WEBVTT 00:00:00.430 --> 00:00:03.629 Welcome everyone to the latest episode of Signals 00:00:03.629 --> 00:00:08.630 from Mars, episode 447, featuring the man, the 00:00:08.630 --> 00:00:11.410 myth, the legend, Philip Hsiao. He's been hearing 00:00:11.410 --> 00:00:15.470 about Philip for so many years from friends from 00:00:15.470 --> 00:00:19.109 around the podcasting world. It is a thrill. 00:00:19.170 --> 00:00:22.629 It is a privilege to have him on this episode. 00:00:23.149 --> 00:00:25.710 And I think this is a cool conversation that 00:00:25.710 --> 00:00:59.719 you guys will enjoy. Quick reminder that in addition 00:00:59.719 --> 00:01:02.619 to hosting Signals from Mars, I've also worked 00:01:02.619 --> 00:01:05.599 behind the scenes helping other podcasters. With 00:01:05.599 --> 00:01:08.799 over 16 years of experience and more than 1200 00:01:08.799 --> 00:01:12.180 episodes that I've produced or appeared on, I 00:01:12.180 --> 00:01:15.659 offer podcasting, editing, ghost hosting interviews, 00:01:16.099 --> 00:01:19.459 and repurposing content into viral clips, show 00:01:19.459 --> 00:01:23.260 notes, transcripts, and social media posts. If 00:01:23.260 --> 00:01:25.579 you've got a podcast and need help making it 00:01:25.579 --> 00:01:28.299 sound professional, or if you want to turn your 00:01:28.299 --> 00:01:31.560 episodes into content that actually grows your 00:01:31.560 --> 00:01:34.459 audience, I can help. Check out the podcasting 00:01:34.459 --> 00:01:38.219 services page over at signalsfrommars .com. Just 00:01:38.219 --> 00:01:40.060 go all the way to the right on the menu. You'll 00:01:40.060 --> 00:01:42.859 see work with me, hover over that, and you'll 00:01:42.859 --> 00:01:46.799 see podcast services and sponsorship. Let me 00:01:46.799 --> 00:01:49.920 help you make your podcast stand out. Speaking 00:01:49.920 --> 00:01:52.579 of sponsorships. Signals from Mars is sponsored 00:01:52.579 --> 00:01:56.019 by listeners like you and also by great sponsors. 00:01:56.280 --> 00:01:59.400 If you've got a brand, product, or service that 00:01:59.400 --> 00:02:02.299 connects with rock and metal fans, I'd love to 00:02:02.299 --> 00:02:05.120 work with you. Our audience isn't casual. They're 00:02:05.120 --> 00:02:08.139 collectors, concert goers, and gear buyers who 00:02:08.139 --> 00:02:11.569 support the bands and brands they love. Sponsorship 00:02:11.569 --> 00:02:15.370 packages start at just $150 a month and include 00:02:15.370 --> 00:02:18.509 on -air mentions, social media plugs, and even 00:02:18.509 --> 00:02:21.229 product features. If you want to connect with 00:02:21.229 --> 00:02:24.250 a loyal rock and metal audience, head on over 00:02:24.250 --> 00:02:27.370 to the sponsorship page on signalsformars .com 00:02:27.370 --> 00:02:39.479 to learn more. Quick shout out to my patrons, 00:02:39.819 --> 00:02:43.919 Sean Richman, Tony Espin, Anthony Mackey, Ed 00:02:43.919 --> 00:02:48.000 Ferguson, Johan Edestrom, Metal Dan, Chris Vaglio, 00:02:48.400 --> 00:02:53.120 Gabriel Ruiz, Mark Striegel, Brad Dahl, Jeremy 00:02:53.120 --> 00:02:57.120 Weltman, Steve Hoker, and Steven Saylor. Thank 00:02:57.120 --> 00:03:03.039 you guys for all of your support. I kind of resurfaced 00:03:03.039 --> 00:03:06.919 some, or not kind of, I did bring back some, 00:03:07.469 --> 00:03:10.889 interviews that are an interview that I did with 00:03:10.889 --> 00:03:15.069 Bob now band in years ago and used it for some 00:03:15.069 --> 00:03:18.729 short form content. And one of the things that 00:03:18.729 --> 00:03:23.229 really hit home with me when, when going through 00:03:23.229 --> 00:03:29.729 that old material was how Bob always saw a lot 00:03:29.729 --> 00:03:34.189 of us as a brotherhood, especially when it became, 00:03:34.289 --> 00:03:38.780 when it came to podcasting. I think it was probably 00:03:38.780 --> 00:03:41.120 like a modern form of what he was doing with 00:03:41.120 --> 00:03:44.180 fanzines back in the day. And he saw a lot of 00:03:44.180 --> 00:03:49.780 the passion that a lot of us had when doing what 00:03:49.780 --> 00:03:52.439 we do with podcasts, for better or for worse. 00:03:52.960 --> 00:03:56.860 And Chris Sinzak of the Decibel Geek podcast 00:03:56.860 --> 00:03:59.580 is the first person that ever brought the name 00:03:59.580 --> 00:04:04.639 Phil Schaus to my attention. And I've been so 00:04:04.639 --> 00:04:07.430 privileged to be Chris's... friend for so many 00:04:07.430 --> 00:04:09.849 years. We've never actually met. Hopefully that 00:04:09.849 --> 00:04:15.870 happens one day. But that kind of helped me put 00:04:15.870 --> 00:04:19.350 together this interview that I did with Phil. 00:04:20.350 --> 00:04:22.930 I've been getting a lot of good feedback recently 00:04:22.930 --> 00:04:24.829 from the interviews that I've been doing. And 00:04:24.829 --> 00:04:28.889 one of the things that stood out to me from the 00:04:28.889 --> 00:04:30.930 various people that have reached out to me is 00:04:30.930 --> 00:04:34.470 that they feel that I'm asking a lot of questions 00:04:34.470 --> 00:04:39.319 like a fan. uh, that other fans would like to 00:04:39.319 --> 00:04:43.339 know. And I've had people over the years say, 00:04:43.420 --> 00:04:45.040 well, you're the journalist where you're this, 00:04:45.040 --> 00:04:49.439 where you're that. I'm just a fan who decided 00:04:49.439 --> 00:04:54.160 to start doing a podcast because someone said 00:04:54.160 --> 00:04:59.259 that someone being Mark Striegel said, Hey, you 00:04:59.259 --> 00:05:04.129 might do a decent job at this. Um, It's almost 00:05:04.129 --> 00:05:10.089 17 years later. It will be 17 years this summer 00:05:10.089 --> 00:05:12.290 that I've started podcasting. And by no means 00:05:12.290 --> 00:05:18.769 have I been around as Mark has, as the guys at 00:05:18.769 --> 00:05:23.089 the Classic Metal Show or any other show that's 00:05:23.089 --> 00:05:25.910 been around that long. I'm just privileged to 00:05:25.910 --> 00:05:28.129 know all these different people and have the 00:05:28.129 --> 00:05:33.860 ability to reach out and talk to them. I appreciate 00:05:33.860 --> 00:05:35.879 that you guys are here listening to this episode. 00:05:36.060 --> 00:05:39.500 I hope you guys enjoy it. We touch upon all things 00:05:39.500 --> 00:05:44.459 throughout his career, throughout Philip Schaus' 00:05:44.600 --> 00:05:48.660 career. And it's just a fun chat. I'm biased, 00:05:48.839 --> 00:06:14.689 but I had a fun time doing it. Welcome, everyone, 00:06:14.769 --> 00:06:18.610 to the latest episode of Signals from Mars. I 00:06:18.610 --> 00:06:23.430 welcome on the show Philip Schaus, who is releasing 00:06:23.430 --> 00:06:27.810 his first EP, Side 1. He's known for a ton of 00:06:27.810 --> 00:06:31.069 things, which we'll get into during the episode. 