Latest / HEAVY Music Interviews / Finishing With A Bang According To BILLY SHEEHAN From MR. BIG

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Finishing With A Bang According To BILLY SHEEHAN From MR. BIG · HEAVY Music Interviews

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Be so far were Well, migoes, my name is Billy, I'm bass
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player, and uh I'm right here today to do some talking with a friend
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of mine and hopefully answer some questions and ponder some philosophy. Oh yeah,
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maybe that sounds like a perfect start of the day to me. How are
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you doing? Great? Man? Thanks? Is it also here today to
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talk about your new album, appropriately titled ten, which is released on July
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the twelfth, Mate, So how you feel about it? Pretty good?
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I guess yeah. It's it's our tenth record studio record we've done. There
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have been a lot of other records. It was the first time we played
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in Japan. We had a wonderful time, and then they knew we wouldn't
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be coming back until the next record, which was going to be a as
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a cycle that happens, So they wanted a live record and we just we
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didn't really have the faciity. We were on tour actually with Rush in America,
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and so the the soundman took a d tape digital audio tape they don't
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have anymore, little little tape across seven dollars and ninety five cents for the
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s tape and put it in and hit record on our show with no multi
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track, no fixes, no overdubs, no nothing, and so our recording
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budget for the whole show with seven dollars. Well that that tape became the
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first raw like sushi. I think in Korea sold like three hundred and fifty
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thousand units. I don't know how many in Japan, but but I think
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I hope we recouped our investment. But it was kind of cool that it
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was completely real and no fixes, no turning the audience up or any any
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of those cheaters that you can do. So that was so We've done a
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lot of records and there's a million bootlegs too. There was a great bootlegs
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store in Japan, I think they're long gone now selling CDs, and they
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had the most amazing set of bootlegs you can imagine. I got the Band
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of Gypsy's, Jimmy Hendrick's demos rehearsals, I got the Genesis lamb Lies down
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on Broadway demoses, the most amazing thing, the Montrose first record, all
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the demos, Boston demos that led up these iconic records. And so we'd
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go there after our show and they'd already have our record with artwork for sale
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and uh, but they were really cool and so well, you guys take
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whatever you want and uh, you know, for in return for us bootlegging,
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in return for us stealing from you. But we didn't look at it.
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They were they were really cool and it was kind of the culture there
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that they you know, they just love music so much. So it's a
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little tiny place and on the back street somewhere, so they weren't nobody's getting
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rich off us. So yeah, we were glad to have all that stuff
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documented because we didn't have recordings of a lot of the shows, but I
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have them now on DVD or CD from uh from that from that shop,
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pretty pretty great. But they literally would have it out the next day with
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artwork as well. And our record label usually takes, you know, months
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and months and months and months and to get that together. And actually the
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cover is usually the the thing that that holds up more records than anything else,
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getting the cover right and getting all the art work and credits right.
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So they did it in less than twenty four hours. So pro efficient,
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aren't they. So tell us a bit more about ten from a musical point
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of view, bro, and then what you account for with it? Well,
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we took a break on a tour and we're able to go in and
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record. I was super busy and couldn't make it for the writing sessions,
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so I came in and just played bass. And that's kind of cool.
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Just what do you got? Okay, maybe this will work? And I
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would put a little baseline down and I do that a lot here in my
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home studio, record for a lot of clients around the world, and they'll
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send me. Some of them are pro or semi pro, so I get
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what they send me is pretty good, but some are brand new or you
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know, they don't have never made a record before, and they're not sure
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what to do, and and so we get all these disparate parts that aren't
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haven't congealed into a song yet, and so we have to with this kind
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of make it work. So it's kind of a challenge. So we discovered
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over the couple of years we've been doing this, me and my engineer Scott,
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that bass can really not necessarily me or my bass, but bass itself
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really can make or break a recording. It's it's it's amazing how much that
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low frequency note translates the rest of everything else in a song and we would
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get a song and we'd look at each other like, oh man, what
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are we going to do? It's geez, let me try this and hit
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recording. Okay by and by the end of the day we going way this
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this thing is working. So fortunately with mister Big, we did not have
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nearly that uh that uh bad readiness. Uh. The songs were very together,
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but it was nice to be able to just come in and create a
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bassline that just came from nowhere and just for my first impression of how the
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song went. So I didn't have a lot of time to uh even rehearse
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the songs. So in a way that was kind of good too, because
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it was spontaneous and came right. I didn't think it through thinking often thinking
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will ruin a song too much thinking about it. You know, just go
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for what you go and that happens with writing a lot. You just come
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up with the part kind of hey, I like the part. Cool,
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all right, the next day you know, maybe we should hold on.
