Hola amigos, this is Billy Sheehan. I'm here
with my dear friend Brian Colburn on my weekly
mixtape. I hope you enjoy the episode and I'll
see you around. Gracias. Welcome to My Weekly
Mixtape, a podcast that takes the classic mixtape
approach to building a modern playlist. I'm your
host, Brian Colburn. One of the things I'm excited
to do each week on My Weekly Mixtape is speak
with some of the incredible artists whose songs
have graced my mixtapes and playlists throughout
my life. Tonight's guest is one that I'm incredibly
honored to welcome to the program because he
is one of the very reasons I am a bass player
today. And I'm talking about the one and only
Billy Sheehan, who's joining me tonight on the
road, literally, from the Winery Dogs tour bus.
Billy, thank you so much for joining me on My
Weekly Mixtape tonight. My pleasure. Thanks for
having me. So Billy, in keeping with the show's
theme, tonight what I've done is put together
a mix of some of my favorite songs of yours that
I'm excited to learn more about. So let's get
down to business. Alrighty. And since you're
joining us from the Winery Dogs tour bus, it
seems like a natural place to start. The Winery
Dogs, your power trio featuring yourself on bass,
Richie Kotzen on guitar and vocals, and Mike
Portnoy on drums, are back with a brand new album
entitled Three, which is the band's first full
-length album since 2015's Hot Streak and the
first new music from the band since 2017's Dog
Years EP. The album's single, Mad World, includes
a song -closing bass solo that... It absolutely
makes my jaw drop every single time I hear it.
And for context, I have been given permission
to play a small clip from the song. So before
we move forward, let's take a quick listen. I
might have to give it a second for the smoke
to clear from the room because of all that fire
that just happened at the end of that song. Now,
seriously, Billy, when recording a song like
Mad World and taking into account your background
with jazz fusion playing, do you ever incorporate
an element of improvisation when you're tracking
a song like this? Yeah, generally, I'm just flying
with no thought. It's just improvisation. I don't
plan it out or map it out or anything. I just
go. And I enjoy playing like that. But the only
problem is later I have to go back and learn
it. It took me a while to figure out what I was
doing because I really pay no attention when
it goes by. So I'm not sure what fingering, what
position on the DACA playing. So that particular
solo was really tough. There's a couple of little
runs that I did in it. One little ascending run
towards the end that I was using a new technique
with. And I forgot what fingers I was using for
what. And you've got to use exactly what I used
when I recorded it or it's not going to work.
So I finally figured it out and taught myself
a lesson. I should probably run a little GoPro
camera when I'm recording just so I can at least
see what I'm doing. So that was a tough one.
And then to get it up to speed to perform at
live. Performing live is another level of difficulty.
Even if you know what the notes are at play now,
you got to do it. You don't get a second take.
There's hundreds or even thousands of people
in front of you. You're standing at stage. You're
not sure if you're in a spot where you can hear
everything like you should in order to play it.
And it can be, there's a lot of other factors
that can make it really difficult to play live.
So I practiced it a bunch of times and felt confident
enough that I could do it live. And I blew it
maybe two or three times so far on this tour.
Not so horribly blowing it, but it was irrecognizable.
But a couple of times I missed a few of the notes,
but I wanted to play it accurately how I did
it on the record. And I don't always do that
a lot because there's a lot of improvisational
things. Once something is on a record like that,
it's kind of a signature little piece that goes
in the song. I want to get it right. So I got
it right last night. We played St. Charles outside
of Chicago, a sold -out show at the Arcata Theater.
And I hit everything last night. But we'll see
if tonight is another story. Well, I've checked
out several online clips from this tour, and
as far as I'm concerned, you're hitting the nail
on the head each and every time. Now, in between
the 2017 Dog Years EP and the new album, you
and Mike Portnoy also recorded two full -length
albums with the band Sons of Apollo, that being
2017's Psychotic Symphony and 2020's, well...
2020. Do you and Mike have a different approach
to crafting the rhythm section with Richie Kotzen
in a power trio versus the heavy prog keyboard
and guitar sound with Ron Bumbleforthal and Derek
Sherinian in Sons of Apollo? It's not incredibly
different. It's just song by song or band by
band. The Sons of Apollo stuff is a little stricter
because the arrangements are kind of prog -ish.
