out on the socials Yeah And I just wanted to check Have we actually followed What we said we were going to do With the poll that we put out Yeah So did people vote for Faith No More Yeah The Real Thing Yeah And actually the most people Voted for that album Yeah So it's not that you just wanted To do Faith No More I did really want to do Let me go and chill Have a look at the poll 32 people voted The Real Thing got 34.4% Okay Led Zeppelin 4 got 28.1 Yeah Super Unknown got 21.9 Yeah And Rage Against the Machine got 15 Wow I actually wanted to do Rage Against the Machine That was the one that I really wanted to do But we've been chased So Baz One of our Keen interactors with On The X Said that He really wants The The Prodigy album We promised Out of the land October Or whatever it was And Led Zeppelin So we'll have to do those So we'll have to do those I do I lovely I watched a documentary on Liam Howlett Yeah yeah Racing motorbikes Oh wicked He was brilliant You imagine him being bonkers don't you He was lovely He was such a lovely guy Anyway We've got to do those two But yeah that's why we're doing it We're doing it Because everyone said That's the one we're doing The real thing I had somebody describe this album And Faith No More As their Beatles That's interesting isn't it It is isn't it I thought that was I find Because The YouTube interview That we've used for this Is a Gibson one And it's with Matt Wallace Who produced the record We've got a few interviews I'd never heard of Matt Wallace Before And he's amazing What a guy He's just I want to be Matt Wallace Yeah yeah yeah Do you know what I mean When you watch somebody And you think you're that good I want to be I want to be you Yeah And he's amazing Yeah But Across this whole Gibson thing Which is about what 20 minutes is it Something like that Yeah yeah yeah It's half an hour The whole interview It tells the whole story Of the record Of the band And everything And to be honest We've got to use loads of it Because it just It tells It tells you everything You need to know So Because I didn't know Mike Patton wasn't involved At the beginning I didn't know I didn't know Because he had Mr. Bungle What were they called They started off As Faith No Man Faith No Man There was a name before that As well We'll say it in a minute But there's so much history to it There's like Yeah So I hadn't realised That Jim Martin And Cliff Burton From Metallica Yeah They were in a high school Band together Yeah If you do a search for them You'll find a Battle of the Bands Video on YouTube Where they're playing This like chaotic stuff Cliff Burton Is playing The bass line From For Whom the Bells Toll Bell Toll I can't never say Bell Toll Bell Tolls Bell Tolls Bell Tolls Bells Tolls Anyway That You can hear them Doing that And Jim Martin's playing And Because I hadn't realised That Faith No Man Were right in the middle Of that You said earlier That Bay Area scene Right in the middle Of San Francisco And you know You've got kind of Exodus And Testament And Metallica And all these bands The kind of thrash bands Yeah And then You've got Faith No More Yeah And I just This whole album to me Is just this Like melting pot of stuff Yes And there's a lovely bit I think it's later in the interviews But There's a lovely bit Where Matt kind of goes If you Took Any one of the members Of the band out You would get a Radically different sound Like each one of them Is pulling the band Yes And he describes it As like a spider's web Yeah Yeah Where you know That each member Of Faith No More Is pulling the band In a In a completely Different direction And what you get Is this kind of Like Melting pot Of those Those influences Yeah Yeah But they're all Playing full on They're all doing Their thing flat out And Like trying to find Space for them And trying You know Trying to Balance The whole record Was a challenge But what you end up With is this Just totally unique I mean nothing sounds Anything like this Even today Yeah I think this I think this still Sounds really fresh Today This doesn't sound Like some records Sound Being polite Like a lot of the time Yes Like the hair metal records Yeah Yeah Right You can place them Roughly in time Yeah Because of how they sound And the production It's really difficult To place this I think I think I think this You couldn't go Oh well It's definitely this year It's definitely this era Yeah You know We were listening to it In the car And I was trying to think I wonder when it was Related I was like 92 I thought that as well Look it's 89 wasn't it Yeah 89 Yeah Yeah Ahead of its time Way ahead Yeah Shall we listen to Yeah So what he's talking about First is the Almost like the Like the story of the band Coming together In the garage And his eight track And his beginnings As a producer as well Oh he's brilliant I look at his time all day So I was going to UC Berkeley And I had built this studio In my parents garage And I was eager to work With other bands So what I did is I made these flyers Saying eight track recording Twelve dollars an hour And I had my phone number on it And I went to all the places That bands rehearsed And so I put these things Up all over the place Because I just wanted To get some work I couldn't afford to put Any advertisements In the local magazine So I just did it this way And this guy named Bill Gould Who was also going to Berkeley Saw one of my flyers At one of those Two record stores And at the time His band was called Sharp Young Men And then they ultimately Turned into Faith No Man And I actually recorded Their first single That they ever put out As Faith No Man And I recorded that In my parents garage And that included Bill Gould The bass player And Mike Borden The drummer Who ultimately went on To become Faith No More But they had a different singer And a different keyboard player While I was working with them They had played a show At a place called The Sound of Music In like the sketchy Sketchy Tenderloin district Of San Francisco And in the middle of their show Wade Worthington Their original keyboard player Left the band And a guy named Roddy Bottom Walked in And he became The keyboard player So then that's Bill Gould Mike Borden And Roddy Bottom Who formed ultimately Faith No Man And then it became Faith No More After they left their singer And got a new guitar player A new singer So after that They got signed to Slash Records And really fortunate for me And very kind on their end They actually had me Come along with them I didn't know That they were going to Part ways with Chuck He was probably as afraid Of failure As of success And I think sometimes Guaranteed it by his actions At times And anyway Things fell apart And so they were Without a singer I mean Patton was Certainly a revelation I think for the band I mean he actually We knew we were looking For a singer And I had put out feelers To try to find somebody But Jim Martin Somehow had heard Mr. Bungle And so he's the one Who ultimately Got Patton in there But I was also somehow Like probably a week Or two behind him Trying to find Who this Patton guy was And there was about A two week period He came into San Francisco From Eureka And we had the music He had the songs And he wrote all the lyrics And he wrote all the melodies For all of those songs Within a two week period And because the song The music was already established When he would say To the guys Can we make this section longer That section shorter The band would say