Latest / Booked On Rock with Eric Senich / Great White Guitarist Mark Kendall [Episode 204]

Transcript

Great White Guitarist Mark Kendall [Episode 204] · Booked On Rock with Eric Senich

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  Our album was done. Basically, we had enough songs. Everything was fine,
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  and then our manager came in with that song because he managed Guns and
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  Roses, and I guess is he Dadlin, the guitar player, had showed
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  him that song because we had an album called Once Bitten and we thought the
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  obvious follow up should be Twice Shy. But we didn't know about this song,
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  and we said it was okay, you know, but we we didn't
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  know it was going to do what it did. I'm like, I know,
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  dialogue. How's a fountain conversation round? That's a geyser? Interesting?
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  Interesting, it's provocative for Taddy Man's back man rock and Roll. Welcome back
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  to book don Rock. It's the podcast for those about to read and rock.
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  You can find the podcast online at booked on rock dot com. Every
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  episode of Booked on Rock is there in audio and video. Got links to
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  all the listening platforms, exclusive videos, blogs, links to all of the
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  social media sites. Another chapter in the dialogue series. It's been a while
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  since we've had one of these episodes. The Dialogue series is a chill and
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  chat with authors, fellow podcasters, musicians, and more. And our guest
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  is a musician Great White guitarist Mark Kendall. Mark is the founding member of
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  the Grammy nominated band, who sold over ten million albums worldwide, had six
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  top one hundred Billboard hits, including the top ten single Once Bitten Twice,
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  Shy nine top two hundred Billboard albums, and two platinum selling albums. Mark
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  took some time out during Great White summer tour to talk about his days growing
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  up in Huntington Beach, California, the artists and bands who influenced him,
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  the formation of Great White that rise to fame by the end of the eighties,
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  and the stories behind the band's biggest hits including rock Me, Savior Love,
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  Once Bitten Twice, Shy, House of Broken Love, Mister Bone,
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  and Call It Rock and Roll. I also asked Mark if he's got some
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  favorite rock and roll books in his library and if he ever plans on writing
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  a book himself. A playlist of Great White can be found on the show
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  notes page. Mark, Welcome to the podcast. Nice to meet you,
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  man, Thank you, Eric. Good to be here man. This is
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  great. I'm looking forward to talking with you about a whole bunch of stuff.
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  But let's start. Let's start with Great White, you're on You're on
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  a summer tour right now. Brett Carlisle and lead vocals, Scott Snyder on
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  bass, Michael Lardi on guitar, Audie Desbro and drums, and of course
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  you Mar Kendall on lead guitar. Yeah. So you're playing shows with some
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  big names Brett Michaels, d Snyder, Stephen Pearcy's Frehley Slaughter, Stephen Adler
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  of Guns and Roses. Tell tell us about what fans can look forward to
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  this tour, and and and where can they get tickets? You can just
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  go to our website. As far as tickets, I don't really know,
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  except ticket tron or whatever. You can probably find out from where we're playing
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  a lot. We always have the information, and you know, you can
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  find out when we're going to be in your area on official Great White dot
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  com. Yep, I think you get tickets through there. Yeah. But
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  you know, in the old days, the way we tour, we go
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  out say like six seven, eight months with with like the Scorpions or whatever,
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  you know, or go out five or six months with Jesus Preest.
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  Now the way we're playing, it's we're not out on a bus we're flying
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  to the shows, so we might play with you know, just anybody.
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  I mean, we've played a couple of shows with sticks. We might AREO
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  Speedwagon or you know, like you're saying about the festivals, a lot of
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  festivals this time of year, so they usually like to put a nice package
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  together. People come down and relived their younger years or whatever with the music,
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  you know. And what's cool is there's there's some younger folks I'm sure
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  showing up at those gigs too, because I run to people just today.
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  He's like maybe in his twenties and he's like, oh, I love Leonard
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  Skinner. You know, It's like, oh that's great. It's like,
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  yeah, this is good to know. It's a little different with our like
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  my parents, because they were so far removed from anything that resembled rock.
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  I mean, you know, even with the Stone Beatles, it was like
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  my dad was a jazz trumpet player, so that you know, it's like
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  every album he had had a guy blowing horn on there or something, you
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  know, so we really couldn't relate to that so much. But with our
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  stuff, at least at rocks, you know what I mean. So if
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  you got a twenty something year old kid, he's gonna maybe my parents weren't
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  so corny, man. He at least it rocks. Yeah, at least
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  at rocks, and they jump around like they're into it. There is a
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  closer down in generations. Yeah, Like my dad mom born in thirty nine,
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  so for them it was Sinatra, dene Art and Joannathis Glenn Miller.
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  So nowadays it seems like, yeah, that gap is a lot closer.
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  Yeah. Yeah. And and not that all those people are great, that
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  the gendre is so different that you know, like we're just probably not going
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  to go to a concert like that, you know what I'm saying. So
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  even if the kid's into death middle, he can probably still relate big guitars,
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  you know, fingers out there putting some energy into the show. You
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  know, the drummer bless them away, So you know it's not that far
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  away. Yeah. And there's a great bluesy vibe to Great White too.
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  I want to ask you about that, but let's talk about You mentioned your
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  dad being a musician, and it talks about this on the official website for
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  Great White, that you come from a musically gifted family. You grew up
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  in Huntington Beach, California. Tell us about your your parents, what your
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  childhood days were like going up in Huntington Beach. Well, I actually we
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  moved here. We lived in a lot of suburbs of Los Angeles, like,
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  oh, within one hundred, one hundred and fifty miles at LA.
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  So yeah, when I when I was fifteen, we moved to Hanka Beach
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  for a couple of years until I moved out. But yeah, growing up,
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  I actually kind of discovered, uh, the instrument by accident. My
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  friend across the street, he was he was like the engine guy in the
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  neighborhood. You know, he built the mini bikes, the go karts,
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  you know, so we you know, we'd have fun on that type stuff.
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  And you know, I was playing baseball, you know, was in
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  Little League and all all the stuff that normal kids do. But he had
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  a band that used to jam his garage, and I used to watch him.
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  Every time I heard him, I ran over there and looked through this
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  little window on the side, and one day the bass players playing with his
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  teeth, and that just wigged me out. I just I went begged my
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  day had to get me a guitar, and he got me one, and
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  there was a couple of kids in the neighborhood that were kind of advanced down
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  guitar. So I learned chords off and kind of really didn't put it down
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  much for like a year. And when I was ten, I knew four
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  songs that I'd been jamming with another guitar player, and I know the songs
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  that was wipe Out, Pipeline, Secret Agent Man, and Gloria, And
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  we played for the fourth grade class, and the fifth grade class came into
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  our class. So after we play our four songs, that thought we know,
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  so we just played Pipeline again while they were walking out. That's great.
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  And I was just listening to Stevie ray Vaughan's version of Pipeline just yesterday.
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  Yeah, well there's two guitar parts to those songs, like Secret Agent
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  Man has two guitar parts. So all these all the you know, Gloria,
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  we just kind of went we're winging it and just playing both play in
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  the rhythm. But it's pretty amazing when I think back where I was ten
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  years old, I'm like orchestrating these guitar parts and I barely know how to
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  play, you know, So I was literally learning from It seemed like the
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  same three chords were in all these songs, you know, so I knew
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  enough. You know, I knew a few chords to where I could.
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  My ear was kind of good because I used to listen to my parents' records,
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  you know, a girl from me Panima. I used to sing along
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  and my mom one day she actually said I sing in key. So my
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  ear was good. You know, my pitch and I heard music well,
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  so I don't know what. It didn't come that hard as far as just
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  picking it up and learning chords, So it just kind of went on from
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  there. I played baseball till I was eighteen, and my dad wanted me
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  to be a pro ballplayer, but you know, the guitar just kind of
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  won out. You know. It was like I was a little disheartened at
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  baseball because there's guys better than me, and I didn't really feel like any
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  scout's gonna come and check me out. So but you were you're a pretty
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  good ballplayer though. What position? Oh, it's good, you know,
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  I had home runs. I was a good pitcher. When I was about
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  seventeen and a half years old, my arm was hurting a little bit,
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  my upper arm past the elbow. And when I was twelve years old,
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  my curve ball used to break like four feet. I mean, it was
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  like this big hook and people are telling me that I'm gonna throw my elbow
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  out too early. I never that never hurt me. I never got hurt
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  through courage in my whole life. But what I think might have hurt me
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  was fastballs. I think I kind of threw my upper arm out, you
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  know, and thinking back, it had I worked out with light weights,
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  maybe train better. But back then it wasn't like today. They didn't have
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  the pro training camps. You know. Our coaches just said go play,
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  and whoever had the most natural ability was the good player. You know.
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  It wasn't like you know now twelve Euros look like little pros. You know,
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  all their mechanics and fundamentals are perfect. You know. So I probably
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  did things wrong, but but I had enough scale to where I actually when
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  I was seventeen, I was hitting home runs, but not as many as
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  some of the other guys, you know, and you really have to stand
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  out above the entire league, and your numbers have to be crazy, and
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  you got to be getting right ups every week before any pro scouts are going
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  to come your way, you know, or you're just an incredible pitcher.
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  I mean, you know, throwing it ninety five miles an hour when you're
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  like eighteen, you might get signed. I actually a friend of mine plan
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  got signed by the Dodgers at seventeen years old, so that that kind of
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  stuff can happen. But you know, I just, really, to be
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  honest, wasn't I didn't feel I was good enough to be a pro baseball
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  player. Are you who you fan of? What's your team? Well?
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  My local teams are Dodgers. Yep. I've been a fancis. I was
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  like, you know, ten years old or even younger, used to have
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  boxes of baseball cards, been through all these decades of different players and everything,
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  you know, yeah, Rnando Venezuela, Yeah, all these eras.
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  Even basketball was the same. It was like Gamberlain, Jerry West, and
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  then you know, it always had the thinner guard combo every decade until our
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  most recent decades, and I kind of lost interest. It's weird. It
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  was like there was nobody had this type of star power or the kind of
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  skills, the fast break and all that to get my attention, and I
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  kind of gravitated away from basketball. It's so weird because I was a fan
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  for you know, four decades, but I still followed baseball, so was
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  rock and roll. So were you in bands during this period? Yeah?
