WEBVTT

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This is Jax Hollow, and you are listening to

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My Weekly Mixtape with Brian Colburn, and enjoy

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the show. Welcome to My Weekly Mixtape, a podcast

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that takes the classic mixtape approach to building

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a modern playlist. I'm your host, Brian Colburn.

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Joining me tonight as guest curator is the amazing

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blues rock and Americana artist Jax Hollow. Jax,

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thank you so much for joining me on my weekly

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mixtape. For sure, man. Glad to be here. Glad

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to have you. And I'd like to start by asking

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you the same question I ask all of my first time

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guests. What does the word mixtape mean to you?

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Mixtape is when you burn a bunch of songs onto

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a CD for your significant other to never listen

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to. I will say I have made many of those CDs

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for people, including my wife now. And we have

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had conversations where a song will come on and

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I'll be like, do you remember when I put that

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on that mix CD for you? And she said, I've never

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heard this song before. And you spend so much

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time being like, oh, yes, this perfectly explains

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how I feel. This person will definitely understand.

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Tonight, we're going to be co -curating a mixtape

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that hopefully people will listen to, and it's

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going to be filled with modern blues rock tunes.

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And I'd like to start by asking you, how would

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you describe the state of blues rock music in

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2024? It's more than Joe Bonamassa. I just want

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to say that. It's kind of cool. There's actually

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a cool scene happening in Nashville on its own

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for Blues Rock as well. And I feel like we get

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more and more bands coming in that are more affiliated

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with the old school ways of the guitar and rock.

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And there's some cool bands that have made it

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semi -big that are pretty interesting. But yeah,

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it's a cool state. It's definitely not big in...

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in the media and in your face and flashy, some

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of it, but it's there and it's definitely got

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a presence and people show up to shows. That's

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what it's all about. Well, let's get down to

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business. Tonight, as I mentioned, Jax and I

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will be curating the ultimate modern blues rock

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mixtape and we'll use the old cassette deck approach.

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Jax, as my special guest, will begin side A with

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her first song choice and then I'll add a song

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that I feel best follows up that choice. We'll

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then flip -flop choosing songs until we've mapped

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out 10 songs for side A. We'll then give our

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mixtape a proverbial flip and we'll map out side

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B. Only this time, I'll kick things off with

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Jack's choosing second. Our overall goal for

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this episode is to craft the best modern blues

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rock mixtape possible through only 20 songs.

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And at the end of the show, you can take our

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conversation to the next level by visiting the

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episode page at myweeklymixtape .com to give

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our final mixtape a listen. via the embedded

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playlist. And if you like what you're hearing

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on the show, you can help me out by either telling

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a friend, leaving the show a five -star review

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wherever you're tuning in, or becoming a Patreon

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mixtaper at patreon .com forward slash myweeklymixtape.

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And a few of the Patreon mixtapers chimed in

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with songs that they would use to kick off our

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modern blues rock mixtape. And I want to give

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a quick shout out to them. Starting off with

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brand new Patreon mixtaper, Chad LaMassa, who

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chimed in with Emily Wolf's Walk In My Shoes.

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Chad, welcome to the mixtaper family. Stoked

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to have you on board and looking forward to talking

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music with you in the forum. Jason Donchus chimed

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in with both the Steepwater Band's Please A Believer

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and Band of Heathens Medicine Man. And Seeker

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chimed in with the Sheepdogs' Who. So Jax, with

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that musical food for thought out in the atmosphere,

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I'm officially pressing the record button on

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our mixtape and the floor is yours. Why don't

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you dive into the song you chose to kick off

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Side A? Hell yeah. Man, that's cool. Your listeners

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are digging deep and that's awesome. Glad to

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hear. I would do Electric Man by Rival Sons.

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That song kicks ass. It's hot. That's one of

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those songs you want to make out to. Hell yeah.

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It's a good one. Rival Sons, I saw them with

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STP back in 2019. And I'll tell you what, seeing

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them live for the first time, like I've heard

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the albums, I know the songs, but seeing them

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bring that energy to the stage is so infectious.

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And that riff is so... like the words electric

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man as soon as that riff starts you almost feel

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it in the tone of the guitar there's a certain

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tinge that he leads in the opening guitar of

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that song where when you hear electric man it

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almost sounds like a static on top of the distortion

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it's a really cool technique that they did with

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that one you know tell you what rebel sons i

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saw them at the rhyming and the thing is is that

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they've got great songs they actually have a

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new record out dark fighter but They are just

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one of those bands that they're amazing live.

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That dude can sing his ass off. He is a monster

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vocalist. One of my favorite ones I've ever seen

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live. He will chop you down and not even look

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at you. They are one to see live more than to

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listen to as well. One of those bands. Yeah.

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Well, I'm going to lean onto that. guitar tone

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that we talked about for rival sons. And I think

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what I'm going to follow that up with is a riff

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that I can only describe by taking two parts

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of Jimi Hendrix and his impact on the blues,

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adding in one cup of rage against the machines,

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intensity, throwing it into a blender and getting

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the dirty riff from when my train pulls in by

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Gary Clark, Jr. This is the kind of riff that

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would have made Jimi Hendrix smile because the

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groove that these guys lock into is very reminiscent

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of what I loved so much about the experience.

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There's just a vibe going on and the guitar solo

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in it is just obnoxious, absolute fire. This

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song is seven plus minutes long and the music

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video is seven. plus minutes long, which speaks

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volumes because there's really no part of this

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song that you could cut to make a radio edit

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without taking away from the core of the song.

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And the entire Black and Blue album from 2012

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is a monster with songs like Numb, Bright Lights,

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and that mashup of, once again, Jimi Hendrix's

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Third Stone from the Sun and Little Johnny Taylor's

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If You Love Me Like You Say. The album is just

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incredible. And I think following up Rival Sons,

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this kind of keeps that intensity going. So Gary

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Clark Jr.'s When My Train Pulls In. Yeah, dude,

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he's a monster. Good shit, man. I would say some

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kind of local monster. Some of my friends are

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in this band called Goodbye June. Yes. And shout

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out to my buddy Tyler. I would do Goodbye June

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three chords. Nice. Which has that bite. After

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your song has got that bite, but it's also really

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focused on lyrics and it's about chasing the

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dream and not being afraid to do so. Love Goodbye

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June. That's awesome because they're a group

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that in my mind is on the up and up right now.

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They're a group that you want more people to

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know about. And obviously. Rival Sons and Gary

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Clark Jr. are almost, I don't want to say at

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the top of the mountain, but they're getting

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there. People know who they are. And there's

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bands like Goodbye June that more people need

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to know about because there's so much freaking

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talent there. It's just ridiculous. Again, live

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is going to, because I saw them at this Gibson

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Garage event. And I mean, I hadn't actually seen

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them live. And when I saw them at that, I was

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like, come on. Again, they're one you got to

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see live. You know, they got great songs, but.

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People don't understand. Yeah. Got to see my

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boys live. They kill it. They got new stuff coming

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out, too. I got to listen in on some of their

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new stuff. It's good. Yeah. Well, following that

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up, I think I'm going to dive into the lyrical

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aspect of what you were talking about and kind

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of piggyback off of that. And I'm going to go

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back to 2012. 2012 was an amazing year for blues

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rock, in my opinion. People might remember this

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next artist from her late 90s hit, L .A. Song,

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Out of This Town, which was an adult contemporary

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hit. However, since 1999, Beth Hart has pivoted

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into a more blues rock bass, working with Joe

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Bonamassa on the 2011 Don't Explain album, which

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was the first of several that they did together,

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but then going off on her own and creating the

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amazing Bang Bang Boom Boom. which came out in

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2012 and reached number three on the Billboard

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Blues album charts, which is one of her biggest

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to date. And the song I'm going to go with is

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the 7 Plus Minute Again. I don't know what it

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is. I'm picking long songs tonight so far, but

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Caught in the Rain. This song just ping -pongs

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from sexy to this monster scream that Beth has.

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It's just so sultry and powerful. And to go from

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this soft and emotive delivery to this heft that

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just demands your attention, its song is just

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oozing with dynamics. And to put that into perspective

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for people who don't know who Beth Hart is, her

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latest album is 2022's A Tribute to Led Zeppelin

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that features, well, you guessed it, nothing

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but Zeppelin covers. And she friggin' kills it.

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Beth Hart, Caught Out in the Rain. Hell yeah,

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dude. Her vocals are, yeah. Like you said, dynamics.

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Dynamics are really important to me. I don't

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know. I hope that they are for other people.

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But dynamics is where all the feel is. So especially

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when you're paying for a ticket to see an artist

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live, that's where a lot of the magic happens

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is the control of dynamics. And when you want

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to talk about control with vocal control. You

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got a lot of power when you bring it down like

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that. And then you just like dig in the way she

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does. We're going to go off on Rock Chicks. I

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definitely got to give a shout out to my girl,

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Jackie Benson. I don't know if you know her.

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She is a Taylor guitarist and a great singer.

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She's an artist as well. I'm going to choose

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Rolling On by Jackie Benson. She's also got this

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really cool personality on stage. Facial expressions.

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I'm a fan of it. She does them well. So shout

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out to Jackie. She's awesome. Yeah. This is that

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old school. When you mentioned the facial expressions,

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watching videos of her, I'm reminded of BB King

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as if the guitar is kind of an extension of who

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she is as a person, the way BB played that guitar.

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You felt like Lucille was one with him. If that

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doesn't sound too high and religious there, but

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I think you get what I'm saying. Hell yeah. Awesome

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track. And I think following it up, I'm going

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to go with somebody who's been on the scene for

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a very, very, very long time. Because in the

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70s and 80s, he performed in both Canned Heat

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and John Mayall and the Blues Breakers before

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launching an amazingly successful blues rock

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career that is pretty much worldwide. And I'm

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going to go with Walter Trout's Wanna Dance from

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2020's Ordinary Madness. This song has this kind

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of Neil Young and Crazy Horse vibe woven into

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a groove that kind of brings that rock side more

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to the blues rock table, so to speak. I discovered

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Walter Trout 20 -something years back on a website

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called mp3 .com. And they used to have charts

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and looking for the promised land was high up

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on the blues charts. And I checked it out. And

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as soon as I heard his riff, I was immediately

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hooked. He's actually releasing a new album in

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March called broken. So be on the lookout for

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that one. Cause the pre -release singles I've

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heard thus far, it's probably going to be another

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monster album. So I pretty much own his entire

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discography and there's not a single album. He's

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put out that I personally can't listen to start.