00:06:31.149 --> 00:06:35.290 But my first question for you, Phil, is the songs 00:06:35.290 --> 00:06:37.889 that are featured on Side 1, are these songs 00:06:37.889 --> 00:06:41.110 that... You've written just for the EP? Are they 00:06:41.110 --> 00:06:43.709 songs that you've been working on over the years? 00:06:44.689 --> 00:06:47.850 One of them came, one of them was something I'd 00:06:47.850 --> 00:06:51.170 had for 20 years. It was just a riff, and that 00:06:51.170 --> 00:06:54.589 was all I had. I had no melody or lyrics. And 00:06:54.589 --> 00:06:57.970 the other ones were written with the EP, with 00:06:57.970 --> 00:07:00.970 like a goal in mind, with the EP in mind. So 00:07:00.970 --> 00:07:04.810 once that first one was written, I took that 00:07:04.810 --> 00:07:07.629 riff to my friend Alex Rahal in town, a great 00:07:07.629 --> 00:07:10.250 writer. had always told me that when I wanted 00:07:10.250 --> 00:07:12.370 to do something, you know, to give him a call. 00:07:12.430 --> 00:07:14.870 So I did. So when we, when we finished that one 00:07:14.870 --> 00:07:17.149 in like two hours, then it was like, you want 00:07:17.149 --> 00:07:19.949 to do this again? Let's do some more songs. And 00:07:19.949 --> 00:07:21.589 then it became a thing. Like every couple of 00:07:21.589 --> 00:07:24.230 weeks I'd go and we'd write a song. So we had 00:07:24.230 --> 00:07:26.370 several and I'm like, I've got enough for a, 00:07:26.370 --> 00:07:29.449 for a thing now. Right. Yeah. Most of them are 00:07:29.449 --> 00:07:33.529 brand new. Oh, cool. So the neat thing too, is 00:07:33.529 --> 00:07:35.430 although you're known for playing with other 00:07:35.430 --> 00:07:38.610 people, I mean, let's be honest. the kind of 00:07:38.610 --> 00:07:42.329 foundation of rock of hard rock and anything 00:07:42.329 --> 00:07:45.250 that's progressed out of that really kind of 00:07:45.250 --> 00:07:47.750 comes from the influence of the Beatles, the 00:07:47.750 --> 00:07:51.509 stones, stuff of that ilk. So it isn't really 00:07:51.509 --> 00:07:53.910 that far from the bands that you're playing with. 00:07:54.310 --> 00:07:57.149 Right. Especially when you get like, like to 00:07:57.149 --> 00:08:00.430 what I really kind of do and play natural, which 00:08:00.430 --> 00:08:03.490 is kind of, you know, more classic rock type 00:08:03.490 --> 00:08:09.050 stuff. It isn't, you know, it's not metal. That's 00:08:09.050 --> 00:08:14.310 for sure. But no, it felt, I mean, it felt natural 00:08:14.310 --> 00:08:16.389 because it was me doing it. It wasn't like me 00:08:16.389 --> 00:08:19.889 trying to sound like anything or, or it was me. 00:08:20.350 --> 00:08:22.870 This record is me figuring out what I actually 00:08:22.870 --> 00:08:25.949 sound like. Okay. You know, cause I played covers 00:08:25.949 --> 00:08:28.889 for my career and maybe with the people that 00:08:28.889 --> 00:08:31.750 wrote them or sang them, but they're covers to 00:08:31.750 --> 00:08:35.279 me. And so, yeah, this was me kind of figuring 00:08:35.279 --> 00:08:40.700 out my own sound. When you approached the label 00:08:40.700 --> 00:08:45.779 to put this EP out, was there any sort of stigma 00:08:45.779 --> 00:08:48.580 that, oh, it's Phil, the guy that's worked with 00:08:48.580 --> 00:08:50.740 this person and that person or whatever? Did 00:08:50.740 --> 00:08:54.480 you look for a label that would just take you 00:08:54.480 --> 00:08:58.019 for who you are or how did that work? They found 00:08:58.019 --> 00:09:02.419 it. They found the project. I was just going 00:09:02.419 --> 00:09:05.360 to do the record and just put it out myself on 00:09:05.360 --> 00:09:07.399 streaming. I really didn't do it with any kind 00:09:07.399 --> 00:09:10.639 of expectations like I'm going to do this and 00:09:10.639 --> 00:09:13.279 this. I'm already way further along than I ever 00:09:13.279 --> 00:09:16.080 thought I was going to be with this thing. So 00:09:16.080 --> 00:09:21.919 Wild Kingdom Records in Sweden. I had a couple 00:09:21.919 --> 00:09:24.840 of friends listen to it that were that were tighter 00:09:24.840 --> 00:09:27.019 with people at that label and they played it 00:09:27.019 --> 00:09:30.259 for them. And they were interested. And that 00:09:30.259 --> 00:09:32.299 was how it that was how it all fell together. 00:09:32.919 --> 00:09:35.179 Wow. So that's pretty cool, though. That's that 00:09:35.179 --> 00:09:38.720 has to be rewarding as an artist to have somebody 00:09:38.720 --> 00:09:42.080 come after you. And, you know, they could have 00:09:42.080 --> 00:09:44.519 easily said, well, you know, come back when you've 00:09:44.519 --> 00:09:47.200 got John Karabi on the track. Come back when 00:09:47.200 --> 00:09:51.480 you've got, you know, person X on the track. 00:09:51.559 --> 00:09:56.000 But you for you. Yeah. And that was, it could 00:09:56.000 --> 00:09:57.700 have been a record like that. It could have been, 00:09:57.700 --> 00:10:01.139 you know, a guest star thing, but I was like, 00:10:01.200 --> 00:10:04.679 no, I'm always a guest star on records that I 00:10:04.679 --> 00:10:08.000 play on. So this is fucking my, I'm doing everything 00:10:08.000 --> 00:10:12.320 I possibly can do, uh, on this record, singing 00:10:12.320 --> 00:10:15.299 everything. And I, I, I just can't play drums 00:10:15.299 --> 00:10:17.360 or keys well enough to do it. I also would have 00:10:17.360 --> 00:10:20.440 done that too. But, um, no, I got, uh, Sarah 00:10:20.440 --> 00:10:24.419 Tomic on drums, Seth Timms on keys. Um, and you 00:10:24.419 --> 00:10:29.740 know it's it's it's me you know cool and i'm 00:10:29.740 --> 00:10:32.220 sure you've had no shortage of friends to help 00:10:32.220 --> 00:10:36.240 you out uh with the drums or keys so was it difficult 00:10:36.240 --> 00:10:39.000 to pick them to uh come aboard or you knew right 00:10:39.000 --> 00:10:42.120 away you wanted them i know no i knew who knew 00:10:42.120 --> 00:10:44.919 who was luckily sarah was available sarah is 00:10:44.919 --> 00:10:47.580 just so in demand i've known her for she's been 00:10:47.580 --> 00:10:50.360 a friend of mine for You know, well over a decade 00:10:50.360 --> 00:10:52.860 now she's been in town and she is literally always 00:10:52.860 --> 00:10:56.039 doing something. And I got her like two days 00:10:56.039 --> 00:10:59.799 in between things. Oh, wow. Really, really great. 