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  Yeah, I moved out. Actually, just right after I turned eighteen,
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  I moved out and I was a friend of mine get me a job in
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  a potato chat factory laced potato chips and we used to weigh the roles of
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  impressions of potato chips, put them in boxes and just kind of put tape
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  on it. And we were in a cover band, so we were playing
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  like five sets a night at clubs and working during the day of this day
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  gig right, and we came up with something because we talk about nothing but
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  music. I worked right with the guy, so if the boss was coming
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  around, we would point, and you know, we just have this distracting
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  point job to where he'd think we're talking about something to do with the factory,
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  you get me, but we're talking about legs up letting, what song
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  we're going to learn or you know what I mean. And it was like
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  it was really it really worked in it. It looked like we were really
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  into our job. So that's why I started out. We were just you
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  know, we're playing all the clubs and that, and that's kind of how
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  I discovered Van Halein because they were a local band and I actually went and
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  saw when I was like sixteen, and one thing I noticed pretty quickly was
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  they played every night somewhere. I go, how can we do that?
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  You know that? So I was more inspired than any I mean, the
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  guitar player obviously was just insane, but I was more because I'm in a
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  too, so I'm following their work ethic and how much they work. You
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  know, these guys are playing everywhere and you know, so that really inspired
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  me. Yeah. You talked to my buddy Jeff Goldbill. We both write
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  for the Van Hillen News desk, and he had he did a great interview
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  with you, and you talked about I think you were chatting it up with
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  David Lee. David Lee Roth was filling you in like, hey man,
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  you got to just do any gig you could get, you know, like,
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  just yeah, just you know h I actually asked him, I post
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  the question, how do you get your gigs? Because you know, do
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  you an that's right? Yeah? Yeah, yeah, he said, he
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  said him and Eddie just get on the phone and call and say, hey,
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  can we audition or whatever? And so they started playing clubs and then
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  when they got in Hollywood, they became like the house band at Gazaaris.
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  And then by that time they had enough original to where on a weekends they
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  would go play showcases. You know, you saw him at a junkyard,
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  though I love the story that you saw him at Was it for one dollar?
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  Three blocks from my house? We walked, We walked there and and
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  uh paid one dollar to get in. They had caves of beer and stuff.
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  And you see the guitar player because my friend had told me how great
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  he was, and this dude's like outlandish on guitar, so I wanted to
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  see it. But when we first walked in, the singer brought Dave Roth
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  was laying on the ground blowing a tube inside of the floor tom and he
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  was playing like it sounded like wipeout day, you know, And I'm going,
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  you know, like when does the guitar thing get a good damn?
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  And anyways, they launched in and you could tell right away this guy there's
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  something different going on. Now. I had the biggest musician following Tube was
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  Michael Anthony the band at the time, or was before Mike Okay, So
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  Michael Okay, now ra early he had just joined I think not that long
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  before that. Wow. Wow, So was Eddie. There were stories about
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  Eddie with his back to the audience because you just said a lot of musicians
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  like was I never saw that. Yeah, you know, I've heard people
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  say that, but I never seen him turner his back on the audience because
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  it took a long time before he started doing the the eruption type thing.
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  So he didn't even have a wing bar on a tremolot bar on his guitar.
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  He was playing Les Paul when I've first seen him, right, and
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  you know he so you saw him switch guitars and what up. But uh,
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  the bar came later and the finger tapping came later. But I never
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  saw him like turn his back and tried to hide what he's doing or whatever.
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  Yeah, I've heard that said, but I saw him a lot and
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  I never seen that one turning his back or whatever. Yeah, for those
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  who don't know that story that that wasn't because Eddie was shy what she was.
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  But Dave was just saying, like, don't anybody steal your stuff.
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  You know, he's all that wild, you know. But so how many
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  times did you see van Halen? Did you see as as that he's progressing
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  with with the the new things he's doing. To go a lot quite a
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  bit, even go to gazaarrees or if they played the Star Win or something
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  we went. I remember one time I was drinking a little bit too much.
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  I haven't drank for like a long time. But you know, I
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  wasn't being mean or rude or anything. But I was talking to Roth and
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  I don't even know what I was talking about, but he started looking up
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  in the air and he goes, it's raining in here. Like I guess
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  I would whoever me talking at Maybe I was overly excited, like I guess,
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  a little spittle He said, it's raining in here? So what was
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  you know? What? Was Dave an interesting character? Yeah? He was
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  actually quite sweet. Actually I've talked to him a few times, just sitting
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  and talking. One time I was playing in a pool tournament in Pasadena and
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  he was upstairs eating and went up and talk sat down and talked to him
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  because my brother had hung out with him before, and uh, all you
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  know, he has this reputation like he's some big ego guy, but all
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  he was talking about is me. He kept saying, what are you up
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  to? How's the band doing this, that and the other. It's like
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  all he wanted to know is what I was doing? And and uh so
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  he has ah, he likes to engage in convert stations does with people.
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  Yeah, but it's not it's not a me me me mean thing. You
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  know. He just did on going back and forth and and definitely, uh
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  you know, he he acted like he was really curious on what the band
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  with us here? You know, that's I always appreciated that. Yeah,
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  listening to Great White all these years, there's a real bluesy influence there.
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  Who were the bands, the artist, the guitarist that influenced your sound.
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  You're wearing Keith Richard shirt. Yeah, Deverel actually, but most played with
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  you know, kind of a lot of passion and feel and whatnot. The
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  first one I remember, when I was fourteen because I was just so blown
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  away by him, was Carled Santana, and I was like I was jamming
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  with these guys and I was like demanding that we play Santa. It was
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  like we were Santana tribute band, but we weren't, but I just wanted
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  to play Santana because I saw him on that Woodstock concert and he just grabbed
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  this note. I told the story before, but it was still mind blowing.
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  He grabbed this note and the look on his face was like it was
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  like he's holding this note for dear life or something. I mean, the
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  guy was sweating bullets and he was just grabbing this note. And I don't
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  know why that just kind of It's just I want to play with that much
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  effort and really feel what I play. You know, my dad was kind
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  of like that way he played trumpet. He really squeezed the note, got
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  the maximumount of it. So maybe I get a little from him. But
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  then I discovered guitar player, so I was loyal to all of them,
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  but I would move from one to the next, like once I got into
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  Johnny Winter, It's like I wanted to learn everything he did, and then
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  I'd get into album leave. For a while, I was playing like I'm
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  going home note for note just from playing, just from learning it. It
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  took a long time to learn it and play it fluid, you know,
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  live in front of people. But I was so fascinated by his who it
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  stuck again. But and then you know, later years when I heard Rio
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  Grande mud That's easy top album, I going, who's this guy? You
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  know, Billy Gibven's I was like, And I've actually had the opportunity a
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  few times to hang out with him. He's real sweet and his wife is
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  awesome. Been to a few shows. The way he plays, he's so
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  effortless. It's like he used to get more, like have more body shapes.
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  But now I think, and I've heard people say this when you get
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  up in years, like you can get do everything you did before, but
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  with less effort. Get me, he's wasting a bunch of energy, but
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  you still get the same result. He just looks like, you know,
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  he makes it look so easy it's but he really feels it, you know.
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  He does it even on Eliminator. It gets talked a lot about the
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  synthesizers on that album, but he's he's all over that album, like,
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  oh yeah, good bluesy track on there is amazing uh bam bam bam bam.
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  I got the six Yeah, yeah, it's it's the bluesy track.
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  I mean lyrically, he's a genius too. If you'll be able to and
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  a voice. What a voice too. I actually wanted to find out,
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  like, what is he talking about? Like, you know, on the
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  on the Trace out Ombras album, I'm going Master of Sparks. What is
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  this? It's just so weird, And he said he they explained it.
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  It was about this guy that used to go out in a pickup truck and
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  have this barbed wire all like wrapped in a big ball and get the truck
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  haul and ass and then throw it out and all these sparks would happen.
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  That's him doing the voice. Yeah. They called him the master of Sparks,
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  that this certain guy that is just crazy. But but he I got
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  the six by the way, I'm sorry, I need you tonight. I
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  need you Tonight is the one I'm talking about from that, Yeah, and
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  that bluesy that ballad they do on the next one all rough boy love rough
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  boy Boy, And that's interesting. So so you weren't you weren't of that?
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  There were people say, well, this isn't this is an old school's
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  easy top. What are they doing? But they were pushing it forward,
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  but I still felt like it was this easy top sound. It was still
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  easy top to me. Oh yeah, they were just trying, you know,
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  giving you a slightly different look, you know, having some loop and
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  you know, grooves underneath, and yeah there was some synth in there,
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  but he still he still had that the guitar thing. You know, he
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  didn't change anything he did. They were also smart enough to to know about
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  like obviously music videos, but stage presence, image, the way you look
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  dress of course, the long beers and all that. But did you take
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  inspiration from from a band like that? And of course David the Roth making
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  sure you have that stage presence because it's it's it's the whole package. Yeah.
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  Yeah, you know, I found this hat and I started wearing the
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  hat and people were talking about this hat, and I wore shades that became
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  kind of an image and I had, you know, a certain thing around
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  it, and people, you know, like the shades. I think,
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  you know, I get them from truck stops for four bucks, and people
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  thought, you know, like almost like I had them made or sunglass.
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  There is steapy, Yeah, there is cheapy, but yeah, so you
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  know you want to look it on stage and you know image, but as
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  far as like an image like that's you know, massive makeup and anything like
• 25:03
  that. We didn't do that. Now, that's a different level. No,
• 25:08
  in Tesla, there were bands like that that. Yeah, they weren't.
• 25:12
  We were just wanted we wanted you to can tell we're in a band,
• 25:18
  but we didn't go too flamboyant on that. Yeah. So talk about
• 25:22
  when you guys formed, this is I believe in seventy seven. That's incorrect.
• 25:27
  Actually, okay, it was seventy nine. I met Jack Russell.
