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[bass guitar playing]

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[Robbi] See, when you drive
in the desert,

the roads seem to go on
forever and ever
and ever and ever.

Until it seems like,
getting to a trance.

And every now and again,

a rocky outcrop,

which is kind of a old volcano
will sidle up to you.

And whisper strange things
into your ears,

ancient tongues,
and then pass by.

And you would not notice,

when the Shaman
climbed into your car.

And he'll be gone by the time
he hit the next sun down.

And then, night time,

we have
the voluptuous night sky,

and myriads
and myriads of stars.

These are the tools
that are pressed
into the desert musician.

[grunge music playing]

[Dave] I think you're either
a desert person

or not a desert person.

'Cause I don't think
everyone can just go
survive there.

Not much can survive there
if you think about it, like,

the desert will
sort of beat you down
or drive you out.

No one ever expected
to get out of the desert,
least of all, me.

With music as
the vehicle to get out.

It just was never
gonna happen.

[Robbi] I never realized
there was gonna be
any of musical future

or any kind of scene future.

I mean, it just made
really a handful of us.

Looking back on it
was really fun,
and it had to happen.

We all had a connection
'cause there was literally
nothing to do.

We didn't know that
there was a world out there,

until night time.

[Sophia] Hanging out
in the desert
and partying was normal.

And motivated
everyone to create.

We want freedom, man.

There's no rules,

there's no one to tell you
what the hell you
can and can't do out there.

The desert is such
a wide open blank canvas

You didn't know
what was gonna happen.

It was one of the most special
and magical, musical moments

that I believed
ever happened.

And it is an age that
is one of the only hopes
for the modern music business.

And it's the Desert Age.

Palm Springs has this
endless lure about it,

connected with Hollywood
and Las Vegas,

as kind of an escape.

[Sophia] Palm Springs,
is a beautiful desert Oasis.

You drive in through the desert

and then, all of a sudden,
you come into this
beautiful town.

Have a weekend in Palm Springs,
sit by the pool,

sip a Margarita
or whatever.

And you think of it
as a tourist town.

[Mario] If you're an adult,
that was a party town.

Night clubs, beautiful hotels,
swimming pools, golf courses,

Tennis courts,
all that kind of bullshit.

[Jesse] 'Cause that's what
started Palm Springs.

It was where
the Hollywood elite
escape from the cameras

to do their dirty shit.

It's where some
of the dirtiest shit
in the world has gone down.

It's where they went
to feel like regular people.

[Mario] My dad took over
the old Chi Chi club,

which was the famous
night club in Palm Springs.

My dad, got the keys
and we walked in.

And my brother, my uncle
or somebody was
turning on all the lights,

and I was standing
on the stage with my dad.

All the stage lights
came on.

And the whole
back of the stage

was a collage of cut outs

fromPlayboy magazine
and not porno mags
but nudie mags

and I was like,
"What the fuck?"

[Sophia] So, that's what
this conflict was like,

"Oh, my gosh, we're growing up
in this tourist town.
What else is there to do?"

[Dave] There wasn't really
a lot set up
for the kids to do.

You would occasionally
have reason to go there,

if your parents would've
dragged you there.

But these kids
were super bored.

And really desperate for fun,
or for a scene,

or for music
or for anything.

[anchor] Swimming pools
are every where.

Probably one out of
every three homes
has it's own private pool.

There are almost
a thousand of them here.

More pools for the number
of residents than
anywhere else in the world.

[Sean] Rich people would leave
Palm Springs for the summer.

We break into their houses,
nice houses

drain their pool
with a storm pool pump.

Kick in the door,
fill the fridge
full of beer, man.

Drag the refrigerator out,
and set it up
in the deep end

so you have another
two feet of vert, you know.

Whoo! I'm on the fridge.

[Myke] Skateboarding, to us,
was like a super renegade way
of expressing yourself.

I loved it.
I loved skateboarding.

[punk music playing]

[Sean] Skateboarding.
Skateboarding like
the punk rock band.

And Myke Bates,
was a punk rocker.

He's the first punk rocker
out here that
was in high school.

The rest of us
were in junior high,
completely committed to it.

Here's some Palm Springs pools
that we rode back in the day.

I was a young skater,
as many of us were.

And there was only
one store in that town.

And they had a little section
of skateboarding stuff.

There was no
skateboard store per se.

[Sean] Myke Bates
was an entrepreneur
in Palm Springs.

that opened the first
skateboard shop.

Bates Skates, they sold
punk pants and skate boards
and shit.

We just go there everyday
after junior High school.

It was close by.
We'd just hang out,
drink beer, smoke weed,

fucking listen to punk tapes.

Kids came in
listened to the music,

'cause it was like
the epicenter
of where everybody

hung out, it was almost
like a social club.

That was cool.
We'd sit around
listen to punk rock

He always had the newest this
and newest that,

you know,
that changed everything.
[laughing]

[punk music playing]

[Robert] It was
pretty primitive
in the beginning.

There weren't lot of musicians.
Nobody was into punk.

You had to buy magazines
and look at the ads

to find out how you
get bootlegs
and this or that

or whatever record
the Damned, Sex Pistols,

whoever, 'cause you
couldn't even see that
stuff in record stores

in Palms Springs
at the time.

[Paul] You read about it,
but we can't find the records.

So that made a big difference
on, you know,

do you get out to LA
very often, go to shows

while we don't own a car.

Having that skateboard store
helped a lot.

Kids would come in
and hear it.

Started musically vibing.

[Robert] So, it was
the four of us.

I don't know that we played
all that much anyway.

There wasn't
any place to play.

And then when you played
a party it's like,
"What is this noise?"

"Where's Zeppelin?" You know,
"Where's Van Halen?"

Van Halen was huge
at the time
and we just never fit.

[punk music playing]

Target 13, those guys
were a little older than us.

So, of course
we looked up to them.

But it was like
a hang out family thing.

Of course they were
very influential.

I mean, I think that's
why more bands started.

This band from the desert
that I saw...

at my junior high, probably
in 1979 was Target 13.

They were the first band
that got some air play.

[Rodney over the radio]
Yeah, we're just gonna
get it going here.

We've got something
brand new here.

Since these guys
will be coming
to the Whiskey soon.

Here's a new single
by Stiff Little Fingers.

[Myke] Rodney was a disk jockey
on KROQ, in California.

And he would showcase
a lot of underground bands.

So, I wrote a song...

With the other guys,
you know,
we wrote this tune,

"Rodney on the Roq"
based on his show.

He said, "Well, you know,
my dime will go to the studio
and record it."

[laughing]
Okay.

