Latest / The Chris and Mike Show / #185 - Paul "Neanderpaul" Marshall - Legendary Radio DJ

Transcript

#185 - Paul "Neanderpaul" Marshall - Legendary Radio DJ · The Chris and Mike Show

• 0:09
  And we're live. We are live in a roundabout way.
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  Hey, look, it's Paul Marshall. Hey look man, the legend.
• 0:22
  Right. Yeah, welcome to the Chris and
• 0:59
  Mike show. He's Mike.
• 1:00
  I'm Chris, and a portion of the show is brought to you by
• 1:01
  Riverside FM, the one and only choice for your podcasting
• 1:04
  platforms. Remember, we are live on Twitch,
• 1:07
  YouTube, and is streaming now on Chris and mikeshow.com.
• 1:10
  So if you want to listen to the legendary Paul and Neander Paul
• 1:12
  Marshall who joins us today, you go to one of those platforms,
• 1:15
  you can check the show out live and then obviously we'll drop it
• 1:17
  in a couple weeks when all the editing is done.
• 1:19
  But you get the real rye, real, real raw and organic version
• 1:23
  right here and now. So without further ado, Mr. Paul
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  Marshall is on the show and we are super excited.
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  Paul and I go way back. He did my spots for me when I
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  was advertising on KD, KB, KSLX, super cute, super cool human,
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  amazing rock'n'roll life life resume as I like to call it.
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  So welcome to the show, Paul, How are you?
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  Today, unemployed. I'm sorry, I'm sorry.
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  In fact, for the first time in almost 16 years, so it's, it's
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  a, it's a weird, a weird place to be, but I'm between radio
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  jobs right now, so I have time to to take time out.
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  And I appreciate you guys giving me a little bit of a vine to
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  come hang out on a Friday morning.
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  Or Friday. Well, it's very nice to meet
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  you, man, and we appreciate you coming on for sure.
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  Absolutely. So yeah, I'm looking for another
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  lab. OK.
• 2:13
  So everybody this is Paul Marshall, give them a job.
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  So if I remember correctly, the 16 years ago would have been
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  from KDKB to KSLX. Yeah, I got what this time
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  around is something, they call it a riff, which is reduction in
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  force. I didn't get fired because I did
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  anything wrong and I didn't really get fired.
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  I got laid off but and I'm eligible for rehire.
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  But, you know, the idea that they're going to rehire me at
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  the same radio station seems a little bit far fetched, but let.
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  Me ask you a years. Ago, KDKB got bought by a
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  different company and they decided to change the format.
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  That's usually how I lose the job.
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  I usually lose a job if if the radio station changes format, if
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  there's a new program director, you know, program director is
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  kind of like having a head coach.
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  They want their own quarterbacks.
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  So that's usually how I lose a job.
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  This time around, it was budgetary.
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  My, my number was on a piece of paper and they went, we need to
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  eliminate that number and lower the hole.
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  Here I am, there you are. So it was 16 years ago, it was
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  KDKB when they switched their format.
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  But thankfully the company treated me well.
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  That company treated me very well.
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  And three weeks later I was on KSLX.
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  And then, you know, a 10 year run of mornings with with Mark
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  and then a year in mid days and and then the grass seemed like
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  it was a little bit greener. I got presented an offer and an
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  opportunity that was, I guess in hindsight, too good to be true.
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  And so I decided to go back to a radio station that I used to
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  work at 20 years ago to help, quote UN quote, resurrect the
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  brand. But it turns out that didn't
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  work out. 18 months later and stuff happens.
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  Yeah, it does. Stuff does happen.
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  Mike, you had a question. Now do you just attribute that
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  to a First off, do you guys have some sort of union because I'm
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  familiar with the reduction in force language to where you're
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  eligible for rehire. How does that work in your
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  business? I've been, well, the company
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  that I worked for just now that just riffed me, I've worked for
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  them four or five times before. So it's like, it's almost like
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  pro sports where you go, you can go back to the same station
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  multiple different times. It's that it's never personal
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  unless you do something wrong, you know, unless you do
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  something like break broadcast rules, you'd swear or you do
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  something you know, and, and for unforgivable, right, right.
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  But there isn't there is a union.
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  There's a union called SAG AFTRA, which is the Screen
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  Actors Guild and the American Federation of Radio and
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  Television Announcers. And that union is most radio
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  stations are non union because that union is, is sort of
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  limited. If you're a union member, you
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  could only work for union stations.
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  It is, it is. It's a very limiting
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  environment. And I've only, the only time
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  I've ever been a member of union was when I worked for a radio
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  station in Boston. But it wasn't a SAG AFTRA.
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  It was actually Teamsters. They were IBEW.
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  So I was technically a teamster for a couple years, which was
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  kind of interesting. I don't get, I don't get.
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  The the pension. Because I wasn't vested right,
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  which is an IBEW Brotherhood of electrical workers.
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  I'm a UAW member so that's why I'm familiar with that being
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  rehired. What do you attribute the
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  downsizing to? I mean, I think we all know the
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  answer. I just want to hear your version
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  of how radio is kind of. Look, it's a, there's a, there's
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  an argument to be made that selling radio.
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  Radio is not like any other product.
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  It's not like, it's not like beer, it's not like sneakers,
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  it's not like cars. It's not a tangible thing.
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  And so in order to sell it, you have to have a, a certain, a
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  particular set of skills, if you will, where where somebody can
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  sell an emotion, a connection, and that takes a special talent.
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  And those that are that don't possess that talent usually end
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  up failing in that. So there's a phrase that says
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  when sales fails, the product suffers.
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  So they're having a hard time selling radio to people because
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  for whatever reason, the industry doesn't do the greatest
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  job of promoting itself as the original social network.
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  Like what you're doing right now.
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  This podcast is, is an attempted radio broadcast.
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  Oh, yeah, absolutely. That's what you guys are doing.
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  It's it's you don't, you don't have a job in radio.
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  You're not on a radio station with 100,000 Watt transmitter.
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  So you have figured out a way to put together a show, put it on
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  on the Internet where there are 9 million podcasts.
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  The problem is 8,999,999 suck. There are only there's only a
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  handful of podcasts that are worth going.
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  You know that worth listening to, right?
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  But they're all trying to be radio shows and the radio
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  industry, for whatever reason, is talking about how great
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  podcasting is and how great the content is, yet they don't know
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  how to sell it. They don't know how to they're.
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  So it's it's really a sales issue more than anything else.
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  Interesting, interesting. Monetizing, monetizing the
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  content, I think is. Is so there's a disconnect
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  there, right? Is that what you're saying?
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  I think so, but again, again, I don't.
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  I don't work in sales, so I don't.
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  I just ask you, I'm just asking your opinion because you've been
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  in the business 40 years, you know, you definitely have an
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  inside view of, and I want to ask you this question too, is
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  what was radio like when that was the only medium and you guys
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  had all the power, right? You guys were the stars back in
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  the day. It's still no, it's here's
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  that's this is a great example of the radio industry failing to
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  acknowledge what it is. Over 90% of Americans still
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  listen to the radio every week. Any business, any organization,
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  any corporation, any product that has 90% saturation in
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  America will be thrilled. Should be able to print money.
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  I agree with that, but there was a time when that was the only
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  option too, right? Well, yeah, that was back in the
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  20s. I mean, you know, the once the
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  radio has been dying since television, and then cable
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  television and then the PCR and then the Internet and then like
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  whatever other, and then the Xbox and then Spotify and then
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  and for all these things, radio has been dying.
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  And yet still, after all of those proclaimed deaths, it's
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  still here, you know, 100 years. Later it's.
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  Still here, but it just does a terrible job of, of, of pounding
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  its chest and talking about how it is the first social network
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  when somebody dies. When Ozzy died, first thing you
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  did was go to the radio station. I, I don't care if the Internet
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  is the place that you wanted to go.
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  You went to the radio station to hear the news immediately
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  because it's the most immediate social network.
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  It's the most immediate interpersonal social network.
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  You can read stuff on on on a screen on the Internet.
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  Yeah, actually I went to your page because you're really good
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  at announcing when people. Die because that's my job.
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  Sure, right. So it's my job to be connected,
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  to be the conduit through which people get their information
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  from the music industry to to you.
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  So you had said something earlier off Mike's question and,
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  and I think you're brilliant at this.
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  I don't know if I'm going to, I'm going to, I don't know if
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  I'm going to state it right again.
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  But you talked about how you're connecting and you're, you're
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  building the stories with the listeners, things like that.
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  Like, I gravitated towards your show on KDK because number one
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  was afternoons and being in real estate, Katie KB was always on
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  my office, in my in my office. So all the little things you
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  would do. Like the?
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  Record stuff and you're welcome. But that that connected, that
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  resonated. So you know, I had all the
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  stations that I could advertise on.
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  I started with with KDKKUPD overnights when Pratt was still
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  there. But then I gravitated towards
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  KDKB because I really liked your afternoon drive stuff and how
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  you were or not afternoon drives your mid days.
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  But I, I enjoyed that to the extent that some of the things
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  that you did on the show, then I ended up, I would take Jake, I
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  told you that before Jake and I would go to see your records and
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  look for records and shit just based on the fact that that was
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  something you shared and did and your love for vinyl and the
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  album covers. And Mike and I have talked about
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  before this, do you know, they don't make music like they used
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  to as far as the covers and the albums and artwork and things
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  like that. But that was something that
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  connected with me, and I'm sure it also connected with thousands
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  and thousands of our listeners in Arizona because that's you.
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  You're. Reinforcing my point, right?
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  Yeah, and here's why I didn't. You're always approaching.
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  I didn't mean to diss radio on any level, but I must be unique
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  in that. Paul, I couldn't tell you the
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  last time I turned on a radio station.
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  And the way I know you is because when I moved back to
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  Illinois, it was 2010 when I got my current job.
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  And for me, I remembered KSLXKD KB.
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  So I would turn you on in the afternoon because I was working
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  a 12 hour shift and that was my only option back then because
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  Spotify wasn't around. There wasn't a music platform
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  for me to go to for music. Radio was still it.
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  That's my point. And there's a lot of people in
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  my boat who, like Chris said, would go to you in the 90s or
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  somebody who was there at the time to find out what is the
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  latest music, Who do I go listen to?
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  Why do you like it? And that meant something to me
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  that you liked it right back then, credibility, you guys were
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  the stars, that was. My point?
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  Credibility. Absolutely.
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  I'm not saying it's not still there.
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  My mother listens to the radio every day.
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  You know, there's, like you said, there's 90% of Americans
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  still do. I'm in that 10%.
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  So I've been away from it for so long.
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  There was no disrespect there meant at all, man.
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  Not at all. I think what, what you're, what
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  you're pointing out is what is a, what is a public
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  misperception? And then, then I just, I would
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  ask you the question, why don't you listen anymore?
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  Because I can't stand commercials.
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  You listen. You listen through.
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  You'll listen through the commercials, though.
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  If you like what you're listening to because you like
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  when you're watching the Super Bowl, I would, yeah.
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  If you like found. A new radio station?
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  I would turn you on to find out what you're listening to.
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  Absolutely. If you like the product, you'll
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  listen through something and, and, and even even with a radio
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  station, like there's no such thing as a perfect radio
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  station. If you're, you know every,
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  there's a, a programming philosophy that every quarter
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  hour, every 15 minutes should be a representation of all the
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  textures and and styles of music that your radio station plays.
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  But everybody knows, not everybody loves every song that
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  your radio stations playing. They're not going to do it.
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  What they do is they trust that if they hear 5 songs and that
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  third song is a song they don't necessarily like, well, they
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  just heard two songs they like and they know they're going to
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  like the next song. So they're willing to listen
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  through. And that happens with every
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  listener. That's every song loses a
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  certain percentage of listeners. But if you, if you build brand
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  loyalty, look, not everybody likes every play in football,
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  but you like the team. Not everybody likes the fact
• 13:05
  that if it's third and long, sometimes a team will just do a
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  draw up the middle. Now, that draw is only going to
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  go for four or five yards. It's going to get stuffed and
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  you're going to punt. But what if it doesn't?
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  Yeah, what if it doesn't? And that's what happens when a
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  new music, when new music comes on the radio.
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  I just played you Black Sabbath. I just played you U2.
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  And now I've got a new song from so And so chances are it's not
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  going to be around in six months.
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  But what if it does? Yeah.
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  What if it becomes the next big thing?
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  And you trust me to tell you about that?
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  And And I put my stamp of approval on it.
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  And then if I'm lucky enough to run into Steven Tyler from
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  Aerosmith and he talks to me like a peer and now I'm now I
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  become basically that again. I mentioned it before, the
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  conduit through which they get their message to you.