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to finish but wanna dance has a really unique

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vibe that i think brings a different dynamic

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to the songs we've been talking about tonight

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so i thought that'd be kind of cool for the next

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spot cool cool so he played with canned heat

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in the 80s it looks like i'm just kind of reading

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all right cool cool dude i fucking playing uh

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that rock cruise and can he is on the bill really

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cool damn i'm excited about that yeah i gotta

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check him out i can't say i i checked out that

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i might have to look that up yeah for sure let's

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see i do oh man i mean i'm gonna say since i

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don't know him i'm just gonna i'm gonna pull

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one out here we'll do um Eight None Watered Down

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by Tyler Bryant and the Shakedown. Oh, yeah.

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Yes. Badass. Awesome song. And believe it or

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not, I mentioned that Rival Sons Stone Temple

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Pilots tour that I saw back in 2019. Tyler Brandt

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and the Shakedown opened that show. So that was

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a ridiculous triple bill right there. Bam. I

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think to follow that up, I'm going to go with

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an album that was one of my absolute favorites

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in 2022. And this song has a vibe similar to

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When My Train Comes In by Gary Clark Jr. Because

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it's just another dirty riff. And it's by Rebecca

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and Megan Lavelle, otherwise known as Larkin

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Poe, the sister duo that's been making. insane

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music since 2010 each album just keeps getting

00:14:40.379 --> 00:14:44.600
better and better along with Marcus King's Youngblood

00:14:44.600 --> 00:14:48.080
Blood Harmony was easily a top 2022 album for

00:14:48.080 --> 00:14:52.120
me and in a similar nod to a lot of the groups

00:14:52.120 --> 00:14:54.179
and artists we've been talking about so far tonight

00:14:54.179 --> 00:14:57.559
they're taking blues rock in a different direction

00:14:58.590 --> 00:15:01.149
And I love the slide work that they're bringing

00:15:01.149 --> 00:15:04.110
into it because the slide guitar over the nasty

00:15:04.110 --> 00:15:08.529
riff really creates a unique dynamic. Normally,

00:15:08.590 --> 00:15:11.169
it's just shredding over a nasty riff. And this

00:15:11.169 --> 00:15:14.509
kind of has this smooth and sliding guitar, but

00:15:14.509 --> 00:15:17.049
you never lose an ounce of heft to the song.

00:15:17.190 --> 00:15:21.389
So let's go with Larkin Poe, Bad Spell. What's

00:15:21.389 --> 00:15:23.230
funny is I didn't know their names. So I was

00:15:23.230 --> 00:15:25.429
like, who is that? And I'm like, what's it about?

00:15:25.759 --> 00:15:28.000
They're making awesome waves, especially over

00:15:28.000 --> 00:15:30.740
in Europe. I was playing some shows in Europe,

00:15:30.820 --> 00:15:34.379
and almost at every one of my shows was a guy

00:15:34.379 --> 00:15:38.600
wearing Larkin Poe t -shirt. Wow. Awesome. And

00:15:38.600 --> 00:15:40.399
they always want to tell me about how they saw

00:15:40.399 --> 00:15:43.960
them. So they are having lasting effects, especially

00:15:43.960 --> 00:15:49.480
overseas. Yeah, those girls are awesome. My turn

00:15:49.480 --> 00:15:53.360
then. Well, shoot. Then let's go like way back

00:15:53.360 --> 00:15:56.559
in time to the mother of blues rock or mother

00:15:56.559 --> 00:15:59.659
of kind of blues. But she's got that grit to

00:15:59.659 --> 00:16:03.159
her. I'm going to go back to this woman named

00:16:03.159 --> 00:16:07.279
Sister Rosetta Tharp, who I've seen a couple

00:16:07.279 --> 00:16:12.279
of videos on YouTube. She is awesome. I'd say

00:16:12.279 --> 00:16:15.039
that one where she's saying, didn't it rain?

00:16:16.330 --> 00:16:17.769
That's probably the name of the song. Didn't

00:16:17.769 --> 00:16:21.049
it rain? Yeah. Yeah. No, blue is pretty simple.

00:16:21.210 --> 00:16:22.809
If there's not simple enough, then you're not

00:16:22.809 --> 00:16:28.330
doing it right. Yeah. But just the tenacity and

00:16:28.330 --> 00:16:35.669
the performance and the confidence and the facial

00:16:35.669 --> 00:16:39.789
expressions. She's got it all. And she was way

00:16:39.789 --> 00:16:43.009
before her time. She killed it. Yeah. She cool.

00:16:43.679 --> 00:16:47.259
She is unbelievable. Obviously, in the Rock and

00:16:47.259 --> 00:16:49.159
Roll Hall of Fame for a reason, because she was

00:16:49.159 --> 00:16:52.159
a game changer. Well, that's awesome. When did

00:16:52.159 --> 00:16:57.500
she get inducted in the Hall of Fame? In 2018,

00:16:57.860 --> 00:17:00.899
because Brittany Howard from Alabama Shakes inducted

00:17:00.899 --> 00:17:06.279
her. That's right. That makes me so happy that

00:17:06.279 --> 00:17:09.819
she's the one who did that. Man, that's awesome.

00:17:10.099 --> 00:17:14.940
Yeah. Well, speaking about Alabama shakes to

00:17:14.940 --> 00:17:19.720
close outside a, I think I'm going to go down

00:17:19.720 --> 00:17:22.579
that road and go with their track. Always. All

00:17:22.579 --> 00:17:25.680
right. From the silver linings playbook soundtrack,

00:17:25.700 --> 00:17:29.200
but also added to the deluxe edition of their

00:17:29.200 --> 00:17:32.559
boys and girls album. It has been one of my favorites

00:17:32.559 --> 00:17:34.940
since I first heard, I mean, hold on was the

00:17:34.940 --> 00:17:36.759
song that introduced me to the Alabama shakes.

00:17:37.579 --> 00:17:41.700
But when I heard Always Alright, it made me just

00:17:41.700 --> 00:17:44.019
fall in love with the band. And I think that

00:17:44.019 --> 00:17:48.079
song just has a perfect ending to this pretty

00:17:48.079 --> 00:17:50.119
eclectic side that we've put together. There's

00:17:50.119 --> 00:17:53.880
a groove to it. There's a down and dirty nastiness

00:17:53.880 --> 00:17:56.940
to it. And I mean, Brittany Howard's just on

00:17:56.940 --> 00:17:59.019
another level. So I think it's a perfect way

00:17:59.019 --> 00:18:01.839
to close out the side. Definitely. I love that

00:18:01.839 --> 00:18:05.930
song. Well, there you have it, folks. Side A

00:18:05.930 --> 00:18:09.089
of our modern blues rock mixtape, which consists

00:18:09.089 --> 00:18:12.730
of Rival Sons' Electric Man, Gary Clark Jr.'s

00:18:12.730 --> 00:18:15.390
When My Train Pulls In, Goodbye June's Three

00:18:15.390 --> 00:18:18.950
Chords, Beth Hart's Caught Out in the Rain, Jackie

00:18:18.950 --> 00:18:22.170
Venson's Rollin' On, Walter Trout's Wanna Dance,

00:18:22.589 --> 00:18:25.210
Tyler Brant and the Shakedown's Ain't None Watered

00:18:25.210 --> 00:18:28.809
Down, Larkin Poe's Bad Spell, Sister Rosetta

00:18:28.809 --> 00:18:31.910
Tharpe's Didn't It Rain, and Alabama Shake's

00:18:32.119 --> 00:18:34.980
always all right. Head over to myweeklymixtape

00:18:34.980 --> 00:18:37.599
.com to hear all the songs we've discussed in

00:18:37.599 --> 00:18:40.400
this mix through the playlist embedded on the

00:18:40.400 --> 00:18:44.940
episode page. Now, Jax, in 2023, you released

00:18:44.940 --> 00:18:47.660
your debut full -length album, Only the Wild

00:18:47.660 --> 00:18:50.420
Ones, which I was introduced to, thankfully,

00:18:50.539 --> 00:18:54.440
by Patreon mixtaper Jason Donchus. And I was

00:18:54.440 --> 00:18:56.980
immediately hypnotized by the opening guitar

00:18:56.980 --> 00:19:00.799
riff to Wolf and Sheepskin. And when you talked

00:19:00.799 --> 00:19:04.549
about dynamics when we were talking about beth

00:19:04.549 --> 00:19:08.210
hart the first time i hear you belt out but i'm

00:19:08.210 --> 00:19:32.490
better sleeping alone i was just hooked Only

00:19:32.490 --> 00:19:35.230
the Wild Ones is very much a blues rock album,

00:19:35.410 --> 00:19:38.769
but also very much an Americana album and very

00:19:38.769 --> 00:19:41.910
much a rock album. Obviously, you could have

00:19:41.910 --> 00:19:44.490
leaned into any one of those directions for the

00:19:44.490 --> 00:19:46.789
entirety of the album, but you found the way

00:19:46.789 --> 00:19:49.250
to strike a perfect balance between the three.

00:19:49.349 --> 00:19:51.509
Was that your intention when you were writing

00:19:51.509 --> 00:19:55.710
the songs for this record? Well, thanks for listening

00:19:55.710 --> 00:19:58.450
to it. Yeah, Wolf and Sheepskin is definitely

00:19:58.450 --> 00:20:00.809
still one of my favorites to play, too. Of course,

00:20:00.849 --> 00:20:03.390
I've... Extended the intro like any guitarist

00:20:03.390 --> 00:20:09.170
would. But yeah, man, I just, it's kind of one

00:20:09.170 --> 00:20:12.529
of the downfalls is I don't have a vision until

00:20:12.529 --> 00:20:15.269
it sort of starts building on top of itself.