No you gotta just write The way it is And so he actually Took all his stuff And he fit it into This existing music So to me The thing about that band That is unique That I think was Really inspiring Is that it felt to me Like a Like a four or five Armed web A spider web That each guy was pulling In equal and opposite directions And that Dynamic tension Of one guy Want to make a Like basically Make a metal record But the other guy Was pulling And saying I want to make a pop record The one guy was saying I want to play this African rhythm And then the other guy's like Well here's some Melodic keyboard stuff And because there was That energy Pulling out from the center And no one person Was able to say I'm the leader of this band We're going to go In this direction The thing that got me Through the interview Is that he's almost Kind of self-effacing A little bit of himself Like he really doubted His abilities as a producer You know during the course I'm not sure if I was any good And I nearly quit That line I nearly Just nearly gave in It's Yeah I don't know It was incredibly inspiring Yeah I felt that as well You see some people Like everybody You think God everyone's really confident Everyone's got it all together Yes Do you know what I mean And you think I have not got it all together Why have they got it together And I don't have it together And hearing somebody That has Has had success Yeah and go I don't know I don't know if I was any good or not Yeah It just kind of Oh you know It's not It's not Not just me You know So Yep He's awesome So of the songs on the record What are the ones That really jump out to you As kind of favours Because mine's changed over time With this one Yeah I think So As an album I mean the show It's our show itself Like the Monster Shop Is about celebrating albums And I think We didn't start off with that plan But that For me That's the thing That this show has given to me It's given me this appreciation Of Like everything that goes into albums The album as a format Yeah And It's not just the songs And it's not just the band And it's not just the artwork It's It's like this whole thing This package But As an album The beginning three tracks from this That kind of From out of nowhere Epic and falling Goes off like a rocket Doesn't it It's just It was just like Whoa Yeah This is This is This is massive It's a force of nature It is I think those That You know I was When we were messaging earlier about this We were on the WhatsApp On the WhatsApp And I was You know The thing that I wanted to put was I think this may be One of the strongest starts To any album I've ever heard It is But I don't But I do The thing is I'm quite prone to hyperbole No way I can't imagine Us doing hyperbole That's crazy That's crazy I was going to say I wonder who the greatest band In the world are I've had to stop saying They're the greatest band in the world People make fun of us But I do So those three tracks So from out of nowhere Epic Fall into Pieces They were all singles Yeah But then you've got like Surprise you're dead It's almost like a thrash song It's kind of It's fast and riffy And it's like something Out of an Exodus album It's kind of The riff The guitar work Is phenomenal And then You have like Zombie Eaters Kind of goes all Or mellow And cool And then The real thing Loved the real thing It's long isn't it Since the title track You think Oh that might be the hooky one Yeah Nope Nope It's not There's a clip In one of the interviews Where Matt talks about The hooks in the album Mostly coming from The keyboards Yeah Yeah And it You know when Somebody says something And like the penny drops And you're like It's true Yeah Because it's And the thing The other thing I'm so sorry This is the nerdy thing Is one of the other things You'll say in the interview In a bit Is the keyboard That he used Yeah I've never I've always wanted to know I wonder how he got those sounds And it was a very Very early synthesizer Oh is this The Emacs thing Is this the Emacs It's kind of That's the one on the end Of From out of nowhere Isn't it No epic Oh the end of epic Yeah There's a blend Where they're playing Yeah And there's different If you listen to me You've got a different Piano In each sound Yeah And it's like I heard him talking about it And I thought Yeah Okay Yeah I don't know why I don't know why You would do that Why would you But it's really I think it's that Dissonance isn't it It's that You know That 8 bit sounds a bit Like the grand piano Sounds beautiful And like Just organic And amazing And the keyboard Just doesn't And I think Either of them On their own Like the keyboard On its own Perhaps wouldn't sound Wouldn't work No But with the melody Of that Do you know what I mean With the sound Of the grand piano It works Yeah it definitely works But you have a just Phenomenal album this It's just It flows There's short songs Like Surprise You're Dead 2 minute 27 Yeah The Real Thing 8 minutes 8 minutes 12 Yeah It's all good songs Songs should be really You like a long song Don't you I do like a long song Yeah I like the ones Where it's an album But there's three songs on it I like them ones I kind of forget Where I'm at here I swear Metallica You know when Metallica Did like Probably Ann Justice That was That's the limit for me I think Where they You know I'm like I've forgotten Where the song started I don't know What's going on anymore There's also There's an instrumental Isn't there On it as well Yep And my favourite Because I was going to say The bit for me is I started off loving Those first ones Yeah They were the ones for me That's the hook isn't it Yeah They pull you in And as I've gone through And even listening to it today I've gone No no no There's gold on this record That I missed before And it's actually As the album comes to It's sort of culmination Which I just think is brilliant Like Underwater Love Yeah I think it's absolutely That's the one for me now Do you know I Until we did this process Of going back And really listening to it Again If you'd have asked me Under I wouldn't have No Been able to Recall the song Yeah It's weird isn't it Yeah Yeah And I've listened to that Today going That's That's the best song On the record Hands down The best song On the record So you've got a habit Of doing that as well There's So you know The Linkin Park record Yes And you wrote back to me And said something like Oh Because we were going to We were going to do Some local radio Won't we Yes And I said I really want to play Something off this album And you said Oh Talking Over Each Other Is the track Yeah I was like Oh I don't really like that That is my favourite song now See I was right It's weird isn't it It's weird how And I think albums do this Yes Where They have these immediate songs That kind of They're hooky And poppy And pull you in But then the beauty Of an album Is that there'll be Tracks on there That like You know Work Yeah Later You know They kind of Grow on you over time I had a moment To say I was playing A show today I was doing a little Gig in a pub I did a show Just going to do The fireworks Pulling your pants off And doing the whole But the thing The thing I like About playing this place Is called The Hawk and Buckle It's a net wall For anyone who wants to go It's lovely Chris Peach Lovely man I'll send him a link to this He'll love it He likes Counting Crows loads Oh does he And that sort of stuff Yeah but that's hard to play Because he plays