They've got a lot of parts, some odd time signatures,
some more less bluesy sounding lines that are
planned. Okay, we're back. Sorry. I'm in the
tour bus, so we're going to maybe drop out here
and there. Sorry about that. No problem. Yeah,
I'm all about drums. So whoever I'm playing with
or whatever genre, I'm on the drums. I'm looking
at the drummer, watching him, hearing him. linking
up with what he does. So Mike is pretty good
at a lot of different styles. Straight up rock,
I think is what he likes best, which people are
often surprised by because he played in a lot
of progressive bands. But I think he's like one
of the number one Beatle trivia guys in the world.
And Keith Moon is probably his favorite drummer
from The Who. But he handles pretty much anything
stylistically. So I follow the drums, not so
much worrying about what band or what they're
all about. Within the Winery Dogs, it's more
blues -based and solo R &B with Richie's voice.
So we play things that way. I remember there's
one song off the first record that we play at
the show, one of my favorite songs called Regret.
And it's really in the pocket, beautiful ballad,
through the silk. Timing is really nice, but
it's almost an R &B kind of song, as Mad World
is a little bit too. That's got a lot of Motown
in it. So between the two of us, we can adapt
to most anything, and we just keep an eye on
each other, and we have a good ESP between bass
and drums, where we'll be in the middle of some
jam, and he'll break off and do some fill, and
I'll do the exact same thing on bass without
ever having laughed at it. We'll look at each
other on stage. We laugh about it because we
come up with the same moves. And that happens
with a lot of drummers and myself because I really
study what they do and I can anticipate what's
going to happen. You're coming around to the
four count. He's going to do a fill. I think
he's going to do this. And what do you know?
He did. They matched together. So that makes
live performance a lot of fun. Well, Billy, one
of the tracks from Sons of Apollo that I'd like
to touch upon is Goodbye Divinity from the 2020
album that I mentioned earlier. In the music
video, both you and Bumblefoot are playing double
neck axes, which first off, as a bass player
myself, I can only imagine how heavy that frigging
bass is. So considering how heavy the axe is,
I'm guessing there's some sort of musical leverage
that playing a double neck bass would allow you
in a song like this. In Sons of Apollo, there's
a lot of things that are in that utilize a low
B note. And on a regular bass, of course, you
know, maybe some of your listeners don't. The
lowest note is an E, so the B is five half steps
down from that. So that would be a five or six
string bass that have that low B, but a four
string doesn't. So I take a regular four string
neck and tune it B, E, A, D, which are the last
four strings of a five or six string bass. So
I can get that low note. But I still have the
four string configuration patterns shapes on
the fretboard. I don't have to adjust for that.
I like the feel of four string under my hand.
It has an arc to it that enables you to play
your right hand gets over the strings easily.
When you add an extra string or do it flat out
and it makes it harder to get in between strings
for my particular style of playing. So I prefer
four string. The double neck has one regular
neck and one tuned B -E -A -D. And a lot of people
go, well, it's just going to five string or six
string because I don't like five string or six
string. It feels completely different on your
right hand. And my right hand technique is kind
of my, the thing I really rely on a lot to do
some of the things I do. And it was built and
designed on four strings adding. I play six.
I have a six at home on Mr. B's single, Top 40.
It was a... I think it made it up to 14 or number
12 on billboard. I used a six string bass for
Just Take My Heart. And live, I used the four.
And I could get all the notes, no problem. But
I like the double neck. It's actually really
well balanced. So it weighs a ton, but it's well
balanced. And those shows were about two hours
of intense playing. So every night I was up there
with that, however many pounds it is, 20 or 30
pounds of bass. No problem. You know, it was
good, so it didn't bother me. But when people
play it, and I often take it, I do master classes
in Nashville, and I bring my double neck, I bring
my original P bass, the wife, I also bring the
pinky blue Yamaha that I used on Need of a Smile
and all this, because a lot of people want to
see those basses, and they always pick up the
double neck. Note how heavy it is, but note how
easy it plays. It's really a great playing instrument.
So there's a little bit of a back off from some
people due to the weight, but it doesn't bother
me. And I often make the joke that my chiropractor
loves that bass because he knows they'll be in
business for many years as a result. And he's
probably very thankful for that. Well, since
you brought up Eat Em and Smile, I'd be remiss
if I didn't also touch on that album because
it was the first music of yours that I was introduced
to via the amazing lineup of yourself, David
Lee Roth, Steve Vai, Matt and Greg Bissonette,
and Brett Tuggle. Is there a song or songs from
that era that you feel best captures your musical
experience with that lineup? Well, the Yankee
Rose and Shy Boy and Going Crazy and Ladies Night
in Buffalo, that whole record, Smile, we had
a great time recording it. And that tour was
a riot. Way different than the Skyscraper tour.
