Latest / Arroe Collins Like It's Live / We Go All Night The Music Break Down With Singer Songwriter Mike Mostert

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We Go All Night The Music Break Down With Singer Songwriter Mike Mostert · Arroe Collins Like It's Live

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  Speaker 1: Aero dot net, a r r oe dot net. It's
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  Speaker 1: twenty different podcasts in one place. One of the biggest shows,
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  Speaker 1: the Choice. We all have questions, So what it's your choice? Okay,
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  Speaker 1: we don't want to be pummeled by religious beliefs, but
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  Speaker 1: we do need a little bit of inspiration and motivation.
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  Speaker 1: Where can we go The Choice only on ero dot
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  Speaker 1: net A r r oe dot net. Enjoy your exploration. Hello,
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  Speaker 1: you're good after do it? How are you man?
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  Speaker 2: I'm doing great?
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  Speaker 3: How are you doing? Doing?
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  Speaker 1: Absolutely fantastic. That voice of yours is always intact and
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  Speaker 1: always in tune.
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  Speaker 2: I have that voice, you know, whatever that voice is.
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  Speaker 3: I have that voice.
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  Speaker 1: You do get to sing, do you not?
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  Speaker 3: Yes? I do? I thought so. I'm not sure if
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  Speaker 3: you'd like to hear I'm not sure if you want
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  Speaker 3: to hear me sing by yes, I do well.
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  Speaker 1: I would love to hear you sing sometime when when
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  Speaker 1: you haven't put the entire song together where you you
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  Speaker 1: might be doing some scatting or just putting any words
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  Speaker 1: in there just to just to get the melody or
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  Speaker 1: the horse down.
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  Speaker 3: I do a lot of that. I do a lot
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  Speaker 3: of the mothers, and you know, I'm working on a
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  Speaker 3: solo record, and I think that'll be my There'll be
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  Speaker 3: one or two songs where I will be my official debut,
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  Speaker 3: also as a lead singer, to go along with my
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  Speaker 3: guitar work.
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  Speaker 1: Yeah, I gotta I gotta find out how you did
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  Speaker 1: this we Go all Night, because I mean, this is
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  Speaker 1: an anthem. This is one of those summertime songs where people,
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  Speaker 1: I mean I can just see the live audience now
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  Speaker 1: singing right along with you, and they might actually be
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  Speaker 1: louder than you, guys, and that be kind of weird,
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  Speaker 1: wouldn't it.
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  Speaker 3: I don't know, because I'm only at like one hundred
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  Speaker 3: and forty decibels usually.
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  Speaker 1: And not always in tune.
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  Speaker 2: See now now you're arding my feelings.
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  Speaker 1: But I mean, where where did the song come from?
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  Speaker 1: Because I mean this is one that you sit there
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  Speaker 1: and you go wow. In all the years and in
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  Speaker 1: all the songs and the lyrics and things, this one
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  Speaker 1: just kind of raises its voice and says that it's
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  Speaker 1: our turn now.
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  Speaker 3: Yeah. Well, this one was written by mainly Tommy you know,
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  Speaker 3: Tommy Henderson. Yeah, he's with the Hollywood Vampires and Chris
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  Speaker 3: Winskill and Cooper and uh and myself so Tommy and I,
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  Speaker 3: you know this this is our second or I think
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  Speaker 3: we have a third that we're doing. But soon as
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  Speaker 3: soon as he heard the chords, the dad it comes.
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  Speaker 3: Soon I opened up the chords, he goes he heard that,
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  Speaker 3: he heard that melody right off the bat, and then
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  Speaker 3: him and I, since he's loptiated in Switzerland, we're doing
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  Speaker 3: a lot of FaceTime recordings and here him at three
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  Speaker 3: or four in the morning. He's like and like, okay, yeah,
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  Speaker 3: three four in the morning, I'm singing along with him.
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  Speaker 3: And but we just felt like it was such a
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  Speaker 3: good pairing of the rhythm, the rhythm and the and
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  Speaker 3: the melody is a good pairing. The rhythm will make
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  Speaker 3: you jump up, the vocals will make you raise your
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  Speaker 3: hand and scream.
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  Speaker 1: That's so funny you say that, because that was one
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  Speaker 1: of the things I wanted to talk about, was the
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  Speaker 1: big hook of the song, as well as the big
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  Speaker 1: guitars in the song. I mean, they they work hand
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  Speaker 1: in hand in.
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  Speaker 3: It correct right, and them we're very un we were
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  Speaker 3: trying to capture it. Sounds contradict contradicted, but like the
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  Speaker 3: energy of the early Death Leppard before mut Lang, but
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  Speaker 3: had the production of mutlag I'll give you that.
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  Speaker 1: I'll give you that.
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  Speaker 3: You know. So yeah, and you know, and Tommy is
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  Speaker 3: works a lot with with mut like daring a single
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  Speaker 3: prior to that. We're pretty much and I have to say,
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  Speaker 3: technically we have mutt on not this song, the song
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  Speaker 3: prior where we're doing uh in a song retribution and
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  Speaker 3: we're in the haze, but those are actually samples from
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  Speaker 3: Mutt when he used with with with duff Leppard and
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  Speaker 3: zz Job and on Tommy stuff. So it's trying to
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  Speaker 3: enter me. It's kind of cool to have technically mutt
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  Speaker 3: on ourselves and we.
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  Speaker 2: Did it with this. Now this time was different when
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  Speaker 2: you were.
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  Speaker 3: Talking about the voice all kinds said on this one,
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  Speaker 3: all the haze and all that, those are all me
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  Speaker 3: mimicking mut laying and Tommy Oh wow.
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  Speaker 2: So there's no on those backgrounds.
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  Speaker 3: There was no no Tony, no Tommy.
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  Speaker 2: No, it was just me.
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  Speaker 3: I'm like, oh, I was like, I forgot that part.
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  Speaker 3: I got to put it in there. So that's me imitating,
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  Speaker 3: you know, muddling and the Tommy.
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  Speaker 1: So, now, is that one of those moments where you're
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  Speaker 1: driving in the car and you just happen to be
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  Speaker 1: listening to the song and you go, oh god, I forgot.
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  Speaker 2: No, No, it was worse.
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  Speaker 3: It was in the studio because there's other backups that
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  Speaker 3: were done with two other guys. Yeah, and then and
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  Speaker 3: then they left them like oh we didn't do the
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  Speaker 3: other part. And I was in the studio. I'm like, well,
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  Speaker 3: I could sing, I'll do it. And it was really
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  Speaker 3: simple as that. Wow. Wow.
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  Speaker 1: Well, I mean the way that you binge your vocals.
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  Speaker 1: I mean, I love you know, I see. I love
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  Speaker 1: it when people can exercise their right to really push
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  Speaker 1: their vocals into an area that not everybody's used to
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  Speaker 1: it yet.
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  Speaker 3: Yeah, I think people that used to me, uh, because
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  Speaker 3: you know, I'm kind of low in my voice. I
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  Speaker 3: don't really I'm not a loud screamer type of guy.