like Out of time Yeah yeah But I played So I play I like playing there Because Normally people want Brightside They don't want Stuff that I like So I did that But then there's Someone else there That really liked Damien Rice I love Damien Rice Oh don't you Yeah I do And What I was going to say was That's the only album I've got Where there's multiples Of those Right Of that thing of like Oh There's more than one of those On this record There's quite a few of them Counting Crows Do Yeah Yeah Yeah Yeah And The Goo Goo Dolls Yes Which you haven't made fun of me yet For my New Year's resolution Which we're not going to talk about But it didn't last very long What the New Year's resolution That you're going to What was it One vial a month Yeah And how many are in the Goo Goo Dolls pack that you bought Five But it's only one box set And they're really rare They're really rare They can't get hold of them I wanted Superstar Car Wash It never really came out here in the UK Yeah yeah I really wanted it And a man had The box set And there's like One for sale So I was like So you bought one thing Yeah With five things in it Yeah Yeah I mean you don't count the peanuts In like a marathon Or whatever Snickers Do you Oh I've had He's won But yeah no I'm not doing very well I kind of I put everything on Discogs I've listed everything on Discogs Yeah yeah yeah For all my albums Oh nice I might have a problem Right We It was So although Although like Underwater Luff Stands out Stands out now The one Forever Yep From this album That it's not Like for this album For me When I see that cover Yep I think of Epic Yeah That's the song I think about It's the end of Epic Yeah Like it's that And it was the MTV Do you know what I mean It would be that It would have You would have been in Like for me I would have been in pubs Or I'd have been at college I'd have been in pubs And this would have been On the various TVs Around Do you know what I mean That That video Should we play it Yeah But the before I've got before and after For this one So the before Is going to be The guys in the In the kind of Rehearsal room Talking about Yeah yeah This thing coming together Like Epic It's a bit It's a bit Kind of like They're recalling The situation You know what I mean So it's kind of A flowy conversation But I want to put it all on And then we play Epic Yeah And then at the end There's a little treat Oh lovely And do you know When we come back Yeah I want to talk about The album cover Yeah okay Yeah yeah yeah Cool We were rehearsing In the rehearsal space And the keyboard player Had his horn patch And he was playing drums And I came into practice And I heard them playing This Just the And they were just Doing that over and over again And I just picked up my bass And I just started playing A bass part that fit with that And that was it It was really Fast Really fast In the time of rehearsal We were in LA Rehears Yeah yeah And myself and Jim The guitar player At the time Were in this apartment And we didn't have a phone We couldn't afford To turn the phone on And Jim is a very Very unique And particular person To where He would stay up Until about Six or seven In the morning Every night No matter what Right Yeah And sleep until At least three In the afternoon So what we What I would do with Jim Was I would go into rehearsal What Seven or eight at night And I would play with Jim And what I ended up Playing with Jim Was It's that song The song Surprise You're Dead From Real Thing And A big piece Of the song Zombie Eaters That he was working on He had a couple of things And I worked on a couple of things With Jim And I don't remember How it happened But And they weren't coming To practice Well where are they Oh they'll be here Whatever They'll come They weren't coming To practice It turns out That you were rehearsing In the day With Roddy Like a regular routine As they were rehearsing And somehow I switched And I flipped You remember that Yeah That was kind of Bizarre And I flipped Them somehow I don't know If I saw you somewhere Or called you somewhere Or what Or maybe I came in Early one day To mess with my drums And they were there Yeah There's the other half Of the band Over there At their prime It's in the same room And then I started Rehearsing with him And I distinctly remember That is exactly Like he said That's where Epic Came about And we were just Playing green And it had this groove And then later Like piano stuff Was like I mean the funny thing Is we played grooves Over and over And then we recorded On tape And I would drive In my car And I would listen To that groove Over and over And over Over and over I mean in my car The only thing Would be that one Groove playing And you start Hearing things I remember driving To the beach When we had just Put Epic on a cassette And listening to it Yeah I remember Exactly I have that tape Somewhere in my house Oh wow This is the super Powerful part That was the first part Super powerful part And one thing about That's how it was If you hear repetition A lot Your mind It's like Starts creating Things that aren't there And it's like If you stare at a White picture At the canvas You start seeing pictures Even though they don't exist And I would just Listen to this over and over And I started hearing The piano part Because I just kept Hearing this thing Over and over again That had nothing on it And We just kind of Plugged it in Because I was already Hearing it in my head And there it was Can you feel it See it Hear it today If you can't Then it doesn't matter Anyway You will never understand it Because it happens too fast And it feels so good It's like Walking a glass It's so cold So hip It's alright It's so grooving It's out of sight You can touch it Smell it It's just so sweet But it makes no difference Because it's not just what you think You want it all But you can't have it Crying, bleeding, lying on the floor So you lay down on it And you do it some more You've got to share it So you dare grip it You bear it And you save it You want it all But you can't have it It's in your face But you can't have it It's lies, afraid A lie, a sin It's magic It's tragic It's a loss to win It's dark It's noise It's a bit of pain It's sad It happens And it's a shame You want it all But you can't have it It's in your face But you can't grab it What is it What is it What is it What is it What is it What is it What is it What is it What is it What is it What is it You want it all But you can't have it It's in your face But you can't grab it What is it What is it If you're listening In stereo On the left hand side Is Bill Gould Playing those chords It's on an Emacs So it sounds kind of clunky The Emacs was an early sampler And so the piano samples Were a little sketchy And it's interesting If you listen to the way He plays it He's actually flamming Some of the notes Which is kind of what Mike Borden did With the snare drum And so he's doing that And Roddy Bottom Is on the right hand side On a nice grand piano Playing the more melodic part And so it's really interesting To hear those two things Because one is really clunky Like this is probably Like 8-bit sampling So it's kind of sketchy sounding And it's played kind of You know hard And then Roddy's got This beautiful thing To me that's almost The bookends of this band And this album Is that one's harder Grittier Not very refined And one is very Elegaic and graceful And beautiful And to me that's where This band lives Between