WEBVTT 00:00:00.000 --> 00:00:02.940 Hey, this is Doug Aldrich with the Dead Daisies, 00:00:02.940 --> 00:00:06.799 and I'm on My Weekly Mixtape with Brian Colburn. 00:00:18.039 --> 00:00:21.059 Welcome to My Weekly Mixtape, a podcast that 00:00:21.059 --> 00:00:24.059 takes the classic mixtape approach to building 00:00:24.059 --> 00:00:26.640 a modern playlist. I'm your host, Brian Colburn. 00:00:27.000 --> 00:00:29.019 Tonight, I'm excited to welcome Doug Aldrich 00:00:29.019 --> 00:00:31.699 of the Dead Daisies to the program. Now, I had 00:00:31.699 --> 00:00:33.880 the pleasure of speaking with Doug many moons 00:00:33.880 --> 00:00:36.979 ago back on the Toon Styles podcast, so I'm really 00:00:36.979 --> 00:00:38.899 grateful to have the opportunity one more time. 00:00:38.960 --> 00:00:41.740 Doug, welcome to the show, my friend. Hey, thanks, 00:00:41.859 --> 00:00:43.520 Brian. Thanks for having me. Good to talk to 00:00:43.520 --> 00:00:46.259 you again. Likewise. It's been about five years 00:00:46.259 --> 00:00:48.469 or whatever, something like six years. It seems 00:00:48.469 --> 00:00:51.090 so long ago, but like yesterday at the exact 00:00:51.090 --> 00:00:54.390 same time. But with that, this is technically 00:00:54.390 --> 00:00:57.490 your first time on my weekly mixtape. So I am 00:00:57.490 --> 00:00:59.609 going to start by asking you my first time guest 00:00:59.609 --> 00:01:02.450 question, which is what does the word mixtape 00:01:02.450 --> 00:01:06.629 mean to you? I mean, mixtape to me means that 00:01:06.629 --> 00:01:09.689 I'm going to put together a tape that basically 00:01:09.689 --> 00:01:12.950 covers certain things, feelings that I have or 00:01:12.950 --> 00:01:15.189 certain agendas that I've got going on. So like 00:01:15.189 --> 00:01:19.540 I might have my. relaxing mixtape that's what 00:01:19.540 --> 00:01:22.560 it means to me is i wouldn't take all my favorite 00:01:22.560 --> 00:01:25.840 stuff and put it on one mixtape so much unless 00:01:25.840 --> 00:01:28.040 it was just to have a document of it because 00:01:28.040 --> 00:01:30.519 when i'm at the gym or something i want to listen 00:01:30.519 --> 00:01:33.280 to to one thing when i'm in bed kind of chilling 00:01:33.280 --> 00:01:36.280 i go deep down into some rabbit holes where it's 00:01:36.280 --> 00:01:38.840 like i i want to relax you know and so they're 00:01:38.840 --> 00:01:42.840 very different but my mixtape would be um a representation 00:01:42.840 --> 00:01:46.599 of whatever mood i'm in Awesome. Well, tonight 00:01:46.599 --> 00:01:49.120 we're going to take a deep dive into the Dead 00:01:49.120 --> 00:01:51.739 Daisies' brand new album, Looking for Trouble, 00:01:51.859 --> 00:01:55.099 which is the band's hat tip to the blues, featuring 00:01:55.099 --> 00:01:58.219 covers of classic tracks from Robert Johnson, 00:01:58.439 --> 00:02:01.319 John Lee Hooker, and Muddy Waters, just to scratch 00:02:01.319 --> 00:02:04.319 the surface. Now, starting at a higher level 00:02:04.319 --> 00:02:07.739 here, could we start by talking about where your 00:02:07.739 --> 00:02:11.460 love of the blues genre maybe started? Absolutely. 00:02:11.560 --> 00:02:15.889 I mean, I think that Speaking for probably the 00:02:15.889 --> 00:02:19.409 guys in the band, maybe Michael Devon's an exception 00:02:19.409 --> 00:02:22.930 because he's very astute when it comes to blues 00:02:22.930 --> 00:02:27.129 and history. But the rest of us got exposed to 00:02:27.129 --> 00:02:29.349 blues music through the artists that we grew 00:02:29.349 --> 00:02:31.229 up listening to, which were rock artists that 00:02:31.229 --> 00:02:34.909 were influenced by them. So for me, the first 00:02:34.909 --> 00:02:38.509 one was probably, you know, getting exposed to 00:02:38.509 --> 00:02:43.740 stuff like Hendrix or Jeff Beck. And also definitely 00:02:43.740 --> 00:02:46.780 Led Zeppelin, you know, Led Zeppelin. I think 00:02:46.780 --> 00:02:49.860 the song Rock and Roll was on the radio at the 00:02:49.860 --> 00:02:52.939 time. And I went, I think the first Zeppelin 00:02:52.939 --> 00:02:56.280 album I got was Zeppelin II. And that's got some 00:02:56.280 --> 00:02:59.860 really, you know, some, the Lemon song, which 00:02:59.860 --> 00:03:02.539 was taken from My Killing Floor or something. 00:03:02.800 --> 00:03:05.599 A whole lot of love was like a Willie Dixon thing 00:03:05.599 --> 00:03:08.259 or a Howlin' Wolf thing. I can't remember, but 00:03:08.259 --> 00:03:10.759 those were all. heavily influenced by blues. 00:03:10.840 --> 00:03:13.719 And that was the first experience to it was through 00:03:13.719 --> 00:03:17.219 those bands and the stones too. Right. Oh, I 00:03:17.219 --> 00:03:20.539 can't forget them. Yeah. Well, obviously groups 00:03:20.539 --> 00:03:22.879 you were a part of such as white snake always 00:03:22.879 --> 00:03:25.919 had their finger on the pulse of the blues, especially 00:03:25.919 --> 00:03:28.900 in their earliest works, but it might not be 00:03:28.900 --> 00:03:32.199 as obvious if you're listening to say Dio or 00:03:32.199 --> 00:03:35.979 lion. So how would you say the blues as a whole 00:03:35.979 --> 00:03:38.969 has been part of your career in music? even if 00:03:38.969 --> 00:03:42.150 it's not front and center as we're hearing on 00:03:42.150 --> 00:03:45.550 Looking for Trouble? I think that, you know, 00:03:45.550 --> 00:03:48.409 just naturally when I was a kid learning to play 00:03:48.409 --> 00:03:51.710 music, that you end up jamming a 1 -4 -5 chord 00:03:51.710 --> 00:03:53.590 progression when you're playing with people. 00:03:53.669 --> 00:03:56.610 That's kind of the go -to jam is, okay, let's 00:03:56.610 --> 00:03:59.949 just play, you know. Somehow I learned a very 00:03:59.949 --> 00:04:03.689 simple. And then you would go to the four chord. 00:04:04.669 --> 00:04:07.789 And so there might be a song on a Lion record 00:04:07.789 --> 00:04:10.150 or even a Whitesnake record or whatever, where 00:04:10.150 --> 00:04:12.969 you basically start on some kind of a, say, for 00:04:12.969 --> 00:04:15.110 example, A minor, and then you go to D minor 00:04:15.110 --> 00:04:18.569 and then you go to E. And it is blues based. 