00:10:59.879 --> 00:11:01.500 Got her in a couple of days and bang it out. 00:11:01.600 --> 00:11:05.399 And yeah, it was really great. And my buddy Seth 00:11:05.399 --> 00:11:10.840 Timms is, you know, a keyboardist among keyboard 00:11:10.840 --> 00:11:14.340 players. He's just incredible. And I'm involved 00:11:14.340 --> 00:11:16.539 in so many different things with him. And he 00:11:16.539 --> 00:11:18.200 was immediately it's like, you want to play? 00:11:18.840 --> 00:11:21.659 It's like, sure. So no, it was easy. And luckily 00:11:21.659 --> 00:11:25.679 I've got a huge friend group of amazing people 00:11:25.679 --> 00:11:28.600 to call on. And I got to mention Philip Creamer 00:11:28.600 --> 00:11:31.720 is a great singer in town. He came in and did 00:11:31.720 --> 00:11:33.879 all the high harmonies that I couldn't hit. Oh, 00:11:33.940 --> 00:11:36.440 okay. So yeah, he's got this like Steve Marriott 00:11:36.440 --> 00:11:40.179 type thing going on and he's phenomenal and he's 00:11:40.179 --> 00:11:42.600 a great, he's a friend. And so it was easy to 00:11:42.600 --> 00:11:45.440 get him in on it. And yeah, and everything fell 00:11:45.440 --> 00:11:48.940 together. Did everyone pick up on the vibe you 00:11:48.940 --> 00:11:52.320 were looking for right off the bat, or was there 00:11:52.320 --> 00:11:55.600 any type of coaching you needed so that people 00:11:55.600 --> 00:11:59.039 saw your vision? There was no really vibe going 00:11:59.039 --> 00:12:03.120 into it. The producer and I, Brad Jones, started 00:12:03.120 --> 00:12:05.700 with acoustic work tapes, and that's all we had 00:12:05.700 --> 00:12:07.860 going into the studio. Nothing else was planned 00:12:07.860 --> 00:12:11.440 out. It's like, let's just get in there, and 00:12:11.440 --> 00:12:14.700 we'll start with me and Sarah, me on acoustic 00:12:14.700 --> 00:12:18.379 guitar. no click track, just playing me and her 00:12:18.379 --> 00:12:22.600 playing together. And let's just see where it 00:12:22.600 --> 00:12:25.960 goes. There was no direction or no path. It just 00:12:25.960 --> 00:12:29.299 kind of like figured itself out and we just went 00:12:29.299 --> 00:12:33.059 with it. Did she end up using a click on the 00:12:33.059 --> 00:12:36.620 actual EP or is it all just by ear? No, there 00:12:36.620 --> 00:12:39.039 was one, there's one song on there that has a 00:12:39.039 --> 00:12:43.250 loop. And that's the main, those are the main 00:12:43.250 --> 00:12:46.309 drums and percussion in it. And she's accenting 00:12:46.309 --> 00:12:49.250 things, but everything else with like a drum 00:12:49.250 --> 00:12:51.990 kit, there's no click on it. Oh, okay, cool. 00:12:52.090 --> 00:12:54.970 Which was Brad's call, and it was kind of my 00:12:54.970 --> 00:12:57.269 call too. I was like, do you want, can we do 00:12:57.269 --> 00:12:59.250 this like this? And it's like, yeah, sure we 00:12:59.250 --> 00:13:01.269 can. I'm like, all right, great. We're using 00:13:01.269 --> 00:13:05.250 real amps and real people and real instruments. 00:13:05.820 --> 00:13:08.100 And no click track. It was very, very organically 00:13:08.100 --> 00:13:11.039 done from the very beginning. And that's kind 00:13:11.039 --> 00:13:14.840 of refreshing, too. I spoke to Alex Skolnick 00:13:14.840 --> 00:13:17.600 yesterday and we were talking about how important, 00:13:17.740 --> 00:13:20.279 for example, the Last Testament album, you can 00:13:20.279 --> 00:13:23.759 tell that there's live drums on the album. And 00:13:23.759 --> 00:13:27.240 as a wannabe drummer myself and someone who's 00:13:27.240 --> 00:13:29.940 messed around with Superior Drummer and stuff 00:13:29.940 --> 00:13:32.129 like that. You know, you start to hear albums 00:13:32.129 --> 00:13:34.830 and you're like, yeah, that's this sample symbol 00:13:34.830 --> 00:13:38.669 from this and that. And it just gives like a 00:13:38.669 --> 00:13:42.330 different kind of breath, a different kind of 00:13:42.330 --> 00:13:46.649 air, I should say, to the music, having live 00:13:46.649 --> 00:13:49.710 instruments actually in there. You can really 00:13:49.710 --> 00:13:53.090 tell because things start sounding, you start 00:13:53.090 --> 00:13:57.649 recognizing. Yeah. And it's not like, oh, that's 00:13:57.649 --> 00:14:00.389 a Les Paul through a Marshall or whatever, or 00:14:00.389 --> 00:14:02.409 tell me through a, through a, through a twin 00:14:02.409 --> 00:14:05.129 or whatever. It's like, oh, that's the exact 00:14:05.129 --> 00:14:08.210 same snare sound. Yes. You know, you can start 00:14:08.210 --> 00:14:10.149 to hear, to hear things and you look and it's 00:14:10.149 --> 00:14:13.250 like, oh, it's the same producer. Okay. He's 00:14:13.250 --> 00:14:15.429 got his own, you know, bag that he pulls from 00:14:15.429 --> 00:14:19.450 for everyone. So I really enjoyed, I haven't 00:14:19.450 --> 00:14:24.269 done a recording with a real amplifier. you know 00:14:24.269 --> 00:14:27.929 in a really long time um everything's with you 00:14:27.929 --> 00:14:30.470 know profilers and plugins and those things those 00:14:30.470 --> 00:14:34.730 things sound phenomenal um but it was still really 00:14:34.730 --> 00:14:36.490 fun it's like all right we're going no we're 00:14:36.490 --> 00:14:38.090 going click track all right we're going real 00:14:38.090 --> 00:14:40.970 amps and you know we're going to treat this like 00:14:40.970 --> 00:14:45.830 you know like in the olden days in the 1900s 00:14:45.830 --> 00:14:51.809 as you were recording the uh the tracks were 00:14:51.809 --> 00:14:54.629 there things that just started to pop into your 00:14:54.629 --> 00:14:57.649 mind? Like, oh, wow, I want to try, like you're 00:14:57.649 --> 00:14:59.970 bringing up amps and guitars and stuff like that. 00:15:00.289 --> 00:15:04.830 Oh, wow, I think that this, for lack of a better 00:15:04.830 --> 00:15:09.490 example, I think that a Gibson Firebird single 00:15:09.490 --> 00:15:12.250 coil will sound great over this track on this 00:15:12.250 --> 00:15:15.250 amp. Or, you know, as the writing process came 00:15:15.250 --> 00:15:18.389 along, did it kind of fuel your inspiration to 00:15:18.389 --> 00:15:22.100 try other things? Yeah, I really did. When we 00:15:22.100 --> 00:15:24.259 before we got in the studio, I didn't really 00:15:24.259 --> 00:15:26.740 do any kind of thinking about that. I kind of 00:15:26.740 --> 00:15:29.379 wanted to really keep it because I didn't know. 00:15:30.820 --> 00:15:33.080 Like, this is my first thing like this with my 00:15:33.080 --> 00:15:35.399 name on it. So I'm like, all right, I just want 00:15:35.399 --> 00:15:36.940 to go in there and just do it and get it done 00:15:36.940 --> 00:15:39.080 and keep it really spontaneous. But it did kind 00:15:39.080 --> 00:15:41.659 of like with guitar pedals and guitar when it 00:15:41.659 --> 00:15:44.299 got to guitar overdubs, then it was like, oh, 00:15:44.379 --> 00:15:46.279 that weird pedal over here that I have might 00:15:46.279 --> 00:15:49.360 be cool. I just got this. Let's try it. Right. 