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  I get credibility. You get a great song or a great
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  experience or a great story, and Steven Tyler gets gets exposure
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  for his new music. Everybody wins.
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  It's really a communal thing. You can get music anywhere.
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  You can get music anywhere you want.
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  That song is going to be the song is going to be the song.
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  You can't get what comes between the music and that connection
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  anywhere else. And those that are really good,
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  excuse me, I'm making that connection, are the ones that
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  are going to be around. Which is why you got riffed,
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  which is, but, but that's surprising why you got riffed
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  because because you do that man, you're not just like a like
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  when, when, when I went to KDKB and you recorded my spot.
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  I, I, I left that thinking. He's fucking cool guy.
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  Like he's approachable. He's not he's not this arrogant,
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  so narcissistic asshole. You know I'm wasting his time.
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  You you were truly appreciative of me choosing you.
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  Yeah. And hi, because I hired you
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  essentially to to run my to record my spot.
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  That was that was that to me was cool.
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  And had you not been who you were, I don't think I ever would
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  went back and continue to do it because other stations I was on
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  and I didn't get that vibe. But you were just so like just
• 14:57
  I'm, I'm. Paul.
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  You know, radio is cool. And yeah.
• 15:02
  Radio is the please love me business.
• 15:04
  It's it's politics without being political.
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  It's politics. It's a you're voting every day
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  with whatever. If you hit the preset, you're
• 15:13
  voting every day to choose to listen to my show.
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  And so it's incumbent upon me. Nobody wants to turn on the
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  radio and be bummed out. Nobody wants to, wants to.
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  Yeah, I mean, so, so I stay away from politics because it doesn't
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  work. I try to make yeah, I try to do
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  everything universally. If it's funny, it's funny.
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  If it's if it's meaningful from a musical standpoint, then it's
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  meaningful from a musical standpoint.
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  And I'm fortunate enough that I've, for whatever reason, I
• 15:42
  have been able to tap into the music fan because I am a fan.
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  If you look behind me, you can only see a little part of it.
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  That's part of A6000 CD library of music.
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  I still, it's the most important thing in my life.
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  In fact, I've talked to some friends about if I have to move,
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  I'm like, oh boy, what am I going to do with all my CDs?
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  I'm going to pack them up. I'm going to put them in boxes
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  and I'm going to move them and take them with me.
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  Even though I have it all digitized, I have it all on a
• 16:08
  hard drive. I still my music still matters
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  and it matters to a lot of people.
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  Yeah. Well, and that came through in
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  your show for sure. I'm sorry.
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  Yeah, that came through in your show.
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  You know, that's one of the reasons that I've listened was
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  it was very obvious very quickly that you were as big a fan of
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  music as anybody, and that's why you pursued life, you know, as a
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  DJ and hopefully doing the kind of music that you like.
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  That seemed to be a passion for people back then.
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  And to Chris's point, you guys were the rock stars.
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  You know, when you met a DJ for sure in the 80s and 90s, it was
• 16:43
  like meeting somebody unattainable as much as the
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  musician themselves. It's like, hey, that's a guy who
• 16:48
  told me you go listen to Aerosmith.
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  Yeah, you're the gatekeeper. Like when the bands would come
• 16:52
  to the studio, like, you know, you got to sit down with these
• 16:55
  bands and interview them and talk to them and be this.
• 16:57
  That was cool, you know. Yeah, I think it's important
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  people could do it. It's important to measure that.
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  I realize that you're not, you know, those that can do those
• 17:05
  that can't do radio. You know.
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  Those guys are those guys are, are musicians and they're,
• 17:12
  they're outstanding with what they do.
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  But let's not put yourself and you've, you know, there are some
• 17:18
  personalities, radio personalities who try to elevate
• 17:21
  themselves above the audience and like they're some sort of
• 17:24
  Messiah standing on the mountain on top, trying to reach down to
• 17:28
  the quiet, to the to the people. And I'd I've never found that to
• 17:32
  be effective. I think the only difference
• 17:34
  between you and me is I have this microphone and there are
• 17:38
  speakers and and that's really I, I found that that's just the
• 17:41
  best way to go because there but for a budgetary decision,
• 17:46
  there's no difference between you and me.
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  Right, sure. Oh yeah.
• 17:49
  Understood. Let's talk about your your long
• 17:53
  list of of rock rock'n'roll icons you've met over the years.
• 17:56
  What was your? And I know you're going to talk
• 17:58
  Lemmy because you love Lemmy. What was your favorite made to
• 18:01
  like? Look, what was your favorite?
• 18:03
  Like if you if you had the categorize, just one interview,
• 18:06
  one connection you made with just a musician that you can
• 18:10
  Rockstar, not of Rockstar. Everybody's definition that's
• 18:12
  different. But what was the one
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  conversation you had with somebody in that industry that
• 18:17
  you just sat back and like, like, wow, like I just talked to
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  that person. Like I just had a conversation
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  with him. I would say, I would say and,
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  and, and I've had an opportunity to talk to just about anybody
• 18:29
  that I'd want to. I haven't met a Beatle yet, and
• 18:33
  I haven't met a member of The Rolling Stones yet, and I
• 18:36
  haven't met a. Member of Shocking.
• 18:37
  Yet but that's yeah, those are the three that that I haven't
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  you know, I haven't met, but I've I've I spoke to Jimmy Page
• 18:45
  and that was that was humbling. And and I was stupid enough to
• 18:49
  ask Jimmy Page. I said and and it was just it
• 18:53
  was just me being an idiot. I said, Jimmy, you know, we all
• 18:56
  know there's there's a lady who knows all that glitters is gold
• 19:01
  with what word can she get what she came for?
• 19:04
  And and he just, he paused for a second and he says, I don't know
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  you. You'd have to ask for Robert
• 19:12
  that I don't mess with his lyrics and he doesn't mess with
• 19:15
  me guitars. And that was it.
• 19:18
  I was like, I was like, it was like, it was a game show
• 19:19
  question. And then as I sat back after I
• 19:22
  said it, I said, did you just ask Jimmy Page a game show
• 19:26
  question? What's wrong with you?
• 19:28
  But I had to because, because for those that heard that
• 19:32
  conversation, that was, Oh my God, what did he just do?
• 19:37
  And it was a memorable part of it.
• 19:39
  And Jimmy wasn't offended by it. It was stupid.
• 19:42
  I've asked. I've asked Ozzy Osbourne if he
• 19:44
  ever drops the towel when he gets out of the shower and asks
• 19:46
  Sharon if his ass looks fat. What else you say to that?
• 19:53
  You got you got frying pens in the head.
• 19:55
  Yeah. So he was he but they but like,
• 20:00
  if you get into a conversation with these guys and treat them
• 20:04
  like human beings, they will treat you like human beings
• 20:06
  back. So I would say I was.
• 20:10
  Humbled by the opportunity to talk to Jimmy Page.
• 20:13
  But then I've had the other, you know, other times where I've
• 20:16
  I've spoken to big name rock stars and they're, you know, and
• 20:21
  they're just, they're just inviting and and welcoming and
• 20:25
  it, and it doesn't feel like it doesn't feel like I'm talking to
• 20:29
  a legend, you know, which is which is kind of interesting to
• 20:32
  me when. They treat you.
• 20:34
  When they treat you like a peer instead of like when they know
• 20:37
  you know your stuff. I think that's the the big issue
• 20:40
  is if you sit down with somebody and they know you don't know
• 20:45
  what you're talking about, the interview goes bad real quick.
• 20:48
  I can see absolutely. You know, so if they know you
• 20:51
  know what you're talking about, it loosens them up, it relaxes
• 20:53
  them. They know that you're not going
• 20:54
  to blind side them and ask them something stupid like with what
• 20:57
  word can she get what she came for.
• 20:59
  Yeah, yeah. Without naming any names, what
• 21:04
  are the worst? What's the worst thing that ever
• 21:07
  happened in an interview? Oh, that's a good question.
• 21:11
  You can name names if you want. Most people don't want to, but I
• 21:14
  don't care about the name. What do you think is the worst
• 21:16
  thing that ever happened in your radio career, as far as maybe
• 21:19
  somebody just wasn't willing to do it or no?
• 21:23
  Questions are the worst when they just go yes.
• 21:28
  See, that's why we don't interview man, because the the
• 21:30
  interviews are so can be so 1 sided and they're dull and they
• 21:32
  just you have that dead stop and then just like I think the word.
• 21:38
  I think there are situations where you got look, if you don't
• 21:42
  want to be there, don't be there.
• 21:45
  There was a well known, there was a well known sports
• 21:50
  interviewer that and, and I won't mention their name, but
• 21:53
  they had a very famous football player on and they asked, they
• 21:58
  got about two questions into the interview and they recognized
• 22:01
  that the the football player didn't want to be there.
• 22:04
  So they just cut the interview off Nice.
• 22:06
  They're like, all right, well, it's good to talk to you, see
• 22:07
  you later. And that was it.
• 22:09
  They just kicked him out of the studio.
• 22:11
  The weirdest moment that I had in a situation like that where
• 22:15
  things went wrong was actually during a live event in Memphis,
• 22:18
  TN. There was a band called Cool for
• 22:21
  August. You know who they are.
• 22:22
  I've heard the name. Yeah, yeah.
• 22:24
  But there's there's a reason why they're not still around.
• 22:26
  OK. So cool for August are on stage
• 22:29
  and they're it's at a place called the new Daisy Theatre on
• 22:33
  Beale Street in Memphis and they're not going it's not going
• 22:38
  over well. They're a band that you know,
• 22:40
  the line up of the band was was like 7 dust, Jimmy's Chicken
• 22:43
  Shack, Foo Manchu. Like these bands were all
• 22:48
  significantly heavier than cool for.
• 22:50
  August, I remember all those names.
• 22:51
  Right. Yeah, so the cool for August
• 22:53
  guys are not doing well. And, and somebody, somebody
• 22:57
  yells in the middle, you know, in between songs, you suck.
• 23:01
  And of course the lead singer goes over to the microphone and
• 23:03
  goes, you know what, I might suck, but I don't have to go
• 23:06
  back to a $5.00 an hour job tomorrow.
• 23:08
  Well, the crowd did not react well to the Ouch.
• 23:12
  So I had to walk on the stage and grab a microphone and calm
• 23:16
  the crowd down and, and the crowd finally calm down.
• 23:21
  I'm like, look, these guys are here, it's a charity event,
• 23:23
  blah, blah, blah, blah. Christmas time, you know, I was
• 23:25
  trying to do everything I could. Trying to get background.
• 23:28
  And and the lead singer, as everything calms down, I turn it
• 23:32
  with the lead singer. Go, go ahead.
• 23:34
  So the guy goes up to the microphone and he goes F you
• 23:36
  Memphis. Oh, Jesus.
• 23:38
  And so I grabbed the mic off the side of the stage again.
• 23:42
  I go no man, F you go ahead throw it.
• 23:45
  And everybody how held to the stage with whatever they had in
• 23:48
  their hands and it and it was and it went bad.
• 23:52
  In hindsight, I shouldn't have done that, but in the end I had
• 23:55
  to do that. I.
• 23:56
  Had. To take up the audience because
• 23:58
  the audience is what matters. When that band leaves, that band
• 24:03
  leaves and goes to the next town.
• 24:04
  Those people that paid hard earned money, see that band who
• 24:08
  just disrespected them like that, those people stay.
• 24:11
  And those are the people that listen everyday.
• 24:12
  And that's I work for the audience.
• 24:15
  Yeah, I work for the radio station, obviously, but my job
• 24:18
  is to be an advocate for the audience.
• 24:20
  And I'm just, I'll be damned if I'm going to let some band
• 24:24
  badmouth the people that that worked hard, that might have
• 24:27
  worked at a $5.00 an hour job or whatever it was and spent that
• 24:30
  $5.00 an hour to go see your band.
• 24:34
  So that was probably the thing that that went wrong the most
• 24:38
  the the the probably the worst thing that ever happened.
• 24:40
  OK, so here's a here's a total, a total ADHD moment.
• 24:43
  I I have to give a shout out because we have a mutual friend
• 24:46
  on Facebook. He's been on our show, I think
• 24:49
  two or three times. Super cool human, amazing little
• 24:51
  life resume. Don Warnock says hello from
• 24:56
  Kansas. City On's in Kansas City.
• 24:58
  Yeah, and he said also tell him Chuck Armstrong said hi.
• 25:03
  F him up, Chuck. And he said you'll get it.
• 25:07
  Yeah, Chuck was Chuck is. He's a high up in a company
• 25:10
  called Town Square Media. Now he hosts a radio show called
• 25:13
  Loudwire Nights for a company called Town Square Media.