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Wait, we had it, and now you're changing your mind. So that
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was a cool way to approach it. I just went in and played bass
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and we came came up with some cool stuff. If so you've released the
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singles that I could luck trying it up on East Side as would they be
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a good stunning representation i've rolled. Do you think yeah? I think so.
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Yeah. They were very well received. I had just zillions of comments
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on my social media. Everyone seemed very pleased with it. So if they're
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pleased, we're happy. I don't. It's not my goal in necessarily to
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make the audience happy or to pander to them. I want to do something
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that they like, but I don't change what I do so that they like
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it. And I think mister Big has kind of always been like that.
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We didn't necessarily pander. To Be with You was a huge hit, but
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we put it last on the record. We didn't really think much of it,
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you know, and other than the fact that we loved it, but
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we didn't. If we would have known it was a hit, we would
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have put it out first. It fold it up with that, So yeah,
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that's a that's another factor there, I guess. I read an interesting
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point from Eric that said that that you didn't copy anything from your previous studio
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albums, and it's saw new stuff from scratch. I decided your career when
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he's done so much easy. Is it easy to do everything fresh? Like
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it is easier? How to come up with you and stuff? It can
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be, It can be. I know there was a time there when we
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did there were three songs that were in my mind were always the same,
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Merciless Voodoo Kiss, and one other one that had all had the same beat
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and and I'm not sure if it was me that for the fourth record finally
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said we've done that song enough times. Uh. I mean it didn't sound
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exactly the same, but they was just too similar to me. So I
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like to have some variation on things, but I like the band to do
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what the band does best, and that's sing and play. So the singing
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is uh and the harmonies are been would have been a huge uh uh boost
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to the availability to an audience because everybody loves to sing. On American Idol
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or those TV talent shows, nine out of ten or ninety nine out of
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one hundred are singers. You know, I seen a bass I haven't seen
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a bass player on there yet or drummer. So it's about singing. It's
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about singing. So that's always been a super important harmony. There's not a
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lot of harmony on ten though so unfortunately. But but for me, the
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earlier records, the harmony and a great choruses, it was, it was
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a thing for me. So you know we we uh it changed from that,
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so well we will see how it how that affairs in the end.
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Well, I can tell you honestly, bro, like, listen whole album
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just this morning. That's what I was wrong, and the questions up.
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And it's very rarely in an album that it's great all the way through.
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Like I got through about track number five and I've gone, that's my favorite
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song on the album. Then I got to number seven, I'm like,
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no, that's my favorite. I got to number nine, It's like,
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no, that is. But usually towards the tail end of an album,
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you start sort of it start getting too much with all the worst music and
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well the weaker tracks I guess start coming out. But terms just the banger
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from start to finish, he said, come up with the best of collection
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of new songs. Basically, Oh, I'm glad you feel that way.
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And I really you've got a tough job because I don't know if I could
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said through a lot of records all the way and have to listen. Back
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in the day, we would do that by an album it was vinyl.
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I'm an old man. I know that's how it used to be, and
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I understand the things changed. So now people are like, something's here is
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just a snippet of a song and a little video meme on on the rate
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on the internet, so they they judge from that, and it's valid.
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Things will never remain the same forever and things are going to change. But
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I imagine sometimes it'll be diffult for me to sit down and listen to a
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whole record. Back in the day, it wasn't, but I'm just not
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used to that anymore. So congratulations on an amazing job of getting through.
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Thank you for making it easy by having good songs all the way through.
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Brother. Oh, they're very kind of you. Right on. Thank you.
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I was sort of tough doing this a little bit before, mate,
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But read list of being and numerous side projects and Stuffwall You've written so much
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music over the years, Like, how do you How easy is it for
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you to create something fresh every time you do a new songs? Well,
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I I'm always at it. I was down here, I got done with
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what I had to do today by about six or seven o'clock, and I
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had two hours before we started this, so I've been down here working the
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whole time, and I have my iPhone on selfie video. I pointed at
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myself and I play the part of the song that I just came up with,
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So that makes it handy. I used to carry on a little digital
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recorder or before that, a cassette recorder, and every time I had an
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idea, I hit record. So the iPhone makes it pretty easy to do.
