Hey, this is Doug Aldrich with the Dead Daisies,
and I'm on My Weekly Mixtape with Brian Colburn.
Welcome to My Weekly Mixtape, a podcast that
takes the classic mixtape approach to building
a modern playlist. I'm your host, Brian Colburn.
Tonight, I'm excited to welcome Doug Aldrich
of the Dead Daisies to the program. Now, I had
the pleasure of speaking with Doug many moons
ago back on the Toon Styles podcast, so I'm really
grateful to have the opportunity one more time.
Doug, welcome to the show, my friend. Hey, thanks,
Brian. Thanks for having me. Good to talk to
you again. Likewise. It's been about five years
or whatever, something like six years. It seems
so long ago, but like yesterday at the exact
same time. But with that, this is technically
your first time on my weekly mixtape. So I am
going to start by asking you my first time guest
question, which is what does the word mixtape
mean to you? I mean, mixtape to me means that
I'm going to put together a tape that basically
covers certain things, feelings that I have or
certain agendas that I've got going on. So like
I might have my. relaxing mixtape that's what
it means to me is i wouldn't take all my favorite
stuff and put it on one mixtape so much unless
it was just to have a document of it because
when i'm at the gym or something i want to listen
to to one thing when i'm in bed kind of chilling
i go deep down into some rabbit holes where it's
like i i want to relax you know and so they're
very different but my mixtape would be um a representation
of whatever mood i'm in Awesome. Well, tonight
we're going to take a deep dive into the Dead
Daisies' brand new album, Looking for Trouble,
which is the band's hat tip to the blues, featuring
covers of classic tracks from Robert Johnson,
John Lee Hooker, and Muddy Waters, just to scratch
the surface. Now, starting at a higher level
here, could we start by talking about where your
love of the blues genre maybe started? Absolutely.
I mean, I think that Speaking for probably the
guys in the band, maybe Michael Devon's an exception
because he's very astute when it comes to blues
and history. But the rest of us got exposed to
blues music through the artists that we grew
up listening to, which were rock artists that
were influenced by them. So for me, the first
one was probably, you know, getting exposed to
stuff like Hendrix or Jeff Beck. And also definitely
Led Zeppelin, you know, Led Zeppelin. I think
the song Rock and Roll was on the radio at the
time. And I went, I think the first Zeppelin
album I got was Zeppelin II. And that's got some
really, you know, some, the Lemon song, which
was taken from My Killing Floor or something.
A whole lot of love was like a Willie Dixon thing
or a Howlin' Wolf thing. I can't remember, but
those were all. heavily influenced by blues.
And that was the first experience to it was through
those bands and the stones too. Right. Oh, I
can't forget them. Yeah. Well, obviously groups
you were a part of such as white snake always
had their finger on the pulse of the blues, especially
in their earliest works, but it might not be
as obvious if you're listening to say Dio or
lion. So how would you say the blues as a whole
has been part of your career in music? even if
it's not front and center as we're hearing on
Looking for Trouble? I think that, you know,
just naturally when I was a kid learning to play
music, that you end up jamming a 1 -4 -5 chord
progression when you're playing with people.
That's kind of the go -to jam is, okay, let's
just play, you know. Somehow I learned a very
simple. And then you would go to the four chord.
And so there might be a song on a Lion record
or even a Whitesnake record or whatever, where
you basically start on some kind of a, say, for
example, A minor, and then you go to D minor
and then you go to E. And it is blues based.
