Latest / The Chris and Mike Show / #194 - Sean Martin "Part Two" - The Quarantined

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#194 - Sean Martin "Part Two" - The Quarantined · The Chris and Mike Show

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I just saw somebody walk to my front door.
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I see I'm right there. I do too.
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Whoa. Everybody.
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Listen to me. 81 countries. I'm going to chill you.
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Yeah, I really AM. You know I'm going to be Sean.
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You know I'm going to be what? What free main?
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Free main. Yeah, what's up to the boys and
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girls? Welcome to the Christian Mike
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Show. I'm Christy's Mike, and a
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portion of the show is brought to you by Riverside FM, the one
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and only choice for your podcast and platforms.
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Remember, we're live on christianmikeshow.com.
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We're live on Twitch. We're live on YouTube and hey,
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today we have Part 2 of Sean Martin, which just amazing life
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resume. In fact, it's we're so excited
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to have him back on. Mike was talking before the show
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and I had to stop him for the golden moment thing.
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So I'm going to sit back and Mike's just going to take it
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away. This is the first.
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Go ahead, Mike. I don't know if it's a first.
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Or maybe a second, Maybe a. Second, maybe 1/3.
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What do I do? No.
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Welcome back, Sean. Thank you.
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Thanks so much for having me. Recently I've noticed that
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you've been dropping some clips on Instagram.
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You've probably been dropping them elsewhere too.
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I know you said you had over 1,000,000 views on TikTok on.
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One of the million streams on TikTok.
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We've gotten well over like 40 million on Tik.
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We went on streams on Spotify. That's 1000. 40 million or or
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more on TikTok, through Instagram influence through
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through influencers, through, you know, those different
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channels. It's, it's crazy how how much
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that really does boost the visibility of things.
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It's it's got to be another way that people understand about.
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Now, what clip was that for that you were promoting here recently
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on Instagram? Oh, I've I've actually been so I
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I've started to create a a a new schedule for it.
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So I have a bunch of clips from Recording at Sound Emporiums and
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Recording at Blackbird, and I'm going to be promoting each one
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of the songs from Aversion to Normalcy and the album as a
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whole continuously. So it's not just one time and be
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like, oh, that's then everybody saw it.
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No, I'm going to be beating you over the head.
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Repeated, repeated, you know, over and over again and giving
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new new, you know, ways to, to hear and interact with with the
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music and get a good visual for what we're doing.
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I've got a new clip that I just made with a new program and I'm
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super excited about it. It's a nice little 32nd clip,
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but it incorporates for unspoken recording it Sound Emporium.
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It's got little clips of me playing guitar, doing the vocals
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and the drummer who was just tearing it up in there.
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And you get a good sense of the live room and and the the song
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going behind it really, you know, really simple.
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Not like not a crazy big thing. It took me about a couple of
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hours because it was my first video.
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I'm planning on making them quicker and that's the kind of
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content that I'm going to be putting out consistently along
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with the podcast stuff. So it's, it's, it's going up,
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man. Like people are are are
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definitely interested in it and it's, it's good.
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So how could that be? You're Sean Martin.
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Are you still in the studio now or are those clips from?
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No, those clips were from those clips were from last year.
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I've been holding on to those for an entire year because of
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different, I was trying different things and I was going
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to see if they came through and they didn't come through.
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So I was holding the back and now I've got to use, now I've
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got to use them. So yeah, those, those, those
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clips are older, but they're still good.
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Oh yeah, the drum sound I was hearing was huge.
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And the one that you just released maybe in the last week?
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Oh yeah. That guy's a monster.
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Oh yeah. Yeah, absolutely.
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Yeah, it was I, I can't remember which one it was, but it was
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either Jerry Rowe or or David Keith.
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And both of those guys are just awesome session musicians in in
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in Nashville. And both of them actually are
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are touring with artists right now.
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David Keith is with Lilani Kilgore and Jerry Rowe is
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touring with Friendship Commanders.
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They just did AUS tour, now they're going to do a European
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Tour. Is that where that studio's at
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is in Nashville? Where?
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You were recording? Yeah.
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Blackbird is in Nashville. Yeah, Along with Sound Emporium,
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Yeah. Well, the sounds you were
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getting out of there are amazing because, you know, we've
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discussed this on the podcast before.
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The clips that are released on the Internet are super
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compressed. So if they sound great.
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And by that I mean, when you listen to something on ACD or a
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album even more preferably, you're getting the full sound.
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You hear people describe it as warmer, you're just getting out
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more of the frequency spectrum. Your stuff sounds great at a
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compressed rate. So I I can't wait to hear the
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WAV files, you know, the way that they were intended because
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your sense of timing, the tones you chose and then production is
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everything. So kudos to the guys who
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recorded it. Oh yeah, yeah, that's Nathan
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Yarbrough. He's he's worked with corn
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hailstorm evanescence. Oh, right on.
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Wow, he he's Alice In Chains. He's he's small names.
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Yeah, just a few you might have heard of before.
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Yeah, He's, he's unbelievable man.
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And he, he keeps his, his nose to the grindstone.
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He's working constantly. I've still got more stuff that
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that I'm, I'm coming out with him.
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We've got a new version of Unspoken that we're that we're
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going to be releasing. We're working on right now.
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Zach just finished his parts for it.
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So that's the violin and guitars and the lead guitars.
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So it's going to be it's going to take it to a whole nother
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level. And you know, we're we've got
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another single Instagram hell to release and and we've got a a
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whole big process. And Nathan was, was involved in
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all of those and he's, he's really is an absolutely amazing
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producer and, and totally down to earth, man.
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Like it's, there's really, it's, it's not some big flashy thing.
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It's like he's like this is this is how the the sausage gets made
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and this is what it is. How much did he have to do with?
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One of the things that you and Chris have in common that I like
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in a style of a singer is the way you hold the notes out and
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where you choose to do that right.
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Am I going to hold it? Am I gonna hold it for thank you
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that long? Thank you.
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Or am I gonna hold it for, yeah, you know, just two beats?
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Look at that. I blurred.
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I blurred his image When I did that, did you see that on my
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end? His his his feet blurred, and
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that wasn't even like in key as probably as sharp as fuck, but
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hey you. Know how much did he have to do
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with your vocal style or is that just all you?
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That was pretty much me. He he was kind of gave it up to
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me and was like, is like, go ahead, because in, in a way, you
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know, that I was, I was hoping that that I could get like, you
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know, some, some crazier kind of like vocal production, but he
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was like, no, dude, just just keep it simple.
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You've got. OK, you got the thing.
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You don't need to. I want crazy.
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Yeah. I want I want to touch on that
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though, because when I was with that the the band, we don't
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speak of the last one I was in, we went to Nashville and we were
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produced by Tony Migliore, which is the guy who plays the piano
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on Bye Bye Miss American Pie. He played with that dude.
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Really super cool guy, right. And then the sound engineers,
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engineers behind the thing, the post production super Susie and
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Skip and Susie, super nice people.
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Like they did some back vocal. Anyway, where I'm going with
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this is I expected to go into the studio with a producer and
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then have him be a little bit more directive on perhaps how I
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was singing certain songs or how I was doing certain things.
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Just as a from a delivery standpoint, like one of the one
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of the songs we recorded called Fracture Me when I when I laid
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down this, this this was the second time we were there.
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So the first the first four were all want done in one day.
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Then we went to the studio in Brentwood.
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I laid down the the the first track for fraction.
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He's like, he comes to the Microsoft.
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So you're all just scream singing.
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And I was like, well, yeah, Tony, but I'm screaming in key
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man. Like do you have any, you have
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any insight for that? He's like, no, I like it.
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So, but I, I really thought from a producer standpoint, because
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when you listen to all the music, right, that we listen to
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in our lifetime, I find it really hard to believe that
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every single vocalist, you and I included, Sean, walk into a
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studio and what we're doing is the absolute best that we can do
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without a producer saying, well, just do this.
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Come up here knocked over or come back down a little bit or
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follow the groove this way or, or wait, wait a half a step or
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wait, coming up one step early. You know what I'm saying?
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So I was, I was surprised by that.
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Were you surprised by? That yeah, I was well.
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Well, it's there wasn't nothing. There was still good, good
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development and there was still. But once he understood what I
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was going for and also what my limitations were, then then it
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was a lot easier for him to suggest the things to do.
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And a lot of times I knew exactly when I didn't get it,
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like if I get 90% of it, but just that one note wasn't quite
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enough. Like I wasn't paying attention
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to it close enough. Like eventually we would both be
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like that one part. Yeah, that one part.
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OK, go back and record. I think that's the key right
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there, having sat on the other side of the board for Chris and
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for many other vocalists as a live sound engineer and in the
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studio, that's the key. If you walk in either one of you
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guys and your timing is right, but you're missing notes all
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over the place, I have no other choice as the engineer, the
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producer, but to say listen to it and do you want to live with
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that, right. If you're happy with it being on
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a key, then we're going to go with it.
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But I think that guy's job, more than anything is to make sure
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the timing is right. You're starting and stopping
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where you want to, but more importantly than that, you two
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walk into a studio as seasoned singers who have played
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countless shows. You don't get stage fright, you
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don't get nervous. Being a performer.
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That's 90% of a producer's job is to pull that live performance
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out of you in a very hostile environment, right?
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And the other thing I will say now that you what what you
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shared Sean, because the first day we were in Nashville
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recording that album. I don't know if I don't know if
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we told you this story or if it was somebody else, but we did it
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was it was basically a 12 hour day where I thought I was laying
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scratch vocals the whole time. So it was all live recording and
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I was in my vocal booth and I I sang every time we played the
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song. And at the end of the day, he's
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I was like, I need to do my vocal tracks.
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He's like, no, you did them. So that may and those are four
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different songs. So that may have laid the
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foundation for for Day 2 and Brentwood that he already knows
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what I can and can't do. Yeah.
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But at the same time, I mean, there, there is there is a
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question that that I would that I would have.
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If you're, if you're going in there as a band and you're at
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that point where you want to do at least a double of a vocal,
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where where it's you, where it's you singing off of yourself, I
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think that's a good idea. No, I think you're.
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Really gonna lose. So if he didn't do that, I
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would, I would say that that producer wasn't really doing all
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the justice that you guys. Really deserve we we we did
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those things after the fact, like on on before like day 2, we
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were there 3A total three times. So the final time we were there,
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we went back to each song and that's when we kind of do the
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layers and the backing vocals and the other and the other
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tracks and shit that like that. We want to do like a song called
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Shadow by your side. I'd went through and I whisper
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sang it kind of like Morrison did on on riders in the Scott
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riders on the storm. Yeah, because because Shadow by
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your side is, is about Michael love this.
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It's it's about a stalker, but from the stalker's point of
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view, like I'm a shadow by your side.
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So so if you listen really intently up.
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The Shadow. It's just a soft whisper the
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whole track. It's another layer of the song.
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So we did go back and kind of produce more then we did day
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one. But but just when you when you
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mentioned that, I think, OK, well, maybe that kind of gave an
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understanding. And then there was all, and then
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the the Susie and Spike, Susie and Spike, that's what they came
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in and did the sound engineering and kind of with Tony there.
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And they kind of put all the pieces together and like, let's
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do these elements. Let's have some reverb here.
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Let's have some echoing here. All that kind of fun stuff.
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You do, you know, the little panning in your head and shit.
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Like Shadow's really cool because it's a headphone song,
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which I loved. You know, you put the headphones
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on, you're like, oh, I'm fucking, I'm going on a journey,
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man. Oh yeah.
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Yeah, yeah. And those, those things are,
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are, are very important. A lot of times it's, you know,
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they did it right in that way to get a panel of people to make
13:54
sure that one person isn't overburdened with, you know,
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with a glorious purpose. We'll say that it's better to
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share that between people and especially with the band so that
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you get their input. But I will say in support of of,
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you know, the opposite side of my point.
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I have also done when I recorded Antiquate Hate, I had a vocal
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producer there and he was the vocal teacher for M and I he was
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the he was the guy who did the the extreme vocal classes.
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So he knew how to develop a little bit more of the instead
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of just you want to get, you know, there's a so he can so he
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can change that, that tone a little bit or listen to exactly.
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But at the same time, he didn't know every single thing that I
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felt like I was failing at. And after a while I had to stop
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and be like, I feel like I'm I'm failing at all of this And he
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had to stop me and be like, dude, stop it.
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You're in your own head. You're destroying yourself for
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no good reason. You're doing fine.
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Stop it. That one second other got over
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that and we could build, you know, build the thing to where
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we could have the a good communication and I didn't feel
15:09
like he was just OK, whatever. Then then we really got all of
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the work done that we wanted to on on that record.
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That's. Just like that guy did for
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Chris. That's another good job of a
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producer is to make sure that you're not destroying your
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voice, right. Right, that's a good point too,
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because I remember as you said that you know how you think.
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Oh, that's right. I would take my vocal coach was
15:33
name, his name was Michael. I would take once we figured out
15:37
the song and I figured out the song for that last band, I would
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I would go and sing it for him in my class with him, right, my
15:43
session, whatever. And he would give me little
15:45
nuances because some of the songs were kind of out of my
15:48
style. But that's what we were, you
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know, they wanted to do. So I wasn't super comfortable
15:53
with some of them. Yeah.
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But I can recall going to Michael say, hey, you know, I
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don't dig this. Like the song Tomorrow Never
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comes. I like the lyrics of it, but I
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hate how it's sung. Just fucking hate how it's sung.
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But he helped me kind of because it's not it's, it was out of my
16:07
norm, you know? Because of the music that was
16:09
laid underneath it. It was just out of it was, yeah,
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it was just out of my style. You know my style, Mike.
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It was just, it was just out of my style.
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If you go listen to that, you'll, you'll, I think you'll,
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you'll get the sense of what I'm saying.
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It just. Yeah, it.
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I don't know. It's just it was meant to be
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kind of a tearjerker. Hey, you know, I wrote it about
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Nick and me being on the road and, you know, tomorrow will
16:30
come, you know, like, just hang on, you know, tomorrow will
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come. I'll be home tomorrow.
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Even though tomorrow was the next day and then the next day
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and then the next day, you know, from, from a poet poetry
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standpoint, fucking cool. Melody wise, I liked it, but it
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just it wasn't, it wasn't my comfort zone in how I like to
16:50
sing so. Yes, I already have an idea in
16:52
my head of what I would put to that.
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Right. So Michael Michael kind of made
16:56
sure it was shaped the way it should have been, you know, and
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then the people in Nashville, they they liked all of our stuff
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and they gave me some really nice compliments that I didn't,
17:06
I don't think I was supposed to hear, but I heard, which was
17:11
cool. They they, they kind of referred
17:14
to me to another very popular singer.
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And I was just, I was, I was sitting in this backroom that
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the door was open, but I didn't, I don't think the new one was
17:20
there. And when I heard that I was
17:22
like, Oh, and I'm not going to drop names because I'm not that
17:24
person, but I was like, oh, oh, fuck, that's cool, you know, and
17:28
they didn't have to auto tune me, which I thought was cool.
17:33
There's there's there's one of my holdouts in one of the songs
17:36
that they probably could have auto tuned me because I I dip a
17:39
little bit, but I like the fact that it's dips there because
17:42
it's like it's real and it's raw and it's happy accident.
17:46
It's not overproduced and I think that holds value.
17:50
You know, not everything's supposed to be perfect, you
17:52
know? No, that's why we all still love
17:55
music from the 70s. Because.
17:56
Yeah, yeah. It's not perfect.
17:59
Yeah, yeah, yeah. You know, they weren't snapped
18:02
to a grid on a computer. They were.
18:04
This is as close as it. And that feel is what they were
18:07
looking for anyway. They didn't want things to be
18:09
perfectly in time. It's Rock'n'roll.
18:11
Yes, yeah. They're supposed to be a swing
18:13
to. It's all about the Rock'n'roll.
18:16
Yeah, that as, as long as they're grooving together, if
18:19
they're all together, fantastic. If they're, as long as they're
18:23
all grooving together and, and I mean, sometimes they could take
18:27
the, you know, do the vocals separate sometimes.