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But if you work at it, you can come up with a lot
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of new stuff. And once you get stuck or painted into a corner or
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you've got writer's block, if there, I guess there is such a thing,
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you just got to work at it. You just have to sit down
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and pound and hit it. And if it's not working, I go off
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and I listen to something completely different, something way out of range. It
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has nothing to do with what I do or how I play or anything like
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that. And then when I come back, I've got a kind of a
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new look at things to some degree. So there's all kinds of ways to
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ignite that creative spark. Some people, I believe, are just kind of
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averse to the work part of it, because if you if you work it,
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I'll sit down. I got nothing that doesn't work? No, I
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still got nothing. Well, we got all day. Let's go hit it
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harder. Come on, let's go. And I've seen a lot of professional
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writers' work. And similarly, I know when I lived in LA I knew
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a lot of people that were in the movie business. You got a script
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and you got to come up with something. They get a bunch of guys
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in a room and they don't leave until they get it right and they hit
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it. It's hard work. I mean there's blood, sweat and tears.
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Similarly with songwriters, I've had the good fortune of working with some great songwriters,
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and it's a it's a job. It's work. You hit it hard.
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You don't just sit around and wait for inspiration. I think that's the
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biggest mistake people. I'll sit around till something comes my way. You know.
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Now, I'm going to keep digging until I find something. You know
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myself. So so I don't think it's that difficult to do if you approach
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it in the right manner. Yeah, so you said you can for the
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last few hours, like coming up with the stuff my place, play something
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cool that you've just come up with uh. Yeah, it was uh.
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Uh, that'd be like the the motif uh, and it's it's kind of
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cool because it's like a single note, pretty simple. I've been used a
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million times. But do it with a double and then use this hand.
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Now I haven't I don't remember the exact pattern idea, but that's the idea.
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So that'll be the motif and then that's the key of E and then
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way I go back. Then the verse would probably be an E. Or
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I could do it in a in G major. Go to the from from
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E minor to its relative major if you will, to the G and do
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the verse there, then back down and the song arranging is is uh is
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quite an interesting field for what comes when and where and how and uh generally
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uh intro verse, chorus, verse chorus, bridge chorus, chorus, goodbye.
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Now these variations a million variations of that. You do a pre chorus.
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Sometimes a lot of bands do a pre chorus before the song even starts,
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which is an old Beatles trick, and the chorus is usually the title
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of the song. So when they sang paperback Writer, you knew what song
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it was before it even started. And that's why that's how you have a
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hit record or bon Jovia shout to the Heart, and you're to blame.
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You give love a bad name. It's okay. Now we know the name
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of the song before it even started, and we already can sing along with
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the chorus the first time it comes. So there's ways of making songs accessible
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and more hit ley, if you will. And then sometimes you avoid that
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stuff completely because you don't want to seem like you're following the pack or you're
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again pandering, like I mentioned earlier, pandering to the audience. Some stuff
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is designed to be a hit. I mean, people are writing songs to
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have hits. That's what songwriters do. There's all kinds of ways of doing
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that. There's all kinds of mechanisms they use to bring that about the chorus
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right up front, and the title of the song being the chorus. And
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that's why I think Led Zeppelin all their song titles, they don't sing that
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in. They don't sing black dog in the whole song. They don't.