00:20:15.369 --> 00:20:17.869
And then it kind of reveals itself to me in a

00:20:17.869 --> 00:20:21.740
very... I don't know, Rick Rubin way. I don't

00:20:21.740 --> 00:20:23.900
really touch it until it needs to be touched.

00:20:24.039 --> 00:20:27.400
And I don't know how else to describe it, but

00:20:27.400 --> 00:20:29.900
just songs that I really enjoyed writing and

00:20:29.900 --> 00:20:32.700
they all have their own vibe to them. I mean,

00:20:32.740 --> 00:21:06.220
Ventriloquist is like jazz. And Ethereal Emerald

00:21:06.220 --> 00:21:09.559
is this crazy thing that changes feel a million

00:21:09.559 --> 00:21:12.000
times with a ripping guitar solo and Wolf in

00:21:12.000 --> 00:21:16.759
Sheepskin is got a Hendrix -y intro and, you

00:21:16.759 --> 00:21:19.630
know. Wallflower Girl is like a super Americana

00:21:19.630 --> 00:21:48.150
song. There's even a banjo in it, actually. I

00:21:48.150 --> 00:21:51.049
just all over the place. I just be making music.

00:21:51.170 --> 00:21:52.670
We'll just see what happens. We throw paint at

00:21:52.670 --> 00:21:54.730
the wall. We just throw paint at the wall here.

00:21:54.869 --> 00:21:58.750
That's me. But thank you. Well, you brought up

00:21:58.750 --> 00:22:01.349
ethereal emerald. This song has this kind of

00:22:01.349 --> 00:22:05.390
like breezy energy to it musically. But then

00:22:05.390 --> 00:22:08.390
you talked about that guitar solo and it's frigging

00:22:08.390 --> 00:22:11.029
stunning. I have to kind of put my New Jersey

00:22:11.029 --> 00:22:13.569
hat on here for a second and say to me, this

00:22:13.569 --> 00:22:15.490
feels like a song that I would put the top down

00:22:15.490 --> 00:22:18.880
on a convertible and drive. down the shore, and

00:22:18.880 --> 00:22:21.140
that is to the beach for anybody who's not from

00:22:21.140 --> 00:22:23.640
New Jersey. I kind of want to talk about this

00:22:23.640 --> 00:22:26.400
solo for a minute because listening to the album,

00:22:26.539 --> 00:22:31.039
it feels like you're using a wah pedal over this

00:22:31.039 --> 00:22:35.720
fast solo, but you're using the wah slowly as

00:22:35.720 --> 00:23:29.349
the solo is unfolding. Good God, that solo rips.

00:23:29.349 --> 00:23:33.289
Can you talk about how that whole slow burn wah

00:23:33.289 --> 00:23:35.950
effect came into play here? You know, I know

00:23:35.950 --> 00:23:38.730
something insane is I was in the other room,

00:23:38.789 --> 00:23:41.630
the control room, tracking the solo. I had no

00:23:41.630 --> 00:23:44.509
pedals by my feet. I had these two amazing guys

00:23:44.509 --> 00:23:47.549
that were doing guitar tech for me on the record.

00:23:48.609 --> 00:23:53.150
They were in Studio B in there. Operating the

00:23:53.150 --> 00:23:56.529
wah, which was hilarious, man. My buddy Michael

00:23:56.529 --> 00:23:59.549
Vance and Eddie Hadid, shout out to them. Those

00:23:59.549 --> 00:24:02.269
guys are killer, killer guitarists. And they

00:24:02.269 --> 00:24:04.869
were pressing buttons and doing all the things

00:24:04.869 --> 00:24:07.710
that I just did not have the experience or knowledge

00:24:07.710 --> 00:24:10.470
doing. And they were in that other room. Who

00:24:10.470 --> 00:24:13.170
even knows what they were pressing? But it sounds

00:24:13.170 --> 00:24:14.930
amazing. I was just in the control room just

00:24:14.930 --> 00:24:18.670
like playing it. Yeah. The dynamics on it are

00:24:18.670 --> 00:24:21.869
ridiculous. And the next track I'd like to touch

00:24:21.869 --> 00:24:25.049
on is another one of my favorites from the album,

00:24:25.349 --> 00:24:45.569
Running Like a Gypsy. This song is such a killer

00:24:45.569 --> 00:24:49.859
blend of... I almost want to say bluegrass, Americana,

00:24:50.039 --> 00:24:54.400
blues rock, and yeah, I'll say it, metal. Because

00:24:54.400 --> 00:24:58.000
the banjo that Tim Halloway adds to the track

00:24:58.000 --> 00:25:01.920
takes this song that is really fast and in your

00:25:01.920 --> 00:25:04.799
face and high energy, but it adds this dynamic

00:25:04.799 --> 00:25:08.079
to it where you're kind of listening to the instruments

00:25:08.079 --> 00:25:12.779
separation and it adds layers and depth to this

00:25:12.779 --> 00:25:16.250
song. And hearing a song like this makes me wonder,

00:25:16.329 --> 00:25:19.390
when you perform this live, you tour with your

00:25:19.390 --> 00:25:23.230
band as well as playing solo shows. When you're

00:25:23.230 --> 00:25:26.150
writing, do you write with that in mind? Meaning

00:25:26.150 --> 00:25:28.730
like, hmm, how's this going to translate to when

00:25:28.730 --> 00:25:31.730
I'm up there by myself versus when I've got the

00:25:31.730 --> 00:25:35.609
band with me? I'm pretty much just a mess kiss.

00:25:35.730 --> 00:25:38.329
I make everything really hard for myself no matter

00:25:38.329 --> 00:25:41.930
where I am. No, Running Like a Gypsy is definitely

00:25:41.930 --> 00:25:46.980
a song I... would not perform solo. It's funny.

00:25:47.240 --> 00:25:50.440
People will request Ethereal Emerald, and I can

00:25:50.440 --> 00:25:53.940
get away with it solo, which is wild. But Running

00:25:53.940 --> 00:25:57.279
Like a Gypsy, it doesn't translate without that

00:25:57.279 --> 00:26:01.759
driving force, which is a full band. For the

00:26:01.759 --> 00:26:04.140
new record I've been working on, they come out

00:26:04.140 --> 00:26:06.019
the way they come out, man. It's just so funny

00:26:06.019 --> 00:26:09.279
about it. I really don't have much control. Sometimes

00:26:09.279 --> 00:26:12.319
things demand a full band. Sometimes things...

00:26:13.119 --> 00:26:16.880
don't but at the end of the day a song is just

00:26:16.880 --> 00:26:21.259
melody harmonic structure and rhythm and if you

00:26:21.259 --> 00:26:26.339
can't recreate that with you and a chordal instrument

00:26:26.339 --> 00:26:29.720
you know then you don't really have a cohesive

00:26:29.720 --> 00:26:32.319
song or a song that probably people won't listen

00:26:32.319 --> 00:26:34.440
to for that matter I don't know I mean that's

00:26:34.440 --> 00:26:37.140
debatable but like you know I always am a firm

00:26:37.140 --> 00:26:39.660
believer in you'd be able to strip it down and

00:26:39.660 --> 00:26:41.809
be able to perform it which I basically broke

00:26:41.809 --> 00:26:43.849
my own rule because I can't run like a gypsy

00:26:43.849 --> 00:26:46.410
solo unless I really wanted to. But nobody really

00:26:46.410 --> 00:26:49.630
wanted to hear that. Well, it is kind of one

00:26:49.630 --> 00:26:51.410
of my favorites from the album, so I'd be lying

00:26:51.410 --> 00:26:53.670
if I said that I didn't want to hear it. I'd

00:26:53.670 --> 00:26:57.990
get away with it, but I don't want it. Well,

00:26:58.150 --> 00:27:01.089
along with Only the Wild Ones, in 2021 you released

00:27:01.089 --> 00:27:03.890
an EP called Underdog Anthems, which features

00:27:03.890 --> 00:27:28.809
the killer opener High Class Bitch. I love the

00:27:28.809 --> 00:27:31.869
swagger you bring to this track and the rest

00:27:31.869 --> 00:27:34.529
of the EP is incredible as well. But sadly, at

00:27:34.529 --> 00:27:37.390
this point, the album is only available digitally.

00:27:37.569 --> 00:27:40.849
And I guess I missed the chance of getting a

00:27:40.849 --> 00:27:43.230
physical copy. Is there any chance there'll be

00:27:43.230 --> 00:27:45.630
a repress of it? Yeah, we're sold out of those.

00:27:45.690 --> 00:27:47.730
I think there's probably one hanging around in

00:27:47.730 --> 00:27:49.970
my storage locker, but that's it. I'm never going

00:27:49.970 --> 00:27:53.109
to actually do any more physical things of that.

00:27:53.250 --> 00:27:56.450
And there's like a special thing where the first

00:27:56.450 --> 00:27:59.059
50 people, the people who've been from the beginning

00:27:59.059 --> 00:28:00.940
with me when I worked with Michael Wagner, they've

00:28:00.940 --> 00:28:04.640
got the 51st signed copies with me and his signature

00:28:04.640 --> 00:28:07.160
on them and I think those are kind of special

00:28:07.160 --> 00:28:09.319
because they're just out there and I'm never

00:28:09.319 --> 00:28:11.799
going to make any more. And they actually have

00:28:11.799 --> 00:28:13.920
two additional tracks that I took off online.

00:28:16.099 --> 00:28:20.440
I know. I know. What an artist. No, you're killing

00:28:20.440 --> 00:28:22.460
the CD collector in me because now I got to try

00:28:22.460 --> 00:28:25.700
to track down that one copy. It's now a mission.

00:28:25.940 --> 00:28:28.440
I don't think that they've grown in value. So

00:28:28.440 --> 00:28:31.400
you can probably get your hands on. Yeah. But

00:28:31.400 --> 00:28:33.220
yeah, I mean, Underdog Anthems was so fun. Working

00:28:33.220 --> 00:28:36.539
with Michael Wagner was such an honor and a treat.