And so those were still, even though Lion, for
example, was a rock band and we were influenced
by bands like Zeppelin and Whitesnake and Thin
Lizzy. there was you know naturally just some
blues progressions that would come out you know
i mean all the rock and roll stuff kind of really
did originate from that blue stuff with chuck
berry and elvis kind of rocking it up in the
very beginning so now as we start to dive into
the actual album looking for trouble can you
talk about where this idea came from especially
since the band's last album light em up just
came out in 2024 yeah it was like a bonus that
happened during the writing of let him up we
wanted to go right in a different environment
we wanted to meet together to write first of
all it's important for the dead daisies we do
everything together and so let's find a place
where we can go meet we could have been in europe
it could have been anywhere but we decided let's
go down south the studio has a lot of history
they had everything we need just bring a guitar
and let's go down there and we'll just write
and that's what we did but During that period,
you know, and that studio, Fame Studios, where
we recorded it. And it's interesting, we did
not record Light Him Up there, but we were there
to write Light Him Up. And during the period
of being there, we realized how much amazing
history had been going in that studio, starting
with Aretha Franklin and Wilson Pickett, Etta
James. One of the ways a studio like that can
stay afloat is they do a lot of tours. They'll
have people come in and they'll do 20 to 60 people
every day. And we'd take a break for dinner.
They'd have the tour come in. We'd be in the
control room listening to these stories about,
hey, right over here is where Dwayne Ullman shook
the hands of Wilson Pickett. And this is the
piano where Aretha Franklin first sang, I've
Never Loved a Man. And then it started talking
about down south and the crossroads. what it
was like back then we started getting inspired
listening to some stuff and just even though
we were working on our rock record at night we'd
after a couple glasses of wine or whatever we
just want to have a jam you know have a play
and we'd start jamming on some of these songs
and that led to well let's what if we did it
a little differently you know what if we took
that version like for example crossroads of course
we played it the cream way but then we decided
later like well, let's listen to the original,
you know? And then we would take something and
maybe rock it up in a different way. Like the
way that Cream rocked it up was really cool,
but we wanted to do it a little different. So
we kind of fell into a groove that was very similar
to Celebration Day by Zeppelin. And that's where
the groove came from for our version of Crossroads.
And then we ended up jamming on it and deciding,
hey, let's add a part. There's no rules here.
Let's just have some fun, you know. I'm basically
making a long story short because there was a
lot of times we'd go out there and just jam half
of the song or whatever. But eventually Marty
said, hey, why don't you guys come in for a second?
And he played us what we were doing. And it was
like, wow, that's cool, man. and it just led
to let's throw some stuff down we don't know
maybe we'll use it for a soundtrack or something
or you know just for social media or maybe we'll
do a little i don't know but it ended up becoming
a project and all the stuff that we touched on
we tried to really do it in our own way and put
our own stamp on it all the songs from crossroads
to uh one of the ones that we really went deep
on was black betty we didn't want to do the ram
jam version that was like a rock and roll it
was really rock and rolled out or heavy almost
heavy you know so we broke it down we listened
to the original it was just a vocal by lead belly
and it was it sounded hauntingly like a work
song you'd sing out in the fields when you're
working and then that led to our version we just
found something that groove that fell into place
for that Now, Doug, maybe you can help me out
here. On the album, you have Sarah Tomek playing
drums, but with the band as the full -time drummer
and on the live performances that I've seen from
some of the songs from this album, you have Tommy
Clefetos. The whole story quickly is we went
down to Muscle Shoals to write. And so we were
doing pre -production with Sarah Tomek, who Sarah
plays with Steven Tyler, and she's got a lot
of different artists that she works with. And
Marty suggested her. We didn't have a drummer
at the time. Tommy was doing something else.
And he said, let's just get Sarah. Sarah can
play anything. We're just for writing. We're
just making pre -production demos. But then when
we started tracking the blues stuff, she sounded
great. And we didn't know it was going to be
an album. So she is the drummer on the blues
album. And she did a fantastic job. And she can
basically, you know, we were throwing all kinds
of ideas at her. Or she'd come up with ideas.