• 25:32
  A friend of mine told me about this guy that was in a band and
• 25:37
  my singer was a little bit old for us, and he didn't quite hit
• 25:41
  the notes, and you know, so we were ready to move on from
• 25:44
  him. But what I ended up doing is leaving the whole situation and just
• 25:48
  Jack and I made a band. Okay, I just kind of went on
• 25:52
  and on from there. He got in some trouble, which that whirred me
• 25:59
  a little bit, so I ended up getting another singer. But in the
• 26:03
  meantime, a year and a half later, he came back and auditioned,
• 26:07
  and my band had written a lot of songs and and so he just kind
• 26:14
  of glued right into it. And we were playing around Hollywood, and we
• 26:19
  played around for a couple of years and then then got some attention, got
• 26:26
  an opportunity with an air and armed man to make an EP that was in
• 26:33
  eighty four. The first two and then the first full album is eighty four,
• 26:38
  the self titled eighty three eighty three I think late eighty two something like
• 26:44
  that. We put out the five songs. We got airplay in one of
• 26:47
  the stations in Los Angeles called kamey t but we didn't really have a record
• 26:52
  deal. It was just a distribution. So it's kind of ironic that we
• 26:59
  were getting in heavy rotation on a song with no deal. Which song on
• 27:06
  your Knees on your Okay, Yeah, it was like the big PMRC thing
• 27:11
  and everything, so so you know, we're getting that attention. So we
• 27:18
  did get the full deal and then Michael Wagner produced that album or you know,
• 27:22
  engineered and was part of the production team. And then we went on
• 27:27
  tour with White Snake in the UK for I think two or three months,
• 27:33
  and then we came back with Judas Priest in the States and that was eighty
• 27:37
  four. Okay, who came up with a band name Great White. Actually
• 27:47
  I'm a singer. Jack Russell used to call me Great White when I would
• 27:51
  do a solo during a song back in the day in the clubs and souff
• 27:56
  because I'm like the whitest guy in the world, right, so he'd say,
• 28:00
  he'd say, like kid, you know. And anyway, so when
• 28:03
  we met Ellen nivendin' arman the following day, because he gave us his card
• 28:14
  this night that we played the Whiskey, we found out when we went the
• 28:19
  next day that he thought we had potential. He liked a couple of the
• 28:22
  songs, but hated our name. We're going to, oh, no a
• 28:26
  band name where we're thinking, we got to think of a new name,
• 28:30
  right because he don't like our name, which was Dante Fox. It is,
• 28:33
  you know, pretty bad, but yeah, we kind of settled on
• 28:37
  it. It was like it wasn't so much we loved the name, it
• 28:41
  just we abandoned trying to think of anything else. We just said, that's
• 28:47
  just going to be. I don't care, I'm not going to think of
• 28:49
  a name anymore. But anyways, Uh, I guess he was out in
• 28:55
  front of the Whiskey waiting for his car or something, and I stuck my
• 29:00
  head out the window of a car and I screamed something I don't know what
• 29:03
  it was, but he said the kid next from him pointed to the car
• 29:07
  and goes, there goes Great White because he never heard that. He didn't
• 29:11
  hear Jack say. He didn't happen to say it that night. So yeah,
• 29:17
  so when he heard that, he already hated our name. He knew
• 29:19
  he hated our name. But when the kid said there goes Great White,
• 29:23
  something clicked in his head right there, and he just said, that's our
• 29:26
  name. But we don't know it till the next day. And when he
• 29:30
  tells us you don't have to think of a name, I got a name.
• 29:33
  He goes Great White, where you know, we didn't. We didn't
• 29:36
  think of the Shark or anything like that, so we didn't totally love it
• 29:40
  right out of the gate, you know. Wow. But once we did
• 29:42
  think of the Shark, we thought, hey, that's a pretty cool name
• 29:45
  because it's not the tight name where you had to play a certain kind of
• 29:51
  music like you know, you know how a name a name like Slayer,
• 29:55
  you figure they're going to be pretty heavy our name. Really, if somebody
• 30:00
  says a Great Whites playing and you never heard him before, you really don't
• 30:04
  know what you're gonna go listen to you know what I mean. Yeah,
• 30:07
  so we liked it for that reason. Also, so talk about before asking
• 30:14
  about the albums that really blew up, and they were hugely successful. The
• 30:18
  first two albums you get, the self titled debut and then Shot in the
• 30:21
  Dark and eighty six. They're often forgotten because of the hit albums. But
• 30:23
  what stands out to you when you think about those first two records. Well,
• 30:30
  the first album, we're really trying to be something that we weren't,
• 30:36
  you know, and it wasn't successful. We were trying to be like Judas
• 30:40
  Priests and early Scorpions, even though it didn't turn out that way. But
• 30:44
  we were trying to be heavy and you know, because we thought that was
• 30:49
  the thing to do. You know, we're young, it's the early stage
• 30:52
  of our writing. Then the second what then we get dropped out the label
• 30:59
  after the Jesus preachort and and I America dropped us up the label. So
• 31:03
  we borrowed some money and went and made another record and called it Shot in
• 31:07
  the Dark. Well, Halos Who's was also the biggest, one of the
• 31:14
  biggest stations in Los Angeles at the time. Jamie T, Jamie T and
• 31:18
  kayla Us from two big stations. They put Base the Day on the radio
• 31:25
  in heavy rotation and it became number two songs of the year. So that
• 31:32
  got the attention to Capitol Records, and A and R. Man came down
• 31:36
  to San Juan Campistrano and thought us play at the coach House and signed us
• 31:40
  that night. So you know, we're getting our second opportunity here again because
• 31:48
  of a radio station. And you know, we're so grateful for that,
• 31:52
  because not everybody gets a second chance. It's funny in those days radio stations,
• 31:59
  yeah, they could, they had that type of influence, and of
• 32:02
  course, but radio the other thing. You know, I've kind of studied
• 32:07
  other bands because I'm curious, you know, is there any similarities to Tom
• 32:13
  Petty beginnings in ours? You know, I look into that kind of stuff,
• 32:17
  and I'm watching his documentary and like I was talking to the singer for
• 32:22
  R. E O. And he's like, they didn't hit until their third
• 32:27
  album. It's like that. Not everybody comes out of the gate with it,
• 32:30
  you know, and just blows the world up, you know, with
• 32:35
  the excitement. Very true oftimes, you got to grind it out a little
• 32:38
  bit and then you know, when your back's against the wall. Sometimes you
• 32:44
  come with it right. You have to know. I'm a huge pet fan.
• 32:49
  I remember Tom Petty. That first album is didn't do much. Yeah,
• 32:52
  they were trying to tell they were trying to label them or market them
• 32:57
  as like a punk band or a new way. Unbelievable, unbelievable, grinding
• 33:04
  story. He has no money, running out of gas, you know,
• 33:08
  trying to get to LA and oh my god, it's amazing, incredible.
• 33:13
  Well, you know, other guy, Sammy Higar was like that too,
• 33:15
  just grinding it out as a solo artist when he left Montrose, just just
• 33:21
  tour album tour, album, tore them until he slowly built up that following
• 33:24
  And you guys did that too, And then of course that sets up the
• 33:28
  the eighty seven album Once Bitten, number twenty three. The album goes platinum.
• 33:34
  Rock Me Save Your Love reached the Hot one hundred top ten rock radio
• 33:37
  singles. Lady red Light also did well on rock radio. Did you feel
• 33:40
  like the band was hitting the stride by then? Did you feel like did
• 33:45
  you feel good about the songs when the album was released? Wow, here's
• 33:50
  my deal is It's the first time I've ever like listened back. I remember
• 33:55
  sitting in the control room with the record company all there, and I heard
• 34:00
  rock Me come back at Me, you know, through the speakers at a
• 34:05
  pretty decent volume, and I, you know, you don't know if it's
• 34:10
  gonna the people are gonna gravitate toward it, but to me it sounded like
• 34:16
  amazing. You know, I couldn't believe what I was hearing, because you
• 34:21
  know, you're you kind of get a little bit of tunnel vision, and
• 34:24
  you know you're overdubbing your stuff and the stuff being that, you know,
• 34:30
  it's not like we're totally playing live in the studio, So I really didn't
• 34:35
  know what we did until we were done. And when i'd heard it back,
• 34:38
  I felt like it had a good, good chance to do something.
• 34:43
  But I was a little worried about how long it was. It was seven
• 34:46
  minutes long, and we'd never had a hit song before. You know,
• 34:50
  we're going to radio with the seven minutes song. So the manager does a
• 34:55
  funny little trick add just to be humorous, every song on the album,
• 35:02
  he put three minutes and fifty nine seconds. So when when the radio station's
• 35:09
  got the single, it said three point fifty nine rock Me, three fifty
• 35:14
  nine but early seven minutes. So then the you know, the phones are
• 35:19
  lighting up, the songs going big. We're out with night Ranger. You
• 35:22
  know, we're on tour, songs, on radio everywhere. You know,
• 35:25
  it's a big hit. So by the time they figured it's seven minutes,
• 35:30
  I guess it was, you know, almost too late or something. Probably
• 35:34
  I don't know that, but you know what I mean. I mean,
• 35:37
  you know, I think they like this shorter stuff. But you know,
• 35:40
  it was kind of an ao R type time a little bit. It was,
• 35:46
  I know, it wasn't like it is now with the classic rock.
• 35:50
  You know, like at one ten every day is when Petty will be on.
• 35:54
  It's well, you know, like it like the whole thing's on a
• 35:58
  clock. There was a little bit more random back then. It felt like,
• 36:01
  Yeah, I worked in radio for a while and it was just I
• 36:04
  played the same songs every night after night, and then they would move,
• 36:08
  like they'd move tom Petty's free Falling from like two pm on Monday and then
• 36:14
  they played at four pm on Tuesday, and that was mixing it up.