00:28:36.640 --> 00:28:40.259
And I'm so happy to have had that experience

00:28:40.259 --> 00:28:44.519
and kind of make a small mark. you know, in the

00:28:44.519 --> 00:28:46.619
rock community for sure, especially since he

00:28:46.619 --> 00:28:49.440
just retired. So it's like, finally got my little

00:28:49.440 --> 00:28:52.640
foot in the door about an end, you know? So I

00:28:52.640 --> 00:28:54.599
feel blessed for that opportunity. That was a

00:28:54.599 --> 00:28:57.960
fun record for sure. Well, before we move on

00:28:57.960 --> 00:29:00.420
to side B of our Modern Blues Rock playlist,

00:29:00.519 --> 00:29:03.859
this past July, you had a very unique invite.

00:29:04.640 --> 00:29:07.900
to play at an extremely iconic venue that we

00:29:07.900 --> 00:29:10.299
talked about before. And I heard you talk about

00:29:10.299 --> 00:29:12.900
it on fellow Pantheon podcast network mates,

00:29:13.099 --> 00:29:16.039
All Things Blues and Southern Rock Show. And

00:29:16.039 --> 00:29:18.839
I doubt I'm going on some huge limb here because

00:29:18.839 --> 00:29:21.240
I think it's pretty safe to say this venue would

00:29:21.240 --> 00:29:24.460
be on every singer -songwriter's list on the

00:29:24.460 --> 00:29:27.339
planet. And I, as well as the My Weekly Mixtape

00:29:27.339 --> 00:29:30.019
listeners, I am sure would love to hear about

00:29:30.019 --> 00:29:32.759
this opportunity and how it all came to fruition.

00:29:34.759 --> 00:29:38.259
Wild, man. It still feels like it didn't happen.

00:29:38.900 --> 00:29:42.019
Best day of my life, for sure. It's possible,

00:29:42.059 --> 00:29:43.859
ladies and gentlemen, it is possible to be an

00:29:43.859 --> 00:29:46.500
independent artist and have no experience and

00:29:46.500 --> 00:29:50.680
flop around and figure out and have something,

00:29:50.900 --> 00:29:54.660
have a gatekeeper give you a chance, which is

00:29:54.660 --> 00:29:58.029
basically what that was. That was... me on twitter

00:29:58.029 --> 00:30:00.529
i didn't i don't even want twitter x whatever

00:30:00.529 --> 00:30:03.130
the hell you know and i got the social media

00:30:03.130 --> 00:30:05.710
thing i only got it because i was sort of like

00:30:05.710 --> 00:30:08.609
forced into getting it as a social media platform

00:30:08.609 --> 00:30:13.430
and i had like i don't know 100 followers and

00:30:13.430 --> 00:30:17.670
um melissa etheridge messaged me like dm me on

00:30:17.670 --> 00:30:21.789
twitter and i'm like what it's a joke Who is

00:30:21.789 --> 00:30:23.690
this? You can never be too sure it's some fake

00:30:23.690 --> 00:30:26.809
account that has a Q in the word Etheridge. Like,

00:30:26.809 --> 00:30:29.609
who is this really? She was just like, hey, I

00:30:29.609 --> 00:30:32.509
really like what you're doing. And just I want

00:30:32.509 --> 00:30:34.509
to say, like, keep it up. And if you're ever

00:30:34.509 --> 00:30:37.289
in California, let me know. And I was like, I

00:30:37.289 --> 00:30:42.269
can be there tomorrow. And then I probably texted

00:30:42.269 --> 00:30:44.170
her back a little too much. I think I got annoying.

00:30:44.329 --> 00:30:47.670
And then she kind of let me be for a while, which.

00:30:48.059 --> 00:30:51.099
understandable. And then we got an official offer

00:30:51.099 --> 00:30:55.420
from her team and they were like, would Jax Hollow

00:30:55.420 --> 00:30:57.420
be interested in opening for Melissa Etheridge

00:30:57.420 --> 00:31:00.559
at the Ryman? And this is way, way back. I had

00:31:00.559 --> 00:31:02.779
to hold on to this secret for like three months

00:31:02.779 --> 00:31:06.500
while I was playing dad rock on a cruise ship

00:31:06.500 --> 00:31:11.819
in the middle of the ocean. And yeah, it changed

00:31:11.819 --> 00:31:15.190
my life. I still can't believe it. So insane

00:31:15.190 --> 00:31:18.549
and so amazing. And my family was there. They

00:31:18.549 --> 00:31:21.410
flew in from Massachusetts to see me. I had all

00:31:21.410 --> 00:31:25.390
my friends. I had anything you could need. And

00:31:25.390 --> 00:31:28.349
I practiced the shit out of anything I could

00:31:28.349 --> 00:31:31.069
think of so that when it came down to that day,

00:31:31.130 --> 00:31:33.250
my little 30 minutes on stage of the rhyme and

00:31:33.250 --> 00:31:37.250
like solo, I could take it all in as it was happening.

00:31:38.029 --> 00:31:42.309
And boy, did I get soaked up every second I could

00:31:42.309 --> 00:31:46.500
on that stage. Man, for all the dreamers out

00:31:46.500 --> 00:31:50.059
there who want to be able to have their music

00:31:50.059 --> 00:31:53.539
resonate those wooden pews, there is nothing

00:31:53.539 --> 00:31:58.500
like it. The sound that you get. I mean, my pedal

00:31:58.500 --> 00:32:02.460
board, I have this Strymon pedal, Cloudburst,

00:32:02.740 --> 00:32:05.119
and I didn't even know about the low frequencies

00:32:05.119 --> 00:32:08.079
that it could even produce because I've never

00:32:08.079 --> 00:32:11.180
been in a situation where I'm in a room like

00:32:11.180 --> 00:32:14.150
that. And the low frequencies of the cloudburst

00:32:14.150 --> 00:32:17.750
pedal just engulfed the entire... During soundcheck.

00:32:17.769 --> 00:32:20.490
I mean, there's pictures that actually my photographer

00:32:20.490 --> 00:32:23.710
took of me soundchecking and just my face is

00:32:23.710 --> 00:32:26.950
just like half crying, half like, I couldn't

00:32:26.950 --> 00:32:29.849
believe it. It was something else. And Melissa

00:32:29.849 --> 00:32:31.990
Etheridge was watching my soundcheck. It's the

00:32:31.990 --> 00:32:34.150
craziest moment. It's just like in a movie. She

00:32:34.150 --> 00:32:37.690
was watching me on the side and... Someone tapped

00:32:37.690 --> 00:32:39.849
me on the shoulder and I'm kind of like, go away.

00:32:39.970 --> 00:32:42.990
Like, this is my moment. Like, I am soundchecking

00:32:42.990 --> 00:32:45.369
at the Ryman. It's Melissa Etheridge. Like, that's

00:32:45.369 --> 00:32:47.450
when I first met her in person. She tapped me

00:32:47.450 --> 00:32:49.269
on the shoulder because she was watching my soundcheck

00:32:49.269 --> 00:32:52.849
at the Ryman. Like, it was just me, production

00:32:52.849 --> 00:32:57.289
manager, my mom sitting in like the pews watching

00:32:57.289 --> 00:33:00.569
me soundcheck and then Melissa Etheridge on the

00:33:00.569 --> 00:33:04.130
Ryman stage. Just like insane. It just is insane.

00:33:04.289 --> 00:33:08.460
It is. Yeah. So lucky. That's absolutely amazing.

00:33:08.859 --> 00:33:13.259
As a musician myself, having played venues that

00:33:13.259 --> 00:33:16.559
I feel I didn't deserve to personally play at,

00:33:16.660 --> 00:33:20.900
walking out on that stage, it's this rush that

00:33:20.900 --> 00:33:25.240
I cannot explain to another human being. It was

00:33:25.240 --> 00:33:29.519
adrenaline mixed with gratefulness, mixed with

00:33:29.519 --> 00:33:32.680
horror, mixed with fear, mixed with everything

00:33:32.680 --> 00:33:34.940
you could think of. And it was an emotion that

00:33:34.940 --> 00:33:39.130
has no name. And I'm guessing what you went through

00:33:39.130 --> 00:33:42.569
was that times a thousand. Yeah. I feel like

00:33:42.569 --> 00:33:46.089
I got at some point I like, well, okay. So I

00:33:46.089 --> 00:33:52.230
received a standing ovation and the pews started

00:33:52.230 --> 00:33:56.829
to rumble. And I was like, what is like, it's

00:33:56.829 --> 00:34:00.430
just an unknown sound to my ears. And when I

00:34:00.430 --> 00:34:02.170
finally realized what was happening and they

00:34:02.170 --> 00:34:05.160
were still clapping and there were. knocking

00:34:05.160 --> 00:34:08.880
on the pews and and with their feet and and i

00:34:08.880 --> 00:34:16.820
like fell to my knees and just like uh i don't

00:34:16.820 --> 00:34:18.340
know what happened i think i kind of blacked

00:34:18.340 --> 00:34:21.980
out honestly and uh well no no like i was still

00:34:21.980 --> 00:34:25.059
conscious i was just like on my knees and just

00:34:25.059 --> 00:34:29.340
taking it in and and then eventually uh my friend

00:34:30.119 --> 00:34:32.440
Chris Rambo eventually ushered me off the stage.

00:34:32.500 --> 00:34:34.559
He's like, you've got to go. You're over time.

00:34:36.239 --> 00:34:38.340
We're not going to go over time opening for Melissa

00:34:38.340 --> 00:34:40.099
Etheridge. We're not going to go over time. You've

00:34:40.099 --> 00:34:41.420
got to go. He's trying to get me off stage. And

00:34:41.420 --> 00:34:45.119
I was like, you know, you can ask my little brother,

00:34:45.239 --> 00:34:47.199
you can ask my friends, anyone. As soon as I

00:34:47.199 --> 00:34:49.760
got backstage, I just went on the ground. And

00:34:49.760 --> 00:34:51.679
I was like, everyone's like, blah, blah, blah,

00:34:51.739 --> 00:34:53.679
blah, blah, blah, blah. And I'm just like, you're

00:34:53.679 --> 00:34:56.260
talking. Nothing's coming through the ear. It

00:34:56.260 --> 00:35:03.019
was. So cool and so hard to describe. And I wish

00:35:03.019 --> 00:35:05.820
that opportunity on so many of my friend musicians

00:35:05.820 --> 00:35:09.820
who are working just as hard as me and deserve

00:35:09.820 --> 00:35:13.420
a shot like that. So thank you, Melissa Etheridge.