["Rodney on the Roq" playing]

[Myke] And so I wrote this song
and we set the tune,
and he really liked it.

They pressed it
and I couldn't believe it.
[laughs]

I ran up the stairs,
cranked the boom box up,

jumped around like an idiot,
"I'm on the radio." [chuckles]

It was exciting.
It was a high point of,

"Look at this,
we're on the map now."

Palm Springs music
getting on the vinyl,
that was crucial.

It helped legitimize
the whole deal

because the scene
started picking up
a little bit of steam.

Target 13, they could
show that, even though
you're from the desert

that you could, kind of,
make it up in that LA scene.

And make a name for yourself.
And I think that
maybe that was hope.

[Sophia] By then it just,
kind of, exploded
because it's starting to happen

in terms of, "There's a scene
and we wanna be a part of it."

And the tribe
started to grow.

[punk music playing]

I had a band.
A little punk band
called, "Mutual Hatred."

That was the one,
my first punk band.

♪ Cover where
I watch him die ♪

♪ Now this world's
Gonna make him fry ♪

♪ Groupie sucks
Groupie sucks ♪

♪ Turtle meat I love to eat

♪ I thrashed 'em beef
For turtle meat ♪

♪ Groupie sucks
Groupie sucks ♪

♪ Kill the seal
Take his pill ♪

♪ Chop it up until you kill

♪ Groupie sucks
Groupie sucks ♪

♪ Groupie sucks
Groupie sucks ♪

[punk music playing]

[Sophia] Sean was
kind of the leader.

I couldn't see him
doing anything else

But being in front
of an audience.

[Mario] He had
a lot of influence over people,

'because he was kind
of a trend setter

We also had a way
about him that,

if he didn't like you
or he didn't dig what you're
doing or something.

He wasn't afraid
to fuckin' bust your balls
and make an ass out of you.

[Brian] I was looking
at the guys like Sean.

They were just more
hardcore than the rest of us
at an earlier age.

'Cause they were
kinda guttersnipe.

They had like street sense.

[Sean] I just had no education.
I said "Fuck it."

I just wanna feel good
all the time,

and pleasure bang dude 24/7.
If it feels good I'm in.

[laughing]

[frog croaking]

[cameraman]
Please allow me inside.

[snickering]

We got a man in the boat.

[Myke] I grew up in a family
that partied always.

[grunge music playing]

Before I was even
old enough to go to school,

I was raised pretty much
at the car wash.

With my grandma
and my uncle's.

[Myke] He comes from
an interesting background.

I mean he had that
car wash with all those

denizens that worked there,
you know.

From all walks of life
in that desert.

[Sean] Heroin addicts,
quaaludes, cocaine, you know,

Chicks working there
turning tricks.

This is the point, man.
My mom had these
people watching me.

This one dude, Gordy,
was baby sittin' us.

He just nodded out on heroin
on my toilet.

But back then I don't know
heroin was, but I know now.

And Gordy's like... He's like...

[in a high-pitched voice]
"Come on, Gordy.

Get up man, let's play
some baseball."

And Gordy gets...

[grunge music playing]

My mom was always down,
always, I had parties
at my mom's house.

Always, we'd have bands
playing in there all the time
in the garage, you know.

Ditch school, drink beer,
smoke weed, get high,

take acid, get laid,
everything.

His mom wasn't
around that much.

She was just always gone.
So, it was always

a party in Sean's garage.

Always gave us
a place to play.

'Cause couldn't play
at the shop, but he had
this great house

we can have parties
and shows, and they
were really really fun

and very memorable.

[punk music playing]

Sean's house was kind of
a club into itself.

Kids just sitting
all around the hall,

outside perimeter, and then

there was like
four or five crazy dudes,

just like pogoing
and hopping up and down,

and hanging from the rafters
and I was so nervous,

I wouldn't face the crowd.
So, I was facing my amplifier.

And I was just terrified.

[Sophia] Everybody was
hanging around because they
wanted to get high.

The first substance that
I ever put in my body

that altered my frame
of consciousness was LSD,
when I was 16.

I had LSD before I had beer,
weed or anything.

I tried playing bass
on acid one time

and it felt like the strings
were melting into my fingers

Trying to tune...

Bad trip.

[Mario] By then, all the guys
I was hanging out with

had taken LSD and even
they're frying all the time,

Cocaine. Drugs were
a part of what was happening.

And I was really
kind of scared of all that.

[Herb] All of us would do
anything and everything.

Weed, quaaludes,
mushrooms too.

There was a point in time
when we were all
heavily into acid.

Myself included.

The whole plan was just
to all move to LA
and pursue our band.

Get out of the desert. I hated
the desert. There's nothing to
do here, blah blah blah...

It was kind of
a real turning point
for me in my life really

because we had moved
to Los Angeles to play music

from the desert,
from this place we were
very comfortable with,

to the strange land
where all the shit's happening

in the clubs
and the punk rock scene
is serious here, man.

So, we were really excited,
but I...

[Herb] We were finally
all moved up there

we're working on the band
and we're rehearsing.

But I was taking
a lot of acid,

and got to the point where,

it was like one time
was kind of
the tipping point for me.

[siren wailing]

I had to come back.
It was too hard

to maintain and try to get
my head screwed back on.

I quit the band.

So, I did what I had to do.

I mean, it was nothing
against them at all.

I probably should have
talked to all of them
a little more before I left.

I moved up to LA
just because of him
and the band,

and so, it's kinda hard,
'cause he was
my best friend growing up.

And we went without him.

You know, some people
got into the chemicals

and the powders
a little heavily.

And I remember
at one point of time, Herb,

was homeless and living
in his car in the desert.

It's kinda painful to see.

But I don't think
it was the psychedelics
that really fucked with him

as much as say,
the speed and then, of course,

there's a whole dark side
that comes with that.

[railway bell tolling]

["Midnight Creeper" by
Eagles of Death Metal playing]

[Scott] I would say this
is the dark side
of the valley.

Meth capital. Who knows
what's buried out here.

It's basically
just a scrap yard
out in the middle of nowhere.

And this is where there's
a bunch of tweakers

and dogs run around here.

But yeah, this is a...

This is where the real
desert action happens.

[Sean] The desert went through
a huge speed phase.

Like all of us kids,
most of us.

It was before,
this worldwide
meth phenomenon,

where like, super labs
and all that bullshit
you see on TV.

Speed wasn't very popular.

But bikers always
cooked it out here.

So, whatever little
speed scene there was,

it was being manufactured
in places like you went today.

In Garnet, if you
met a real speed cook,

it was like meeting a fuckin'
real wizard, dude.