• 36:20
  Okay, you know exactly what I mean. Oh yeah, but I'm so
• 36:24
  grateful they play us though, you know, we're not quite the oldest dam
• 36:29
  we're kind of the classic rock deal or something. And you know, I
• 36:32
  still get the chills when I hear anything of us on the radio. I
• 36:37
  took it the greatest ever. Yeah, I was. I was going to
• 36:39
  ask, what's what's your memory of the first time you heard us, any
• 36:43
  of your songs on the radio. What that felt like? Well, the
• 36:45
  very first time was on your knees on that EP, and you know,
• 36:50
  you just can't believe it. You know, you never think you're good enough,
• 36:53
  you know. Plus it wasn't too long before that when my mom was
• 36:58
  coming out in the ground check. Can you guys tone it down, tone
• 37:01
  it down, right back down to earth. You didn't tell us to turn
• 37:06
  it down, of tone it down. I just roll off a little trouble
• 37:09
  huh rock podcasts. We'll be back after this. Now you waiting, I'll
• 37:17
  be right back. Your solo on rock Me is so damn good. Do
• 37:23
  you recall any any stories memories of recording that song? I want to ask
• 37:29
  you about some of the other songs too. No, I'm just trying to
• 37:35
  do things that are memorable that I think bit the song and some you know,
• 37:38
  trying to play as week as possible. I'm kind of a fan of
• 37:44
  that. I don't just want to play a bunch of notes and to try
• 37:47
  to get attention. I'd rather play something musical, because I've always been a
• 37:53
  fan of singers. Even when I was a very little kid, like five
• 37:57
  six years old, i'd sing sing along. Even when my dad got me
• 38:01
  Hendrix Spream and the Doors. I didn't even hear the guitar. When I
• 38:07
  was listening to Hendrix. I was singing with him. I was singing,
• 38:10
  Hey Joe, I was singing, you know, manic depression or whatever.
• 38:15
  And and so later in life I'm playing guitar. My thinking is, how
• 38:22
  come just singers get to sing all these beautiful melodies? Why can't I?
• 38:25
  Why can't I try to incorporate a little of that. I mean, you
• 38:30
  want to do some things that are a little fast for a dynamic, or
• 38:35
  maybe the end of the solo flurry a little bit. But I want to
• 38:38
  do things like like Jimmy Page did with Stairway to Heaven. I mean,
• 38:44
  you know, a solo that lives on its own forever, not just the
• 38:50
  song, how great that is, but can you believe how cool that solo
• 38:53
  is? You know, and it's not because it's technically you know, this
• 39:00
  highly skilled gi T monster thing. It's just so beautiful and it fits so
• 39:07
  well in this and the sound of it is great, and the way the
• 39:14
  length of the notes and you know what I mean, Yeah, that's my
• 39:19
  My thinking in other words, has never been how many notes can I get
• 39:22
  away with before the band's going to say something. My thinking is what can
• 39:28
  I do to make this song the best it could possibly be? You know
• 39:30
  what I mean? Yeah, yess that's why I played the way I do
• 39:36
  you. How about Savie Love? Do you remember any memories of recording that
• 39:38
  writing the song? Yeah? Actually I was over at this friend of mine
• 39:45
  who was a really good songwriter, and you know, it's kind of writing
• 39:51
  with him, and he kind of had this heavy metal approach to say your
• 39:55
  love believe it or not, with this big intro, heaving guitars, and
• 40:02
  we decided to bring it down into like a more of an acoustic and maybe
• 40:08
  some strings and make it more of that type song that maybe lifted in certain
• 40:15
  areas with the dynamics. It was really never a big hit, except for
• 40:20
  when we played it live. It wasn't like it was you know, a
• 40:24
  top ten single or anything. I don't think. But when we played it
• 40:28
  live, people wigged out, you know, they called it a turntable hit.
• 40:32
  The turntable hit. It's like when the fans discover songs that aren't getting
• 40:37
  a lot of attention, you know, maybe they discovered them on the album
• 40:44
  and they go, wow, I really love this song too. This is
• 40:47
  just look at this is funny. The Save Your Love edit, the length
• 40:50
  three minutes and fifty nine seconds, I called it, yeah, three fifty
• 40:55
  nine everything, you know, and it was really that added just being humorous.
• 41:01
  It wasn't like we were trying to get away with something. It was
• 41:04
  just being funny. It's like, you know, like in movies, like
• 41:08
  they'll put a frog in every scene, every scene, just to see if
• 41:14
  somebody notices it. We did it in this what we were in this movie
• 41:17
  called uh see they can't movie now? Is it? What? Was a
• 41:28
  well known movie one i'd recognize. Yeah, it was with definitely D'Angelo.
• 41:35
  Look it up because I still remember seeing it's play the band. We just
• 41:40
  played the band in the movie. But anyways, they were putting some kind
• 41:46
  of animal thing in all every single scene to where just to see if the
• 41:57
  director would notice it. And if nobody notices it, when the movie's all
• 42:01
  done and in theaters they can go watch it. GOODK, there it is,
• 42:06
  you know what I mean? Yes, I don't know if it's a
• 42:07
  little little thing. Now. I'm curious as to which movie that is,
• 42:10
  because I remember it was with what What Made to Order? Made Order?
• 42:20
  Yeah, May Order nineteen eighty seven. Here we go, Yeah, IMDb.
• 42:22
  I think they mentioned because that White Lion was in the Money Pit with
• 42:29
  Tom Hanks and Shelley Duval in nineteen eighty six. Oh yeah, I remember
• 42:31
  watching that on HBO. I'm like, wait a minute, that's fine Lion.
• 42:37
  But they were unknown at the time. They were just like the there
• 42:40
  were the wedding bands. Cool. Yeah, How did you like making videos?
• 42:49
  I heard they could be long days? Not really so much because of
• 42:52
  the waiting. But I remember when we did stick it on the first album
• 42:55
  was it was kind of fun because my brother was there in the crowd and
• 43:00
  Tom Jones. We took a break. I was watching Tom Jones rehearse in
• 43:05
  this other room that was attached to we were doing it. It was badass.
• 43:08
  You know. Tom Jones is a singer and he was going to be
• 43:12
  on Johnny Carson. We got to talk to him a little bit, going
• 43:15
  on Johnny Carson The Falling Night and doing a rehearsal for that. But just
• 43:20
  watching that guy, you know, yeah, thing perfect and you know he
• 43:27
  he just has you know, a T shirt on a sweatpants down there.
• 43:35
  Oh god, yeah, the guy. His pipes is pretty incredible. Man.
• 43:40
  Yeah, making the video, I've always heard it's it's like a long,
• 43:45
  long, laborious thing, but boy, it pays off though. The
• 43:49
  it moves. Yes, as they would say, we were excited. We
• 43:52
  were excited with the whole MTV and you know, we were really getting our
• 43:58
  music out there and you know the videos. It was fun. They didn't
• 44:02
  let us go in the day if they shot girls, they wouldn't let us
• 44:07
  be there on that day because it would distract from the whole shooting scene.
• 44:14
  But sometimes we're in with them, so we had to be there. But
• 44:17
  there were times when, like when they hung the chick on the hook and
• 44:21
  stuff, I mean they didn't want us down there. They literally, like
• 44:28
  today, they wouldn't do it that way. They would just get a chick
• 44:30
  sitting on a chair and then dub in the hook. You know, but
• 44:34
  they he's actually hanging on this thing. Yeah, but uh yeah, so
• 44:40
  yeah, the video I mean because see back then the equipment they had train
• 44:46
  tracks, and you know, if we we didn't use drones, we use
• 44:51
  helicopters. If we were doing an aerial shot, you know, we're doing
• 44:55
  a shot up on a building. Now it would take us just minutes to
• 44:59
  do with a with a drone, but we we actually get helicopters with cameras,
• 45:06
  you know. Yeah, so everything took longer, you know, the
• 45:10
  setups, you know, took longer. Now we've done videos. You know,
• 45:15
  we did a video a few years ago and all the all the equipment
• 45:21
  small now, but it's the same quality. Get me, could do everything
• 45:24
  on your phone. I did a solo on a street right down from my
• 45:30
  house and we were waiting for the traffic. I had to run out there
• 45:35
  when no cars were coming, and we had a drone, multiple cameras.
• 45:40
  It's amazing that, you know, and it looked great, you know,
• 45:44
  it was black and white as bad ass. I still try to I'm still
• 45:47
  it's crazy for me to think it's working in radio for so many years.
• 45:51
  I had to drive like forty five minutes to an hour to get to a
• 45:52
  microphone, and now it's I'm in my apartment. It's like that's where we're
• 45:57
  at. Like like a musician, you could record at home, you could
• 46:00
  record a whole lot, or during COVID you could do stuff where like here's
• 46:04
  my parts, I'll record my parts here, you do yours where you are.
• 46:07
  It's so different I do. I do a radio show now in Palm
• 46:13
  Springs, cool, and what I do is it's total free form, so
• 46:17
  I can play any song I want. So I get the list of songs
• 46:22
  and I literally do all the rapping on my phone and then the guy edits
• 46:30
  it together. I don't even go to the station. I'm not voice tracking,
• 46:34
  right, the voice tracking they call it. It's just my Mimo,
• 46:37
  my Mimo recorder, and it's high quality. It sounds perfect. I've heard,
• 46:44
  I've heard the shows I used. I used to pre record a shift
• 46:47
  and then I am in my car listening to myself. It's like it's just
• 46:52
  the strangest thing. But that's like serious XCM. I think serious XM.