00:35:13.619 --> 00:35:16.320
Well, look, I think judging by the songs on your

00:35:16.320 --> 00:35:18.019
EP and this album, I think there's going to be

00:35:18.019 --> 00:35:20.079
a day where you're going to be giving that opportunity

00:35:20.079 --> 00:35:24.239
to an up and coming artist as well. I would love

00:35:24.239 --> 00:35:27.980
to do that. There's some magic behind these albums.

00:35:28.239 --> 00:35:31.920
And to kick off Side B, I'm actually, because

00:35:31.920 --> 00:35:34.739
if you remember, I played a clip from Wolf and

00:35:34.739 --> 00:35:37.380
Sheepskin before, but I didn't talk about the

00:35:37.380 --> 00:35:40.360
song. And that was on purpose because this is

00:35:40.360 --> 00:35:44.139
the song I want to use to kick off Side B. I

00:35:44.139 --> 00:35:47.599
am a huge fan of album opening tracks. And like

00:35:47.599 --> 00:35:50.360
I talked about, the beginning guitar on this,

00:35:50.500 --> 00:35:53.880
it just kind of lures you in and kind of invites

00:35:53.880 --> 00:35:56.219
you into the song. And by the time you get to

00:35:56.219 --> 00:35:59.519
that hook and you kick in, I'm all in on it.

00:35:59.539 --> 00:36:01.420
And I think it's the perfect way to start off

00:36:01.420 --> 00:36:03.739
Side B. But instead of me talking about why I

00:36:03.739 --> 00:36:06.539
like the song, I'd rather spend this time hearing

00:36:06.539 --> 00:36:09.139
your story behind the song. Good thing, man.

00:36:09.400 --> 00:36:12.889
Wolf and Sheepskin is about... being pretty reckless

00:36:12.889 --> 00:36:17.150
and pursuing the dream regardless of the consequences,

00:36:17.630 --> 00:36:20.530
right? A lot of us who are out here and trying

00:36:20.530 --> 00:36:23.750
to be independent artists, singer -songwriters,

00:36:23.929 --> 00:36:26.849
musicians, just doing this thing that's totally

00:36:26.849 --> 00:36:33.030
crazy to do, you know, kind of outside of the

00:36:33.030 --> 00:36:36.949
normal norm of life, you know, where we're sort

00:36:36.949 --> 00:36:40.710
of like a lot of us are very introspective and

00:36:41.440 --> 00:36:45.079
the observing type as well as crazy rock stars.

00:36:45.960 --> 00:36:50.300
And yeah, Wolf in Sheepskin is about... I wanted

00:36:50.300 --> 00:36:53.519
the intro to sound like waking up the day after

00:36:53.519 --> 00:36:58.639
a huge performance and maybe the character is

00:36:58.639 --> 00:37:04.679
waking up alone or sleeping in their car. And

00:37:04.679 --> 00:37:11.659
the verses are in this odd time. signature in

00:37:11.659 --> 00:37:15.360
there kind of like uh they pull you and push

00:37:15.360 --> 00:37:17.219
you and make you a little uncomfortable you know

00:37:17.219 --> 00:37:20.360
the character is grippling with you know their

00:37:20.360 --> 00:37:24.199
hangover or something and then it switches over

00:37:24.199 --> 00:37:28.420
to like a steady 4 -4 time and the chorus comes

00:37:28.420 --> 00:37:34.019
in and yeah i don't know i just wanted to create

00:37:34.019 --> 00:37:40.090
that release and the strange numbness of Totally

00:37:40.090 --> 00:37:44.030
not being okay, but also beautifully content

00:37:44.030 --> 00:37:47.710
with not saying the character's suicidal, but

00:37:47.710 --> 00:37:50.590
there is the line about like, Sunrise waking

00:37:50.590 --> 00:37:54.130
up with my 45. State lines double crossed like

00:37:54.130 --> 00:37:56.989
a valentine. You know, it's like there's something

00:37:56.989 --> 00:37:59.309
going on. There's something going on there. And

00:37:59.309 --> 00:38:01.010
I think a lot of people can relate, especially

00:38:01.010 --> 00:38:03.369
nowadays, because it's hectic out there. It's

00:38:03.369 --> 00:38:08.030
crazy. It's just insane. And yeah, that's it.

00:38:08.650 --> 00:38:11.110
Well, it's an amazing track. And now you get

00:38:11.110 --> 00:38:13.829
to follow. What would be a song that you would

00:38:13.829 --> 00:38:20.030
follow up your own wolf and sheepskin with? That's

00:38:20.030 --> 00:38:27.130
a good question, man. OK, so this is my favorite

00:38:27.130 --> 00:38:31.230
new song off the Dirty Honey record. It's really

00:38:31.230 --> 00:38:35.090
good. It's got this biting vocal delivery. It's

00:38:35.090 --> 00:38:37.860
really good. It's called Coming Home. You can

00:38:37.860 --> 00:38:42.579
hear the desperation in his voice, and I think

00:38:42.579 --> 00:38:45.820
it's got a different vibe than Wolf and Sheepskin,

00:38:45.880 --> 00:38:50.000
but it's still a very personal and biting kind

00:38:50.000 --> 00:38:52.360
of numbness, but in a different way. And it's

00:38:52.360 --> 00:38:55.980
a new song, so I think it's cool. Dirty Honey

00:38:55.980 --> 00:38:58.099
is one of those bands that the first time I heard

00:38:58.099 --> 00:39:02.179
it, I always say to myself, How wrong was Gene

00:39:02.179 --> 00:39:04.360
Simmons when he said rock and roll was dead?

00:39:04.500 --> 00:39:07.820
Because these guys, Rival Sons, Dirty Honey,

00:39:07.920 --> 00:39:12.760
there is a new crop of rock music that is just,

00:39:12.860 --> 00:39:17.900
it's got elements of the 70s, but it feels so

00:39:17.900 --> 00:39:21.000
fresh and modern. And it shows that there's such

00:39:21.000 --> 00:39:23.500
a bright future for rock. He couldn't have been

00:39:23.500 --> 00:39:25.980
more wrong as far as I'm concerned. And I've

00:39:25.980 --> 00:39:28.260
got a huge crush on a lead singer, so there's

00:39:28.260 --> 00:39:31.739
that too. Well, following that up, I'm going

00:39:31.739 --> 00:39:34.699
to lean into The Rock a little bit, but I'm going

00:39:34.699 --> 00:39:36.659
to bring it to a blues guitarist that I've been

00:39:36.659 --> 00:39:39.480
following for the better part of 30 years. And

00:39:39.480 --> 00:39:43.539
this past year on episode 45, I was lucky enough

00:39:43.539 --> 00:39:46.639
to have him on the show to talk about a lot of

00:39:46.639 --> 00:39:49.460
his classics, including this one. And that would

00:39:49.460 --> 00:39:53.360
be Kenny Wayne Shepard from 2017's Lay It On

00:39:53.360 --> 00:39:56.900
Down. I want to go with Baby Got Gone. This song,

00:39:56.900 --> 00:40:00.199
I felt like. Kenny had sang songs before on other

00:40:00.199 --> 00:40:02.519
albums, but this one was the first one where

00:40:02.519 --> 00:40:04.480
as soon as I heard his voice, I said to myself,

00:40:04.619 --> 00:40:07.719
there was no other person that should be singing

00:40:07.719 --> 00:40:09.699
this because they always go back and forth between

00:40:09.699 --> 00:40:12.500
Kenny and Noah over what songs are sung. And

00:40:12.500 --> 00:40:15.840
Baby Got Gone has KWS written all over it. But

00:40:15.840 --> 00:40:18.679
instead of me talking about it, when you're done

00:40:18.679 --> 00:40:20.659
with this episode, go back and check out episode

00:40:20.659 --> 00:40:23.619
45 because he talks about the song a lot better

00:40:23.619 --> 00:40:26.300
than I ever could. So Kenny Wayne Shepard, Baby

00:40:26.300 --> 00:40:29.469
Got Gone. Oh, yeah. Well, I'm going to follow

00:40:29.469 --> 00:40:34.269
that up with the one and only Marcus King. Oh,

00:40:34.329 --> 00:40:38.409
yes. I'm not sure which one I want, man. I don't

00:40:38.409 --> 00:40:41.929
know. Which one would you do? Well, considering

00:40:41.929 --> 00:40:44.630
I had blues worse than I ever had in my bank

00:40:44.630 --> 00:40:47.210
from his 2022 album Youngblood, I'll go with

00:40:47.210 --> 00:40:52.170
that one. Man. I can't decide. I can't decide.

00:40:53.590 --> 00:40:59.170
Damn, man. Shoot. I love our time. How about

00:40:59.170 --> 00:41:01.690
The Well? The Well off El Dorado? Hell yeah.

00:41:01.710 --> 00:41:04.489
Let's go with that one. Yeah. I mean, you can't

00:41:04.489 --> 00:41:06.889
go wrong with Marcus King. Marcus King, man.

00:41:07.269 --> 00:41:10.130
Damn. He is just on another level. For those

00:41:10.130 --> 00:41:13.130
of you that don't know who he is. Please fix

00:41:13.130 --> 00:41:15.110
that. If you're a fan of the Allman brothers

00:41:15.110 --> 00:41:17.909
and that blues based style of Southern rock,

00:41:18.110 --> 00:41:20.510
Marcus King is right up your alley. He's toured

00:41:20.510 --> 00:41:23.230
with Tedeschi trucks. And if you're a country

00:41:23.230 --> 00:41:26.510
fan, his name will probably sound familiar because

00:41:26.510 --> 00:41:30.250
on Zach Brown bands, 2021 album, the comeback,

00:41:30.349 --> 00:41:33.090
he guessed it on the amazing Southern pride.

00:41:33.329 --> 00:41:36.349
This guy's just, I mean, he's to me, he's the

00:41:36.349 --> 00:41:39.110
future of Southern rock and blues. You know what?