• 25:17
  Chuck was Chuck built my website.
• 25:20
  He was a guy that worked part time for us in Kansas City and
• 25:24
  and is one of the one of the nicest human beings on the face
• 25:26
  of the earth, a solid human being.
• 25:28
  He and his wife are are good people and that's good.
• 25:31
  So tell Don to tell Chuck I said hello.
• 25:34
  You just did right there. You just did right there.
• 25:37
  So website is your website neanderthal.com?
• 25:40
  It is cool. It is.
• 25:42
  Yeah. Up there, there are, there are
• 25:44
  decades worth of audio. I mean, things that I've done,
• 25:47
  I've done talk radio, I've done sports radio, I've worked for
• 25:52
  some of the best rock stations in America, some of which are
• 25:54
  not even there anymore. There it.
• 25:57
  Goes boys and girls neanderthal.com I.
• 25:59
  Was checking it out this morning.
• 26:01
  There's audio, there's video up there.
• 26:03
  There are plenty of things for people to check out if they
• 26:05
  would like to cool. You know, mostly it's mostly
• 26:09
  audio clips from different radio stations that I work for and,
• 26:12
  and most recently, KSOXI didn't put anything up.
• 26:15
  I don't have much up from the current radio station that that
• 26:20
  I worked for because I didn't expect to get fired, so I didn't
• 26:23
  have a lot of audio with me. Right, right.
• 26:27
  I do have some audio, but it's it's not as interesting as the
• 26:30
  other things that you might you might find on the page.
• 26:33
  Yeah, the video has got you'll have interviews with cool with
• 26:39
  Metallica, Sublime. We played when we played with
• 26:43
  Randy Jackson from Zebra. I remember that.
• 26:46
  Yeah, a lot of video, Zebra. I remember that.
• 26:50
  So yeah, a lot of places, you know a lot of things for you to
• 26:52
  waste time on on my web page. So, so you taught me Y&T was
• 26:55
  yesterday and today. Just a shout out for the
• 26:57
  knowledge because we had talked about Y&T and you're like, you
• 27:00
  know, their name was originally yesterday and today I'm like, no
• 27:03
  shit, that one. So you actually, yeah, another
• 27:06
  fun thing, another little fun story about Neanderthal you had
• 27:09
  played little fucking ignorance of Guns and Roses debut album.
• 27:12
  I didn't realize Rocket Queen was on that album because I
• 27:14
  never made it to it when it was the cassette era.
• 27:17
  So you played that, You played that one day on the show and I
• 27:21
  called you and thinking, oh, I got Paul, man.
• 27:23
  I'm like, dude, Rocket Queen's not on Appetite, it's on Chinese
• 27:26
  for Daukashi. You fucking shredded me.
• 27:28
  Which was I would have but it. Was but it was a fun shred.
• 27:31
  Because you know, we had we had something in common, but that
• 27:35
  was, you know, that was fun because I really, I was like,
• 27:38
  holy shit, he's right. And then obviously you're right
• 27:40
  because, you know, but it was just me thinking I was oh, I got
• 27:43
  I got I caught Paul on something.
• 27:45
  You know what's how was Steven Piercey?
• 27:47
  I've been is Steven Piercey a good guy?
• 27:50
  Steven's. He's dry.
• 27:52
  OK, You know, I could see that. I wouldn't exactly.
• 27:54
  Say he is gregarious and outgoing, but he's certainly not
• 27:59
  off putting either. He's just he's he's a, he's a
• 28:02
  pro. He was there to do business, to
• 28:06
  sell his book. And I found him to be, I found
• 28:09
  him to be interesting. But that was one of the problems
• 28:11
  with Rat is Rat was a great band, but they weren't very
• 28:14
  interesting, right? They're not.
• 28:16
  Character. Yeah.
• 28:18
  There was no. Danger there back then.
• 28:19
  No, yeah, they were. They were really good.
• 28:21
  Songs, they were really good songs, but there's nothing there
• 28:24
  was no Tommy Lee in Rat. There's no there's no David Lee
• 28:28
  Roth in in Rat. They were not very.
• 28:31
  Let me ask you this, Paul. You could grab a hold on.
• 28:34
  Let me ask you this because I. I see that you were a guitar
• 28:37
  player. I played guitar for 40 years.
• 28:39
  That's my Forte for sure. What do you think about It was
• 28:43
  about Warren De Martini. He he wrote arguably one of the
• 28:47
  hardest and best licks or riffs in the history with Lay It Down,
• 28:52
  but he never. I agree with you.
• 28:54
  He wasn't flashy enough to be an Eddie Van Halen or a Randy
• 28:58
  Rhodes, but he was technically good enough for sure.
• 29:01
  I think the. The thing about Warren de
• 29:03
  Martini and, and this is something I was just talking to
• 29:05
  a buddy of John, my buddy John in New York about his.
• 29:10
  Tone his guitar. Tone was that AD AM P1 guitar
• 29:14
  processor done tuned to the maximum tuned to to only he and
• 29:22
  George Lynch had that tone. That's a good.
• 29:25
  Comparison. No, they, well, they they had a
• 29:27
  very. Very similar tone.
• 29:28
  They play very similarly and they write very similar riffs.
• 29:33
  But I think that that Warren, he's also an introvert.
• 29:38
  Warren's not. He's not a flashy.
• 29:40
  You know, the extrovert in that band was Robin Crosby.
• 29:42
  For all intents and purposes, absolutely.
• 29:45
  And. And so Warren, I think, was a
• 29:49
  guitar nerd. I think he was nerd like Eddie
• 29:51
  Van Halen, who sat in his room in the corner and just played.
• 29:54
  I don't think he was ever comfortable being on stage and
• 29:58
  being Warren De Martini. And we see it now.
• 30:00
  I mean, he's playing with Steven again and it's he's almost like
• 30:04
  a reluctant Guitar Hero. Agreed.
• 30:07
  But but wrote. I mean look, RAT wrote better
• 30:09
  songs than a lot of their peers. I saw them live and they.
• 30:13
  They kicked ass live man. Well, and a lot of that too by
• 30:16
  the. Way their producer Beau Hill
• 30:19
  gave them a tone. There was a there were certain
• 30:22
  producers that you know, Mutt Lange and and who's the guy that
• 30:27
  was Spencer Proffer, who was Quiet Riot's producer.
• 30:30
  There are certain guys they all have a sound.
• 30:33
  They have a. Sound.
• 30:34
  A certain sound. Roy Thomas Baker, who produced
• 30:35
  Queen and the Cars and the Darkness.
• 30:38
  There was a certain sound and Bo Hill got this unique sound out
• 30:42
  of Rat that was very compressed and very processed and he liked
• 30:47
  to use Simmons drums, a lot of electric drums in their mix.
• 30:50
  Only two bands sounded like that, Rat and Kicks and and if
• 30:54
  you look at them both, it was because they were both produced
• 30:56
  by a guy named O Hill. I saw them live.
• 30:58
  Too. And they kicked ass too.
• 30:59
  I'll give both those bands credit.
• 31:01
  They could pull off those produced albums live it it
• 31:04
  really sounded good. I saw Rat on the City to City
• 31:07
  tour, so it would have been like 1988 and they were in their
• 31:10
  prime, man. Yeah, they were again, Rat.
• 31:12
  Was Rat. If you look down the list of
• 31:14
  greatest hits on their albums, their songs are every bit as
• 31:19
  good as bands that did that, that achieved more that I agree
• 31:24
  with. You more, Yeah.
• 31:25
  Rat was Rat was never. Never a headlining arena.
• 31:28
  Headlining band. That was huge.
• 31:31
  They, you know, they, they could fill hockey arenas, but they
• 31:34
  were never a stadium band. There were some bands, right,
• 31:36
  That were lesser bands who shall remain nameless.
• 31:39
  That ended up as stadium bands, right?
• 31:42
  Sure. Agreed.
• 31:44
  Well. Like Chris said, I.
• 31:45
  Agree with him. Kicks never even attained the
• 31:47
  status of Rat. They opened up for Rat When I
• 31:50
  saw a Rat, that's how I saw them both together.
• 31:52
  And I'd love Kicks was, yeah, they had that bluesy kind of
• 31:56
  ACDC, but with a glam twist to it.
• 32:00
  You know, they put funk, they had funk in there.
• 32:02
  Yeah, there you go. Good work.
• 32:03
  Yes, for sure. Yeah, they never thought about
• 32:05
  that angle. The same kind of funk that.
• 32:07
  Electric Boys and Extreme and a couple of other bands of that
• 32:10
  era. It was a swing.
• 32:13
  It was a funk swing. It was.
• 32:14
  It had had some stank on it, yeah.
• 32:19
  And and. And you got to have some stank
• 32:21
  on the music to make it work, otherwise it's just too
• 32:24
  homogenized to to bland. Even ACDC has a.
• 32:28
  Swing to it. Well, ACDC is the perfect.
• 32:30
  Band, yeah, because they write songs that that riff for guys
• 32:34
  and groove for girls. You don't knew how to swing
• 32:39
  that. Even stuff like Riff.
• 32:43
  Raff, You Can Dance to it. Yeah, yes, good point.
• 32:47
  So. That's they They.
• 32:48
  Found the balance between riff and groove.
• 32:52
  And and that's what I love about.
• 32:53
  Them. I don't know many people that
• 32:55
  don't like ACDC, even they might.
• 32:57
  They might not call themselves an ACDC fan, but there's a
• 32:59
  reason why you hear back in black at every football game.
• 33:02
  That's true. Makes you want to move.
• 33:08
  That's fantastic. So yeah, I still love music.
• 33:13
  What are some other bands that. Came out of that era because
• 33:16
  obviously, you know, we're all about the same age.
• 33:19
  I'm guessing we all know Poison and Mötley Crüe and the bands
• 33:23
  that, like you said, some of them maybe arguably didn't
• 33:26
  deserve the success of other bands.
• 33:28
  What are some bands out of the 80s that people might have
• 33:31
  forgot that you loved? Badlands.
• 33:35
  Thank you. I'm so.
• 33:36
  Glad you said that, Paul. I bought my Gibson Gold.
• 33:40
  Top from Greg chasing a bizarre guitar.
• 33:43
  Yeah, Greg's a good dude. Badlands should have been
• 33:47
  something. God, that album, that first.
• 33:49
  Album is perfection. Blue Murder.
• 33:52
  Tora Tora. Spread Eagle.
• 33:57
  Jeez, Helix. He's a pretty good band out of
• 34:04
  Canada, hey. I could look black and blue was
• 34:06
  a pretty. Good man.
• 34:08
  Back in blue. Yeah, Tora.
• 34:09
  Tora was their their hit. Their hit was put on my walking
• 34:12
  shoes or something. Was that right?
• 34:13
  You know, walking shoes? Yeah.
• 34:14
  Phantom. Water with their two biggest
• 34:16
  hits. Yeah, yeah, yeah.
• 34:17
  I'm looking in my rack. Here I can tell you, Yeah.
• 34:19
  Look at your rack, man. Nice rack dude.
• 34:24
  Fast way. Yeah.
• 34:27
  Oh yeah. Yeah.
• 34:28
  Fast Eddie Clark, Yeah. Fast way.
• 34:30
  Good band. I mean, Tesla.
• 34:34
  Tesla. Tesla.
• 34:35
  Mechanical saw Mechanical restaurants.
• 34:37
  By far one of my favorite albums all time Modern day Cowboy.
• 34:40
  When I heard that opening my This is this.
• 34:42
  Yeah, that. Opening to modern day.
• 34:45
  Cowboy is so cool. Yeah, Tesla's another.
• 34:48
  One of those bands that because they didn't have, they didn't
• 34:51
  have the look a character that that sort of that was over the
• 34:57
  top. All they did was write good
• 34:58
  music, and that should have been enough.
• 35:01
  And they still write good music. They're still out there playing
• 35:03
  and and and and fantastic band. But, you know, bands like, look,
• 35:09
  people don't realize that Tesla's Mechanical Resonance
• 35:11
  came out like a couple weeks before Appetite for Destruction.
• 35:14
  And if Appetite for Destruction hadn't become what it became,
• 35:17
  Mechanical Resonance might have been a much bigger album.
• 35:19
  Yeah, I agree with that. But there was.
• 35:22
  A period of time, you know, there's, there's it was this
• 35:24
  period of like 6 months where just phenomenal bands released
• 35:27
  phenomenal music. Yeah.
• 35:30
  And there's only room for X amount.
• 35:32
  You know, there's so much. That's why I have so much music
• 35:35
  is because there's only room for X amount.
