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The Unmistakable Roar Of Rock With JOSH TODD From BUCKCHERRY · HEAVY Music Interviews

• 0:00
  Speaker 1: All right, thanks for joining heavy. Today we're here speaking
• 0:02
  Speaker 1: with Josh Todd, frontman for but Cherry, about their brand
• 0:05
  Speaker 1: new album Raw Like Thunder, that comes out on June
• 0:08
  Speaker 1: to thirteenth. So thanks for joining us.
• 0:10
  Speaker 2: Mate, Thank you for having me.
• 0:13
  Speaker 1: My absolute pleasure. So today we're going to do something
• 0:15
  Speaker 1: a little bit different, Mate, Instead of just talking normally
• 0:18
  Speaker 1: about the album as people normally do, I've actually reviewed
• 0:21
  Speaker 1: the album. So I'm going to go through it song
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  Speaker 1: by song, phase at a time, read it out to
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  Speaker 1: you for the first time and let me laugh I'm
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  Speaker 1: on the right track, and then you can give us
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  Speaker 1: a bit more of a detailed version of what the
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  Speaker 1: song's about. So I'll start with the intro, Mate, So
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  Speaker 1: the intro says, I've always been a big fan of
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  Speaker 1: Buck Cherry and their music. It has always held an
• 0:38
  Speaker 1: infectious era of defiance and a rebellious swager that defies
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  Speaker 1: much of the music that has punctuated the last twenty
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  Speaker 1: five years, with the band making an immediate statement with
• 0:47
  Speaker 1: the classic song lit Up from their self titled ninety
• 0:49
  Speaker 1: ninety nine debut album. So they've always been a band
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  Speaker 1: that's skirts in the shadowy side of the rock realm,
• 0:55
  Speaker 1: defying trends and expectations while still managing to have somewhat
• 0:58
  Speaker 1: of a crossover appeal that devades men others. After losing
• 1:01
  Speaker 1: track of the band for a few years, I caught
• 1:03
  Speaker 1: up again with but Cherry for their sensational Fuck EP
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  Speaker 1: in twenty fourteen and have kept up with every release since.
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  Speaker 1: The bands seemed to find a fresh air of rock
• 1:11
  Speaker 1: drenched goodness on their twenty twenty one release hell Bound,
• 1:14
  Speaker 1: which they carry through to Volume ten two years later.
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  Speaker 1: So it is with a great deal of excitement I
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  Speaker 1: sit to listen to their upcoming album, Raw Like Thunder,
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  Speaker 1: which is scheduled for lease on June to thirteenth. How's that?
• 1:27
  Speaker 2: That's great? Love it? Yeah, we're very excited, you know.
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  Speaker 3: We We've already dropped three songs off the record, Roar
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  Speaker 3: like Thunder, the title track, come on and set it Free,
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  Speaker 3: and everybody's loving it. It's a great record, you know,
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  Speaker 3: and it rocks from beginning to end, and you know,
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  Speaker 3: we're really.
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  Speaker 2: Excited for it to hit the streets nice all right.
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  Speaker 1: So it starts off and but Cherry come out swing
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  Speaker 1: with the title track, a fast paced guitar riff coming
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  Speaker 1: at you like a runaway freight train, almost catching you
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  Speaker 1: off guard with a sudden punch to the face instead
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  Speaker 1: of the customary theatrical intro package it seems to punctuate
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  Speaker 1: a lot of new albums as a modern era. This
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  Speaker 1: in itself is a statement of en chanted I called
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  Speaker 1: to arms if you will, and an emphatic disclaimer that
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  Speaker 1: but Cherry is still the heart of rock and roll
• 2:09
  Speaker 1: some thirty years after their formation. As Josh todd enchers
• 2:13
  Speaker 1: a fight croony, you want the money, you want the fame,
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  Speaker 1: It becomes even clearer that fame and popularity in the
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  Speaker 1: furthest singing from Buck Cherry's minds when they sit down
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  Speaker 1: to write an album. Sure that helps, but it has
• 2:22
  Speaker 1: never been their main focus. Guitarist Stevie Dakinay and Billy
• 2:25
  Speaker 1: Racing were thoroughly enjoying themselves, laying down an impenetrable wall
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  Speaker 1: of sonic intensity that gives the rest of the band
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  Speaker 1: breathing space to do as they will. The first guitar
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  Speaker 1: solo comes in around the ninety second mark and ups
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  Speaker 1: the ending even further for a well placed breakdown led
• 2:38
  Speaker 1: by a slight shuffle of the drums act as a
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  Speaker 1: temporary segue back into a rockfield landscape that is raw,
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  Speaker 1: abrasive and so very much welcome.