those two extremes And once again This was in Bill's four track demo I mean I really I just I can't I would love to take credit For so much of this stuff But he had this On his demo And that's So he ended up playing That the one side The left hand side And Roddy played the other side But it was It was really him Bill did it There's a really Interesting thing Between Like Matt Mike Patton's An interesting guy Right Like It's a bit Yeah Chaotic isn't he Yeah but It's But Like you can't Put him down Sort of dude And he'll do What he wants to do And Yeah But he's always Kind of got it right As well If you look at his projects Yeah So Mr. Bungall Obviously Faith No More Dead Cross Yeah Yeah As well It's like really difficult To kind of get Oh that's his Yeah That's his That's my pattern And he's Because he's like No I'll do whatever I'll do yeah Yeah And I think that There's just There's a beautiful Little moment From that same interview Was with Matt Wallace Talking about Epic Yeah And talking about The vocals And because Because it sounds The chorus The way he sings I couldn't imagine Him singing it Any other way Oh but yeah It's like It's almost flat Isn't it Yeah yeah yeah It's like It's quite It's quite Laboured No that's not the word Yeah It's kind of Bendy It's like It's like purposely Like not quite Yeah Where it should be Yeah Do you know what I mean Yeah yeah I love Dillinger do Yeah exactly Yeah yeah yeah That kind of stuff I do It's worth pointing out As well With this Getting that interview With Matt That he did all the Vocals and lyrics Wrote all the Because he came to The band late Yeah They'd already written The music Yes And then wrote Everything in two weeks Yeah You know what Because some of the Stuff on here He was 19 When he did this Yeah yeah Some of the stuff Some of the lyrics On this album Are excellent I mean they're Really phenomenal It's not the kind Of thing you would You know what I mean It's not like I mean if I had to Do my homework Just before going Into college You know what I mean You can tell You've done it Like you know what I mean While you were sitting Outside on the wall Waiting for the door To open No he was in there He was in there It was extraordinary So yeah let's listen Cool One of the interesting Things about this song Is that when you hear Mike Patton sing the chorus He goes You want it all And it sounds like He's flat most of the time And he doesn't quite Get to the note And he's just like He's kind of lackadaisical So I'd stop the tape And then he would just And I'd go Why can't you just go You want it all But And I just wanted to Land on the notes And he just said No I'm not going to do that He sang in a way That sense of yearning Getting to the notes Is really essential To making that song work You can hear Mike Borden's drumming Again it's that really Solid tribal stuff With him and Billy playing No guitars even In the verses at all It's just voice Drums and guitars So Keyboards come in the chorus And then there's the Guitars in the chorus And of course The song has the Instrumental section That's 45 seconds Of Drums are kind of going off Playing their thing Bill the bass player Is playing all kinds Of melodic stuff He's not even Holding down the low end And Jim Martin Is playing Probably four or five Different guitar parts In that section So again Very very well put together track Again Bill Gould Envisioned it I just helped capture it Well for me I mean At that time I wasn't I think the only I knew about that time In rap Was probably Grandmaster Flash's The Message Which I felt Was a groundbreaking song But to me The fact that the band Was able to join These two different Kind of worlds Into one thing I thought was really Groundbreaking And I wish I could say I had something To do with it But I was just there As a person To capture it And be there To support them But it was really Patton came up With this stuff The band came up With the things And I really Was just like Their champion I would be the one Who would say Hey maybe we can Shorten this section Or try some ideas Here and there But it was really them And I was And then when the band Said we made a pop record I'm like well You know This kind of music Had never been heard On radio before that And so It was a big Big leap of faith And it somehow They were right I mean they were right I think what I think that Faith No More Knew that their audience Was out there And they went And found Every single person With every tour And every time Someone watched This stuff on MTV Or heard on the radio They actually They actually brought Their audience to them And that's what I think what they did I think we just Followed our guts I think this was One of those records Where we just did What we wanted to do Those guys were so You know They just kind of Followed their own muse anyway So they just did What they wanted And I think that was The perfect storm Of them doing Exactly what they wanted to do I was able to support them And help them realize Their goal And their vision And we were able To make a record That we liked That's the key for me That is the key That is the pot of gold The pot of gold Is the producer Enabling the artist To produce the art Or to create the art Or to create the art To get out of the way Yes And helping the artist To get out of their own way Sometimes I think this journey That we've been on With this show We've obviously focused On producers And I think For me it's been Like a real journey Of discovery Right Hearing how For your job discovery Sorry mate I was going to say That the difference Between like a Rick Rubin And a Bob Rock Yeah And a Mutt Lang Yeah You know Where you've got These producers Some of them That are super hands on And we'll take the guitar Off you and show you How to play it And then hand it back again I want it like this Will you just do it then Yeah And then But then you've got People like Matt Who is a musician Yeah But is you know Is coming at this From a different perspective It's like I'm trying to make you The best you can be Not You know what I mean Not Like You hear People say Working with Mutt Lang For example ACDC said this Didn't they That It made them better Like they went into the studio Thinking they were pretty good Yeah And then And then You know Like three months later Coming out Looking back And kind of going Actually Yeah we're a better band now I wasn't that good I'm a lot better now Yeah And it's a radically Different thing I think It's almost like A performance coach Yes Rather than a producer And I don't think People realise Necessarily how hard Playing music together Is In a band In a band Yeah you've talked about this I think And it's Yeah It's not easy It's not an easy thing to do It's hard enough Just to do it Yeah But that being in tune With everyone But also making sure That everyone's got Their personality And what's going on You know And they've got Their part to play And I think Particularly with Faith No More That's what you get out of it You hear Every bandman Yeah Yeah Yeah I think Producing that must have been hard Like mixed it must have been hard Because every band member's got their thing It's a weird production To this album I think And I noticed The YouTube video That we The The Gibson YouTube video That we We used for Matt's interview clips That's got the songs Yeah Woven in it And They've radically changed them They've EQ'd them Or compressed them They've done something to them Because