00:41:39.130 --> 00:41:41.320
Cause a lot of people. I gotta tell you, a lot

00:41:41.320 --> 00:41:43.940
of bands fall short, especially artists who are

00:41:43.940 --> 00:41:46.699
really focused on blues rock. Half of them have

00:41:46.699 --> 00:41:49.440
either incredible vocals or like pretty okay

00:41:49.440 --> 00:41:52.440
vocals. Marcus King, how does he have incredible

00:41:52.440 --> 00:41:55.840
guitar skills and those vocals? It's like unfair.

00:41:57.019 --> 00:42:00.500
The soul in him, man. Oh my God, the high notes

00:42:00.500 --> 00:42:03.039
that he hits, they're just, the falsetto is,

00:42:03.320 --> 00:42:06.760
dare I use the word gorgeous? Yeah. He's onto

00:42:06.760 --> 00:42:08.099
something. He knows something that no one else

00:42:08.099 --> 00:42:09.880
knows right now. I don't know what it is, but

00:42:09.880 --> 00:42:13.119
he knows. Nothing. Well, following up Marcus

00:42:13.119 --> 00:42:15.579
King. I'm going to lean into that soul we're

00:42:15.579 --> 00:42:18.199
talking about here then. I think I know exactly

00:42:18.199 --> 00:42:20.179
what I'm going to follow this up with. And this

00:42:20.179 --> 00:42:23.900
is a group I saw open for ACDC. I know who it

00:42:23.900 --> 00:42:26.860
is. Is it Ghost Towns? Well, Ghost Town is in

00:42:26.860 --> 00:42:29.039
my bank of songs, but it's not the one I'm talking

00:42:29.039 --> 00:42:31.940
about right here. While Ghost Town did open for

00:42:31.940 --> 00:42:37.920
ACDC. So did vintage trouble in 2016. Oh, and

00:42:37.920 --> 00:42:41.980
from 2015 is one hopeful road, which was released

00:42:41.980 --> 00:42:45.420
on blue note records, which should speak volumes

00:42:45.420 --> 00:42:48.460
right there because I don't know how many uniconic

00:42:48.460 --> 00:42:50.599
blue note albums there are. I'm going to go with

00:42:50.599 --> 00:42:54.579
a song called run like the river. Ty Taylor is

00:42:54.579 --> 00:42:58.630
a insane vocalist. That commands the stage in

00:42:58.630 --> 00:43:01.510
almost a Mick Jagger fashion. And then you've

00:43:01.510 --> 00:43:05.590
got Nally Colt's slide guitar. Over this gospel

00:43:05.590 --> 00:43:09.210
stomp of a tune. And it's incredible. I don't

00:43:09.210 --> 00:43:12.690
know. It was interesting seeing them open for

00:43:12.690 --> 00:43:15.969
ACDC. Because there was so much soul in their

00:43:15.969 --> 00:43:18.750
music. To me it would have been more like. And

00:43:18.750 --> 00:43:21.730
to be on stage opening for the Rolling Stones.

00:43:22.349 --> 00:43:26.559
But obviously ACDC saw something in them. They're

00:43:26.559 --> 00:43:30.360
incredible. Ty Taylor is just got vocals. And

00:43:30.360 --> 00:43:32.940
when I heard Marcus King, I'm like, you know,

00:43:32.940 --> 00:43:35.880
coming out of that, I feel like these two go

00:43:35.880 --> 00:43:38.360
back to back really well together. So vintage

00:43:38.360 --> 00:43:41.519
troubles run like the river. Is that him with

00:43:41.519 --> 00:43:46.960
the hops? Yes. Holy. He doesn't mess around like

00:43:46.960 --> 00:43:51.030
he's got this David Lee Roth, Mick Jagger. And

00:43:51.030 --> 00:43:54.010
this was on a stadium stage. We were at MetLife

00:43:54.010 --> 00:43:57.789
Stadium. And he is literally 100 yards away from

00:43:57.789 --> 00:43:59.750
me on this little screen. I see this tiny little

00:43:59.750 --> 00:44:02.190
band off in the distance. But he is doing so

00:44:02.190 --> 00:44:05.289
much that people's jaws were on the ground in

00:44:05.289 --> 00:44:08.829
the upper level. And if you can command a stadium

00:44:08.829 --> 00:44:12.550
opening for one of the biggest hard rock bands

00:44:12.550 --> 00:44:15.929
maybe of all time with a completely different

00:44:15.929 --> 00:44:19.429
style of music, it speaks volumes to me. And

00:44:19.429 --> 00:44:21.710
I'll never forget. hearing them do Run Like the

00:44:21.710 --> 00:44:24.590
River that night. It blew my mind. Hey, I'm going

00:44:24.590 --> 00:44:26.210
to check them out. I can't believe it. I've never

00:44:26.210 --> 00:44:28.489
heard of them. And they open phrases that I haven't

00:44:28.489 --> 00:44:31.869
heard of. That's crazy. Well, I mean, like with

00:44:31.869 --> 00:44:35.409
that, again, just like getting that gritty, that

00:44:35.409 --> 00:44:38.030
Southern grittiness kind of in there. Southern

00:44:38.030 --> 00:44:40.369
grittiness and soul. Next one I'm going to do

00:44:40.369 --> 00:44:43.289
is Ghost Towns. It's going to be Last Train to

00:44:43.289 --> 00:44:47.170
Nowhere. That's their new song. I got to see

00:44:47.170 --> 00:44:50.780
these guys at the Gibson. garage event. They're

00:44:50.780 --> 00:44:55.159
signed Gibson artists. And the lead singer, I'm

00:44:55.159 --> 00:44:58.019
blanking on his name right now, but he has total

00:44:58.019 --> 00:45:02.579
demanding attention from the audience. He is

00:45:02.579 --> 00:45:08.380
a fantastic singer and performer. And yeah, seeing

00:45:08.380 --> 00:45:11.619
them live is great too. But it's really about

00:45:11.619 --> 00:45:13.960
him. He's commanding with the way that he sings

00:45:13.960 --> 00:45:17.429
and performs. I think they just got placed in

00:45:17.429 --> 00:45:20.469
a movie or something. That song got placed somewhere.

00:45:20.769 --> 00:45:23.429
Can't remember where, but they're Gibson artists.

00:45:23.690 --> 00:45:27.949
They're cool. I had that song and Between Me

00:45:27.949 --> 00:45:30.309
and the Devil on my list with a little note underneath

00:45:30.309 --> 00:45:33.170
it that said, depending on where the playlist

00:45:33.170 --> 00:45:37.730
is going, choose between the two. Yeah. So that

00:45:37.730 --> 00:45:40.329
made my life easier and harder because I got

00:45:40.329 --> 00:45:43.190
to check off one that I wasn't expecting. But

00:45:43.190 --> 00:45:46.739
following that up. You mentioned him at the beginning,

00:45:46.820 --> 00:45:52.539
and I feel like you can't have a modern blues

00:45:52.539 --> 00:45:56.340
rock playlist and not talk about Joe Bonamassa

00:45:56.340 --> 00:46:00.420
in some facet. And back in 2003, when he dropped

00:46:00.420 --> 00:46:03.960
the album Blues Deluxe, I convinced my now wife

00:46:03.960 --> 00:46:05.860
and a couple of my buddies to come with me to

00:46:05.860 --> 00:46:08.840
the Mexicali Blues Cafe in Teaneck, New Jersey.

00:46:08.900 --> 00:46:12.480
And we saw him in a room with maybe less than

00:46:12.480 --> 00:46:15.320
100 people. And he hung out with us after the

00:46:15.320 --> 00:46:19.179
show, signing CDs, just talking music. A year

00:46:19.179 --> 00:46:21.960
later, I saw him open for Kenny Wayne Shepard

00:46:21.960 --> 00:46:26.900
and B .B. King in Atlantic City. And I said to

00:46:26.900 --> 00:46:28.659
him that night, because he was just hanging out

00:46:28.659 --> 00:46:30.519
at his booth again. He was doing the grind at

00:46:30.519 --> 00:46:33.420
this point. I said, you realize you're going

00:46:33.420 --> 00:46:35.760
to be playing arenas one day. And he said, well,

00:46:35.780 --> 00:46:39.219
that's the dream. And here we are 20 years later,

00:46:39.340 --> 00:46:43.630
and he is doing all that. I can't. wrap my mind

00:46:43.630 --> 00:46:46.150
around the output that he is always putting out

00:46:46.150 --> 00:46:50.289
albums, live albums. The touring seems nonstop.

00:46:50.329 --> 00:46:52.809
He is just a workaholic and he's an incredible

00:46:52.809 --> 00:46:55.469
songwriter. But the song I'm going to go with

00:46:55.469 --> 00:46:58.530
is actually a cover because when Joe Bonamassa

00:46:58.530 --> 00:47:00.849
does covers, some of them are covers that you

00:47:00.849 --> 00:47:03.570
would say, I see that being a blues song. And

00:47:03.570 --> 00:47:06.150
then every now and then he pulls a cover out

00:47:06.150 --> 00:47:10.190
of left field. Like in 2007, he took Slow Gin

00:47:10.190 --> 00:47:13.719
by Tim Curry. And yes, I'm talking about that

00:47:13.719 --> 00:47:17.099
Tim Curry, the actor, and turned it into a blues

00:47:17.099 --> 00:47:19.780
rock song. But the one that I'm going to go with

00:47:19.780 --> 00:47:24.820
is off of his 2011 album Dust Bowl. And kid you

00:47:24.820 --> 00:47:27.219
not, it's a Barbra Streisand cover that closes

00:47:27.219 --> 00:47:31.059
out the album. Prisoner, the love theme from

00:47:31.059 --> 00:47:34.619
the eyes of Laura Mars. And one might think to

00:47:34.619 --> 00:47:37.119
themselves, how do you take Barbra Streisand

00:47:37.119 --> 00:47:40.739
and translate that to blues rock? Joe did it.

00:47:40.820 --> 00:47:44.579
And this song has such a gorgeous tone to it.

00:47:44.820 --> 00:47:47.980
It's very emotive. It's delicate and soaring.