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  Speaker 3: Yeah, that's great. I don't know you want to talk
• 2:52
  Speaker 3: about yeah, talking about the song? There about a song, Yeah,
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  Speaker 3: the song. It's just, you know, there's a lot of
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  Speaker 3: distractions in life, you know, as you know, and when
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  Speaker 3: you're trying to stay focused on what it is you
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  Speaker 3: want to do, how you want to make your mark
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  Speaker 3: in life, you know, whatever it is you're passionate about,
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  Speaker 3: whether you want to be a chef or a nurse
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  Speaker 3: or a rock star or whatever. You know what I mean,
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  Speaker 3: It's about kind of trying to get tunnel vision and
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  Speaker 3: to make sure that all those distractions don't affect your outcome,
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  Speaker 3: you know.
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  Speaker 2: And that's what Roar Like Thunder is about.
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  Speaker 1: Hey, Francis Ruins lays down a solid, almost tribal drum
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  Speaker 1: pad and open the next track when the sun goes
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  Speaker 1: down before Totty eases into the fray. Obviously vocal us
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  Speaker 1: to the driving force of any band, but if you do,
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  Speaker 1: it is good and it's consistently as Josh Dodd, he
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  Speaker 1: has an instantly recognizable voice that is is company as
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  Speaker 1: a pair of a v eight Engine and twice as Lethal,
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  Speaker 1: which has always been the hallmark and Butchery success. But
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  Speaker 1: already on Rawl Like Thunder, you can hear the importance
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  Speaker 1: of the entire ensemble with Rui's decay. E hero and
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  Speaker 1: base player Kelly Leminx will stand all stamping their strong
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  Speaker 1: DNA on the album before you reach even halfway through
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  Speaker 1: the second song, which is eccentuated by an early guitaric
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  Speaker 1: that elevates the hot right before Tudd pulls back to
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  Speaker 1: a manageable level. This is vintage but Cherry with a
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  Speaker 1: much hotter underbelly that sounds fantastic. The sunny wall of
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  Speaker 1: aggression bosting back at me now was almost intimidating but
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  Speaker 1: strangely comforting at the same time. Is that even possible?
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  Speaker 2: Yeah, when the sun comes down, When the sun goes down.
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  Speaker 3: As you know, I grew up in Orange County, California,
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  Speaker 3: And when you know in Orange County, you know, when
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  Speaker 3: we were kids, you know, if you want to go
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  Speaker 3: out and meet any girls or anything, you had to
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  Speaker 3: go to the house.
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  Speaker 2: Party, you know. So we were always at a house party.
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  Speaker 3: And those were the first places that I started playing
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  Speaker 3: live at because I was under age, I couldn't play
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  Speaker 3: clubs and and so you know there's always that moment
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  Speaker 3: when you're at a house party where there's lots of girls,
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  Speaker 3: but there's there will will be like one girl in
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  Speaker 3: particular that comes in that just blows at every other
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  Speaker 3: girl out of water, and that's kind of but when
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  Speaker 3: the sun goes down, you know it's about that particular
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  Speaker 3: female entering the club and like I mean the house
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  Speaker 3: and really stopping time, you know, with how hard sheers nice.
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  Speaker 1: Nice hey, come on start to the come on starts
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  Speaker 1: with the blues infused guitar riff that recycles just enough
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  Speaker 1: to make me instantly think to ACDC to Australia's very
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  Speaker 1: own ACDC, not in the sense that it sounds like
• 5:24
  Speaker 1: but sharing and ripping off our greatest ever musical expert.