00:15:50.090 --> 00:15:55.049 There's a tune with a Moog solo. That is one 00:15:55.049 --> 00:15:56.769 of those old monophonic ones where you had to 00:15:56.769 --> 00:15:58.470 really be careful and hit one key at a time. 00:15:58.590 --> 00:16:01.809 I didn't do that. Seth did. But that was a real 00:16:01.809 --> 00:16:03.710 kind of spontaneous thing. It's like, I don't 00:16:03.710 --> 00:16:07.929 want a guitar solo here. And Brad has all these 00:16:07.929 --> 00:16:10.929 cool toys in his studio and knows how they all 00:16:10.929 --> 00:16:14.399 work. So there's harmonium. on it like uh he 00:16:14.399 --> 00:16:17.120 had a harmonium that he got at the krishna temple 00:16:17.120 --> 00:16:21.500 in in new york um that's on a couple tunes um 00:16:21.500 --> 00:16:24.820 so yeah we really just kind of flew by the seat 00:16:24.820 --> 00:16:28.419 of our pants the whole time but he was a good 00:16:28.419 --> 00:16:33.980 guide to have you know or i just hadn't yeah 00:16:33.980 --> 00:16:36.179 i was gonna say how important is it to have him 00:16:36.179 --> 00:16:38.460 steering the ship because a lot of times there 00:16:38.460 --> 00:16:41.679 are artists who try to do things on their own 00:16:41.679 --> 00:16:45.220 and maybe they're not able to get, you know, 00:16:45.220 --> 00:16:48.820 the, the, I don't want to say the right songs 00:16:48.820 --> 00:16:51.899 out of them, but sometimes being an artist and 00:16:51.899 --> 00:16:54.320 doing your own production, you're not as critical 00:16:54.320 --> 00:16:56.840 with your own work as maybe someone else who 00:16:56.840 --> 00:16:59.740 comes in and tries to kind of clean things up. 00:16:59.879 --> 00:17:02.480 And there's no way to tell, you know, right. 00:17:02.700 --> 00:17:05.680 You get to a certain point. I don't know. I think 00:17:05.680 --> 00:17:08.299 that's one of my strengths is being well aware 00:17:08.299 --> 00:17:12.319 of what I can't do. Okay. And I knew like even 00:17:12.319 --> 00:17:15.019 writing songs, like I, I have to have somebody 00:17:15.019 --> 00:17:17.460 writing it with me to get it. Cause I will come 00:17:17.460 --> 00:17:20.420 up with something and I'll like that part. And 00:17:20.420 --> 00:17:22.519 then I just won't know where to go with it. And 00:17:22.519 --> 00:17:25.440 then before too long, I'll despise the entire 00:17:25.440 --> 00:17:29.539 piece scrap. So I really need somebody there 00:17:29.539 --> 00:17:31.579 with me to help push it along and no, let's go 00:17:31.579 --> 00:17:33.420 this way with it. It's like, yeah, yeah, yeah. 00:17:33.500 --> 00:17:36.619 And I'm work better that way. So there was never 00:17:36.619 --> 00:17:40.640 any like. you know, self -production thought 00:17:40.640 --> 00:17:43.220 of in my head, like I'm, that's not happening. 00:17:43.500 --> 00:17:46.039 And Brad was who I wanted to work with. So luckily 00:17:46.039 --> 00:17:48.000 he was available and he liked the tunes enough 00:17:48.000 --> 00:17:50.720 to, to want to work on it with me. So yeah, very 00:17:50.720 --> 00:17:52.940 lucky to get him involved too. And he was great. 00:17:53.900 --> 00:17:59.099 Okay. Since you've recorded side one, have you 00:17:59.099 --> 00:18:02.980 already written more things for a possible future 00:18:02.980 --> 00:18:07.660 EP or maybe full length? Side two. side two yeah 00:18:07.660 --> 00:18:11.819 um there i wrote i've written a couple more songs 00:18:11.819 --> 00:18:16.180 um primarily to fill up time for the tour i'm 00:18:16.180 --> 00:18:19.299 doing okay uh because the record is 18 minutes 00:18:19.299 --> 00:18:23.720 long right and we started to get offers for shows 00:18:23.720 --> 00:18:28.680 um doing a swedish tour uh next month and it 00:18:28.680 --> 00:18:31.700 was like you know 75 minute slots and i was like 00:18:32.519 --> 00:18:34.880 shit, I got to have some more tunes because I 00:18:34.880 --> 00:18:37.279 didn't want to go play like an hour of covers. 00:18:37.759 --> 00:18:41.000 Right. And then just the record. So the record 00:18:41.000 --> 00:18:43.920 we played, some covers, of course, but also some 00:18:43.920 --> 00:18:47.720 brand new songs are in there as well. Okay. Would 00:18:47.720 --> 00:18:51.440 it be side two or side B? Would you mess with 00:18:51.440 --> 00:18:53.779 people and switch it up like that? Because we 00:18:53.779 --> 00:18:56.039 used to get side A and B as well. That's good. 00:18:57.470 --> 00:19:00.089 Funny you mentioned that. So my EP is called 00:19:00.089 --> 00:19:03.890 Side 1. So the sides of that are Side A and B. 00:19:05.269 --> 00:19:08.329 Just to stop confusion. So if I did a second 00:19:08.329 --> 00:19:11.910 EP, I suppose I will call that one Side 2. And 00:19:11.910 --> 00:19:15.890 those will be A and B as well. If I'll keep writing, 00:19:15.990 --> 00:19:17.650 if it'll be a full length or not, I'm not sure. 00:19:18.450 --> 00:19:23.549 Okay. As you mentioned with covers, would you 00:19:23.549 --> 00:19:25.950 pull from cover? Well, actually, this is kind 00:19:25.950 --> 00:19:28.250 of a dumb question because you've done all types 00:19:28.250 --> 00:19:31.529 of covers in the past. I mean, people have known 00:19:31.529 --> 00:19:34.309 you for Accept and Ace and Gene and stuff like 00:19:34.309 --> 00:19:37.150 that. But I mean, before we started recording, 00:19:37.390 --> 00:19:41.569 we kind of touched upon what you've done in Nashville 00:19:41.569 --> 00:19:46.440 with the Rock and Roll Residency. Everything 00:19:46.440 --> 00:19:49.640 amount of, of covers. I mean, you could, you 00:19:49.640 --> 00:19:53.539 wouldn't have to necessarily pull from, you know, 00:19:53.539 --> 00:19:56.680 the kiss catalog or the accept catalog. You could 00:19:56.680 --> 00:19:59.640 play anything. Yeah. Yeah. Which we're doing 00:19:59.640 --> 00:20:02.039 a couple, you know, I kind of needed to do a 00:20:02.039 --> 00:20:05.180 couple just because of who I've played with and 00:20:05.180 --> 00:20:08.079 what people know me kind of for, but there are 00:20:08.079 --> 00:20:11.339 some really left field covers that the residency 00:20:11.339 --> 00:20:15.140 wouldn't have touched. OK. So, yeah, we did really 00:20:15.140 --> 00:20:18.079 go kind of I went deep and picked the covers 00:20:18.079 --> 00:20:21.640 and they're like, really? Some of them are pretty 00:20:21.640 --> 00:20:24.099 oddball choices, but I think it'll be really 00:20:24.099 --> 00:20:26.500 cool in this setting and with these with this 00:20:26.500 --> 00:20:28.880 instrumentation. So a couple of them are going 00:20:28.880 --> 00:20:32.200 to be pretty expected, but there are some definitely 00:20:32.200 --> 00:20:35.079 not unexpected ones as well. Oh, wow. OK, cool. 00:20:36.259 --> 00:20:40.660 Talking about the residency, you've played with 00:20:40.660 --> 00:20:45.960 pretty much. a who's who there um what's the 00:20:45.960 --> 00:20:51.440 one person that you still can't kind of wrap 00:20:51.440 --> 00:20:53.619 your head around being able to play with them 00:20:53.619 --> 00:20:59.200 well there's a few um gene came and played but 00:20:59.200 --> 00:21:01.000 we were already that was when we were in his 00:21:01.000 --> 00:21:04.680 band um when we had roger glover and don airy 00:21:04.680 --> 00:21:06.900 from deep purple come down and play they came 00:21:06.900 --> 00:21:11.650 down two weeks in a row and uh That was pretty 00:21:11.650 --> 00:21:16.950 intense. We became friends with them because 00:21:16.950 --> 00:21:18.750 they were here so much recording in Nashville 00:21:18.750 --> 00:21:21.809 and our paths ended up crossing when they were 00:21:21.809 --> 00:21:26.450 doing their first record here. And so that remained. 