You'll be like,
"Whoa! Man!"

["Midnight Creeper" by
Eagles of Death Metal
continues playing]

[Jesse] The old fashioned
desert meth cook normally
was a bearded wizard,

who understood how to make
chemical reactions abstractly.

And he lived and was
able to survive and exist

on chemical fumes
in a contained
and compressed area

when it would kill
everyone else.

Imagine seeing a dude
that takes a big bag of meth,

and scoops it up
on a bowie knife
and eats it.

That's how a meth cook
tests his product.

People don't know
how to make meth.

Back then it was strictly
bikers making crystal meth.

You know they're cooking out
here in the desert
'cause you couldn't smell it.

[Jesse] Methamphetamine,
is the predominant drug
of the desert.

The desert, whether anyone
wants to accept it or not.

If you're involved
in the cultural scene,

you're under
the finger of meth.

On a breezy day, you can smell
the meth labs for sure.

Marijuana was not
a part of the scene.
Everything else was.

To me it seemed like speed
really got in our scene
pretty bad, you know.

Our scene was small
and maybe not with everybody.

but the scenes met together
through methamphetamine

Whoa!

Lot of the drugs
and partying and music
came from boredom.

We were kids
with nothing to do,
nowhere to go.

We were looking for excitement
and fun, camaraderie.
And we got it.

You know, and that comes
with a lot of baggage too.

But that's why
it all happened.

We were all 100% hardcore
for sure.

[Mark] You know, it was really
Dead Issue.

And hearing Herb
and Scott, Mario

and Alfredo going
just "Holy shit.
That's what I want to do."

We've been struggling
so hard to get everybody
under the same roof

so we could just jam
and and record all the time

And a couple of years
before that, that was
the dream was

to have a place,
where we could just
do that all the time.

[Mark] The band had moved
to Los Angeles,

And now is about making
a stab and making music
our career.

Herb flipped out on
fuckin' acid. It was really
fuckin' hard for those guys

to deal with that and kinda
what the next steps were.

It was like a real wrench
in their game plan.

I was actually living
in Palm Springs

and I'd take the Greyhound bus
to Los Angeles.

And practice. And instead
of Herb singing
and playing guitar

I was playing guitar guitar,
in "Across the River."

["Across the River" playing]

We were in the middle
of really becoming kinda
musicians I guess.

Discovering how to play.

[Mark] I was the kid who
locked himself in the room

and played guitar for hours.

And so I had
a technical ability.

And that was
a little bit new.

'Cause everybody grew up

learning punk songs
in their rooms if you will.

And so, I added
that technical element.

[Mario] Scott, was the only guy
that really knew
any kind of music theory.

None of us could
read or write music out.

When we started getting
better on our instruments,

there was little more freedom
and we could explore more.

The metal, the rock stuff was
colliding with the punk stuff.

And we kind of ran with it.

[punk music playing]

[Mario] We never jammed.

And Dead Issue was a band
that came with the song idea

and we worked on the song
and I could... ya know
punk heads don't jam.

We started having sections
in the "Across the River" songs

where there would
be a jam section
for how many bars

until you felt like
coming back.

We wouldn't stop playing,
we just go on forever.

It's kinda like almost trancy,
where people just fall into it.

[punk music playing]

[humming] And you just fuckin'
an hour later, you look up,

and go, "Wow!
That was fuckin' fun."

We would hang out
and party with those guys.

Mostly doing
psychedelic drugs.

Doing a lot of acid,
mushrooms and...

[Mark] The room would
be laid out
with bubble wrap,

like wall ceilings and floors

underneath the black light

And everyone will be tripping,

rolling and banging
off the bubble wrap

It was going pop,
pop, pop, pop,

I got to a point where
I would play on mushrooms,
any chance I got.

And I felt really loose
than to go anywhere.

We'd all take 'shrooms,
we'd sit in a room

and we'd just fucking jam
and we'd hit record.

And it added to the music
and the vibe and the sound.

We were all brothers
growing up and figuring out
life playing music.

And it was a cool way
to do it.

My friend, Dave Travis,
had a small generator.

And we go up
my home and drive.

And we'd just pull over
and we'd set up a drum set
and a guitar amp.

Just make noise. Drinking beers
and going all night,
till the sun came up.

It was like, "What the...
This is incredible" you know.

When we figured out
we could do shit

on our own,
that was like...
That was it.

The generator party
was simple power source,

bring your band equipment,
bring some beers, some light,

you just go and do it,
wherever whenever,
for the fun of it.

This spot, it went to a wash
so it crumbled off,

and there was maybe
a three or four foot drop,

and it was a perfect stage.

So the people were
in the wash, and the bands
set up on the pavement.

We ended up calling it
Dust Fest, 'cause every time
we go up there it'd be like

a dust storm and crazy wind
and dust everywhere,
you know, we didn't care.

That was
the first generator party
that I knew of in the desert.

A few months after that
there was another one that
was called the Dust Fest two.

[Sophia] Typically we'd have to
write a map on the flyers,

because the desert
was so difficult
to maneuver at night.

You see that rock,
the third rock on the left,

and go around it
and you'll see the party.

I mean it's completely dark.

[overdriven distortion]

I was doing like
a performance art piece
about maniac depression.

With the cycles,
getting crazier and crazier,

I mean I was frying
my brains out at night.

[cheering]

[Mario] I don't need everything
to be perfect.

I don't need
all the special stuff
to be built up around it

to make it happen.

There was a independent spirit
there, undeniable.

[Mark] There was never
any guitar techs.

You know, you loaded
your own gear.

And it was all very much DIY,
just in the moment.

The sound was weird like when
the wind come up it carries
the sound a little bit.

It's swirled, it's flangy.
And it was so fun to play.

I made a lot of friends
that night.

[grunge music playing]

[Seth] You know it was kinda
like baseball, skateboarding,
punk rock,

pussy, drugs,
and then it was just drugs.

[rock music playing]

[Scott] The name
of the band was

Zezo Zece Zadfrack
and the Dune Buggy
Attack Battalion.

That came from
Charles Manson's kid.

And then the Dune Buggy
Attack Battalion was
Manson's followers.

[grunge music playing]

[Seth] Zezo Zece Zadfrack
and the Dune Buggy
Attack Battalion,

that was the band
we were all in.

We're basically practicing
in the meth houses

and stuff like that,
so I just...

[Seth] You know that was
whole thing and we were like...

And we are hanging around
in this outlaw motorcycle
club house.

And anybody who has speed
and wouldn't kick us out.

Just dig in real deep, man.
"I'm here for the long haul."