I remember hearing from the guys in the band
while they were on the Skyscraper tour that it
was just awful and they hated it. And I believe
Steve quit in the middle of that tour. but also
agreed to finish the tour, so he wouldn't leave
anybody hanging. But I believe he quit in the
middle of that tour. It was completely different.
There were lines on the stage that you couldn't
cross. You couldn't run over there. You had to
stay in your spot on stage. We ran across a whole
75 yards of stage, back and forth, up and down
the stairs. We had a riot on that tour. We were
flying all over the place. Steve and I did a...
double solo together a bit of a comedy routine
also so the hit of the smile was a riot and there
was a lot of animosity generated towards dave
after that i think i don't know if it's because
the bad change or not but i remember uh i was
out in uh la and someone came up to me said well
i just saw the uh david lee roth who were at
san jose and the part where the surfboard goes
across the audience They said it looked like
it was really in the ocean because so many people
were spitting at him. And I thought, oh, then
I love Dave. And I just thought, oh, that is
just heartbreaking. So it kind of crashed and
burned from what I could see in the distance.
I was no longer a part of the organization. But
Edom's Foul was a riot. It was incredible. And
I'm supremely grateful to Dave for the opportunity
to play with him. in that band. And Steve Vai,
Greg Bissonette, Fred Tuggle, we lost recently.
But Steve and Greg are still my dearest friends.
I just got a message from Greg, along with Dennis
Chambers, one of the greatest musicians I know,
amazing drummer I play with, and we're good friends.
Yeah, but anything off of Edmund Spile I like,
even though that's life, the Frank Sinatra tone.
We got the original horn charts from the actual...
recording of that with Frank Sinatra. That was
pretty cool. And, uh, yeah, that, that was a,
was a, an amazing experience. Well, since you
mentioned Niacin, your jazz fusion project with
drummer Dennis Chambers and keyboardist John
Novello, I want to jump ahead to that. To me,
it doesn't get any better than the incredible
tracks No Man's Land or Hell to Pay when I think
of the group. Can you talk about the writing
approach you take when playing in a trio with
a keyboard player like John Novello versus playing
in a guitar -fronted trio with a guitarist like
Richie Kotzen in The Winery Dogs? Yeah, keyboards,
they approach their lines differently. And they
don't always translate. Ultimately, they will
translate to a fretboard. I don't think there's
anything you could do on either one that could
be duplicated on the other, depending, of course,
on the skill of the operator. But the keyboard
lines are different, so I have to approach them
differently. And sometimes they're tough. And
that's why, even when I was younger, I learned
a lot of keyboard things. I listened to Oscar
Peterson, a lot of classical music, Bach, the
well -tempered Clavier. I had an album set that
was by a record company called Vox, a Vox box.
It was a box of three records, and it was seven
volumes of three records, 21 records, 42 sides
of one guy on a harpsichord. Wow. And that was
all the Well -Tempered Clavier, a very famous
series of pieces of music by Johann Sebastian
Bach. And I listened to that whole thing. Unbelievably,
whenever I play it now, I drive people crazy
because this is one guy on a harpsichord for
about a day and a half. But I learned a lot about
composition and how keyboards move as opposed
to fretted instruments. There's a style that
they go towards. So in Niacin, with the Hammond
B3, it was one of my favorite instruments. Not
only were the lines keyboard lines, but they're
jazzy. So the different tone centers, different
ways of moving. Now that was a little bit of
a hill for me to climb because I'm not a jazz
player. But fortunately, the other entity with
it, nice, it was Dennis Chambers. And his pocket
and his groove is so relentless. It grabs you
by the throat and you have no choice but to fall
in the pocket. He's so great. I often refer to
him as the greatest musician I know. And he just
sits behind that kid and it's magic. He's so,
so great. And so that was a really wonderful
connection to make with Dennis. And it really
helped me to fit in the pocket of the keyboard
lines because I, like I said earlier, I'm all
about the drums. So by following Dennis' lead,
it really assisted me to fall into the groove
that made those lines sound like... I might know
what I was doing. Or at least fake that I sound
like I know what I'm doing. So it was a great
experience, that band. I hope we do some more
in the future. But the real key factor for me
was Dennis' playing, helping me as a bass player
acclimate to a style that I wasn't as fluent
in. Though I had played bass to jazz music right
out of high school. We actually played... sections
of miles davis mitch's brew and a high school
assembly wow at kenmore east senior high school
and you should have seen the look on the faces
of people they didn't know what the heck that
was because that's pretty far out jazz but we
we did we did that and some eddie harris another
great sax player and some frank zappa also well
we did some frank zappa excerpts and uh i don't
know if we twisted anybody instead of a pretzel
that day but So, but I, but it was something
I was pursuing early on until I got to play it
or rock situations where it was just so much
better energy. I'll bet for me personally, but
I still do like a lot of jazz. I've, I've learned
a lot from it, but it certainly was a, was a
great experience for me playing with both those
guys. Cause they were so well versed in it. And
I learned a lot. Well, I know I could certainly
learn a lot from your jazz playing, so it sounds
absolutely fantastic to me. One thing that's
always jumped out to me in regards to your bass
playing is the tone that shines through in your
recordings, no matter what the band or project
may be. So for now, let's use Mr. Big as an example.