00:21:26.630 --> 00:21:32.410 So that was pretty wild. And then also Robin 00:21:32.410 --> 00:21:37.329 Zander came. Robin literally showed up. We were 00:21:37.329 --> 00:21:41.680 done. I think we were done. And the word got 00:21:41.680 --> 00:21:44.599 around like Robin Zander's here. So he finally 00:21:44.599 --> 00:21:46.420 makes his way out. And it wasn't a venue. We 00:21:46.420 --> 00:21:50.680 did these shows at a, it was a Irish pub called 00:21:50.680 --> 00:21:53.019 Dan McGinnis. It was a great place. And the shows 00:21:53.019 --> 00:21:55.980 were on the patio with like a six inch stage 00:21:55.980 --> 00:21:58.440 and PA on sticks. It wasn't like, it wasn't a 00:21:58.440 --> 00:22:00.680 proper venue at all, but that was the charm of 00:22:00.680 --> 00:22:03.819 it. So he shows up there and he walks out and 00:22:03.819 --> 00:22:06.220 we're like, this Robin Zander's here. And we're 00:22:06.220 --> 00:22:08.630 talking to him about what we want to do. And 00:22:08.630 --> 00:22:10.990 we're like, we literally know so many cheap trick 00:22:10.990 --> 00:22:12.589 songs. He goes, I don't want to do any of that 00:22:12.589 --> 00:22:14.369 shit. I'm like, all right, what do you want to 00:22:14.369 --> 00:22:17.630 do? ACVC. We know the whole catalog. What do 00:22:17.630 --> 00:22:20.130 you want to do? Long way to the top. You got 00:22:20.130 --> 00:22:23.230 it. So we go up there and we do long way to the 00:22:23.230 --> 00:22:26.730 top. And then we ended up doing, I think, He's 00:22:26.730 --> 00:22:30.650 a Whore. Okay. Or Hot Love. We ended up doing 00:22:30.650 --> 00:22:33.769 a cheap trick song or two with him before we 00:22:33.769 --> 00:22:35.779 let him go. And then he had to come back the 00:22:35.779 --> 00:22:37.980 next week with his son, and we did Dead Flowers 00:22:37.980 --> 00:22:44.039 and some more. So, yeah, those were nuts. And 00:22:44.039 --> 00:22:49.759 plus with, like, Robin, when you hear that voice 00:22:49.759 --> 00:22:53.599 come through a monitor wedge, like, wow, he really 00:22:53.599 --> 00:22:56.440 sounds like that. That's just what he – that's 00:22:56.440 --> 00:22:59.380 him. That's the voice. Right. When he's right 00:22:59.380 --> 00:23:02.039 here, you know, and you can hear him, and he's, 00:23:02.039 --> 00:23:04.289 you know. And he's cool and he's having fun. 00:23:04.970 --> 00:23:08.109 And it's crazy when you're listening and you 00:23:08.109 --> 00:23:10.650 hear those voices coming through that, not the 00:23:10.650 --> 00:23:13.970 PA speaker, but like through the monitor back 00:23:13.970 --> 00:23:17.089 at you. It's pretty special. Yeah, cool. And 00:23:17.089 --> 00:23:19.490 who's, you know, if he's requesting something, 00:23:19.630 --> 00:23:21.910 who's going to say no to him? Yeah. And we knew 00:23:21.910 --> 00:23:23.549 at this point, we knew everything. You couldn't 00:23:23.549 --> 00:23:25.650 really stump us on most of that kind of stuff. 00:23:25.710 --> 00:23:28.170 We're like, we got you. Right. You got to cover 00:23:28.170 --> 00:23:31.420 whatever you want to do, Robin. Cool. Was there 00:23:31.420 --> 00:23:34.279 one person that you guys were trying to get to 00:23:34.279 --> 00:23:37.079 play with you that just never happened was kind 00:23:37.079 --> 00:23:39.460 of the one that got away? We always thought we 00:23:39.460 --> 00:23:42.019 were going to get Steven Tyler. Oh, wow. Okay. 00:23:42.059 --> 00:23:45.519 Because we had a couple ends with him that were 00:23:45.519 --> 00:23:49.960 regulars at our show. And we always thought that, 00:23:49.980 --> 00:23:52.799 and he was in town a lot at that point. Right. 00:23:52.880 --> 00:23:55.140 So he's going to show up. We know he's going 00:23:55.140 --> 00:23:57.400 to show up. He never did. So that's the one that 00:23:57.400 --> 00:24:02.470 we kind of never did get. Okay. Cool. Yeah. Cause 00:24:02.470 --> 00:24:05.230 there, um, I guess Brad lives down there now. 00:24:07.089 --> 00:24:09.609 Brad's yeah. Brad's been here for a while. I 00:24:09.609 --> 00:24:11.450 think he's, and I don't know if Steven still 00:24:11.450 --> 00:24:14.109 has his place here. Oh, okay. He may not, but 00:24:14.109 --> 00:24:16.309 I know he did cause he did a kind of a country 00:24:16.309 --> 00:24:19.210 record for a while and he was here a lot. Um, 00:24:19.430 --> 00:24:21.789 and, uh, I think, I don't think anybody else 00:24:21.789 --> 00:24:25.170 from, I think Joe's in Florida. So yeah, maybe 00:24:25.170 --> 00:24:29.329 guys are all spread around. Okay. And with regards 00:24:29.329 --> 00:24:33.150 to Accept, recently it was mentioned that Accept 00:24:33.150 --> 00:24:37.670 is going back to a two guitarist format. What 00:24:37.670 --> 00:24:41.109 are your feelings on that? And is there anything 00:24:41.109 --> 00:24:44.589 you can share regarding that? I miss Uwe. Uwe 00:24:44.589 --> 00:24:47.789 was great. I love having him. I just miss him. 00:24:49.500 --> 00:24:52.440 personally being around too on stage just being 00:24:52.440 --> 00:24:54.640 around and going to get ice cream with him and 00:24:54.640 --> 00:24:57.599 stuff that was we had had a really good time 00:24:57.599 --> 00:25:01.220 I've had to rethink the parts because we did 00:25:01.220 --> 00:25:03.779 have everything divided up to the three for the 00:25:03.779 --> 00:25:06.440 three of us and there were some definite some 00:25:06.440 --> 00:25:09.980 songs were definite like okay you that me that 00:25:09.980 --> 00:25:12.839 you that you know it was very thing so now I've 00:25:12.839 --> 00:25:15.779 got to kind of combine some of the things that 00:25:15.779 --> 00:25:21.160 were split up between the three of us. So kind 00:25:21.160 --> 00:25:24.400 of Wolf takes his and I kind of fill in like 00:25:24.400 --> 00:25:26.900 Wolf kind of did what he normally always did. 00:25:26.980 --> 00:25:28.799 And then Uwe and I kind of worked on dividing 00:25:28.799 --> 00:25:33.099 everything up. So I'm kind of like recombining 00:25:33.099 --> 00:25:39.880 those parts now. Okay. Yeah. Yeah. As we almost 00:25:39.880 --> 00:25:43.200 dropped the ball at the beginning of this interview 00:25:43.200 --> 00:25:47.339 with Wolf. was an interview that I, I did a full 00:25:47.339 --> 00:25:50.940 40 minute interview with Wolf and it never recorded. 