18:32
Not every time. It wasn't until much later that
18:34
they were like, oh, like in the 80s when that really started to
18:36
happen. So yeah.
18:38
Well, on COVID that happened all the time and I can't imagine
18:40
being a band during COVID and recording an album where you're
18:43
you're each in a different part of the country.
18:45
I just, there's so much to be said for rehearsing and then
18:51
going out live and and taking that same song live and, and
18:55
how, and you can relate to this, Sean, how it changes because you
19:00
feed off the crowd, you feed off the energy.
19:02
It's always faster live. So because it's a little bit
19:05
faster live, then you start getting these other little
19:07
nuances. I like the improv when we were
19:09
when we were playing live with certain songs at certain points
19:11
and I learned I could do that more and more live than I could
19:14
just at rehearsal. And then when we back to
19:16
rehearsal the next day or day after that, then I would start
19:18
incorporating that back into rehearsal.
19:20
So then became a second nature and it became part of the song.
19:22
Like muscle well. He just said something very
19:25
important that you just touched on earlier to the over produced
19:29
thing. In the 80s things started
19:31
getting so overproduced. They had a huge compressed drum
19:34
sound which you can recreate live.
19:36
That's not a problem. But the separated, like Sean
19:40
said, going in an ISO booth and singing by yourself, you know
19:45
where the band's already pre recorded.
19:48
That became a problem for a lot of bands going out and playing
19:51
live. Like Chris said, those guys
19:52
can't pull that off live. If you stack 12 layers of vocals
19:56
on top to make that main vocal sound, how are you going to
20:00
recreate that live? Yeah, Yeah.
20:02
You know, a guy like Jeff Tate can do it.
20:04
He was a trained opera singer. He taught Yeah, music at the
20:08
collegiate level. You know, somebody like that can
20:10
go out and pull it off. And Chris and I both saw it.
20:13
I don't know if you ever saw Queen Drake, but that was one of
20:15
the most impressive things I've ever seen in my life.
20:17
That band was a force to be reckoned with.
20:20
Yeah. And the.
20:21
The last band to not get booed off the stage?
20:23
Opening up for Metallica, by the way.
20:26
Yeah. Yeah, yeah.
20:28
Before Corn did it, when Chris and I saw him, Corn was the
20:30
first band to open up for Metallica in like 6 years
20:33
straight or something because they just couldn't take anybody
20:37
out and put it through that punishment.
20:41
So I think my point is, Chris is right.
20:44
We were a band that rehearsed more than we recorded, so going
20:49
in the studio wasn't a problem. We were already well rehearsed.
20:52
It wasn't something we feared. And going out and playing live
20:55
was something that we revered. You know, we looked forward to
20:58
it. We weren't afraid of it.
21:00
Yeah, yeah. And you're doing all the
21:02
rehearsing. So like it's, it's good to be
21:05
able to take that, that do the process of taking the stuff from
21:09
the live and incorporating it so it becomes second nature.
21:13
So how much thought do you put into that?
21:15
Like when you're writing and recording, how much thought do
21:19
you put into, I have to pull this off live?
21:22
And you know, what kind of studio magic do you use and
21:26
throw out versus I guess my, my question is how much thought do
21:31
you put into that? Because like Chris said, we did
21:33
put a lot of thought into that. Yeah, essentially I, I don't
21:42
consider it because everything that I write and and play, I
21:47
play and sing as I'm making the song.
21:50
So I I bring it up to a point to where I can play and sing
21:53
everything. And then I separate everything
21:56
so that I can just play the guitar, just do the vocals for
21:59
the studio. And ironically enough, there's
22:02
only one song that I've done in which the process of
22:06
reconnecting them has taken much, much longer than I
22:09
thought, and that's with Nemesis.
22:11
It's really hard for me to play and sing that song and play and
22:15
do the, and do the, the verse and like all of that, right?
22:20
It's it's hard for me to to do that Nemesis friend of mine
22:26
song. Together, it's OK.
22:28
You can name drop Bart Band all you want man.
22:30
Nothing but love, brother. Yeah, it's, it's hard for me for
22:34
me to do the, to do that. But all the rest of them, I, I,
22:37
I do them no problem. And I and I play them and sing
22:40
them, you know, all together. That's awesome.
22:43
But we were, Mike and I were that way.
22:44
We were, we were adamant. So I went away from microphone.
22:47
We were adamant. We were creating Nemesis music.
22:50
That anything we do live, anything we do in the studio, we
22:55
have to be able to do live. Yeah.
22:57
Like that was it. There was nothing.
22:59
There was nothing we wanted to do from a recording standpoint
23:02
that we couldn't replicate live because we thought what we were
23:06
doing was was unique enough that it didn't need to have a lot of
23:13
the over what? The over produced stuff, over
23:16
produced product, right. Yeah.
23:18
And that was back in the 90s too.
23:19
I mean, it's a whole different world now.
23:20
So you know. It, it is, you know, one of the
23:23
things I was going to say is a friend of mine, Alex Kalis, who
23:26
plays in the band Bat Farm. I went and saw her.
23:29
Playing. At bat Farm, yeah, I I saw her
23:32
playing at a local show in in Los Angeles and she's got the
23:39
she lines up like a a triple track of her vocals to go along
23:44
with her. And it's really dope, like in in
23:47
a small venue like that, to hear like a four person version of 1
23:53
of 1 singer just come at you at different points and like stabs
23:56
and background vocals. Yeah, is actually really cool.
23:58
You know who else has been doing that?
24:00
That her whole career is Amy Lee from Evanescence.
24:03
Right. Yes, the.
24:04
Drummer triggers all her background vocals.
24:07
Yeah, he. He's got one of those Simmons
24:09
pads next to him. And when it's time for those to
24:11
come up since who would you count on more for the timing
24:14
than the drummer, right? He knows right when to start
24:17
those background vocals, and he's got a way to stop them.
24:19
And that's her singing in the studio to herself, right?
24:24
Live. Yep, yeah.
24:26
And that's a very legit thing that.
24:27
Yeah, it's a very legit thing that lots of, lots of bands do
24:30
nowadays that really wasn't available in the 90s.
24:33
Like the sampling stuff was there, but to get the good
24:37
recorded audio inside the samples was much more difficult
24:41
and took a great technical to. Chris's point earlier, our last
24:45
guest that we just had, if you wanted to do that in the 50s,
24:48
sixties, you know, before the, the time period you're bringing
24:51
up, you had to bring 9 background singers on the road
24:55
with you, 3 or 4 I think she said there was there.
24:57
Was nine. Well, yeah, there's, there's 9
24:59
total people in the band. Yeah.
25:00
And you're right, 3 or 4 background singers, correct.
25:03
Yeah, yeah, yeah. Yeah.
25:04
So that's the only way you could do it.
25:05
And then you have to pay all those people so.
25:08
Yeah. Now you have this technology
25:10
available to you. If you're able to do that and
25:13
it's you doing it, I can accept that, right?
25:15
I saw Evanescence. It was one of the most
25:17
impressive things I've ever seen from a vocal standpoint.
25:21
Yeah, yeah, absolutely. And you know, just recently I
25:25
saw on the Colbert show, I think your name was Ray, I think where
25:33
she had like a, a, a, a section of background singers that was
25:37
like 16 people deep plus an entire.
25:39
Orchestra. Wow.
25:40
Holy smokes. Yeah, it's like, damn.
25:43
Like she was doing it old school, like really old school.
25:46
And every single one of the the vocalists behind her had a
25:49
separate part and they were all very, very animated about it.
25:54
It it was quite an impressive thing.
25:56
And like most of the time I don't look at that, but I was
25:58
like. This is what?
25:59
This is what blows my mind. Somebody heard that.
26:03
Somebody heard that in their head like Prince.
26:05
OK, Prince, it's it's it's said to be, it's said to be that.
26:07
Prince has enough material to release an album every week for
26:10
100 years. OK.
26:12
So he heard that in his head like he hurt, he hurt.
26:15
He had to have heard all the parts in his head, right?
26:18
Like I can't, I just hear, I just hear my melody.
26:21
I don't, I don't hear, I don't hear.
26:23
I should background this, I should background that or I
26:25
should do that. But so to your .19 people on
26:28
stage, somebody in that band, whoever created that concept,
26:32
it's like Mozart, they heard that shit in their head.
26:34
That is a really full head of just stuff that I can't imagine
26:38
ever going to sleep at night. But it's always fascinated me
26:42
that that I I love to just be able to talk to Prince and be
26:45
like, dude, how how do you hear all those little things?
26:48
Like, how is that possible in, in, in your brain while you're
26:52
sitting there in the studio just to hear, oh, well, I could get a
26:55
violin over here and I got the piano playing here and the bass
26:57
over here, the guitar over here and drums are going to do that.
27:00
And then I need a back. And like, it just blows my mind.
27:02
It's just it's that's why I like Metallica's S and name is such a
27:05
fascinating recording to me because they took all their
27:09
music and did this twist on it. But in my head, it made it
27:12
heavier. Yeah.
27:14
Oh, for sure. You know, So Michael came in,
27:16
was a genius in that to to convince them, hey, we should do
27:19
this and that. I just I, I wish I could just
27:22
sit down with somebody that had that brain and be like, how do
27:25
you hear this shit? What is it that, that what,
27:28
what's it start with? Like, what do you start with?
27:30
Like, Mike starts with the guitar riff and that's where my
27:33
my my muse starts kicking in for lyrics, right?
27:36
Well then as a as a guitar player, then you hear all the
27:39
rest of the parts. They, they just, they have to be
27:42
there in a certain way to fit in that music.
27:46
You, yeah. There's a you.
27:48
Just don't have the vernacular. You actually do it.
27:51
You just don't know it. Like think about Freeman when
27:55
you had the idea to put the bullhorn.
27:58
Yeah, you know what I'm saying? Those are those same stacking
28:02
ideas that you're not giving yourself credit for, or the
28:05
whisper part in the background or the spoken word part in the
28:10
background that we did on certain songs.
28:12
I can't. I think we did a whisper on
28:15
Listen to Your Sin or a spoken word.
28:17
Those kind of ideas are those same.
28:21
It's the same concepts. Sean is a guitar player and a
28:24
vocalist together. He's going to hear either the
28:28
same melody he's singing to or he's going to hear a counter
28:31
melody that he's going to play, which those are the ones that
28:34
always kill me with Hetfield is how he can play 1 melody on a
28:39
guitar and sing another melody with his voice.
28:43
Yeah, they, they, I would say, yeah, you're, you're, you're
28:45
real close on it. And I think of it in the terms
28:49
of, of color palettes. So the violins have a, they're
28:55
like this. The guitars, there's many
28:58
different ways in which a guitar has a tambour in it, a tone, and
29:03
each instrument has a place and a function.
29:08
And once you start getting used to what they're, what the
29:14
baseline for each of those is and have that inside of of your
29:18
head. So you've heard it enough that
29:21
you can start superimposing it off of one thing that you hear.
29:26
So I would say that in the same way, like he's pointing out, you
29:29
think of the the different tambours and palettes of the
29:32
vocal, because that's the the instrument that you're the most
29:36
used to. But if you were the most used to
29:39
sitting around in it with cello players the whole time, you'd be
29:42
hearing cello parts all over the fucking place.
29:45
And if you spent the time to really do that with every
29:48
instrument, then you could hear somebody go and you go.
29:54
I hear the whole orchestra behind that, you know, yes.
29:58
That. May be something stupid you
29:59
could do it. So it's it takes a level of
30:01
training and understanding and honestly you're already at least
30:04
50% of the way there. Yeah, OK.
30:07
That totally makes sense the. Other 50% for him is simply that
30:10
a lot of times he just doesn't have the words because yeah,
30:14
he's not an instrumentalist, right?
30:16
So he's not going to tell you the songs in AG and E, right?
30:21
Right. Yeah, the vocabulary.
30:23
But he understands his frequency spectrum of his voice like
30:29
nobody I've ever been with. Who me because you, because you
30:33
would, well, you would be the guy to say when we were
30:35
recording, very rarely what I have to say, we're going to have
30:38
to do that again. You would say, I know what I
30:41
did. I fucked up.
30:42
I didn't start on time or I hit a bad note.
30:45
Just run it again. I know where I messed up right
30:47
when Sean was describing that I totally heard you singing in my
30:51
bathroom in my apartment. We would stop and he'd be like,
30:55
I didn't start on the right spot.
30:57
I'm going to try it in a different spot or something like
30:59
that, OK? I remember that.
31:00
OK, I guess you're right. I just don't.
31:02
I just, I don't know. I don't understand where.
31:05
You critic, man. I don't understand music theory
31:07
at a level like Joseph. You know, Joseph's a classically
31:10
trained, another guest that we had.
31:12
He's a classically trained guitar player.
31:14
He can look at a piece of music and tell you what's happening.
31:16
I can't do that. I can tell you that the songs in
31:19
the key of G because that's the route and that's where I started
31:23
and that's what Chris is singing in.
31:26
You know, here's the rest of the chords and I can name every note
31:29
on the guitar. I can tell you the simple
31:31
scales. I can get somebody from not
31:33
knowing something to an intermediate level player, but
31:37
talking advanced theory and we're going to play a Mixolydian
31:42
scale over AD 7A augmented, you know, I can't do that.
31:48
I love that. I just know this chord sounds
31:50
cool. I just, I sang by ear.
31:55
I just sang by ear. MM would be like, we're playing
31:57
in this key and and he'd hit the thing on the guitar and I'd be
32:00
like, OK. Yeah.
32:01
Can you hit this note? And he'd go, yeah, yeah.
32:04
I tried to I tried on my on to to my to my benefit.
32:08
I tried, I went to I took a music theory class.
32:12
I tried to learn how to read music and shit.
32:13
It just it all went over my head.
32:14
I just don't I don't have the brain for that.
32:16
I'm that guy that Michael could attest to it.
32:17
No matter what was going on. Let's just fucking go jam, man.
32:20
Like everybody's shut up. Let's go on stage now.
32:23
Let's let's go play. Whether we were having, whether
32:25
it was good pre show or bad pre show or like whatever show, OK,
32:29
can we go play now? I just won't go.
32:32
Play now. We almost didn't become advanced
32:34
level musician simply because we all got along so well, you know?
32:38
We just like playing so much that we just played it over and
32:41
over again until it worked. Like if something was in a weird
32:44
time signature, I would think that Scott was mad at me and
32:47
he's like, why would I be mad? He's like, it's just weird,
32:49
dude. You got to keep playing it so I
32:51
can figure out where the one is, you know?
32:53
And then Chris would have to do the same thing.
32:55
How long am I going to hold my vocal out to get back to the
32:58
beginning of the verse or the chorus or whatever?
33:01
Or he would tell us I need some space here because I want to do
33:05
XY and Z. You know?
33:06
He would have cool ideas for like bridges and pre choruses
33:10
and things to do with his voice that would lead his story from
33:15
one section to the next. Right.
33:18
Yeah. Yeah, yeah.
33:20
How much leeway do you give your drummer, your bass player, your
33:24
'cause you're not recording those parts right?
33:26
You're hiring a drummer and elite guitar player is what I
33:29
heard. How much leeway do you give
33:31
those guys? I so here's the process.
33:37
We would play the song of the the demo that I had for the song
33:44
that I wanted them to to re record.
33:46
I would play it for him and they would listen to it once and they
33:48
would map out the entire song structure as they were listening
33:52
to it. And they would also at the same
33:54
time mark what the key was. They would mark the bars, what
34:00
the phrases were, the main phrases for each section.
34:05
So, you know, they would hear the song and then after it would
34:08
be nodding along and be like, oh, that's good.
34:09
That was a good choice. They'd be talking to me the
34:12
whole time that they're writing all of this down.
34:13
It was like watching a, you know, some great multitasker
34:19
build a car and talk to you about, you know, how to make
34:23
candles at the same fucking time.
34:24
It was unbelievable to watch them do that.
34:27
Like, because they're like, Oh yeah, that was really, I love
34:29
that part. That was a really good part.
34:31
And they, they would be writing it down and continue to write
34:33
until after the song was done and then set their, the papers
34:35
and they go, OK, so here's what we, we want to do.
34:37
We want to do this and this and this.