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They did that because they didn't want to have radio hits. They wanted to
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be like a jamming, you know, music band. They don't want to
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have get into pop music world. And so they're they're their secret weapon is
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let's do a title that has nothing to do with all the song I mean,
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Stairway to Heaven does, of course, and some of them of course
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do. But nevertheless, they had a lot of songs that I still to
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this day, I'm not sure what the name of that song is. I
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love it and I've played in a bands. I'm sure you've been told this
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before, but they're an absolutely a human being. So why you look at
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things? He's awesome to say again, I'm sorry, You're an amazing human
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being. Why you look at things? Well, you're You're way too kind
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and way too generous to say that. I'm just a blue collar working bass
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player. Uh that my arms are extra long from carrying those heavy amps up
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and down the stairs at high school to play the dances, and you know
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we I've always considered myself a working man pretty much. That's awesome, right,
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So this is another thing that I found interesting too, Like the album
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was recorded both live in the studio and on the tour bus. So like,
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firstly, a lot of people out there don't actually understand what live in
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the studio is. Can you run us through what that means? Says it
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was Yeah, when you're actually playing where you said, you know, you
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count the song one, two, three, fong, go and play through
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the whole song without any stops. That's playing live in the studio. Now,
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how songs are usually done is that they'll play along with the drummer and
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he'll make make a mistake. And now they had the technology we're in the
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old days with with real to real tape. The drummer had the toughest job
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because he had to play a whole take himself and make sure it was all
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correct. Once in a while you could do a little splicer at it,
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but generally he had to shoulder the most difficult job. You had to get
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through the whole song. Now you can play the bass to the drums,
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then put the guitars on, then put the rhythm guitars, then do the
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lead solos, then bring in the lead vocal and do the harmonies. You
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don't have to do it all at once. You don't have to play it
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all at the same time, so the studio allows you to piece it together.
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Now a digital studio allows anything. If you can imagine it, you
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can probably do it. You don't even auto tune. Now, you know
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you could sing happy birthday to you, Happy birthday to you, Heavy birthday
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to you, and you can make it happy birthday to you can put the
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melody in later, and when somebody's royally flat, you can just edge it
19:51
up and make it correct. And I've seen pitch correction fix the impossible.
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I mean, somebody has just blown it completely. They make it work.
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It's pretty amazing. So all the records prior to pitch correction, you had
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to sing it. There's even ways of getting by with that kind of a
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cheater way that isn't live. They would they would have you sing almost a
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syllable at a time, a single syllable in the words at a time,
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until you hit the right note. They had a way of cross fading to
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make sure that you you could just you know, so you hear a guy,
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you know sing a line I can't think any of my off hand,
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but each syllable he can keep going until he gets that syllable right and then
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pitch and then go on to the next syttle. It's urduous, incredibly tedious
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work to do, but that's how they did it, especially the guys that
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had a hard time singing earlier bands. I've got I told you before about
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the bootlegs I've got I've got the Beach Boys singing. Wouldn't it be nice
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like a religious experience to bring tears to your eyes? And it's it's them
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starting the song in the studio and they start, dude, then't then and
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then they don't. They don't sing, and they're still and they only make
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it a measure in and then you have uh the Brian Uh, Brian Wilson,
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the Beach Boys got Yeah. You hear on the talk back talking to
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Hell, which is Hal Blaine, the drummer who played on all those Hell
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No. On the first beat, you gotta make it through four measures,
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he stops again. No no, no, no, okay, now bringing
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that and then and then finally they do take about number eight and it's starting
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to turn into magic. I'm raise the hairs on your arm and bring tears
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to your eyes. And then the vocals come in. It is mind blowing.
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So there's ways you can get around having to go in the studio and
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perform. Nowadays more than ever so we do something live, we're doing it
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for real. We're actually playing it as opposed to piecing it together. There's
22:07
some of that to some degree, but for us and mister Big, for
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most all of our records were pretty live. I remember the first track we
22:18
did was addicted to that rush, and we took a first take on that,
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and first takes are always the best because you get done, you go,
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well, I think it can plays a little better, and take twenty
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four. You're going, let's go back to number one. We we were
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waste of time. I've seen that happen just so many times, where people
22:37
think they I did a song with a band I have called Nyas and Hammon
22:44
b three and Dennis Chambers on drums, and we had Glenn Hughes come in
22:48
and sing a song mind blowing. He came in and bang, he was
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on ten minutes and it was unbelievable. And then see look at that.
23:00
Came in to play guitar, a guitar solo on it. So he came
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in late. He just flew in, came from the airport. They brought
23:07
us gear in. Hey Steve, come on, here we go. We
23:10
set him up. Here's how the song goes, and here's the solo section.
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Okay, cool, So he hit the solo, man, it was
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right on. Okay, let's try another one. We're gonna let's try another
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one. You do a little bit more. And we went on for about
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two hours. If I sud Steve, sorry, we're using the first one.