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  Speaker 2: And but yeah I can.
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  Speaker 3: I can belt out when when I need to, you know.
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  Speaker 3: And I was gonna say so, I'm working on the
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  Speaker 3: solo thing, solo record, and one song is called Silence
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  Speaker 3: is Loud, and I had to do scream, you know,
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  Speaker 3: and and we took like this old sure harmonica microphone
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  Speaker 3: ran through a bass app and I'm like screaming.
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  Speaker 2: You know.
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  Speaker 3: There's a lot of I wish I'd had that on
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  Speaker 3: the footage, but I'm screaming, you know, wow.
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  Speaker 1: So see, I thought I was the weird one that
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  Speaker 1: used to run things through the base amp or take
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  Speaker 1: it through a different set of speakers and stuff like
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  Speaker 1: that and just make sure that I've got it micd up. Well,
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  Speaker 1: I mean because I mean, I I loved exploring sound
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  Speaker 1: when I you know, during those early days, and then
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  Speaker 1: as you get into the radio world and you get
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  Speaker 1: and I think, I think what happened is is that
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  Speaker 1: pro tools with all its plugs and all these other
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  Speaker 1: things you can get with AI. Now it's like we're
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  Speaker 1: cheating the system. But yet you're still going strong with
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  Speaker 1: let's go ahead, let's go, let's go try something. Let's
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  Speaker 1: let's break the rules, let's go be me.
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  Speaker 3: Yeah, well yeah, no, it's not enough in my vocabulary,
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  Speaker 3: you know. And anything that's kind of weird, I just
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  Speaker 3: love it. And you know, and of course you know,
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  Speaker 3: our mutual friend Charles is the same way, Yes he is,
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  Speaker 3: and it doesn't matter like oh, let's uh, you know,
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  Speaker 3: let's record a fan of really loud and put it
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  Speaker 3: on put.
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  Speaker 2: It on reverse, and then.
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  Speaker 3: Now let's run it through and effect that's how him
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  Speaker 3: and I are with with things, and you know, I'm
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  Speaker 3: just laugh after us, and most of the time it
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  Speaker 3: comes up, we already know how to get a certain
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  Speaker 3: sound and we just we're kind of funny that way.
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  Speaker 1: See that charges me up. And what that does is
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  Speaker 1: that takes me back to a memory of the Beg's
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  Speaker 1: with the song Tragedy, where there's that big explosion towards
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  Speaker 1: the end of the song before they come in there
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  Speaker 1: with the power hook. And the thing is is that
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  Speaker 1: when I found out what that was, that's when I
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  Speaker 1: think I really dove into creative workings inside a studio
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  Speaker 1: because they told me that was Barry GiB belching, but
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  Speaker 1: because they kept sending it through the special effects, it
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  Speaker 1: sounds like an explosion. I thought, that's what I.
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  Speaker 3: Want to do.
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  Speaker 1: I want to be able to create my own thing
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  Speaker 1: that you can't remaster unless you physically have to ask
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  Speaker 1: the questions.
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  Speaker 3: Correct, correct, And actually I'm even like the Passion Peer Records.
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  Speaker 3: We've done a lot of stuff like that as well.
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  Speaker 3: You know where we've we've had the drummer. Actually we
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  Speaker 3: did this is a song called Wilson Fire, and I
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  Speaker 3: just remember that and we had him playing he had
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  Speaker 3: a play the rims on his one of his drums,
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  Speaker 3: and then we and then we layered him actually playing
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  Speaker 3: a wood wall in the same rhythm, and then we
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  Speaker 3: had them playing an Ampex to and tape box on
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  Speaker 3: top of that, combine the all three and then we
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  Speaker 3: put long delays on it, you know, and again even
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  Speaker 3: we do a lot of stuff like that. And if
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  Speaker 3: you listen to again like a lot of theory we
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  Speaker 3: did with the vocals where there's a lot of like
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  Speaker 3: Zeppelin tricks I called the heat, like the old flangers
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  Speaker 3: and yah. And if you if you're listening in earbuds
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  Speaker 3: or if you have a wide set of speakers, you
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  Speaker 3: can feel it going left, right, right to left, going
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  Speaker 3: to center for a little bit. And we you know,
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  Speaker 3: we're actually creating movement within all the that we're doing
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  Speaker 3: in all our mixes.
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  Speaker 2: There's always a.
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  Speaker 3: Movement, you know. I mean, I think, I know, I
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  Speaker 3: think that helps the listener on a different journey. I
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  Speaker 3: think you know this found we view it, you know,
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  Speaker 3: so wow.
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  Speaker 1: Because I had a program director one time, I would
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  Speaker 1: sit there and I would show him all of these
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  Speaker 1: things that I was creating with all these different sounds,
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  Speaker 1: and he would look at me and he would go,
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  Speaker 1: who's this for? And I would say, it's for the listener.
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  Speaker 1: I'm trying to create something they're never gonna They're not
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  Speaker 1: gonna get anywhere else, and he goes, who's it for
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  Speaker 1: the listener? We don't care about the listener. And I'm going,
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  Speaker 1: oh my god, so to hear you talk about the listener.
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  Speaker 1: That just really, really, you know, it inspires me that
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  Speaker 1: it's like God, there are other people that truly believe
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  Speaker 1: that unique is something that you just don't stumble across.
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  Speaker 1: You've got to go find it.
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  Speaker 3: Right. And another thing that we do with that is sonically,
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  Speaker 3: you know, I put always like this. There's a lot
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  Speaker 3: of layers, but in my layers, in the production it,
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  Speaker 3: we knows what people do they when people listen to us,
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  Speaker 3: they have to put their fears and closer even in
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  Speaker 3: there buds there can you see them physically move forward.
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  Speaker 3: This is interesting, but I did that on purpose. And
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  Speaker 3: there's something about how you learn things that will make
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  Speaker 3: people move and physically for it all backwards.
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  Speaker 1: Please shoard not move. There's more with singer songwriter Mike
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  Speaker 1: Monster coming up next. We are back with a very
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  Speaker 1: creative singer songwriter Mike Mosterd, So you got to tell
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  Speaker 1: me that you're going to put this song we Go
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  Speaker 1: All Night onto an A track for those of us
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  Speaker 1: that grew up with the eight track, because there's just
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  Speaker 1: some sort of basiness or there's something that's very solid
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  Speaker 1: and and and on a tape like that where I
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  Speaker 1: could put that eight track in there and and it
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  Speaker 1: just there was just something very full about it. Will
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  Speaker 1: you deliver something like that to your fans.
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  Speaker 3: You know what? They will put on the A tracks,
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  Speaker 3: you know, and have it right on the A track
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  Speaker 3: when it stops and you have to like wait for
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  Speaker 3: it to flip over. Oh my god.
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  Speaker 1: You know that? That happened to me with with a
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  Speaker 1: Marshall Tucker band. Heard it in a love song. Right
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  Speaker 1: in the middle of the song, it slowed down, went
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  Speaker 1: click click, and then goes and and continues on track four,
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  Speaker 1: and I thought, that's just the way the song wins.