34:39
We're going to do this. And so you, this part was like
34:41
this. You want it like that?
34:42
And so they'd work out all the little parts and they'd say, OK,
34:45
I think we're ready to go in. They would go in and play it.
34:48
And I would let them get up to their technical chops of, and
34:52
get there and get everything under their fingers, under
34:55
their, you know, playing in drums and, and whatever under
34:58
their rhythm hands. I, I don't know whatever the
35:01
phrase is for drummers get it under their feet I suppose.
35:05
And then I after I knew that, that they were, that they knew
35:11
what they were doing, then I would let them do 3 takes and
35:17
wait for them to go. That was a good take.
35:21
And then I would listen to it and I would say, and I would put
35:24
on my producer hat and say, what else do I want from them?
35:29
And then I would think of the next thing to say, hey, try it
35:32
like this. Try it.
35:34
Do it. Do this part like this.
35:36
What about this part? What about this part?
35:40
Do you feel like you could do something else?
35:42
I'm thinking of, you know, this particular something, maybe a
35:45
little bit more Black Sabbath. You think a little bit more
35:49
Muse, think a little bit more. You know, some give them some
35:52
kind of reference and they go, oh, got you.
35:54
And then they would go and do that for another couple of takes
35:58
and I would let them tell me what was good and then I would
36:01
assess, is it good enough? Yeah, it's good enough.
36:04
Then I would. Really like to be like.
36:06
That's good. And then it it would roll like
36:08
that. I really like that approach and
36:10
I never, I guess I never thought about like the, you know, you're
36:14
probably going to get 80% performance out of one of three
36:19
takes, right? And you can piece the other two
36:22
together, right? Right.
36:23
And from people that don't. Know what we're talking about?
36:25
In the computer world, he's got three different tracks of
36:28
guitars. He can choose the best one that
36:32
goes 80% through and he can cut the rest of it from the other
36:35
two and make one master track. Right.
36:38
And and then from there, it's just a, an overdub section it
36:41
they'll come back into the control room, listen to
36:44
everything. Sure, like Chris was down.
36:45
Earlier, go back in and do your, you know, whisper parts or your
36:51
delays or your reverbs. You can do that with your voice
36:54
later on, but you need that bass track of the drums to start with
36:59
before you can overdub. I mean, you need that bass track
37:02
of the rhythm guitar and the lead guitar before you can fix
37:05
the little mistakes or nuances that are wrong with it.
37:09
Right, exactly. So yeah, what are the process?
37:13
The one cool thing too, and we when no, you're good.
37:15
When when when I joined Nemesis, which back then was desperate
37:19
Angel, it was just Mike Scott and I, the drummer and Mike and
37:22
I. So when we finally found the
37:23
bass player, it was kind of cool from from a writing standpoint
37:28
to see how some of the songs dynamic changed a little bit
37:30
because Rick fucking great bass player.
37:32
I'm Shire William, great bass player.
37:34
But there were certain songs that when he brought his element
37:36
is like, Oh, I could latch onto that, that beat.
37:41
And the music just went to I agree with him 100%.
37:44
It if it was, if we thought it was 100% there with Chris and
37:48
Scott and I, and we did when Rick joined, it was like.
37:52
It went back. William.
37:54
He's always going to start. I know, but he gives me shit for
37:58
calling him. Rick knows I'm like William.
38:00
I'm one of those guys. You have to live with it.
38:03
I know, I know, I know anyone. If we thought we were at 100%
38:06
when he joined, we immediately went back to 60% because Chris
38:10
is right, we rewrote about 40% of those songs as soon as he
38:15
walked out the door. Scott's wife Carrie at the time
38:19
said that's the best you guys have ever sounded and she heard
38:23
us from day one. When Scott and I formed
38:26
Desperate Angel, before Chris was ever even thought of, we
38:31
played one. We didn't know we needed you
38:34
back then. We played one gig with this guy
38:38
that just couldn't hack it and the same thing happened when
38:43
Chris joined the band. It was like, this is what I was
38:46
looking for all along. You know, when I drove 2000
38:50
miles across the country with a dream.
38:52
That's the kind of band I was looking for.
38:55
Four guys who could get along and write kick ass music and
38:59
just wanted to jam. Yeah.
39:02
That's it. Yeah.
39:04
I mean, that's it. Wasn't about the hookers and
39:05
blow, man. It was all about the
39:06
rock'n'roll. That's a good line.
39:09
It wasn't about the hookers and blow.
39:10
It was all about the rock'n'roll.
39:12
I got a trademark that shit. That's good, right?
39:14
Well, it's here now. Yeah, it's it's here now.
39:18
It's trademarked on episode 194. That was a it was a great line.
39:21
Wow. Yeah, it was awesome.
39:24
But yeah, it's that, you know, when you're especially when,
39:28
when I know that feeling and, and it truly, that's that's the
39:35
thing that when you finally find that it feels like, oh, now I
39:41
finally made it. But that's really just the
39:42
beginning. That's just the base level to
39:45
begin is, is in getting over that, that that mountain is a
39:51
massive 1. Like you said, you had to travel
39:53
2000 miles to do it. I mean, I had to drive across
39:55
the country multiple times. I had to get, you know, an
39:58
entire 8 year history. Of in the music industry, trying
40:02
to find the right people and finding the right people and
40:04
having them be like, I've got this other thing.
40:07
I've got to, I've got to go do this other thing, that other
40:11
part of life that has taken me away.
40:12
I don't have much of A choice because I've got to do that.
40:17
And you know, sometimes that they'll come in and out, but
40:20
the, the true, the truth of it is, is that you can come back at
40:25
any time and, and get together with, with any kind of musicians
40:29
when you keep up your own ability.
40:32
And when you just happen to find them, even more so because you
40:36
keep putting yourself out there, then that's where the real goal
40:41
of of sharing the language of music really is.
40:44
Well, that's how that's a, it's a brotherhood, right?
40:46
Because once, once you stand on stage with someone, nobody
40:51
understands that as you've been there done that.
40:53
Nobody understands the anxiety you feel before stepping on that
40:57
stage. Nobody understands the
40:59
excitement when you you RIP off your first, second, third song
41:03
in a row or whatever you ever, you open your show and then you
41:05
have the crowd just cheering and looking at you on stage.
41:11
Like what the fuck did we just witness you?
41:14
Just you don't have that with anybody else in the world.
41:18
So that's the unique thing about musicians that we all share is,
41:21
is we know. We know what it's like to go in
41:23
front of people that you've never gone and stood in front of
41:26
before, the vulnerability and anxiety that comes along with
41:28
that. And some hostile crowds, man.
41:31
We opened up for Seven Dust, We opened up for Sacred Reich, we
41:35
opened up for Armored St. We opened up for some bands who
41:39
had what you would call loyal fucking fans.
41:42
And if you were a band that sucked in front of them, they
41:46
were not afraid to let you know. Yeah.
41:48
We never experienced no, thankfully, but we saw some
41:51
bands that were like good luck fellas because they're pretty
41:55
rough, you know? But that's the thing.
41:58
That's that's the thing. That's that brotherhood, man,
41:59
that you. That's what I'm saying that's a
42:01
whole nother level is to have had the balls to get up there in
42:05
front of some of the like Sacred Reich is of arguably founding
42:09
member of the thrash community. They started in 1985.
42:12
You know, Metallica beat him by two years.
42:15
Well, four years. They started in 81.
42:17
So this is a band that had been around forever, and we played at
42:22
places that hosted these kinds of bands.
42:25
You know, Flotsam and Jetsam stood on that stage and played
42:27
before Jason ever joined. Jason what?
42:31
Jason Rainey and Jason Newsted were roommates at one point.
42:36
He was there when he got the call.
42:37
You know, we got to hear that story.
42:38
That was so cool. Yeah, wow.
42:42
So those are the kind of people that were frequenting these
42:44
places and we're like, holy shit, man, we hope they like us.
42:47
And they did, you know, we, we had our shit together.
42:51
But to both of your guys's points, if you're going to play
42:54
at that level, that's a commitment that very few people
42:57
understand. You know, it's not like you can,
42:59
oh, it's Saturday. I'm going to go jam.
43:01
We're not not having played Monday through Friday.
43:04
Yeah. Right, But at the same time,
43:07
Shawn's point is when I think that when you, when, if, if, if
43:10
you, if you moved to Arizona or I moved to Illinois, it within a
43:13
week's time, we'd be jamming a million.
43:16
It would just, it would just be that it would be that quick
43:19
1,000,000%. And it would be one of those
43:20
things like when are we going to jam, dude?
43:22
Because we, we know we're an hour away, an hour, 1/2 an hour
43:24
way now. So it's the same concept.
43:26
I think what you're sharing, Shawn is going back and forth
43:28
across the country. But then when you reconnect with
43:31
someone that you connected with before, it's an instantaneous
43:33
OK, let's go. Yeah, and and also I found that
43:37
when you see other when you when I've traveled around, I've
43:40
traveled across the country now 8 times Costa kind.
43:43
Of. And I love it.
43:44
I love it so much. And I've gone to so many
43:46
different areas of the country. And when you see someone who
43:50
knows the exact same musical language that that you do and
43:54
they can not just the not just the the genre, but the
43:58
musicianship with. Your music their.
44:00
Musicianship, right? Yeah.
44:02
Well, you can see the music in the musicianship translated into
44:05
any genre that they do. You go.
44:07
That's my fucking dude. I love that guy already.
44:10
You know, it's like, I want a jam with that dude.
44:13
And like, I've seen that so many times and I've been so lucky,
44:16
especially in in different, in different states to be able to
44:19
experience that and be like, man, if I stayed here, I could
44:22
have a, a, a band with this dude all over the place.
44:24
It'd be great, right? You know?
44:25
And here's I think to piggyback on that thought Chris used, he
44:29
likes to use this word a lot. And I just thought of this, man.
44:32
It's that you already know that you can let your guard down with
44:37
that person being a musician, a soul or any kind of artist.
44:40
It doesn't have to be a musician.
44:43
You have to be so vulnerable, right?
44:45
That's the word that you like to use a lot.
44:47
You have to be vulnerable. And I know when I sit in a room
44:50
with him, I'm, I'm going, if I play something bad, he's not
44:54
going to be like, wow, dude, that sucks.
44:57
He'll be like, did you mean to do that?
44:58
You know, because. I'm not sure how I was he's.
45:01
Always going to think of it and I would do the same thing for
45:04
him. I'm not going to go.
45:04
Hey man, your voice cracked there.
45:06
You sound like a 13 year old boy going through puberry.
45:08
I might do jokingly. You know, but.
45:11
It's that rapport that your vulnerability, that wall is
45:15
already broken down. You know, I know that there's
45:18
nothing that him and I are going to say to each other that would
45:20
intentionally, it hurt the other person.
45:23
It's always going to be in a joking manner or it's just not
45:26
going to be a dig. It's going to be a constructive
45:28
criticism. Did you mean to do that there?
45:31
You know, because if you did, we're going to have to figure
45:32
something else out musically. Or for him, if it's a weird
45:36
musical passage, he's like, I'm either not going to sing there
45:40
or I'm going to have to figure out something to do with my
45:42
voice that's going to fit with that oddity, you know?
45:45
Yeah, yeah. And that's that's, that's the,
45:48
the, the good way to to be helping people along You you
45:52
don't want to, as a musician, be beating somebody down just
45:55
'cause they make a mistake. And it's it's so yeah.
45:58
Like that's one of the key things.
46:00
And I've been in some bands where, you know, they don't have
46:03
that mentality and they're they could tell that they weren't
46:06
helping you along. It was like, meet the standard
46:08
or you're a little bitch. And it's like.
46:10
Man. It's almost like you're standing
46:13
across from you, you know, Like it's like I joined.
46:15
The Russian army. Yeah, yeah, for real.
46:18
And eventually I just. And I remember in that position,
46:21
it was a band in Minnesota before I went to MI and I didn't
46:24
really feel like that. It was a really heavy, like
46:27
hardcore band, you know, like sort of like a metal core band.
46:31
And at that time that wasn't really my thing.
46:34
I was much more like Black Album, Metallica.
46:37
I was very much so the slow groove, but still like, you
46:39
know, heavy stuff. But I can't do like the the at
46:43
the time I didn't know scales. I didn't know Jack Schiffer
46:46
scales. I barely even knew chord
46:48
progressions. Like I knew you put your finger
46:49
there. It makes a noise.
46:51
That's what I knew at the time. So I'm sitting across when
46:54
they're like, it's this and I'm like, I can't even do that.
46:58
Like you're gonna have to give me something else.
47:00
And they're like, dude, you either do this or you're out.
47:02
And I'm like, well, guess I'm out then.
47:04
Sorry, guys. Yeah, because they didn't give
47:06
me any option to. It was either, you know, do
47:11
something way above your level and we're expecting you to be at
47:14
that level and this is the audition, like, and or, you
47:19
know, get out. And I'm like, well, you don't
47:22
give me much of A choice. Well, like and I felt.
47:25
Like that wasn't the right way to do it.
47:26
When I went to music school, I learned the way that you're
47:27
talking about. It's so much better.
47:29
Like Chris said earlier, if it's not your style, you're not going
47:35
to be able to embrace it, you know?
47:37
So like, even though he was able to pull that song off, I'm sure
47:40
every time, if they ever played it on stage, it was never
47:43
comfortable for him, right? And when I put Nemesis together,
47:48
Scott and I started over. We were like, we're just going
47:50
to start over. We only had one guy that was a
47:53
dual, you know, he played bass and sang.
47:55
So we have to find a singer. We have to find a bass player.
47:58
Let's just start over. So Chris, you know, through
48:02
doing this podcast, he kept giving Scott and I credit for
48:05
starting that band. I'm like, you were a founding
48:07
member of Nemesis. We changed everything from that
48:10
point forward. So it was the three of us that
48:13
looked for a bass player and move forward.
48:16
My point is, it was important for all of us to feel
48:20
comfortable playing those songs. Like another thing that we put a
48:23
lot of thought and a lot of talking into is are you
48:27
comfortable with your part and within the song, right.
48:31
So when people came to see us play, it wasn't they're staring
48:35
at the guitar player, they're staring at the drummer.
48:37
They were staring at us as a band because we thought those
48:41
songs out. I think, you know, through
48:42
talking to you, the reason we wanted to talk to you again is
48:45
you have the same kind of vision.
48:47
You know, you want the song to be good.
48:49
You don't want someone to say Sean's a great singer, but the
48:53
music sucks. You know, you're putting that
48:55
same, you got to put the same amount of thought into
48:59
everything, production, distribution, marketing, writing
49:05
sonically. How does it sound as a final
49:07
product? You know all those things when
49:10
you're playing live, the lighting people don't realize
49:13
how much goes into when they ask me the question, why are you not
49:17
in a band anymore? Well, that's a loaded question,
49:20
man. We, I don't have that much time
49:22
to explain it all to you, right? Unless you have the time.
49:25
That's like a whole podcast by itself.
49:27
And Chris knows because he's been there, you know, because
49:30
you've been there. Something he says over and over
49:32
on this show is you. You don't know unless you've
49:37
been there. You know, you and I and Chris
49:39
have all experienced standing on a stage hundreds or thousands of
49:42
times. That's a commitment that's only
49:46
maybe equaled by a marriage, you know?
49:51
Yeah, that's for real. Because you're putting yourself
49:53
out there. There's six people or 60,000
49:56
waiting to see you with their arms folded going.
50:00
You better be good. Show me something.
50:02
Yep. Prove to me that you belong up
50:05
there and I don't. That's really what the audience
50:07
is saying to. You right, Yeah, Yeah.
50:09
For real. That that is really it.
50:11
Why shouldn't I be up there? Prove.
50:13
That. Yep.
50:15
Yeah. I'll tell you a funny story real
50:16
quick. I went to see Ted Nugent with my
50:18
drummer and the Celebrity Theatre in Phoenix has a round
50:22
stage. It holds about 2000 people,
50:24
maybe blessed than that. Even Frank Lloyd Wright designed
50:28
it. Ted Nugent's playing there.
50:31
And I don't know if this was planned.
50:32
He probably did it every night, but it was just cool.