00:04:18.730 --> 00:04:22.970 And so those were still, even though Lion, for 00:04:22.970 --> 00:04:25.230 example, was a rock band and we were influenced 00:04:25.230 --> 00:04:28.550 by bands like Zeppelin and Whitesnake and Thin 00:04:28.550 --> 00:04:31.779 Lizzy. there was you know naturally just some 00:04:31.779 --> 00:04:34.399 blues progressions that would come out you know 00:04:34.399 --> 00:04:37.019 i mean all the rock and roll stuff kind of really 00:04:37.019 --> 00:04:39.660 did originate from that blue stuff with chuck 00:04:39.660 --> 00:04:42.399 berry and elvis kind of rocking it up in the 00:04:42.399 --> 00:04:46.000 very beginning so now as we start to dive into 00:04:46.000 --> 00:04:48.579 the actual album looking for trouble can you 00:04:48.579 --> 00:04:51.360 talk about where this idea came from especially 00:04:51.360 --> 00:04:54.300 since the band's last album light em up just 00:04:54.300 --> 00:04:58.139 came out in 2024 yeah it was like a bonus that 00:04:58.139 --> 00:05:01.379 happened during the writing of let him up we 00:05:01.379 --> 00:05:03.720 wanted to go right in a different environment 00:05:03.720 --> 00:05:06.079 we wanted to meet together to write first of 00:05:06.079 --> 00:05:08.300 all it's important for the dead daisies we do 00:05:08.300 --> 00:05:11.160 everything together and so let's find a place 00:05:11.160 --> 00:05:13.220 where we can go meet we could have been in europe 00:05:13.220 --> 00:05:16.240 it could have been anywhere but we decided let's 00:05:16.240 --> 00:05:19.279 go down south the studio has a lot of history 00:05:19.279 --> 00:05:22.560 they had everything we need just bring a guitar 00:05:22.560 --> 00:05:25.120 and let's go down there and we'll just write 00:05:25.120 --> 00:05:27.879 and that's what we did but During that period, 00:05:28.060 --> 00:05:30.079 you know, and that studio, Fame Studios, where 00:05:30.079 --> 00:05:32.519 we recorded it. And it's interesting, we did 00:05:32.519 --> 00:05:35.800 not record Light Him Up there, but we were there 00:05:35.800 --> 00:05:39.120 to write Light Him Up. And during the period 00:05:39.120 --> 00:05:42.560 of being there, we realized how much amazing 00:05:42.560 --> 00:05:45.560 history had been going in that studio, starting 00:05:45.560 --> 00:05:49.939 with Aretha Franklin and Wilson Pickett, Etta 00:05:49.939 --> 00:05:53.589 James. One of the ways a studio like that can 00:05:53.589 --> 00:05:55.750 stay afloat is they do a lot of tours. They'll 00:05:55.750 --> 00:05:59.069 have people come in and they'll do 20 to 60 people 00:05:59.069 --> 00:06:01.870 every day. And we'd take a break for dinner. 00:06:02.069 --> 00:06:03.810 They'd have the tour come in. We'd be in the 00:06:03.810 --> 00:06:05.889 control room listening to these stories about, 00:06:06.069 --> 00:06:08.350 hey, right over here is where Dwayne Ullman shook 00:06:08.350 --> 00:06:11.629 the hands of Wilson Pickett. And this is the 00:06:11.629 --> 00:06:14.689 piano where Aretha Franklin first sang, I've 00:06:14.689 --> 00:06:17.269 Never Loved a Man. And then it started talking 00:06:17.269 --> 00:06:20.540 about down south and the crossroads. what it 00:06:20.540 --> 00:06:23.259 was like back then we started getting inspired 00:06:23.259 --> 00:06:26.120 listening to some stuff and just even though 00:06:26.120 --> 00:06:29.019 we were working on our rock record at night we'd 00:06:29.019 --> 00:06:31.360 after a couple glasses of wine or whatever we 00:06:31.360 --> 00:06:33.500 just want to have a jam you know have a play 00:06:33.500 --> 00:06:36.160 and we'd start jamming on some of these songs 00:06:36.160 --> 00:06:39.699 and that led to well let's what if we did it 00:06:39.699 --> 00:06:41.360 a little differently you know what if we took 00:06:41.360 --> 00:06:44.420 that version like for example crossroads of course 00:06:44.420 --> 00:06:46.980 we played it the cream way but then we decided 00:06:46.980 --> 00:06:50.120 later like well, let's listen to the original, 00:06:50.259 --> 00:06:53.439 you know? And then we would take something and 00:06:53.439 --> 00:06:55.839 maybe rock it up in a different way. Like the 00:06:55.839 --> 00:06:57.720 way that Cream rocked it up was really cool, 00:06:57.860 --> 00:06:59.660 but we wanted to do it a little different. So 00:06:59.660 --> 00:07:02.959 we kind of fell into a groove that was very similar 00:07:02.959 --> 00:07:05.639 to Celebration Day by Zeppelin. And that's where 00:07:05.639 --> 00:07:08.639 the groove came from for our version of Crossroads. 00:07:39.029 --> 00:07:41.430 And then we ended up jamming on it and deciding, 00:07:41.529 --> 00:07:43.949 hey, let's add a part. There's no rules here. 00:07:43.990 --> 00:07:46.769 Let's just have some fun, you know. I'm basically 00:07:46.769 --> 00:07:49.529 making a long story short because there was a 00:07:49.529 --> 00:07:52.529 lot of times we'd go out there and just jam half 00:07:52.529 --> 00:07:55.649 of the song or whatever. But eventually Marty 00:07:55.649 --> 00:07:58.110 said, hey, why don't you guys come in for a second? 00:07:58.209 --> 00:08:00.129 And he played us what we were doing. And it was 00:08:00.129 --> 00:08:03.519 like, wow, that's cool, man. and it just led 00:08:03.519 --> 00:08:05.480 to let's throw some stuff down we don't know 00:08:05.480 --> 00:08:07.540 maybe we'll use it for a soundtrack or something 00:08:07.540 --> 00:08:10.680 or you know just for social media or maybe we'll 00:08:10.680 --> 00:08:13.339 do a little i don't know but it ended up becoming 00:08:13.339 --> 00:08:16.920 a project and all the stuff that we touched on 00:08:16.920 --> 00:08:19.860 we tried to really do it in our own way and put 00:08:19.860 --> 00:08:23.180 our own stamp on it all the songs from crossroads 00:08:23.180 --> 00:08:26.360 to uh one of the ones that we really went deep 00:08:26.360 --> 00:08:29.839 on was black betty we didn't want to do the ram 00:08:29.839 --> 00:08:32.679 jam version that was like a rock and roll it 00:08:32.679 --> 00:08:35.080 was really rock and rolled out or heavy almost 00:08:35.080 --> 00:08:38.940 heavy you know so we broke it down we listened 00:08:38.940 --> 00:08:42.779 to the original it was just a vocal by lead belly 00:08:42.779 --> 00:08:47.360 and it was it sounded hauntingly like a work 00:08:47.360 --> 00:08:49.659 song you'd sing out in the fields when you're 00:08:49.659 --> 00:08:53.899 working and then that led to our version we just 00:08:53.899 --> 00:08:56.419 found something that groove that fell into place 00:08:56.419 --> 00:09:29.759 for that Now, Doug, maybe you can help me out 00:09:29.759 --> 00:09:32.700 here. On the album, you have Sarah Tomek playing 00:09:32.700 --> 00:09:36.120 drums, but with the band as the full -time drummer 00:09:36.120 --> 00:09:38.659 and on the live performances that I've seen from 00:09:38.659 --> 00:09:40.700 some of the songs from this album, you have Tommy 00:09:40.700 --> 00:09:43.820 