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  Speaker 1: So when I hear it on the radio, I can
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  Speaker 1: still hear that click click today.
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  Speaker 3: Right right right.
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  Speaker 2: You don't forget about those.
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  Speaker 1: Things, no, no, not at all. So with every music project,
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  Speaker 1: there's always a new lesson to learn. Would this be
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  Speaker 1: one of them.
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  Speaker 3: That's a good question. Yeah, it's for me, it's you know,
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  Speaker 3: I mean, well enough. I think everything's always a learning,
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  Speaker 3: you know, I always want to learn. I always want
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  Speaker 3: to explore what I learned is actually in this case,
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  Speaker 3: you know, it sounds so big, right when you said,
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  Speaker 3: when you hear it, it sounds so big. But we
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  Speaker 3: did a lot of extra clean guitars, but it sounds
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  Speaker 3: it sounds big. But the guitars we're using on the
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  Speaker 3: clean guitars, we're using you know, part of asy temper,
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  Speaker 3: but the other part we're using the I'm sure if
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  Speaker 3: you remember the old rock means from like the you know,
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  Speaker 3: from Tom Shultz from Boston. Oh yeah, right, so we
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  Speaker 3: listen used that on the clean and it says like
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  Speaker 3: two settings essentially. But soon if you hear that, I'm like,
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  Speaker 3: oh yeah, Boston. But there's all those sprinkled all throughout
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  Speaker 3: that track. But even when you do a rhythm and
• 12:21
  Speaker 3: maybe you run it with a little bit of game,
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  Speaker 3: it just sounds big.
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  Speaker 2: So that's a really good lesson.
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  Speaker 3: You know, in a way, less is way more, And
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  Speaker 3: a lot of times, you know, if you think you
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  Speaker 3: can get but people you listen to Zeppyrn. You think
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  Speaker 3: they're heavy, but they're actually very clean. You know, back
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  Speaker 3: in Black it's how many people think it's it's heavy,
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  Speaker 3: but if you really listen to guitarists, not that heavy. Actually,
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  Speaker 3: that's so funny you say that.
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  Speaker 1: The sex Pistols said the same thing to me. They go,
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  Speaker 1: you know, you think you're hearing punk rock, so therefore
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  Speaker 1: your mind is listening for punk rock. Well, you got
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  Speaker 1: to understand it is not. It is the blues. And
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  Speaker 1: when when he and he told me that, and it
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  Speaker 1: was like, you got to be kidding me. And then
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  Speaker 1: I listened to it and it's like, it is the
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  Speaker 1: blues because we're so programmed as to what song should
• 13:09
  Speaker 1: go in what genre that I think that it taints
• 13:12
  Speaker 1: the way that we listened to.
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  Speaker 2: It absolutely, you know you it's funny that you mentioned that.
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  Speaker 3: And I won't mention the company, but you know, as
• 13:23
  Speaker 3: you know, I owned several companies, I handled many companies,
• 13:28
  Speaker 3: and there was a fain Outputicipay, there's a famous cable company.
• 13:37
  Speaker 3: I will not mention names, and but they would have
• 13:41
  Speaker 3: a table specifically for rock. Yeah, you know, they told
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  Speaker 3: about the guitar he about you talkable specifically for the bass,
• 13:48
  Speaker 3: specific ready for jazz, whatever they want to call it.
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  Speaker 3: And but they're all wired identical. And so what we
• 13:58
  Speaker 3: would do is like, Okay, we're going to play in
• 14:00
  Speaker 3: a base cable prior to them listening, and we would
• 14:04
  Speaker 3: tell them what they're gonna what they're gonna hear? Are
• 14:06
  Speaker 3: you gonna hear a little bit more bass? And he
• 14:09
  Speaker 3: put it in and you have a close their eyes,
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  Speaker 3: which one has, and then we would do They're like,
• 14:13
  Speaker 3: oh yeah, more bass. And it's like you're talking about
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  Speaker 3: like people listening for punk now they're they're listening for base. Well,
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  Speaker 3: they're gonna know more base. You know, it's not you know,
• 14:25
  Speaker 3: it's not really more base.
• 14:29
  Speaker 1: The human imagination, yes.
• 14:32
  Speaker 3: Yes, the power of the mind is is quite quite amazing.
• 14:39
  Speaker 1: So I saw you behind that control board. Was that
• 14:41
  Speaker 1: the old fashioned style of control board or is that
• 14:44
  Speaker 1: a digital control board? Because man, listeners don't understand this,
• 14:47
  Speaker 1: but there is a huge difference between a lot of
• 14:50
  Speaker 1: today's control boards and what we were doing ten twenty
• 14:53
  Speaker 1: years ago.
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  Speaker 2: Well the pre's rich control board, but the one I
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  Speaker 2: dis did recently, which.
• 14:59
  Speaker 1: Is oh yeah, yeah, that that one, I mean, it
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  Speaker 1: was total it was a Beatles moment. It looked like
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  Speaker 1: that you were just in the studio and you're saying, Okay,
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  Speaker 1: let me see what's happening. Let me listen, listen to
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  Speaker 1: this one track at a time. That's what my imagination
• 15:09
  Speaker 1: gave me in looking at you at that picture.
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  Speaker 2: So you know what.
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  Speaker 3: You know what board that is? That's the board the
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  Speaker 3: Zeppelin II and Zeppelin four. It was recorded on that board.
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  Speaker 3: Oh my, Prince, Purple Rain was recorded on that board.
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  Speaker 1: Oh my god, see what this is a side of
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  Speaker 1: music that a lot of people do not ever get
• 15:34
  Speaker 1: to experience unless someone like you steps out and says,
• 15:37
  Speaker 1: by the way, I just want you to know this.
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  Speaker 1: This was the board that we use for Purple Rain.
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  Speaker 3: But it was it was, like I said, it's kind
• 15:47
  Speaker 3: of like surreal, like, yeah, wow, Zeppelin was here and
• 15:52
  Speaker 3: Purple Rain, you know, Prince. And and then you know,
• 15:55
  Speaker 3: I walked into another room and this is where Ben
• 15:58
  Speaker 3: Helen one was your court, like where they actually they
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  Speaker 3: played live in one room.
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  Speaker 2: And I was in that room as well, And yeah,
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  Speaker 2: it was to run.
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  Speaker 3: You know, the music through those boards, you know, because
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  Speaker 3: you know those boys have different compressions and different eques
• 16:19
  Speaker 3: and again, it could just be my mind, but the
• 16:22
  Speaker 3: fact that Zeppelin and Prince, I'm like, yeah, I'm feeling it.
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  Speaker 2: You know, it's the right company to be in, that's
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  Speaker 2: for sure.
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  Speaker 1: Were there any ghosts coming out of that board man,
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  Speaker 1: because I mean it was something like that. I mean
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  Speaker 1: that those heads would be popping up saying try this,
• 16:36
  Speaker 1: try this, Oh, go with this one.