00:25:51.059 --> 00:25:55.500 And it was the software I use just didn't work. 00:25:55.940 --> 00:25:59.140 Oh no. With the interview. I was super happy. 00:25:59.240 --> 00:26:02.720 I go to playback corrupted file. I'm like, Oh, 00:26:03.119 --> 00:26:07.660 a bummer. Yeah. But one of those things to remember, 00:26:07.799 --> 00:26:11.039 I guess that's a good interview. Lots of stories 00:26:11.039 --> 00:26:15.809 with that guy. Yeah, absolutely. Yeah. Having 00:26:15.809 --> 00:26:20.890 worked with both Ace and Gene, what's the one 00:26:20.890 --> 00:26:23.769 song that you suggested to either one of them 00:26:23.769 --> 00:26:26.890 that you never thought that they would have listened 00:26:26.890 --> 00:26:34.549 to you and covered? Ace pretty much didn't get, 00:26:34.650 --> 00:26:37.009 we didn't get to do any, we didn't get any of 00:26:37.009 --> 00:26:40.849 them across. Ace was a very creature of habit 00:26:40.849 --> 00:26:44.980 and didn't like to. venture too far outside of 00:26:44.980 --> 00:26:48.759 his his uh his kind of set list that he kind 00:26:48.759 --> 00:26:51.819 of stuck to with gene however gene was down with 00:26:51.819 --> 00:26:55.779 everything um and i had suggested love theme 00:26:55.779 --> 00:27:00.859 from kiss we ended up doing oh wow so uh yeah 00:27:00.859 --> 00:27:02.799 i didn't think that was gonna that was gonna 00:27:02.799 --> 00:27:05.880 go and we worked it out it was kind of we we 00:27:05.880 --> 00:27:08.019 did it right before we did it kind of into war 00:27:08.019 --> 00:27:12.400 machine like we kind of didn't end it And it 00:27:12.400 --> 00:27:15.740 was kind of a funny story. We only rehearsed 00:27:15.740 --> 00:27:17.660 twice with Gene, once at the beginning of the 00:27:17.660 --> 00:27:19.339 first year and once at the beginning of the second 00:27:19.339 --> 00:27:22.619 year with him. And this is our second rehearsal 00:27:22.619 --> 00:27:25.500 with him, so second year, when I kind of suggested 00:27:25.500 --> 00:27:28.079 that song. And he was like, we can do this. This 00:27:28.079 --> 00:27:31.220 is good. So we work it out and play it through, 00:27:31.299 --> 00:27:35.400 and it sounds great. And he goes, he would act 00:27:35.400 --> 00:27:38.440 like sometimes, and he wasn't presumptuous about 00:27:38.440 --> 00:27:41.900 this, he would act like we didn't know. Every 00:27:41.900 --> 00:27:43.700 single thing about Kiss, because we all did. 00:27:43.859 --> 00:27:47.539 And he goes, you know, we used to play that song 00:27:47.539 --> 00:27:49.779 before a song called Acrobat. And we're like, 00:27:49.900 --> 00:27:55.819 we know. That song never had a form. And we go, 00:27:55.859 --> 00:27:58.220 really? I was like, we all knew the tune. And 00:27:58.220 --> 00:28:00.039 he goes, yeah, really? He goes, we always would 00:28:00.039 --> 00:28:02.680 kind of, it was all eye contact. And we're like, 00:28:02.859 --> 00:28:08.980 we know it. So the next time we did Love Theme, 00:28:09.180 --> 00:28:12.720 we went into Acrobat. okay so we played the whole 00:28:12.720 --> 00:28:14.420 thing we played acrobat with gene in rehearsal 00:28:14.420 --> 00:28:17.240 and it didn't get recorded because i recorded 00:28:17.240 --> 00:28:20.660 a lot of the rehearsals um not to like secret 00:28:20.660 --> 00:28:22.079 or anything because he knew it but i was like 00:28:22.079 --> 00:28:23.839 if we worked up an arrangement or something it'd 00:28:23.839 --> 00:28:26.279 be like okay i'm gonna record this so i went 00:28:26.279 --> 00:28:28.940 back and i found that day and i recorded a lot 00:28:28.940 --> 00:28:31.480 of the rehearsal but i didn't get acrobat oh 00:28:31.480 --> 00:28:34.259 wow i was so bummed about that because i really 00:28:34.259 --> 00:28:36.599 wanted to get that on tape because he probably 00:28:36.599 --> 00:28:41.609 hadn't played that since 74 right maybe So, yeah, 00:28:41.690 --> 00:28:44.589 he still kind of knew it. That's that's crazy. 00:28:44.630 --> 00:28:47.430 It seems like he really enjoyed playing with 00:28:47.430 --> 00:28:50.329 you guys. And even with this last iteration of 00:28:50.329 --> 00:28:54.430 band that he was touring with, it seemed like, 00:28:54.430 --> 00:28:57.089 I don't know, like he was free to do whatever 00:28:57.089 --> 00:28:59.390 he wanted. And even though he's known for being 00:28:59.390 --> 00:29:01.509 the demon and all the accoutrements with Kiss 00:29:01.509 --> 00:29:03.730 and everything, it seemed like at the end of 00:29:03.730 --> 00:29:07.210 the day, he loves just being a musician. He loves 00:29:07.210 --> 00:29:10.500 playing and being with his people. Yeah. He liked, 00:29:10.500 --> 00:29:13.599 he really liked being a guy in the band. Right. 00:29:13.799 --> 00:29:17.160 With him. We were with him all the time. We all 00:29:17.160 --> 00:29:19.880 traveled together at the time. There was no crew. 00:29:19.980 --> 00:29:23.519 So we just, the five of us, you know, arrived 00:29:23.519 --> 00:29:25.519 together, rode to the venue together, to the 00:29:25.519 --> 00:29:29.359 hotel, ate catering together. And he was fantastic. 00:29:30.240 --> 00:29:35.240 He was just a great hang. Easy to talk to, fun 00:29:35.240 --> 00:29:39.250 to talk to. Yeah, he was. And musically. Very 00:29:39.250 --> 00:29:44.130 good. And really adventurous because he would 00:29:44.130 --> 00:29:46.569 be, he was down with pretty much anything we 00:29:46.569 --> 00:29:48.970 suggested, you know, when it was time to do some 00:29:48.970 --> 00:29:51.130 deep cuts, he came to us and what should we do? 00:29:51.589 --> 00:29:53.369 And we're like, all right, this is what we wanted 00:29:53.369 --> 00:29:56.029 to do with this thing the whole time. So we always, 00:29:56.089 --> 00:29:58.509 we never stopped suggesting songs to him. We 00:29:58.509 --> 00:30:00.990 always kept, kept it fresh. I don't think we 00:30:00.990 --> 00:30:04.369 did the same set list twice. Okay. It was at 00:30:04.369 --> 00:30:07.829 least one thing was different. um so it always 00:30:07.829 --> 00:30:10.809 uh kept it fun and exciting and he would take 00:30:10.809 --> 00:30:15.410 people would shout out stuff and you couldn't 00:30:15.410 --> 00:30:20.970 really stump us and so we would play a verse 00:30:20.970 --> 00:30:23.210 and a chorus of whatever they would shout out 00:30:23.210 --> 00:30:25.789 and it was that was always fun too he was very 00:30:25.789 --> 00:30:27.930 brave that he's very adventurous and brave that 00:30:27.930 --> 00:30:32.670 way yeah that's interesting after playing you 00:30:32.670 --> 00:30:35.990 know, the same set list for years without varying 00:30:35.990 --> 00:30:41.410 that much that he, he, you know, he gets it. 00:30:41.430 --> 00:30:43.750 He gets it that the diehards want to hear all 00:30:43.750 --> 00:30:46.789 this, you know, and that's who was there. Like 00:30:46.789 --> 00:30:49.849 when we, you know, in the States and in Europe, 00:30:49.869 --> 00:30:52.150 we played bigger shows, but it was still diehards. 