Clefetos. The whole story quickly is we went 00:09:43.820 --> 00:09:46.580 down to Muscle Shoals to write. And so we were 00:09:46.580 --> 00:09:49.259 doing pre -production with Sarah Tomek, who Sarah 00:09:49.259 --> 00:09:53.080 plays with Steven Tyler, and she's got a lot 00:09:53.080 --> 00:09:55.629 of different artists that she works with. And 00:09:55.629 --> 00:09:57.730 Marty suggested her. We didn't have a drummer 00:09:57.730 --> 00:09:59.450 at the time. Tommy was doing something else. 00:09:59.570 --> 00:10:02.330 And he said, let's just get Sarah. Sarah can 00:10:02.330 --> 00:10:04.690 play anything. We're just for writing. We're 00:10:04.690 --> 00:10:08.330 just making pre -production demos. But then when 00:10:08.330 --> 00:10:10.389 we started tracking the blues stuff, she sounded 00:10:10.389 --> 00:10:12.129 great. And we didn't know it was going to be 00:10:12.129 --> 00:10:14.370 an album. So she is the drummer on the blues 00:10:14.370 --> 00:10:17.669 album. And she did a fantastic job. And she can 00:10:17.669 --> 00:10:19.830 basically, you know, we were throwing all kinds 00:10:19.830 --> 00:10:23.090 of ideas at her. Or she'd come up with ideas. 00:10:25.129 --> 00:10:27.049 It was just perfect for the songs that we were 00:10:27.049 --> 00:10:28.889 doing. It felt great. We didn't even think anything 00:10:28.889 --> 00:10:33.529 of it. So it's Sarah Tomek on it. Tommy Clefetis 00:10:33.529 --> 00:10:36.330 has been playing it live with us, playing the 00:10:36.330 --> 00:10:39.230 blues stuff that we did live. And he's an incredible 00:10:39.230 --> 00:10:41.429 drummer. I mean, there's no question. He's just 00:10:41.429 --> 00:10:46.629 insane. But she did a great job. She really worked 00:10:46.629 --> 00:10:49.049 super fast. We knocked this thing out in under 00:10:49.049 --> 00:10:52.429 a week, you know? Really? Yeah. I mean, we were 00:10:52.429 --> 00:10:55.509 only there for a week. we didn't start really 00:10:55.509 --> 00:10:57.429 tracking any blue stuff for a couple of days 00:10:57.429 --> 00:11:00.330 in, you know, we, we got the bug to go out and 00:11:00.330 --> 00:11:03.090 play a little bit, you know? So the groove that 00:11:03.090 --> 00:11:06.110 she brings to this track takes it in, like you 00:11:06.110 --> 00:11:08.210 said, a completely different direction than the 00:11:08.210 --> 00:11:11.250 Ram jam or even the spider bait versions. And 00:11:11.250 --> 00:11:12.990 now I'm going to say this with the highest of 00:11:12.990 --> 00:11:16.850 compliments to me, the dead daisies take on black 00:11:16.850 --> 00:11:20.970 Betty reminds me of that early seventies ZZ top 00:11:20.970 --> 00:11:24.480 swagger. Was that kind of what the band was honing 00:11:24.480 --> 00:11:27.820 in on? Yeah, it's kind of the way the guitar 00:11:27.820 --> 00:11:32.440 part goes. It was not on purpose, but now that 00:11:32.440 --> 00:11:37.639 you mention it, what was that? Waiting for the 00:11:37.639 --> 00:11:40.779 bus. Waiting on the bus. That's kind of the groove 00:11:40.779 --> 00:11:44.279 that I just started playing, thinking like, okay, 00:11:44.360 --> 00:11:46.860 I'm going to find something that's, you know, 00:11:46.860 --> 00:11:49.960 with Black Betty, we wanted to do our own thing. 00:11:50.889 --> 00:11:53.330 I started playing that, and then I started playing 00:11:53.330 --> 00:11:56.950 the melody with it, the way that even Ram Jam 00:11:56.950 --> 00:11:59.789 or Lead Belly, just the melody, playing it on 00:11:59.789 --> 00:12:02.269 the guitar at the same time as doing that rhythm, 00:12:02.330 --> 00:12:05.990 kind of in a blues fashion. And so, yeah, that's 00:12:05.990 --> 00:12:08.169 how it started. And I didn't even think about 00:12:08.169 --> 00:12:13.929 it, but it is kind of a ZZ Top rip. Well, then 00:12:13.929 --> 00:12:16.669 let's dive even deeper into the blues here with 00:12:16.669 --> 00:12:19.389 the band's take on B .B. King's The Thrill Is 00:12:19.389 --> 00:13:56.580 Gone. Well, one thing's for certain, the band 00:13:56.580 --> 00:13:59.700 did not shy away from tackling the songs that 00:13:59.700 --> 00:14:01.879 are pretty much ingrained in everyone's musical 00:14:01.879 --> 00:14:05.039 DNA. Did that present a challenge when you were 00:14:05.039 --> 00:14:08.120 trying to put your own spin on a song like this? 00:14:08.740 --> 00:14:12.240 Thrill is gone. The B .B. King version is perfect. 00:14:12.639 --> 00:14:15.759 How are you going to beat that? It's like impossible. 00:14:16.100 --> 00:14:18.019 It's beautiful. I wouldn't even want to mess 00:14:18.019 --> 00:14:20.960 with it because it's just perfect. It is. But 00:14:20.960 --> 00:14:23.460 then... Karabi goes, hey, why don't we do it? 00:14:23.519 --> 00:14:27.059 Kind of hit that song in a way like Zeppelin 00:14:27.059 --> 00:14:30.279 did T for One or Since I've Been Loving You, 00:14:30.399 --> 00:14:34.820 which is in a 6 -8 feel. So we did it like that. 00:14:34.879 --> 00:14:38.460 And it became different. It became ours. And 00:14:38.460 --> 00:14:41.059 that was one where it was at the end of the day. 00:14:41.139 --> 00:14:44.559 We were just trying to get through our arrangement 00:14:44.559 --> 00:14:47.230 of how we were going to do it. I had a little 00:14:47.230 --> 00:14:49.629 different progression at the very end of the 00:14:49.629 --> 00:14:51.950 song. I thought actually we could put that progression 00:14:51.950 --> 00:14:54.629 as a solo section in the song. But Marty goes, 00:14:54.730 --> 00:14:58.570 no, let's keep it for the end. And we were just 00:14:58.570 --> 00:15:00.990 kind of work out that arrangement and we put 00:15:00.990 --> 00:15:03.269 it down and he goes, okay, cool. Let's hit it 00:15:03.269 --> 00:15:06.029 fresh in the morning. And he goes, take home 00:15:06.029 --> 00:15:08.870 an MP3 and let's listen to it. And everybody 00:15:08.870 --> 00:15:11.190 learn what you did and we'll come back and hit 00:15:11.190 --> 00:15:14.450 it. And I listened to it that night and in the 00:15:14.450 --> 00:15:18.179 morning and I was like. I don't know. I can't 00:15:18.179 --> 00:15:21.500 relearn. This was played by feel. I wasn't even 00:15:21.500 --> 00:15:24.320 thinking, you know, I was just like reacting 00:15:24.320 --> 00:15:29.340 to a vocal or to whatever, a drum fill. And I 00:15:29.340 --> 00:15:31.299 told Marty, I go, I don't know if I can do it 00:15:31.299 --> 00:15:33.659 any better. That's about as good as I could possibly 00:15:33.659 --> 00:15:36.519 do it. I can't, I can play it differently, but 00:15:36.519 --> 00:15:40.129 I was afraid. I