It was just perfect for the songs that we were
doing. It felt great. We didn't even think anything
of it. So it's Sarah Tomek on it. Tommy Clefetis
has been playing it live with us, playing the
blues stuff that we did live. And he's an incredible
drummer. I mean, there's no question. He's just
insane. But she did a great job. She really worked
super fast. We knocked this thing out in under
a week, you know? Really? Yeah. I mean, we were
only there for a week. we didn't start really
tracking any blue stuff for a couple of days
in, you know, we, we got the bug to go out and
play a little bit, you know? So the groove that
she brings to this track takes it in, like you
said, a completely different direction than the
Ram jam or even the spider bait versions. And
now I'm going to say this with the highest of
compliments to me, the dead daisies take on black
Betty reminds me of that early seventies ZZ top
swagger. Was that kind of what the band was honing
in on? Yeah, it's kind of the way the guitar
part goes. It was not on purpose, but now that
you mention it, what was that? Waiting for the
bus. Waiting on the bus. That's kind of the groove
that I just started playing, thinking like, okay,
I'm going to find something that's, you know,
with Black Betty, we wanted to do our own thing.
I started playing that, and then I started playing
the melody with it, the way that even Ram Jam
or Lead Belly, just the melody, playing it on
the guitar at the same time as doing that rhythm,
kind of in a blues fashion. And so, yeah, that's
how it started. And I didn't even think about
it, but it is kind of a ZZ Top rip. Well, then
let's dive even deeper into the blues here with
the band's take on B .B. King's The Thrill Is
Gone. Well, one thing's for certain, the band
did not shy away from tackling the songs that
are pretty much ingrained in everyone's musical
DNA. Did that present a challenge when you were
trying to put your own spin on a song like this?
Thrill is gone. The B .B. King version is perfect.
How are you going to beat that? It's like impossible.
It's beautiful. I wouldn't even want to mess
with it because it's just perfect. It is. But
then... Karabi goes, hey, why don't we do it?
Kind of hit that song in a way like Zeppelin
did T for One or Since I've Been Loving You,
which is in a 6 -8 feel. So we did it like that.
And it became different. It became ours. And
that was one where it was at the end of the day.
We were just trying to get through our arrangement
of how we were going to do it. I had a little
different progression at the very end of the
song. I thought actually we could put that progression
as a solo section in the song. But Marty goes,
no, let's keep it for the end. And we were just
kind of work out that arrangement and we put
it down and he goes, okay, cool. Let's hit it
fresh in the morning. And he goes, take home
an MP3 and let's listen to it. And everybody
learn what you did and we'll come back and hit
it. And I listened to it that night and in the
morning and I was like. I don't know. I can't
relearn. This was played by feel. I wasn't even
thinking, you know, I was just like reacting
to a vocal or to whatever, a drum fill. And I
told Marty, I go, I don't know if I can do it
any better. That's about as good as I could possibly
do it. I can't, I can play it differently, but
I was afraid. I was nervous. that it was going
to get worse and worse every time i was really
afraid to go back to that song it's hard to put
into to have you understand but i was like i
did not want to play it again i was like wow
i hit some there was some licks on there that
i've never done before and i just didn't know
where it came from so i didn't want to go back
to it and he he made me go back to it and play
it a couple more times but in the end he goes
look the if you like the original the best let's
just keep that there was a couple of chords during
the under the vocal that was a little out of
tune because we were just rolling it was just
pre -production and i didn't my guitar was a
little like a chord that normally you could hear
it i didn't notice that it was out of tune so
we fixed that and that's the take the guitars
the first take the first time i ever got through
the arrangement wow well we've mentioned his
name a couple times and i want to bring some
clarification to marty And for those people that
don't know, that's Marty Fredrickson, who works
with the Dead Daisies on the last album as well
as this one. Can you talk about the influence
he had on these sessions and maybe some of the
renditions you were working on? Well, Marty's
a very inspiring person in the studio. He's pretty
low -key. He's really chill, man. He just kind
of hangs out in the back and just go like, he
won't say much, but then he'll just be like,
hey, man. What do you think about this? What
if you play it like this? You just say that.
That's a good idea. All right. Yeah, let me try
that. Yeah, man, go try that. He's just kind
of like your big brother that's cooler than you.
And it was many times. And I was pretty freaked
out a couple of times because I was like, man,
I don't even know the song yet. And he's like,
it sounds great. Don't even think. Just play.