• 16:39
  Speaker 3: Well, I think there is, you know, I mean mainly
• 16:43
  Speaker 3: at the one with the board that that picture you're
• 16:46
  Speaker 3: referring to. I was doing the song for you know,
• 16:50
  Speaker 3: I'm doing the upcoming solo record and it's and I
• 16:56
  Speaker 3: found an old singer. It was. It's been one of
• 17:02
  Speaker 3: those experiences, especially in the last few years, where he
• 17:06
  Speaker 3: didn't know I played guitar, and I know he was.
• 17:09
  Speaker 2: I think he sang.
• 17:12
  Speaker 3: Like he had replaced Jazz Joplin after she died, and
• 17:15
  Speaker 3: you know, played with the Holding Company. And then on
• 17:18
  Speaker 3: top of that, he had sang in Muscle showals in
• 17:23
  Speaker 3: the early seventies, so he played with the Garry Beckett's
• 17:26
  Speaker 3: Jimmy Johnson lay Clayton, who was on the track. He
• 17:30
  Speaker 3: played with those guys at that time, you know, in
• 17:34
  Speaker 3: the early seventies and what happened was he would see
• 17:37
  Speaker 3: my post and he was like, Mike, oh my god.
• 17:39
  Speaker 2: It's like, you know, I just studies being kind.
• 17:41
  Speaker 3: Like, oh my god, you know my favorite guitar play
• 17:44
  Speaker 3: he was. It was very complimentary. And when I wrote
• 17:48
  Speaker 3: this track, I'm like, you know, he needs to be
• 17:50
  Speaker 3: on this track, and you know, we're trying to I
• 17:53
  Speaker 3: was trying to message him and wasn't working on Facebook.
• 17:56
  Speaker 2: So finally I was supposed to.
• 17:57
  Speaker 3: Like, I can't read you, so you were He put
• 17:59
  Speaker 3: it phone number in his own posts and then we
• 18:03
  Speaker 3: spoke yep, and then then we spoke and he goes, Mike,
• 18:07
  Speaker 3: I said, have to look before we start, I have
• 18:09
  Speaker 3: to let you know I'm I'm your biggest fan. And
• 18:12
  Speaker 3: you know, I still talking about the meaning of the
• 18:14
  Speaker 3: song is and I know that, you know, like I'm
• 18:17
  Speaker 3: taking care of my parents and that whole situation or
• 18:21
  Speaker 3: maybe you don't know, do you know? Do you know
• 18:25
  Speaker 3: I do you know? Yeah?
• 18:26
  Speaker 1: Your father?
• 18:27
  Speaker 3: Oh yeah, I know father? Right, so you know my
• 18:30
  Speaker 3: father is so you know, my father's last age of
• 18:32
  Speaker 3: dementia and lad my most cancer.
• 18:35
  Speaker 2: And stuff and and all that stuff.
• 18:39
  Speaker 3: But the one of the biggest cows for writing the
• 18:43
  Speaker 3: record was this experience of what's been going on here
• 18:47
  Speaker 3: and now we're at twenty eight months of doing this
• 18:50
  Speaker 3: and the emotional journey, the emotional toll it takes on everybody, yes,
• 18:58
  Speaker 3: you know, on someone levels, and that's what it inspired
• 19:02
  Speaker 3: me to write. I mean, I think I wrote almost
• 19:03
  Speaker 3: like eighty songs for this record. It sounds like you right,
• 19:09
  Speaker 3: right right, Well, I guess one, don't I do that.
• 19:12
  Speaker 3: But but this case is a little bit different than
• 19:18
  Speaker 3: in theory because in this case I wrote everything from
• 19:23
  Speaker 3: all the words, all the music, all you know, vocals,
• 19:28
  Speaker 3: I mean, every nook and cranny is is is me, yeah,
• 19:34
  Speaker 3: and I but it was really important for to get
• 19:37
  Speaker 3: that emotion out that I really want to get out.
• 19:40
  Speaker 3: So in a way, it's like a cathartic thing is
• 19:42
  Speaker 3: as well, you know, a healing type of situation.
• 19:46
  Speaker 2: But even though like on this.
• 19:48
  Speaker 3: Again, I brought in my friend Eric Gales and the Clarks,
• 19:51
  Speaker 3: I have Tommy and I also have you know, Bumble
• 19:55
  Speaker 3: Flip from Guns of Roses is on it. I have
• 19:58
  Speaker 3: Can from BlackBerry Smoke and some other special guests. But
• 20:03
  Speaker 3: for me, it wasn't necessarily about having a big name.
• 20:09
  Speaker 3: I wanted them to understand the journey of why I'm
• 20:12
  Speaker 3: making this record. And then that guy that I'm talking about,
• 20:16
  Speaker 3: the rightister the vocals with him, I was explaining him
• 20:22
  Speaker 3: about this journey and he was telling me he's gone
• 20:26
  Speaker 3: through the same thing, or probably even more severe. Where
• 20:29
  Speaker 3: he was he was taking care of his son who
• 20:32
  Speaker 3: had cancer, Like because my dad lives in a hustle,
• 20:35
  Speaker 3: but in the living room. He was doing the same
• 20:38
  Speaker 3: for his son, but cancer. For so the last seven
• 20:41
  Speaker 3: months he lived in a recliner taking care of his son,
• 20:44
  Speaker 3: which is what I do for my dad. As you know,
• 20:47
  Speaker 3: some died of cancer. It was like maybe three or
• 20:50
  Speaker 3: four years ago. So when I heard his story, I'm like,
• 20:55
  Speaker 3: he'll know how to convey that emotion vocally. Oh no,
• 21:00
  Speaker 3: oh god.
• 21:00
  Speaker 1: You talk about being in the right place at the
• 21:02
  Speaker 1: right time, then I mean, if if you just admitting
• 21:05
  Speaker 1: that did that? Did that was like the moment correct?
• 21:10
  Speaker 3: And and everybody that I that's involved, what I notice is, hey,
• 21:15
  Speaker 3: I'm not alone. Everybody. Everybody's going through it or it's
• 21:20
  Speaker 3: gone through it or will go through it. And that's
• 21:23
  Speaker 3: been another major learning experience. And uh, let's say, like
• 21:27
  Speaker 3: the drummer, you know, I can't. And last year he
• 21:30
  Speaker 3: lost his brother and sister and his mother of cancer,
• 21:33
  Speaker 3: brain cancer, all in one year. And he's the most
• 21:37
  Speaker 3: positive guy on the planet. He says, I love, I
• 21:41
  Speaker 3: want to play. I just want to play, you know.
• 21:43
  Speaker 3: And so, but everybody's got a story about it, and
• 21:47
  Speaker 3: so I think everybody's been putting that energy. And I
• 21:51
  Speaker 3: don't think it's necessarily a negative energy, sus you know,
• 21:55
  Speaker 3: you know, it's just a journey. And I think no
• 21:59
  Speaker 3: matter of what instrument was being played, there was an
• 22:03
  Speaker 3: exture emotion and passion being put into it.