was nervous. that it was going 00:15:40.129 --> 00:15:42.409 to get worse and worse every time i was really 00:15:42.409 --> 00:15:46.850 afraid to go back to that song it's hard to put 00:15:46.850 --> 00:15:49.330 into to have you understand but i was like i 00:15:49.330 --> 00:15:52.029 did not want to play it again i was like wow 00:15:52.029 --> 00:15:54.629 i hit some there was some licks on there that 00:15:54.629 --> 00:15:57.350 i've never done before and i just didn't know 00:15:57.350 --> 00:15:59.669 where it came from so i didn't want to go back 00:15:59.669 --> 00:16:02.169 to it and he he made me go back to it and play 00:16:02.169 --> 00:16:04.690 it a couple more times but in the end he goes 00:16:04.690 --> 00:16:07.330 look the if you like the original the best let's 00:16:07.330 --> 00:16:09.929 just keep that there was a couple of chords during 00:16:09.929 --> 00:16:12.549 the under the vocal that was a little out of 00:16:12.549 --> 00:16:15.909 tune because we were just rolling it was just 00:16:15.909 --> 00:16:18.850 pre -production and i didn't my guitar was a 00:16:18.850 --> 00:16:21.370 little like a chord that normally you could hear 00:16:21.370 --> 00:16:24.210 it i didn't notice that it was out of tune so 00:16:24.210 --> 00:16:27.789 we fixed that and that's the take the guitars 00:16:27.789 --> 00:16:30.029 the first take the first time i ever got through 00:16:30.029 --> 00:16:33.289 the arrangement wow well we've mentioned his 00:16:33.289 --> 00:16:34.809 name a couple times and i want to bring some 00:16:34.809 --> 00:16:37.580 clarification to marty And for those people that 00:16:37.580 --> 00:16:40.220 don't know, that's Marty Fredrickson, who works 00:16:40.220 --> 00:16:43.019 with the Dead Daisies on the last album as well 00:16:43.019 --> 00:16:45.659 as this one. Can you talk about the influence 00:16:45.659 --> 00:16:48.240 he had on these sessions and maybe some of the 00:16:48.240 --> 00:16:51.340 renditions you were working on? Well, Marty's 00:16:51.340 --> 00:16:55.840 a very inspiring person in the studio. He's pretty 00:16:55.840 --> 00:16:58.279 low -key. He's really chill, man. He just kind 00:16:58.279 --> 00:17:01.100 of hangs out in the back and just go like, he 00:17:01.100 --> 00:17:02.679 won't say much, but then he'll just be like, 00:17:02.799 --> 00:17:06.400 hey, man. What do you think about this? What 00:17:06.400 --> 00:17:10.099 if you play it like this? You just say that. 00:17:11.019 --> 00:17:12.880 That's a good idea. All right. Yeah, let me try 00:17:12.880 --> 00:17:16.180 that. Yeah, man, go try that. He's just kind 00:17:16.180 --> 00:17:19.099 of like your big brother that's cooler than you. 00:17:19.920 --> 00:17:23.759 And it was many times. And I was pretty freaked 00:17:23.759 --> 00:17:25.460 out a couple of times because I was like, man, 00:17:25.559 --> 00:17:28.099 I don't even know the song yet. And he's like, 00:17:28.099 --> 00:17:31.000 it sounds great. Don't even think. Just play. 00:17:31.690 --> 00:17:34.710 And he gave me the confidence to do that and 00:17:34.710 --> 00:17:37.369 to not worry about the mistakes. There's mistakes 00:17:37.369 --> 00:17:39.509 on the record we all made, you know, and it's 00:17:39.509 --> 00:17:42.609 like, John, probably half of those vocals are 00:17:42.609 --> 00:17:46.950 one take. When we were trying to work up our 00:17:46.950 --> 00:17:49.529 version of the song and we play through it three 00:17:49.529 --> 00:17:51.809 or four times, we keep making mistakes and stopping. 00:17:52.710 --> 00:17:55.950 Finally, we get it and it's like, okay, done. 00:17:56.670 --> 00:17:59.670 And John would probably be thinking, when I come 00:17:59.670 --> 00:18:02.150 back to redo the vocal, it's going to even be 00:18:02.150 --> 00:18:06.769 better. But Marty was not really super into polishing 00:18:06.769 --> 00:18:12.029 it. He wanted it to be raw and rough. But yeah, 00:18:12.109 --> 00:18:15.230 with Marty on every record. By the way, we've 00:18:15.230 --> 00:18:17.890 done also two other albums with Marty. When I 00:18:17.890 --> 00:18:19.690 first joined the band, we did Make Some Noise. 00:18:19.769 --> 00:18:22.890 Then we did Burn It Down. And both had a bit 00:18:22.890 --> 00:18:25.309 of... you know everything that we do with marty 00:18:25.309 --> 00:18:27.990 he's a songwriter with us like he's involved 00:18:27.990 --> 00:18:32.029 in in lyrics melodies guitar parts whatever and 00:18:32.029 --> 00:18:35.309 um so same with this you know he we there was 00:18:35.309 --> 00:18:37.809 a couple songs where we like i said crossroads 00:18:37.809 --> 00:18:39.990 we came up with an extra bridge for the song 00:18:39.990 --> 00:18:43.269 it was like hitting a c yeah i've been down at 00:18:43.269 --> 00:18:46.170 the crossroads a you know and then we just got 00:18:46.170 --> 00:18:52.089 the top you know back to the riff but that was 00:18:52.089 --> 00:18:54.420 marty's Like, are you sure we should do that? 00:18:54.480 --> 00:18:58.839 Fuck yeah, man. It's making our own, you know, 00:18:58.839 --> 00:19:03.400 that's how he was. Well, how did you guys whittle 00:19:03.400 --> 00:19:06.640 down all of that inspiration that you were talking 00:19:06.640 --> 00:19:10.799 about earlier into this batch of 10 tracks? We 00:19:10.799 --> 00:19:14.380 actually didn't have 10. We probably had, I think 00:19:14.380 --> 00:19:16.700 we had eight and a couple of them. We just knocked 00:19:16.700 --> 00:19:19.799 out like at the last minute because we decided 00:19:19.799 --> 00:19:22.940 let's, let's get 10 things together. We talked 00:19:22.940 --> 00:19:24.740 about a lot of stuff and we played through a 00:19:24.740 --> 00:19:26.599 lot of stuff, but there were certain things that 00:19:26.599 --> 00:19:29.359 we didn't really, weren't able to really make 00:19:29.359 --> 00:19:32.039 it special. It was just going to be like doing 00:19:32.039 --> 00:19:35.039 the song the same way that, and the songs that 00:19:35.039 --> 00:19:36.900 we were most excited about were the ones where 00:19:36.900 --> 00:19:39.200 we could really put our stamp on them. Awesome. 