And he gave me the confidence to do that and
to not worry about the mistakes. There's mistakes
on the record we all made, you know, and it's
like, John, probably half of those vocals are
one take. When we were trying to work up our
version of the song and we play through it three
or four times, we keep making mistakes and stopping.
Finally, we get it and it's like, okay, done.
And John would probably be thinking, when I come
back to redo the vocal, it's going to even be
better. But Marty was not really super into polishing
it. He wanted it to be raw and rough. But yeah,
with Marty on every record. By the way, we've
done also two other albums with Marty. When I
first joined the band, we did Make Some Noise.
Then we did Burn It Down. And both had a bit
of... you know everything that we do with marty
he's a songwriter with us like he's involved
in in lyrics melodies guitar parts whatever and
um so same with this you know he we there was
a couple songs where we like i said crossroads
we came up with an extra bridge for the song
it was like hitting a c yeah i've been down at
the crossroads a you know and then we just got
the top you know back to the riff but that was
marty's Like, are you sure we should do that?
Fuck yeah, man. It's making our own, you know,
that's how he was. Well, how did you guys whittle
down all of that inspiration that you were talking
about earlier into this batch of 10 tracks? We
actually didn't have 10. We probably had, I think
we had eight and a couple of them. We just knocked
out like at the last minute because we decided
let's, let's get 10 things together. We talked
about a lot of stuff and we played through a
lot of stuff, but there were certain things that
we didn't really, weren't able to really make
it special. It was just going to be like doing
the song the same way that, and the songs that
we were most excited about were the ones where
we could really put our stamp on them. Awesome.
There was actually an 11th track, but we ended
up, it was so. The music turned out to be so
original that we made it into a song that we
put on Light Em Up, a song called Take My Soul.
It's the last song on Light Em Up. it's got a
bluesy vibe to it and we were we were messing
around with this song um messing around with
um paraplane blues and we had listened to various
versions and we came up with some music that
was just completely different and original and
marty said we should just keep that make a song
of our own for that and then that ended up on
light him up but yeah it was down to um I think
one of the last tracks we cut was Sweet Home
Chicago. It's just, you know, it's like a party
song. it's a lot of fun just makes you want to
dance you know and then each song we treated
differently we put something different to it
so it was going somewhere there was a couple
that we kept close to the original but we rocked
them up our own way like going down is pretty
much like yard birds or jeff beck versions kind
of like that but dead daisies has always had
a lot of songs with this downstroke thing we
always have a song with it it's like this thing
that david lowey has always loved which is the
acdc downstroke vibe it's like some songs that
we've done and so when we talked about doing
that he loved it so it was like let's just keep
it down So that song we kept pretty much similar.
But a lot of stuff, we took it really out of
its element. Well, let's continue this deep dive
into the album with the next track being the
album opener, the band's take on Muddy Waters'
I'm Ready. all of the massive anthems that you've
charted out across these 10 songs how did you
decide on the sequencing for this album that
was mostly marty and management they kind of
because we didn't like again we didn't really
consider this going to be a release like a proper
album until several months ago right when they
started talking about it in the last year i'm
ready We ended up rocking it up a little bit.
I'm just going to throw it out there like a Stevie
Ray Vaughan type of thing. There was this intro
that reminded me. I just started messing around
with it and it reminded me of Stevie Ray Vaughan
a little bit. Then when the song kicked in, it
almost had a Zeppelin vibe or something to it.
But then John hit the melody and there it is.