[Nick] The day I got out
of Juvenile Hall,

I get out and my mom

drives me out
to Adrian's night club
in Palm Springs,

buy me a ticket out
where these bands
are playing.

[Joshua] There was club
called Adrian's.

And the guy...
No matter who you were

Adrian was like,
"Why don't you play
like the White Snake?"

And you set up on the steps.

So you're playing
on the steps of this
truly awful night club.

When I was 13, I once saw
Sean Wheeler there.

He had like hair
down to here.

Mirrored shades
and it was like this
Sci-fi drugged out biker.

Space rock, like I mean,
it was just the most
radical shit, dude.

[Joshua] It was just him in
a pair of leather underwear

and this blue wig.

And I thought, "Man, they make
leather G-String underwear."

That's crazy, I mean,
first few songs was
like I didn't know

if that was like available.

If I remember correctly,
they didn't have a drummer.

So they had a taped
drum machine
and bass tracks.

[drums playing]

It was like, "Whoa! This guys
are weird" at that,
it was great.

But different and weird,
you know like,
what in the name...

So weird you know,
I was like this is not normal.

This is "only in the desert"
kinda thing.

It was the first time I had
seen "technological music"
in the desert.

'Cause it was like,
not a rock band

conventionally with drums,
bass guitars,

It was keyboard
and drum machine.

So he was way ahead of that.
That wasn't even permissible.

But because it was Wheeler,
I was like, uh.

First band in the desert
to use drum machine.

[laughing] This is Jesus,

the drummer for Zezo Zece
Zadfrack and the Dune Buggy
Attack Battalion.

Which year was that?

I brought this brand new
from the Guitar Center in 1985.
right when it first came out.

Our band used drum machine
because of, one, Alfredo

was busy with Mario
and those guys.

And there weren't
many drummers.

It was almost like
you couldn't have a band
without Alfredo.

It's what how it felt.

[singing]

You never knew
how a show would end up.

Everyone was tweaking.

We got lucky.
We had drum machine

that at least kept the beat,
but everybody else was a mess.

We wouldn't even have a rapper.
We'd be doing our punk thing
or the rock thing.

Then dudes would
get up there and start
rapping and I was like...

It was like a pre-Body Count
kind of thing.

Speed is such a bummer, dude,
like the more you think about
it.

-And to think we started that.
-Yeah.

[singing]

We played a couple of gigs
in LA,

but we moved home,
and we stopped
being really active

in the music scene
up here in Los Angeles.

And we were never
active in that scene.

Me and Scott and Alfredo
were all living together

and we were just getting
somewhere and falling apart
at the same time.

The house was getting
very crowded.

My future wife, Renee,
had moved in,
we had a pit bull.

And our dog
was tearing up the carpet

when we'd lock her in the room
and we were gone.

We wanted to get our own place.

I think we were just
kind of grew apart
as kids just

ready to go off
on our own.

We were really close
in those days.

Had some really good time,
a really creative time,

really free time
in your mind I guess.

I mean in my opinion they
could've made a huge impact
on the music scene.

Over all the world
I think 'cause they were
that fucking had

a totally
unrealized potential.

[Joshua] I saw
"Across the River"
on the ice skating rink.

Whoa! And they were
fucking incredible.

When grunge happened
years later I was like,

Oh, yeah,
like "Across the River."

'Cause it was so heavy
but on accident.

[Mark] This was a time
well before Nirvana broke.

There was no glimmer
of commercial success.

And punk or post punk,
alternative music

the way that we
think about it today.

There was never
a benchmark like that.

So, success to us
was creating music.

[punk music playing]

[Mario] Me and Alfredo
kept playing.

But all of a sudden
I didn't have a band really.

And around that time
my friend Gary,
moved into the house.

And then it molded
into Yawning Man.

I don't even know
how to tune a guitar honestly.

I just play it by ear.

I don't even know
what a "E" is from the "A".

What's the point
it's all the same notes.

I actually move around
to the different areas
of the guitar.

It's amazing
because the only playing
he had done

was pluckin' around
on an acoustic guitar.

[Robbi] This guy doesn't know
what he's playing.

I've jammed with Gary a bit,
and I'm like...

I don't wanna play man,
I just wanna listen.

[Myke] That's what was
so inspirational
it was like, we're still

playing in those slash
and those chords

and that guys
playing melodies
on top of that stuff.

It's like "Wow! Where are you
coming up with this stuff?"
you know.

[Mario] A lot of punk rock
didn't seem honest to me.

It seemed the things
they wrote about saying
about the sounds

that they used,
the influences they had
were so obvious.

It is supposed to be
non conformist
and it is actually

is one of the most
definitive conformist things.

And at that point I started
to disconnect from it.

A lot of it was the interfacing
between Gary and Mario.

Just the way those two
would work together.

[Sophia] I always liked
the sound of the music.

And it's almost like,

they had their own language.

[drum beating]

That was it right there.

That was it.

We almost had the whole song.

Okay, I just want to
do four all right?

Just four, just try something,
just do four.

Just to one section.
So you're gonna...

Ah... Just start playing.

Okay one,
all right , sorry pal.

[metronome]

I think Mario, was a big time
igniter of the idea of,

"You need to sound
like yourself."

You know,
"and nobody else."

I played at his house
when I was 12 or 13,

in his laundry room, garage.

You know, at that time
you're still finding your way,

and you just started
to play in the first place.

So it'd be easy for some
18 or 19 year old person

to look at a 13 year old
band and be like,

"This fucking sucks."

And leave it at that.

But to see something in it
and be constructive,

and encouraging, takes
somebody special to do that.

And Boomer, was that
someone special who was
encouraging, you know.

So I started thinking like,

what instantaneously within
two seconds before you played
will make it different.

So it was like, "I'm gonna
start tuning down"

it's the one thing I never
heard anyone else do.

[grunge music playing]

As the tone got bigger,

the amps need to be also
scaled to take that tonality.

So I started playing through
bass cabinets and bass amps.

And all of a sudden...

I was just happy
for those guys
when I heard it.

It was like really creative,
didn't sound like anything
we've heard before.

[Sophia] We drove around to
this corner of this mountain

and the fire is burning,
and this band is playing,

and hair's flying everywhere
like, "Who is that?"

[grunge music playing]

We get out in the middle
of the desert
and we start playing

like it's hard to blast off
these two minute songs.

Because if people are gonna
drive an hour out into
the middle of the desert,

they want to be entertained.

To me it was kind of
the desert style of the band
to keep playing

because we wanna
keep having a good time.

When you're playing
and you're looking at the sky

you're looking at
the mountains, all of a sudden
people are lighting fires

and drinking
and there's car lights.