• 22:06
  Speaker 1: So I've got a question for you because one thing
• 22:08
  Speaker 1: that just popped into my mind when you're talking about
• 22:10
  Speaker 1: everybody goes through it, will go through it, has gone
• 22:13
  Speaker 1: through it. And right away, of course, you know, being
• 22:15
  Speaker 1: being an author, I'm going, well, wow, why isn't Mike
• 22:18
  Speaker 1: giving this? And then and then everybody sends in their
• 22:21
  Speaker 1: story because the one thing that we're screaming for nowadays,
• 22:24
  Speaker 1: everybody needs to have a family legacy, but nobody's writing
• 22:27
  Speaker 1: that story. But a song such as this that you're
• 22:29
  Speaker 1: talking about, this is one that says, hey, look, yes
• 22:32
  Speaker 1: your family does have a legacy, Yes they do. Have
• 22:34
  Speaker 1: a story. Let's go ahead and put a project of
• 22:37
  Speaker 1: all of these stories together into one, and then you've
• 22:40
  Speaker 1: created the dang soundtrack for it, dude.
• 22:43
  Speaker 3: Pretty much? Yeah, yeah, And I think and and I.
• 22:50
  Speaker 2: Agree with that, And I was going to say, like,
• 22:53
  Speaker 2: try to word it correctly.
• 22:55
  Speaker 3: I think everybody will relate, and I think this is
• 22:58
  Speaker 3: everybody's story. And I think that's other thing, my other
• 23:01
  Speaker 3: takeaway this this is everybody's journey. You know.
• 23:03
  Speaker 1: It's how are you even going to play this live?
• 23:07
  Speaker 3: Are you?
• 23:07
  Speaker 1: Can you emotionally put this thing on a live stage?
• 23:11
  Speaker 3: I'm trying, Okay, Okay, I can. It's funny because it's
• 23:17
  Speaker 3: it's I've only played like certain little snippets to people,
• 23:20
  Speaker 3: and you know, and people are ready like, yeah, they
• 23:27
  Speaker 3: want to see this, lovey because this is again it's
• 23:30
  Speaker 3: like the theory is is a certain thing, a certain
• 23:33
  Speaker 3: sound that we have.
• 23:35
  Speaker 2: This is just something more personal, but it crosses.
• 23:39
  Speaker 3: The genres everything, because there is sometimes like a little
• 23:42
  Speaker 3: bit more of an R and B thing too, you know,
• 23:47
  Speaker 3: maybe it's weird. It goes almost from R and B
• 23:49
  Speaker 3: to like the dawgerat and you got the bluesy type
• 23:52
  Speaker 3: of thing. And I was just a clear with both
• 23:55
  Speaker 3: you'll get flashbacks of Brian May. This is pretty crazy,
• 24:00
  Speaker 3: you there's and it's a rocker, but it's called silence
• 24:05
  Speaker 3: is Loud and and so meaning you know a lot
• 24:08
  Speaker 3: of people suffer in silence, but inside it's loud. Your
• 24:12
  Speaker 3: scream is loud, you know, but what people are suffering
• 24:15
  Speaker 3: in silence? And that's I wrote, you know, you know
• 24:18
  Speaker 3: a song about that theme, you know. And and by
• 24:23
  Speaker 3: the way, that's one one song where I do the
• 24:26
  Speaker 3: the big, the big screams.
• 24:27
  Speaker 2: That's uh.
• 24:29
  Speaker 3: But yeah. But when I was recording with Ron Bubblefoot,
• 24:34
  Speaker 3: I knew he he had just put out his solo
• 24:36
  Speaker 3: record and he had Brian May play on his record.
• 24:39
  Speaker 3: So while we were doing the solos silf, I heard
• 24:42
  Speaker 3: him play the first four and the notes. I'm like, oh,
• 24:46
  Speaker 3: that's like Brian May. That's what I was, And he goes, oh,
• 24:50
  Speaker 3: you want you want something like Brian May. And we
• 24:52
  Speaker 3: end up writing a whole new section on the bridges
• 24:55
  Speaker 3: that you know, we see you hear You're like, oh, yeah,
• 24:58
  Speaker 3: that's that's Brian May. And so I sings that question
• 25:02
  Speaker 3: that you just asked me. I asked, I go, well, now,
• 25:04
  Speaker 3: how am I going to do this live? It's right?
• 25:06
  Speaker 3: Do you have to do right? Because like Brian may
• 25:08
  Speaker 3: actually want to use fourteen or fifteen echo plexes how
• 25:12
  Speaker 3: to trip You knew that, but you had each what
• 25:14
  Speaker 3: spaced out for what was one second? One was three seconds,
• 25:17
  Speaker 3: it was five seconds. And that's how he did all
• 25:20
  Speaker 3: of his harveies live. It's it's fifteen of those machines,
• 25:24
  Speaker 3: tape machines running at the same time.
• 25:27
  Speaker 1: See, and you know what I used to do. You're
• 25:29
  Speaker 1: gonna think I'm a freaking nut. For Montana, I would
• 25:31
  Speaker 1: grab the garden hose and put it up there by
• 25:33
  Speaker 1: the microphone and the delay that I would use for
• 25:35
  Speaker 1: it to go all the way through the hose and
• 25:37
  Speaker 1: come up the other side. And that's how I would
• 25:39
  Speaker 1: get my delay because there there, It must be about
• 25:42
  Speaker 1: maybe a third of a second that that is there.
• 25:45
  Speaker 1: And so I would I would sing into the into
• 25:47
  Speaker 1: the microphone as well as the hose, and then I
• 25:50
  Speaker 1: would have the other side of the hose hooked up.
• 25:52
  Speaker 1: God dang, the echo was just amazing, the reverb.
• 25:57
  Speaker 3: So what did these sick legs one? Like you have
• 25:59
  Speaker 3: to condenseure the end of the hose.
• 26:01
  Speaker 1: Yeah, and it was just it was just enough because
• 26:04
  Speaker 1: what it did was I wanted to emulate that sound
• 26:07
  Speaker 1: that when you're in a large arena or a club
• 26:11
  Speaker 1: and it's got that little bit of an echo that
• 26:12
  Speaker 1: goes up and hits the opposite wall and comes back
• 26:15
  Speaker 1: and hits you. That's what I wanted, and I needed
• 26:18
  Speaker 1: something that was going to do that that was gonna
• 26:20
  Speaker 1: be behind me, but by the time it caught up
• 26:23
  Speaker 1: to me, people would be going, God, dang, listen to that.
• 26:26
  Speaker 1: And what I would do is I would try to
• 26:28
  Speaker 1: harmonize with it as it was coming back to me.
• 26:33
  Speaker 2: Did you time the amount of delay as well?
• 26:35
  Speaker 3: Well? To me?
• 26:37
  Speaker 1: To me, it was luck of the draw because I
• 26:38
  Speaker 1: didn't have the fancy equipment that we have today. I mean,
• 26:41
  Speaker 1: this is all stuff that I did when I was
• 26:43
  Speaker 1: in my bedroom back in Montana in the nineteen seventies.