The difference between a song like Addicted to
That Rush and the band's massive hit To Be With
You, because there must be some kind of process
you're going through, be it during the songwriting
or in the studio, to consistently achieve the
perfect tone for each song that you record. Can
you talk about that a little bit? Well, very
kind of you to say, yes, there's a different
approach on a more raucous, wild... song, like
Addicted to That Rush, the bass will have a little
more distortion on it, but it's only added to
what's already there. Instead of substituting
a clean, normal, regular bass tone with a distorted
tone, distortion is added to that, so you've
always got real bass. And that has been a lot
of the, not so much secret, I talk about all
that, but that's part of that process. To be
with you is just straight up, just bass, like
that too, clean, regular normal amp pretty easy
and that first note after the clip when i slide
down from uh like a d flat an octave down uh
it's just a regular normal tone and i do believe
my hands have a lot to do with it for all musicians
here their hands are hit the tone and i'm on
tour now about three or four weeks in and my
calluses are like stone they're really and when
they pluck the string, there's a definitive note.
I remember I did a rock and roll fantasy camp
recently, and I won't go into the process, but
I basically get campers, and I'm their counselor,
and I show them how to play a song, and then
we got to perform it at the end of the camp.
And you get people of varying degrees of experience,
some who can't play at all, some guys that are
pretty good. So as I'm rehearsing with them and
showing them through things, a lot of other...
bass players that I know from other big bands,
stuff like that. They're all out in the hallways
and everybody can hear each other's band. And
three different guys, very famous bass players,
open the door and go, are you playing with a
pick? I go, no, no, it's my finger. Another knock
at the door. Are you using a pick? No, no, it's
my finger. And they all thought I was using a
pick because my fingers were really calloused.
And you get the tack of the note. And on the
left hand, too, they're extremely callous. I
posted a photo of my left hand torn to shreds,
literally, with deep, huge, eight -inch, deep
grooves in the fingers. And I love it. People
misinterpret it, thought I was hurt or painful,
and offer me all kinds of advice. No, no, no,
no, this is good. We want this. We want those
grooves. We want our hands torn up. It doesn't
hurt at all. Well, it hurts. The process hurts,
but in the end. You have to have those calluses
or you can't really play. I'd rip my hands to
shreds on rotosol strings, which in a pinch,
if I had to cut a two by four, I've done this
a couple of times. I'll take an old rotosol string
and use it as a wire saw and hack my way through
wood with it. It's a stainless steel round ball
that you can use it in an emergency in the woods.
Just take a bass string off, cut a tree down
and start a fire. So tone -wise, the hands basically,
but again, on a more raucous or wild song, I
would add distortion to the regular bass tone
that I already have. Another thing, when you
do distortion on a bass, you lose your low end.
That's why I have to add it to what's there as
opposed to switch between one or the other. I
often use this as an example on the famous song,
Dance to the Music by Sly and the Babbies. When
Larry Graham says, and he plays bass, he clicks
the buzz tone out. And it's a thin little buzz.
And it's just no low end to it at all. You hit
the distortion, you lose all that low frequency.
So my trick, if you will, is don't distort the
bass. Do a second signal bath and put distortion
on that and fix it in. And that seems to have
been very successful. Fascinating. Well, while
we're on the topic of Mr. Big, the band just
announced the Big Finish World Tour, with the
first leg taking the band to Japan and Southeast
Asia in July and August, while shows in South
America, Europe, and the U .S. are taking place
in early 2024. Joining the band on drums is Nick
DiVirgilio from Spock's Beard and Big Big Train,
taking the spot of the amazing Pat Torpey, who
the world sadly lost in 2018. What does returning
to the stage with Eric and Paul one last time
Mr. Big for me was my biggest success. And I
came out of David Lee Roth. I didn't know what
I was going to do. Precarious time. Didn't have
a lot of money. And so I put a band together.