00:47:48.260 --> 00:47:53.019
And Joe doesn't overplay this song. He plays

00:47:53.019 --> 00:47:56.639
to the strength of the song. There is some pyrotechnics

00:47:56.639 --> 00:48:00.219
in it, but it's done so tastefully that it makes

00:48:00.219 --> 00:48:02.739
the song more powerful. And what I love about

00:48:02.739 --> 00:48:06.050
covers is when you take a song. That people know.

00:48:06.409 --> 00:48:08.789
And you put a spin on it. To the point where

00:48:08.789 --> 00:48:10.889
you can listen to the original. And your version

00:48:10.889 --> 00:48:13.769
back to back. And feel like you're getting two

00:48:13.769 --> 00:48:15.570
different experiences. And that's what I get

00:48:15.570 --> 00:48:20.010
from Prisoner. Oh. Hell yeah. I remember listening

00:48:20.010 --> 00:48:23.030
to that Dust Bowl record a couple times. There

00:48:23.030 --> 00:48:24.409
were a couple songs that stood out. I just can't

00:48:24.409 --> 00:48:26.130
remember the titles to them. But maybe it was

00:48:26.130 --> 00:48:28.969
one of those. But I love it when people have

00:48:28.969 --> 00:48:31.869
got the chops. To just go anywhere with a song.

00:48:32.300 --> 00:48:35.380
choose to really branch out like barbara streisand

00:48:35.380 --> 00:48:37.780
that's that's cool i have to listen to that for

00:48:37.780 --> 00:48:41.119
sure that one is definitely one that might raise

00:48:41.119 --> 00:48:43.579
eyebrows to the joe bonamassa fans listening

00:48:43.579 --> 00:48:46.579
but hearing it coming out of last train to nowhere

00:48:46.579 --> 00:48:50.219
i feel like it's a really nice transition so

00:48:50.219 --> 00:48:52.539
i'm thinking of this also strategically because

00:48:52.539 --> 00:48:54.400
i want people to listen to our mixtape and be

00:48:54.400 --> 00:48:57.119
like dude you guys just nailed this now tell

00:48:57.119 --> 00:48:59.280
you what is that like more of a slow song or

00:48:59.280 --> 00:49:02.750
is that like a Definitely slower, emotive, very

00:49:02.750 --> 00:49:06.150
emotional tune. Okay, then I'm going to go with

00:49:06.150 --> 00:49:09.389
my girl Susan Tedeschi. Let's see the Tedeschi

00:49:09.389 --> 00:49:12.829
tracks. What would I choose? Man, I've seen her

00:49:12.829 --> 00:49:14.750
a couple times, but last time I saw her, she

00:49:14.750 --> 00:49:19.730
was doing the John Prine tribute thing at the

00:49:19.730 --> 00:49:22.030
Ryman, and she did Angel from Montgomery, and

00:49:22.030 --> 00:49:28.389
I sobbed. Her version of that song is just, it's

00:49:28.389 --> 00:49:30.750
unreal. It's on another level. And she's so funny.

00:49:30.769 --> 00:49:33.449
She gets out on stage and she's like, oh, hold

00:49:33.449 --> 00:49:35.730
on. My guitar is a little out of tune. I'm just

00:49:35.730 --> 00:49:38.570
pretending that she's not just about to destroy

00:49:38.570 --> 00:49:43.329
us. She's so cute. She is so funny. She's so

00:49:43.329 --> 00:49:48.510
cute. She's like, oh, hold on. Oh, yeah. She's

00:49:48.510 --> 00:49:54.530
a huge hero of mine. Let's see. Let's do Midnight

00:49:54.530 --> 00:49:56.969
in Harlem. It's my favorite. Whatever. Sue me.

00:49:58.409 --> 00:50:00.670
Great tune. I mean, come on, let's be honest.

00:50:00.769 --> 00:50:03.150
You could pick a Susan Tedeschi solo album. You

00:50:03.150 --> 00:50:05.449
can pick a Tedeschi Trucks album. You can't go

00:50:05.449 --> 00:50:09.469
wrong with any of them at all. Period. Hard stop.

00:50:09.710 --> 00:50:13.949
Nope. So mean. They're all great. So I love that

00:50:13.949 --> 00:50:17.030
one, which was on Tedeschi Trucks band's Revelator.

00:50:17.130 --> 00:50:19.210
And then you were talking about that version

00:50:19.210 --> 00:50:22.570
of Angel in Montgomery that she does. And man,

00:50:22.650 --> 00:50:25.969
that is just. damn that's the only word i could

00:50:25.969 --> 00:50:29.090
use imagine seeing that live at a john pine tribute

00:50:29.090 --> 00:50:32.190
thing spine tingling is the like is that the

00:50:32.190 --> 00:50:35.010
right word to use it's yeah i was crying i was

00:50:35.010 --> 00:50:38.289
i was there with a date and i didn't care i was

00:50:38.289 --> 00:50:42.510
just crying hey look there are moments in concerts

00:50:42.510 --> 00:50:45.670
i'll be the first one to admit grown man i have

00:50:45.670 --> 00:50:49.480
no problem admitting this to anybody i met My

00:50:49.480 --> 00:50:52.699
father and I went to the LaVon Helm tribute concert

00:50:52.699 --> 00:50:56.920
that took place at the now gone Izod Center in

00:50:56.920 --> 00:51:00.179
New Jersey. It is out on Blu -ray. Grace Potter

00:51:00.179 --> 00:51:03.039
came out with Don Was on bass and a drummer and

00:51:03.039 --> 00:51:06.719
did the most beautiful version of I Shall Be

00:51:06.719 --> 00:51:10.260
Released I Ever Heard, where the end of it, she

00:51:10.260 --> 00:51:13.500
hits the high note and then her voice chokes

00:51:13.500 --> 00:51:15.800
because she's actually crying as she sings the

00:51:15.800 --> 00:51:19.099
last line. The hair on my arm is standing up

00:51:19.099 --> 00:51:21.099
as I'm just telling you this story. My father

00:51:21.099 --> 00:51:23.860
looked at me and said, look, I seen Jimi Hendrix

00:51:23.860 --> 00:51:26.340
play. I've never seen anything like that in my

00:51:26.340 --> 00:51:29.519
entire life. People were still talking about

00:51:29.519 --> 00:51:32.699
her performance four songs later. And those moments,

00:51:32.739 --> 00:51:35.539
I will fully admit every time I listen to that

00:51:35.539 --> 00:51:37.840
version, if it comes on in the car, I'm like.

00:51:38.409 --> 00:51:40.090
okay, I got to switch the song because I got

00:51:40.090 --> 00:51:42.570
to be able to see through the welling in my ear

00:51:42.570 --> 00:51:46.409
because it's just so powerful. When you get engulfed

00:51:46.409 --> 00:51:48.230
in those concert moments, they're on another

00:51:48.230 --> 00:51:50.510
level. It's the best because you get to escape

00:51:50.510 --> 00:51:52.670
reality for a little bit. Everyone wants to escape

00:51:52.670 --> 00:51:54.250
reality for a little bit. That's what we're doing.

00:51:54.369 --> 00:51:56.809
That's why live music's never going to die, man.

00:51:56.869 --> 00:51:59.050
I don't care how perfect you are. I don't care

00:51:59.050 --> 00:52:00.469
if you're one of those guys who wants to play

00:52:00.469 --> 00:52:02.650
the tracks. You're never going to get rid of

00:52:02.650 --> 00:52:06.170
live musicians playing together in real time.

00:52:06.829 --> 00:52:08.670
In the same room, you're never going to get that

00:52:08.670 --> 00:52:14.190
experience anywhere else, you know? 100%. And

00:52:14.190 --> 00:52:16.429
coming out of Midnight in Harlem for my last

00:52:16.429 --> 00:52:19.090
pick, I think I am going to go with a little

00:52:19.090 --> 00:52:21.949
bit of a slower one here. But it's a song that

00:52:21.949 --> 00:52:27.530
to me is, again, it's just beautiful. And coming

00:52:27.530 --> 00:52:29.949
out of Susan Tedeschi, I want to continue with

00:52:29.949 --> 00:52:32.699
the female vibe we got going here. And I'm going

00:52:32.699 --> 00:52:36.119
to go with Anna Popovic with Robin Ford and Slow

00:52:36.119 --> 00:52:41.199
Dance, which to me, it's a song that as soon

00:52:41.199 --> 00:52:43.619
as you hear the opening riff, within a second

00:52:43.619 --> 00:52:45.219
and a half, you're hooked and you're brought

00:52:45.219 --> 00:52:48.079
in. And it's just stunningly beautiful. It's

00:52:48.079 --> 00:52:51.360
poetic. It's powerful. It's got this old school

00:52:51.360 --> 00:52:54.760
R &B and blues flavor. And then if you want to

00:52:54.760 --> 00:52:58.219
compare it to something modern, I would say in

00:52:58.219 --> 00:53:02.590
vibe only. It has a touch of John Mayer's gravity.