50:35
So halfway through Stranglehold, he just said stop the stage, you
50:40
know, And I can't believe that it would have been planned
50:42
because how many motorized stages does he play on?
50:45
He spotted these two kids in the crowd and he pointed him out and
50:49
he's like, I see you out there. You know, you're looking up at
50:52
me and you're thinking, shit, old man, you ain't special.
50:56
I could do that, he said. Maybe you can, but one thing
51:00
that I am that you will never be is Ted fucking Nugent and went
51:07
back into the solo and stranglehold.
51:08
And it was just one of those moments in time that, thinking
51:11
back on it, it probably wasn't planned because I don't know how
51:14
many motorized stages Ted would have been standing on back then.
51:17
Yeah, no, he probably stopped the show for that one.
51:21
That's a great story. Yeah, I mean, that's, that's,
51:26
and you know, that goes along with, with, you know, a piece of
51:29
advice that my first guitar teacher gave me.
51:32
And it would, you know, 'cause I'm sitting there writing these
51:34
new songs and I'm like, I feel like this is all been done
51:36
before. Why can't I write something new?
51:39
I I like and I just started like I was literally 13 years old
51:43
writing like 30 songs and I'm like.
51:45
You are. You're that hard on yourself
51:46
when you're 13? Oh yeah?
51:48
What the fuck, Sean? Dude, let me tell you.
51:53
I would hate to be your parents man.
51:57
Parents is where it came from, bro.
51:58
That's where it fucking came from.
52:00
All right. So they're like, dude, he's not
52:02
good enough anyway. Like yeah, they were OK, OK,
52:05
they're they're not that hardcore, I promise.
52:06
But in my mind at the time they were and I.
52:12
But what he told me was, you know, the chords will never
52:17
change. The scales will never change.
52:18
Everybody has done and played them before.
52:21
You're not the first one to travel this road, however,
52:24
you're the first you to travel that road.
52:27
I like that a lot. Yeah.
52:29
Eddie Van Halen said something very similar.
52:31
He said there's seven notes in major scale.
52:33
How you mix them up is your business, but there's never any
52:37
more than 7 notes in the major scale.
52:39
You know, we can argue when you get past that, but in Western
52:43
music, modernly, there's seven notes.
52:45
How you mix them up as your business, That's how he
52:48
rectified that question that you asked in his head.
52:51
Because every musician, singer, drummer has always asked the
52:55
same question. Because we.
52:59
Contrary to popular belief, most of us aren't egomaniacs.
53:02
We're actually very self-conscious and we don't
53:07
think that what we do is good, and we're just as surprised as
53:10
you when you think it's good. That's the one thing I think, I
53:15
think a lot of people don't understand when, when when you
53:17
go meet a musician like somebody who's who's been blessed enough
53:21
to make that their career in their life, right?
53:24
That aw shucks thing. I've never been an aw shucks
53:27
guy. I met Eddie Jackson for Queens
53:29
the first time I ever met any, any type of, of somebody at that
53:33
level, right. And what, what I took from that
53:36
was he was just, he was like this.
53:39
We were just having a conversation.
53:41
There was no way after the show, there was no, I'm Eddie Jackson.
53:44
I'm the founding member of Queen Jacques.
53:46
Who the fuck are you there? There was none of that.
53:48
It was just, you know, it was, it was, it was one of those, it
53:51
wasn't backstage like a meet and greet.
53:53
And so he, there was like 12 of us.
53:54
He came out and you know, he's each one of us.
53:58
He talked to for a moment and then we all just kind of head
54:00
back, stood back. We can ask the questions and
54:02
shit, but it just it, there was nothing.
54:04
I don't want to. Still grateful to be there,
54:06
right? Right.
54:07
There was nothing special. I don't want to.
54:08
I don't want to say this is going to sound wrong, but
54:10
there's nothing special about him.
54:11
You know what I mean? There wasn't like, yeah.
54:13
That totally makes sense. Right.
54:15
He was just somebody who was in the right place, right time,
54:17
with the right set of people, and then boom, kind of like
54:20
Eddie. We talked about Eddie Van Halen.
54:21
He didn't want to be a guitar. He just want to play guitar.
54:24
Yeah. Yeah, but he was so fucking good
54:26
at guitar. He became Eddie Van Halen.
54:29
And that's why when when I think you see somebody who's who's so
54:32
narcissistic and is, oh, look at me.
54:35
It's just I get turned off by that.
54:37
I don't care if you music trade or not, but if if you're an ass,
54:39
fuck off, man. I'm not buying your shit
54:41
anymore. Just, you know, it's like Limoy.
54:43
We had this, we had this producer on that, that that he
54:46
was a producer in the 90s, Sean. That was huge with all the
54:49
gangster rap, all the kind of shit responsible.
54:52
For more than half of the rap albums that came out in the 90s
54:56
as a producer. Yeah, and and recently he's done
55:00
stuff, had stuff played in the movie bio bio documentary about
55:04
Queen, laid back chill, like he wanted to come back on our show.
55:10
Yeah, he reached out to us, which when he was dropping his
55:13
latest single back in October, he's like, hey, can I come back
55:15
on and talk about that? But that's we'll think about it.
55:20
But that's that's the kind that's what I want more and more
55:23
people to get out of this. When when you go meet bands and
55:26
musicians and, and who your your heroes are, don't don't put them
55:29
on a pedestal. They don't like that.
55:30
They're just they're like us, everybody.
55:32
They're just like everyone. They just happen to be in that
55:34
spot in time and and we're able to to capture that lightning and
55:39
go. To get as good as most people
55:43
are, and I've heard people even describe Tom Cruise this way.
55:46
He might be a weirdo when it comes to what he believes.
55:49
In. But he is the most professional
55:52
when it comes to what he does, like he does his own stunts.
55:56
He is, he's not the guy that's yelling at everybody or, you
56:00
know, he's positive on the set. He's a guy who's encouraging and
56:05
lifts people up, and you don't get to be that great by being an
56:09
asshole most of the time. I know there's the outliers, and
56:13
people are going to name 10 examples of people who have done
56:15
it that way. And I'm not saying you can't
56:17
make it that way, but 99% of the people who attain a level of a
56:22
Johnny Depp or a Tom Cruise, it's because they were cool on
56:25
the way up, you know? Yeah, they understood what their
56:29
end goal was. Eddie Van Halen is one of the
56:31
best examples you could ever give a reluctant Guitar Hero.
56:34
He just wanted to sound good and be innovative, you know?
56:38
I want to do something different.
56:40
Well, he did something so different that he inspired
56:42
everybody to this day sitting right here.
56:45
Right, right. Yeah.
56:46
He he was like The Beatles. But he had that same feeling
56:49
that Chris described every night of getting on stage, of am I
56:53
good enough to do that right, That we didn't have stage
56:56
fright. We had the anxiety of are we
56:58
really good enough to get up there and do that?
57:00
You have to be humble enough to ask yourself that question.
57:04
You're you'll never grow if you think you're the best.
57:06
That's. My point, yeah.
57:08
And the other thing too, like if you don't have nervous
57:10
initiative for the first time, you're doing something, whether
57:12
that's going on stage, whether that's if you're you're, you're
57:14
filming a scene for a movie, whether you're you're meeting
57:17
somebody for the first time. If you don't have a little, a
57:20
little level of nervousness, then you're not a fucking human,
57:23
you're not alive. You need that.
57:24
You need to Butterflies, the butterflies.
57:27
The butterflies are what drive the extroverts.
57:30
Like half of us are or 2/3 of us are because Mike's not an
57:33
extrovert. But.
57:34
Why I'm when I get on stage right?
57:36
You have to. Yeah, this is true.
57:37
But that's what that's what you need.
57:39
That if I didn't if, if, if I stopped having that nervous
57:42
energy, then the holy shit that sucks because that's, that's
57:45
part of the excitement of life getting on.
57:48
Stage and being loud was my way of being that.
57:51
Yeah, OK. Yeah, yeah, yeah.
57:52
True point, true point. So yeah, that's yeah.
57:55
And I would say, and I would say even when for me, when I feel
57:58
though that nervousness and got very used to it from a very
58:02
young age, I learned how to put it into the performance.
58:05
It's so critical. It's so critical to to not stop
58:09
at stage fright, but use stage fright.
58:12
Don't figure out how to get over stage fright.
58:15
Figure out how to use it? Absolutely, because it can
58:18
become the thing that makes you stand out on stage.
58:22
You do something weird with the guitar?
58:24
Guess what? You just motherfucking
58:25
innovated. Right.
58:28
Something then a lot of. Our songs changed over time
58:32
through those we talked about this the last time, the happy
58:35
accidents. Yeah.
58:37
Yeah, it's, it's so critical as an actor, as an entertainer, to
58:41
to understand if and especially if you're thinking you want to
58:44
start doing something in front of a camera or at all.
58:48
Use that nervous energy and learn how to wrangle it.
58:53
So it becomes your carriage. It becomes the thing that you
58:59
can ride into what you want to do because.
59:02
We did it with. This and still.
59:03
Yeah, yeah. From the beginning to right now,
59:06
and you know, not as often as we used to, but I'd say for 50 or
59:10
60 episodes we would sit and talk about where we want to take
59:14
it and how to make it. It was more to how to make it
59:17
like we're doing right now. We've been talking for almost an
59:20
hour. It doesn't feel like almost an
59:22
hour. It's been natural.
59:24
It feels like a conversation. That was our ultimate goal is
59:27
how do we turn this into not, hey, what do you do?
59:31
How do you do it? Mike?
59:32
It's your turn to talk, Chris, it's your.
59:34
How can we make this as natural as possible without it sounding
59:38
fake, right? Right, Like we had a we had a
59:40
guy talking to us this week behind the scenes and, and he
59:43
was one of those accolade things again about how the show is and,
59:47
and it's like, well, thanks, man.
59:48
You know, Thanks, Yeah. Yeah, you know.
59:51
And he was just super excited to talk to us and we were too,
59:54
because that's that's the cool thing when you love doing
59:57
something and you have somebody like minded that wants to talk
59:59
to you. And talk with you.
1:00:01
I don't think it's talk to you, but talk with you because we're
1:00:03
talking together. It's just it makes it so much
1:00:06
more fun, man. It makes it so much more
1:00:07
exciting. Yeah, Go ahead.
1:00:10
This. Part of it right here is
1:00:12
ultimately what I think you and I both hoped it would get to,
1:00:15
and I don't think people realize how hard that is to not over
1:00:21
manufacture it, you know? You have to.
1:00:24
Be it's the same thing as writing songs and you being in
1:00:26
the studio, Sean. It's how much do I throw the
1:00:31
sprinkles on my ice cream? How many sprinkles do I want,
1:00:34
right? Do I want more sprinkles than
1:00:35
ice cream or do I want more ice cream than sprinkles?
1:00:38
We always want more ice. Sprinkles.
1:00:39
I want sprinkles. I want sprinkles, man.
1:00:41
I want more sprinkles. I'm just impressed at how, like
1:00:48
he said, you know, all these people ended up understanding
1:00:53
our vision in however long they were on the show.
1:00:57
You know, they start off with the question, what are you guys
1:01:00
doing? And as vague as possible, one of
1:01:03
us will let him know. Usually Chris gives him the 45
1:01:07
second, here's what's going to happen.
1:01:08
And you'll see as it goes along. But the more we get compliments,
1:01:16
most of them are just that it's. Do you guys realize what kind of
1:01:20
chemistry you have? Yeah, Chris and I are hyper
1:01:23
aware of what kind of chemistry we have because we spent
1:01:26
thousands of hours together writing songs, playing on stage.
1:01:31
You don't. You don't get that by being
1:01:36
argumentative. But more importantly, you can't
1:01:40
survive that long with someone if you don't have good
1:01:42
chemistry. And that's why I like having
1:01:44
people like Sean on the show, because we're all in the same
1:01:46
mindset. We're all musicians at heart.
1:01:48
We all have that same common language, you know.
1:01:52
For sure, you have to be able to speak that musical language and
1:01:57
to do it in a format like this. Now we have to put it in a
1:02:02
version of English that people can understand because we have
1:02:05
our own language when it comes to talking music, bars,
1:02:08
measures, notes. Mode scales chords.
1:02:14
So, so talk so, so we've had this great conversation, but I
1:02:18
want to, I want to kind of shift a little bit to focus on what
1:02:20
you have going on. What's up coming for the next
1:02:22
half hour. So just talk about, let's talk
1:02:24
about that. Where's where's Sean Mark going?
1:02:26
Where's the music going? Where's the band going?
1:02:28
Where can people find you? All that kind of stuff, man.
1:02:31
Yeah, yeah. So the no pressure, no pressure.
1:02:34
Oh no, it's not. The number one thing that we
1:02:37
have coming out that I'm super excited about.
1:02:40
It is. We have a new merch store coming
1:02:43
out and this is. A full about that.
1:02:46
Yeah, this is a full on website that really goes into, you know,
1:02:51
gives like there's so many just great descriptions that the I
1:02:57
had AI have an employee make it for me and they really, really
1:03:03
went above and beyond and it's such an awesome way to put it
1:03:07
all together. It really gives you the whole
1:03:09
sense of where the band is gone and, and like what the, the, the
1:03:14
clothes really stand for and the designs on them really
1:03:19
demonstrate that they, they really make you feel like it
1:03:22
really does make a statement that is, you know, from our
1:03:27
band. Be free in your mind.
1:03:29
Like our our logo, the the line from aversion to normalcy.
1:03:36
You know, it's so, yeah, I saw it today and so I'm super, super
1:03:43
jazzed about it. We're hopefully going to have a
1:03:44
release for it coming up next week.
1:03:47
And so with that, we've got, we're going to start using
1:03:50
funnels, we're going to start using a bunch of different ads,
1:03:55
and we're going to start making posts for it.
1:03:58
There's a whole operation behind the scenes that goes on to make
1:04:04
that happen. So it's not just putting it up
1:04:06
in hope that people see it. Yeah, yeah.
1:04:08
It's going after the customers and that's when it becomes
1:04:11
really interesting. That's awesome.
1:04:13
Yeah. When it when it goes live, When
1:04:15
it goes live. Drop it on our Facebook page,
1:04:17
will you? Oh yeah, absolutely.
1:04:19
Because. Because then our listeners can
1:04:20
check it out for sure. Our listeners use whatever you
1:04:22
want to call them. That would be awesome.
1:04:24
Yeah. And that's one thing that I
1:04:25
would like. I think that's the next after we
1:04:28
did the website. I would like to look into that.
1:04:33
Chris and Bobbleheads have a Chris and Mike Bobble.
1:04:37
We. Got to have a bobblehead to add.
1:04:39
To I would love to have a bobble man me.
1:04:40
Too. Yeah, I'm super interested in
1:04:43
looking at that. And is this something that he
1:04:45
does for a living or did he just do it for you as a favor or?
1:04:49
Well, actually it's her and I. Apologize.
1:04:54
Yeah. And So what I will say is I
1:04:57
hired a company called The Doers and the, it's a virtual
1:05:02
assistant. And it's not a virtual assistant
1:05:04
is simply the, it's a real person, but you have a virtual
1:05:09
interaction with them. You're meeting with them because
1:05:12
they're in, in this case, my doer is in the Philippines and
1:05:18
she, so I'll give her, there's a whole section of everything that
1:05:24
they can do for you and you essentially have to pick and
1:05:29
then give them training and orientation into how you want
1:05:35
the, the things to go for your band.
1:05:37
And then once they get that, it's off to the races, man.
1:05:40
And for the last two or three weeks or so, she's been going
1:05:43
full bore into making the, the merch site.
1:05:47
And it's, it's such an amazing job.
1:05:50
It's unbelievable. So let me tell you guys, if
1:05:53
you're a band and you're thinking of how am I supposed to
1:05:58
start ways to make the business side of things start to work
1:06:04
better, get a virtual assistant. Oh, agreed.
1:06:08
They will start like they can create a merch store for you.
1:06:11
They can start getting you familiar with how funnels are
1:06:13
supposed to work, and then you can start setting up the way
1:06:15
that they can start working for you instead of begging people
1:06:19
who you know to give a shit. That's not the the point.