• 26:46
  Speaker 1: But yet I sat there with all of that equipment
• 26:48
  Speaker 1: just recording it over and over and over again where
• 26:51
  Speaker 1: I and there was no such thing as a punch
• 26:53
  Speaker 1: at it because I hadn't mastered that yet. So I
• 26:56
  Speaker 1: was trying to do everything in real time.
• 26:59
  Speaker 3: Well, well, I'm gonna have to try that.
• 27:02
  Speaker 1: One it's just it just gives you such unnatural delay.
• 27:06
  Speaker 1: It'd be like if you're walking through a forest somewhere
• 27:09
  Speaker 1: and you raise your voice for a moment and then
• 27:11
  Speaker 1: all of a sudden, if you just be quiet or
• 27:12
  Speaker 1: that silence is loud, all of a sudden you hear
• 27:15
  Speaker 1: it come back and go, oh my god. You know,
• 27:18
  Speaker 1: it's like, how did it come back to me like that?
• 27:21
  Speaker 3: Yeah, you know it sounds like. It sounds like it's
• 27:23
  Speaker 3: kind of similar to i'd be road right, I mean
• 27:27
  Speaker 3: have the echo. I'll basic echo chambers right mm hm,
• 27:31
  Speaker 3: like saying thing studios and then one has an echo chamber.
• 27:35
  Speaker 1: Yeah, because I noticed it when Marvin Gay would do
• 27:38
  Speaker 1: that on on the on the snare or the symbol,
• 27:40
  Speaker 1: there would always be that little echo chamber going on.
• 27:42
  Speaker 1: And everybody used to say, oh, that's his harmonizer. That's
• 27:45
  Speaker 1: the way he programmed his harmonizer. It was. It was
• 27:47
  Speaker 1: done in his way. And that's why classic rock radio
• 27:50
  Speaker 1: needs to put reverb on so it'll bring it out
• 27:52
  Speaker 1: even more. And I'm going, god, I don't know if
• 27:55
  Speaker 1: I want reverb on a radio station. There's already too
• 27:57
  Speaker 1: much in the music.
• 27:59
  Speaker 3: Yeah, then they will still be just washed out of you. Yeah.
• 28:03
  Speaker 1: Yeah, but see that's what I love about music. If
• 28:07
  Speaker 1: people just took the time to really physically listen to
• 28:10
  Speaker 1: the orchestration of everything that takes place, they would become
• 28:14
  Speaker 1: smarter listeners.
• 28:16
  Speaker 2: Yeah, for sure.
• 28:17
  Speaker 3: And like I said, you know, we're talking about earlier
• 28:18
  Speaker 3: and you know what with the we go on even
• 28:21
  Speaker 3: though it's a big anthem, it's the same thing. There's
• 28:23
  Speaker 3: so many I'm gonna going back to that one because
• 28:26
  Speaker 3: there's so many little things that make it big. Yeah,
• 28:29
  Speaker 3: you know. Yeah, and I they listened to it them like,
• 28:32
  Speaker 3: oh wait, there is a like and whatever. There's a
• 28:37
  Speaker 3: there's a guitar being paned to the left as clean
• 28:39
  Speaker 3: as there's a heavy guitar being panised to the right.
• 28:42
  Speaker 2: Well, there's a set of guitars doing one note.
• 28:44
  Speaker 3: It's saying center, you know, And that's that's like the
• 28:48
  Speaker 3: magic this guy I said, if you put in headphones
• 28:50
  Speaker 3: or big speakers, you know, it's I'd like, it's a
• 28:55
  Speaker 3: new experience every single time. But but you'll still walk
• 28:57
  Speaker 3: away every single time. It's you know, singing along to
• 29:01
  Speaker 3: it for sure.
• 29:03
  Speaker 1: Wow. So do you ever walk into a pawn shop
• 29:06
  Speaker 1: and sit there and because to me, in my heart,
• 29:08
  Speaker 1: a lot of that stuff that's in a pawn shop
• 29:10
  Speaker 1: are from musicians that needed a couple extra bucks to
• 29:12
  Speaker 1: get the bus fixed, the car fixed, something fixed inside
• 29:15
  Speaker 1: the house. So they drop it off at a pawn
• 29:17
  Speaker 1: shop and it's like, here comes the real musician to
• 29:19
  Speaker 1: step in there, going, I want that. Just give it
• 29:21
  Speaker 1: to me for now. I'll bring it back so by
• 29:23
  Speaker 1: the time they're coming back to get it, it'll be back.
• 29:26
  Speaker 2: Right right now.
• 29:27
  Speaker 3: You know what it's fight Because I'm endorsed by the
• 29:31
  Speaker 3: Gypson Company. Yeah, so what so what they've done for me,
• 29:35
  Speaker 3: which is really amazing, amazing people and I get to
• 29:40
  Speaker 3: sit down. But you know, with whatever the lu theories
• 29:43
  Speaker 3: and so forth, or if they have guitars ready built,
• 29:47
  Speaker 3: and if you ever go, if you ever go to Nashville,
• 29:49
  Speaker 3: you got to go take the Gypson. I was there.
• 29:51
  Speaker 1: I was there, Yes, I mean when you very second
• 29:53
  Speaker 1: you brought that up, that's exactly where my mind went.
• 29:55
  Speaker 3: I've been there. And what they'll do for me is
• 30:00
  Speaker 3: if there's an existing guitar that I say I need immediately.
• 30:04
  Speaker 3: Sometimes I'll try out a few hundred guitars and like
• 30:08
  Speaker 3: until it's just riot. You know, there's it's just gotta
• 30:12
  Speaker 3: have magic in it as it's the best. Like I know,
• 30:16
  Speaker 3: it sounds cliche, but there is magic in certain guitar instruments.
• 30:21
  Speaker 2: Agree, but they will, they will just let me go.
• 30:23
  Speaker 3: In the corner. I'm like, no, let me try that.
• 30:25
  Speaker 3: Let me try that one, and try that one. And like,
• 30:28
  Speaker 3: for instance, I just got a new and all. I
• 30:33
  Speaker 3: got fifty seven, not fifty seven like the regular standard,
• 30:39
  Speaker 3: but like with the it's a gold top like by
• 30:43
  Speaker 3: fifty seven. But the tone on that thing, that one's
• 30:47
  Speaker 3: got magic. You know, that's you know, it really only
• 30:50
  Speaker 3: takes me one rift and two courts and that's it already.
• 30:54
  Speaker 1: Now, do you ever do you ever run into a
• 30:57
  Speaker 1: situation because I mean, you really are a student of that,
• 31:01
  Speaker 1: that even though you could be in a great conversation
• 31:04
  Speaker 1: with some people at a party, that you hear a
• 31:06
  Speaker 1: certain sound in an area of the room, that's where
• 31:09
  Speaker 1: your mind goes, and then everybody thinks that you that
• 31:11
  Speaker 1: you can't hear them anymore, and I'm gonna I can
• 31:13
  Speaker 1: hear you. It's just that that over there really has
• 31:16
  Speaker 1: my attention. Do you ever get into that situation? And
• 31:18
  Speaker 1: because I mean, and because we're all chastised for that.