It sounds immediately, it's like you know the
song. That song just had a perfect vibe and tempo,
I think, to start the whole project off. And
I also love the fact that you guys honored the
original's harmonica solo thanks to Michael Devon.
did you guys have any idea how good he was on
harmonica before this song came into the fold
no it was it was i mean i knew michael played
really good harmonica because we used to do a
thing together on stage he and i where i'd play
slide and he'd do harmonica and he loved it but
it was just a literally like a minute long jam
we'd just kind of play off each other and he'd
do a couple licks i'd do and it would break into
a white sync song but it came time to do uh harp
solo and it might have been unready was one of
the first ones and it was like he just you know
without with so for people that don't know harmonica
you have to grab the harmonica that's in the
proper key of the song so that's why guys like
the guy from um blues traveler had all the harmonicas
you know i didn't know that back in the day but
you have to have a different harmonica for every
key so once michael got his harmonicas we hit
record and he threw something down it was like
wow it was the whole song now of course it's
blues one four five but so it's it's not that's
pretty much you play in the same scale and whatever
you do is gonna work but he plays legitimately
like real harp he sounds like i mean he's bending
notes and blown and sucking and making it bark
and it's It was amazing. So no, we didn't know
how good it was. And John plays great too, but
it ended up being Michael's gig. John was busy
writing and all that kind of stuff. Well, the
next song I'd like to talk about is the band's
take on the legendary Albert King's Born Under
a Bad Song. Now, we had talked earlier about
John Carabi on this. His voice feels right at
home with this entire album. He is locked in
on these performances, which you just said earlier,
were pretty much done live in the studio. Yeah.
So from a I know this, I'm asking you about a
vocal standpoint. But did John ever talk about
what he was trying to bring to these songs? Because
I feel like there's a perfect balance of. paying
homage to the original, but also putting your
own stamp on it, because this is a uniquely John
sounding vocal take, but you could tell that
there's a little bit of a tribute in, in the
delivery. Well, you definitely, you know, with
that, the, the original vocal is really cool.
He's got, you know, when he sings the word born,
it's really cool on the original. And I think
that John just hasn't naturally. You know, you
can stick him in a situation. He always sounds
like John, but I think he probably, you know,
felt really at home. And it just sounds to me
like John singing it. But now if you mention
it, I'll go back and listen to it like that.
Like he's paying homage to Muddy. I mean, of
course, like I said, all the influences that
we grew up on were influenced by Muddy Waters.
So John definitely knows who he was. Well, the
last song I'd like to share is the last song
on the album, and that's the band's take on Howlin'
Wolf's Little Red Rooster. Well, I got a little
red rooster Now, Doug, all of these songs across
this entire album sound so right at home for
the Dead Daisies. And you had mentioned that
one of the songs did turn into something that
ended up at the end of Light Em Up. Is this the
kind of album that could possibly in the future
maybe even change the direction of the band in
any way? Maybe an album of blues rock originals?
Or was this just kind of what you called it?
blowing off some steam in the studio, having
some fun. And it is what it is. It was definitely
a byproduct of us being there in an inspirational
place. And you never know what it may lead to.
It definitely could. I mean, we see the beauty
in it now. We're hearing it back going. That's
really cool. We were able to put our stamp on
something that wasn't ours. And we've been kind
of known to do that with covers when we would
do covers on an album, put an extra song on the
album every time. and cover it and try to make
it our own but we went further with this stuff
and yeah it would be cool to to do more like
that and make it original absolutely would be
i don't know if we will but i mean and we definitely
all have all of us have ideas that easily can
be stripped down into blues ideas like for example
the title track on light em up If you took that
riff and played that riff through a smaller amp
and maybe slowed it down a little bit, that would
be a blues, more bluesy, you know? So you never
know, man. I would love it. Well, given you guys
are on tour this summer and you're going to be
playing songs from this album, how do you plan
on incorporating them? Is it going to be a heavier
blues set or are you just going to drop a couple
in or are you just going to say, fuck it and
do an entire evening of the blues? I think that
right now we're going to drop a couple in and
we're going to try and keep them in the vein
that they are, you know, maybe do a section in
the show, like three or four songs doing hat
tip, as you said, but. I could definitely see
us doing a whole blues show at some point featuring
the album. Well, before we start wrapping things
up, I would be remiss if I didn't take us slightly
off the rails here because there are a bunch
of mixtapers that listen to the show that, like
me, grew up a huge fan of Transformers the movie.