1:06:24
You want to find the people who are already looking for the kind
1:06:27
of style and the kind of stuff that you're putting out.
1:06:30
I have always been a big advocate that it's not about who
1:06:34
you know, it's about who you haven't met yet because that's
1:06:40
who you're going after. Because if you know everybody.
1:06:44
I like that you. Don't need to ask for anything,
1:06:45
you know exactly who to ask. But you've.
1:06:47
Already made it. Find your audience.
1:06:49
Yeah, exactly. But if you need to find your
1:06:51
audience, you need to find all the people you haven't known
1:06:54
yet. That's a great point because I
1:06:56
think that's something that him and the, I, I would say the
1:07:00
other agreement that him and I made that we've stuck to and is
1:07:04
that we agreed to just do this organically.
1:07:09
Like we put, you know, we put money up to buy the equipment
1:07:12
and stuff like that, but we've put very little money into
1:07:16
advertising because we wanted to prove to ourselves just like we
1:07:19
did with the band. And I think talking with you as
1:07:22
much as we have, I think it's important to you as well that
1:07:25
you know that your core fan base is just that, right?
1:07:29
These are people that are coming here week after week because
1:07:32
they like what we do. You know, they like to listen to
1:07:36
the different guests, the different stories, as Chris
1:07:38
likes to call them. The life resumes that that
1:07:42
organic growth when it really happens.
1:07:46
Like we just went through a period where we fell into some
1:07:48
kind of rabbit hole and we picked up 40 countries in 10
1:07:52
days. So somebody found us that just
1:07:55
shared us and shared us and shared us and it those kind of
1:07:59
moments are genuine when you know, you didn't spend $1000 on
1:08:03
an ad to just go out to, you know, 100,000 people.
1:08:07
Right. Yeah, and those, those are
1:08:09
always like that. That's always a really great
1:08:11
feeling and that's something to to always go after.
1:08:16
But the thing that I would say the the way that you can give
1:08:19
yourself as many options, think of it as as many fishing poles
1:08:22
in the lake as you could possibly get is utilizing
1:08:26
shorts. That's what's helped.
1:08:28
Us, we do. Yeah, as you guys do.
1:08:31
Agree with that more. Then it creates it.
1:08:33
And then in the same, you know, idea, you're putting 40 poles in
1:08:37
the lake to pull out of fish, right?
1:08:39
Then it's a hell of a lot easier to start finding the fish who,
1:08:43
you know, are going for it. And in a way, without that, that
1:08:46
analogy, I always had a problem with.
1:08:50
I felt like, you know, family members or friends of mine
1:08:53
liking my music out of obligation.
1:08:56
I had a big fucking problem with that.
1:08:57
Like after a while, like, I'm like, I don't, I don't even want
1:09:00
you as a fan. If you're like just doing it
1:09:02
because you feel like you have to listen to it.
1:09:04
No, go away. I don't, I don't, I don't want
1:09:07
that, you know, don't, don't listen to it.
1:09:09
Then. It was very weird.
1:09:11
I had to wrestle with that for a very, very long time.
1:09:14
But it wasn't until I understood about what I'd said before,
1:09:16
about it's everybody who you haven't met yet.
1:09:19
Well, here's another real example.
1:09:21
I think my mom started listening to it because she felt like she
1:09:24
should, right? Right.
1:09:25
Probably came up. Yeah.
1:09:27
And I don't think my, I think. She would admit that.
1:09:29
Super supportive, yeah. But I see it on her face now
1:09:32
when she says, hey, I listened to that episode with Beverly and
1:09:35
wow, what an interesting lady you guys are finding such a, you
1:09:38
know, now you can hear the genuine.
1:09:40
I listen to it because I want to.
1:09:42
Right. Yeah, yeah.
1:09:44
I don't listen to it. I.
1:09:47
Have to I? Do I?
1:09:48
Added it so. You're there.
1:09:50
Why do you need to listen to it? Yeah, well, it's.
1:09:52
Kind of like when it when it was like I wrote this book a couple
1:09:54
years ago. He always gets.
1:09:56
Away with all the not the behind the scenes fucking shit that
1:09:58
nobody wants to do stuff, yeah. Yeah, so, so Nikki was helping
1:10:02
me write this book because I kind of, I kind of, I kind of
1:10:05
worked her into it. So when it came out, she she
1:10:08
legit didn't read the book and people gave her shit.
1:10:09
She's like, I was there. Well, he wrote it.
1:10:13
I lived it. Like, we would go on road trips
1:10:15
and I would be sitting in the pasture side on my iPad using
1:10:18
the notes section. I would bounce ideas and shut
1:10:19
off. Or like, it's kind of like the
1:10:21
band. Like she never had to listen to
1:10:24
the songs when they came out because she lived it.
1:10:27
Yeah, she was. Rehearsing and the whole 9
1:10:31
yards. Yeah, she already knows how the
1:10:32
song goes. Yeah, yeah, yeah, yeah, right,
1:10:36
yeah. And, and a lot of times that
1:10:37
that inner side of it, the real appreciation for it doesn't show
1:10:43
up until you get to that point where you're playing it in front
1:10:46
of people and then they see the whole thing and they go, oh, now
1:10:50
I get it. And that's so much of A better
1:10:52
moment to. Have here's the other side of
1:10:54
it. They're there when you know it's
1:10:56
not good, right? Yeah.
1:10:58
So I'm not saying that this thing started off being bad, but
1:11:01
it started off where it started off, right?
1:11:03
It didn't start off your vision never is at 100.
1:11:08
Your vision is at 100, but your execution is at 20 until it's at
1:11:13
100, right, Right. You start off like clunky and
1:11:17
while that didn't work, so let's change that and this didn't
1:11:19
work, so let's change that. Yep yeah.
1:11:22
Then all of a sudden you find your niche.
1:11:24
And I think you just said it a minute ago, Sean, you find that
1:11:28
audience that finds you, you don't go find them, right.
1:11:32
I like that that's. Brilliant, Sean, By the way,
1:11:34
that's fucking. Brilliant.
1:11:35
Absolutely. It's who you haven't met yet.
1:11:38
Those people are starting to find us and they're starting to
1:11:41
find you with your music. And I can see, you know, week
1:11:45
over week because we're friends on Instagram.
1:11:48
So all our posts come out simultaneously.
1:11:51
You're getting more and more likes and more and more views.
1:11:54
And you know, you just you see that natural growth of wow, this
1:11:59
guy's on to something. You know, I like your message
1:12:02
and the delivery of whoever recorded this album is
1:12:06
outstanding. Thank you.
1:12:09
That's Nathan Yarborough. And he did Crew.
1:12:11
Hi, Nathan. It was, yeah.
1:12:12
Shout out to Nathan. Yarborough.
1:12:14
It's Nathan. Yeah, man, he is fantastic.
1:12:17
He is absolutely. You know, it was such a great
1:12:20
thing because I've struggled for so long in recording this album.
1:12:23
I was trying to record it myself and I struggled for so long to
1:12:26
try to find the right tones. I just couldn't, you know,
1:12:30
manipulate the, the Pro Tools in the way that I wanted to.
1:12:33
I just didn't have the knowledge of set.
1:12:36
This is where the compressor needs to go to make it like this
1:12:38
is where the level needs to be. This is the functionality of
1:12:41
this entire signal chain. If you don't know that, then
1:12:44
you're not going to get the result that you want.
1:12:46
And I was able to, once I added him in and said, this is what
1:12:50
I've got, He goes, I know exactly what you're looking for.
1:12:53
And it didn't take him any time at all to set up and and make
1:12:56
the make the the right tweaks and adjustments for all of the
1:12:59
little tone differences for the guitars to make.
1:13:02
He's like, I already had the ballpark, then I just put it in
1:13:04
the seat. Sometimes you just even if I'm
1:13:07
capable of getting the sounds I want, sometimes just having
1:13:11
somebody sitting there to confirm that like, yeah, that's
1:13:14
I don't know what you're worried about.
1:13:15
That sounds good. You.
1:13:16
Need that when you're sitting here by yourself and all you
1:13:20
have is the speakers, the monitors and your ears and no
1:13:24
one else. Like, well, I think it sounds
1:13:26
good, but there's no one here to confirm it.
1:13:29
Yeah, right. Yeah.
1:13:30
You start getting in your own head.
1:13:32
Well, like Sean mentioned. Earlier he when he was in the
1:13:34
studio that one time, he was getting into his own head.
1:13:35
The guy's like, shut the fuck up.
1:13:36
It sounds great. Yep.
1:13:38
Yeah, stop killing yourself. Yeah.
1:13:41
You're better than you think you are.
1:13:42
You need that person sometimes. You really do.
1:13:45
It's really important. Just a little bit of reassurance
1:13:47
can can help you. But also the the thing that that
1:13:50
helped me the most was the thing that Nathan helped show me in
1:13:54
mixing was how because I already had the the structure for a mix
1:13:59
to be made, but I didn't know what was too loud.
1:14:04
When the the different instruments are too loud, they
1:14:06
actually overtake the other instruments in a mix.
1:14:10
So if you don't under, if you can't hear what's being masked
1:14:15
and what frequencies and what level it goes to, you'll be
1:14:18
sitting there trying to move these things.
1:14:19
Like why is this EQ not doing anything?
1:14:22
I'm moving it all the way up and all the way down.
1:14:24
It's not doing it because it's too close to the speaker.
1:14:27
It's too loud in the speakers, but it doesn't seem like it's
1:14:31
too loud because it's not blasting your ears, but the
1:14:33
instrument itself. A huge difference.
1:14:38
That understanding that made a huge difference in my ability to
1:14:41
mix and and hear music at at large.
1:14:45
And that was like a, a, just a light bulb going off of my head
1:14:49
that made me know and be able to measure what is, you know, what
1:14:55
is too loud and how to bring a mix back into complete
1:15:00
coherence. And now actually to do that, you
1:15:03
know what actually taught me that was going to see ACDC in
1:15:06
concert when I was about. 22 or 23 years old Oh yeah, Malcolm
1:15:11
started playing guitar and his. Tone.
1:15:14
Was so clean. It was loud, but there was no
1:15:18
distortion on it. ACDC's guitar sound is a blend
1:15:23
of those two guys together separately.
1:15:25
Their sounds are actually kind of thin.
1:15:30
It take like you just said, it takes being a compromising
1:15:34
artist to make a band or a mix work in the studio or live.
1:15:40
You can't put so much bass in your guitar tone that you drown
1:15:44
out the bass player. He's going to be like shrugging
1:15:47
his shoulders going, why am I even here if you're going to
1:15:49
have all that bass in your guitar sound?
1:15:51
You know, those are lessons that I learned by seeing them in
1:15:54
concert. That is probably when Paul
1:15:57
Marshall, the legendary DJ, was on here.
1:15:59
He said ACDC might be the perfect band and I agree with
1:16:03
him. And it's simply going to see
1:16:06
them live and seeing how they. Work together.
1:16:08
And making that massive sound by everybody listening to everybody
1:16:13
else. Yeah.
1:16:14
Because when Angus kicked in all the.
1:16:17
Sudden, there was that big. Massive guitar sound that you
1:16:20
know, and love of ACDC, like, oh, it's a blend of those two
1:16:24
guys together. My point of telling that story
1:16:27
is when I went in the studio, I was very conscious of when I put
1:16:31
my rhythm guitar down to tuck it down in the background a little
1:16:34
bit. Or, you know, that way when the
1:16:36
lead came in to your point, you don't have to keep pushing the
1:16:40
volume up on everything. It's more important about what
1:16:42
you're bringing down. Yeah, yeah, we've.
1:16:47
So he's been. Very elusive, but we've been
1:16:49
trying to get. My friend Tony Palmer on here
1:16:52
for a long time. Tony motherfucking Palmer and he
1:16:55
won't come. On I've I've even offered to do
1:16:58
it. On a day like.
1:16:59
That we normally don't do it, just him and I or just him and
1:17:02
Chris, or he's like, Chris has got to be there #1 because I
1:17:05
want to give him a hard time. He feels like it's it's his
1:17:09
mission in life to banter with Chris.
1:17:12
So. But he's been the ones that
1:17:15
taught me the most about taking things away, you know?
1:17:20
He said. You're thinking.
1:17:20
About it wrong, it's. More about what are we going to
1:17:24
bring down because you only have so much headroom, you know?
1:17:27
Yeah, I just did it. Every now and then you hit the
1:17:30
top of your headroom and you see those dreaded red lights and
1:17:34
that's it. Digital distortion is silence.
1:17:37
So once you do that, you're ruining your track.
1:17:39
Back in the day, you could push it into the red tape would allow
1:17:43
you saturation to a certain point, right?
1:17:46
And you could hear it in the headphones.
1:17:48
Now you have to be super careful about how much volume you're
1:17:51
pushing out. And I like to take credit for
1:17:54
part of our six. However much a small part of our
1:17:58
success is our audio quality is always consistent because I do
1:18:03
it the same way every time. That's why he.
1:18:06
Watches every. Show Sean.
1:18:07
Yeah, I have to. Yeah, that's what.
1:18:12
Yeah. You're.
1:18:13
Interested. In the measurement of what's?
1:18:16
Working and how to? Make it so no, I I I see you.
1:18:19
I feel you. Yep, I do the same thing.
1:18:21
You know what would be you would be cool.
1:18:23
And you can. Say no because.
1:18:24
I'm putting on a spot. What would be what would be cool
1:18:27
is if you you one of your, one of your cool songs you write
1:18:31
like come on and do some harmonizing background vocal
1:18:34
shit. With you, we have Mike come.
1:18:35
On and do some little rhythm guitar you know licks and shit
1:18:38
with you and just just make it look cool little thing that we
1:18:41
organically created from the conversations and friendships
1:18:44
developed on the Chris and Mike show we could absolutely just
1:18:48
saying yeah just saying and you come up with a.
1:18:50
No. You come up with a framework of
1:18:53
a rhythm that you guys can sing. To and send me the raw file.
1:18:57
I'll play a lead over it and it'll be all right.
1:19:00
Chris and Mike and Sean. I love fun.
1:19:02
Idea I think I'm down because I. Yeah, I've, I've hit it.
1:19:05
I've hit it. We've hit it with a couple
1:19:07
other. Musicians to come on, but for
1:19:10
some reason, man, it's just I'm like we're all like old souls
1:19:12
and just I mean, we could really have this conversation another
1:19:14
five hours because it's just yeah, you know, I, I think more
1:19:19
and more. The whole.
1:19:20
Reason this started to Sean just, you know, as I kept
1:19:22
fucking poking at Mike, I'd write a song and send it to him.
1:19:26
I'd be like, hey motherfucker, write me a riff.
1:19:30
So a couple weeks ago by send. Him a song.
1:19:32
Hey motherfucker, write me a riff.
1:19:36
I mean, he had this. He had this weird thing.
1:19:38
Trigger finger going on. So then that got fixed and so he
1:19:41
was, he couldn't play guitar. So when you can't do the thing
1:19:44
you love, you have a little piece of depression, right?
1:19:47
You just do. When I couldn't work out because
1:19:50
right, when I couldn't work out because I had the stress
1:19:52
reaction in my foot, it, it changes your dynamic, right?
1:19:54
My working out took over the addiction side of me, right?
1:19:58
But it's just so much of our foundation.
1:20:00
Mike and I is music because that's where we met.
1:20:02
That's how we've evolved our friendship.
1:20:04
And that's why 30 years later, we're still, this isn't fake.
1:20:08
It's this is how we were 30 years ago.
1:20:10
And I'll tell you another thing that I appreciate about him and
1:20:13
I, I hope you have. A friend like this in your life
1:20:16
when I was going through that bad period, I can tell him that
1:20:19
I'm not OK, right? And he doesn't freak out because
1:20:22
he knows I'm not, you know, I'm stable enough that it's not
1:20:26
something I want to sit down and tell my mother when I'm going
1:20:29
through my worst time because that's going to cause her stress
1:20:31
in her life. I guess my point is, he's one of
1:20:34
my friends that I can say, hey, man, I had a shit week or, you
1:20:37
know, I've had a shit month or I don't know what's going on right
1:20:39
now. I'll snap out of it.