• 31:21
  Speaker 1: It's it's not that I'm not listening to you. I
• 31:23
  Speaker 1: hear something and it's like, how am I going to
• 31:25
  Speaker 1: capture that? What am I gonna do? How am I
• 31:27
  Speaker 1: gonna remember that that's what I heard?
• 31:30
  Speaker 3: Oh? Yeah, I do that. I think way too often
• 31:33
  Speaker 3: people you think that you're ignoring them, But no, I can,
• 31:37
  Speaker 3: like you said, I can hear you talking. I'm hearing
• 31:39
  Speaker 3: this frequency going on and whatever could be anything could
• 31:42
  Speaker 3: I'm with you, you know, it.
• 31:43
  Speaker 2: Could be like you said.
• 31:44
  Speaker 3: It could be like you said, someone saying to rubber
• 31:46
  Speaker 3: hose and Henry stable, or the sound of an engine,
• 31:49
  Speaker 3: or it could be anything.
• 31:50
  Speaker 1: Or click, that's right, that's right.
• 31:53
  Speaker 3: Yeah.
• 31:53
  Speaker 1: Your reaction is always that because it's it's intrigue. It's like,
• 31:56
  Speaker 1: oh that wow, let me go see what that is?
• 32:00
  Speaker 3: All right? And right? And then and then I then
• 32:03
  Speaker 3: I go, okay, and that'll be with our friend Charles,
• 32:06
  Speaker 3: like okay, I had to say clutching thing, and I
• 32:10
  Speaker 3: try to describe it too, and then we tried to
• 32:12
  Speaker 3: figure out how to do it. And you know, and
• 32:15
  Speaker 3: like in most kids, like we don't use samples, you know,
• 32:18
  Speaker 3: we just we just this fine stuff around in his
• 32:21
  Speaker 3: you know, his studio, and and I don't know.
• 32:24
  Speaker 2: That's fun, you know, to me, that's fun as well.
• 32:26
  Speaker 3: It's trying to create something that you heard it could
• 32:30
  Speaker 3: have been like obviously four weeks earlier, like you said
• 32:33
  Speaker 3: at the airport.
• 32:35
  Speaker 2: Yeah, it would be something silly as that, you know.
• 32:37
  Speaker 3: Wow.
• 32:38
  Speaker 1: See, that's the way he was when we used to
• 32:40
  Speaker 1: create commercials together, is that he would And I think
• 32:43
  Speaker 1: that's one of the reasons why I was so inspired
• 32:45
  Speaker 1: by him, is that he wouldn't settle for second or
• 32:47
  Speaker 1: third best. It had to be the absolute best. And
• 32:51
  Speaker 1: we were going to do whatever it took. And and
• 32:53
  Speaker 1: when you went, when you would go do vocal work
• 32:55
  Speaker 1: for a commercial, you weren't going to be in there
• 32:57
  Speaker 1: for ten or fifteen minutes. You're with Charles, And when
• 32:59
  Speaker 1: you're with Charles, you were going to be in there
• 33:01
  Speaker 1: for a while.
• 33:03
  Speaker 3: Yeah. And that's the funny thing with Charles and I
• 33:05
  Speaker 3: is that we're we're identical that way. And I have
• 33:09
  Speaker 3: to say the stammer that both of us, I think
• 33:12
  Speaker 3: it would be hard to keep up with me and
• 33:14
  Speaker 3: probably most of the books with him. I know he
• 33:17
  Speaker 3: makes the joke because Mike, don't anybody know that I
• 33:20
  Speaker 3: do these crazy hours. This is really funny because him
• 33:24
  Speaker 3: and I will do easily. I mean when we always
• 33:29
  Speaker 3: say we're we're going to book a day right where
• 33:32
  Speaker 3: I only needed like I already know, like what he
• 33:35
  Speaker 3: did say, I don't like four or five hours, right,
• 33:38
  Speaker 3: And this happened like not even like Saturday before he
• 33:41
  Speaker 3: came out here. It was on Friday, right to Atlanta.
• 33:44
  Speaker 3: And I said, you know, but bike, but have to
• 33:47
  Speaker 3: be done by eleven o'clock. This is one in the afternoon, Okay.
• 33:50
  Speaker 2: No problem right now.
• 33:51
  Speaker 3: Is gonna go nice thing at five in the morning.
• 33:56
  Speaker 3: He's like, I think I got to go. But him
• 33:58
  Speaker 3: and I always will do fifteen hours. But we have
• 34:01
  Speaker 3: the stamina. But then to do it, and we just
• 34:05
  Speaker 3: start chasing things like we know, we change this one
• 34:08
  Speaker 3: thing here, now it's to change these other four things.
• 34:11
  Speaker 3: Because he changed the one thing.
• 34:13
  Speaker 2: It doesn't sound the same anymore.
• 34:15
  Speaker 3: As you know, one one hurts, you know one way
• 34:18
  Speaker 3: or the other will actually change the everything. Now you
• 34:21
  Speaker 3: have to change your mix at least how we are well.
• 34:25
  Speaker 3: And then you hear things and like a quick example
• 34:30
  Speaker 3: like say like this, Tony will sometimes I he'll step
• 34:36
  Speaker 3: on a mic stand when he sings, or a lot
• 34:39
  Speaker 3: of times he's sitting from sitting on a chair and
• 34:41
  Speaker 3: hear a little squeak and then he'll say, so you're
• 34:44
  Speaker 3: hearing to squeak that happens to be the same frequency
• 34:47
  Speaker 3: of the guitar of where the same time the drummer's
• 34:50
  Speaker 3: hitting the snare, and they all happen to be the
• 34:52
  Speaker 3: same note. So we have to figure out how we
• 34:55
  Speaker 3: sort of either remove it or align them all, you know,
• 35:00
  Speaker 3: it out so that nobodys getting washed out right, right,
• 35:05
  Speaker 3: And that happens more frequently than people are realizing. And
• 35:09
  Speaker 3: I know, Charles, that does definitely stick with for that.
• 35:12
  Speaker 3: And but yeah, see I'm Charles.
• 35:15
  Speaker 1: I'm a huge fan of that kind of stuff, those
• 35:17
  Speaker 1: natural sounds, because I mean, to me, when I'm listening
• 35:19
  Speaker 1: to a song and I can't quickly identify it like that,
• 35:22
  Speaker 1: I think subconsciously my mind is going, oh, I've heard
• 35:24
  Speaker 1: that sound before. I feel like I've been invited to
• 35:27
  Speaker 1: a home I've been to before, and it makes it
• 35:29
  Speaker 1: sound so real to me that because you're using something
• 35:32
  Speaker 1: that is just so natural.
• 35:35
  Speaker 3: Right, absolutely, Yeah, I mean I always say I love noise. Yes,
• 35:42
  Speaker 3: you know, it doesn't matter, it's still I mean, look,
• 35:45
  Speaker 3: you know, as you know, my own a tuning company,
• 35:47
  Speaker 3: and you know all music is based on this, you know,
• 35:52
  Speaker 3: whatever the frequencies, I go back and forth, right the
• 35:55
  Speaker 3: eight four forty is it's moving at that speed, you know.