they sound Totally different They sound like 90s hard rock Yeah Yeah Whereas This album to me Sounds a lot more Like 80s San Francisco thrash It's got that kind of dry Sound to it God that's so interesting I've never thought of it like that And it has It's weird isn't it That's exactly what it is It's super weird It's a 90s kind of like Old pop Grunge rock Masterpiece Yeah With Bay Area production Bay Area production Yeah But it's But the thing is Like we I was I was going to do A piece Where when we did this Just kind of say Look do you know This is an album That I think If it had been released In If this album Had been released In let's say 92 Yeah I think it would have been Like even bigger Yeah Than it is I think the audience Would have been even bigger Because you don't get that You know that coming together Where you get those masterpieces Where the production is Exquisite The artistry is incredible Everybody's there You know They're back in blacks Or the hysteria Yeah But having said that I don't think it would Like I want this album to sound I want this album to have more bottom end Yeah And more punch Yeah But I think if you did that It would lose Yeah There's an essence Isn't that Yeah There's definitely And yeah There's another interview I think we'll pull in in a bit Which talks about that Particularly with his approach To the vocals And how he captured the vocals And what he used Because when he said the mic Yeah Choice You know My brain My mic brain Yeah Went I don't know He uses a big fat condenser No no It's the opposite It's a C414 I'll give him the game away It's a little It's quite It is a large frame It's a large diaphragm condenser Yeah But it's not as big as It's not You'd associate it with mic and guitar amps Personally Right Or an acoustic guitar Yeah Or a wind instrument Yeah And he said that the reason for that Is because of Mike Patton's delivery If you got it If you got it Like a Neumann Or one of those sort of things It would have blown it out Like it wouldn't have had the same The right impact But it was the way he used compression On the vocal I think with Faith No More You know In their minds They thought they were a pop band And yes Sometimes they were Like maybe about a fifth of the time They were a pop band But then a fifth of the time They were This is like a thrash metal You know Blistering Brutal Sonic Assault You know And that's where the band lived And it's hard to remember What the mics are on this record Because it's so long ago But I want to say That it was probably Something like An AKG 414 Because I knew I wanted a microphone That was a large diaphragm condenser To catch all of Patton's energy And so to me That was really important I knew that a tube mic Would fold under his power Because he could sing very very loud To me I was a big I was a really big fan Of the music that that band made Always I just loved the power And the fury of what they had Because they were a really unique band In that Mike Borden Like listened to jazz But he also studied Like African rhythms While he was at UC Berkeley And Bill Gould I'm not sure his background But he was playing bass And I think he was into Killing Joke And Roddy was It was actually a classically trained pianist So you have all these And Jim Martin was just like Mr. Heavy, heavy guitar And he was I know he was raised on like Black Sabbath And Corrosion of Conformity And Metallica And if I had like a life or death situation Where I had to like drive a car really fast Or fly an airplane or something I'd want that song playing Like in the last few minutes of my life I'd be like Fuck yeah Man, that's a great song I will say that What's interesting about This band And me recording the vocals And this is going to sound Like anathema To anybody who is interested In high fidelity But so I had Mike Patton With the 414 microphone But I ran it through A DBX-166 Which is a dual compressor I ran it into one side of the compressor As a compressor And then I put it into The other side of the compressor As a limiter And then to tape So a lot of people would argue That's really Not a good way to do it I could have used other pieces of gear But to make it worse When I was mixing the record I took his voice And I ran it through One side of that compressor As a compressor One side as a limiter And then it went into the mix And then we had the bus compressor So there's a lot of compression going on And Patton brought it I mean I really think That this record for me Is a once in a career Perfect amalgamation Of everything that all five guys Came to at that point in time And it just coalesced And it was just absolutely Perfect, powerful, brutal, beautiful Melodic, everything I think we got it And I think that song for me Is the pinnacle of it Jim really wanted to get The guitar sounds right And so what we did is We set up his Marshall half stack And I put about 26 different microphones Around the room And we got this police tape To say Don't anyone walk around it And so we had this tape And then we would move the mics And we spent a day Moving and setting mics And so I had it Where the mics were on The faders of the console Eventually we whirled it down To about 12 or 14 But I knew That one mic would bring Low frequency One would bring Mid-range presence One would bring high end I had some that were close I had some that were far away And the idea was to record The guitars without any Equalization Which is what we did And so to me When I worked with Jim We would just go Okay what do we want more of And I would have mics On the back of the cabinet Mic's in the center of the cone Mic's 10 feet away So that's what we did To get that sound So Bill Gould As the bass player Is really the secret Engine That drives Faith No More He's the guy That initially Wanted to record the band And he came to my studio And we did his early demos He's the guy That is always pushing To create the songs And the whole idea And he's the guy Who would be there every day During the recording For the most part So he's the guy that And he also has a very Singular unique bass sound Because one He was playing this Gibson grabber bass But it was through a Peavy guitar head And then we had it in a hallway So when he plays the bass You could hear Some kind of ambience Because he would play with He has got a really strong wrist And he really digs in There's a bit of distortion On the bass But then you hear The room sound And that's part of The Faith No More sound I think the overarching message Behind all of these Is that Faith No More Sonically Is the pure sum of its parts Yeah Yeah Yeah Yeah Do you know He uses the word authentic Yeah And I think that for me Is key here There's no Well you don't get the feeling There's a record company Manipulating this You don't get the feeling Like someone There wouldn't have stood a chance No you don't get the feeling That there's somebody Sitting there going Oh you know If we did this in E It'd be You know It would be more poppy Yeah yeah Do you know what I mean You kind of just get the feeling That it was Just give you some notes On your lyrics Yeah Yeah Teenage girls prefer these words Yeah You just get the feeling It's just It is exactly who they are I wonder if that's why It resonates so strongly With people Do you know what I mean Because it is one of those albums That like You very rarely hear Anything negative Yeah About it I mean We Our socials are Fairly busy these days And people have