• 46:57
  I think does that a lot where a lot of the you' here there,
• 47:00
  they're at home. They do it like you're doing it and then they and
• 47:02
  then they insert in all the breaks. But it was it was fascinating to
• 47:06
  see because you you would you would have all the spots on a sheet of
• 47:10
  paper, this is when you talk, this is the song you're going to
• 47:13
  introduce. And it was kind of a bummer though, because the magic of
• 47:16
  radio was doing that thing live and that was you know, I came from
• 47:21
  my dad did radio before me, and it was like it was like an
• 47:23
  art form, you know. But it's great that you get to pick your
• 47:27
  own songs. That's great. Yeah, it's see what's different then It's just
• 47:32
  like I was saying about the video, how the setups took longer because there
• 47:36
  was a lot bigger gear. It was just everything's faster now. And you
• 47:42
  know, but but the era you're talking about is human connection. Driving to
• 47:46
  work, you know, you feel like you're doing something and now we can
• 47:52
  do it all from home. And that's why kids are home, you know,
• 47:54
  playing video games and their computers. And you know what I mean to
• 47:59
  where everything I had to do coming up, I had to leave the house
• 48:02
  to get it done. You know, if I wanted to promote the band,
• 48:07
  I couldn't sit behind the keyboard. I had to get a staple gun
• 48:10
  in my posters and go to Hollywood. Yeah, you know, and it
• 48:14
  was that way with everything. Everything took footwork. Obviously, the business model
• 48:20
  has changed so much. So the big question I'm sure you've been asked so
• 48:22
  many times streaming services, what do you think about it? You know,
• 48:29
  I just deal with that. The thing I like about when I grew up
• 48:35
  is it was soventful to go to a record store buy an album. You
• 48:38
  know, been the whole day listening to physical graffiti, get some beer,
• 48:45
  save up, saved up for you, worked a job to save up for
• 48:50
  the b itself of buying a record was just so cool. I don't know,
• 48:54
  there was something about it. And uh, it's just a lot more
• 48:59
  human connect in different world. As far as the way is today with the
• 49:02
  streaming, you know, we just wanted we have internet assassins. They know
• 49:08
  how, you know, the best way to get our music to people.
• 49:13
  But it's just a little different, you know, it's not the way it
• 49:17
  was. I think the kids today are more song oriented than you know,
• 49:25
  knowing who's in bands like I always knew the guitar player, bass player,
• 49:30
  drummer, and singer. I always knew everybody's name in every band was like,
• 49:37
  yeah, the album even you know who did you know reading the lyrics?
• 49:43
  You know, and I don't know, there's just something to say about
• 49:45
  that. But you know, now I think, you know, kids might
• 49:49
  wake up before school and download like fifteen songs too from that guy to go
• 49:54
  you know where. It's not that hands on. My favorite guitared player is
• 50:00
  this guy, you know what I mean. Yeah, as an artist in
• 50:06
  the world, do you get like a check a year for royalties? How
• 50:09
  does that work? Yeah? We you know, quarterly, monthly, you
• 50:19
  know. You know, the songs still get played all over in different mediums,
• 50:24
  uh TV, some movies occasionally, which usually get a symphy for that.
• 50:31
  Plus you know so much so there's a lot of areas. The thing
• 50:37
  that's one thing good about today is the song the airplay is counted more accurately
• 50:45
  because it's not like the days of jukeboxes where you're just you're going by that
• 50:51
  thing that spends around. You know. Now everything's piped into the Internet,
• 50:55
  so it's easier for asas up and Sam and change all these different entities to
• 51:04
  count your songs correctly so they can pay the artists properly. Yeah, we
• 51:07
  had a music log we'd sign each hour. At the end of each hour,
• 51:10
  sign that log because I think that was part of the reason why.
• 51:14
  Obviously for commercials too. But yeah, guitarist and founding member of the Grammy
• 51:19
  nominated band Great White, Mark Kendall is here. But the other thing I
• 51:23
  was gonna mention too what's crazy too is like TikTok industry and like the younger
• 51:29
  the younger culture is like I put up all these videos and it's the short
• 51:32
  videos that get the most views. It's like the forty second shorts, fifty
• 51:37
  seconds. It has to be a minute or less. I don't know if
• 51:39
  I like that or not, but it is what it is. It is
• 51:44
  what it is. You know what I noticed being you know modern day Facebook,
• 51:50
  you know this ex Twitter or whatever. The thing that the fans respond
• 51:57
  to most is for the pictures on stage, like where you're jamming and you
• 52:02
  got the best shape of your life and your guitar just looking cool and you're
• 52:07
  looking cool and the lights are badass. They respond more to us in airports
• 52:15
  eating maybe maybe just standing there or backstage just chilling, you know, because
• 52:23
  I think they get to see us on stage all the time. And I
• 52:28
  know me as a fan, I want to know do Dlly Gibbons stratory McDonald?
• 52:34
  You know, what does he do when he's not blowing my mind?
• 52:37
  Guitar? You know? And I think the fans like that, they want
• 52:43
  want you to show a little bit of yourself away from the stage because I'm
• 52:47
  just judging by the lights that it gets these candid shots of us just goofing
• 52:53
  around. You know, we'll get like thousand of likes and and and maybe
• 52:59
  this on stage shot that's the greatest ever, it doesn't really get their full
• 53:04
  attention, you know, because they've already seen that. Yeah, well,
• 53:07
  do you have people like I know your publishers reach out to me so we
• 53:09
  can do this interview? Like do you have people that do like they make
• 53:13
  sure you post something every day, Like Sammy Hagar posts something every day and
• 53:16
  all. And it's because it's like a necessity in order to get your name
• 53:20
  out there and keep your name out there. I noticed Samuel will put something
• 53:23
  up every day, and you know that that's intentional, like you gotta you
• 53:27
  gotta do it. It's like it's necessary. We kind we kind of do
• 53:30
  that just on our own and and you know, we're always uh taking selfies
• 53:38
  or maybe get the story manager, take a shot of the band, you
• 53:42
  know when we're not looking so good. Yeah, right right, and you
• 53:45
  know, just just this show man. We're just a human, you know,
• 53:50
  we're just excuffy guys that you know, trying to have fun here it
• 53:54
  works and sharing that with yeah, people who like to be Oh. I
• 54:00
  was a manager, former manager of Kiss and I can't remember his name now,
• 54:04
  but he was talking about he still manages nowadays, and he's been around
• 54:07
  for a while and he just was telling like he was telling his bands.
• 54:09
  He's like, he used to be guys, we wanted to get your songs
• 54:13
  on the radio, MTV and then tour a lot. He's like, now
• 54:16
  you got to be on all the social media sites. And the guys in
• 54:20
  the band was like, well, what am I gonna post? He's like
• 54:22
  anything, just with anything, just get your name out there. Yeah,
• 54:28
  I want to move now to the nineteen eighty nine album Twice Shy, double
• 54:31
  platinum, nominated for a Grammy. Mister Bone is on this one top thirty
• 54:37
  rock radio, The Angel Song is top forty, House of Broken Love,
• 54:39
  Top ten rock radio enters, the Hot one hundred and then there is the
• 54:44
  top ten single once Bitten twice Shy video and heavy rotation originally in nineteen seventy
• 54:49
  five single by Ian Hunter of Matehopel. How did it come to be that
• 54:52
  you guys recorded that track? Whose choice was it? Here's what happened that
• 54:58
  our album was done. Basically, we had enough songs, everything was fine,
• 55:02
  and then our manager came in with that song because he managed Guns and
• 55:07
  Roses, and I guess isy Dradlin, the guitar player, had showed him
• 55:12
  that song because we had an album called Once Bitten and we thought the obvious
• 55:19
  follow up should be Twice Shy. But we didn't know about this song.
• 55:23
  And I knew nothing about Ian Hunter a solo career or anything like that.
• 55:30
  I just knew him from Monta hoopo that this was a solo song that was
• 55:36
  never hit. But our manager really liked the lyrics a lot because it was
• 55:40
  about being on the road and stuff, and we thought it was okay,
• 55:45
  we go, you know, just just make it your own, you know,
• 55:49
  and we'll put it on the record, you know, as an album
• 55:52
  track and to see how go. So we did that, and but by
• 56:00
  coincidence, back when we did the Jenus Priest tour. Our sound man was
• 56:04
  good friends with Ian Hunter, and so he wasn't doing nothing at the time.
• 56:09
  We went by his house and borrowed his drum riser out of his backyard
• 56:14
  for the tour. He loaned us as he loaned us a riser he had
• 56:17
  it, he had his backyard, but he had nothing to do with doing
• 56:22
  the song. Five years later, so we have one more encounter with him.
• 56:27
  He rode on our bus one time. I forget what that was about.
• 56:30
  But again this song was brought to us. Niven loved the lyrics because
• 56:35
  we're always on the road. We've been on the road, you know,
• 56:37
  we never go home, and and so it kind of fit what we did.
• 56:44
  But had we been desperate and actually needing a cover because of lack of
• 56:50
  material, the trick is to find a hit, you know, kind of
• 56:55
  like what Lenny Kravis did with The American Woman. It's like, find a
• 57:00
  song that's already been a hit and then make it your own. We're not
• 57:04
  going to go hunt down a song that's never been a hit and try to
• 57:08
  make it one, you know. So it wasn't like we were searching for
• 57:15
  one. It just came to us. And we said, okay, we'll
• 57:17
  do it. Then then the record company totally wiggs out because it comes out
• 57:22
  pretty good and they want to make it the single. And we thought it
• 57:28
  was okay, you know, but we we didn't know it was going to
• 57:31
  do what it did. And then so it's out for seven months and we
• 57:39
  literally haven't even gone to the second song yet because it's everybody's you know,
• 57:44
  really really gravitated toward it. In I remember it, like relate to the
• 57:50
  lyric. They relate to the lyrics because you can put once bitten like I'll
• 57:54
  never do that again, right, so you can apply it to your life
• 57:59
  pretty much. You know. It was a lot of different things. So,
• 58:01
  yeah, the song did very well. But the thing I thought was
• 58:05
  funny is it was number one on MTV. It made me realize that your
• 58:13
  video and MTV to do with how good the video is. It's just because
• 58:17
  the song's top five in Billboard, so that just moves you up the ladder
• 58:24
  on MTV. But I think they completely judged your video by where you are
• 58:31
  on the chart, because I didn't think that that video set any records or
• 58:37
  anything. I mean, it was it was cool and fun, but yeah,
• 58:42
  well shot. But yeah, it wasn't like a epic, big budget
• 58:45
  Michael Jackson, but it wasn't thrill. It wasn't thriller. Yeah, I
• 58:51
  remember that summer Man summer of eight nine, and I was I was in
• 58:54
  my last year of high school. I remember thinking, I think back Batman
• 58:59
  was the big movie, Great Whites, one Bit and Twice I was a
• 59:01
  big song, you know. I just remember that summer. It was yesterday
• 59:07
  booked on rock podcasts. We'll be back after this suspense is killing me.