23:30
We couldn't top it. It was just and that spontaneous thing that happens
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again when I talked earlier about I just got the songs and I played bass
23:38
right away. That spontaneous thing is often a really helpful way to get a
23:45
creative take. Just bang, here's the song, here's how it goes go,
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and you get some really cool stuff that way. Sometimes it doesn't work,
23:56
but when it does, it's kind of magical and interesting that it just
24:00
happened just off the top of your head. Okay, how about this all
24:04
right, shrink rapid and send it to the record star. So you currently
24:08
the midst of the Big Finagh tol right, So does that mean that this
24:12
is going to be missed a big bottle album as well? Yeah, yeah,
24:18
yeah, I don't think we'll record anymore. We had a great run,
24:21
and a whole philosophy of this farewell tour was I'd rather run across the
24:26
finish line than then be wheeled across. And no offense to any band,
24:33
because every band should be working and working as long as they want, under
24:37
any conditions they care to. But I do see a lot of bands out
24:41
there that it's not up to speed of what I know they did or could
24:45
have done. And I'm still their fan and I still love them, and
24:51
I'll still go to the show, and so will thousands of other people.
24:55
But but for me, I just we wanted to end on a high point,
24:57
you know, end on a high get across the finish line, as
25:02
I said, running instead of crawling. And uh. And also I think
25:06
there has to be some integrity to it too. I know some bands do
25:08
a farewell tour every every two years, but this is really a farewell.
25:15
So we're gonna we'll end off I think in Romania on this leg of the
25:18
tour that we're heading for. I'll leave here on the tenth and three three
25:22
days, No in a four days, five days. What if I'm not
25:30
on tour, I don't know what day. It is, so true,
25:33
and yeah, we'll start, We're gonna play. I'm excited. We're gonna
25:37
play in England again. We're gonna play at Leeds where the whole My Generation
25:44
medley. We played that in Tallas for years and years, the whole first
25:48
three songs that those the whole first part of that record that starts with My
25:52
Generation, and uh, quite awesome. We're also going to play Liverpool,
26:00
the Holy the Holy Ground. Yeah, I can't wait. That's going to
26:03
be great. There's a record store there I want to go visit. And
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uh, then we're playing I'm Aris. So we're playing in Belfast and Dublin
26:11
and so that'll that'll be cool, and doing a bunch of festivals in Germany
26:15
and Eastern Europe as well, and so the Italian show, a bunch of
26:18
things. So so we're excited and every place we've played, people there are
26:22
excited because this is this is it. You know, it's kind of a
26:26
bittersweet, but we've had an amazing run. So people are coming out that
26:32
that I saw the band back in the nineties and haven't seen us since.
26:34
They're all coming out. So we've been sold out everywhere and uh it's been
26:38
quite an emotional, uh quite touching to have people come out then see you
26:45
see their their last their last time for seeing us. It's pretty cool.
26:48
Okay, and then you're going to come and say good Bottias here in Astralia
26:52
are you going to come and say good bart to us here in Australia.
26:56
I wish we could, but Australia never booked us. We uh, we
27:00
only play where we're booked. And bands don't choose where they play. People
27:04
get the impression that bands sit around in the band. I was like,
27:07
go, hey, I got an idea. What let's go play in New
27:11
York City. All right, I'll get my base, come on. And
27:14
it doesn't worry like that. That stuff was booked months and months and months
27:17
even a year or more in advance. Festivals are usually a year and a
27:19
half or two years before their finalized. Really uh. And it's expensive to
27:26
play in Australia, and it's difficult because it's a long flight and an expensive
27:34
flight. But we've played there. We played there the Extreme a few years
27:38
ago. Always had that shower and you were fucking awesome. Oh thank you
27:42
so much. Yeah, what a joy to play with them. We're a
27:45
great band as well, and what a joy to play down there. I
27:48
played across Australia once or twice, I think once with Sevie, once with
27:52
G three. I've done clinics in most every city and done the mister big
27:56
show that we just talked of, uh and I love it, but unfortunately
28:02
it didn't come together. We kept pushing from our end. But if the
28:07
promoters doesn't want it, they don't want it. Nothing we can do about
28:11
it because we were selling a product. We can't shoot who buys it.