00:19:39.519 --> 00:19:43.660 There was actually an 11th track, but we ended 00:19:43.660 --> 00:19:46.940 up, it was so. The music turned out to be so 00:19:46.940 --> 00:19:49.279 original that we made it into a song that we 00:19:49.279 --> 00:19:51.319 put on Light Em Up, a song called Take My Soul. 00:19:51.440 --> 00:21:17.869 It's the last song on Light Em Up. it's got a 00:21:17.869 --> 00:21:20.769 bluesy vibe to it and we were we were messing 00:21:20.769 --> 00:21:22.890 around with this song um messing around with 00:21:22.890 --> 00:21:28.369 um paraplane blues and we had listened to various 00:21:28.369 --> 00:21:31.670 versions and we came up with some music that 00:21:31.670 --> 00:21:34.950 was just completely different and original and 00:21:34.950 --> 00:21:37.750 marty said we should just keep that make a song 00:21:37.750 --> 00:21:40.210 of our own for that and then that ended up on 00:21:40.210 --> 00:21:44.509 light him up but yeah it was down to um I think 00:21:44.509 --> 00:21:46.390 one of the last tracks we cut was Sweet Home 00:21:46.390 --> 00:21:48.630 Chicago. It's just, you know, it's like a party 00:21:48.630 --> 00:22:15.680 song. it's a lot of fun just makes you want to 00:22:15.680 --> 00:22:19.119 dance you know and then each song we treated 00:22:19.119 --> 00:22:21.559 differently we put something different to it 00:22:21.559 --> 00:22:24.440 so it was going somewhere there was a couple 00:22:24.440 --> 00:22:28.640 that we kept close to the original but we rocked 00:22:28.640 --> 00:22:30.980 them up our own way like going down is pretty 00:22:30.980 --> 00:22:35.039 much like yard birds or jeff beck versions kind 00:22:35.039 --> 00:22:38.240 of like that but dead daisies has always had 00:22:38.240 --> 00:22:40.900 a lot of songs with this downstroke thing we 00:22:40.900 --> 00:22:43.730 always have a song with it it's like this thing 00:22:43.730 --> 00:22:46.410 that david lowey has always loved which is the 00:22:46.410 --> 00:22:49.690 acdc downstroke vibe it's like some songs that 00:22:49.690 --> 00:22:52.549 we've done and so when we talked about doing 00:22:52.549 --> 00:22:55.869 that he loved it so it was like let's just keep 00:22:55.869 --> 00:23:33.140 it down So that song we kept pretty much similar. 00:23:33.240 --> 00:23:36.319 But a lot of stuff, we took it really out of 00:23:36.319 --> 00:23:39.000 its element. Well, let's continue this deep dive 00:23:39.000 --> 00:23:41.299 into the album with the next track being the 00:23:41.299 --> 00:23:44.420 album opener, the band's take on Muddy Waters' 00:23:44.619 --> 00:24:36.619 I'm Ready. all of the massive anthems that you've 00:24:36.619 --> 00:24:39.539 charted out across these 10 songs how did you 00:24:39.539 --> 00:24:43.920 decide on the sequencing for this album that 00:24:43.920 --> 00:24:47.039 was mostly marty and management they kind of 00:24:47.039 --> 00:24:49.240 because we didn't like again we didn't really 00:24:49.240 --> 00:24:52.740 consider this going to be a release like a proper 00:24:52.740 --> 00:24:56.160 album until several months ago right when they 00:24:56.160 --> 00:24:58.720 started talking about it in the last year i'm 00:24:58.720 --> 00:25:01.630 ready We ended up rocking it up a little bit. 00:25:03.609 --> 00:25:06.549 I'm just going to throw it out there like a Stevie 00:25:06.549 --> 00:25:08.690 Ray Vaughan type of thing. There was this intro 00:25:08.690 --> 00:25:11.690 that reminded me. I just started messing around 00:25:11.690 --> 00:25:13.569 with it and it reminded me of Stevie Ray Vaughan 00:25:13.569 --> 00:25:17.190 a little bit. Then when the song kicked in, it 00:25:17.190 --> 00:25:20.630 almost had a Zeppelin vibe or something to it. 00:25:20.789 --> 00:25:23.069 But then John hit the melody and there it is. 00:25:23.170 --> 00:25:25.730 It sounds immediately, it's like you know the 00:25:25.730 --> 00:25:30.809 song. That song just had a perfect vibe and tempo, 00:25:30.869 --> 00:25:34.009 I think, to start the whole project off. And 00:25:34.009 --> 00:25:36.690 I also love the fact that you guys honored the 00:25:36.690 --> 00:25:39.490 original's harmonica solo thanks to Michael Devon. 00:25:56.140 --> 00:25:58.579 did you guys have any idea how good he was on 00:25:58.579 --> 00:26:00.759 harmonica before this song came into the fold 00:26:00.759 --> 00:26:05.119 no it was it was i mean i knew michael played 00:26:05.119 --> 00:26:07.200 really good harmonica because we used to do a 00:26:07.200 --> 00:26:09.779 thing together on stage he and i where i'd play 00:26:09.779 --> 00:26:13.279 slide and he'd do harmonica and he loved it but 00:26:13.279 --> 00:26:16.380 it was just a literally like a minute long jam 00:26:16.380 --> 00:26:18.240 we'd just kind of play off each other and he'd 00:26:18.240 --> 00:26:20.420 do a couple licks i'd do and it would break into 00:26:20.420 --> 00:26:25.380 a white sync song but it came time to do uh harp 00:26:25.380 --> 00:26:28.160 solo and it might have been unready was one of 00:26:28.160 --> 00:26:31.059 the first ones and it was like he just you know 00:26:31.059 --> 00:26:33.279 without with so for people that don't know harmonica 00:26:33.279 --> 00:26:35.599 you have to grab the harmonica that's in the 00:26:35.599 --> 00:26:38.680 proper key of the song so that's why guys like 00:26:38.680 --> 00:26:42.619 the guy from um blues traveler had all the harmonicas 00:26:42.619 --> 00:26:45.279 you know i didn't know that back in the day but 00:26:45.279 --> 00:26:47.319 you have to have a different harmonica for every 00:26:47.319 --> 00:26:52.349 key so once michael got his harmonicas we hit 00:26:52.349 --> 00:26:54.609 record and he threw something down it was like 00:26:54.609 --> 00:26:58.890 wow it was the whole song now of course it's 00:26:58.890 --> 00:27:03.049 blues one four five but so it's it's not that's 00:27:03.049 --> 00:27:05.829 pretty much you play in the same scale and whatever 00:27:05.829 --> 00:27:09.890 you do is gonna work but he plays legitimately 00:27:09.890 --> 00:27:14.509 like real harp he sounds like i mean he's bending 00:27:14.509 --> 00:27:17.309 notes and blown and sucking and making it bark 00:27:17.309 --> 00:27:20.490 and it's It was amazing. So no, we didn't know 00:27:20.490 --> 00:27:23.710 how good it was. And John plays great too, but 00:27:23.710 --> 00:27:26.309 it ended up being Michael's gig. John was busy 00:27:26.309 --> 00:27:29.809 writing and all that kind of stuff. Well, the 00:27:29.809 --> 00:27:32.130 next song I'd like to talk about is the band's 00:27:32.130 --> 00:27:35.650 take on the legendary Albert King's Born Under 00:27:35.650 --> 00:28:07.029 a Bad Song. Now, we had talked earlier about 00:28:07.029 --> 00:28:10.349 John Carabi on this. His voice feels right at 00:28:10.349 --> 00:28:13.970 home with this entire album. He is locked in 00:28:13.970 --> 00:28:16.849 on these performances, which you just said earlier, 00:28:16.950 --> 00:28:20.549 were pretty much done live in the studio. Yeah. 00:28:20.650 --> 00:28:23.710 So from a I know