00:30:52.329 --> 00:30:56.230 And we still threw in, you know, she's so European 00:30:56.230 --> 00:31:01.079 charisma. you know, got love for sale, things 00:31:01.079 --> 00:31:03.759 like that. We're always ladies and waiting. We 00:31:03.759 --> 00:31:07.119 did a couple of times, like we'd throw in these 00:31:07.119 --> 00:31:09.700 tunes and, and they'd be there for a couple of 00:31:09.700 --> 00:31:11.920 shows, then go away, then come back in. And so, 00:31:12.000 --> 00:31:14.799 yeah, it was always revolving. That's cool. Yeah. 00:31:15.319 --> 00:31:18.099 Yeah. You were out in Vegas when they did the, 00:31:18.099 --> 00:31:21.980 um, landlocked cruise. Uh, what was that like 00:31:21.980 --> 00:31:24.799 to be part of? I was not out there. Jeremy and 00:31:24.799 --> 00:31:30.519 Ryan were, uh, yeah, I was, uh, That was during 00:31:30.519 --> 00:31:34.480 the Accept Tour. Okay. We were on tour with Queensryche 00:31:34.480 --> 00:31:36.940 this past fall when that was going on. Okay. 00:31:37.019 --> 00:31:40.380 So I missed that one. So I actually researched 00:31:40.380 --> 00:31:47.720 that, and I did Phil Schau's Kiss, Landlocked, 00:31:47.720 --> 00:31:51.299 Las Vegas. I did the dates, everything. And sure 00:31:51.299 --> 00:31:53.660 enough, Google comes up with a picture of you 00:31:53.660 --> 00:31:55.480 and this and that, and I'm like, all right, so 00:31:55.480 --> 00:31:59.339 I can ask this. Sorry. Sorry. It was awesome. 00:32:06.379 --> 00:32:09.720 But I did a lot of the cruises. I did a lot of 00:32:09.720 --> 00:32:12.660 the actual cruise cruises, and those were fun. 00:32:13.220 --> 00:32:18.700 Yeah, okay. There's material that was supposedly 00:32:18.700 --> 00:32:21.339 recorded before Ace passed away. He was working 00:32:21.339 --> 00:32:24.579 on Origins, and I know that you had recorded 00:32:24.579 --> 00:32:28.000 on one of the Origins albums. Number two, yeah. 00:32:28.460 --> 00:32:31.839 Yeah, I know with what he was recording. Well, 00:32:31.940 --> 00:32:34.599 I know I'm saying I know I don't really know. 00:32:34.660 --> 00:32:39.559 I'm guessing that due to the process, the vocals 00:32:39.559 --> 00:32:41.680 is probably the last thing that was going to 00:32:41.680 --> 00:32:45.220 be worked on with what had been recorded already. 00:32:45.299 --> 00:32:49.220 Do you know if any of that will ever come out? 00:32:49.420 --> 00:32:52.240 Man, I haven't thought about that because but 00:32:52.240 --> 00:32:55.200 I did hear. that he, you know, he had said that 00:32:55.200 --> 00:32:57.119 he's working on stuff and there was an origins 00:32:57.119 --> 00:32:59.599 and it was always working on something. Right. 00:32:59.859 --> 00:33:01.859 You know what? I haven't thought about that since 00:33:01.859 --> 00:33:06.140 he passed. I have no clue. I've not, I've not 00:33:06.140 --> 00:33:08.240 heard of it and didn't even, I didn't pop it 00:33:08.240 --> 00:33:10.619 by head, but there is, there's something there. 00:33:10.819 --> 00:33:13.500 Yeah. Yeah. Cause he was always, he had something 00:33:13.500 --> 00:33:16.539 always, he had some project always. He was always 00:33:16.539 --> 00:33:19.440 going on in the studio. Yeah. I'm hoping that 00:33:19.440 --> 00:33:22.420 there's something that. you know, still comes 00:33:22.420 --> 00:33:25.480 out. I mean, within the music business, although 00:33:25.480 --> 00:33:28.279 there's a finality to life, there's so many careers 00:33:28.279 --> 00:33:31.940 that continue on after people pass away. So how 00:33:31.940 --> 00:33:36.180 much did Jimi Hendrix record? Good God. Stuff 00:33:36.180 --> 00:33:38.420 coming out. Still stuff coming out. It's like 00:33:38.420 --> 00:33:41.619 the guy recorded for three years. Yeah. It's 00:33:41.619 --> 00:33:45.240 unreal. You know, Prince has said, well, Prince 00:33:45.240 --> 00:33:47.900 had a longer career the same way. And, you know, 00:33:47.920 --> 00:33:50.599 you know. there's archives of Van Halen stuff 00:33:50.599 --> 00:33:54.019 that you never, you know, so all those guys did 00:33:54.019 --> 00:33:56.579 was record, but the Hendrix blows me away. How 00:33:56.579 --> 00:34:00.519 in like three or four years, that guy still has 00:34:00.519 --> 00:34:03.160 new albums coming out. Yeah, absolutely. That's 00:34:03.160 --> 00:34:06.619 crazy. Yeah. Yeah. With the, with the Van Halen 00:34:06.619 --> 00:34:09.340 stuff though, I remember seeing Eddie in interviews 00:34:09.340 --> 00:34:11.280 saying, well, there's a reason why this stuff 00:34:11.280 --> 00:34:14.739 hasn't come out. So there's part of me that wants 00:34:14.739 --> 00:34:17.760 to hear it. And there's part of me that says, 00:34:17.860 --> 00:34:20.059 you know, well, if he didn't want it to come 00:34:20.059 --> 00:34:22.619 out, then it, you know, I don't know. It's kind 00:34:22.619 --> 00:34:25.079 of selfish to, to want to hear it afterwards. 00:34:25.659 --> 00:34:28.280 Right. Some stuff is shelved for a reason, even 00:34:28.280 --> 00:34:32.500 if it is Van Halen, you know, some stuff that, 00:34:32.500 --> 00:34:36.420 that even, you know, like the Beatles did, didn't 00:34:36.420 --> 00:34:39.239 make, you know, left it was up on the cutting 00:34:39.239 --> 00:34:43.179 room floor, so to speak, you know, a lot of that 00:34:43.179 --> 00:34:47.179 stuff we've heard. uh now maybe not through official 00:34:47.179 --> 00:34:49.199 releases but you know it's been bootleg and everything 00:34:49.199 --> 00:34:54.800 but yeah i mean even even the the greats put 00:34:54.800 --> 00:34:58.239 out some stuff that's not as great i won't say 00:34:58.239 --> 00:35:00.019 shit because it's probably still pretty great 00:35:00.019 --> 00:35:04.260 but uh it's still not as great and i can understand 00:35:04.260 --> 00:35:07.519 them going well that's not quite up to up to 00:35:07.519 --> 00:35:11.650 snuff yeah you know i get that Yeah. And we know 00:35:11.650 --> 00:35:13.690 that Ace had so much stuff, especially in the 00:35:13.690 --> 00:35:17.769 80s before the first Fraley's Comet album came 00:35:17.769 --> 00:35:21.269 out. You know, there's and I mean, on the last 00:35:21.269 --> 00:35:24.050 album that he did with Steve Brown, he did one 00:35:24.050 --> 00:35:27.230 of those songs. But there's still there's a ton 00:35:27.230 --> 00:35:30.670 of songs that he had demoed that just never seen 00:35:30.670 --> 00:35:34.010 a formal release. So it'll be interesting to 00:35:34.010 --> 00:35:37.489 see how that's all handled. Yeah, I guess once 00:35:37.489 --> 00:35:40.170 that happens, it's the family. I think Wolfgang 