• 5:27
  Speaker 1: But you can tell someone in the band has been
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  Speaker 1: listening to them. There's sleeves and disharmony written all over
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  Speaker 1: this track. Even the dirty guitars suggests layers of sleeves
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  Speaker 1: feld party times. But it's not a sleazy song, if
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  Speaker 1: that makes sense. What it is is another banger to
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  Speaker 1: start the album with three strikes and counting a wicked
• 5:42
  Speaker 1: guitar solo catches me a little by surprise, but it's
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  Speaker 1: the underlying thut of the bass that seems to be
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  Speaker 1: driving come On. Without even looking at the press release,
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  Speaker 1: I'm guessing this song was released as a single, and
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  Speaker 1: if so, it would have done pretty well.
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  Speaker 2: Yeah, we released it as a single.
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  Speaker 3: We have a lyric video out for it, and they've
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  Speaker 3: got just a great reaction right way.
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  Speaker 2: And we play that song live.
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  Speaker 3: It's amazing live now, like everybody knows it, and it's
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  Speaker 3: a lot of fun live and and uh, you know,
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  Speaker 3: the song is really about like like you can't just
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  Speaker 3: you can't just sit in your room and pray that
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  Speaker 3: everything works out. You got to go get it, you know,
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  Speaker 3: and and you can have it, but it ain't for free,
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  Speaker 3: you know, all the all those melodies, you know, it's
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  Speaker 3: it's just about that, you know, getting in the grind
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  Speaker 3: and going for it. And uh, you know, it is
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  Speaker 3: a haunting melody. So when people hear the chorus live,
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  Speaker 3: they're instantly locked in. Everybody's singing come On, and you know,
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  Speaker 3: it kind of reminds me of Aerosmith that you know,
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  Speaker 3: the chorus a little bit, you know, as far as melodically,
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  Speaker 3: but with you know, the acdc ish type four on
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  Speaker 3: the floor rock rift for sure.
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  Speaker 2: Ye.
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  Speaker 1: Talking about sex changes type considerably, with an almost early
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  Speaker 1: kiss fod punctuiting the initial extent. It's not playing rock
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  Speaker 1: by any means, but it's also not meeting potatoes rock
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  Speaker 1: and roll. The track is more of a throwback to
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  Speaker 1: the disco times, with a healthy dice of instrumentalization thrown
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  Speaker 1: in for effect.
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  Speaker 2: It sounds so good.
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  Speaker 1: I've only just realized the constant mension of the word sex,
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  Speaker 1: which says all that needs to be said. This song
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  Speaker 1: almost feels like sex. It is that beautifully put together
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  Speaker 1: and not even another tasty guitar style if you can
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  Speaker 1: get my mind out of the gutter, absolute banger.
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  Speaker 2: Thanks.
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  Speaker 3: Yeah, that's a quintessential Stevie d riff that That song
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  Speaker 3: went on many different forms. I wrote it, I wrote
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  Speaker 3: a I wrote the whole thing melodically, words and melodies
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  Speaker 3: without any music, and then I sang it to Stevie,
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  Speaker 3: and then then he did his thing and got that together,
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  Speaker 3: and then we brought it to Marty, you know, and
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  Speaker 3: it turned into what it did. But I never thought
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  Speaker 3: talking about sex was gonna fly because you know, people
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  Speaker 3: aren't using sex and rock songs too much anymore, so.
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  Speaker 2: I changed it.
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  Speaker 3: I love it when you Flex, you know, and the
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  Speaker 3: song the song is about Cardi B.
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  Speaker 2: I love Cardi B.
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  Speaker 3: I think she's awesome and she's nasty and she said
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  Speaker 3: she says what she wants to say, and and I
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  Speaker 3: like that. You know, that's the way rock music used
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  Speaker 3: to be for me, you know, and I needed that.
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  Speaker 3: I needed that brutal honesty, you know, I liked I
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  Speaker 3: like that. I like to know what's going on with
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  Speaker 3: an artist and so and and you know, I think
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  Speaker 3: she she can be sexy too, you know. So, uh,
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  Speaker 3: that's what it's about. So anyways, I sang the song
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  Speaker 3: to Marty and he's like, why don't we just call
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  Speaker 3: it talking about sex instead of I Love it when
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  Speaker 3: You Flex? And I go, well, that's what the song
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  Speaker 3: was originally, That's how I wrote it, but like you know,
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  Speaker 3: I didn't know if it was gonna fly. Anyways, the
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  Speaker 3: whole song was inspired. It's about Cardi B, but it
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  Speaker 3: was aspire. It was inspired by George Michaels because I
• 8:47
  Speaker 3: watched the Whim documentary on Netflix and I was blown
• 8:49
  Speaker 3: away by how talented. He is the scope of his talent.