And I'm going to argue that my next question
actually is relevant because when I saw Optimus
Prime bite it on the big screen at nine years
old, That was one of the first times I felt the
blues. I mean, I cried my eyes out at that movie.
But joking aside, Lion's version of the Transformers
theme song from 1986's Transformers the movie,
as far as I'm concerned, is the quintessential
Transformers theme. And I would love to hear
the story about how the band took that 30 -second
original and, for lack of a better term, and
I apologize in advance, transformed it. into
your own tune that's that's that's a funny thing
because we um you know we were playing around
los angeles and every label passed on us because
we weren't like your typical l .a band we didn't
have our songs were not like motley crew or poison
we were more influenced as i said by our singer
was british so we had zeppelin and deep purple
and he loved thin lizzy and white snake he loved
cal swan loved david coverall So that was our
sound, and nobody really wanted that sound. But
we found a label that said, we can't give you
much money. In fact, we can't give you any money
up front, but we'll put out the record. You record
it in our studio, and then we'll also get you
on some movie soundtracks. And the first one
was, they said, we need a theme song. So our
job was to take that 30 -second clip and make
it into a rock song. First thing we probably,
I don't remember exactly what came first, but
I mean, we had the chorus that we needed to make
work and we've worked on that a little bit. And
then eventually we found a riff, which was seemed
fit, you know, and somehow we came up with an
arrangement for the thing and then went in the
studio and cut it. And it was just, you know,
the cool thing is, is that we did, we did make
a little bit of money from the song from Like
it's ASCAP money, mailbox money that would come
in periodically. And it was once in a while,
there'd be a pretty good check or whatever. Now
it's like a couple of pennies or whatever, but
we weren't super excited about that. Really?
Yeah. Because we didn't know, you know, we're
older. Transformers was, was for younger guys,
you know? Sorry. No, that's, it's cool. And.
It's interesting that it's even still a thing
is that we thought this is just some show it's
going to be gone in five minutes and it turned
into a movie and they gave us that thing. Then
we thought it would go away and they'd done a
couple movies since then, right? Very many, yeah.
But yeah, it was the first thing we did with
that label and we went in with this producer
and cut the track in a day and the rest went
on an album for the Transformers movie that had
a bunch of songs on it. Yeah. It's a classic
to all of us 80s kids that grew up with it. That's
cool. Thank you. Well, I have to ask because
this show is called My Weekly Mixtape and it's
centered around creating mixtapes and mixtape
curation. Yeah. Looking back at your entire career,
all the bands you've been in, if you had to make,
let's say, a five song mixtape that kind of sums
up your career amongst those five songs, which
five songs would you choose and why? That's a
really great question. I'm sorry to say I probably
wouldn't put Transformers on there. But I would
want to try to show some diversity, but also
a thread of a style that I hope to have. So I
would probably, starting backwards, I would say
it's hard to pick one song from Dead Daisies,
but I guess I would probably say, Long Way to
Go is a song that is quintessential for the Dead
Daisies. And it was a riff that David had. And
me and Brian Tissue kind of worked it into a
full arrangement. And then John and Marty and
everybody, Marco, finished it off arrangement
-wise and melody -wise. And it's a good rock
song. It's just a good representation of this
period. And then with Whitesnake, that was my
project prior. Not project, but that was... was
in the band for a long time and really dedicated
to it and felt really proud of the work that
we did so i would say the last song that me and
david coverdell wrote was a song called forevermore
yeah that was um really hit it that song we were
pretty much done writing and his engineer that
was there with us said you know we need we need
more songs we don't have enough songs and that
was in this year and then in this year david's
going Douglas, we've got a smoking record. We're
done. We got to stop writing because I got to
start writing lyrics. I can't. We're done. The
record's good. We got it. And so I had the idea
for Forevermore. And I said to him, I got one
more. He goes, no, we're done. I told you. And
I go, well, just tomorrow, can you just listen
to it? And we kind of ended up getting in a little
bit of a, not argument, but it was just like
a little, there was a heavy pushback. Like, I'm
not, I just told you. i don't want to write anymore
and here you are telling me you got another song
and i played it for him the next morning he came
to me and goes play me the freaking song so i
played it for him and he immediately locked into
a melody and so i'm really proud of that song
that it made it was the last thing we ever did
together but i would also say like so that's
two there was other songs of white sink i would
like to include but i'll put from the previous
album good to be bad I was in this studio. I
was playing in the thing. And he goes, well,
what kind of melody are you going to? I go, I
just played it. I made up something. Tell me,
baby, what's on your mind? Which is kind of a
bluesy thing. And he seemed to like that phrasing
and that thing. And he sang it. He goes, play
it again. I played it. And he started singing
my exact words that I sang. And it was like,
holy shit, this is unbelievable. And it was like,
okay, we're creating new White Sink music. He
wanted to keep the band going and stuff. And
I was like, we need new music if we're going
to do it. So that was one of the first songs.