• 35:37
  You can only play 12 songs in an hour on the radio.
• 35:40
  Oh, that's it. That's why you never played
• 35:42
  Estranged. For me, that explains it right
• 35:44
  there. Because it's it's.
• 35:46
  Too long. I kept.
• 35:48
  I kept Mike. Doesn't know.
• 35:49
  I kept every time we would talk, I'd call on the radio and just
• 35:51
  bullshit with him. I'd keep do play as strange.
• 35:53
  She's like, I can't play as strange man.
• 35:54
  It's too long. It's too long.
• 35:56
  It's 9 minutes. Long man, you can't.
• 35:58
  It's like, well, people play. Sweet on Alabama.
• 36:01
  That's a fucking long sound. Not not 9.
• 36:03
  Minutes long. You're thinking of free bird.
• 36:05
  Free bird is 13 Free bird. Yeah.
• 36:06
  Free bird. There you.
• 36:07
  Go. My bad.
• 36:07
  Free bird. Free bird.
• 36:08
  Yeah, but free bird. Free Bird and a Strange are two
• 36:11
  different universes. I know, I know.
• 36:13
  I know Free Bird is one of the greatest.
• 36:16
  Songs of all time A strange It's just a good Guns and Roses song,
• 36:20
  dude. It's a great Guns.
• 36:21
  And Roses song, man, it's a good Guns and Roses song.
• 36:24
  Yeah, yeah, it's one of my favorites.
• 36:25
  It is one of. My actually it's one of my
• 36:26
  favorites. Yeah, that's the problem.
• 36:29
  Radio. It's one of my favorite guitar
• 36:31
  solos for sure. Yeah, yeah, it's one of the
• 36:33
  problems. With with radio, with radio, you
• 36:37
  know, and being on the radio, you don't get a chance to play a
• 36:40
  lot of times your favorite music.
• 36:42
  Because if I were playing just my favorite music, you'd be it'd
• 36:46
  be an audience of one. Like for every one person that
• 36:49
  wants to hear it. Strange.
• 36:50
  There are thousands that would rather hit Paradise City again.
• 36:53
  Yeah, we had talked about that before.
• 36:57
  Yeah. One of our.
• 36:57
  Conversations over the years, I had asked you, I was asked we I
• 37:01
  asked you about the songs that are chosen and played because
• 37:03
  there's so many other songs these artists have that could be
• 37:07
  bigger, better songs. But because of the box that the
• 37:09
  radio's kind of stuck in as far as what what brings a listener
• 37:12
  in and keeps them coming back. Are those Paradise City as
• 37:16
  opposed to the strange? Well, Paradise City is a better.
• 37:20
  Song than a strange right but I'm just I was trying to.
• 37:23
  Think of an example between, you know, you have a band that has
• 37:25
  four or five hits. You're going to you're going to
• 37:28
  constant the radio station. You told me you just you're
• 37:30
  playing the ones that keep people coming back because you
• 37:33
  have to. Well, it's it's like.
• 37:37
  You should do. The the weekend stuff, which is
• 37:39
  really cool, A-Z, you know, and you'd get you'd kind of deep
• 37:42
  dive into stuff. But I think that's where the
• 37:45
  conversation began at that at one of those weekends, you guys
• 37:47
  were doing that because I was like, why don't you play these
• 37:49
  songs from these artists? You play the same thing.
• 37:50
  It's A-Z, but you have all these other things.
• 37:52
  And that's kind of where you educated me on how you have to
• 37:56
  choose music because yeah, go ahead.
• 37:59
  Most people don't want to be. Challenged most people don't
• 38:02
  want to be educated. They want they don't want to be.
• 38:05
  They don't want to be and it's it sounds like I'm being
• 38:08
  condescending and it's not it. They just don't want to be
• 38:10
  challenged. Given a choice between I don't
• 38:16
  know, I'll just use a a classic rock example, Hitch a Ride from
• 38:19
  Boston, which is my favorite song on that album.
• 38:22
  Give it a choice between Hitch a ride or more than a feeling.
• 38:24
  People will choose more than a feeling 10 times out of 10,
• 38:28
  right They? Just do it's.
• 38:30
  Unless they're me and then I'm. Listening to Hitch a ride with
• 38:32
  you? Yeah, but that.
• 38:33
  But that's OK. But that's a that's a an extreme
• 38:37
  minority agree. I know I'm into.
• 38:39
  Minority. You're into minority curses, and
• 38:41
  we know that, but how many? I I guess I agree with what
• 38:47
  you're saying. There's not enough of us out
• 38:48
  there to justify that ever, right?
• 38:51
  There's a reason why. McDonald's is everywhere.
• 38:54
  Sure it's not a great hamburger. I was going to say, watch any.
• 38:57
  Modern day sitcom and that's all you have to know 'cause I can't
• 39:01
  stomach any of them it meets. Brand expectations.
• 39:05
  You know what you're going to get when you go to Starbucks.
• 39:07
  You know what you're going to get when you go to McDonald's.
• 39:10
  You don't go to McDonald's for pizza, Sure.
• 39:13
  And so if I'm sitting on the radio at, at your local rock
• 39:17
  station and I have a choice of playing Back in Black Paradise
• 39:21
  City, I don't know, Black Dog from Led Zeppelin or Dreams in
• 39:27
  the Dark from Badlands, Dreams in the Dark is not going to make
• 39:31
  the cut. There are three or four other
• 39:34
  songs that are going to you're trying to, to attract the
• 39:36
  biggest audience possible and the biggest audience possible is
• 39:40
  attracted by the most mainstream mass appeal music and people.
• 39:47
  Look, I I don't watch American Idol, but I'm in the extreme
• 39:51
  minority there are. We're with you, We're with you.
• 39:54
  But 10s of millions of. People do, so I'm OK being in
• 39:58
  the extreme minority in that. But it's a numbers game.
• 40:03
  Gene Simmons once said it he who sells the most wins.
• 40:05
  It is. It's a business and you want to
• 40:07
  attract the biggest possible audience, and the biggest
• 40:09
  possible audience comes from Paradise City versus estranged.
• 40:13
  Well, I think you. Just proved that in this
• 40:15
  conversation, Paul, we talked about Rat, and Rat was a way
• 40:19
  more technically proficient band songwriting wise than Kiss ever
• 40:23
  was. That's arguable.
• 40:24
  I know those people are going to hate me, but they were not
• 40:28
  marketed like Kiss was. The Walmart of rock bands, Say
• 40:33
  what you want about it, that's what they were.
• 40:35
  They knew how to market themselves at a level that was
• 40:38
  unprecedented even in the 70s. Yeah, I would.
• 40:42
  I would I would argue the Kiss is a better band than you think
• 40:46
  they are. I agree.
• 40:47
  I agree with that, but the stuff that they're.
• 40:49
  But the stuff that's good, you know, stuff like Watching You
• 40:53
  and Mr. Speed and Hooligan and Almost Human, Nobody knows that.
• 40:58
  Nobody cares. Nobody dug dig enough into it.
• 41:01
  But I've got I've got it all over here from, from from album
• 41:04
  #1 all the way through the off the Soundboard records that they
• 41:07
  just put out. So I'm in the extreme minority
• 41:11
  when it comes to that. So I can speak from an educated
• 41:13
  standpoint on it. People want to hear Beth and
• 41:17
  Rock'n'roll all night. Sure.
• 41:18
  Detroit, Rock City and that's it.
• 41:21
  Occasionally to one of my favorite Kiss songs.
• 41:23
  I love watching you, I love Parasite, but you never hear
• 41:26
  Those are songs. Those are fantastic songs.
• 41:29
  But nobody cares, right? And those are better songs than
• 41:33
  some of the stuff that made it on the radio.
• 41:34
  Better than Heavens on Fire, better than I was made for
• 41:37
  loving you, better than lick it up.
• 41:41
  But but nobody went back and nobody went back to listen to
• 41:44
  There are like 6 riffs and kisses watching you that are as
• 41:47
  good as anything Aerosmith or Zeppelin ever wrote.
• 41:49
  Agree, but nobody. Cares.
• 41:52
  Creatures of the Night. Is one of my favorite songs to
• 41:54
  play on guitar and but nobody. Cares, that's it.
• 41:58
  It's such a small minority of people and everybody says, well,
• 42:01
  if there were a radio station that played those songs, it
• 42:03
  would not exist. It wouldn't work.
• 42:06
  It wouldn't work because they only want.
• 42:07
  To hear rock'n'roll all night, one of the worst things that can
• 42:10
  happen at a concert. It's like an Aerosmith concert
• 42:14
  now is here's a song off the new album.
• 42:15
  You can watch the audience react.
• 42:17
  Yeah, Yep. You can watch the audience, the
• 42:20
  kids. The kids will sit there and
• 42:22
  cheer. And those that have been there
• 42:23
  for 30 years will get up and go get a beer or or a tea.
• 42:26
  Yep, 100%. Because you go, you go to the
• 42:28
  concert. Especially bands that have been
• 42:29
  around forever, 4050 years, you go to hear the hits.
• 42:33
  I want to hear every single song you've ever played that did just
• 42:35
  rock the airwaves. And then like you said, here's a
• 42:38
  new song. Fuck, really even Ultra bridge,
• 42:41
  like love Alter Bridge, right? We've talked about Ultra bridge
• 42:43
  love them, but they don't write like they used to.
• 42:47
  But but there's but they're fantastic live.
• 42:50
  Like they're just, they're mind boggling live and just the the
• 42:53
  sheer. Presence of them it but it's.
• 42:55
  One of those things that yeah, Alter Bridge is one of those
• 42:57
  bands that never hit in America like I thought they would have,
• 42:59
  but they're huge overseas, which and they shut up but.
• 43:03
  He's right. For some reason nobody cares
• 43:05
  except the people who really appreciate music like the three
• 43:09
  of us. We love Alter Bridge, but I
• 43:12
  just. Don't understand?
• 43:13
  Why? I guess the market is so over
• 43:16
  saturated with content entertainment wise, you have to
• 43:20
  stand out somehow. Yeah, there is.
• 43:24
  It's an interesting, it's an interesting dilemma.
• 43:29
  We talk about Rat, we talk about KISS, we talk about kicks.
• 43:33
  And there's a very good chance, because you're a music nerd,
• 43:35
  that you can name every guy in the band.
• 43:38
  Sure, you can name every guy in Iron Maiden.
• 43:40
  You can name every guy in Jazz Pro.
• 43:41
  You can name every guy in Rat, Mötley Crüe and stuff.
• 43:43
  Who plays Bates for who plays Bates for Nickelback?
• 43:46
  I don't know you. Have no fucking idea.
• 43:52
  That's my point. My point is there's nothing.
• 43:54
  There's nothing to grab onto. If Alter Bridge didn't get a hit
• 43:58
  song with Before Tomorrow Comes, they will never have a hit song.
• 44:02
  True. Because they.
• 44:03
  Wrote a song that has a huge hook, that has a great riff and
• 44:07
  Miles is 1 of the greatest singers out there.
• 44:09
  Even if he over sings most of the time, his stuff his stuff is
• 44:14
  fantastic. So Alter Bridge has all of the
• 44:16
  elements of a great band except, as Alice Cooper would say,
• 44:20
  where's the song? Yeah, they haven't found
• 44:23
  whatever that song is. 7 Dust. Same thing.
• 44:26
  Fantastic band. Can't write a song that
• 44:29
  resonates enough to breakthrough.
• 44:31
  Yeah. Don't know what it is.
• 44:33
  Yeah. Yeah, where there are other
• 44:35
  bands that. Are you know that have had
• 44:38
  dozens of number one hit songs that I think are mediocre bands?
• 44:41
  Yeah, man, that is an interesting path.
• 44:43
  To travel, I mean, you could do a whole podcast on that.
• 44:46
  Why? Because the song Black by 7 Dust
• 44:50
  comes to mind right away. When it came out, I thought
• 44:52
  these guys are going to be huge. Yeah, that was my opinion.
• 44:55
  And yet. And yet, Limp Bizkit.
• 44:57
  Did it with a cover of George Michael's Faith.
• 44:59
  Right? Right.
• 45:00
  Like the idea that that Limp Bizkit got rich off of music
• 45:03
  that Mike Muir and Suicidal Tendencies pioneered 20 years
• 45:05
  before them is garbage to me. Agree.
• 45:09
  I mean. You've you've got there.
• 45:10
  Are bands like Suit Battle Tendencies and 24/7 Spies and
• 45:13
  Psychophuncopus and Faith No More?
• 45:16
  That came long before, yeah. Oh yeah, yeah, that came.
• 45:19
  Long before new metal. That did this, you know?