If you saw the view
that I saw, you might start
to just play like that too.

[Robbi] If I'm sitting with
an acoustic guitar looking up
at the milky way

what are you
gonna sing about?

♪ My baby don't get on
Well with me ♪

You know, you're not
gonna sing about that.

You don't even wanna speak.

There was something
about the space in their music.

Like they would let
sections really develop.

It had energy and power
and aggression

but in a way that built,
it didn't just go like

one, two, three, four...
[vocalizing]

It was like the sounds got
bigger and bigger and bigger.

[grunge music playing]

[Joshua] It's all part of
a greater atmosphere

It wasn't all about the bands,
it was about big party

and there was a sort of
native element

and you wanna play
this thundering stuff
for your tribe.

It was like punk rock,
and there were hippies,
and dudes into metal.

There was just like...

[Bran] And I thought Kyuss
kind of represented it all.

[Joshua] What was great about
generator parties is that

everyone was allowed to do
their things to the extent
of their willingness.

So in that sort of
artistic anarchy

when it starts to go
out of control

it's so fucking out of control,
you're like...

Hey! Hey, everybody.
Welcome to the desert

It's here. It was here
before we were!

And the cans weren't.
So bring the cans out with you.
All right let's do this.

[Mario] This was our
first big event.

This was a festival.

All of you people
out there are really dirty
and you smell too.

[crowd cheering]

And so do I.

I smell real bad and we're
really fuckin' dirty.

We were so green,
we're just like used to rumbling
in our van out in front of the
generator.

And it hit me like,
"What the fuck are we doing?

We've invited 1500 people
out here, and we don't
even have water

Or toilets and no one
directing parking.

What are we gonna do if this
gets crazy 'cause the cops
are gonna come right to me."

'Cause that's my thing,
generating the power
for all of this.

[band performing]

We were just getting
ready to play,

and this woman comes
up to me and she's like,

"Where is the first aid?
Where's the first aid?"

and I'm like, "First Aid?
There's no first Aid."

She said, "You're fucking
kidding me right?

Shes said, "My husband just got
clocked over the head he's
bleeding."

And I'm like, "Oh, my God."

The party had attracted
some gang guys that
lived up...

down the street from there
and they went in and ended up
stealing a car from a guy.

And that guy called the cops
and the cops came and busted
the party.

And they got caught.

They ended up trying
to steal someone's car.

And in doing so they cracked
a guy over the head
with a tire iron.

I panicked and just felt like,

"God, what the fuck
am I gonna do

How am I gonna take care
of this guy, what are we
gonna do."

And I got somebody that had
a car on the outer perimeter

that would take him
to get some medical attention.

There was police choppers
flying over the party

and then the cops came up
and I was totally relieved

because it was scary.

And the cops said,
"Everybody stay put."

Nobody leave.

Turn off the PA,
turn off the music,
turn off the lights.

Everybody stay here.

Back then when you
make a mess everywhere,

you know, they wanna find
someone responsible for that.

So you can get 'em to pay for
the clean up or whatever it
is.

And Mario got caught.
And they went to court.

It was a big deal,
he almost went to jail.

And they told him,
"You know, you can't have
that generator anymore."

Mario was the only one
who had the generator
and the van to carry it.

We would have
never got anything

if it hadn't been...
Especially my generation,
Mario Lalli, making it happen.

He'd put on shows
just to make sure that

kids, that next generation
would have access to music

and actually be thinking
of it like that.

Because he's more
like a Godfather of music.

Boomer, was the first person
who allowed me to...

We would be like begging,
"Man can we play
in one of these parties."

"You know I got this band,
they're like 15, 16, you know.

"Yeah, fuck it man,
you guys can go on about.

Just bring your stuff up.
You guys can play first,
whatever."

Every scene has that
one person that really
is like the glue,

and the one guy that
sort of pushes everyone

to keep going
and not give up,

and Mario's that dude.

I think he always wished
for more for everyone
and including himself.

And when it starts to spiral
and become something
that's not as cool,

and is a little more
bone head, that starts
to become an animal

that can't be controlled
by a single person.

[Brant] It was very primal.

He didn't know
what was gonna happen.

He didn't know if it's
gonna get, the cops
are gonna break it up

you know,
there's always fights

Things just kind of
work themselves out

After a little we're like,
"Hey, we still wanted
do some parties."

We say, "Mario, what's up
with the generator?"

He says, "Just take it, I can't
use it. You guys can use it
though, as much as you want."

And so we cleaned it up,
we got it running.

And I mean the next weekend,
we're out throwing
a party with it.

[drum beating]

[man] Well, we drive up this
dirt road for 20 minutes.

And here was this
Greek ruin looking thing.

That was essentially
the raddest pool
you can ever imagine

for skating, I mean, just,

it really was so far away
from reality

I mean you're nowhere
near anything, you couldn't
see a building

you couldn't see a light,
we called it...
It was the nudist colony.

[Sophia] The nudist colony was
out in the desert, there used
to be a nudist colony there.

The building had crumbled.

There was a pool that
was left and everybody
skated the pool.

It had originally being called
the Desert Hills
Nudist Ranch

as myth and legend
has it. It closed down
sometime in the mid '70s.

And it's just sat there.

[man] It was ours.
So when you got there

it was something that
we can put a flag
and just say

"Hey, man, you know,
let's go there."

[Ian] Before the rock n roll
happened we'd
be at skateboarding.

In fact it was so hard
to find a place to practice.

As soon as we started
practicing in houses
cops would show up.

So we'd actually start
practicing up there
and next thing, you know,

there's a huge party.

[garage rock playing]

We eventually saw
Unsound, they were
such a great punk band.

We were like, "Fuck, man,
there's no need to try
and carry the punk rock torch,

Unsound has it wired."

'Cause they were so great.

So we kind of went
in the opposite direction.

In the desert if you
sound like someone else

you were gonna get made fun of,
you know.

You see these people
the next day at school.

It's not like you can walk away
from it and start over again.

These are the people
you see all the time.

So there was that importance
on originality.

[Brian] That was one cool thing
about the desert.

You can play with like
Yawning Man

and Unsound,
they play the same bill.

A progressive jazz band...

and then a punk rock band.

[Brian] If you ask me, like,
one quality about Unsound

I would say we had good energy
on stage

that went further
than just the four of us,

it went outwards, people
could feel that.

[Jesse] We all had such
a united sense of oneness.

That's what identified us
or illuminated our peer group

was simply that,
"You get this? Do you understand
what we've we got here?"

It's special. Special enough
to maybe make some
records for.

What would have been
a normal question
that you'd have come to

quickly, like, "let's record
and maybe we can do this."