1:20:41
But sometimes you just need to talk that through with somebody
1:20:44
and know they're not going to go, oh, fuck, Mike's not good,
1:20:47
right? Better call everybody I know
1:20:49
that knows Mike and get them all concerned and right.
1:20:52
But see, that's but but see that's, that's, that's how this
1:20:55
kind of happened. Sean because I kept poking the
1:20:57
bear. He does.
1:20:58
And then all of a sudden he's his finger got better.
1:21:00
So he started right playing the guitar again and he's like,
1:21:02
wait, did you want to apologize? I'm like, OK, that.
1:21:06
But it, it, it's that dynamic. So we've had so many musicians
1:21:10
on, man, so many musicians on and I love them all like Dave
1:21:14
Noodle, aside from you, you and Dave Noodle to me are like right
1:21:17
here because Dave Noodle doesn't realize what he has, but I think
1:21:20
he's more I think he's beginning to realize what he has.
1:21:23
If you've never checked him out, Google Dave Noodle, the Lord and
1:21:25
the devil. Holy shit, man.
1:21:27
Like I kid you not, that's country southern rock.
1:21:30
Oh, oh, dude, if if I was a country singer, he is to country
1:21:35
southern rock. What you're.
1:21:37
Doing to your. Genre of music, whatever you
1:21:39
want to call it, so in in UDO. Just when we're when you're
1:21:44
fucking around, Google Dave Noodle Lord of the devil.
1:21:46
Now he rerecorded it because we kept poking the bear with that
1:21:49
shit. Because like, dude, you new
1:21:50
release a song, you release a song.
1:21:52
But he had some issues with past.
1:21:53
I give Chris full credit for that.
1:21:54
He's the one that he's like, come on, dude.
1:21:57
Come on, come back. And he's come back.
1:21:59
He's come back on the show. Mike, I don't know if he told
1:22:00
you that. So he.
1:22:02
So he went rerecorded with a new management company so they can
1:22:04
release it. But it's that good of a song.
1:22:06
Kind of like some of your stuff is that good of music.
1:22:08
It needs to get out there. He had basically lost the rights
1:22:11
to the song and he was just going to let it go.
1:22:13
And Chris is like. Can't let that song go.
1:22:15
It's too. Yeah, I just listened to it on
1:22:17
the way to get food last night. If I'm looking for something
1:22:19
that I want, I know I'm going to like and crank up in my car, I
1:22:23
go to that thing. He must get 100 plays a week
1:22:26
just from me. Yeah, it's that good of a song.
1:22:28
But your stuff's that good too, and that's what I'm saying.
1:22:31
You guys have that same kind of you're you're right here.
1:22:34
Like I would love to do something with Dave.
1:22:35
I would love to do something with you.
1:22:36
Not not just as as a fan of you and you're human in your life
1:22:41
resume. Just the fact that I like what
1:22:42
you're doing. Yes, I like the music you're
1:22:44
creating. I like the direction you're
1:22:45
going. I love your life story, man.
1:22:47
I love where you came from. Like the reals, the reason that.
1:22:51
I was excited you were coming back on was.
1:22:54
I'm super glad you started dropping those things right
1:22:57
before you came on because now I see how you operate.
1:23:00
I see your excitement. I see that it's important to you
1:23:03
to get a positive message out there.
1:23:05
That's another thing that was important to Chris and I do in
1:23:08
the show, was to let people know there was life on the other side
1:23:11
of addiction, That it can be fun, that you can still be cool.
1:23:15
That life is actually better and more exciting because you don't
1:23:19
know what's going to happen every day.
1:23:21
I love that part of your music, man, that it's heavy because I'm
1:23:25
a sucker for heavy music, but I'm also a sucker for a positive
1:23:29
message in that right chaotic environment.
1:23:32
You know, everybody always looked at I I gravitated towards
1:23:36
heavy metal because it scared people.
1:23:37
And that made me laugh. You know, it's like you're
1:23:40
afraid of music. Yeah, that's, that's silly, you
1:23:43
know? So now I'm going to create more
1:23:45
of. It so that you're more.
1:23:46
Terrified and see, I gravitate towards you, Sean, because what
1:23:49
you've what you've done in your life.
1:23:50
Because my, you know, we talked about it before.
1:23:52
I think my son's a Marine, so the the element of that and
1:23:55
where you've gone from that journey and the struggles you
1:23:57
had post that, that that to me just is your real.
1:24:01
Yeah. It's important that we have not
1:24:03
hit on that on this podcast. Is also a veteran which is super
1:24:08
important. Thank you for your service.
1:24:09
And he did. And he did.
1:24:10
Struggle, and he was. Transparent about that in his
1:24:12
first episode, so if you want to find.
1:24:13
Out what we talked about the first time it was a Tuesday spot
1:24:16
yeah go find go go on our thing go on our I think on our website
1:24:20
boys and girls you can actually go and search episodes yes so
1:24:24
you could type in Sean Martin and you'll find his first
1:24:26
episode and you'll you'll watch that one listen to it for 60
1:24:29
minutes understand why we want to come back because it's
1:24:33
motherfucker Sean Martin how many people can you.
1:24:36
Put the motherfucker in front of.
1:24:37
Like it's motherfucker noodles, motherfucker Sean Martin,
1:24:39
motherfucker Mickey, Mickey Castillo or Mikey Castillo.
1:24:42
You know, we have Mikey Castillo day, then we should have a Sean
1:24:44
Martin day. Fuck yeah we should.
1:24:47
You know. When is your album officially
1:24:49
dropping a full album? So aversions of normalcy has has
1:24:54
been out. But right, The new version of
1:24:57
Unspoken, the new version of Instagram.
1:24:58
Help. So I've been.
1:25:00
And I'm glad you brought this up.
1:25:01
I've been thinking about doing another RE release and I haven't
1:25:06
made a date for it yet because I want to give those singles, I
1:25:09
want to be doing some a different process in in
1:25:12
unfurling those singles. So I want to get that process
1:25:15
down so that when I step up to re releasing the album, it's
1:25:19
going to be a a real big thing. OK, that's Sean Martin day.
1:25:23
So let us know when that day is, and we'll make when that day
1:25:25
happens. That will be now Sean Martin
1:25:27
Day. Yeah, we'll make a specific.
1:25:28
Thumbnail for you Sean Martin Day we're.
1:25:31
Going to have to have a date now.
1:25:34
We do. Yeah, we'll talk about it when
1:25:35
Dave comes. Back because really, I'm going.
1:25:37
To tell Dave to look you up because I want him to look you
1:25:39
up too. And kind of see the dynamic
1:25:41
because it is like Mike said, you guys are the Ying and Yang
1:25:43
of the rock'n'roll southern draw type thing.
1:25:46
And in the country heavy, which which I love because that's my
1:25:49
wheelhouse of my voice and how I sing.
1:25:52
When we were, when we had the sound of these years, like dude,
1:25:54
you just got a Southern rock voice.
1:25:55
I'm like, I know, I don't know how I'm, I'm fucking live in
1:25:57
Arizona, man. But that's how it came out.
1:26:02
This is. Southwest.
1:26:03
But it's this, right, you know? Right.
1:26:04
But that's how it came out when I sang.
1:26:06
That's the first thing, Mike. Was like we met.
1:26:08
You go Southern rock style. I'm like, OK.
1:26:11
And it totally fit with the way that I played guitar because I
1:26:14
grew up listening. To Lynyrd Skynyrd and Molly
1:26:16
Hatchet and The Allman Brothers. And yeah, I just wanted a
1:26:20
heavier sound than that, right? I like that swing.
1:26:23
I like that style. Black Crows is one of my
1:26:26
favorite bands. I just wanted a little bit of an
1:26:29
edge to that kind of music. So when Metal Blade came to us,
1:26:34
the first thing that the ANR Rep said is I just can't put my
1:26:38
finger on your sound. And I didn't tell him.
1:26:40
I was just like, it's heavy metal.
1:26:42
Southern rock, man. That's really what you're
1:26:44
listening to, A speed up version of Southern rock.
1:26:47
Yeah, Yeah. Wasn't anything real complicated
1:26:51
about it. But one thing that Chris just
1:26:53
said that I don't want. To get too far away from is the
1:26:55
community that we're creating here is another thing that I had
1:26:59
hoped for that is near and dear to my heart that I think is so
1:27:03
cool. Like introducing all you guys to
1:27:05
each other too, you know? Yeah, it's so important, but it
1:27:10
is just now starting to. Realize just how.
1:27:13
Important and how impactful that really is.
1:27:15
Yeah. And that's the, that's the
1:27:17
greatest thing about technology is the, the, the people.
1:27:20
You can meet doing this kind of thing.
1:27:22
We would have never known you unless we happen to find you on
1:27:25
Facebook, you know? Yeah.
1:27:28
And that wouldn't have been very high chance at all, right,
1:27:30
Right. And that's.
1:27:31
That's how. That's how I found.
1:27:32
A lot of our guests from the from the beginning.
1:27:34
Was I just? Started trolling on Facebook
1:27:36
looking for interesting people. Yeah, especially in the in the
1:27:39
in the recovery world, because that's our foundation of the
1:27:41
show to begin with was all about recovery.
1:27:43
Yeah. And then it's just blew up from
1:27:45
there because of the zombie, the the unintended zombie commercial
1:27:49
that is kind of when we had to stop looking for guests.
1:27:52
Yeah, Yeah. Yeah, with this stupid.
1:27:55
We had this stupid segment, dude.
1:27:56
Mike and I were. Talking, we had a guest that
1:27:57
build. Oh, there's my blood person.
1:27:59
I have to skip out. I'll be right back.
1:28:01
OK, I'll tell you the story. So the.
1:28:06
The. Guest didn't show up that day
1:28:07
and we were ending. The podcast.
1:28:09
And we were just. Kind of winding down.
1:28:11
And somehow he said something like, you know, if you want to
1:28:15
be a guest on the show, just reach out.
1:28:17
As long as you're breathing, you know, it doesn't matter if
1:28:19
you're a zombie. And I was like, well, it'd be
1:28:21
kind of tough to have a zombie for a whole podcast.
1:28:23
You know, we might be able to do a short with them.
1:28:25
But, you know, and he agreed. And then we were just kind of
1:28:29
being funny from there. Well, that thing went.
1:28:31
Viral and all of a sudden people just started reaching out to us.
1:28:36
And not that he doesn't go out and pick out guests because
1:28:39
they're still people that we actually want on the show that
1:28:42
are, you know, at the next level now.
1:28:45
So I guess that's kind of our fun time is now we get to kind
1:28:49
of pick who we want. We'd really liked.
1:28:52
We had a guy that built a guitar for Peter Klatt from Candlebox,
1:28:55
and that's where Chris and I met, was at a Candlebox show.
1:28:58
So like one of our dream guests is to have Peter on with the guy
1:29:02
that built the guitar for him. And, you know, after the Candle
1:29:05
Box tour ends, we'd like to try to make that happen.
1:29:08
That's kind of where we're at is getting to that next level, you
1:29:11
know? Yeah.
1:29:12
But my other hope and. It goes right along.
1:29:16
With what you want is that one of you guys like Dave yourself,
1:29:20
hopefully all of you when you blow up you've been here done
1:29:26
that you know we're going to ride that wave together that's
1:29:29
all. Another vision that I had is,
1:29:31
you know help keep promoting the guest because the chances over
1:29:37
time of 1 of you guys just taken off is pretty good.
1:29:41
Yeah. You know you're not going to
1:29:44
give up on your dream. We're not going to give up on.
1:29:46
This dream. One of us, if we get to that
1:29:51
next level. We're taking the rest.
1:29:53
Of you with us, you know, and vice versa.
1:29:55
Yeah. Yeah, absolutely.
1:29:57
Because our vision's not going to change.
1:29:59
We're not. Going to all the.
1:30:00
Sudden become wow, now we got a million.
1:30:02
Subscribers and you're not welcome here anymore.
1:30:05
It's just the opposite. The people who were there in the
1:30:08
beginning are more welcome than the people who you would think
1:30:11
would be welcome before a No name or you know, that's how
1:30:16
I've always been. The people that are loyal to me
1:30:18
at an artist level, I'm hyper loyal to them.
1:30:22
Yeah. Because we just keep building
1:30:25
that mountain together, you know?
1:30:26
Eventually, all of us are going to reach the.
1:30:28
Top If we're cool to each other, yeah, yeah.
1:30:31
Music isn't supposed to be a competition.
1:30:33
Art isn't supposed. To be a competition, it's
1:30:35
supposed to. Be a collective, just like
1:30:38
Chris. I love his idea.
1:30:39
You know, now that we've gotten to know you, it's like, let's
1:30:42
write a song together. Let's do something that's
1:30:45
creative together to, you know, do something other than the
1:30:49
podcast. Yeah, yeah, absolutely.
1:30:52
You can make something really interesting and really fun.
1:30:54
And have a great time. Doing it and you know, it can
1:30:57
end up making more content and then it reaches more people.
1:31:01
And it's, it's such a, a repeating, recurring process
1:31:06
that feeds itself. Once you start, once you find
1:31:09
that thing that that you can, that you can do and that you
1:31:12
really love and want it give, you know, give yourself into you
1:31:17
can really make something, something with that.
1:31:19
So I would encourage the people who are are listening and I'm
1:31:22
waiting to try and start that thing, man, start that thing.
1:31:27
Don't wait for it. Start making small.
1:31:31
Steps. You don't need to go 100% into
1:31:33
it. Start making some small steps
1:31:35
and something that's tangible and when you do that, not only
1:31:38
will you feel better, but you'll start to make progress towards
1:31:43
the goal in the life that you want to create.
1:31:46
And people are bowled over when one of the most brilliant
1:31:50
things. I ever heard past what you just
1:31:53
said is a guy. I asked a guy one time, you
1:31:56
know, when is a good time to start XY or Z, and he said,
1:32:00
well, ten years ago, but today is your second best option.
1:32:05
Yeah, right. Hell yeah.
1:32:07
Yeah, you should have done it 15 years ago.
1:32:10
But there's no. Time like today.
1:32:13
So if you ask me what the best option is and I never forgot
1:32:16
that. He's like being.
1:32:17
Honest with you, Mike, 10 years ago, but today is the next best
1:32:20
option. So.
1:32:22
And that's exactly what you just said.
1:32:24
People say, how did you start the podcast?
1:32:26
We just started. Yeah.
1:32:28
And you know Chris, Chris has been on.
1:32:31
Syndicated radio. It's like.
1:32:33
I knew I was OK with him. I had to grow and come out of my
1:32:37
shell and learn. I don't think about the fact
1:32:40
there's 81 countries listening to us right now.
1:32:42
I, I can't, it's not my, my composition as a human being is
1:32:47
not made-up to process that. You know, his best advice to me
1:32:53
was it's just me and you talking man.
1:32:55
It's. Your brother sitting.
1:32:56
Across from you and now I knew you were coming on.
1:32:59
So now it's another musician. I'm comfortable talking to
1:33:02
musicians, you know so I I just don't think about the fact that
1:33:06
we're growing in the audience is growing and I think that's
1:33:09
another thing that's the warts were genuine to you know people
1:33:13
realize if you go back to the first 50 episodes, at least from
1:33:16
my perspective, it took a while for me to be able to be myself
1:33:21
and open up. I've never been that vulnerable
1:33:24
with people I don't know is my point right.
1:33:27
Yeah, I've always been that vulnerable with my family and
1:33:31
Chris. And people.
1:33:33
That I trusted I can have these deep, long conversations.
1:33:37
But the one thing that I never saw coming is I thought I was
1:33:41
ready to have those conversations.
1:33:43
And it was harder than I anticipated to be that
1:33:45
vulnerable publicly. Yeah, look at that blood draw
1:33:50
while you were still on. The show of talking, that's so
1:33:52
nice. Dude, well because I did.
1:33:54
I go. I get tired of having to go to
1:33:55
the frickin. Like the labs and then you?
1:33:57
Got to sit there for an hour, even if you have an appointment.
1:34:00
So I'm like, how much does it cost to send?
1:34:02
OK, I'll pay that. Boom.
1:34:04
In and out. 10 minutes. Less than 10 minutes.
1:34:08
Actually, it's way less than 10 minutes.