• 45:22
  And even the Chili Peppers in their early days were much more,
• 45:26
  much more rap rocky, much more funky.
• 45:29
  That style of music did hit because Limp Bizkit and Corn and
• 45:32
  a couple other bands, all of which are dwarfed by Rage
• 45:35
  Against the Machine, who are the best of that ilk.
• 45:37
  Agree. Sure.
• 45:38
  All of those bands, you know, sit there in, in in my CD
• 45:43
  collection gathering dust while Limp Bizkit was headlining
• 45:46
  stadiums. And they're out again.
• 45:47
  They're out opening for Metallica this time around.
• 45:49
  Yeah, who would have thought that Limp Bizkit would still be
• 45:52
  a thing? Not me.
• 45:54
  Creed Creed, Creed Our. Headlining our headlining
• 45:59
  amphitheatres while Alter Bridge can't fill a can't fill a club.
• 46:03
  I know, it's crazy. It's crazy.
• 46:04
  And but they can go to overseas and they can they can pack
• 46:07
  Wimbley. Like I, I saw the fortress the,
• 46:09
  the, the, the tour they did, which ended up being the
• 46:14
  fortress album where they played with the London, London
• 46:16
  Philharmonic, whatever it was. They they came through the
• 46:18
  valley, they came to Marquee Theater.
• 46:20
  The thing was packed and it was just mind boggling.
• 46:24
  I mean, just, I mean, we were we're on the stage basically.
• 46:26
  And it just watched that 90 minutes because it's rare to
• 46:29
  have a band play over 60 minutes or so.
• 46:32
  They 90 minutes and then an encore because we didn't I
• 46:34
  didn't realize they were the end game was to record that whole
• 46:37
  thing with the Symphony behind them.
• 46:39
  But it just yeah, mind bogging that they just haven't broken
• 46:44
  through, like you said, because of the one hit, but just from a
• 46:47
  talent like Nikki never saw him before.
• 46:49
  Nikki after that show was like, holy shit, Mark Trumani is a
• 46:51
  God, like just how he plays like the oh, he's a beast.
• 46:54
  He's an unbelievable music. He should be unbelievable.
• 46:56
  He should be. You know everybody.
• 46:57
  Talks about one of the things that is lacking in music right
• 47:01
  now is there's no Guitar Hero. He should be right.
• 47:04
  There should be. There's no Guitar Hero.
• 47:06
  There's no. Guy, there's no shredding, you
• 47:08
  know, guitar player, you know, when we were kids growing up,
• 47:10
  you had, you had pictures of your favorite guitar players,
• 47:13
  Eddie Van Halen, you know, those were your that would that was
• 47:17
  your guy. There is no guy out there.
• 47:20
  There's no OK guitar player along that.
• 47:23
  Along that, I got 2 questions for you real quick, Mark.
• 47:26
  But along that line, Mark, I called him Mark, it's Paul.
• 47:31
  I'm thinking of two different things at the same time.
• 47:33
  Anyway, Slash is an icon, right? I don't think we ever look to
• 47:38
  Slash as an Eddie Van Halen or, and I don't think he wanted to
• 47:42
  be looked at that he made himself an icon.
• 47:44
  But I agree with what you just said.
• 47:46
  There's no Guitar Hero, no, but Slash has been around.
• 47:49
  For 40 years, yeah. 40, yeah. 40 years.
• 47:55
  Yeah, he's, which is like a. Retired guitar icon.
• 47:58
  He's an elder statesman. Yeah, like who?
• 48:01
  Again? Who plays guitar for Shinedown?
• 48:04
  No idea. No idea.
• 48:06
  Who plays guitar? For one of my favorite bands
• 48:09
  that nobody cares about, Rival Sons.
• 48:11
  I love Rival. That's a good.
• 48:12
  Band I do. Too.
• 48:14
  You introduce me Rival Sons. That's why I like.
• 48:16
  How about the cold? Do you listen?
• 48:17
  To the cold stairs, Paul. Did I listen to who?
• 48:20
  Cold. Stairs no.
• 48:23
  Check them out. I don't think you're.
• 48:25
  Going to They're along the same lines as Rival Sons.
• 48:28
  Yeah, I listened. I mean, you know.
• 48:29
  There's a there's a band out of Belfast, Northern Ireland that I
• 48:32
  love called The Answer. Nobody cares.
• 48:34
  I'll check them out. They've.
• 48:35
  Got half a dozen. Records out.
• 48:37
  There's a band that's been around for 30 years that I love
• 48:39
  out of England called Porcupine Tree.
• 48:41
  Nobody cares. OK, here's my other.
• 48:44
  Question before I forget Foo Fighters.
• 48:49
  He forgot. Oh, you go from one legendary,
• 48:53
  arguably life changing band to basically another band who
• 48:57
  attained the same level of success.
• 48:59
  They can sell out Wembley. Foo Fighters are a better band
• 49:02
  than Nirvana. That's what.
• 49:04
  I wanted to hear you say thank you.
• 49:06
  Yeah, they're a better than. Nirvana.
• 49:09
  Nirvana was a moment. Nirvana was a Nirvana was a
• 49:12
  pivotal moment in time. I mean, obviously Smells Like
• 49:15
  Teen Spirit was, That's a world changing moment.
• 49:19
  Not many bands have that opportunity to create.
• 49:22
  There was music before Smells Like Teen Spirit and music
• 49:25
  afterwards. And there's.
• 49:26
  But when you think of Nirvana, there's only a half dozen songs.
• 49:31
  Yeah, you know, Nirvana. Nirvana had like a four album
• 49:33
  career and they were on the verge of breaking up when Kurt
• 49:36
  died because their moment had come and passed.
• 49:40
  They were almost done and Utero was considered a failure They.
• 49:45
  Were they were a. Flash in the pan band.
• 49:48
  But their flash was massive. It was massive it.
• 49:52
  Changed whereas. Whereas Foo Fighters have been
• 49:55
  around since 199495 and have had a 31 year, 32 year career.
• 50:04
  So Foo Fighters are are significantly bigger band.
• 50:08
  They didn't have a bigger moment, but they're a bigger,
• 50:11
  better band than Nirvana was. Yeah, Kurt was.
• 50:15
  Kurt was the right guy at the right time.
• 50:17
  Kurt was easily, easily marketable because he had the
• 50:21
  blonde hair and the blue eyes and it looked like he needed a
• 50:23
  hug. I'm not.
• 50:27
  I'm not trying to jump on it. No, but that's true state.
• 50:30
  Nirvana. It's a great visual.
• 50:32
  For people who weren't there, that is a great visual of what
• 50:35
  they marketed. That's exactly what you saw and
• 50:38
  and in a. Sweater with his hair.
• 50:39
  Down in his eyes and he looked kind of sad.
• 50:41
  He looked. He was.
• 50:42
  He looked like he. Needed a hug.
• 50:43
  But that said, yeah, Smells like Teen Spirit is undeniable.
• 50:47
  All apologies is undeniable. Some as You are is undeniable.
• 50:51
  Like there are there are some Nirvana songs that are
• 50:55
  absolutely classic rock. Now listen to Polly.
• 50:59
  Yeah, they're classic rock. Songs and and classic rock has
• 51:03
  nothing to do with age, although it has to be.
• 51:04
  No, it has to. It has to age to a certain
• 51:07
  point, but it is the best of the best of the best.
• 51:09
  And Nirvana have a handful of those, I would say, when it's
• 51:12
  all said and done, Foo Fighters have a handful of those as well.
• 51:16
  I mean, times like these, it's a better song than anything
• 51:18
  Nirvana's ever written. True part of your.
• 51:20
  Song Learn to fly. Is a fantastic song.
• 51:24
  You know, there are there are songs that that you know that
• 51:27
  Dave Grohl has written that are that should stand side by side.
• 51:30
  You hear more Foo Fighters on the radio today than you do
• 51:33
  Nirvana. True.
• 51:34
  That's just true. For sure.
• 51:37
  Yeah, that's true. There's something to be said.
• 51:38
  For that the. Audience has decided Foo
• 51:40
  Fighters are bigger than Nirvana.
• 51:41
  They didn't have a bigger moment, but they're a bigger
• 51:44
  band, right? Well, and all the Nirvana.
• 51:47
  Fans now are old. We're all old man.
• 51:50
  You know, I think that. I think that, but there's
• 51:55
  there's something to be said for that though, because like you
• 51:58
  mentioned, a band like Led Zeppelin, Why didn't Led
• 52:00
  Zeppelin get so dodged? I was, I was just going to talk
• 52:03
  to you about Led Zeppelin. I was going to say, let's get to
• 52:05
  let's get the zed, let's get the lead out, Paul, because Mike and
• 52:07
  I talk about Zeppelin all the time.
• 52:08
  It doesn't matter what song comes on from Zeppelin.
• 52:11
  It's still relevant here and now.
• 52:12
  OK, wait, the record. Let me ask him.
• 52:13
  Real quick. Yeah, go ahead, go ahead.
• 52:17
  I want to get his take on. This before you ask your
• 52:19
  question. Maybe you're going that way.
• 52:21
  I'm sorry. Go ahead.
• 52:21
  Go ahead. No, you're good.
• 52:23
  Go ahead. Why does LED?
• 52:24
  Zeppelin always sound fresh. It doesn't sound like 19. 70 or
• 52:31
  60 or 80 or because. Jimmy Page and Eddie Kramer and
• 52:38
  Andy Johns and Glenn Johns had ears that are timeless.
• 52:42
  The production values on those records are There is something
• 52:48
  about Led Zeppelin. That is intangible.
• 52:53
  I can't imagine sitting in those studios.
• 52:56
  I can't imagine sitting in those studios and having them finish
• 52:59
  playing back the the recording of What to say in my Time of
• 53:03
  Dying and just sitting there going.
• 53:07
  I think we got it. Like I, I like there's
• 53:09
  something, there's some, there are certain bands that have
• 53:12
  that. ACDC has that, Aerosmith has
• 53:14
  that, Led Zeppelin has that, you 2 have that, the Stones have it.
• 53:17
  There's an intangible greatness, but there's something to be said
• 53:23
  for the production values. Whatever it was that Jimmy Page
• 53:30
  heard and Andy Johns and Eddie Cramer and and and and Glenn
• 53:35
  Johns and all of the people that engineered and worked in would
• 53:39
  Led Zeppelin, there's something that they heard.
• 53:44
  I don't know. It's a.
• 53:45
  It's a. Special sauce.
• 53:46
  Why was Jerry Rice the greatest football player we've ever seen?
• 53:50
  Because there's just an intangible it that's there.
• 53:54
  And I don't know what it is, but Led Zeppelin have it.
• 53:59
  And I didn't want to say has had it because no, because they do.
• 54:03
  Because they still have. It there's still something to be
• 54:06
  said for hearing the ocean, or something to be had said for
• 54:08
  hearing over the hills and far away, or something to be said
• 54:10
  for it doesn't matter what you play from Led Zeppelin.
• 54:14
  It it's it becomes the barometer.
• 54:17
  That drum sound is the barometer.
• 54:20
  It's pure. It identifies the best the rock.
• 54:25
  It just. Identifies.
• 54:26
  If you said to yourself, what is a guitar riff?
• 54:28
  Heartbreaker is a guitar riff. If you said, you know, what is a
• 54:32
  lyric? It's it's what Robert Plant sang
• 54:35
  in Stairway. You know, drum sound.
• 54:37
  What is a drum sound? It's the beginning of when the
• 54:39
  levee breaks. Like when you hear that, when
• 54:42
  you hear that, it becomes, it becomes the arbiter.
• 54:45
  It becomes the barometer upon which everything is measured
• 54:48
  against. And Led Zeppelin set that
• 54:50
  barometer for everybody. Trust me, the worst thing to be
• 54:54
  during that period was The Who and The Rolling Stones, because
• 54:59
  no matter how good The Who and The Rolling Stones were, Led
• 55:01
  Zeppelin would release an album. They're like, Jesus, here we go
• 55:04
  again. Yeah, yeah, yeah.
• 55:06
  I don't know what to watch. Have you ever watched the
• 55:08
  documentary Becoming Led Zeppelin?
• 55:10
  Yes. Yeah, that's fascinating.
• 55:13
  That's mind boggling. If nobody, for those of you out
• 55:15
  there, if you've never, if you've never watched that
• 55:17
  documentary, go watch that documentary and you will
• 55:18
  understand a little bit more why Led Zeppelin is who Led Zeppelin
• 55:21
  is. And before he gets too far.
• 55:23
  Away from this point. That's why I wanted him to say
• 55:25
  that because I've heard Jimmy Page say it and I just saw it
• 55:28
  again in another interview that he recently did.