00:53:03.110 --> 00:53:06.250
So it's one of those mellow nighttime driving

00:53:06.250 --> 00:53:09.230
tunes where you're headed home. It's late. You

00:53:09.230 --> 00:53:11.730
just had an amazing experience and you're kind

00:53:11.730 --> 00:53:15.690
of unwinding. This is that mellow vibe. So Anna

00:53:15.690 --> 00:53:21.750
Popovic slow dance. Yeah. I dig. I don't dig

00:53:21.750 --> 00:53:28.039
it. All right. Huh? Let's see. The last song

00:53:28.039 --> 00:53:29.840
of the night. You got to take us home from the

00:53:29.840 --> 00:53:34.760
whole night. Man, that's one shoot. You know

00:53:34.760 --> 00:53:38.960
what? I wonder if this will work. I think I'm

00:53:38.960 --> 00:53:41.099
going to do this because these guys are my friends

00:53:41.099 --> 00:53:45.360
and they are killer. Because I started this podcast

00:53:45.360 --> 00:53:47.820
talking about how there's a scene going on in

00:53:47.820 --> 00:53:50.480
Blues Rock in Nashville. So I'm going to do a

00:53:50.480 --> 00:53:54.519
shout out to my friends. And Ace Monroe, we're

00:53:54.519 --> 00:53:58.440
going to do. Bad News. And actually, it looks

00:53:58.440 --> 00:54:01.900
like they got put on the Modern Blues Rock playlist

00:54:01.900 --> 00:54:04.860
as well. I know I've got my song Renegade Season

00:54:04.860 --> 00:54:07.920
up on that Spotify playlist, but it's really

00:54:07.920 --> 00:54:11.099
cool to see their name up there too. So why not

00:54:11.099 --> 00:54:16.920
end the playlist with the new blues rock energy

00:54:16.920 --> 00:54:19.900
that's happening around Nashville and the new

00:54:19.900 --> 00:54:22.480
artists taking over on a scene? I think that

00:54:22.480 --> 00:54:25.460
might be cool. Check it out and see if it works

00:54:25.460 --> 00:54:27.920
with the vibe. If not, you can talk to me. Oh,

00:54:27.920 --> 00:54:29.619
hell yeah, it works with the vibe. Are you kidding

00:54:29.619 --> 00:54:31.079
me? Make an executive decision. Yeah, make an

00:54:31.079 --> 00:54:33.099
executive decision. But I'm going to give my

00:54:33.099 --> 00:54:35.280
buddies a shout out there because really cool

00:54:35.280 --> 00:54:38.119
stuff happening in Nashville with some rock bands

00:54:38.119 --> 00:54:40.880
are really killing it. They're awesome. Yeah.

00:54:40.980 --> 00:54:43.300
And look, it's a perfect bookend to somebody

00:54:43.300 --> 00:54:46.860
else who's been killing it yourself because Side

00:54:46.860 --> 00:54:49.539
B of our Ultimate Modern Blues Rock Playlist

00:54:49.539 --> 00:54:52.780
kicked off with Jax's Wolf and Sheepskin. Then

00:54:52.780 --> 00:54:54.800
was followed up with Dirty Honey's Coming Home,

00:54:54.920 --> 00:54:57.320
Ballad of a Shire, Kenny Wayne Shepard's Baby

00:54:57.320 --> 00:55:01.239
Got Gone, Marcus King's The Well, Vintage Trouble's

00:55:01.239 --> 00:55:04.159
Run Like the River, Ghost Town's Last Train to

00:55:04.159 --> 00:55:08.320
Nowhere, Joe Bonamassa's Prisoner, Susan Tedeschi's

00:55:08.320 --> 00:55:11.699
Midnight in Harlem, Anna Popovic with Robin Ford's

00:55:11.699 --> 00:55:16.059
Slow Dance, and Ace Monroe's Bad News. Head over

00:55:16.059 --> 00:55:18.860
to MyWeeklyMixtape .com to hear all the songs

00:55:18.860 --> 00:55:22.199
we've discussed in this mix. through the playlist

00:55:22.199 --> 00:55:25.739
embedded on the episode page. Now, Jax, next

00:55:25.739 --> 00:55:28.760
month, you'll be taking your music out to sea.

00:55:29.079 --> 00:55:31.000
Why don't you tell listeners a little bit about

00:55:31.000 --> 00:55:33.000
the Rock Legends Cruise that you're participating

00:55:33.000 --> 00:55:36.059
in? I know we mentioned it briefly before, but...

00:55:36.059 --> 00:55:41.940
Good thing, man. Talk about crazy opportunities.

00:55:42.800 --> 00:55:45.400
Again, this one just sort of fell in our laps,

00:55:45.519 --> 00:55:49.300
and there was a call -out for the Rock Legends

00:55:49.300 --> 00:55:54.550
Cruise. And we're so lucky to be on that bill

00:55:54.550 --> 00:55:57.869
where the Jack's Hollow is like right at the

00:55:57.869 --> 00:56:01.630
bottom, right at the bottom. But it's on the

00:56:01.630 --> 00:56:05.269
lineup with Sammy Hagar and Billy Gibbons and

00:56:05.269 --> 00:56:08.530
Rick Springfield and like Can't Heat, like I

00:56:08.530 --> 00:56:10.309
was talking about before, Jefferson Airplane,

00:56:10.389 --> 00:56:17.030
Starship. And yeah, I mean, that's crazy. That's

00:56:17.030 --> 00:56:20.469
happening in February. As soon as I found out,

00:56:20.489 --> 00:56:23.369
I called up my mom and she was like, oh my God,

00:56:23.429 --> 00:56:26.989
I'm going to get on the cruise ship. She's like,

00:56:27.030 --> 00:56:29.510
it's sold out. I think those kinds of things

00:56:29.510 --> 00:56:32.429
sell out in advance because I think they are

00:56:32.429 --> 00:56:39.530
a yearly thing. Yeah, just overwhelmed and totally

00:56:39.530 --> 00:56:42.010
honored to be on that bill. That's the reality

00:56:42.010 --> 00:56:45.579
of it. I don't know. I've got my trio. michael

00:56:45.579 --> 00:56:48.780
lupo on drums and taylor toque on bass and these

00:56:48.780 --> 00:56:51.039
are my guys and they're based out of nashville

00:56:51.039 --> 00:56:53.579
around and they're killer musicians and i'm really

00:56:53.579 --> 00:56:57.099
lucky that i have them on my team and we're gonna

00:56:57.099 --> 00:57:00.099
give it all we fucking got to give we're don't

00:57:00.099 --> 00:57:03.679
worry we're not holding back but yeah we are

00:57:03.679 --> 00:57:06.400
very humbled and excited but also we're we're

00:57:06.400 --> 00:57:08.780
gonna go in there guns a -blazing like come on

00:57:09.929 --> 00:57:11.829
That is awesome. So I got to ask, you mentioned

00:57:11.829 --> 00:57:14.110
all the groups, Sammy Hagar, Brett Michaels of

00:57:14.110 --> 00:57:17.070
Poison. You had Jeff Tate of Queensryche. Yeah.

00:57:17.150 --> 00:57:19.050
Is there anyone you're kind of looking forward

00:57:19.050 --> 00:57:21.489
to seeing throughout the week too? Dude, if I

00:57:21.489 --> 00:57:24.909
don't hang out with Billy Gibbons on that ship,

00:57:25.130 --> 00:57:28.349
I will never forgive myself. Yeah. I'm going

00:57:28.349 --> 00:57:31.550
to be like, oh, I'm going to just stand next

00:57:31.550 --> 00:57:35.010
to him and be like, hey, how's it going? You

00:57:35.010 --> 00:57:38.039
going to Aledo? You going to, you know? We'll

00:57:38.039 --> 00:57:40.639
get some food. You want some company? Yeah, you

00:57:40.639 --> 00:57:43.500
got to get him on the next album. I just want

00:57:43.500 --> 00:57:45.539
to hang out with that motherfucker. He's bad

00:57:45.539 --> 00:57:50.079
ass. Absolutely. I actually had I gots to get

00:57:50.079 --> 00:57:53.219
paid from La Futura in my bank of songs for tonight.

00:57:53.639 --> 00:57:56.099
Maybe we'll have to use it on volume two. But

00:57:56.099 --> 00:57:59.139
Jax, looking into the proverbial crystal ball.

00:57:59.739 --> 00:58:02.340
after the cruise after you back on land and you

00:58:02.340 --> 00:58:04.440
get your sea legs and you're all taken care of

00:58:04.440 --> 00:58:07.639
there what does the rest of 2024 have in store

00:58:07.639 --> 00:58:10.159
for you in terms of touring and maybe a follow

00:58:10.159 --> 00:58:13.019
-up to only the wild ones dude i have been writing

00:58:13.019 --> 00:58:15.960
my ass off i've got so much i'm sitting on a

00:58:15.960 --> 00:58:18.480
lot of good stuff man if i do say so myself i

00:58:18.480 --> 00:58:22.079
am just looking for the right producer i haven't

00:58:22.079 --> 00:58:25.460
put my you know i haven't sent any like ships

00:58:25.460 --> 00:58:28.619
out to sail to try to like find the right guy

00:58:28.619 --> 00:58:31.699
yet but i am definitely i've got my ears and

00:58:31.699 --> 00:58:35.900
eyes open and we've got a spring european tour

00:58:35.900 --> 00:58:38.599
that's already like almost all booked up so we

00:58:38.599 --> 00:58:40.840
we've got some great stuff in the works and i've

00:58:40.840 --> 00:58:43.920
got a fantastic team and i'm just really thankful

00:58:43.920 --> 00:58:47.460
and just kind of honestly really really excited

00:58:47.460 --> 00:58:49.440
for the new year and i just want to get on a

00:58:49.440 --> 00:58:51.159
studio man i want to get back to the studio and

00:58:51.159 --> 00:58:53.000
record some stuff it's never that easy man it's

00:58:53.000 --> 00:58:55.250
never that easy you gotta like you know, it's

00:58:55.250 --> 00:58:57.130
still an independent artist. I still have to

00:58:57.130 --> 00:58:59.869
figure out how to do that and eat and breathe,

00:59:00.170 --> 00:59:05.929
you know, mostly eat. Jax, this has been an absolute

00:59:05.929 --> 00:59:08.190
pleasure. Thank you so much for joining me on

00:59:08.190 --> 00:59:10.469
my weekly mixtape. Hey man, thank you so much

00:59:10.469 --> 00:59:12.699
for having me. And remember, you can find My

00:59:12.699 --> 00:59:14.719
Weekly Mixtape on almost all the social media

00:59:14.719 --> 00:59:17.900
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00:59:17.900 --> 00:59:20.300
to MyWeeklyMixtape .com to check out the full

00:59:20.300 --> 00:59:23.760
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00:59:23.820 --> 00:59:25.380
if you like what you're hearing on the show,

00:59:25.440 --> 00:59:27.219
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00:59:27.400 --> 00:59:29.519
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00:59:29.519 --> 00:59:32.760
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00:59:32.760 --> 00:59:36.300
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00:59:36.599 --> 00:59:38.760
That's all for this week. Thanks again for listening.

00:59:38.800 --> 00:59:40.989
And until next time. Enjoy the tunes!