28:15
And that's the It sounds awful commercialized to explain it that way, but it's
28:19
really the true. We gotta, we gotta, we got to show with
28:22
our songs and an evening of entertainment, and that's for sale. And if
28:27
you want it, you can buy it. If you don't want it,
28:30
then you don't, then you don't buy it. You know, it's sad
28:36
to say. We'll get some hostility sometimes from people online. You know,
28:41
how come you hate our towne? Why do you hate our country? You
28:44
know? We Why wouldn't I play anywhere? I've even said years ago,
28:48
I'll play anywhere in the world other than where there's a shooting war. However,
28:55
we played in India and there was a shooting war going on in our
29:00
region and they called a truce so we could have the show. So I'll
29:07
play anywhere, even in a shooting war, if they can call it truth
29:10
long enough for us to go there because we had military guys with us the
29:12
whole time with machine guns security everywhere because it was a hostile environment. But
29:19
we didn't end up playing where there was a shooting war. So I will
29:23
play. I love to play, I want to play everywhere. I love
29:26
Australia. I love never been to New Zealand either at all. I'd love
29:32
to go there. And we played Japan a lacas. Japan brings us in,
29:36
they hire us, they get get in touch with the agency and management
29:40
and we want mister Big to play here and and we were okay, So
29:44
that's that's their doing. Uh we Uh. South America has been great for
29:49
us. They always buy shows and bring us down there. So yeah,
29:53
said that we couldn't do an Australian run, but uh, that's that's the
30:00
way it goes sometimes. But we had a lot of folks fly in from
30:03
from Australia to especially our Southeast Asian shows. We played in Thailand and Singapore,
30:10
going Poor Malaysia, Indonesia. I have a dear friend who's a sound
30:15
person from Australia. Her name is Jaye. She came in to see us.
30:19
A bunch of bunch of our shows. It was a joy to have
30:22
her and a bunch of other Australians. We're down at the shows we did
30:26
in salteast Asia as well, so I can always tell that a loud part
30:30
of the audience. That's the section. Hypothetically, if you got room and
30:37
tortually fucking fonded, provided that wants to bring it up, I'm sorry one
30:41
more time. Hypothetically, if you got room and trually fucking find and provided
30:45
to bring you out. Yeah, hypothetically, yeah, all right, contact
30:52
a local agent, get in touch with our manager. It's easy to find.
30:55
There's a listing of all these bands on who their managers are and who
30:59
their agents are. Get in touch and it's coud be close call, but
31:03
it could happen. I'll make a phone call as soon as I get off
31:07
this to game mate. I've got someone perfect in mind, right on right,
31:10
and I'd love that. Wait, so what's this winds up? Right?
31:14
Like? So you've you've got so much on the game musically, like
31:17
I can't imagine Mistig finishing being in the end of Philly She and my Like
31:21
what everybody else do you got playing for the future? Tons of stuff about
31:26
a bunch of records here in my studio during the pandemic. We just started
31:33
because I couldn't play live. I just started and I didn't advertise that.
31:36
People just wrote to me and said, hey, you're playing my record.
31:37
Okay. I learned quickly though, I have to hear it first before I
31:41
say yes. I said yes to a couple of oh my god, so
31:47
or I've give them some advice of what they should do to to prepare it
31:51
for for a base. Uh, but we did. We did hundreds of
31:56
songs. At one point, I thought we had six hundred songs. I
32:02
think we may have miscalculated him. Maybe he's only like three or four hundred.
32:06
Still, that's a huge amount of song. And so I got a
32:10
whole bunch of things to do. There, a bunch of friends of mine.
32:16
I want to put together live shows and go out and tour friends that
32:22
I know in the biz that you'd probably know. But nothing is secured yet,
32:25
so I can't necessarily mention it. But I'll be playing a lot.
32:30
I live to play live, and I play live to live, so that's
32:34
all I do, and that's my thing. So that's why the pandemic was
32:37
tough, and I'm forever grateful to the clients who hired me to play on
32:40
their records because that kept me busy and kept my hands in shape. But
32:44
playing live, there's nothing like it. It's the greatest thing in the world
32:46
for me, and it's the thing I do. I do most, and
32:51
I know I'm well over about five thousand gigs easily by now. Yeah,
32:55
way pastic and he's a new album, Richie Coupson. One of the things
33:00
you play uh no uh wandery dogs are off while Mike is doing his dream
33:07
theater thing and from what what what has been said? When he's done with
33:12
that, we'll come back and do some more. Very so that's just one
33:15
of the many bands you're involved with, the rock Smike say, and I
33:17
will be here. Yeah, I I like playing in a lot of bands.