00:35:40.170 --> 00:35:42.849 is the kind of keeper of the archive now for 00:35:42.849 --> 00:35:46.809 Van Halen. Yeah, I guess it's just the family's 00:35:46.809 --> 00:35:54.429 duty now. Okay. So you've got some dates in Scandinavia 00:35:54.429 --> 00:35:59.829 coming up? Yeah, all of March. I'm doing Sweden 00:35:59.829 --> 00:36:04.179 and Norway. And I leave Thursday. I go over there 00:36:04.179 --> 00:36:06.500 a few weeks early, we're rehearsing up and, uh, 00:36:06.579 --> 00:36:10.960 it's 10 shows in Sweden and one in Norway. Okay. 00:36:11.480 --> 00:36:14.940 Yeah. Who's going to be playing with you. It's, 00:36:14.940 --> 00:36:19.460 um, from the helicopters and, uh, in tuned, uh, 00:36:19.500 --> 00:36:23.440 Nikkei and the shown. Okay. Uh, and, uh, you, 00:36:23.519 --> 00:36:25.119 from the head of your helicopters fan or know 00:36:25.119 --> 00:36:28.199 about them. Nikkei is the lead guitar player, 00:36:28.219 --> 00:36:31.340 lead singer, uh, driving force of that band. 00:36:31.500 --> 00:36:35.639 And, um, and he's playing drums for me okay uh 00:36:35.639 --> 00:36:37.320 so yeah he's a dream was that he was the drummer 00:36:37.320 --> 00:36:40.679 in entombed so yeah he's the drummer first um 00:36:40.679 --> 00:36:44.619 so uh and then on base is matt's reidstrom that 00:36:44.619 --> 00:36:47.820 i'm still pronouncing his name the rolled r is 00:36:47.820 --> 00:36:51.340 so hard for us to do probably not for you you're 00:36:51.340 --> 00:36:54.829 probably pretty good at it But for, yeah, it's 00:36:54.829 --> 00:36:57.630 tough. Matt's is great. Matt's is in a ton of 00:36:57.630 --> 00:37:01.250 stuff. And Jesper Lindgren is on guitar with 00:37:01.250 --> 00:37:04.289 me. He's in a band called Velvet Insane. And 00:37:04.289 --> 00:37:06.269 I've known all these guys for years and they're 00:37:06.269 --> 00:37:09.349 friends and they were all available amazingly 00:37:09.349 --> 00:37:12.010 enough for March. So I'm extremely fortunate 00:37:12.010 --> 00:37:15.489 to have these guys with me. So it's just me flying 00:37:15.489 --> 00:37:18.610 over and I'm meeting them and yeah, just kind 00:37:18.610 --> 00:37:20.369 of being based in Stockholm for the next two 00:37:20.369 --> 00:37:26.250 months. Oh, wow. Cool. How much of you going 00:37:26.250 --> 00:37:28.949 over and playing with them is also hoping that 00:37:28.949 --> 00:37:31.690 there's some type of connection or sparks that 00:37:31.690 --> 00:37:33.489 maybe you guys can write something together? 00:37:34.570 --> 00:37:37.809 That's totally possible. I've actually got a 00:37:37.809 --> 00:37:41.530 couple of really rough ideas that aren't even 00:37:41.530 --> 00:37:43.349 on acoustic work tape yet. I've got a couple 00:37:43.349 --> 00:37:46.469 acoustic work tape finish tunes that we're going 00:37:46.469 --> 00:37:49.440 to work up as a band. Um, but I've got one or 00:37:49.440 --> 00:37:51.960 two that are still in the working phase and, 00:37:52.019 --> 00:37:56.099 um, and yeah, that's totally doable and that 00:37:56.099 --> 00:38:00.460 would be great. So there is, uh, there's a Swedish 00:38:00.460 --> 00:38:04.199 tour seven inch that is those guys and me on 00:38:04.199 --> 00:38:06.539 it. Cause the, uh, the record obviously isn't, 00:38:06.539 --> 00:38:10.260 um, but it was an older tune of mine, uh, that 00:38:10.260 --> 00:38:12.099 we recorded that we did a Beatles cover. So, 00:38:12.159 --> 00:38:15.059 um, but yeah, I wouldn't, I'd totally be cool 00:38:15.059 --> 00:38:19.630 with writing a tune. We definitely have the time 00:38:19.630 --> 00:38:26.730 to fill on the show. With all the songs on the 00:38:26.730 --> 00:38:29.250 record, everything is pretty short to the point. 00:38:31.050 --> 00:38:34.170 But live, there's room for some of these to be 00:38:34.170 --> 00:38:36.429 stretched out and really have fun and expand 00:38:36.429 --> 00:38:38.730 on them. We're going to do all that stuff as 00:38:38.730 --> 00:38:43.429 well. Cool. Where should people go to purchase 00:38:43.429 --> 00:38:47.360 Side 1? And ensure that the most amount of money 00:38:47.360 --> 00:38:50.960 gets back into your pockets. I believe that would 00:38:50.960 --> 00:38:55.599 be going to Sound Pollution. That's the distribution 00:38:55.599 --> 00:39:01.440 company. And if you go to my Instagram page, 00:39:01.800 --> 00:39:06.440 there's a link in my bio. And there's a Swedish 00:39:06.440 --> 00:39:10.619 store. And there is a rest of the world store. 00:39:11.210 --> 00:39:14.329 for sound pollution so the record is not out 00:39:14.329 --> 00:39:18.150 yet it comes out february 27th right so they 00:39:18.150 --> 00:39:21.510 can go pre -order it now as well as uh as well 00:39:21.510 --> 00:39:25.289 as the the seven inch single with the swedish 00:39:25.289 --> 00:39:27.889 band so that's that's gonna be for sale as well 00:39:27.889 --> 00:39:31.610 on the store and the single uh run away from 00:39:31.610 --> 00:39:36.150 you is out now on streaming and on youtube there's 00:39:36.150 --> 00:39:40.039 a video as well excellent okay And where should 00:39:40.039 --> 00:39:44.960 people go to keep up with you? The socials, Instagram 00:39:44.960 --> 00:39:49.079 and Facebook. I'm kind of more active on Instagram 00:39:49.079 --> 00:39:51.340 and everything I do on there kind of seeps over 00:39:51.340 --> 00:39:54.599 to my Facebook page. So those are the best places. 00:39:54.780 --> 00:39:57.940 There's no website at the moment. I don't really 00:39:57.940 --> 00:39:59.679 know if there's a good reason for a website. 00:40:00.880 --> 00:40:02.619 It's like everything's already there for you. 00:40:03.699 --> 00:40:08.429 But yeah, as soon as I'm over there. In rehearsals, 00:40:08.429 --> 00:40:10.389 I'll be posting more and pushing the shows more. 00:40:10.510 --> 00:40:12.730 So I'm pretty active on there. I'm pretty visible 00:40:12.730 --> 00:40:18.989 on there. Okay. If it's not music related, it's 00:40:18.989 --> 00:40:22.809 just complete absurd stupidity. So please forgive 00:40:22.809 --> 00:40:28.289 me. But that's what my page is. Well, you're 00:40:28.289 --> 00:40:32.750 up front about it. Yes. I'm coming clean. I have 00:40:32.750 --> 00:40:37.480 no shame about it either. Excellent. I appreciate 00:40:37.480 --> 00:40:42.000 your time today. I enjoy the EP and hope that 00:40:42.000 --> 00:40:45.000 this helps turn some people on to it as well. 00:40:45.119 --> 00:40:48.280 And hopefully some of the shows. Thanks for having 00:40:48.280 --> 00:40:50.559 me, Victor. Really appreciate it. Yeah, absolutely. 00:40:51.360 --> 00:40:54.480 Have a good rest of your day, sir. Likewise, 00:40:54.659 --> 00:41:18.719 man. Have a good one. Thanks, Victor. Go to signalsfrommars 00:41:18.719 --> 00:41:21.380 .com for more information. This concludes our 00:41:21.380 --> 00:41:21.579 show.