got Different opinions You know You have Like what would be An incredible album Melancholy Yeah We posted about And someone said Oh well My favourite is Gish Yeah You know And you think Well that's Clearly that's That should be like A really obvious Album That you know Everybody prefers that album To the other one But yeah Everyone's got their own opinions And this one I think is really interesting Because you very rarely hear Anything negative About this No But what you can hear Is Where bands like The Chili Peppers And Rage Against the Machine And Where they kind of Came from with this Yeah Or at least Were influenced in some way I think By this thing By this beast Because like rap Like He raps on this album Yeah But he doesn't get called New metal Or rap rock Or whatever It's like It's genre Like You can't And slap bass Yeah Like slap bass All the way through the record You're like When you put slap bass Like that on a rock song It sounds great It sounds awesome But you're like Yeah you're right The influence I was looking But the tone The tone It sounds cheesy But when they said this to me The other day Because we were talking about Oh you're quite good on the guitar I wouldn't have a guitar It's quite expensive Or whatever No it's your tones In your fingers The tones in the way you play The tones in your attitude As a performer And it's true You know It's not the bass That makes him play like that It's not the mic That makes Mike Patton sing like that It's just trying to find The right tool To capture their energy As a human being Isn't it When I used to do A lot more photography It used to wind me up massively When you'd go and do stuff And someone would say Oh what camera did you use Yeah It doesn't matter It doesn't make any difference And I saw somebody A famous photographer Getting really angry Saying you wouldn't You know You go down for a meal In a great restaurant And the chef serves you your food You don't go And what pans did you use Yeah yeah yeah You know And it's weird The obsession I think with tech And it's the same You know We used to have a camera club There's a guy called Paul Angel If you remember Paul And I remember doing We used to do these Weekly Like photography challenges So it would be like Yeah you've got It's got to be We did sort of macro Or we did like Monos Or black and white stuff And we all had these challenges Every week We did it for a couple of years And eventually He did his photography With a phone Yeah It was an iPhone 6 And everyone else Was using these massive Like SLRs And he would win Nearly every Every week's challenge Just got the eye for it Yeah And it's that attention And it's that It's fascinating I think it's fascinating I really do That whole You know Obsession with tech And perfection Yeah yeah And it's like I don't know I wonder sometimes If it's easier Is it easier to Focus on On the hardware And the guitar Than it is to go And do another 50 hours of practice Yeah yeah Do you know what I mean And I do I do wonder that I wanted to There's two things I wanted to talk about That we've not had a chance To talk about yet Sorry I've been going Let's talk about this interview Let's talk about everything So I want to talk about Album sales Yes Sold 1.2 million copies Yeah That's nothing Yeah in comparison To some of those others Yeah how does everybody Know this album Yes And no one bought it Because they all Taped it for each other Didn't they It was at that time Yeah everyone But it tapes it Angel Dust That came after it Their record company Hated And so they'd ruined Their career That sold a million copies Yeah Which I think Is really interesting Albums that came out Around the same time Mother's Milk By Red Hot Chili Peppers Ah so yeah They were about that Yeah Disintegration by The Cure Dr. Feelgood By Motley Crue Oh really See that's a totally Different vibe isn't it And Pretty Hate Machine By Nine Inch Nails We're just a bit Further down the coast Yeah But it's twisting isn't it You can see the change Here I think Yeah Like Nine Inch Nails Yes This kind of stuff Yeah it's starting to Darken a bit isn't it It is It's changing a little bit Also I wanted to talk About the album cover Yes You did say that earlier And I forgot Sorry Do you know what it's about No I haven't got a clue Well So it's It's super weird The album cover So I'm going to show you A picture of it In case you like it There's the picture Of the album cover What is it A fire Something Little on fire isn't it With some stones behind it I don't know I haven't got a clue Yeah So That's exactly where I got to With it I was like I don't I just don't understand This at all So It So it says It's got The album cover features A scorched earth background With a liquid like flame Sprouting from a splash Of what seems like milk It's self shaped Strangely like a dish Now the interesting thing About this Is not just that It's bonkers No one knows What it is The band had Nothing to do with it It was entirely From their record label Slash Yeah The band wanted to use Their signature star Right And they have that Feature on the cover But their record label Said it was derivative And the band Was afforded No creative decisions On what was Eventually released I can't I can't imagine That going down Very well I can't I can't imagine Mike Patton Putting up with that I can tell you Why they got away With it Oh Because the Like So They They weren't a big band At that point Okay Right They were teeny tiny They'd only just been signed Yeah And they And I think Imagine you were a record You were a record exec And someone gave you Demos of Faith No More Yeah You're like I can't I don't know what that is It's great But I don't know what box Where do I Am I selling this to teenage girls Am I selling it to old men Am I selling it to Where am I selling this You know like Selling hair metal was easy Yeah That was dead easy And like selling Rage Against the Machine Is easy Yeah And selling Alanis Morissette Is easy I think You know You can imagine them Sitting around a board Boardroom table You know Talking about things That they talk about Who's going to buy this Yeah How many are we going to You know what I mean I think this probably Came down to that But It's one of the I love album art Yeah And we just We just started to do a series On the blog Yes Monstershoprock.com And I'm diving into Album art in general Like Hypnosis from the 60s And I still need to watch That documentary You sing about Oh god I'll just And then like Michael Whelan And Derek Riggs There's so many Of these like Awesome People that have been Involved in album Artwork Yeah So we're starting to Focus on that This one for me Is just rubbish I think it's awful I do And I'm sure Mike Patton would agree So when Mike Patton Well it wasn't his choice Was it No I just think it's crappy And it's like It's like an album That seemed to do well Without You know In spite of itself Almost You know Anyway That's it That's all I wanted To cover There's not I didn't want to Cover too much In the way of The way of Facts On this one It was just The last thing The last thing For me Was just The interview The way This Gibson Interview on YouTube Sort of finishes And the thing is About these podcasts Is because the podcast Is a bit wild westy Yeah And we use Audio and video And all that We haven't asked Permission for any of this Just to be very clear But thank you for Putting it on the internet If you don't like it We'll take