• 59:13
  Any stories or memories you could share from some of the other hits, like
• 59:15
  Mister Bone. Mister Bone. Yeah, there was actually a guy who's like
• 59:21
  an an arch man or something. His name was Mike Bone, and we
• 59:25
  had him in the video. We did it out in the middle of nowhere
• 59:29
  at this house and stuff, and it's pretty cool. But yeah, people
• 59:35
  really dug that song. It was a great live track. You know,
• 59:39
  a lot of the songs become something from playing live, you know, and
• 59:50
  you kind of know what they are after playing live a lot, you know,
• 59:54
  by the reaction of the crowd. That's just funny. It's like when
• 59:58
  you played live, it's not like recording because there's that I've said this before,
• 1:00:04
  but there's like a three month window after you're done playing, so you've
• 1:00:08
  got to wait to find out if you're good or not, so to speak,
• 1:00:13
  where when you play live, they let you know right when the song
• 1:00:16
  ends, so we can we can feel what songs are getting the reaction and
• 1:00:22
  which ones are you know, getting the most reaction, and you know,
• 1:00:27
  maybe others are getting reaction too, but so you can kind of feel the
• 1:00:32
  songs that they're that they're responding to. And that's still in the setlist,
• 1:00:38
  right, Yeah, Yeah, we play that. We do a little jam
• 1:00:43
  in the beginning. That's one thing to keep it exciting for us. We
• 1:00:47
  like to involve the crowd, you know, involve the fans, whether it
• 1:00:51
  be singing or you know, bring them into the show by doing a few
• 1:00:55
  random jams that we don't really know exactly how we're gonna to do it,
• 1:01:00
  you know, so it makes it exciting for us. Things are changing tonight,
• 1:01:06
  that's cool. Anything to eliminate going through the motions, you know,
• 1:01:09
  we like to sure get exciting. How about House of Broken Love? Remember
• 1:01:14
  about recording that writing that that's a fan favorite, you know that, believe
• 1:01:20
  it or not. The solo, and that took me about ten hours.
• 1:01:24
  And there's nothing hard. Like a fifteen year old that's been playing the year
• 1:01:29
  could probably play that solo, but to ride it was kind of a pain
• 1:01:34
  in the butt because I didn't have anything for it, and there was a
• 1:01:37
  lot of solos and fills in that song, so I had to come with
• 1:01:43
  something, and so I was just writing it as I go, as I
• 1:01:46
  went, you know, And by the time I was done, Man,
• 1:01:50
  my fingers are killing me just from playing so long, because it's not just
• 1:01:57
  the link of the solo. I was playing for like ten hours up and
• 1:02:01
  on, and my fingers were in pain. And I discovered something a friend
• 1:02:07
  of mine told me. He says, dip your fingers in dasolene and it
• 1:02:12
  kind of sucks the soreness out. And I did that and it worked.
• 1:02:15
  I can't believe it. Man, that's cool. So it almost feels like
• 1:02:20
  your fingers have bruising. Yeah, so did they take from different parts where
• 1:02:24
  you like recording the whole ten hours and they took yeah, rolling, rolling
• 1:02:30
  two inch tape and I was playing along. Then we'd listened back and just
• 1:02:37
  I'm just building this cool solo. That's uh. I'm trying to make it
• 1:02:43
  the best I can, you know, make it memorable, because the song
• 1:02:49
  was so simple that I wanted it to have something else, some musical value
• 1:02:54
  besides, you know these two cores that are going down, So okay.
• 1:03:02
  A couple of years later, ninety one hooked follows that has Desert Moon and
• 1:03:07
  Call It rock and Roll, which both got heavy Airplane Rock Radio Top twenty
• 1:03:10
  went gold. Any good stories on Desert Moon call it rock and Roll?
• 1:03:15
  Yeah, yeah, Desert Moon itself. After we were done with I think
• 1:03:23
  either The Scorpion or Tesla, I can't remember, but instead of going home,
• 1:03:30
  we went to the Bahamas and just like partied down like billy for five
• 1:03:35
  days. Right, so we were kind of in a coma a little bit.
• 1:03:38
  We went to New York to Electric Ladylan Studios. You know, we're
• 1:03:45
  into three coordinat and all that legendary, and flew we flew in all the
• 1:03:51
  biggest radio station people to come watch us play that song live in Electric Ladyland
• 1:03:58
  and that was that was joyful. And then we did a really cool video
• 1:04:03
  out in the desert at night, and Dean Kane was in that video.
• 1:04:09
  I don't know, mamily, Yeah, he did the sleepermn Sieries and stuff.
• 1:04:14
  Really cool dude, that was real early in his career. So you
• 1:04:16
  know, these guys love doing music video, isn't. And then Christine Rose.
• 1:04:21
  I think she's kind of a model, and she was real personable and
• 1:04:29
  got into it, you know, dancing around this fire. Yeah. And
• 1:04:32
  at this point now, is the label really putting a lot of money behind
• 1:04:35
  you guys because you got your coming off the huge album? Yeah? Yeah,
• 1:04:40
  they I think I think the album could have been a little bit better,
• 1:04:45
  you know, I think, you know, in hindsight, you always
• 1:04:51
  can fix things. Yeah, you know, but I think I think we
• 1:04:57
  felt a little bit short there. That's just my opinion. But a lot
• 1:05:00
  of the fans like like it, But I don't know. I just think
• 1:05:05
  we could have stepped it up a little bit more with maybe the production a
• 1:05:11
  few other things, you know, just my opinion. And what did you
• 1:05:14
  think of grunge rock when you when you first heard Nirvana and sound Garden and
• 1:05:20
  Alice believe it or not? Believe it or not? You know, I
• 1:05:26
  really felt like the eighties was getting a little water down toward the end.
• 1:05:30
  I mean, the whole the whole decade was wonderful, you know that the
• 1:05:33
  Doc and skid Row, all the you know, some really good bands writing
• 1:05:38
  some quality material. But toward the end, because of the the big machines
• 1:05:44
  out there, they all wanted their dock in and they wanted their skid row,
• 1:05:46
  you know. So then you you kind of get, like, toward
• 1:05:50
  the end, a little bit predictable with the writing. You know, you
• 1:05:56
  can almost I can almost give you the lyrics for the chorus before I hear
• 1:06:00
  him it because that predictable. So when I heard that Nirvana for the first
• 1:06:05
  time, I thought it was just awesome. I couldn't believe it. It
• 1:06:11
  was well for this reason, they just plugged in. It seemed like a
• 1:06:15
  band that just plugged in. And it reminded me of us when we were
• 1:06:19
  starting out in the garage. Kind of crummy, but we didn't care,
• 1:06:25
  you know, we just kept doing it and then we got better. But
• 1:06:29
  they had this kind of I don't care attitude. But there was some melody
• 1:06:34
  in there with really raw ass fucking guitar sounds. I'm going that singer he
• 1:06:45
  has something, and what he has is his placement where he puts his vocals
• 1:06:51
  aren't like what other guys would do. It's almost like Phil Lenna with them
• 1:06:57
  Lizzy. It's like if you had another guy sing those song, he would
• 1:07:00
  never place the words were, Phil, did you give me? Yeah?
• 1:07:06
  There's there's there's a way to do it that A lot of singers would do
• 1:07:13
  it the same, but then you got a Phil Lenna that did it so
• 1:07:18
  his own way but made it so tasteful but just cool. It's just a
• 1:07:24
  rhythmic thing that like in al Green or you know, there's certain singers have
• 1:07:30
  that others don't. Like. Others got great voices, but they don't have
• 1:07:36
  that little extra thing that makes him a real original. And I thought that
• 1:07:42
  singer, even though he was just blasting in something, but there were other
• 1:07:45
  things he was doing that I go, that's kind of his own. It's
• 1:07:50
  like if I put another singer in there to sing that, he would never
• 1:07:54
  do it that way. But the way he's doing it is really cool.
• 1:07:59
  Interesting. It was a little bit refreshing for me. But at the same
• 1:08:02
  time, man, well maybe we're going to be on the hiatus for a
• 1:08:08
  while. Up, I'm not going to go out and start playing sounding like
• 1:08:11
  Nirvana to keep it well. But that's some bands were thinking about that and
• 1:08:15
  somebody doing it. We kept just writing the best songs we could, praying
• 1:08:21
  people are gonna like it. But we we never change anything we did because
• 1:08:27
  something swimming by doing great. So we just went out and we played mid
• 1:08:31
  size venues instead of arenas, say true to the music, true to who
• 1:08:35
  you were, and all the fans were still there. That's what was cool.
• 1:08:41
  Fans were so loyal that they you know, they dug it, they
• 1:08:45
  came down to see his play. Are there any albums during that period in
• 1:08:48
  the nineties that you're bummed that it came during that period because they would have
• 1:08:53
  done so much better, Like you got ninety two, Psycho City, Let's
• 1:08:57
  see Picho, ninety four, sail Away right, let it Rock Up ninety
• 1:09:01
  six. I think it was Psycho City. I felt had that come out
• 1:09:08
  like in the eighties, somewhere just wedget in there somewhere, I don't know,
• 1:09:14
  that probably would have done pretty good. And I think Can't get there
• 1:09:16
  from here in the late nineties really just missed its time because there was there
• 1:09:23
  was a lot of good stuff on that. Yeah, the Tribute to Zeppelin
• 1:09:27
  though, Man, that that was an album. I think that was received
• 1:09:30
  very well because the MTV Unplugged appearance where you're playing zeppy songs got a lot
• 1:09:35
  of people's attention. And then you released the tribute album from ninety eight,
• 1:09:40
  which I'm interested in the songs that you chose I thought was really cool.