• 8:54
  Speaker 3: I had no idea he was a producer, and you
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  Speaker 3: know that he was just such a gift songwriter and
• 9:01
  Speaker 3: such an amazing singer, you know. And he's got a
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  Speaker 3: song I Want Your Sex, And when I saw it,
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  Speaker 3: I was like, man, it's so good. We got to
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  Speaker 3: have our own, you know, sax song, you know for sure.
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  Speaker 3: And that's when it all started.
• 9:12
  Speaker 1: Fantastic Blackout is up next, and just as I find
• 9:16
  Speaker 1: myself for the first time ever hoping for something a
• 9:18
  Speaker 1: bit mellowy so I can catch my breath, arrives on
• 9:21
  Speaker 1: the back of another blue slide that rolls through into
• 9:23
  Speaker 1: the early stages of the song The Coolest fun Vinnie
• 9:25
  Speaker 1: guitar off between Decaney and Row adds a moment of
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  Speaker 1: distraction before Todd sliding the gear and directs us on
• 9:30
  Speaker 1: our next journey. This is a swirling storm of Butchery's
• 9:33
  Speaker 1: many influences, showcasing moments of blues with lashings of friendly rock,
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  Speaker 1: lays through the hard edge of musicality that acts as
• 9:39
  Speaker 1: an overriding force of intensity. Everything on Raw like Thunder
• 9:42
  Speaker 1: so far sounds unmistakably like but Cherry, but with the
• 9:45
  Speaker 1: volume meter turn past twelve. It is loud, in your
• 9:47
  Speaker 1: face and unapologetic, which in today's increasingly sanitized musical landscape,
• 9:52
  Speaker 1: is as refreshing as it is welcome.
• 9:56
  Speaker 2: Yeah. You know, Blackout originally was not Blackout.
• 9:59
  Speaker 3: It was Warren Chaos, and it was much much angrier,
• 10:04
  Speaker 3: and and.
• 10:07
  Speaker 2: I really liked it.
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  Speaker 3: And but you know, we tried to sell it to Marty,
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  Speaker 3: and he, for whatever reason, he just it wasn't getting him,
• 10:15
  Speaker 3: you know, And I'm really glad, because you know, it
• 10:19
  Speaker 3: probably would have been the wrong choice. And so anyways,
• 10:22
  Speaker 3: he really he really challenged me to go back to
• 10:24
  Speaker 3: the drawing board and and work on it, and so
• 10:27
  Speaker 3: I did, and I made it about you know, my youth.
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  Speaker 3: And you know, before I got sober, I was a
• 10:35
  Speaker 3: blackout drinker. You know, I just I was blacking out.
• 10:38
  Speaker 3: I was passing out. I'm a very skinny guy, so
• 10:40
  Speaker 3: I couldn't hold my liquor, you know. And you know,
• 10:43
  Speaker 3: there was some very funny stories that came out of
• 10:46
  Speaker 3: that as a kid, and so I tried to make
• 10:47
  Speaker 3: it more like that. You know, we made the verse
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  Speaker 3: way more melodic. Before it was it was way more
• 10:54
  Speaker 3: kind of rage against the machine.
• 10:56
  Speaker 2: And so it just all worked out.
• 10:59
  Speaker 3: It all came to the other and is probably my
• 11:01
  Speaker 3: favorite song on the record.
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  Speaker 1: I Go Boom even sounds like a blue song from
• 11:06
  Speaker 1: the title and from the moment the first guitar lickt
• 11:08
  Speaker 1: brings out, I know I'm on the right track. Despite
• 11:11
  Speaker 1: being much heavier intensity, Butcher's music is deeply readed in
• 11:14
  Speaker 1: blues and is more evidence so far in this album
• 11:17
  Speaker 1: that it has been in recent memory. I swear I
• 11:19
  Speaker 1: just heard a bit of brass in the mix somewhere,
• 11:21
  Speaker 1: But before I can isolate the sound, another cavalcade of epic,
• 11:24
  Speaker 1: sweeping guitar catches my focus and I get back to listening.