it down Yeah if you want That's the way it works If you can find the button But that's the way It works on podcasting But this particular one It was It was You know It's hard to know Which parts of that interview To include Because it's Just go and watch it It's a great interview Go and watch it on YouTube It's absolutely incredible It's got Gibson on it It's Matt Wallace Talking about Recording Faith No More And this album The Real Thing But it's the way It's his Almost connection To this idea of like He didn't think He was good enough Yeah And he was And actually this music He gets quite emotional Yeah yeah yeah This music has helped people It's And he's had a part To play in that I think he's He's just a really Likeable guy Yeah You kind of get the feeling That he does doubt himself A lot And he has a lot Of bad days Where he feels like He's not good enough And not Do you know what I mean And not great And I think I don't know For me He just came across As this Like just great role model That's somebody That had done this Amazing thing Yeah Without Almost egoless It wasn't like You know I'm amazing I'm going to do this It was like You know He talks about You know Obviously Doing the first single With them But then when they got signed Almost like Well they're not They're going to use Somebody else Yeah yeah yeah I was really happy That they They allowed me to Yeah To continue the journey With them Kind of thing And he stayed with them Right Yeah I think it says A huge amount About the band And about him And about how They carry themselves So yeah Absolutely phenomenal That interview Really Really recommended For me That was probably The pinnacle Of my career In terms of having people Having me being visible And wanting to work with me Because when that record hit Somehow people found My home number Because I was having Bands calling me at my home Like oh my goodness How did you get my number here It was such a groundswell Of excitement Behind that record That people Sought me out To work with them I think the thing That made it work For the guys With Faith The Bar and myself Is that I think We trusted each other I think we did things For the right reasons I think that this record Was one of the few records Well not few But one of the records That the band And I just did it For the right reasons We did not expect Any kind of success We certainly didn't Expect it to blow up It never occurred to us That that would happen At least to me They thought it was a pop record But I didn't You know I was hopeful But I think there's An honesty to that record That was palpable And I think people heard it And listened to it And they go Oh these guys mean it You know And I think there's There's no artifice On the record There's nothing There's no false notes I think it's all genuine Even our missteps You know I think because we were honest That's why it was so successful The thing I like about That I still love About making records Is that You can be in a room With somebody At the moment of creation And there are still There's still people out there Making amazing Incredible Inspiring music That is still essential And that moves me And that I feel The world has to listen to Or has to hear They have to hear They have to listen to it But they have to hear it And I think that Music at its very base level Is entertainment But in the right circumstance With the right lyric At the right moment I think it's essential And I've heard this From enough people That certain songs Have had people Decide to live another day That's That's That has actually happened And To be part of that Is Is incredible You know It's It's unexpected And it's incredible To be A part of something That can That somebody Will actually Go Yeah I'm gonna Stick around one more day Because of this song Or this band Or whatever I'm not saying That's just The stuff I worked on There's a lot of stuff That other people have done That does that for me And does that for so many people And I think music Can be so essential In the right The right moment At the right time That can really Keep someone alive And keep them going And I think that's fantastic You know I think it's amazing Awesome isn't it Oh Dead good Awesome Dead good He's a guy Be like Matt Yeah That's what That's what I think Yeah If there were more people Like Matt There'd be less Less wars Can't imagine Imagine Matt Was The president of Russia He wouldn't invade Ukraine Would he Do you know what I mean He wouldn't do any of that He wouldn't No Everyone should be like Matt I think Yeah Definitely One thing that's That's happened Over the Christmas And New Year break Is I've realised That you do a lot of work Yeah On all this Yeah And the blogs are incredible And the websites And I thought I should probably contribute With something You've done some haven't you I have I've been writing some blogs Yeah About gear But yeah I know you got You got really excited So we're going to start Publishing them this week I think Yeah They're all nearly ready to go So I'm excited They're good And you're You're going to do some more I think I think What I did was Is I thought Because I don't I'll tell you what started it off Actually I'll tell you exactly What started it off There was a video That I watched And it was about Randall Smith Who is the main dude Behind Messer Boogie Amps Ah Okay And it was a Short clip of It was a brilliant clip And it was a It was a clip of him Telling the story About what he did was He basically hot rodded Fender Princeton's Yeah And he basically He said he boosted them Right yeah And there was a bit Where Carlos Santana Was knocking about And he had this I mean When you plug into that Give that a go And Carlos I'm not plugging into a Fender I don't use Fender He went no no no I boosted it So Carlos Santana Plugs in It's like this is the greatest Amp I've ever heard In my entire life Wow And it became It became known as Boogied Right So if you've taken your amp To this particular place Where Randall Smith was You've got your amp Boogied Right Yeah and I won't tell I won't give it away But the story behind The Messer is ridiculous Where the name Messer comes from But if you search for Randall Smith On YouTube And the story of You know Messer Boogie Or whatever That will probably come up But it got me thinking about I don't know anything about Any All these gear manufacturers And all these There's probably a story About these things That are similar to Yeah You know Like the story Right behind the albums There's probably These interesting tales Within there For us to discover So that's where I'm going I'm going to go Full down a hole And put that Put some blogs together There's like staples Studio staples aren't there That get used Like the studio tape recorders That get used And we talk about The SSL consoles And we talk about Niamh And Neumann And the compressors That got used And the pre So yeah I think you're right I think we're onto something I think it's It'll be Marmite I think It'll be something That people aren't Well if people Are interested in that Because unless you're Working in a studio You're probably not No You don't know About all this stuff Yeah And it's I think it's super cool I really do The story I mean If you like that Kind of The Sound City Documentary Yes That Dave Grold That's lovely It covers a lot of that And the history Of the Neve console And why it was important And I love all that And I love the history Of studios