• 55:31
  The first time they ever played together was in a room that was
• 55:35
  barely the bigger than the size of a closet.
• 55:38
  But he said as soon as they finished the first song, they
• 55:41
  all looked at each other and they with no words spoken, they
• 55:44
  knew there was something special there.
• 55:46
  That's all it took was one song. Yeah.
• 55:48
  You can't create chemistry. It either exists or it doesn't,
• 55:51
  and Chris and I know that because.
• 55:53
  We had our best time with the four of us in Nemesis.
• 55:57
  There was no better time because the four of us were all on the
• 56:00
  same page, focused in the same direction.
• 56:03
  And like you said, you can't compete with that.
• 56:06
  Yeah, when you have a when? You have A and I, I've been in
• 56:09
  bands as well. And the band, the band that I
• 56:12
  was in that went through a multiple lineup changes.
• 56:15
  There was one period of time where the five of us together,
• 56:18
  that was the band that was either going to make it or it
• 56:20
  wasn't. Yeah, yeah, yeah.
• 56:22
  And when and when 1 member changed, that was the end of it.
• 56:26
  There are very few bands that are able to go through a member
• 56:30
  change, a line up change and and become better.
• 56:33
  You know, the argument to be made ACDC, Genesis, Journey, Van
• 56:38
  Halen. You know, there are bands that
• 56:40
  were, you know, but like when Aerosmith, when Jimmy, when Joe
• 56:44
  Perry and Brad Whitford left and they were replaced by Rick Dufay
• 56:47
  and Jimmy Crespo, it wasn't the same.
• 56:50
  Those guys are good guitar players, but it wasn't the same.
• 56:52
  The chemistry wasn't the same as good as Jason Bonham played at
• 56:58
  the O2 Arena in 2007. They understood.
• 57:02
  They got away. With it, yeah.
• 57:04
  You know what I mean? Like they understood.
• 57:06
  You can't. You can't.
• 57:07
  Led Zeppelin reunited 5 or 6 times since John Bonham died,
• 57:11
  and four out of five of them sucked were disasters.
• 57:15
  Correct this. It doesn't work.
• 57:17
  So you have to be able. To chemistry is something that
• 57:20
  is organic. You know, if The Beatles hadn't
• 57:23
  split up and tried to continue with different members, God help
• 57:27
  you now. Then there's the other side of
• 57:29
  that. But then there's the other side
• 57:31
  of that. You got The Rolling Stones
• 57:32
  where, you know, my favorite era of The Rolling Stones on the
• 57:36
  Mick Taylor years because it has stank on it.
• 57:40
  You know, I'm not a Brian Jones guy and Ron Wood is along for
• 57:45
  the ride. As much as I like Ron Wood and
• 57:46
  his work and faces, he's along for the ride.
• 57:48
  The Mick Taylor years, you know, those are the ones that that's
• 57:52
  that that stank that have because I think.
• 57:55
  I think Mick Taylor pushed back against Mick Jagger and Keith,
• 57:58
  right? Ron Woods never going to push
• 58:00
  back. I think Mick Taylor was a little
• 58:02
  bit of he had to have some kind of push back or they never would
• 58:05
  have allowed that. I agree with that statement a
• 58:07
  lot. Friction works.
• 58:09
  Yeah, friction works. Look.
• 58:10
  You know. Pete Townsend and and Roger
• 58:13
  Daltrey hate each other. They, they, they love each
• 58:17
  other, but they hate each other because they aggravate the hell
• 58:20
  out of each other when they're when they're making music.
• 58:22
  But there's nobody else that can sing Pete Townsend music better
• 58:26
  than Rodger Daltrey. And Pete is is intelligent
• 58:29
  enough to recognize that Rodger is the voice for his music.
• 58:32
  David Gilmour and Rodger. Waters, same thing.
• 58:35
  Look the guys in. Aerosmith, They barely talk to
• 58:37
  each other when they're not on stage.
• 58:39
  It's, you know, Eddie and Dave, you know, and, and I imagine
• 58:44
  that Jimmy Page and Robert Plant irritate the hell out of each
• 58:46
  other. There's something to be said for
• 58:48
  friction out of friction. Can can can be magic I heard.
• 58:54
  Excuse me, I heard Robert Plant tell Dan Rather it's a lot like
• 58:58
  being married when you've been stuck with somebody.
• 59:03
  He had a better word. You know, you're basically woven
• 59:06
  together. You know, the point we just
• 59:08
  made, the four of them made Led Zeppelin.
• 59:11
  You can't just pick somebody else to write songs with.
• 59:14
  So he said. It's a lot like being married.
• 59:16
  You just want to get away from that person every now and then
• 59:19
  when you've known him or been together and forced to be in
• 59:22
  this partnership for 40 years. Well, I mean, whatever.
• 59:26
  The Firm should have worked on paper.
• 59:29
  No question. On on on paper.
• 59:31
  You had a phenomenal band. You've got, you know, Chris
• 59:33
  Slade on drums, Tony Franklin on on bass.
• 59:36
  So there's a there's a solid rhythm section right there and
• 59:39
  Jimmy Page and arguably one of the greatest pure vocalist in
• 59:42
  the history of music, Paul Rogers.
• 59:43
  Paul Rogers. It should.
• 59:45
  Work on. Paper.
• 59:46
  It should work, but it didn't. There were a couple of magical
• 59:49
  songs that came out of that collaboration, but that's it.
• 59:53
  Yep. They it should have worked.
• 59:55
  On paper, you know, you can't just slam Audioslave, you can't
• 59:58
  just slam the three guys from Rage Against the Machine and
• 1:00:00
  Chris Cornell together and hope that it works.
• 1:00:03
  There were moments, but overall, Velvet Revolver.
• 1:00:08
  Yeah, right. I was just saying.
• 1:00:09
  Let's talk super bands, because these are all super bands.
• 1:00:12
  Velvet Revolver, same thing, right?
• 1:00:14
  And yeah, you you try to put those things together.
• 1:00:18
  There were moments. I saw Velvet Revolver's first
• 1:00:21
  show at the El Rey Theatre in Los Angeles.
• 1:00:23
  They did a showcase. It was a four song showcase
• 1:00:26
  radio convention and it was mind blowing to see that moment.
• 1:00:32
  But then when the records came out there were half a dozen
• 1:00:35
  songs on 2 albums. There are 6 songs that are worth
• 1:00:37
  remembering out of the I can only you know, two dozen.
• 1:00:40
  Songs that they wrote. Yes, Slither.
• 1:00:45
  And fall the pieces. Fall the pieces.
• 1:00:47
  Fall the pieces. When I was thinking of because
• 1:00:49
  that's the only one that just slither and fall the pieces.
• 1:00:51
  Are the only ones that anybody cared about?
• 1:00:53
  Yeah, Asia memory. Both on the 1st 2:00 first first
• 1:00:59
  couple of Asia records. Are good.
• 1:01:00
  First Asia record is great. Yeah, yeah.
• 1:01:03
  Agreed with that. That was the first rule of super
• 1:01:05
  group, wasn't it back in the 80s?
• 1:01:08
  No, I mean, I mean, there's an argument to be made that there's
• 1:01:11
  an argument to be made that cream was a super group.
• 1:01:14
  Oh, that's a good. Point.
• 1:01:15
  That's a good point. That's why I asked the question,
• 1:01:17
  Paul. There's a, there's an argument.
• 1:01:19
  Between, you know, I mean Blind Faith, you got Steve Winwood and
• 1:01:22
  Eric Clapton in the same band. You know the Super group thing,
• 1:01:27
  you know, some people called Led Zeppelin a super group because
• 1:01:30
  Jimmy Page was a member of The Yardbirds, but but nobody else.
• 1:01:35
  I mean, John Paul Jones was a was a a known studio entity, but
• 1:01:39
  but John Bonham and Robert Plant were nobodies.
• 1:01:42
  They were playing at bars at. The time, nobody.
• 1:01:44
  Who were? They were, yeah.
• 1:01:45
  Nobody. No.
• 1:01:47
  So. But.
• 1:01:48
  You get one guy you can't on paper.
• 1:01:52
  Here's here's an 80s super group for you.
• 1:01:53
  That people that ate absolute dog and that was contraband.
• 1:01:59
  Oh yeah, over there. Steven Pearcy, right?
• 1:02:03
  Contraband was. Let's see if I can name all the
• 1:02:06
  members now. Bobby Blot, Sir Tracy Guns.
• 1:02:10
  OK. No Tracy guns from L.A.
• 1:02:12
  Guns. Bobby from Rat, Cher Peterson
• 1:02:15
  from Vixen, a guy named Richard Black from a band called Shark
• 1:02:21
  Island. Great band.
• 1:02:23
  And was. Was Michael Shanker in
• 1:02:26
  Contraband I? I don't remember he's.
• 1:02:29
  Going to Google it. He's going to Google it because
• 1:02:31
  that sounds familiar. I don't.
• 1:02:33
  Think I don't think it was Michael.
• 1:02:34
  Shanker no, he was an MSG. For sure with no, I know that
• 1:02:38
  McCauley. I don't know, I think it might
• 1:02:44
  be. Michael Shanker, I could be
• 1:02:45
  wrong. Band members, OK, Yep, you're
• 1:02:52
  100% correct. Yeah, so there's the guns and.
• 1:02:55
  Michael Shanker. Together outstanding.
• 1:02:58
  There's a great example. Of the sum of the parts doesn't
• 1:03:02
  equal the parts. Michael Schenker's a guy that
• 1:03:04
  should be a household name as a guitar player, but he's not.
• 1:03:09
  But he's not. See I some of the Pearcy.
• 1:03:14
  Front in that band. But you're right, it was Richard
• 1:03:16
  Black. Yeah, Steven Pearson was an.
• 1:03:18
  Arcade. That's it.
• 1:03:19
  Thank you. I knew he.
• 1:03:20
  Had one too. I couldn't name 1 member.
• 1:03:23
  Passed Steven Pearcy in that band.
• 1:03:25
  Yeah. Arcade was a couple of records
• 1:03:29
  so hands. Down your your your favorite top
• 1:03:31
  three bands of all time, Paul, just regardless of John or just
• 1:03:35
  I know impossible. Well, yes, possible.
• 1:03:39
  It's no, it's impossible. Because it changes.
• 1:03:42
  Oh, oh, OK. OK, so right now then, what are
• 1:03:44
  your top three favorite bands you're listening to right now in
• 1:03:47
  2026, March 20 I always listen to.
• 1:03:49
  ACDC, just just because there's so much great stuff from from
• 1:03:55
  Bond to Brian I'm a big fan of. Who's your favorite?
• 1:04:00
  Oh, Bond is. It's Bond is the thank you.
• 1:04:02
  But Brian is. Still brilliant.
• 1:04:04
  If there were no bond I would I would have no problem saying
• 1:04:06
  Brian. I like them both but I always.
• 1:04:08
  Put the gun to the head moment if you got to pick one.
• 1:04:11
  It's Bond for me. They were.
• 1:04:14
  They were more mischievous with Bond.
• 1:04:17
  Yes, the. Lyrics were more clever and the
• 1:04:20
  music was more clever. I think it was more dangerous.
• 1:04:23
  Yes, there was a good chance that like as as this will sound
• 1:04:29
  horrible when I say it, and I don't mean it to say it this
• 1:04:32
  way, there was a better chance that Bond Scott was going to
• 1:04:34
  steal your girlfriend than Brian Johnson.
• 1:04:37
  Absolutely. And he liked him big.
• 1:04:40
  So if you had a big, if you had a big girl, that was Bond's
• 1:04:43
  right? Yeah.
• 1:04:44
  He like he. Liked him Tasmanian whore so but
• 1:04:49
  I I also love the cult Willie Duffy that.
• 1:04:52
  Guitar tone is outstanding, yes. It's just plus I.
• 1:04:55
  Love, I love that I have an alternative Jones where I love
• 1:05:00
  some of that, you know, the cult Bellam and the Angel,
• 1:05:04
  Psychedelic Furs, the beat like there I have.
• 1:05:08
  I like to get into that music. I'm not it's not always about
• 1:05:12
  Les Paul in 100 Watt stack. Sometimes, you know, I like to
• 1:05:15
  listen to, I'll listen to The Smiths and the Cure and some of
• 1:05:18
  that stuff too, to just to get a break, just to, to my, my
• 1:05:22
  musical tastes are so varied. Me too, right?
• 1:05:25
  And they have. To be because you what you do
• 1:05:26
  for a living and in fact you have 6000 CDs.
• 1:05:28
  They're not all rock'n'roll CDs. I get a lot of hip hop.