33:23
It's it's a little bit different I I uh. I mentioned a band
33:27
Nias in earlier. It's it's kind of almost a jazzy thing and a fusion
33:31
proggy jazz blues thing. And so when you do something like that for a
33:37
while, you come back to another band and you've got a new vocabulary,
33:40
new new things to play, new ways to approach things. So it's uh
33:46
I like spreading around like that. But but I do like being in a
33:50
band. A band is a is a great thing. And the dynamic that
33:53
happens between people. Sometimes it's because it gets out of control and it's not
33:58
too pleasant, but but createatively, I love it because especially when things are
34:02
good, you know, we get an idea, what do you think?
34:05
Okay, drums? What about okay? Try that? Okay now? And
34:08
the writing that happens within a group of people. Three is ideal. Four
34:15
is good too. Five starts to get a little crazy. Six maybe not.
34:22
But it's a great thing to be in a band. I people ask
34:27
me you have any advice for young players. Yeah, I got three things.
34:30
One get in a band, be in a band. I see other
34:32
YouTubers. I'm an old man, of course. I My ways may be
34:37
long gone, but I still think it's a valid thing. The YouTuber is
34:40
amazing. I see guys play the impossible, but they're not in a band.
34:45
They don't have a record, they're not playing and touring. Maybe that's
34:47
over and maybe the future is this. Who knows. I very well be
34:52
wrong, But when you're in a band, you're together with guys and you're
34:55
working it out of guys and girls whoever it is, and coming up a
34:59
song, and you're learning how to deal with people and how to and then
35:02
you're gonna learn how to do business because you're gonna go out be in a
35:06
band that plays, and that's number two, being a band that plays songs,
35:12
learn songs, get songs. Oh, I got Beatle bootlegs. I
35:15
got the first Beatle demo that they gave to Decca Records in England. There's
35:21
twenty songs on it. Guess how many of them were originals? Seven?
35:29
Not not wow original arguably the greatest. Hey what happened? Look that?
35:40
Uh? It is hilarious. I better be careful what I what I make
35:45
next? Anyway, arguably the greatest writing band in history. And they their
35:53
first twenty song demo that got them signed didn't have a single original bench that's
36:00
it. So get in a band and play songs. If you don't have
36:05
your own songs, you'd be a copy band like every band, like a
36:07
c DC, like Van Halen, like like the Beatles, like everybody was
36:10
a copy band. Uh. And then get in a band that plays songs
36:15
that you sing. Like I said earlier, singing is where it's at.
36:20
So those three things. Being in a band, playing songs, singing so
36:25
many musicians. I say, I know this guitar play. He's like,
36:29
unbelievable. Oh, really great, it's almos exciting. Yeah, it's so
36:32
great. Yeah does he sing? No? Sorry? Sorry, be so
36:45
far? A few of them saying them over you're float in here. I'm
37:00
pup over you. I said, fear and bad you and I I see
37:06
the lie. Then I'm pup on you. In a couple of days,
37:14
I'll show you how a field. Don't you don't you know them? I'm
37:20
counting the wise that you all my mind. Love you, hold time,
37:27
hold you, hold hold hold you, come on an. I'm you're natural
37:37
rock. I don't know. I'm put it up over you, getting you
37:43
out of be right next to me, honey bee, getting up over you.
37:51
Damn you do a couple of days, I show you how a field.
37:59
Don't you know? It's real? Now they are cutting away that you
38:05
about madlied? Oh oh let's m M, says say, I don't over
39:22
them. You're thrown in here. Now. I'm pumped on you. Now
39:28
I'm still a red John has a tree. If not ju Le getting pump
39:35
on you. Jack come from you here the cover the day I'm shot,
39:43
a power field, a tree, and time. Now I'm shouting the ways
39:50
that's your own in mine. Love you all the time. Hold hold,
39:57
hold p come be so bad if you would. Man, I'm think it's
40:07
time I gotta follow you and your car. Did I love you so?
40:15
Come? Oh? Let's go about you, about you, about you? Oh comm