• 1:09:45
  And in the Light was released as a single, which is a that's a
• 1:09:47
  deep track from Zapplin No Quarter Tangerine. Yeah, that was cool. So
• 1:09:53
  what went into the decision making as to which idea the idea was Because when
• 1:09:59
  we we did that unplugged show, the manager called me the night before we
• 1:10:02
  did that show and said, learn babe, I'm gonna leave you. Jack
• 1:10:05
  wants to do it. And I was in shocked because we're no way to
• 1:10:11
  rehearse and it's a pretty big arrangement, a lot of picking, and you
• 1:10:15
  know, I'm thinking this isn't like learning touch. I mean, this is
• 1:10:19
  serious shit. Yeah, And I didn't even I mean we went over in
• 1:10:25
  the dressing room and one time we went through the whole song in uh downcheck.
• 1:10:31
  So I'm unsure of this arrangement, I you know, but the singer
• 1:10:36
  knew it so good that I kind of followed his lead because a couple of
• 1:10:41
  times I'm going into another part and just kind of noodle my way out of
• 1:10:46
  it with some riff that just comes out the top of my head and go,
• 1:10:50
  okay, we don't change yet, you know. And it was nerve
• 1:10:55
  wracking. If you're watching the video, man, I'm shinking until the end
• 1:11:00
  and I know where it's going to go. Oh I didn't know that yet,
• 1:11:02
  but I put my head up, I'm all happy. Wow. Yeah,
• 1:11:08
  I mean and Jack Russell nailed it. Great vocals. Oh yeah,
• 1:11:12
  he nailed plant. So here's what happened. So MTV chows that song to
• 1:11:17
  put on their format, you know, in rotation. So now the fans
• 1:11:25
  want to hear Zeppelin all the time, and I mean they really want to
• 1:11:29
  hear us to play a lot of Zeppelin. They just because we did that
• 1:11:32
  song good. Right, So we had a break in our touring schedule and
• 1:11:39
  we go, okay, they want to hear Zeppelin, Let's give them Zeppelin.
• 1:11:44
  And so we spent six days and learned eighteen songs, and most of
• 1:11:49
  the songs we did almost all of them we didn't do when we were teenagers.
• 1:11:54
  We didn't play. We weren't playing in the backyard parties. We weren't
• 1:11:58
  playing these songs. We learned things like in the Life you know, and
• 1:12:03
  ramble On and some of the other ones because we had to learn them because
• 1:12:10
  we didn't know them. We didn't know them because we didn't play when we're
• 1:12:14
  a teenager. I've never played Stairway. They haven't correctly except for when we
• 1:12:19
  recorded those shows. Everybody thinks I know it because you can play the intro
• 1:12:29
  thing, but if you go to learn the whole thing, I used to
• 1:12:31
  not even played some of the right chords. I wasn't playing the correct chords.
• 1:12:36
  So I went to learn that song and I'm going, oh shit,
• 1:12:40
  I knew I would never even been close, and some of the other songs.
• 1:12:45
  But I noticed a lot, you know. I kind of learned the
• 1:12:47
  way Page puts his guitars together. When when you dissect the songs, he
• 1:12:54
  usually has three guitar parts. So I just we had to pick the most
• 1:12:59
  dominant too, because we're playing totally live, and so it all worked out
• 1:13:04
  that. Yeah, So it was one gig only right. It was from
• 1:13:09
  the Galaxy Theater where there's a couple of songs that we only got right on
• 1:13:16
  the last show. Most of almost every song came from the last show.
• 1:13:20
  After playing Yeah the Rover that one actually did when I was a teenager,
• 1:13:30
  bet, but most of them I didn't do. I always say Zeppelin three
• 1:13:34
  might well, I know, I love Zeppelin two, but Zeppelin three is
• 1:13:36
  like a close second, and I love Tangerine is one song. But that's
• 1:13:41
  the way in Tangerine like that back to back, back to back tracks on
• 1:13:44
  that album I wish you had done. That's the way that sounds so good.
• 1:13:51
  There's a live version one of the only times I've heard Zeppelin live where
• 1:13:58
  Page, I mean, Plant is just nailing it, and they also do
• 1:14:02
  going to California like Yiller. It's like the best I've ever done it live,
• 1:14:08
  Plant descend all. His range was there. He wasn't ditching any notes.
• 1:14:15
  He did a couple of alternate you know, melodies bits, but for
• 1:14:18
  the most part he was hitting it. How many times did you see the
• 1:14:21
  live? I only saw him once. What year? Me and a buddy
• 1:14:27
  of mine saw him in seventy five, I believe, and we sat behind
• 1:14:30
  the band like but when they walked on stage, I was I was at
• 1:14:36
  this little round gate or little round wall. I could have touched Page.
• 1:14:44
  That's how close we were, you know, when you're when you're like fifteen,
• 1:14:47
  How crazy that is. It's like, no, I guess it's seventy
• 1:14:50
  five. I was, Uh, what was I eighteen? Eighteen years old?
• 1:14:58
  I was eighteen. You got enough close. Look at Bonzo smashing away
• 1:15:02
  right when they walked on, Right when they walked on stage, we saw
• 1:15:05
  the whole band walk on from behind the stage with this less Paul in their
• 1:15:12
  prime. Yeah, it's so rare, dude. It didn't really sound that
• 1:15:16
  good. I was walking around the arena trying to the sound. It just
• 1:15:23
  wasn't optimum. But it was just such a to see them and everything was
• 1:15:29
  such a big deal. Yeah, amazing. No, I've always wondered,
• 1:15:33
  did Jimmy Page ever call up Jack and say, hey man, because he
• 1:15:39
  worked with Funny Story. We heard a funny story that Plant said, I
• 1:15:45
  guess somebody had played him something and he sounds he said, he sounds like
• 1:15:50
  more like me than I do. Really, Yeah, I always wondered.
• 1:15:56
  You know, Page worked with Coverdale and when Ian Hunter got it back together
• 1:16:02
  after that song went age and people were asking him why he was playing this
• 1:16:06
  great white song. Well that's the story of the Kinks, And you really
• 1:16:11
  got me Dave Davies was saying when they came to America in seventy nine on
• 1:16:15
  tour, and uh, you know, one of the young kids comes up
• 1:16:18
  to him and he's like, he did a great cover of Van Hill and
• 1:16:21
  he really got me. There you go, and he's like, great,
• 1:16:26
  great, thanks a lot. Look up. Yeah, but actually the ex
• 1:16:30
  version did get a lot of attention when it came out. When it came
• 1:16:34
  out, they had it, but probably beyond that kid's year. Yeah,
• 1:16:40
  exactly, That's what it was like, one of those younger kids. So
• 1:16:43
  after Jack's departure in twenty eleven, you go through lead singer changes and I'm
• 1:16:46
  curious how that experience is. Like he had Mitch Malloy one point and then
• 1:16:51
  Brett Carlyle in twenty twenty two. So it was at a difficult transition and
• 1:16:57
  getting new singers in how much how many guys are audition was it very very
• 1:17:02
  easy? Well? With Brett, he just killed it so bad the first
• 1:17:09
  show, Like I didn't even know because my headphones, I didn't hear him
• 1:17:13
  that good. We auditioned three guys. What happened was we had this guy
• 1:17:17
  who was already in a band, but he was doing this as an extra
• 1:17:23
  gig when his band wasn't busy. He was in this band last in line
• 1:17:27
  with Vivian Campbell. Oh yeah, so if def Leppard wasn't busy then they
• 1:17:34
  would. They sometimes went out for a few weeks. And you know,
• 1:17:39
  so we're not the Taipano wants to just get a different singer. So so
• 1:17:45
  we auditioned three singers with the tape. We just stripped the vocals off of
• 1:17:49
  some of our big songs and sent it to three singers and Brett happened to
• 1:17:54
  be a friend of ours. Friend of ours told us about him. So
• 1:18:00
  I tell these guys. After we picked Brett because he gave the song the
• 1:18:04
  most attention, I go, I'll do this show if we can rehearse once.
• 1:18:11
  You know, I don't want to go out there and end my career
• 1:18:13
  or somebody they're jam with. So we went to Vegas and we jammed with
• 1:18:17
  them all day and he sounded pretty good. But that night I didn't hear
• 1:18:23
  him my headphones and some journalists were coming up to me, some bands going,
• 1:18:29
  if you don't keep that guy, you're crazy. And then the next
• 1:18:32
  day it was like this world news and everything, and I still haven't heard
• 1:18:35
  him. I'm wondering, what are these people talking about? And then I
• 1:18:41
  saw him on YouTube from that show singing stick it like perfect and rock me
• 1:18:47
  just nailing it, and I'm going, holy cow, no wonder they liked
• 1:18:50
  it? You know, Yeah, this is our guy. Yeah are you
• 1:18:54
  looking? You got to have that balance, like you want to have somebody
• 1:18:57
  that you can move forward with, make new music with, but also in
• 1:19:00
  the live shows, you gotta have some well, although not every band does
• 1:19:02
  that. I mean like when Motley Crue brought in Oh geez now, I'm
• 1:19:09
  all of a sudden drawn a blake when Vince was out, uh, and
• 1:19:13
  they brought in the new singer, Krabbi John Krabbe. Different style, different
• 1:19:16
  voice, So it's like kind of strange when they play live, Like how's
• 1:19:19
  he going to sound? Yeah? Well, if you're ever going to YouTube
• 1:19:25
  and see uh bread, I think I believe he's twenty seven years old.
• 1:19:30
  He has that pure tone, you know, and he delivers the songs how
• 1:19:36
  people are used to hearing them on the radio, you know, so he
• 1:19:41
  just sings the songs verbatim, and I think that's what people want to listen
• 1:19:45
  to, you know, if you're singers so far up, you know,
• 1:19:51
  from from what they're used to, then it it kind of weirds them out
• 1:19:56
  a little bit. Yeah, especially because now live is where it's at too.