Really took a long time
to get to that first phase

and asking yourself
a question like,
"Should we record this?"

It wasn't based
on any kind of like,

"Yeah, this band, you know,
they're going places."

You know, it's just like felt
like you were doing
something for yourself.

Not just doing something
for somebody else's approval

or benefit like,
that is much as anything else.

Made me, like, wanna
do it too.

For me it's the Friday night,
the Saturday night.

It's like not for money
or for chicks or fame or shit.

It's to play because that's
what you do.

It never seemed like
anything more we're
gonna come out of it.

Freedom, you want freedom, man.

The punk rockers...
You wanna do
what you wanna do.

And we didn't let anybody
tell us, where we can do it

or we couldn't do it,
we just went out there
and did it.

And we didn't give a fuck
about the consequences
of cops.

Those parties just took
on their own life.

[cheering]

[indistinct chatter]

The scene is building,
but it's not like bands are
getting established nationally,

putting out records
and touring.

It's just an insular
kind of scene.

It's just freak luck that
Kyuss got discovered
outside of the desert.

This has to do with a woman
by the name Katherine Enny,
discovered us.

And she offered
to manage us.

A friend of ours, his dad had
played drums with the Osmonds
and things like that.

He was like, "Well, I know
a studio up here
in Orange County."

And we went there
and recorded and the woman
that was the studio manager,

she was like,
"I'll manage you."

And we got signed two weeks
out of high school.

You know, I was on tour,
two weeks out of high school.

I was trying to get
out of the desert

I was always trying
to go away from there...

When it got exciting
I wanted to be there.

So to actually have
the chance to like

"Let's go to LA
or let's go anywhere,"

I was like,
"Let's do it."

[Brian] Trying to break into
the Los Angeles music scene
was real fuckin' hard.

I mean, especially when
you're a band from the desert.

"From where?" How many people
they're gonna draw?

And what are they gonna bring?
Two people with them?

[Nick] I ran into people who
stood by the stage, like,

"Dude we saw Kyuss play"
and I'm like,
"No, you didn't.

You did not see us play."

"No, dude, you guys are great."
"When? Where? Tell me when?"

'Cause when I was in the band,
there wasn't a whole lot
of people coming to see us.

We went out and got
some notoriety.

Although people hated it

for most of the time
that we were around.

And the reaction of us
getting signed was mixed.

They're from the desert.
But they were removed

because they all got signed
to major label.

And became
part of that machine.

You know then you have
managers and publicists

and people doing everything
for them, and rightfully so,
they rocked, they're great.

It's amazing what happened.

[Joshua] The scene was so
personal to everyone

that understandably
some people are like,
"What are you doing?"

You know,
"Does that even happen?
Is that okay?"

You know we've never
dealt with this situation,
I need a ruling.

And also the scene
was like, "Do well, but
don't do too well."

[Scott] Sure there were some
local bands, but nobody
was going for it, like,

recording and putting out
records.

I knew these kids
were really serious

and they wanted it.

We rehearse six days a week
for 7 to 8 hours a day.

We could play our songs
inside and out

and change them at moment's
notice because it was, like,
that's what you do.

Let's go try it,
if we fail we fail.

Let's go play, let's go put on
our music to these people.

'Cause they can't get it
to me other way, you know,
got to take it to 'em.

In 1992, the guy that
was the singer
of my punk band

when I lived back
in Virginia, Scream.

He told me to go see this show

that was coming into town
when I was living in Seattle.

The Obsessed that were
a rock band, really heavy band
from Washington DC,

were on tour
with this band Kyuss.

When they started playing
I immediately knew
something was different.

'Cause I couldn't tell
what type of person

each person was.

Like, Nick was wearing these
greasy fuckin' stained
gray sweat pants

with high tops and no shirt
and his hair was down
to his ass

and looked like he hadn't
washed it in a year.

Brant, sort of looked
like he was

in a fuckin'
Cheech and Chong movie
or something.

And then Josh looked
like he played baseball
or something.

He looked kind of like
a real American kid.

And John it was funny
like he'd sing

but then he would lay back
and they would

go off on these jams that
were just instrumental.

Which is unusual
in, like, the underground
punk rock scene

or whatever. They would
go off on these jams that
were fucking amazing.

Soon after that
I went and bought
Blues For The Red Sun.

And I was just totally
blown away.

Nirvana was blowing up
when Blues For The Red Sun
came out.

And Dave Grohl
was a Godsend for Kyuss.

In the wake of Nirvana
people's attention and taste

were really brought to this
music in a way that really
never happened before.

Now, it's like the masses
are there.

I think I bought that record
for at least 20 people.

I just gave it to them.
I gave it to my friends
in Santa Cruz.

I gave it someone
in Metallica.

I gave to my neighbors.
I was just

like,"This is the fucking most
incredible record,
you have to hear this."

And everyone agreed, you know.

[Dave] He was raving about it
inSpin magazine on MTV.

And it was like "Holy shit"
it's on a whole new level now.

You can plug and hype
the band all you want.

But it doesn't make us
any more special than
what we are.

[Joshua] It doesn't make
people like you.

If writers want
to hype the band

and say we're you know, great.
That's... We were...

That's really flattering
and we're into that.

But I don't want any listeners
to think that we're some
huge musical phenomenon.

We're just four guys
that enjoy playing rock.

And that's all we'll be.
That's all we wanna be.

[Scott] I got a call
from Brant.

And he said,
"Dude, Nick is out,
can you fill in for few shows?"

I said, "Yeah, man.
That'll be a blast."

And we got a phone call,

"You wanna go to Australia
with Metallica?"

Holy Shit! Those guys
didn't have passports yet.

Somehow they got their
passports within a week.

And took off.

Played arena rock shows
with Metallica, it was insane.

[audience cheering]

[Dave] That's a tricky
transition to make.

Coming up in a small
underground punk rock scene
or small music community,

making that transition
from there to being
a big arena or stadium

is really weird.
It can fuck you up.

I don't know,
just in such a short
period of time

to go from playing
in a pizza parlor

next to cardboard cut out
of some football player

to playing in arenas
with Metallica was little
overwhelming.

More so for some than others.

It was really trippy for me,
because all I wanted to do

was participate,
be part of this local scene.

And then I'm like
opening up for Metallica.

When you're with your friends
in your basement, in your van,

going on tour doing things
on that level and on your own,

you are sort of
in control of everything.

When your band starts
getting bigger

and you make a jump
from something like that

to a fucking stadium
opening up for Metallica.

It can feel really
threatening and weird.

If you over think it
and think too much

you could really start feeling
like it's just being swept out
from under your feet

and it's not yours anymore.