this, I'm asking you about a 00:28:23.710 --> 00:28:26.369 vocal standpoint. But did John ever talk about 00:28:26.369 --> 00:28:28.589 what he was trying to bring to these songs? Because 00:28:28.589 --> 00:28:31.289 I feel like there's a perfect balance of. paying 00:28:31.289 --> 00:28:33.910 homage to the original, but also putting your 00:28:33.910 --> 00:28:37.130 own stamp on it, because this is a uniquely John 00:28:37.130 --> 00:28:39.789 sounding vocal take, but you could tell that 00:28:39.789 --> 00:28:42.289 there's a little bit of a tribute in, in the 00:28:42.289 --> 00:28:45.690 delivery. Well, you definitely, you know, with 00:28:45.690 --> 00:28:48.450 that, the, the original vocal is really cool. 00:28:48.589 --> 00:28:52.130 He's got, you know, when he sings the word born, 00:28:52.289 --> 00:28:55.730 it's really cool on the original. And I think 00:28:55.730 --> 00:28:59.140 that John just hasn't naturally. You know, you 00:28:59.140 --> 00:29:01.819 can stick him in a situation. He always sounds 00:29:01.819 --> 00:29:04.640 like John, but I think he probably, you know, 00:29:04.640 --> 00:29:07.779 felt really at home. And it just sounds to me 00:29:07.779 --> 00:29:10.000 like John singing it. But now if you mention 00:29:10.000 --> 00:29:12.539 it, I'll go back and listen to it like that. 00:29:12.559 --> 00:29:15.180 Like he's paying homage to Muddy. I mean, of 00:29:15.180 --> 00:29:17.779 course, like I said, all the influences that 00:29:17.779 --> 00:29:20.220 we grew up on were influenced by Muddy Waters. 00:29:20.319 --> 00:29:23.420 So John definitely knows who he was. Well, the 00:29:23.420 --> 00:29:26.140 last song I'd like to share is the last song 00:29:26.140 --> 00:29:28.579 on the album, and that's the band's take on Howlin' 00:29:28.579 --> 00:29:33.420 Wolf's Little Red Rooster. Well, I got a little 00:29:33.420 --> 00:30:07.809 red rooster Now, Doug, all of these songs across 00:30:07.809 --> 00:30:11.869 this entire album sound so right at home for 00:30:11.869 --> 00:30:14.549 the Dead Daisies. And you had mentioned that 00:30:14.549 --> 00:30:16.829 one of the songs did turn into something that 00:30:16.829 --> 00:30:19.930 ended up at the end of Light Em Up. Is this the 00:30:19.930 --> 00:30:23.569 kind of album that could possibly in the future 00:30:23.569 --> 00:30:26.309 maybe even change the direction of the band in 00:30:26.309 --> 00:30:29.890 any way? Maybe an album of blues rock originals? 00:30:29.910 --> 00:30:32.849 Or was this just kind of what you called it? 00:30:33.130 --> 00:30:35.049 blowing off some steam in the studio, having 00:30:35.049 --> 00:30:38.190 some fun. And it is what it is. It was definitely 00:30:38.190 --> 00:30:41.150 a byproduct of us being there in an inspirational 00:30:41.150 --> 00:30:45.170 place. And you never know what it may lead to. 00:30:45.250 --> 00:30:47.670 It definitely could. I mean, we see the beauty 00:30:47.670 --> 00:30:51.670 in it now. We're hearing it back going. That's 00:30:51.670 --> 00:30:53.769 really cool. We were able to put our stamp on 00:30:53.769 --> 00:30:56.670 something that wasn't ours. And we've been kind 00:30:56.670 --> 00:30:58.549 of known to do that with covers when we would 00:30:58.549 --> 00:31:01.589 do covers on an album, put an extra song on the 00:31:01.589 --> 00:31:04.390 album every time. and cover it and try to make 00:31:04.390 --> 00:31:06.170 it our own but we went further with this stuff 00:31:06.170 --> 00:31:09.710 and yeah it would be cool to to do more like 00:31:09.710 --> 00:31:13.089 that and make it original absolutely would be 00:31:13.089 --> 00:31:16.690 i don't know if we will but i mean and we definitely 00:31:16.690 --> 00:31:20.190 all have all of us have ideas that easily can 00:31:20.190 --> 00:31:23.569 be stripped down into blues ideas like for example 00:31:23.569 --> 00:31:49.750 the title track on light em up If you took that 00:31:49.750 --> 00:31:53.730 riff and played that riff through a smaller amp 00:31:53.730 --> 00:31:56.970 and maybe slowed it down a little bit, that would 00:31:56.970 --> 00:32:00.930 be a blues, more bluesy, you know? So you never 00:32:00.930 --> 00:32:04.819 know, man. I would love it. Well, given you guys 00:32:04.819 --> 00:32:06.700 are on tour this summer and you're going to be 00:32:06.700 --> 00:32:09.380 playing songs from this album, how do you plan 00:32:09.380 --> 00:32:12.240 on incorporating them? Is it going to be a heavier 00:32:12.240 --> 00:32:14.579 blues set or are you just going to drop a couple 00:32:14.579 --> 00:32:17.339 in or are you just going to say, fuck it and 00:32:17.339 --> 00:32:20.460 do an entire evening of the blues? I think that 00:32:20.460 --> 00:32:22.599 right now we're going to drop a couple in and 00:32:22.599 --> 00:32:24.099 we're going to try and keep them in the vein 00:32:24.099 --> 00:32:26.359 that they are, you know, maybe do a section in 00:32:26.359 --> 00:32:29.819 the show, like three or four songs doing hat 00:32:29.819 --> 00:32:32.829 tip, as you said, but. I could definitely see 00:32:32.829 --> 00:32:36.609 us doing a whole blues show at some point featuring 00:32:36.609 --> 00:32:39.569 the album. Well, before we start wrapping things 00:32:39.569 --> 00:32:42.490 up, I would be remiss if I didn't take us slightly 00:32:42.490 --> 00:32:44.990 off the rails here because there are a bunch 00:32:44.990 --> 00:32:48.269 of mixtapers that listen to the show that, like 00:32:48.269 --> 00:32:52.109 me, grew up a huge fan of Transformers the movie. 00:32:52.509 --> 00:32:55.109 And I'm going to argue that my next question 00:32:55.109 --> 00:32:58.609 actually is relevant because when I saw Optimus 00:32:58.609 --> 00:33:00.930 Prime bite it on the big screen at nine years 00:33:00.930 --> 00:33:03.710 old, That was one of the first times I felt the 00:33:03.710 --> 00:33:06.390 blues. I mean, I cried my eyes out at that movie. 