And it was like, okay, we're doing this. We're
getting White Sink back up and running. So that's
three. I would say with Dio. That album we did
was pretty cool. It was getting back to the roots
of Dio and back to the more traditional guitar
-oriented stuff. I've listened to it once in
a while, little bits here and there. It was just
a great memory for me. I would say he and I co
-wrote two songs on that album. It's kind of
a sleeper track, but I really loved it. It was
a song called Scream. It's a slow song. When
I joined the band, they had eight songs already.
They needed a couple more. And I just felt like,
let's do a slow, kind of a holy diver, kind of
a last in line, or a heaven and hell type of
song to fill it out. And then prior to Dio, maybe
with, well, there's a couple things I would say.
This is another one that maybe people didn't
know about. But House of Lords, I played on the
Sahara record. And we did a cover of Can't Find
My Way Home, which. was getting a lot of attention
back then. I had played on the demo and Gene
was the record company. Gene Simmons was the
record company. He said, I want you to join the
band. I said, I can't join the band. I'm contractually
set up with Hurricane and we've got a record
coming out, but I'll play on the record. The
version of Can't Find My Way Home, it's hard
to find now because they recut it with a different
guitar player later. I don't know why. the original
version I was really proud of. Can't Remember
Where Home was a Blind Faith tune, as you know.
Then there's other bands that I could throw in
there and stuff, but I'll jump to Lion and I
would say probably Power Love. It was our first
song that got attention and it was pretty straight
up pop rock, heavy rock. But it did well for
us. And a lot of people first heard me playing
that. So I put that one. That's a hard question.
There's so many, you know, I would probably in
my perfect brain, I would pick totally different
songs like that were just songs that I really
like personally, but people would maybe not relate
to it as much. So Power Love goes on there. Pick
up your copy of the dead daisies looking for
trouble starting on May 30th. And if you're tuning
in from Europe or the UK, be sure to check out
the band when they're in your city, Doug, let's
not wait six years till our next sit down. Thank
you so much for joining me on my weekly mixtape.
Thanks Brian. I really appreciate it. And it
was a great interview. Really cool. Thank you
for what you do. And thanks to all your, your
listeners really appreciate it. And to those
listening, you can head over to the episode page
at myweeklymixtape .com to hear a playlist of
all the songs we've discussed from the album,
as well as Doug's top five tracks. And remember,
you can find My Weekly Mixtape on almost all
the social media haunts at myweeklymixtape. You
can also head to myweeklymixtape .com to check
out the full catalog of My Weekly Mixtape episodes.
And finally, if you like what you're hearing
on the show, you can help me out by either telling
a friend, leaving the show a five -star review
wherever you're tuning in, or becoming a Patreon
mixtaper at patreon .com forward slash myweeklymixtape.
There you can find ad -free episodes of the show,
gain early access to upcoming episodes, chime
in on future topics, become a guest curator,
and so much more. That's all for this week. Thanks
again for listening, and until next time, enjoy
the tunes.