• 11:27
  Speaker 1: Just with your Enjroyment, an unexpected but awesome basically breakdown
• 11:30
  Speaker 1: takes this deeper into blues town with the grievy and
• 11:33
  Speaker 1: infectious package passage that puts a slightly different spin on
• 11:35
  Speaker 1: proceedings before Todd actually goes Boom, which snaps the vand
• 11:39
  Speaker 1: back into hard rock mode and lead takes us to
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  Speaker 1: the inevitable final explosion.
• 11:45
  Speaker 3: Yeah, I got booms about a sociel path that's written
• 11:47
  Speaker 3: in the third persons. Yeah, it's about like I will
• 11:51
  Speaker 3: watch a lot of true crime. So I've seen I've
• 11:55
  Speaker 3: seen a lot of true crime and study it. And
• 12:00
  Speaker 3: so it's about if I was associopath, how would I
• 12:04
  Speaker 3: How would I think? You know, because they blend in,
• 12:07
  Speaker 3: they blend in with society, and you never know when
• 12:11
  Speaker 3: they're coming, you know. And so I got boomers about
• 12:14
  Speaker 3: associopath stalking his prey whatever. That may be the dark
• 12:19
  Speaker 3: passenger that's going on between his ears.
• 12:21
  Speaker 1: All right, that's what the little breakdown comes into it.
• 12:23
  Speaker 2: Two. That'll be him, like playing it right out, wouldn't it? Yep? Yeah, nice, nice,
• 12:29
  Speaker 2: nice Hey.
• 12:30
  Speaker 1: Another measured guitar on introduces us to set it Free,
• 12:33
  Speaker 1: which surprisingly maintains this more subtle approach once we get
• 12:37
  Speaker 1: through the song's intro. I might be wrong, but so
• 12:39
  Speaker 1: far this is the only song that has continued in
• 12:41
  Speaker 1: the same vein as it started, which is not something
• 12:43
  Speaker 1: I'd normally notice. Not that it is an unwelcome return
• 12:46
  Speaker 1: to musical normality, but I finally get that chance.
• 12:48
  Speaker 2: I wanted to catch my breath that I.
• 12:49
  Speaker 1: Was searching for three or four songs ago. Of course,
• 12:52
  Speaker 1: the Kanian rowe have no intention of letting me get
• 12:54
  Speaker 1: fully settled, ripping out a chunky solo that fractures the
• 12:57
  Speaker 1: serenity before Toddlay is more comforting vocals, despite guitarist insistence
• 13:01
  Speaker 1: on keeping the pace going.
• 13:03
  Speaker 3: Yeah, I said it free as just like you know,
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  Speaker 3: a lot of people talk about what they're going to
• 13:09
  Speaker 3: do and they never do it.
• 13:10
  Speaker 2: You know. It's about action.
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  Speaker 3: And going out there and going, you know, getting after
• 13:16
  Speaker 3: whatever it is that you want to conquer in your life,
• 13:18
  Speaker 3: you know, and taking a risk.
• 13:20
  Speaker 1: Yeah, Hello Goodbye sounds like it could be the first
• 13:24
  Speaker 1: album ballad, and a tempered guitar opening suggests it may
• 13:27
  Speaker 1: well be a track's in for the first slower song.
• 13:29
  Speaker 1: Not bad, but Cherry not bad despite my general apathy
• 13:33
  Speaker 1: towards the inevitable emotional burden that insists on invading almost
• 13:36
  Speaker 1: every album ever released, But Cherry, youve always been one
• 13:39
  Speaker 1: of the few bands who don't make me throw up
• 13:40
  Speaker 1: in my mouth.
• 13:41
  Speaker 2: And you get to it.
• 13:42
  Speaker 1: Think tracks like Sorry and Everything and you'll get my drift.
• 13:46
  Speaker 1: Hello Goodbye doesn't feel like the obligatory heartstring fuller either.