1:34:10
Yeah. Right here on the podcast.
1:34:11
Yeah. It's just, it makes it so.
1:34:12
Much easier, man. So much easier.
1:34:15
And he got to listen to the podcast live while he was
1:34:18
getting his blood drawn. Yeah, exactly.
1:34:21
I was going to have her come on her, but I was like that.
1:34:23
That's probably a little. Weird.
1:34:27
Well, I will say for streaming. I mean, yeah, I would have got
1:34:31
something right. Who would have known, right?
1:34:34
Vampires would have loved it. Oh, the vampire.
1:34:36
Oh, we could have hashtag vampire.
1:34:38
Oh shit, we were looking at the vampire demographic.
1:34:41
Man, you we would have looked. Oh, that would have been
1:34:44
amazing. Dude, what was I thinking?
1:34:46
Damn it. Yeah.
1:34:49
Only a doctor, right? Yeah.
1:34:56
Yeah. But I heard the I heard all the
1:34:58
things that you were. Talking about because I left.
1:34:59
My pods in so you know, good. Job.
1:35:01
Oh, great, great. Yeah, yeah.
1:35:05
So what else want to? Talk about I'm back now.
1:35:07
Oh, so I still so. Yeah, the so we'll still have a
1:35:14
we've got these. OK, so I did the next thing that
1:35:16
I've got coming out is I did these videos with Stage Dive and
1:35:21
if it's OK, what's what's? Yeah, thank you.
1:35:23
So Stage Dive is a company that's based.
1:35:25
Out of Cleveland. And Ohio.
1:35:29
And I figured, yeah, is there one that won Cleveland?
1:35:33
There is actually really there's.
1:35:35
There's. Yes.
1:35:35
There's multiple Cleveland. No shit.
1:35:37
There are? Wow, I had no idea.
1:35:40
Yeah, there's one in Tennessee. Actually.
1:35:41
Yeah. But.
1:35:43
There's the the real Cleveland. Which is in Ohio and they're
1:35:46
they're a really they do audio and video recordings of bands.
1:35:53
So their Forte is to get your band in a some particular, you
1:35:59
know, venue, what whatever, you know, stage that is, light it up
1:36:04
all nice and then actually record you in the room and make
1:36:08
a high def 4K video. That's that's amazing.
1:36:12
And yeah, it is it's super awesome.
1:36:15
And so for. Me at the time.
1:36:17
It was a logistical nightmare to try and get the guys who
1:36:21
recorded on the record to play it all again, you know, a live
1:36:26
thing and do it all live together like it.
1:36:28
It would have, it would have been a logistical nightmare.
1:36:30
But what what would be really stupid simple for me to do and
1:36:33
be awesome is if I could go there and play the songs
1:36:36
acoustically and sing them. Oh, yeah.
1:36:38
So I've got these new videos that we're going to come out
1:36:41
with. They're sitting in my inbox.
1:36:42
Right. Now I've just got to check them
1:36:44
and and then I'm going to set them up.
1:36:46
But I've I've already got the preview of them and they're
1:36:49
really, really dope and it's really intimate, you know, real
1:36:54
stripped down version of all the songs from a version to normalcy
1:36:59
in short. So only about like a minute or a
1:37:01
minute and 1/2 or so long. Right on.
1:37:04
And they're gonna they're, they're, I'm gonna have fun
1:37:06
spreading those around Those, those.
1:37:08
Are gonna be coming. Up soon?
1:37:11
Hell yeah, brother. That's really.
1:37:13
Cool, man. Yeah.
1:37:14
Thanks. Yeah.
1:37:15
So if you guys. Are if you guys?
1:37:17
Are out there look they're. Mobile.
1:37:20
Stage dive, they'll come to you. So for example, they're based
1:37:23
out of. Cleveland I.
1:37:24
Met them down in Columbia, TN just South of Nashville to go
1:37:28
and record the stuff at the Mule House.
1:37:31
And if you don't know the Mule House that is a dope as venue
1:37:34
that is that is South of Nashville and it it's up.
1:37:38
I mean, the room was so dead. It was unbelievable.
1:37:41
Like it was like you go and clap your hands in, in this big, you
1:37:44
know, it's a solid 1000 people, I think seats in this in this
1:37:48
theater, 2 tiers, right? There's a four tier and there's
1:37:50
a balcony tier and it's super dead.
1:37:53
Like it, it's unbelievable. You it's as good as a as a
1:37:57
recording studio. That's and it's a venue.
1:38:00
That's the way the big room and the electric ballroom was.
1:38:03
Yeah, yeah. It was a huge room, but it was
1:38:07
there was so much wood. In there and.
1:38:09
It was just broken up so nicely that there was a little bit of
1:38:15
slap back against the back wall. But for the most part, bands
1:38:19
love playing there for the same reason you just described the
1:38:21
big room with the electric ballroom.
1:38:23
Yeah, yeah, yeah. Which is our origin.
1:38:27
Story, Mike Yeah. Which was if you tell the story,
1:38:30
it. Was.
1:38:33
That was fun dude. That was so funny.
1:38:35
You know he might might. Told to give Dave the story
1:38:38
justice. That was a blast, man.
1:38:40
Yeah, yeah, just. And I'm one of those weird
1:38:45
people that I, I well. I spend a lot of time by myself,
1:38:48
so I got a lot of time to think. There's times where that thought
1:38:51
will enter my mind. It's like, had I not chosen to
1:38:54
go to that show that night, the version of Nemesis right became
1:38:59
would have never happened, right?
1:39:00
Because he went alone. Yeah, I was by myself.
1:39:03
He was with Nikki, said I. Think you were newly dating at?
1:39:06
The time, weren't you? Yep.
1:39:07
Yep. Yeah, so I was like, fuck it,
1:39:10
I've always. Wanted to see Candlebox.
1:39:12
I was in love with that first album.
1:39:14
And I'm going to get to see him at a venue that, like you just
1:39:17
described, Shawn, it held probably anywhere from 1000 to
1:39:21
1500 people on the main side. What better place are you going
1:39:25
to get to see him? I was like 18 feet away from the
1:39:28
front of the stage. Yeah, because Chris and I were
1:39:31
standing back behind the sound board so we could see.
1:39:33
The whole stage and you could hear the.
1:39:34
Sound really good. I don't like to be upfront
1:39:36
because the sound isn't as good. Yeah, yeah, here's this Jackass
1:39:41
singing with the guy. And all of a sudden I'm like.
1:39:44
Look looking like this, which back then nobody looked like
1:39:48
this Sean like. Nobody.
1:39:49
Like I did this shit and it wasn't.
1:39:51
It wasn't. Was that bald when I met you?
1:39:53
You were not you, OK? You had like you had short,
1:39:56
short hair. OK.
1:39:57
Yeah. 'Cause that was when I was in, I
1:39:58
got into real. Estate so I had some short hair
1:40:00
because people I looked way too young.
1:40:02
So that's that's one of the best stories ever.
1:40:04
You showed up for band practice, right?
1:40:06
That's right. That's right.
1:40:07
I forgot that OK. But yeah, yeah, and.
1:40:10
In true Chris fashion, he just showed up and didn't say
1:40:12
anything. Sean.
1:40:14
It's like it was time for practice and I just walked in
1:40:16
the door like this. He grabs his microphone, throws
1:40:19
his hat. Down and like let's go and
1:40:21
we're. Like time out fucker.
1:40:23
Yeah, wait a second, wait a second.
1:40:27
Take that a little. Further, whenever that happened,
1:40:29
that was socially. Unacceptable.
1:40:31
I was in. I was in a play.
1:40:33
I. Was in a play I was playing that
1:40:34
I was I was a character actor in.
1:40:35
This play, so his name was Morrison.
1:40:37
So I, I, I turned him into this bald Butler, that kind of kind
1:40:41
of Penguin ish walked on stage, you know, and had this really
1:40:47
annoying voice. I won't do it because it'd be
1:40:49
annoying on a microphone. But the bald, the dress
1:40:52
rehearsal when we when they took the ball cap off me, it ripped.
1:40:56
Well, back then, the only place to get ball caps was New York.
1:41:00
And opening night was. The following night.
1:41:02
So they're like, we have a problem, Chris the ball crap,
1:41:05
RIP. We can't get that on for at
1:41:06
least two weeks. What you want to do?
1:41:09
Fuck it, I'll shave my head. And they're all like what I'm
1:41:12
like. This is my.
1:41:13
Character man I you let me create him.
1:41:15
This director's name was Santa. I was like, let me make this
1:41:17
guy. Sandy.
1:41:17
So I'll just shave my head. Are you sure?
1:41:19
Like that'll grow back. Yeah.
1:41:21
Perfect head for it. Yeah.
1:41:24
You've never grown your hair back.
1:41:26
Since have you? No, I did it.
1:41:28
Well, when I did, I was doing a show called Good News Arizona
1:41:31
when COVID hit because I was tired all the negative shit.
1:41:33
So I just on the whim, we did that for a. 106.
1:41:36
Episodes It's kind of like this, but a little more structured and
1:41:40
shit. So during that, I think the
1:41:42
second or third week into that show, I told Dean my my Co host
1:41:46
of the time. I was like, I'm going to grow my
1:41:48
hair back until they release some, some some stupid shit was
1:41:51
going on. You know, the opening and
1:41:52
closing of the world. So I'm gonna grow my hair back
1:41:54
till they open the world again. And I got about 6 week.
1:41:57
I'm like, fuck this man. And I shaved it.
1:41:59
I just, I didn't like it. I just, I couldn't deal because
1:42:03
I've, it's been so long, you know, it's just, I've never, I
1:42:06
haven't had hair for so long. Every now and then I give Nicky
1:42:08
shit. Do you ever wish that you could
1:42:09
reach down to fill a full head of hair, You know, down there,
1:42:13
you know, down there. And she's like, no, because I
1:42:17
have wigs. You have wigs.
1:42:21
He does. Oh, that would be a whole
1:42:23
podcast. Yeah.
1:42:25
What? That was a.
1:42:25
Mask. Yeah, I had a mask.
1:42:26
I had so during COVID. Man, I had.
1:42:28
Everybody had to wear masks. Right.
1:42:29
I actually have them. Yeah, I swear you wore a wig on
1:42:33
the show too for Halloween. Probably.
1:42:36
Probably so. During COVID you had to wear
1:42:38
masks. I was tired of those stupid
1:42:39
masks. So I went and found masks.
1:42:42
Of course you did. This this is a.
1:42:47
Roadie. This is the roadie.
1:42:49
It's from a company. It's from a company called
1:42:51
Zagoni Industries. They're they're badass.
1:42:55
Dude, the the, the mouths move with you.
1:42:59
This is a cool one. It's a hat, and the mouth moves
1:43:03
when you talk. That's like a messed up Mario or
1:43:11
something like Oh yeah, Oh yeah. So legit.
1:43:16
You can hear. The you can see the mouth moving
1:43:17
right? You're gonna put the.
1:43:19
Hat on and you. You know, I actually walked
1:43:21
through the airport wearing a mask like this.
1:43:22
Nobody said a fucking thing. I wouldn't have said anything to
1:43:28
you. That's hilarious.
1:43:31
The TSA wasn't like, dude, what the hell are you doing?
1:43:34
Because I could. Just see throughout of the.
1:43:35
X-ray. So they're like, I had whatever,
1:43:37
sunglasses on everything. Sunglasses and a hat.
1:43:40
Nobody said a thing. Oh my God.
1:43:42
Fucking crazy that's. That's hilarious.
1:43:47
See. So you put the hat on?
1:43:49
Yeah. What's up, Sean?
1:43:51
What's up man? Just flying to Dallas.
1:43:56
I don't. Know where Dave is, Mike?
1:43:57
I have. 1. Called Dave, but I.
1:43:58
Don't know where he is right now.
1:44:00
You better. Find it because he's got to make
1:44:01
an appearance again, Dave. Dave's from Ireland, so when
1:44:05
Dave comes on the show, it's talking.
1:44:07
Like this? The entire team.
1:44:09
He gets this Irish accent. There he go.
1:44:11
There he goes from the other land, holding.
1:44:13
Up Potatoes and the Pete. What about piss on Sean?
1:44:20
Let's go get our piss on, shall we?
1:44:21
Get totally pissed. Yeah, that's totally pissed.
1:44:23
Totally pissed if anybody wants. To hear Dave, he's in the 1st
1:44:27
50. Episodes find.
1:44:28
Dave from Ireland. I'm pretty sure that's the name
1:44:30
of the episode Steve from. Ireland, Yeah, you know, again.
1:44:39
If you can't have fun. What the fuck are you doing in
1:44:41
life, man? Well, we were talking about ways
1:44:43
that he helped me come out of my shell, that was.
1:44:46
One of them, he would do silly shit like that dude, you know,
1:44:49
just to make sure that I wasn't sitting here like a bump on a
1:44:51
walk. Yeah, yeah, yeah.
1:44:55
Fuck. You're fun to talk to you soon.
1:44:58
Hell yeah man, you. Guys too dude, I.
1:44:59
Love this, this is great. All right, what else we want to
1:45:03
talk about? Well, I definitely want.
1:45:06
Him to seriously consider that idea.
1:45:09
Of. Sending you a tune to
1:45:11
collaborate with for sure. I will, you know, be a blast,
1:45:14
man. I'll, I'll tell you what right
1:45:16
now. I'm working on AII recently got
1:45:19
it my. 1st order for a for a custom song and I'm refining
1:45:25
that that process. So once I get done with that,
1:45:28
then I'll, I'll immediately lay down some acoustic guitar stuff
1:45:32
because that's super easy for me to do.
1:45:34
And then I assume you'll, Mike, you'll have some distorted
1:45:38
guitars to put on top of it, right?
1:45:40
Absolutely. Off and rack Studio 1.
1:45:44
Right here. There you go.
1:45:46
Yeah. Yeah.
1:45:47
All I need. Yeah.
1:45:48
We we can make something. I mean, hey, if you guys.
1:45:51
If you guys wanted to, we could. You know we could do.
1:45:53
A cover or we can do something original.
1:45:55
Which would you rather do? Original.
1:45:58
Original. OK, Yeah, right.
1:46:00
More of the original. More of the original guys.
1:46:03
Covers are cool if I like. I like covers when they change
1:46:06
them up. Like I I like how how disturbed
1:46:09
did sound of silence right? I like that.
1:46:11
I liked how Hailstorm did. Did they?
1:46:14
What they do they do they did in the air tonight.
1:46:18
Didn't she do any air tonight? I think you're right.
1:46:22
I think she can't swear to it. Yeah, I, I.
1:46:24
I dug how she I. Liked how I liked how Manson did
1:46:26
in the air. Tonight, because it Manson's
1:46:28
dark anyway, so he took a total dark spin on that thing.
1:46:31
Here's another good one. None that's blew me away was 9
1:46:34
Inch Nails. Version of No, it wasn't 9 inch
1:46:38
nails. It was who did Cinnamon Girl.
1:46:43
Oh was it corn? Oh, it's.
1:46:45
A heavy band. It's somebody dark like that.
1:46:47
Oh, they're yelling at me now, Zombie.
1:46:49
He was a big. He died.
1:46:52
He was a. Burly like, built like.
1:46:53
A brick shit house dude, Fuck, I don't know, I'm drawing a blank.
1:46:56
God damn it, that's a good. Version too.
1:46:59
Amy Lee during COVID did. Going to California, That'll
1:47:03
make you cry. Oh yeah?
1:47:05
Oh no shit. OK, look that up on YouTube.
1:47:08
It'll bring tears. To your eyes.
1:47:10
Yeah, Amy Lee, she did. One with where I was watching
1:47:13
the old unplugged. Series the other day.
1:47:15
Oh right, I saw that she that one of the last episodes they
1:47:18
did was with Korn. And they?
1:47:20
Brought on Amy. Lee to do make me dad.
1:47:24
Unreal. Really.
1:47:26
Yeah. If you if you haven't gone and
1:47:28
seen it, go and watch it. Ain't putting Amy Lee's vocals
1:47:31
with corn. OK, It's so typo.
1:47:34
But then you start to think it's like, dude, you put Amy Lee with
1:47:36
anything. She's like the Nutella of music.