I had my own personal
perspective of what Kyuss was

what we were doing
and where it could go.

To me it was always
just this extension of where
our root was in the desert.

[Jesse] Kyuss is
a beautiful band

and it's the testament
to it's desert success.

They were getting success.

When Brant came back
from the Australian tour
with Metallica,

Brant decided to get
all guilty that he was
getting success I guess.

And he came back
and we all went to a party

I picked him up at the airport,
we all went to a party

out in the desert.

And he watched this
punk rock band play and he was

he got into this,
"Dude, the roots", like,
"Okay, so that's them.

It's not you, you're not..."
I mean, whatever, he decided
to get all guilty feeling

and he shaved his head,
that, to me, doesn't
make any sense.

But that's what broke Kyuss up.

I was on an idealistic crusade
for sure, man.

And I thought that's what
the part of desert was,
I mean that was what...

we came from such
a primal environment.

It just made sense to me
that we didn't turn into
this super star thing.

People weren't feeling
what I was feeling.
So I was like,

you know I...
Shaved my head
and then quit.

It was about

to a certain extent
flogging yourself as proof.

I think especially
because when we left the desert

there was a little bit
of shit we had to deal with

where someone was like,
"Oh, rock star now",
we were like, what?

As a proof of that you
sort of like flog yourself
in public.

For me in being involved
with in this band

that was being recognized
and taken out
of the desert scene.

It's absolutely our duty
to represent this environment,
this scene.

And so for me that's where
Blues for Red Sun
was all about.

It was about us saying,
"We're a desert band."

I love Kyuss.
I love all their music.

But it stereotyped what a band
is supposed to sound like,

if they come from the desert.

And that's so not true.

What if you have ideas
that are beyond the boxes
you built for yourself.

And that notion of being like,

"You're free to do what you
want as long as it's
inside these walls."

It's stupid.

I started to feel
penned in by that.

Musically it had to be heavier
than it was, you know.

So, it was a big driving force
for why I felt I had to leave.

People spend too much
time categorizing
what everything is

Just throw it on your
turning table, throw it on your
CD player, whatever you have,

and listen to it,
don't worry about what it is

No one cares, it doesn't
matter anymore, you know.

That's what should
have happened.

It shouldn't matter anymore
what you are.

There are so many like
fusion everything, whatever.

[jazz music playing]

[Mario] We started getting
so experimental

with stuff that we became
obsessed with

listening to all these
avant garde jazz artists.

We've really started
to move on

almost alienating a lot of
the fans of the music scene
in the desert.

Around that time,
there was a shift,

as far as the type of people
that would come to the party

I don't think they were
necessarily there for
the music.

I think they just heard it was
the thing and so you really
got this other element.

It was lawless.

There were fuckin' skinheads
with Rottweilers
and Mexican gang members.

And if you got into trouble,
you' were getting yourself
out.

If you get in a fight
in the desert, there's
nobody there to break it up.

People go, "Whoa! Whoa!
Give 'em some room."

So this shit goes on
till it's over.

And when you start having
these locations that are free
from the law

that can be amazing.

And then also it can be
a total fucking calamity.

[cheering]

[Brian] So we were playing,
in the middle
of playing our set

and we played right
near the pool,
five feet from the coping.

Guys are skating
and I think after a while

some guys wanted
to slam dance in the pool

but there were guys skating.
So the skaters were like,
"No, fuckin' get out."

So the fight started
and I think that one guy
got his ass kicked.

And so he went
and first started
throwing rocks.

So we're kinda looking around
and seeing the fuck was doing

and eventually this kid
went and started a fire above
and below, where we were at.

And he really tried to trap
everyone I think.

I looked up and I can make out
the ridge line in orange.

It kinda went from
nobody noticed it

to everybody knew
all at the same time.

It was windy and it
quickly escalated
to the point of panic.

Where it was like everyone
was waiting for us
to finish the song

and we were looking over
our shoulders at the fire

getting bigger
and bigger and bigger.

And pretty soon
it's coming at you.

[Tory] And by that time
the fire had
advanced all the way down

to the bottom of the hill.
I was second to the last

vehicle out.

And with the windows up you
could feel the intensity
of the heat from the fire.

We stopped playing
and everyone panicked
and people bailed out of there.

It had to be, like, a
1200 to 1300 acre brush fire.

[siren wailing]

[woman] I can't believe it.
There they go.

Another fire.

That was the end because
that party was huge.

Too big for that place
to sustain, there's people
from out of town.

So they bring out of town
friends and it starts
to get beyond the desert.

It's symbolically perfect
that one night

someone lights the fire
and burns the whole place down.

We watched it get destroyed
basically.

I cried when I saw it burning

I know a few other guys
that thought of the spot,
as their playground.

It's yours. It's your home.
And the colony was our home.

[Sophia] It was for us.

You know, we weren't
trying to do anything else

but have our friends
play music, party,
and be left alone.

Sometimes you'd go
and everything would be
an awesome night

everything was great.

Then it turned into
people getting stabbed.

Or people like,
pulling guns out and it
turned into a place that

got pretty scary and then
it just turned into a place
that didn't exist anymore.

They actually landfilled
the new bowl and actually
tore it out finally

because I guess some kid
stabbed somebody in the pit.

Inside the bowl.
And they had to take it out
and it's a shame

'Cause it was like,
a historical place.

To me, it should be like a
historical landmark,
like preserved.

Once it got real popular,
people coming down
that's when the cops showed.

It had a life of it's own
for years.

So maybe someone's
digging out again

I don't know it could be gone.
I haven't been
up there in so long.

You know, I mean,
what became like punk rock

and having a good time,
and couple of kegs

and some bands and then
it turned into more
and more people

and it just got more
and more violent.

More and more uncontrollable.

And then it's just like,
you know.

Nature kind of takes
it's course.

[Sean] Zezo Zece Zadfrack
and the Dune Buggy
Attack Battalion

that band had it's moments,
it was pretty good.

And then when we started
shooting drugs, all of a sudden,
I start listening to music.

That I never thought
was cool.

Like when The Who
and The Clash were
on tour together.

This guys like,
"Hey, I got a ticket.

Wanna go see the Clash?"
like, "Fuck, no,
I'm a punker, man.

I ain't gunna go to no rock
concert and see the fuckin'
shitty Who. I don't want to...

I go to clubs."

But then as soon as
I'm shooting dope,

now all of a sudden, I want
to listen to T. Rex
and see the Stones

Johnny Thunders and all
the fuckin' junkie heroes
of the guitar world.

So I started
bands like that.