And the albums That got recorded there Yeah You know And I think I don't know I think there's something Really cool about that I think we'll do some More of those things But yeah We do put quite a lot On the blog It's quite good Yeah I like it Yeah That's that Right We should probably Say goodbye soon But we've got one more song To play first Don't we Should we do it Yeah let's do it Everything That's why I cling to you When I urge My thoughts Converge To you To you The world is so far More compared To you And everybody's More compared To you Yeah let's do it I begin to see Through your eyes All the formal mysteries Are no surprise So may you listen Cause I'll All Needs Over Hey look at Me lady I'm just a little Baby You're lucky To have me I'm cute And sweet And scanty It's charming It's a fable I'm innocent And disabled So hug me And kiss me Then wipe my blood And piss me I hope you'll never laugh Cause who would hear me scream Nobody understands Nobody understands You set the toys In my hands To have you listen to me Cause I'm all the visions To have you listen Cause I'm all the visions Hey look at me lady I'm just a little baby If I smile Then you smile Then I'll get mad for a while I'm melting I'm melting I'm melting You're melting Into your hands Whenever I can But I really do nothing Except kicking and busting I love to make a mess I laugh at your distance I sit all day in my crib Absorb it now Absorb it now You can I'm helpless I'm pressed I'm pressed I'm on the chain I need my toes I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess I'm not going to be a mess So I'm not going to be a mess Because I'm only a show So I think going forwards I think for every album that we do we should probably have a Gibson video with the producer We should just have Matt Have him on everything I think Matt Because that's been super helpful We should just produce everything He's brilliant We need to think about what we're going to do next Yes I really enjoyed that by the way Do you know I hadn't listened to that album in a long time Same Yeah I mean maybe not even this century Really? Yeah I don't think I'd listen to that album probably since the 90s I remember listening to it I remember having it I had it in the car One thing I did have a realisation of is that I'd actually never listened to it in full back to front There's some right there I've been obviously listening to songs here there Yeah yeah yeah Pick my favourite and all that but actually the journey the journey from start to finish was interesting and I've got to make more effort actually to do that I've really discovered a love for the album over the last year Because the listening experience is different Epic feels different when you listen to it where it is on the record as a whole piece of work Yeah yeah yeah It's a journey isn't it Yeah And I think yeah I'm with you 100% I think the album the art of the album has been lost a bit and I really like it Will it come back? I don't know I doubt it No I like it a lot Kids don't listen to albums do they? They laugh at me My kids go Oh you bought an album Just stream it on YouTube I think I'm an old footy-duddy But I like albums a lot I like the artwork I like everything I like the stories behind them I like the whole thing I think it's just phenomenal I really do Yeah it's great And so do you if you're listening to this If you've got this far Yeah And you're still with us And clearly you do So well done you too What you should do is engage with our socials So Monster Shop Rock's on most things Yeah Monster Shop Rock Yeah we are We're just Yeah it's search for Monster Shop Monster Shop If you Google Monster Shop Yeah Rock Yeah You'll find us everywhere Rock not Rocks Sorry We're on Exxon Blue Sky and Instagram and Facebook We're even on TikTok I'd forgotten I created We've got 800 followers on TikTok Have we? That's good I can't remember We've posted Can't remember the password We've posted three times like a year ago And yeah It's all a little bit too Yes Cool Well I did go off on one the other night and think about loads of video story projects we could do So maybe we could use TikTok for that Because you've got a video Now you've got a video camera You're looking for things to video aren't you So you might see our ugly mugs at some point So that will be exciting Yes We need to choose album for next week Yeah I think we owe it to Baz Yeah To do Either The Prodigy Yeah Or Led Zeppelin Yeah Why don't we do Prodigy then Led Zeppelin Let's do both but let's do Prodigy next week because if we don't do it next week it won't happen Well it's dead good isn't it Yeah They're both dead good Yeah So Led Zeppelin 4 was it Yeah Is that the best Led Zeppelin album Oh I'll put that on a poll Oh what's the best Led Zeppelin We could do that I'm sure we might have already done that Yeah What's the best Led Zeppelin album Do you know when you get into like if you ask somebody what the best Prodigy album was Yeah You get people politely discussing and saying Oh I think it's Dilted Generation or I think it's Fatal Right So you get that Yeah Right If you ask somebody about Black Sabbath Iron Maiden Led Zeppelin Yeah It's a They're wishing death on families It's a shock That's like going into a sharks pool You don't want to do You don't want to be doing that at all You don't want to be getting involved Put it out there Let's see what happens We'll start World War 3 It'll be awful But yeah people I think We've talked about this before but people have got so much connection Yeah To these These songs and albums and artists It becomes like It's almost self-defining Yeah And so that Yeah That rage when someone says that your favourite album is not the best album You need to hunt them down and kill them That's That's the human condition Right So Fat of the Land next week Yep Led Zeppelin for the week after Yep But we'll put a poll out anyway to see what people think and see if they bite Yeah Because the thing is if we did Do you know what we could do If we did Led Zeppelin We could go In number order Yeah If we did Led Zeppelin We could go back to kind of British rock stuff Yeah Around the same time You've got kind of The David Bowies Yeah Yeah Pink Floyds And you've got all kinds of stuff happening Yeah In and around that time Haven't you That kind of I think we can knit back Can't we Knit back Yeah Yeah But we'd like to do scenes Yes And that would feed into hypnosis Yeah Because they did all the album art for that They did loads of album art It's nearly like there's a plan It's almost a plan It'll only last It's 12 minutes past 10 Yeah On Sunday evening Yeah And I reckon that's going to last until 8 o'clock tomorrow morning And then one of us will go Oh Do you know I already thought Should we do Ride the Lightning Yeah I think that might be my favourite album Ride the Lightning Ever Well we're going to have to do that one week then as well aren't we And then And then I want to do Carcass Heartwork Yeah And then I want to do I really want to do Napalm Death The problem is with these albums No one's heard of them No one's heard of them But like no one I don't think anyone's going to If we did a show on Napalm Death It'd just be me and you And That's it really Do you know what I mean It's like It's a little bit too Yeah Bit niche Yeah I would love It's our show We can do what we want Do what we want No rules Yeah Podcast Wild West Podcast rules I think we're done We're done See ya See ya bye