• 13:49
  Speaker 1: It doesn't wreak a record company interference or mainstream crossover potential.
• 13:53
  Speaker 1: It sounds more like a song that means something to
• 13:55
  Speaker 1: the band, and they wanted to include it on the album,
• 13:57
  Speaker 1: not sol that they had to, and it's pretty fucking
• 13:59
  Speaker 1: good too. Put it this way, I might it to
• 14:01
  Speaker 1: the end, which happens less frequently than you would think.
• 14:05
  Speaker 2: Yeah, that's all Marty Frederickson.
• 14:07
  Speaker 3: You know, that was a song that he really liked
• 14:09
  Speaker 3: that he wrote the music and the melodies and he
• 14:12
  Speaker 3: had the only hook he had with the words was
• 14:14
  Speaker 3: hello goodbye, and so I we liked it.
• 14:17
  Speaker 2: So I just.
• 14:20
  Speaker 3: I wrote the words to his melodies, you know. And
• 14:23
  Speaker 3: you know it's about, you know, when sometimes you're in
• 14:27
  Speaker 3: a relationship and it's been a long time and the
• 14:31
  Speaker 3: two of you are growing apart, and you know you're
• 14:33
  Speaker 3: trying to salvage it, but it may be better then,
• 14:36
  Speaker 3: it may be better if you know you just peacefully
• 14:39
  Speaker 3: go your separate ways, you know, And it's heartbreaking, you
• 14:42
  Speaker 3: know what I mean. And so that's what the song's about.
• 14:44
  Speaker 3: And it's all wrapped up in a very beatles Ish
• 14:48
  Speaker 3: type melody, and the.
• 14:50
  Speaker 2: Way the song is structured, it's it's really a lot
• 14:52
  Speaker 2: of fun.
• 14:53
  Speaker 1: Nice takes. The almost retroced the guitar riff pixelf machine
• 14:58
  Speaker 1: gun being with it, another white of the nostalgia and
• 15:00
  Speaker 1: restrained recklessness. What could be easily denigrated into a by
• 15:04
  Speaker 1: the numbers throw back to the nineties quickly becomes a
• 15:06
  Speaker 1: trip back into dirty rock territory, complete with the stuttering
• 15:08
  Speaker 1: passage of guitar and the player that ensures the underbelly
• 15:11
  Speaker 1: machine Gun. It's both beat firmly planted in the popular
• 15:14
  Speaker 1: late nineties rock movement. I will plays breakdown around the
• 15:17
  Speaker 1: three minute mark, fools you down a sonic rabbit hole
• 15:19
  Speaker 1: before the guitar has plunged through to growing darkness and
• 15:21
  Speaker 1: drag us back screaming to the light.
• 15:23
  Speaker 2: Buck Cherry out.
• 15:24
  Speaker 1: Revolutionizing music at all. On raw like Thunder, what they
• 15:26
  Speaker 1: are doing is pushing it and themselves to their very limits,
• 15:29
  Speaker 1: in turn creating a tidal wave of musicality that is
• 15:31
  Speaker 1: wild and unrestrained, that sounded something that has always separated
• 15:35
  Speaker 1: the good bandness from the great ones. And with rawl
• 15:36
  Speaker 1: like Thunder, I believe but Cherry have well and truly
• 15:38
  Speaker 1: earned that status.
• 15:41
  Speaker 3: Yeah, thank you, Yeah. Machine Gun is shooting the good
• 15:46
  Speaker 3: boys down. As one of the lines of the machine Gun,
• 15:48
  Speaker 3: and it's about a girl. It's about a girl that
• 15:52
  Speaker 3: is only into bad boys and just destroys all the.
• 15:55
  Speaker 2: Good boys, you know what I mean.
• 15:56
  Speaker 3: And when I was when I was a kid, you know,
• 15:59
  Speaker 3: there was always those you know, those hot girls that
• 16:03
  Speaker 3: were just some of the bad boys, and like good
• 16:05
  Speaker 3: guys could not get close to them, you know, and
• 16:08
  Speaker 3: they just that for whatever reason, that's the only thing
• 16:11
  Speaker 3: that got them going, you know.