00:33:06.529 --> 00:33:11.069 But joking aside, Lion's version of the Transformers 00:33:11.069 --> 00:33:14.390 theme song from 1986's Transformers the movie, 00:33:14.490 --> 00:33:17.730 as far as I'm concerned, is the quintessential 00:33:17.730 --> 00:33:20.890 Transformers theme. And I would love to hear 00:33:20.890 --> 00:33:23.809 the story about how the band took that 30 -second 00:33:23.809 --> 00:33:27.089 original and, for lack of a better term, and 00:33:27.089 --> 00:33:30.940 I apologize in advance, transformed it. into 00:33:30.940 --> 00:33:34.180 your own tune that's that's that's a funny thing 00:33:34.180 --> 00:33:37.420 because we um you know we were playing around 00:33:37.420 --> 00:33:40.220 los angeles and every label passed on us because 00:33:40.220 --> 00:33:42.480 we weren't like your typical l .a band we didn't 00:33:42.480 --> 00:33:47.059 have our songs were not like motley crew or poison 00:33:47.059 --> 00:33:49.839 we were more influenced as i said by our singer 00:33:49.839 --> 00:33:52.940 was british so we had zeppelin and deep purple 00:33:52.940 --> 00:33:57.339 and he loved thin lizzy and white snake he loved 00:33:57.339 --> 00:34:01.000 cal swan loved david coverall So that was our 00:34:01.000 --> 00:34:02.980 sound, and nobody really wanted that sound. But 00:34:02.980 --> 00:34:05.900 we found a label that said, we can't give you 00:34:05.900 --> 00:34:08.440 much money. In fact, we can't give you any money 00:34:08.440 --> 00:34:11.159 up front, but we'll put out the record. You record 00:34:11.159 --> 00:34:13.420 it in our studio, and then we'll also get you 00:34:13.420 --> 00:34:15.920 on some movie soundtracks. And the first one 00:34:15.920 --> 00:34:20.440 was, they said, we need a theme song. So our 00:34:20.440 --> 00:34:24.000 job was to take that 30 -second clip and make 00:34:24.000 --> 00:34:27.409 it into a rock song. First thing we probably, 00:34:27.530 --> 00:34:29.650 I don't remember exactly what came first, but 00:34:29.650 --> 00:34:32.769 I mean, we had the chorus that we needed to make 00:34:32.769 --> 00:34:36.130 work and we've worked on that a little bit. And 00:34:36.130 --> 00:34:40.110 then eventually we found a riff, which was seemed 00:34:40.110 --> 00:34:46.130 fit, you know, and somehow we came up with an 00:34:46.130 --> 00:34:48.670 arrangement for the thing and then went in the 00:34:48.670 --> 00:34:51.170 studio and cut it. And it was just, you know, 00:34:51.190 --> 00:34:53.329 the cool thing is, is that we did, we did make 00:34:53.329 --> 00:34:56.659 a little bit of money from the song from Like 00:34:56.659 --> 00:34:59.699 it's ASCAP money, mailbox money that would come 00:34:59.699 --> 00:35:02.079 in periodically. And it was once in a while, 00:35:02.119 --> 00:35:03.639 there'd be a pretty good check or whatever. Now 00:35:03.639 --> 00:35:06.820 it's like a couple of pennies or whatever, but 00:35:06.820 --> 00:35:10.099 we weren't super excited about that. Really? 00:35:10.400 --> 00:35:12.380 Yeah. Because we didn't know, you know, we're 00:35:12.380 --> 00:35:15.659 older. Transformers was, was for younger guys, 00:35:15.780 --> 00:35:20.340 you know? Sorry. No, that's, it's cool. And. 00:35:20.969 --> 00:35:22.929 It's interesting that it's even still a thing 00:35:22.929 --> 00:35:25.369 is that we thought this is just some show it's 00:35:25.369 --> 00:35:27.849 going to be gone in five minutes and it turned 00:35:27.849 --> 00:35:30.469 into a movie and they gave us that thing. Then 00:35:30.469 --> 00:35:32.969 we thought it would go away and they'd done a 00:35:32.969 --> 00:35:35.550 couple movies since then, right? Very many, yeah. 00:35:35.989 --> 00:35:38.530 But yeah, it was the first thing we did with 00:35:38.530 --> 00:35:41.349 that label and we went in with this producer 00:35:41.349 --> 00:35:44.670 and cut the track in a day and the rest went 00:35:44.670 --> 00:35:49.570 on an album for the Transformers movie that had 00:35:49.570 --> 00:35:52.139 a bunch of songs on it. Yeah. It's a classic 00:35:52.139 --> 00:35:56.599 to all of us 80s kids that grew up with it. That's 00:35:56.599 --> 00:35:59.199 cool. Thank you. Well, I have to ask because 00:35:59.199 --> 00:36:01.519 this show is called My Weekly Mixtape and it's 00:36:01.519 --> 00:36:04.119 centered around creating mixtapes and mixtape 00:36:04.119 --> 00:36:07.579 curation. Yeah. Looking back at your entire career, 00:36:07.659 --> 00:36:10.780 all the bands you've been in, if you had to make, 00:36:10.880 --> 00:36:14.119 let's say, a five song mixtape that kind of sums 00:36:14.119 --> 00:36:17.320 up your career amongst those five songs, which 00:36:17.320 --> 00:36:20.480 five songs would you choose and why? That's a 00:36:20.480 --> 00:36:23.280 really great question. I'm sorry to say I probably 00:36:23.280 --> 00:36:27.860 wouldn't put Transformers on there. But I would 00:36:27.860 --> 00:36:33.119 want to try to show some diversity, but also 00:36:33.119 --> 00:36:39.820 a thread of a style that I hope to have. So I 00:36:39.820 --> 00:36:43.860 would probably, starting backwards, I would say 00:36:43.860 --> 00:36:47.739 it's hard to pick one song from Dead Daisies, 00:36:47.800 --> 00:36:50.329 but I guess I would probably say, Long Way to 00:36:50.329 --> 00:36:53.809 Go is a song that is quintessential for the Dead 00:36:53.809 --> 00:36:57.090 Daisies. And it was a riff that David had. And 00:36:57.090 --> 00:36:59.869 me and Brian Tissue kind of worked it into a 00:36:59.869 --> 00:37:02.530 full arrangement. And then John and Marty and 00:37:02.530 --> 00:37:05.889 everybody, Marco, finished it off arrangement 00:37:05.889 --> 00:37:08.610 -wise and melody -wise. And it's a good rock 00:37:08.610 --> 00:37:11.989 song. It's just a good representation of this 00:37:11.989 --> 00:37:15.829 period. And then with Whitesnake, that was my 00:37:15.829 --> 00:37:19.449 project prior. Not project, but that was... was 00:37:19.449 --> 00:37:21.710 in the band for a long time and really dedicated 00:37:21.710 --> 00:37:24.809 to it and felt really proud of the work that 00:37:24.809 --> 00:37:26.989 we did so i would say the last song that me and 00:37:26.989 --> 00:37:29.610 david coverdell wrote was a song called forevermore 00:37:29.610 --> 00:37:34.190 yeah that was um really hit it that song we were 00:37:34.190 --> 00:37:38.050 pretty much done writing and his engineer that 00:37:38.050 --> 00:37:40.170 was there with us said you know we need we need 00:37:40.170 --> 00:37:42.929 more songs we don't have enough songs and that 00:37:42.929 --> 00:37:44.730 was in this year and then in this year david's 00:37:44.730 --> 00:37:47.530 going Douglas, we've got a smoking record. We're 00:37:47.530 --> 00:37:51.449 done. We got to stop writing because I got to 00:37:51.449 --> 00:37:54.289 start writing lyrics. I can't. We're done. The 00:37:54.289 --> 00:37:58.070 record's good. We got it. And so I had the idea 00:37:58.070 --> 00:38:00.309 for Forevermore. And I said to him, I got one 00:38:00.309 --> 00:38:03.789 more. He goes, no, we're done. I told you. And 00:38:03.789 --> 00:38:05.730 I go, well, just tomorrow, can you just listen 00:38:05.730 --> 00:38:08.449 to it? And we kind of ended up getting in a little 00:38:08.449 --> 00:38:10.789 