• 36:01
  Speaker 3: So everything everything you hear has a pitch. Everything you
• 36:04
  Speaker 3: hear there's a note everything. So yeah, wow him and
• 36:09
  Speaker 3: I like so when we are working on things like
• 36:13
  Speaker 3: some I'm saying, we sometimes we get to decide which
• 36:16
  Speaker 3: one do we take out or do we keep all
• 36:19
  Speaker 3: three and spreading a little bit differently?
• 36:21
  Speaker 2: And when I say.
• 36:24
  Speaker 3: Where they're sometimes we leave all Sometimes there's more but
• 36:28
  Speaker 3: birds splitting them by, you know, like you know, ten
• 36:32
  Speaker 3: milliseconds each, which is like cookiness stopping a finger. But
• 36:38
  Speaker 3: when you hear it that way, now you hear all
• 36:40
  Speaker 3: three clear besides, way bigger than if they were all
• 36:44
  Speaker 3: hitting at the same time. Wow.
• 36:47
  Speaker 1: And and of course my mind as a producer, I'm
• 36:50
  Speaker 1: going so that means that you really had to go
• 36:52
  Speaker 1: in there and pay attention to that compression because you
• 36:54
  Speaker 1: could easily compress that out of that.
• 36:56
  Speaker 3: Zone absolutely right. Wow. So yeah, so so we do
• 37:02
  Speaker 3: that all the time, and like you said, I've been trying.
• 37:05
  Speaker 2: To balance you know, you know, taking care of my parents.
• 37:09
  Speaker 3: And then I get like, and you know, Charles his
• 37:12
  Speaker 3: schedule is really crazy as well, so you know, so
• 37:17
  Speaker 3: when I go back to muscle shows usually I tried
• 37:19
  Speaker 3: to grab it like two days, but those two days
• 37:22
  Speaker 3: is you know, like too sixteen hour days, which really
• 37:25
  Speaker 3: increase to me, like five days you have to recover
• 37:27
  Speaker 3: from the sixteen hour days of no product, you know,
• 37:32
  Speaker 3: and and then's last week. You know, it was like
• 37:35
  Speaker 3: for the less two weeks, I went from being you know,
• 37:39
  Speaker 3: like I said, taking care of my parents, and then
• 37:41
  Speaker 3: from that I flew out to Vegas to meet with
• 37:45
  Speaker 3: with Tommy Hendrickson and with Chris Angel and the other
• 37:50
  Speaker 3: There's another secret project going on with Tony and I
• 37:53
  Speaker 3: can't mention that one yet, but the people from that
• 37:56
  Speaker 3: as well say it was one of the biggest.
• 37:59
  Speaker 2: Year and bands and we're working on something.
• 38:03
  Speaker 3: So I flew out to meet with those guys, came
• 38:07
  Speaker 3: back and then back for three days, and then it
• 38:11
  Speaker 3: had a fly to meet and record with Bumblefoot from
• 38:15
  Speaker 3: the Roses and stuff. But there was no direct flights
• 38:18
  Speaker 3: out of Atlanta. So yeah, I flew from Atlanta to
• 38:21
  Speaker 3: Chicago to Philly, drove up an hour and a half
• 38:25
  Speaker 3: to his house, were recorded for a day, and the
• 38:27
  Speaker 3: same thing going back back here for literally two.
• 38:32
  Speaker 2: Days, then throughout to la and it.
• 38:34
  Speaker 3: Was recording at sunset. So that's where the picture is
• 38:37
  Speaker 3: with on board, the Van Hanlin book men, the Van
• 38:39
  Speaker 3: Hala Bood, the Zeppelin Prince support. It was recording that
• 38:44
  Speaker 3: came back here for it. It's crazy, you know. So
• 38:47
  Speaker 3: I'm just trying to maximize every day and you know,
• 38:51
  Speaker 3: if I had a day put me in you know,
• 38:52
  Speaker 3: so wow. Crazy.
• 38:54
  Speaker 1: Where can people go to find out more about you
• 38:58
  Speaker 1: and everything that you're doing except that to secret thing
• 39:00
  Speaker 1: you just let me know about and you know, I'm
• 39:02
  Speaker 1: gonna start digging and asking questions after this day.
• 39:07
  Speaker 3: Yeah, well yeah, I was gonna say, what would give
• 39:11
  Speaker 3: it away is if you look at certain people that
• 39:14
  Speaker 3: like my stuff, you know, that would be the closest
• 39:17
  Speaker 3: thing you can get. But but yes, but you can
• 39:21
  Speaker 3: obviously imper Original is a site and it's extremely thorough
• 39:27
  Speaker 3: on everything in theory. If they want to look here
• 39:30
  Speaker 3: and everything I'm doing musically, then obviously on the Instagram
• 39:35
  Speaker 3: is more thorough than my Facebook. And and that was
• 39:40
  Speaker 3: just Mike Master Official. That's very a difficult one to remember,
• 39:43
  Speaker 3: Mike Master Official.
• 39:46
  Speaker 2: And yeah, and they used toe me with the boards
• 39:49
  Speaker 2: and the guitars and.
• 39:52
  Speaker 3: You know. And like I said, and I'm putting like
• 39:55
  Speaker 3: a lot of teasers of my solo stuff, and I'm
• 40:00
  Speaker 3: you put on some teases of the stuff that Tony
• 40:02
  Speaker 3: and I am doing.
• 40:03
  Speaker 2: In fact, I'm recording.
• 40:06
  Speaker 3: This Wednesday with the drummer from that very smoke and
• 40:12
  Speaker 3: some stuff.
• 40:12
  Speaker 1: So wow, You're you're always on fire, You're always moving forward. Dude,
• 40:17
  Speaker 1: you got to come back to this show anytime.
• 40:19
  Speaker 3: You know.
• 40:19
  Speaker 1: The door is always going to be open, just just
• 40:21
  Speaker 1: send it, send me a note, do something. You know
• 40:23
  Speaker 1: we're going to be opening up that door.
• 40:25
  Speaker 2: I'll be I have to knock it with like a
• 40:27
  Speaker 2: secret knock.
• 40:28
  Speaker 1: That's right, that's right, so that I know that it's you,
• 40:30
  Speaker 1: because I mean, all I have to do is just
• 40:31
  Speaker 1: hear that tone of that knock. I'm going hi, Mike, right, I.
• 40:36
  Speaker 3: Get like Charles, Like Charles, give me like a knock
• 40:38
  Speaker 3: that like gives me a frequency or he'll find it,
• 40:42
  Speaker 3: give me a sharpency with a sub sound. So I
• 40:46
  Speaker 3: knock an arrow store. He knows it's man. He'll find
• 40:50
  Speaker 3: it too.
• 40:51
  Speaker 1: I love it, dude. Man, you have a brilliant day
• 40:54
  Speaker 1: today okay, and lots of prayers to your mom and dad.
• 40:57
  Speaker 2: I appreciate it. Nice, nice being on your show.
• 41:00
  Speaker 3: Yes,