1:47:39
She goes with everything. She can sing the phone.
1:47:42
That's that's. And that's the thing that I
1:47:43
love. I've talked about before.
1:47:44
And you probably do. Too, Sean Love.
1:47:46
About female vocalists, man, yeah, They just, they could do
1:47:49
fucking anything, especially with that heavy ass background,
1:47:55
yeah. And like Chris said, when they
1:47:56
have that touch. Of.
1:47:58
Rasp to their voice that, you know, they're hitting the key.
1:48:01
But they got that character, as I like to call it, you know?
1:48:04
Yeah. Oh, yeah.
1:48:05
The chick who took over for Chester Bennington.
1:48:07
Man Like what the fuck is this? About then you, then you hear
1:48:10
her sing. It's like, my bad.
1:48:12
She's yeah, yeah. Oh, you can do it.
1:48:14
You can do this fine. Yeah, 'cause those are big.
1:48:17
Shoes to fill, and one of the best of them.
1:48:20
Yeah, And she chilled and I was like, fuck, OK, OK never going
1:48:24
to doubt you again. Never, Never.
1:48:26
Never. Yeah, never.
1:48:28
And then you have Whitney Houston, who could sing like
1:48:30
nobody's business and still by far has the best live rendition
1:48:34
of the national anthem in the history of music by Atlanta.
1:48:38
Oh yeah. Oh yeah.
1:48:40
Everybody's like, well, Chris Stapleton.
1:48:41
Well, Chris Stapleton was. Good.
1:48:43
Whitney. Hers.
1:48:45
Hers has blown everybody away for 40 years.
1:48:48
Now it's. The for a 90.
1:48:49
Second song for her to take her voice the way she did in 90.
1:48:53
Seconds and not annoy you. A lot of people, they try to
1:48:56
hold those notes out or use their vibrato.
1:48:59
And it's just ridiculous. And she just did it.
1:49:02
She just, it was the quintessential version of that
1:49:04
song. And I'll fight you to the death
1:49:06
if you. Disagree.
1:49:07
I agree. I know you too, but I'm just
1:49:09
saying, I'm just saying that's just, you know, some people hit,
1:49:13
hit, hit that like you said, some people just destroyed now
1:49:15
Stapleton's version. Was good.
1:49:18
It was a nice refreshing take on it from, you know, a lot of fuck
1:49:22
nuts doing it, but I did. I used to do that song with my
1:49:25
vocal coach. That was one of the songs I did
1:49:27
that and and one of the songs from the stupid play Les
1:49:32
misrawls. He used to have me one up to a
1:49:34
song from in Les misrawls, the play Les Miserables.
1:49:36
However, you say that and and the and the national anthem.
1:49:39
When he first threw me to the national anthem.
1:49:41
Oh, I fucking got that. That song is so hard.
1:49:44
It is that is so hard, yeah, nobody.
1:49:47
Isn't the idea how hard that song is so?
1:49:49
When you have some like. Roseanne Barr, step up to sing
1:49:51
that shit. It's like, what the fuck are you
1:49:53
thinking, man? Yeah, yeah, for real.
1:49:57
And I especially, yeah, especially from a young age.
1:50:00
Like, people would be like, oh, it's just singing the anthem,
1:50:02
like at a football game, what's the big deal?
1:50:04
What do you mean what's a big deal?
1:50:06
It's a big fucking deal. Like, come on, honey.
1:50:08
Like you have to be because you're doing it a Capella.
1:50:10
You have to start from the right point and keep the tone centre
1:50:14
the whole time. And that is such a difficult
1:50:17
thing for young singers to do. Yeah, any singer to do.
1:50:21
It's not an easy song to sing unless you're something like
1:50:23
what in Houston that. Just and she.
1:50:25
Nailed that shit. Yeah, just nailed it.
1:50:28
It was a hard song to warm up to, but once, once I was a year
1:50:30
in with him I I understood. Why?
1:50:32
Because it. Takes you on so many different
1:50:34
levels from vocals and the strength of your voice in the
1:50:37
different notes and and edge like that's brilliant Well, like
1:50:39
Sean said it it gets your brain tone centered you know so now
1:50:44
you're. Thinking about where all those
1:50:46
different changes are in your melodies and if you can hit the
1:50:51
amount of changes that are in that song, you're going to be
1:50:54
able to sing a rock song pretty easy because the key doesn't
1:50:56
change. And that's what was amazing
1:50:58
about Wendy Houston. Her to control of her of her
1:51:01
instrument. She could control that and just.
1:51:03
Just on a on a millisecond, change it and you just what the
1:51:06
fuck? Yeah, like what the fuck?
1:51:09
So effortlessly. And then she.
1:51:12
Met Bobby Brown and Oded in the. Bathtub.
1:51:13
What the fuck, Whitney? Yeah, one of the saddest ends.
1:51:17
I mean, right. Totally.
1:51:19
There's another moment in time. What if that night had never
1:51:22
happened? What if you know?
1:51:24
Yeah, I. Mean Michael Jackson met the
1:51:26
wrong Doctor Amy Winehouse. Is another one that's that's.
1:51:29
Another one that that every. Time I hear rehab.
1:51:31
I'm like, you should have went. Yep.
1:51:33
Yeah, right. Yeah, just go.
1:51:36
Just she just said no, Brown is not that.
1:51:38
Great, like come the fuck? No, he's not.
1:51:40
You know. Like that's the thing.
1:51:42
It was. So frustrating.
1:51:43
About it, it's right he had new. Addition he had like.
1:51:45
Einstein or something? No, no, Dre like.
1:51:49
What is your deal the only? Thing I can think of from a
1:51:52
female. Standpoint Women like the.
1:51:53
Bad boys, right? Yeah, they just like the bad
1:51:55
boys. Like like whatever reason,
1:51:57
right? Like Nikki, Nikki finds men that
1:51:59
have sleeve art and kind of, you know, like attractive, which I
1:52:02
get it's a bad boy, right. But she likes me because I was
1:52:05
like, because when, you know, I was bald when she met me,
1:52:08
because then I grew there. But I was a bad boy that didn't
1:52:10
have sleep art. So I was, you know, a little bad
1:52:13
boy. But I was still I was still
1:52:14
classy. I was a classy bad boy.
1:52:16
Yeah. You know, so.
1:52:18
But I think that's what it is. I think.
1:52:19
What way to describe us. Yeah.
1:52:21
So I think what is it was was attracted to the bad boy and
1:52:24
and. And he?
1:52:26
Bobby Brown was a bad boy hit. That one solo hit My
1:52:29
Prerogative, which was a great song, great hook, you know, very
1:52:33
cool. But other than that, it was, I
1:52:35
think it was a new edition, wasn't he?
1:52:37
Boy band? Yeah, I think so.
1:52:38
Yeah. So there's nothing, you know,
1:52:40
there's nothing exciting about Bobby Brown other than, you
1:52:43
know, but I think. That's what it was, I think it
1:52:44
was. Bad boy, she was tired of living
1:52:45
a mommy's shadow because Sicily Houston was a was a huge
1:52:50
influence in the industry for years.
1:52:53
You know, and you know, and there's all that.
1:52:56
That's a depressing way to end the show.
1:52:57
Took out a legend. But hey, it's a good way to
1:53:01
segue if you're feeling sad. Depressed.
1:53:04
Suicidal. Go, go.
1:53:06
Journal, Go write something down.
1:53:07
Go scream in a pillow. Go outside and run.
1:53:09
Go work out. Go to the mall and just find
1:53:12
somebody to talk to. Be that guy that sits on the
1:53:14
curb. Start throwing some popcorn at
1:53:16
at a bird until somebody talks to you.
1:53:18
If you can't do any of that text 988 somebody is there standing
1:53:23
by to talk to you to help get you get you in the right
1:53:26
mindset, you know, talk you off that Cliff, get you off that
1:53:29
ledge. Tomorrow is always a better day
1:53:31
when you wake up in it. Mike and I can both attest to
1:53:33
that. I'm sure Sean in your in your
1:53:36
lifetime with, you know, being a veteran stuff you've had fellow
1:53:39
that's that you know the the the 22 two minutes.
1:53:42
That's a real thing. If you don't know that people
1:53:45
and I've called to help many times, right?
1:53:47
Daryl Sheets Daryl Sheets recently from.
1:53:49
Storage wars lives in lake, lived in Lake Havasu City I
1:53:52
think. Yesterday, the day before he
1:53:53
killed himself, I just saw that, oh, like, like, and and then
1:53:57
somebody chimed in on the thread like, I can't believe someone
1:53:59
like. Him would do that.
1:54:00
Well, OK. It doesn't matter who you are.
1:54:03
Like you just said, Sean, you called the helpline how many
1:54:05
times? Many, many times, you know, and
1:54:07
thank you for doing so because we would have not have a show.
1:54:11
Today we've said in. The show several times today as
1:54:14
artists all. Three of.
1:54:15
Us were way more. Vulnerable than people give you
1:54:18
credit for we're not these egotistical boisterous art
1:54:23
touched us and then we cherished it and we try and put it out
1:54:27
there in a positive manner. So and another thing to touch on
1:54:30
that musicians don't have broad shoulders.
1:54:32
So when when you when you, when you critique.
1:54:35
Us. It hurts it.
1:54:36
Yeah. It's understand that are so loud
1:54:39
that make people think we're all like that.
1:54:42
Right, but. But understand.
1:54:43
We knew coming into this world you were going to love us or.
1:54:47
Hate us, but it doesn't mean the hate doesn't hurt.
1:54:51
Good point, right? And it doesn't mean the love
1:54:53
doesn't freak us the fuck out. And if you want people, take
1:54:56
that. Love to an extreme if you.
1:54:57
Want a real life example of that?
1:54:58
Go to Netflix and watch the. Nickelback documentary.
1:55:01
Oh yeah, because Jack. Kroger says it.
1:55:03
He says it doesn't matter how many people tell you to let that
1:55:06
shit roll off your shoulders when the whole world hates you.
1:55:10
You feel that shit, and he got super depressed over it.
1:55:13
Yeah, yeah, yeah. It's just music, man.
1:55:15
He's just making music. You're just jealous because he's
1:55:17
doing something that you couldn't do.
1:55:18
Yes. Right.
1:55:19
Is Nickelback the greatest band in the world?
1:55:21
No. Do they write great songs that
1:55:24
people? Love obviously because they sell
1:55:26
out every concert they play at, especially strippers.
1:55:30
Especially if you if you listen to some of their songs man.
1:55:34
Oh my, some of their. Song You.
1:55:35
Something better in your mouth. The song sucks.
1:55:38
Like they have some great fucking lyrics, man.
1:55:41
Just just animals. There's a lion.
1:55:44
Oh yes, animals. There's a there's a lion.
1:55:48
There's a lion that he has in one of the songs that something
1:55:52
about a skirt. He can't wait.
1:55:53
To get get underneath that skirt and and I know the one you're
1:55:56
talking about, right. He's totally talking about kind
1:55:59
of linguist man. And that was like that is a.
1:56:01
Brilliant fucking. Line man and you don't get if
1:56:06
the hooks that they write don't make you want to move.
1:56:09
You're lying to yourself. You're lying to yourself.
1:56:11
A lot of people are lying to themselves and.
1:56:15
Secretly, if they were sitting. In a car and it came on, they
1:56:18
turn the volume up just a little bit.
1:56:21
I do believe, I do believe I do before I do believe.
1:56:24
Go ahead, go ahead. There was there.
1:56:26
Was an essence. Of it kind of became like a, a
1:56:29
running joke, just say even though people didn't really
1:56:32
actually hate Nickelback, it was like, oh, they're OK.
1:56:34
You know, I think it was, it was just, it's kind of like a, a
1:56:37
joke that just went way too far and then people took it way too
1:56:41
seriously. I can see that.
1:56:42
I can see that. And what you tell yourself is
1:56:44
what you believe, right? So here's the prime.
1:56:47
Example about Nickelback they were.
1:56:49
Coming to they came to town last year and I, I was like.
1:56:51
I've never seen him. I watched the documentary.
1:56:54
Love a lot of their music, their greatest hits, you know every
1:56:57
song. It's one of those bands, you
1:56:58
don't realize it, Aaron, Aaron Lewis, you don't.
1:57:00
And Stain, you don't realize it, Their greatest hitch, you know,
1:57:03
every fucking song. Yep, it's so under the radar,
1:57:06
right? So I went to buy tickets to go
1:57:08
take Nikki and I go see Nickelback.
1:57:09
The least? Expensive ticket and the
1:57:12
nosebleeds was like 700 bucks. I'm like fuck that Oh my God
1:57:16
right front. The front general part was like
1:57:18
like 2 grand. It was insane.
1:57:21
So for those of you say you don't like Nickelback, you
1:57:23
fucking paid to see Nickelback. We're not talking Metallica
1:57:27
spear money because some of that shit went aftermarket for 30
1:57:30
fucking $1000. But you still are paying money
1:57:34
to see Nickelback. Why do you want to admit it or
1:57:36
not? Oh, and then one more thing
1:57:38
before we go the other really cool, really, really, really
1:57:41
cool version of In the Air Tonight.
1:57:42
Which you can't find anywhere. Except YouTube.
1:57:44
Chris Daughtry and Brad Arnold, the late, great Brad Arnold
1:57:47
down. Holy shit.
1:57:48
Have you not seen that one, Sean?
1:57:50
Chris Daughtry and Brand Arnold in the air tonight.
1:57:52
Fucking amazing. Amazing, amazing.
1:57:55
I'm going to go to that. Yeah.
1:57:58
Yeah. That's it.
1:57:59
That's all we got. Thank you so much for for being
1:58:00
here today, Sean. You are amazing human.
1:58:02
We love that. You came back and anytime you
1:58:04
want to come back, dude, just shoot me a message we'll get you
1:58:07
back on right on. Thank you so much for having me
1:58:09
guys. This is a really great show.
1:58:11
I love hanging out with you guys and talk with you guys.
1:58:12
It's just. Say that because we paid you.
1:58:14
We paid you the Zelda on his way.
1:58:17
Checks in the mail. I'll do it because I would truly
1:58:21
love you guys. I love you man, I love that.
1:58:23
I love that. Love you both, I was looking
1:58:25
forward to this one. Yeah, me too, man.
1:58:27
Me too and then I forgot till this morning.
1:58:29
Oh fuck up, I got to tell I. Forgot to remind Sean.
1:58:31
So I'm glad you were like, boom. I'm here, man.
1:58:34
Oh, I was. I was on it.
1:58:35
I'm waiting for you. Yeah, right on.
1:58:37
Cool. He's Mike.
1:58:38
I'm Chris. That's the Sean.
1:58:39
Martin Quarantine, check him out, just Google Sean.
1:58:41
Martin, the quarantine, you're going to find all his stuff.
1:58:43
Pay attention to this guy because when he explodes, you
1:58:45
can be like, oh, I remember him on the Chris and Mike show.
1:58:47
Absolutely. Yeah.
1:58:50
See you, buddy. Thanks again, bro.
1:58:51
Time, man. Appreciate your time, guys.
1:58:53
Thank. You.
1:58:54
Don't don't leave yet. Let's.
1:58:55
Make sure you're uploaded. Yeah.
1:59:20
You go, you're betrayal behind your eyes.
1:59:24
Feel yourself and need yourself. Take a moment, look until you
1:59:33
see it. Fight your battle and tear.
1:59:37
Fight your battle, but you fuck will put you back there to your
1:59:41
feet. Come
2:01:05
down here, we haven't found solids in the sand from
2:01:11
fighting. Wait for the dead when he's
2:01:16
closer out there and put in the wind He went.
2:01:20
No quizzes. We don't play in the fire and.
2:01:24
You should keep going on the Almighty.
2:01:28
You gotta dream who in your life to keep our soul in every day?
2:01:36
Take the trail behind your eyes. Feel the soul evolution now.
2:01:42
Yeah, yeah, yeah, yeah, yeah, yeah.
2:01:53
Take your moment, listen to your fear, fight your fail and see
2:01:58
you more clear. You gotta, You gotta.
2:02:28
You gotta. You gotta.
2:02:29
You gotta.