I knew Pat and Paul. I found Eric. We got an
amazing manager, Herbie Herbert. And we went
after about two and a half years. Scored one
of the most difficult things to achieve as a
number one single. So that band beats everything
to me. And we went through so many amazing adventures
together. That song, To Be With You, was our
passport to the entire world. We played everywhere
in Indonesia, Australia, Japan, all over Europe,
all over South America. Incredible. So we lost
Pat. We did a few more shows with a gentleman
named Matt Starr, who was a great drummer and
a wonderful singer. There's little fine points
to a drummer that everybody's different. There
were different fingerprint, iris, DNA, and it's
just hard to replace someone. So we kind of dropped
it. Now we haven't played together since, but
we thought, well, we'd like to go out again,
but we needed that thing alto. Matt was a great
singer, but he's a tenor. We need that. We need
the three bar harmony. Myself, Paul Gilbert,
and Pat Torby did. We need those three voices.
Paul and I could just from, we're both tenors,
so we could do low and mid, but we need that
high voice. So Nick has a great voice, and he
can sing in that range quite amazingly. Plus,
he's a finesse, fine point drummer like Pat was.
Very similar style. We've heard him play a couple
of Mr. Big songs already that he recorded for
us, and it's quite awesome. He's really, really
great, and a wonderful guy too. So we wanted
to honor Pat and also say a proper goodbye and
not a farewell tour that happens every two years.
It's going to be an actual farewell tour. I don't
know that we'll ever play together again as Mr.
Big. I'm sure I'll play with Pat or do something
with Eric, maybe something with Dick too. But
as Mr. Big, we want to end the chapter. A lot
of bands lose a guy, they replace him, they continue
on. I don't know if we... Really, we wanted to
do that. Pat was my closest musical friend of
my entire life, really. And I think it's a more
honorable thing to do is to pay him tribute and
move on. We have all the recordings. All the
recordings are there. Everything we did is available.
We got other stuff that we'll release that we
haven't released, demos and things like that.
It'll all come out. So I just thought it would
be, we all agree to do a proper farewell. Honor
all the wonderful fans that gave us everything
we have. Everything I own, my home, my car, everything
comes from a fan buying a t -shirt, a ticket,
or a record. I never forget that. And during
my stay with Mr. Big, we had fans that were so
kind to us. And it would come to 10 shows in
a row. So we want to pay them a very strong thank
you and give them our gratitude. And then pay
honor to the great Pat Jorby. It was just a wonderful,
wonderful man. So that's the story. We kept Nick
a little private for a while because he had some
other commitments. We didn't want to interfere
with what he was doing. But this is the first
I've spoken of it on your broadcast here. And
I met with Nick the other night. He came out
to a Winery Dog show. And just a great guy and
a wonderful, incredibly talented man. The Spock
Spirit stuff is just spectacular. And he sang
a lot of that band. So we're looking forward.
We already have our rehearsal day set up. We're
going to go in it. Mr. Big was a singing band.
We were a harmony band. We did Green City, Sixties
Minds, Be With You, Just Take My Heart, all heavy
harmony. For encores and for special songs, we
do Frosby, Stills, and Nash, Three Dog Night,
all the harmony bands. So it's important to have
that alto. And Nick is going to be just spectacular
at it. Well, I, for one, can't wait to hear it
live again. Billy, this past fall, your band
Talos released the album 1985. And the closing
track on the album is a stunning urethral instrumental
entitled 7 -1 -H -D -H, which is for Phil written
upside down in dedication to the late Phil Norrell.
And once again, for context, I was given permission
to play a small clip from the song. So let's
do that now. Now, being a bass player myself,
I'd love to hear the thought process behind that
track and your left -right split of the, for
lack of a better term, lead and rhythm bass parts
of the song, because it's a truly fascinating
listen and a track that really resonates with
me. Oh, thank you very much. I'm glad you enjoyed
that, because that was from the heart for Phil.
That's its title. Phil was just a wonderful guy,
one of the greatest lead singers. I've ever known.
And the easiest person in the world to get along
with. Not a molecule of lead singer's disease.
He was just the greatest. And he sang that record.
We knew there was some health issues, but we
didn't know to what extent. He sang that record,
went up to that mic, knowing that he was in trouble.