• 16:12
  Speaker 2: And so that's what it's about. Baby, You're a machine gun.
• 16:17
  Speaker 1: Nice, okay, But we still have one more song left
• 16:19
  Speaker 1: for them to prove me wrong. So ladies and metal
• 16:21
  Speaker 1: heads please welcome the final track of the album, Let
• 16:23
  Speaker 1: It Burn. The sounds of an air raids. So let
• 16:26
  Speaker 1: it burn, Baby, the sounds of an air raid side
• 16:29
  Speaker 1: and carry things off before the guitarzig night, which forces
• 16:32
  Speaker 1: the drums to follow, and it quickly becomes obvious that
• 16:34
  Speaker 1: going out with a whimper is not Buck Cherry's style.
• 16:37
  Speaker 1: In fact, we let it burn. They've come up with
• 16:39
  Speaker 1: possibly the best song on the album. If not, it's
• 16:41
  Speaker 1: definitely the one with the biggest point to prove. This
• 16:43
  Speaker 1: track reaches the highs of hard rock, but then pushes
• 16:45
  Speaker 1: them even further with an urgent, prenetic outpouring of emotion
• 16:48
  Speaker 1: that carries through into the music. It creates a swirling
• 16:50
  Speaker 1: maelstrom of uncontrollable rage that is only stifled by the
• 16:53
  Speaker 1: end of the songs relatively short running time. To say
• 16:57
  Speaker 1: Rule like Thunder is a return to form for Buck
• 16:58
  Speaker 1: Cherry would be doing the band injustice. They've never been
• 17:01
  Speaker 1: out of form, but and this is only my opinion,
• 17:04
  Speaker 1: I think they've ever stay outed better. Anybody who thinks
• 17:06
  Speaker 1: rock and roll music is dead or dying should throw
• 17:08
  Speaker 1: this album on the table and then say it. The
• 17:10
  Speaker 1: music alone will be all the punch in the mouth.
• 17:12
  Speaker 1: They need to admit they're wrong.
• 17:14
  Speaker 3: Yes, sir, that's well put. Yeah, let It Burn. There's
• 17:18
  Speaker 3: a history behind that song. You know, it was originally
• 17:21
  Speaker 3: going to be the first single, and you know, we
• 17:23
  Speaker 3: were in Los Angeles and we just got hit by
• 17:26
  Speaker 3: those horrible fires that were you know, basically it was
• 17:30
  Speaker 3: it was the weirdest time in Los Angeles. I'm a
• 17:33
  Speaker 3: I'm a California native born and raised, and it just
• 17:36
  Speaker 3: devastated so many people in their homes and their livelihoods,
• 17:40
  Speaker 3: and it just wasn't a good time to release release
• 17:44
  Speaker 3: that song, you know. But of course it's not about
• 17:47
  Speaker 3: anything about that, you know. Let It Burn is the
• 17:50
  Speaker 3: wrecking machine that Buck Cherry is when we start playing
• 17:54
  Speaker 3: live and we start going out and taking taking your
• 17:57
  Speaker 3: talents by storm, you know, And that's that's what the
• 18:00
  Speaker 3: songs about. And it goes back to my you know,
• 18:02
  Speaker 3: fast paced punk rock roots and like you said, it's
• 18:06
  Speaker 3: a very short song, but it's a barn burner and
• 18:09
  Speaker 3: one that.
• 18:21
  Speaker 2: We you there.
• 18:33
  Speaker 1: Yep, I got cha, Yeah, I got enough there to
• 18:35
  Speaker 1: finish that off that it was perfect.
• 18:36
  Speaker 2: Yep.
• 18:37
  Speaker 1: Hello, okay, all right, yep, right, bro, I got enough
• 18:41
  Speaker 1: to make that inside. Thanks very much for you Tom today, Josh.
• 18:43
  Speaker 1: It's been an absolute pleasure. The album role like Thundery
• 18:46
  Speaker 1: is up tune thirteen and she's an absolute crack of mine.
• 18:49
  Speaker 1: You got my only known for album of the year
• 18:50
  Speaker 1: so far.
• 18:52
  Speaker 2: Thanks so much, and thanks for the kind of words
• 18:54
  Speaker 2: about the record. Your review is great.