• 1:05:32
  I get a lot of classic hip hop and a lot of Nat King Cole, you
• 1:05:38
  know, James Brown, Sly Stone, like I like, you know, I love, I
• 1:05:44
  love music. Yeah.
• 1:05:46
  So that's. When you asked for the.
• 1:05:47
  When you asked for the I know, I know.
• 1:05:49
  It's it's impossible. Yeah, because yeah, one day it
• 1:05:52
  could be Metallica. It's funny, I will never.
• 1:05:55
  When everybody ever asked my favorite bands, I never
• 1:05:58
  mentioned Motörhead. Yet I have a Motörhead tattoo on
• 1:06:00
  my leg. Right.
• 1:06:01
  And you met Lemmy and. Lemmy is God.
• 1:06:03
  That was my it was my first. My first interview when I was a
• 1:06:06
  kid was Lemmy. Yeah, yeah.
• 1:06:08
  How was? That as a kid because you've
• 1:06:09
  talked about on the radio, but like, you know, how was it just.
• 1:06:12
  Yeah. Yeah.
• 1:06:13
  Intimidating. How old were?
• 1:06:16
  You 18. Oh wow. 18 years old, sitting on
• 1:06:19
  a. Bus with Motörhead and having
• 1:06:22
  and having Wurzel, who's no longer with us anymore.
• 1:06:25
  Guitar player Michael Burstyn. Yeah, tell me he's quitting the
• 1:06:28
  band. Like Lemmy goes into the back.
• 1:06:31
  They were sitting down having Donuts and they were stale
• 1:06:35
  Donuts and somebody was dumping Foster's 40s, you know, the the
• 1:06:39
  oil cans into a bucket into the, the Gray bucket on the bus.
• 1:06:43
  And Lemmy goes in the back to get a cigarette or something
• 1:06:45
  like that. And, and Worzel turns.
• 1:06:47
  It looks because I'm leaving the band.
• 1:06:48
  I'm like, what did you just say? I'm leaving the band.
• 1:06:52
  Can't tell anybody. So Lemmy comes back and sits
• 1:06:57
  down. Now I've got a secret and I
• 1:06:59
  don't know. And I don't know why he said he
• 1:07:01
  was leaving. And by the way, he stayed for
• 1:07:03
  another six years, OK. But it was.
• 1:07:06
  It was just. One of those moments I'm like,
• 1:07:08
  hell am I supposed to do with that information.
• 1:07:13
  And so later on that night they're on stage and skinheads
• 1:07:17
  are spitting at Lemmy, you know, gaubbing at him, which is which
• 1:07:21
  used to be a, a sign of appreciation in England.
• 1:07:23
  But Lemmy didn't find any kind of appreciation.
• 1:07:26
  He took his base off and he swung it at the kids head.
• 1:07:29
  Missed him? You know, barely.
• 1:07:33
  Yeah. And I thought to myself, well,
• 1:07:35
  this is the greatest experience of my life.
• 1:07:37
  I want to do this for the rest of my life and so I decided at
• 1:07:40
  18 that I was going to do radio and in October of this year I
• 1:07:44
  would have celebrated my 40th anniversary if I were still on
• 1:07:47
  the air. So hopefully I'll be able to get
• 1:07:48
  on the air again soon and be able to celebrate that you.
• 1:07:51
  I love you so. What are you?
• 1:07:53
  So, So what were you doing when you're 18?
• 1:07:55
  Because obviously you weren't on the were you on the radio then
• 1:07:57
  or were you not on the radio? College radio have that
• 1:07:59
  opportunity. OK, OK, OK.
• 1:08:01
  College radio and playing college football.
• 1:08:03
  OK, right. I would when I got walked.
• 1:08:05
  Around the campus, walked around the campus by the offensive
• 1:08:08
  lineman that was taking all the new, you know, the freshman
• 1:08:11
  recruits around the campus. I saw the the call letters for
• 1:08:14
  the radio station. It was WDJM, which was the, the,
• 1:08:17
  the name of the college president, Dean Dean Justin
• 1:08:21
  McCarthy or something like that. But the call letters of the
• 1:08:25
  campus radio station said, well, what happens up there?
• 1:08:27
  And the alignment said that's where all the weird kids hang
• 1:08:30
  out. And I was like, OK, that's where
• 1:08:31
  I'm going. And I walked up there and I
• 1:08:34
  asked the program director, what does it take to get on the
• 1:08:35
  radio? And he said, what kind of music
• 1:08:37
  do you like? I said, that's not what I asked
• 1:08:38
  you. Nice.
• 1:08:40
  And good answer, Paul, and that's been?
• 1:08:43
  Basically what I've been, that's kind of it doesn't matter what
• 1:08:47
  music, whatever it takes to get back on the radio and make a
• 1:08:50
  living is what I want to do because it's all I can do now.
• 1:08:54
  Like how my skills don't exactly translate.
• 1:08:56
  How do you explain what I've been doing for decades?
• 1:09:00
  You ever thought about writing a book?
• 1:09:02
  Yeah, it's not about writing a book.
• 1:09:04
  I think you should write a book about your life.
• 1:09:06
  People don't read books. Yeah, but they have audio books.
• 1:09:09
  I, I think I, I, I think if you wrote a book just for your 40
• 1:09:13
  years in radio and sport nights. Exactly with.
• 1:09:16
  Just with all the things you've done and all the people you've
• 1:09:19
  met and all the shows you've seen and the different cities
• 1:09:21
  you've travelled and, and the different connections you've
• 1:09:23
  made, I it'd be fascinating. Like I said, the life resume you
• 1:09:28
  have is just phenomenal. And we I agree with you touched
• 1:09:31
  on it. The book starts where you.
• 1:09:33
  Just started Paul. It starts with when I was 18
• 1:09:36
  years old. This is what happened.
• 1:09:38
  Starts early, you just. But yeah, well, yeah, but you
• 1:09:41
  have a million. Stories of people you've met
• 1:09:44
  that nobody had the pleasure of meeting and those interactions.
• 1:09:47
  And it is, it's not many people have lived, lived that life.
• 1:09:51
  You've just been inside it. And you don't see it from the
• 1:09:54
  outside looking in, right, but from the outside looking.
• 1:09:57
  From us looking at it, it would be, it would be phenomenal.
• 1:10:01
  I think you know, I have written.
• 1:10:04
  I have written. Therapeutically, over the years,
• 1:10:08
  I haven't written anything in a long time, but I have written,
• 1:10:13
  I've got, you know, 100 plus pages of anecdotes and things
• 1:10:19
  just so the things that I don't even remember properly, like
• 1:10:23
  when I, when, when you have a doctor just came in the room.
• 1:10:27
  Did I? Your door.
• 1:10:29
  Just opened up. It had to be a.
• 1:10:30
  Dog or a ghost man? It's it's the German Shepherd.
• 1:10:35
  It's the big one. There you go.
• 1:10:37
  I figured. Out.
• 1:10:38
  What's going on? Male.
• 1:10:39
  Female. That's stupid.
• 1:10:41
  He's male. But he's male.
• 1:10:44
  But they're good. Dogs.
• 1:10:47
  Yeah, I mean, just they're, they're I've, I've had some,
• 1:10:49
  some weird experiences and I've written therapeutically, you
• 1:10:54
  know, they always tell you when you're in times of stress, you
• 1:10:55
  should write because it helps, it helps you express it, it
• 1:10:59
  helps you get it out, helps you keep from get living inside your
• 1:11:03
  own head. So I've done that.
• 1:11:06
  I wouldn't even know what to do to get a book published or
• 1:11:11
  anything like that. Like that's that's it's just so
• 1:11:13
  outside of my scope of of not interest, but understanding I
• 1:11:18
  wouldn't. Know what to do, I think, I
• 1:11:20
  think you, I think you start writing it like Mike said, you,
• 1:11:23
  you, you start when you're 18 years old and walking on the
• 1:11:25
  college campus and that's what opened the door.
• 1:11:28
  And then you just start writing it.
• 1:11:29
  And then once you start writing it, then you just, I mean, like,
• 1:11:32
  we're having this, this person on next week that's a talent
• 1:11:36
  agent. So I can certainly pick her
• 1:11:38
  brain and say, hey, I got a friend who could do this.
• 1:11:41
  Where would he go? We didn't know how to do this.
• 1:11:43
  Before we started, no. I I agree with you, yes.
• 1:11:47
  Amazon is a, that's a place to start.
• 1:11:50
  Audible, because, yeah, what you said about radio parallels to
• 1:11:55
  books. I said the same thing.
• 1:11:58
  Nobody reads books anymore, but I listen to them all the time at
• 1:12:00
  work and at home. So basically I'm multitasking
• 1:12:04
  now, right? I'm cleaning the house and I'm
• 1:12:06
  listening to a book. Yep.
• 1:12:08
  Yep, we had, we had a guest on the show.
• 1:12:11
  She's she just, I saw her on Facebook yesterday.
• 1:12:13
  She just sent her latest manuscript to her editor so I
• 1:12:16
  can poke at her. Hey, hook me up.
• 1:12:19
  I have somebody that, you know, that might be wanting to do
• 1:12:22
  something because I really do, Paul.
• 1:12:23
  I think it would be fascinating. I've listened to it, read it
• 1:12:26
  again. And I I wasn't bullshit.
• 1:12:29
  When I said when I first met you that, that when I left that that
• 1:12:32
  that day, KD, KB, I was like, this is a genuine human.
• 1:12:35
  He's fucking cool. He's not an asshole, he's not
• 1:12:37
  arrogant, he's not an ostracistic.
• 1:12:38
  He's just a genuine human who loves what he does.
• 1:12:42
  And that's what I thought for the last hour.
• 1:12:43
  Man, this has been a great conversation and and that came.
• 1:12:47
  Across when you're on the air and I think it would come across
• 1:12:49
  even more so on pages because everything you're going to talk
• 1:12:53
  about is genuine. You lived it and you're sharing
• 1:12:55
  it with people who who've never been able to get past that door
• 1:12:59
  like you Aerosmith comes to K to KB.
• 1:13:01
  Nobody get past that door to see Aerosmith because you shut the
• 1:13:04
  door. Now you're sitting there in a in
• 1:13:06
  a studio with them talking. You're talking with Lars.
• 1:13:08
  You're talking with just an infinite amount of people.
• 1:13:11
  That alone, I mean, not even a chapter per guest, but a chapter
• 1:13:16
  per meeting, but two or three paragraphs it it, it would be
• 1:13:20
  fascinating for people who love music.
• 1:13:22
  Your life is fascinating and the stories you can tell and the
• 1:13:25
  journeys you've been on through the entire country because
• 1:13:29
  you're not just stuck in Arizona, not just in California,
• 1:13:31
  Boston, all that kind of stuff. It resonant.
• 1:13:33
  Don Warnock, let alone dude, we connected because you are a
• 1:13:37
  mutual friend. There's that's that's the
• 1:13:39
  weirdest thing in the world. I thought Don was a DJ and then
• 1:13:43
  like I'm not a DJI. Just know Paul from Kansas City.
• 1:13:46
  I haven't worked in Kansas City and.
• 1:13:48
  That's what I'm saying. That's what I'm saying.
• 1:13:50
  It's the six degrees of separation with Paul Marshall.
• 1:13:53
  Yeah. I would.
• 1:13:55
  For the record, I am I am 2°. You guys are now officially 3°
• 1:14:01
  from Kevin Bacon, because there you go.
• 1:14:05
  I worked with a guy. Named Joe Stapleton, who was.
• 1:14:09
  In. Mystic River with Kevin Bacon.
• 1:14:12
  Great movie. Oh, great movie.
• 1:14:13
  So I'm I'm. I'm 2° away.
• 1:14:16
  OK, OK, you're officially. 3°. Away from Kevin Bacon, I can't
• 1:14:21
  not ask you this question, Paul. Since we were talking about.
• 1:14:25
  Kiss and Led Zeppelin and all these great bands.
• 1:14:28
  So many people hate on Lars, right?
• 1:14:31
  Metallica would have never been Metallica if they put what you
• 1:14:34
  would call a quote UN quote real drummer in that spot.
• 1:14:38
  Yes or no? Lars is a great drummer.
• 1:14:41
  He is. Thank you, I agree.
• 1:14:42
  But so many people hate on him. Lars does.
• 1:14:45
  Lars if. You listen to.
• 1:14:47
  I mean, I don't know what they're.
• 1:14:49
  Is he Charlie Bonante? No.
• 1:14:51
  Is he Gene Hoagland? No, but he's the right guy for
• 1:14:55
  that band. It's like this is this is people
• 1:14:59
  hating on Metallica. It's because it they, it's
• 1:15:03
  almost Nickelback Creed, like it's become fashionable to hate
• 1:15:06
  on Metallica. They are the biggest heavy metal
• 1:15:12
  band ever, ever, ever. Bigger than Black Sabbath.