Big trouble. And it was only a couple weeks after
we finished that record that we lost him. So,
I have so much respect for him. without even
considering that. But knowing that he got up
in that mic and hit it like he did, knowing that
this could be his last hurrah, I'm blown away
by that. So I wanted to do something. We were
doing the final mixes, and I wanted to just add
something on the record to dedicate to him personally
what he meant to me, what he meant to so many
people. So we did a little bit of a split. I
wanted to lay some kind of a bet. down that I
could play over. Instead of straight up just
solo bass, it would be a little bit more musical
and song -ish. It would have more of a theme
to it than just a straight up solo. And I also
created with the bass a heartbeat that fades
out at the end, symbolizing, of course, losing
Phil, a great man. And it was touching to record
that. It was just me and my engineer, Scott,
at my studio, and it got a little solemn. We
really wanted to do something for Phil that we
could just be a message to the world about his
greatness, and hopefully that comes through.
Well, not only does it come through, it tugs
at your heartstrings without any lyrics, which
in no way, shape, or form is an easy feat. It's
simply an incredibly beautiful composition all
the way around. Thank you. Well, Billy, at this
point of the interview, I've brought up a lot
of the songs that we've talked about tonight,
and I would forever regret if I didn't ask you
to put your stamp on the mixtape that we're creating
from this interview tonight. So, Billy, if you
had to choose one song that you've recorded across
your entire career from any project you were
in that you feel best defines your musical legacy,
what song would you pick and why? Well, that's
a tough one, but I would almost. instantly default
to, to be with you because it had such an impact.
It's a very simple bass part. And there's one
part in it that I take directly from Paul McCartney.
When he's singing, come on, baby, come on over.
That would be the one to hold you or show you.
I forgot what it said, but it's right from Sergeant
Peppers. And I did it on purpose because I love
Paul McCartney. But it isn't a grandiose, flamboyant,
wild -ass, crazy thing, which I do in some songs.
So it would probably be a Mr. Big song or possibly
David Lee Roth's version of Shy Boy, which is
another one where Steve and I kind of go off.
Tough to pick one, but To Be With You, people
worry that To Be With You is going to misrepresent
Mr. Big. Because most of our stuff is straight
up rock and art heavy. And then we come out with
this little campfire ballad. Oh, it's going to
be. And they would say, oh, you must be really
pumped out. Are you kidding me? I'm the happiest.
We pop champagne every day about that song. It's
the greatest thing ever happened to any of us.
We love that song. And I still do. And I love
playing it. We look out over a thousand, 10 ,000
or more people. And the people are crying. You
see tears on them when we play that song. So
that. As much as I love the flamboyant technical
things and all that, that song was, that means
so much to me in so many ways. Otherwise, again,
I'm sorry, I'm all over the map here on this
answer. I would say, well, Addicted to That Rush
was a pretty good launch for Mr. Big. I know
our manager, Herbie Herbert, who's one of the
founding fathers of the music business. He's
the guy that put Journey together. He's the guy
that said, Why don't we sell t -shirts at the
show with the band's name on them? And thus the
merch business was born. So he loved that song
right out of the box. And we lost him recently
too. So in tribute to him, he instantly loved
that song. It didn't do well only because it
was released, I believe, in a very crowded field.
A whole bunch of bands came out at that same
time, the first Mr. Big record, that had a guy
from a big band. and some other guys in it and
uh so that formula was repeated over several
bands it got a little confusing so we managed
to make it through to lean into a record event
went forward from there but i i might say addicted
to that rush could be one of them too but that's
a tough question to answer you got me on that
one Well, Billy Sheehan, being one of my first
and biggest bass guitar influences, I can't even
begin to say how thankful and honored I am to
have you on the show. Thank you for the decades
of amazing music you've created. And most importantly,
thank you for taking the time tonight to speak
with me on my weekly mixtape. Absolutely. My
pleasure. Your kindness, I'm very thankful for.
And to know that I've influenced another player
in a positive way. is what it's all about, and
that's my pay, that's my compensation, that's
more important to me than anything, so I'm very
glad you hear that, and continue playing, and
I hope I see you around. That you most certainly
will, my friend. Mixtapers, remember, you can
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can also head to myweeklymixtape .com to hear
all the music we've discussed in tonight's episode
via the playlist embedded on the Songs of Billy
Sheehan page, as well as to check out the full
catalog of My Weekly Mixtape episodes. If you
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My Weekly Mixtape. That's all for this week.
Thanks for listening and until next time, enjoy
the tunes.