• 1:20:00
  People go to the show, they yeah, and you know what's amazing
• 1:20:01
  nowadays that that is. I mean, I remember at one point it was
• 1:20:05
  a bed. I'm old enough to remember when a band got a new singer,
• 1:20:09
  I was it was hard to accept. But nowadays you get like Foreigner
• 1:20:12
  and share Sticks and you name it. And I think I think a lot
• 1:20:17
  of that reason is because the songs are the biggest thing, you know,
• 1:20:26
  and and a lot of new generations they just know what they're hearing on the
• 1:20:30
  radio. There might be people that don't even know that's not the original Foreigner
• 1:20:34
  Journey. Yeah, yeah, Journey Journey. That singer goes out and just
• 1:20:40
  sings his art out and people get to enjoy the music, which is what
• 1:20:45
  got them to love the band in the first place. You know. But
• 1:20:48
  you want a singer that can handle the range, and it is a high
• 1:20:53
  range. It's a tinner vocal, So you can't have a guy with a
• 1:20:59
  Morrison type Jim Morrison singing rock me. You know, it's like my solo
• 1:21:03
  album. I didn't have any Zeppelin on it. You know, I can't.
• 1:21:09
  My voice is like, uh, you know, maybe Elvis or you
• 1:21:14
  know, Steve ray Vaughn or something. Yeah, I can't pull off any
• 1:21:18
  any of that sky Rocket range. I thought it was cool that I read
• 1:21:25
  that because Jack has Jack Russell's great way. But I thought, you you
• 1:21:28
  said, that's cool. He can you know, he could keep part of
• 1:21:30
  the name. He's got to he's gonna make he's going to make a living,
• 1:21:34
  which I thought was cool. I mean, it wasn't like, uh,
• 1:21:38
  you know, it's there seems to be some mutual respect there in that.
• 1:21:41
  In that sense, Yeah, we wanted to him to have a way
• 1:21:44
  to make a living and just going out there as a solo thing. It
• 1:21:48
  probably would have been tough. It's tough on singers that were even a huge
• 1:21:54
  band sometimes to have a career on their own, you know, very difficult.
• 1:21:59
  So yeah, we gave him a way to do that and no,
• 1:22:03
  no problem. Book on Rock Podcasts will be back after this. Hey,
• 1:22:09
  I won't be long. This podcast focuses on books on rock and roll,
• 1:22:15
  so I'm curious to find out if you have some favorite rock and roll books.
• 1:22:17
  That you've read growing up or nowadays anything I've read, you know,
• 1:22:26
  Ted Templeman's book on Guess Real Interested and how the studio thing happened, you
• 1:22:33
  know, kind of how he met the band a little bit. I knew
• 1:22:36
  a little bit of it, but I wanted to hear details. And then
• 1:22:43
  another guy wrote a book. I don't know why. His names Well,
• 1:22:46
  while you're thinking of that name, Greg Renoff, who wrote that book with
• 1:22:50
  Temper, Yeah, the other one in the backyard. Yeah, I know
• 1:22:57
  Greg pretty well. Yeah, I mean that book. Even I spoke with
• 1:23:01
  him. Uh, you know, I gave him every story I had to
• 1:23:08
  include in the book. And then this band called I believe they were called
• 1:23:13
  Van Halen at his book signing party, and uh, you know, they
• 1:23:20
  dressed like van Halen and everything and did it pretty good. And the original
• 1:23:27
  bass player shut up at that show, I saw a lot of no.
• 1:23:32
  No, it was uh Mike Stone, Mike Stone who recently passed I think
• 1:23:39
  he was before before. You know, I guess they kind of it was
• 1:23:46
  a mutual thing with him leaving the band because he had he had other interests
• 1:23:51
  and whatnot. So Michael Anthony the actually found by doing his show with Michael
• 1:23:59
  Anthony's band, and you know that's how they hooked up. But yeah,
• 1:24:04
  so yeah, there's a lot of books like that. Ye book. I
• 1:24:11
  just signed a book deal with Oh my god, I was going to ask
• 1:24:13
  you this, Mark, Okay, tell me about this? Yeah, I
• 1:24:15
  was. My question is right here. It's question number eighteen. Have you
• 1:24:18
  ever thought about writing? Okay, tell us about this. It's just going
• 1:24:24
  to be an autobiography now, just kind of tell my story. I think
• 1:24:27
  it'll be good for my kids to look at. I get about four hours
• 1:24:31
  on a tape and I started doing this years ago. I had a lot
• 1:24:36
  of the story going, so I'm just gonna kind of go back. I
• 1:24:40
  got a gear to do it. So everything's lined up, publisher, the
• 1:24:45
  whole thing. It's it's in the work. Yeah, yeah, when do
• 1:24:48
  you think I've already signed the deal. I'm just gonna kind of do it
• 1:24:53
  work with somebody and like I'm going to write it my version. They're not
• 1:24:58
  going to lose any anything I'm saying, but they might do it a little
• 1:25:03
  bit more pro right. I mean I'm not I'm not a writer, so
• 1:25:10
  or they might leave some things alone. This is what I'm told you know,
• 1:25:15
  they're not going to lose any of my story. You know, I'm
• 1:25:19
  just going to go back to my childhood and just tell everybody what happened.
• 1:25:24
  Yeah, that's cool. Now, I'm just curious. You don't have to
• 1:25:27
  if you can't say, but the publisher? Can you mention who the publisher
• 1:25:30
  is yet? I'm just curious because I deal with so many publishers for the
• 1:25:35
  show. I'm wondering if it's one I'm familiar, Right, I have the
• 1:25:40
  paperwork, you know, I just barely read the contract, Okay, but
• 1:25:45
  I can let you know later. Cool. Well, well, you know
• 1:25:47
  you've got a place to promote the book here, because that's that's uh yeah,
• 1:25:50
  you know that's it. Man. The name of the show, Yeah,
• 1:25:54
  name of the show booked out rock so that this is what we we
• 1:25:58
  focus on here. I will. I'll shoot you an email with that info.
• 1:26:02
  Oh absolutely, please, do you know what I'm saying? Yeah?
• 1:26:05
  So, and then there's a mention of a documentary in the works on the
• 1:26:09
  website. Is that still? Yeah? In fact, I think it comes
• 1:26:14
  out tonight. It's all about the eighties. It's on Paramount Plus. I'm
• 1:26:24
  not sure what they're calling it. I can't remember okay title, but it's
• 1:26:28
  going to be a docu series. I think they're making it now, all
• 1:26:31
  right, it's all the bands from the eighties decade. At the M three
• 1:26:40
  festival, I did, uh, it might be coming out July sixth,
• 1:26:45
  not the twenty sixth. I might have that up all right. Well,
• 1:26:48
  I'm sure on Official Great White dot Com it'll be posted. Oh yeah,
• 1:26:54
  I think so. But I did about a three hour on camera interview with
• 1:27:00
  the director and kind of told him what I remember. Cool. Yeah,
• 1:27:06
  so people could go to Official Great White dot Com for the tour dates as
• 1:27:10
  well. When's the next gig? I can We're playing this Saturday. I
• 1:27:18
  believe it's in Tennessee. Let's see June twenty nine, Daniel Beach, Florida.
• 1:27:27
  Dan, I'm actually going to see my son. That's right, it's
• 1:27:30
  in Florida. I'm going to see my son. He he's a marketing director
• 1:27:35
  for a CBD company. Oh wow, seeing him for a few months now.
• 1:27:40
  So he's out of Fort Lauderdale, which is ten minutes from where we're
• 1:27:45
  playing. So that's great. It's going to be cool. Yeah. July
• 1:27:49
  sixth with Brett Michaels, d Snyder Steve Agerry speaking of he was in Journey.
• 1:27:55
  He had a great run with Journey and Slaughter. So yeah, and
• 1:27:58
  you got it's it's mixed up nicely here, you know, shows with Stephen
• 1:28:01
  Pearcy, Slaughter, Stephen Aler Vixen. Uh. Then there's one, Uh,
• 1:28:05
  I see July twenty with Ace He's Freeley add it's so funny, you
• 1:28:13
  know. I hear derogatory every once in a while, you know, there's
• 1:28:16
  that hater as they call it these days, and we'll say something derogatory.
• 1:28:21
  Are you hitting me? I go, I didn't know there was nobody.
• 1:28:27
  When I was like fourteen years old, everybody in the neighborhood was playing air
• 1:28:30
  guitar day. It's Freely. There's nobody like him. Yeah, legend,
• 1:28:35
  you know, and might be the most technically, you know, but but
• 1:28:40
  the field he's got the field to touch, he's got that. He's got
• 1:28:44
  that. He has generations of people generation, you know, and some of
• 1:28:49
  the funniest stories, some of the funniest driving the wrong what is he driving
• 1:28:54
  like one hundred miles an hour on the freeway going the wrong way? Just
• 1:28:58
  oh, that's it. I've got plenty of those. Yeah, Well,
• 1:29:03
  and by the way, congrats Mark. Yeah, you see you've been cleaning
• 1:29:05
  sober for a long time. That's the other thing you're yeah, yeah,
• 1:29:11
  that's great. Yeah then Kennett, you know, just kind of decided.
• 1:29:16
  I mean I had quit before and just but I I went and the extra
• 1:29:23
  mile of time and kind of gaged some of my character dejects and did you
• 1:29:29
  know a little bit of self work and stuff, and work I work with
• 1:29:31
  other people you know that might be struggling. I saw that online. Yeah.
• 1:29:38
  Yeah, so I you know, become kind of an advocate, I
• 1:29:41
  guess, and always get involved in case there's somebody out there that that just
• 1:29:47
  thinking about it, that might just need a couple of encouraging words. Go
• 1:29:53
  hey, I know that guy who plays guitar, man, he's sober.
• 1:29:57
  Maybe I'll try, you know, just I've gotten a lot of people like
• 1:30:01
  I've worked with over one hundred and fifty people in the past ten years and
• 1:30:04
  now seen a lot of success. Man. You know, it's great,
• 1:30:09
  it's fun to do that. It's great to hear. Well. Thanks Mark,
• 1:30:13
  this was awesome. Love to ask you a bunch of questions about question.
• 1:30:16
  Yeah, Van Halen, of course, that's always my band so you
• 1:30:20
  can always talk Van Halen. So yeah, thanks man, this was awesome.
• 1:30:25
  Thanks Eric, appreciate it. Man. Well, no, that was
• 1:30:31
  an adventure. I was quite a sure you put on the band. Well,
• 1:30:36
  let me just close this conversation by saying you are one unique individual