bit of a, not argument, but it was just like 00:38:10.789 --> 00:38:13.369 a little, there was a heavy pushback. Like, I'm 00:38:13.369 --> 00:38:16.280 not, I just told you. i don't want to write anymore 00:38:16.280 --> 00:38:18.000 and here you are telling me you got another song 00:38:18.000 --> 00:38:21.659 and i played it for him the next morning he came 00:38:21.659 --> 00:38:24.440 to me and goes play me the freaking song so i 00:38:24.440 --> 00:38:27.380 played it for him and he immediately locked into 00:38:27.380 --> 00:38:29.460 a melody and so i'm really proud of that song 00:38:29.460 --> 00:38:31.639 that it made it was the last thing we ever did 00:38:31.639 --> 00:38:35.719 together but i would also say like so that's 00:38:35.719 --> 00:38:38.340 two there was other songs of white sink i would 00:38:38.340 --> 00:38:40.619 like to include but i'll put from the previous 00:38:40.619 --> 00:38:46.199 album good to be bad I was in this studio. I 00:38:46.199 --> 00:38:47.840 was playing in the thing. And he goes, well, 00:38:47.860 --> 00:38:49.900 what kind of melody are you going to? I go, I 00:38:49.900 --> 00:38:52.119 just played it. I made up something. Tell me, 00:38:52.159 --> 00:38:55.840 baby, what's on your mind? Which is kind of a 00:38:55.840 --> 00:38:59.920 bluesy thing. And he seemed to like that phrasing 00:38:59.920 --> 00:39:02.380 and that thing. And he sang it. He goes, play 00:39:02.380 --> 00:39:04.820 it again. I played it. And he started singing 00:39:04.820 --> 00:39:09.929 my exact words that I sang. And it was like, 00:39:10.050 --> 00:39:14.769 holy shit, this is unbelievable. And it was like, 00:39:14.889 --> 00:39:18.550 okay, we're creating new White Sink music. He 00:39:18.550 --> 00:39:22.150 wanted to keep the band going and stuff. And 00:39:22.150 --> 00:39:24.349 I was like, we need new music if we're going 00:39:24.349 --> 00:39:26.949 to do it. So that was one of the first songs. 00:39:27.190 --> 00:39:29.710 And it was like, okay, we're doing this. We're 00:39:29.710 --> 00:39:32.710 getting White Sink back up and running. So that's 00:39:32.710 --> 00:39:36.840 three. I would say with Dio. That album we did 00:39:36.840 --> 00:39:39.980 was pretty cool. It was getting back to the roots 00:39:39.980 --> 00:39:43.059 of Dio and back to the more traditional guitar 00:39:43.059 --> 00:39:46.139 -oriented stuff. I've listened to it once in 00:39:46.139 --> 00:39:49.139 a while, little bits here and there. It was just 00:39:49.139 --> 00:39:52.260 a great memory for me. I would say he and I co 00:39:52.260 --> 00:39:56.380 -wrote two songs on that album. It's kind of 00:39:56.380 --> 00:39:59.539 a sleeper track, but I really loved it. It was 00:39:59.539 --> 00:40:03.389 a song called Scream. It's a slow song. When 00:40:03.389 --> 00:40:05.489 I joined the band, they had eight songs already. 00:40:05.590 --> 00:40:08.090 They needed a couple more. And I just felt like, 00:40:08.130 --> 00:40:11.630 let's do a slow, kind of a holy diver, kind of 00:40:11.630 --> 00:40:14.610 a last in line, or a heaven and hell type of 00:40:14.610 --> 00:40:18.650 song to fill it out. And then prior to Dio, maybe 00:40:18.650 --> 00:40:22.530 with, well, there's a couple things I would say. 00:40:22.610 --> 00:40:24.670 This is another one that maybe people didn't 00:40:24.670 --> 00:40:27.730 know about. But House of Lords, I played on the 00:40:27.730 --> 00:40:30.929 Sahara record. And we did a cover of Can't Find 00:40:30.929 --> 00:40:33.780 My Way Home, which. was getting a lot of attention 00:40:33.780 --> 00:40:38.820 back then. I had played on the demo and Gene 00:40:38.820 --> 00:40:41.360 was the record company. Gene Simmons was the 00:40:41.360 --> 00:40:43.159 record company. He said, I want you to join the 00:40:43.159 --> 00:40:47.659 band. I said, I can't join the band. I'm contractually 00:40:47.659 --> 00:40:50.019 set up with Hurricane and we've got a record 00:40:50.019 --> 00:40:53.639 coming out, but I'll play on the record. The 00:40:53.639 --> 00:40:56.699 version of Can't Find My Way Home, it's hard 00:40:56.699 --> 00:40:58.599 to find now because they recut it with a different 00:40:58.599 --> 00:41:02.199 guitar player later. I don't know why. the original 00:41:02.199 --> 00:41:04.239 version I was really proud of. Can't Remember 00:41:04.239 --> 00:41:07.079 Where Home was a Blind Faith tune, as you know. 00:41:07.820 --> 00:41:12.900 Then there's other bands that I could throw in 00:41:12.900 --> 00:41:17.219 there and stuff, but I'll jump to Lion and I 00:41:17.219 --> 00:41:20.420 would say probably Power Love. It was our first 00:41:20.420 --> 00:41:26.119 song that got attention and it was pretty straight 00:41:26.119 --> 00:41:30.710 up pop rock, heavy rock. But it did well for 00:41:30.710 --> 00:41:33.010 us. And a lot of people first heard me playing 00:41:33.010 --> 00:41:36.050 that. So I put that one. That's a hard question. 00:41:36.190 --> 00:41:39.110 There's so many, you know, I would probably in 00:41:39.110 --> 00:41:42.409 my perfect brain, I would pick totally different 00:41:42.409 --> 00:41:45.550 songs like that were just songs that I really 00:41:45.550 --> 00:41:49.750 like personally, but people would maybe not relate 00:41:49.750 --> 00:41:53.250 to it as much. So Power Love goes on there. Pick 00:41:53.250 --> 00:41:55.510 up your copy of the dead daisies looking for 00:41:55.510 --> 00:41:58.230 trouble starting on May 30th. And if you're tuning 00:41:58.230 --> 00:42:00.889 in from Europe or the UK, be sure to check out 00:42:00.889 --> 00:42:03.329 the band when they're in your city, Doug, let's 00:42:03.329 --> 00:42:05.690 not wait six years till our next sit down. Thank 00:42:05.690 --> 00:42:08.010 you so much for joining me on my weekly mixtape. 00:42:08.409 --> 00:42:10.570 Thanks Brian. I really appreciate it. And it 00:42:10.570 --> 00:42:12.670 was a great interview. Really cool. Thank you 00:42:12.670 --> 00:42:15.130 for what you do. And thanks to all your, your 00:42:15.130 --> 00:42:18.280 listeners really appreciate it. And to those 00:42:18.280 --> 00:42:20.199 listening, you can head over to the episode page 00:42:20.199 --> 00:42:23.619 at myweeklymixtape .com to hear a playlist of 00:42:23.619 --> 00:42:26.179 all the songs we've discussed from the album, 00:42:26.219 --> 00:42:30.039 as well as Doug's top five tracks. And remember, 00:42:30.179 --> 00:42:32.639 you can find My Weekly Mixtape on almost all 00:42:32.639 --> 00:42:35.960 the social media haunts at myweeklymixtape. 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