["Swingset Superman" playing]

I was running over with
dirt bags shooting speed

I was like already gone
to the next level, dude.,
I was already,

out with like, wizards, like,
getting high always
came first.,

before music or anything
and then after I get high

I had to think that
I was in a band and jam stuff.

What happened is that we all
got tweaked out on speed

and in the end even
those guys i think were bummed
out.

Just fell apart eventually.

Even with a whole band
of tweakers no one wanted
to fucking hang out.

I was just lost trying
to figure out more ways
to get to spoon.

Then I ended up getting
my girlfriend pregnant.

And I went into a rehab.

I didn't realize that
it was a world beyond me,
you know what I mean.

I was a little self centered
as a kid.

[Mario] He went through
a lot of searching.

By doing that he brought
all these influences
to the desert.

That I was always
in awe of that dude.

He'd just hold court.
He just had such a unique
character about him.

And he finally found a way
to funnel that into art.

[Joshua] I love him so much
because I'm always like,
"So anything goes."

He's loose and wild
and there's that element

in the music
that's beautiful,

purposeful, bone headedness.

Where it's like monkeys playing
on the keyboard, you know,
it's wonderful.

[Sean] I love the desert and I
see the desert for what it is.

You know, beautiful.
I love it here, man.

I've been clean 17 years
and I generally feel okay.

And if anything, it's like,

what a bummer the way
I might have behaved
here and there,

but we all did and that goes
back to just being fuckin' kids,
you know, I mean...

So all my memories are like,
of how I love these people.

Really. And not, and not like,
You know, anything else.

[Joshua] Yeah, music is
something that
I could do it alone,

but then you'll be all alone.
I think the desire to create

a family of people
that have all these talents,

that are different
than yours and that together,

the sum of your parts
would be this amazing thing.

It could be something
unforgettable
something classic.

The desert is such
a wide open blank canvas.

Generator parties,
Across the River,

Zezo Zece Zadfrack
and the Dune Buggy
Attack Battalion,

Yawning Man, Unsound,
Kyuss, and it all worked.

And so, to me
it was an art thing.

[Mario] That freedom,
that weird like, "Fuck it!

anything goes
anything goes."

It was about art
and it was about music
and about ideas.

It wasn't about being drunk
and on drugs, beating
the fuck out of people,

and just expressing yourself,
that way, there's
something real there.

At the time Fatso Jetson
came round, I had gone
through some shit.

You know, and I didn't...
[laughing]

I kind of had some things
to write about, you know.

["Magma" playing]

[Dave] I got to see
Fatso Jetson once.

Because everyone said
"You have to see this band.

This is the guy that
inspired all of the other
dudes to play music.

He's the one they look up to,
that's the guy.

And I got it.

To me he is what
desert rock is.

If I had to answer it,
somebody said,
"Describe desert music."

I'd say "that guy".

[Mario] It comes down
to expression,
it has nothing to do with hair,

it's nothing to do
with cool hats,

or fucking black fingernails.

You know, for me it goes
into weird weird places,

cartoon music, circus music,

wherever it goes it's there's
some weird way of expressing
yourself.

That is the bottom line,

Mario would do this thing,
every couple of years they
change their band name

and the style would change
just a little bit on the dial.

didn't matter if it's
Across the River
or Yawning Man

later on Fatso Jetson.

You know, click over
another 10 percent

and that really was
one of the great examples,

for me, of wanting to do
that as well.

[crowd cheering]

We'd like to play one
more song, you've got
time for one more?

One more?

It really ingrained me
like the name doesn't matter.

You should be willing
to let all that go

and play what ever sounds good.
No matter what it is.

Because music's
the only goal.

["Long Slow Goodbye" playing]

It's just chasing music
it's not chasing anything else.

And I think I witnessed
that and got early
inspiration of that

from watching Boomer just
leave something behind
and shed it like a snake skin.

And be like next thing
on to the next.

♪ Where have you gone
again my sweet? ♪

♪ Everybody wants to know

♪ Where have you gone
again my sweet? ♪

♪ Everybody wants to know

♪ Where you gone...

At the time we didn't know it,
but when Kyuss left town,

I think in a lot of ways,
it made the other bands

go and look
at that possibility.

You stop focusing on
Friday nights and you go,
"Wait, I can keep doing this?"

and even now I'm, like,
someone's gonna come in here
and be like, "You gotta go!

We're gonna turn this shit off
and we just go, "Okay".

There's something in me that's
always like that's gonna happen

because I just never expected
this to keep going
and still going.

[Brant] There was
no destination.

We were just all stoked,

to like build something
and get it out on the road.

It was built
to just blast off.

And that's exactly
what we did.

We were all from the desert.

Going nowhere at lightspeed.

["Long Slow Goodbye"
continues playing]

♪ ...Where you gone?

♪ I'm just a ghost,
I'm on your street ♪

♪ Waitin', when you
Comin' home ♪

♪ I'm just a ghost,
I'm on your street ♪

♪ Waitin', when you
Comin' home ♪

♪ Gone so long

♪ Where you gone?

♪ On a long slow goodbye

♪ On a long slow goodbye

♪ I'm just a ghost
I'm on your street ♪

♪ Waitin', when you
Comin' home ♪

♪ I'm just a ghost
I'm on your street ♪

♪ Waitin', when you
Comin' home ♪

♪ Gone so long

♪

♪ Where you gone?

♪ On a long slow goodbye

♪ On a long slow goodbye

♪ In every voice
I hear you speak ♪

♪ Waitin' by the telephone

♪ I close my eyes
I just can't sleep ♪

♪ Roll and tumble
All night long ♪

♪ All night long

♪

♪ Where you gone?

♪ On a long slow goodbye

♪ On a long slow goodbye

♪ On a long slow goodbye

♪ On a long slow goodbye

♪

♪ I'm just a ghost
I'm on your street ♪

♪ Waitin', when you
Comin' home ♪

♪ I'm just a ghost
I'm on your street ♪

♪ Waitin', when you
Comin' home ♪

♪ Gone so long

♪ Where you gone?

♪ On a long slow goodbye

♪

♪ I close my eyes
I just can't sleep... ♪

[Sean] This is my fuckin'
radical desert shower.

Boom! Check out
the fucking sweet mosaic.
We did this.

Sweet, don't it look rad?

Now they can't tear the house
down dude.

If we had some art thing
happening, we'll be like
"Whoa! That's a landmark."

Ginger, can I get a light?

The legacy of it.

-Is it too perfect?
-Yeah.

Preserving it--

Ow!

[laughing]

♪

[crowd cheering]

Good night everybody.

Thank you so much.

[cheering and applause]