• 1:15:17
  Bigger than any other. Heavy metal band.
• 1:15:19
  They are the greatest. They are the good and Metallica
• 1:15:24
  wouldn't be Metallica if it weren't for Lars.
• 1:15:27
  Agreed. He's he's he and James built
• 1:15:31
  that thing from the ground up. He's the guy.
• 1:15:34
  He's the guy that put the ads out in the recycler.
• 1:15:36
  He's the guy. Is he?
• 1:15:38
  Is he Neil Peart? No, he's not Neil Peart.
• 1:15:40
  He's not supposed to be. He never claimed to be.
• 1:15:42
  Either no, but there's but but but there's.
• 1:15:44
  Nothing wrong with Lars drumming.
• 1:15:46
  There's there's nothing wrong with it.
• 1:15:48
  I I never understood the Lars hate.
• 1:15:51
  I don't know. I think.
• 1:15:51
  Part of I think, I think. Part of it comes from the
• 1:15:53
  Napster stuff because because you have this.
• 1:15:56
  Oh, I know what now we. Know he was right 100%, but 100%
• 1:16:00
  but the way, and you can correct me if I'm wrong, Mike and I've
• 1:16:04
  talked about this, but part of the way the Metallica became
• 1:16:06
  Metallica was nobody was playing their music on the radio.
• 1:16:08
  So they're all their shows were bootlegged and people were
• 1:16:10
  making cassette tapes given to their friends and and in essence
• 1:16:13
  napstring their music to get to a level to where people didn't
• 1:16:16
  start to have to pay attention. They started selling out bigger
• 1:16:18
  clubs, things like that. All of a sudden, you know, then
• 1:16:21
  the radio stations had to play something.
• 1:16:22
  So they built some of what their legacy is based on bootleg
• 1:16:28
  recordings and shit like that, passing their friends and
• 1:16:29
  friends what they should do. What they should have done, and
• 1:16:33
  all of these bands should have done, is look within.
• 1:16:35
  Yeah, None of those recordings, none of them would have made it
• 1:16:40
  to Napster if Metallica had their business taken care of.
• 1:16:45
  Because they go into the studio, they record their songs.
• 1:16:50
  It's the four of them and Bob Rock or whoever the engineer was
• 1:16:54
  at the time recording them. Somebody hit stop.
• 1:16:57
  How many copies of that song exist?
• 1:16:59
  Where did they come from? It came from within those
• 1:17:03
  records. Didn't those songs didn't leak
• 1:17:05
  out because somebody broke into the studio and stole the tapes.
• 1:17:09
  Somebody in the organization heard the song, played it for
• 1:17:13
  somebody, made them a copy of it, and somebody uploaded it.
• 1:17:18
  So it's it's internal. Whoever was, whoever was
• 1:17:22
  internally, look inside none of those records.
• 1:17:25
  Like if you have your business done, This is why Led Zeppelin
• 1:17:29
  and Led Zeppelin had a lot of bootlegs too.
• 1:17:31
  But This is why Led Zeppelin were so insulated.
• 1:17:34
  This is why Iron Maiden today are so insulated.
• 1:17:37
  If you can't get in, Metallica have now done this.
• 1:17:40
  If you're not in the circle, if you're not part of their
• 1:17:42
  organization, you don't get access to the band.
• 1:17:44
  You don't get access to any of their stuff.
• 1:17:46
  They learned that through the Napster mistake.
• 1:17:48
  Somebody in their organization, at their record company, their
• 1:17:52
  management, whomever it was leaked those songs out.
• 1:17:56
  They didn't just escape from the studio.
• 1:18:00
  Somebody internally blew it, and it was specifically.
• 1:18:04
  That I disappear song initially, right?
• 1:18:07
  That was the one. That that seems to be the, the,
• 1:18:10
  the tipping point. And that was for the Mission
• 1:18:12
  Impossible soundtrack, correct? So they delivered it to somebody
• 1:18:17
  who played it for somebody who made a copy of it and they
• 1:18:21
  uploaded it. So those songs don't just if you
• 1:18:25
  control the flow of the music, you control who gets to consume
• 1:18:28
  it. Somebody in their organization
• 1:18:31
  betrayed trust. Or or or somebody.
• 1:18:36
  Played it and somebody, look, I, I can tell you I've worked at
• 1:18:38
  radio stations where they would come in and they would give us,
• 1:18:41
  they would give us the CD single and we would play the CD single
• 1:18:44
  while behind the stereo where RCA outs into a recording
• 1:18:48
  device. So that when they played this,
• 1:18:50
  that's why the people started showing up with Discman and not
• 1:18:55
  giving us the records because, because the radio companies
• 1:18:58
  would steal the music or the where the record company would
• 1:19:00
  steal the music to try to be the first one to play the song.
• 1:19:04
  And then we would get a cease and desist letter.
• 1:19:07
  From the record company, but. Once it's in the wild, somebody
• 1:19:10
  betrayed trust that. Wasn't.
• 1:19:13
  That wasn't. It wasn't.
• 1:19:15
  Nobody stole that music from Metallica.
• 1:19:18
  Somebody in Metallica's organization made the fatal
• 1:19:21
  mistake of playing it. For somebody to make a copy of
• 1:19:23
  it got you and. Then that person uploaded.
• 1:19:26
  It Yeah. And then there you go.
• 1:19:28
  Large was right. It was right.
• 1:19:31
  Absolutely. You know by the way the.
• 1:19:33
  Record industry is at fault because it was Philips, Magnavox
• 1:19:37
  and Sony and these record companies and electronics
• 1:19:41
  companies that developed digital lossless audio so that you can
• 1:19:45
  make an absolutely perfect copy of something digitally and not
• 1:19:48
  lose any audio quality. So the industry is responsible
• 1:19:52
  for the downfall of its industry.
• 1:19:54
  It aid itself. That's a great point.
• 1:19:57
  That's amazing. Philips.
• 1:20:00
  Magnavox and, and Sony and, and the companies that are
• 1:20:03
  responsible or the creation of digital audio and the CD and,
• 1:20:08
  and, and being able to duplicate audio perfectly without any loss
• 1:20:12
  of quality of audio quality, right.
• 1:20:15
  The kids didn't come up with that, no.
• 1:20:18
  No. That that.
• 1:20:18
  Came from the industry, so you look in the mirror.
• 1:20:24
  Sometimes perfection leads to your downfall and it's
• 1:20:30
  interesting to hear that kids are buying CDs again and buying
• 1:20:33
  vinyl again. Vinyl that used to pay 498 for
• 1:20:37
  at 0 records is now 30 bucks. 40 bucks.
• 1:20:39
  I know it's it's insane. Man, it's insane.
• 1:20:41
  Crazy 40. Dollars creeping up.
• 1:20:44
  We're creeping. Up on 12:00 and this is when you
• 1:20:46
  used to get the lead out. So give us some, give us 3 Led
• 1:20:49
  Zeppelin songs. You would play it right now if
• 1:20:50
  you were sitting in front of a A, you know, the control panels
• 1:20:53
  at the radio station. Well, you have to play.
• 1:20:56
  Something that is, that is well known first.
• 1:20:59
  So you play Over the Hills and Far away, which is encompasses
• 1:21:02
  everything that Led Zeppelin is in one song.
• 1:21:07
  Then you. Play a second.
• 1:21:09
  Song that people know something like when the Levee breaks
• 1:21:13
  because it's and that was that was originally a blue.
• 1:21:16
  Song they covered, I don't know if a lot of people know that.
• 1:21:18
  Correct. Yeah, Yeah.
• 1:21:19
  Good point. And then thank you, Mike.
• 1:21:22
  Forget who did the original 1, It'll come to me.
• 1:21:24
  I don't remember. Who did the original?
• 1:21:26
  One either. But a Memphis?
• 1:21:27
  It might be Memphis Mini, I think, I don't remember.
• 1:21:32
  And then the third one has to be an Oh Wow song.
• 1:21:35
  So you play for your life from present.
• 1:21:38
  OK. Yeah, there you go.
• 1:21:40
  Because. That's your Oh Wow.
• 1:21:42
  You got to reward people for listening to 2 Led Zeppelin
• 1:21:45
  songs that they already know and that they've probably heard
• 1:21:47
  enough times in their lifetime. So the key of making We Get the
• 1:21:50
  let Out or any feature work is if you're going to do a 2 for
• 1:21:52
  Tuesday or a double shot or something like that, first song
• 1:21:55
  has to be a huge hit and the second song has to be an Oh wow
• 1:21:58
  song. OK, who's your double shot of?
• 1:22:00
  Metallica, I mean you. Start.
• 1:22:03
  You start with master puppets, Yeah.
• 1:22:06
  Because it's 8 minutes. Long and you get away with a
• 1:22:09
  song that normally wouldn't get on the radio and then you then
• 1:22:13
  you followed up with Low Man's lyric.
• 1:22:15
  Awesome. Awesome, something that it's
• 1:22:19
  that you would. Not expect to hear from
• 1:22:20
  Metallica low man's lyric or I mean, you could go back and
• 1:22:24
  grab, you know, a creeping death or yeah, you know, or a bread
• 1:22:29
  fan or something that, you know, is is somewhat well known.
• 1:22:33
  But I'm a big fan of, you know, I mean, obviously Enter Sandman,
• 1:22:37
  sad but true. All those big songs.
• 1:22:38
  Those are the ones that you get their attention with and then
• 1:22:41
  you keep them with something that they may, may or may not be
• 1:22:44
  aware of. That's awesome, man.
• 1:22:46
  That is awesome. Hey, this is the Christian Mike
• 1:22:49
  show. He's Paul Neander, Paul
• 1:22:50
  Marshall. You can find him at Neander
• 1:22:52
  paul.com Absolute rock'n'roll life resume legend.
• 1:22:57
  Thank you. I hope you enjoyed it.
• 1:22:58
  I hope you enjoyed the time. We appreciate your time Paul
• 1:23:01
  more. You know, we know time is the
• 1:23:02
  most valuable commodity. So this this has been something
• 1:23:05
  I've talked to Mike about forever about getting you on the
• 1:23:07
  show. So I'm super happy you were able
• 1:23:08
  to put us in your in your schedule because you know,
• 1:23:11
  you're Paul Marshall, man, it's nice of you.
• 1:23:13
  Thank you. Well, you know, we're.
• 1:23:15
  Nice guys man, and you're super cool human, so you know nothing
• 1:23:18
  but love, brother. Speaking of which, if if you're
• 1:23:21
  feeling sad, depressed, suicidal, don't do it.
• 1:23:23
  Go go scream in a pillow, go journal.
• 1:23:24
  Go Flint, I'm going to talk to you.
• 1:23:25
  Go work out, go run. Go do something to change your
• 1:23:27
  mindset. If for some reason you cannot do
• 1:23:29
  that, text 988. Someone is standing there ready
• 1:23:32
  to talk to you off that Cliff. You're a better person because
• 1:23:35
  you wake up in the world tomorrow.
• 1:23:36
  Don't leave a hole in somebody else's heart because you choose
• 1:23:39
  not to do so. You are loved.
• 1:23:41
  You are cared about whether you know it or not.
• 1:23:42
  So 988, if you need some help, text that number right now.
• 1:23:46
  I'm Chris, he's Mike. And again, this is Paul
• 1:23:48
  Marshall. Thank you so much for your time.
• 1:23:50
  Thanks again. Really appreciate your pleasure
• 1:23:51
  to meet. You, you're going to find,
• 1:23:53
  you're going to land. On your feet because you're
• 1:23:54
  just, you're too cool of a human not to land on your feet.
• 1:23:56
  So very kind. We will we will call all the.
• 1:24:00
  People we know and have them hire you and I would come back.
• 1:24:03
  To Phoenix in a heartbeat. If there were a job, yeah.
• 1:24:05
  No, we'd love you back in. Phoenix, I regret.
• 1:24:07
  I regret. You're missed.
• 1:24:08
  Big mistake. You, you Yeah, you're you're
• 1:24:11
  missed. You're missed.
• 1:24:11
  When KDKB changed format it went.
• 1:24:15
  You know, just saying. There's the ghost, there's the
• 1:24:18
  ghost, whatever that's about then.
• 1:24:21
  But love, man, we'll see you guys next week.
• 1:24:23
  Thanks, peace. Best of luck.
• 1:24:24
  Man peace. Don't leave yet, Paul.
• 1:24:26
  We got to make sure you're uploaded the place.
• 1:24:30
  Where