Latest / Arroe Collins Like It's Live / Prog Rock Emotion Storytelling And More Antartica From Singer Songwriter Tom Ciurczak

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Prog Rock Emotion Storytelling And More Antartica From Singer Songwriter Tom Ciurczak · Arroe Collins Like It's Live

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Speaker 1: There's a little party in the box that we've created
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Speaker 1: called Arrow.net, A-R-R-O-E.net, 21 different podcasts. Yeah, not just one.
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Speaker 1: This is a total network of every place that you
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Speaker 1: are or could be, from musicians to sports superstars, professional wrestlers,
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Speaker 1: all the way up to what? Whatever you think that
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Speaker 1: you want to listen to today. It's all about just entertainment. arrow.net a-r-r-o-e.net
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Speaker 1: enjoy your exploration hi it's tom here hey tom it's
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Speaker 1: arrow how are you doing today.
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Speaker 2: Ah we're doing great how you doing.
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Speaker 1: Absolutely fantastic you ready to talk about this incredible collection
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Speaker 1: of music that you have just set free to the world.
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Speaker 2: Sure.
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Speaker 1: My God, you've really got something here, dude. This is
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Speaker 1: the kind of stuff where albums were like that, that
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Speaker 1: one thing that we really did cherish back in the
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Speaker 1: 70s and 80s, because you've got a concept here that
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Speaker 1: really is beginning to end, start it all over, do
0:55
Speaker 1: it all over again.
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Speaker 2: Yeah, yeah, of course.
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Speaker 1: What did you feel in the moment of bringing these
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Speaker 1: songs together? Because so many times listeners don't understand the
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Speaker 1: journey that you, the creator, had to take and was
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Speaker 1: required to put together.
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Speaker 2: Uh, you know, I started writing songs really young, man.
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Speaker 3: Um, the, the whole thing is when I, when I
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Speaker 3: grew up, the guitar players were off the charts and
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Speaker 3: so were the singers. So you're somewhere around 12, 13,
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Speaker 3: don't ask me why, but I came to the conclusion
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Speaker 3: I should be the songwriter because I wasn't going to
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Speaker 3: be the guitar player or the singer that these other
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Speaker 3: people were at 13 years old. So I started writing
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Speaker 3: songs and, um, And I've done it ever since. I mean,
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Speaker 3: some people get into painting, some people get into poetry.
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Speaker 3: I've been writing songs for for a real early start. And,
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Speaker 3: you know, a lot of people think they can just
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Speaker 3: do it.
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Speaker 2: But I think you've got to it's it's a craft
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Speaker 2: like anything else. It's an art form. You know, you
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Speaker 2: got to make a lot of bad ones before you
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Speaker 2: can make some good ones. Oh, my God.
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Speaker 1: And look where you have been able to play when
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Speaker 1: it comes to putting this music together. Because, I mean,
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Speaker 1: you went to Muscle Shoals.
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Speaker 2: Oh, my God.
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Speaker 1: One of my good friends is there, Charles Holliman. And
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Speaker 1: it just blows me away what comes out of that
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Speaker 1: section of the planet.
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Speaker 3: Isn't that cool? Some people go to these baseball parks.
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Speaker 3: We've been going to different recording studios. I'm actually at
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Speaker 3: Sunset Sound right.
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Speaker 2: Now in L.A. Are you kidding? Recording.
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Speaker 3: But we did muscle shows, and we're going to be
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Speaker 3: going down to Memphis in the spring. So I've got
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Speaker 3: a side project that I work with with six other
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Speaker 3: singer-songwriters in addition to my own stuff. And that's where
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Speaker 3: we did the Muscle Shoals thing, and we're going to
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Speaker 3: do something down in Memphis. I'm not quite sure which
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Speaker 3: studio yet, but that looks like where we're heading down to.
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Speaker 1: Well, see, I love that you're doing that, because I've
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Speaker 1: always believed, and maybe it's just the Montanan coming out
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Speaker 1: in me, but I've always believed in the regions of
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Speaker 1: this nation. And with you stepping into these studios, you're
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Speaker 1: experiencing those regions of this music generation.
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Speaker 2: Yeah, how cool is that, right? You know, it's... Like
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Speaker 2: I said, I'm having a lot of fun going around.
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Speaker 2: These are like, you.
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Speaker 3: Know, holy rock and roll type of places that, you know,
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Speaker 3: they all should be museums. I'm really surprised that, you know, they.
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Speaker 2: Don't have tours and stuff for all these places right now.
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Speaker 1: It's almost like our best kept secret, but we don't
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Speaker 1: want to let it out because then everybody else is
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Speaker 1: going to come to it. So we're going to keep
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Speaker 1: it a secret.
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Speaker 2: Well, you know, I was saying something the other day.
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Speaker 2: I was like, you know, there was.
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Speaker 3: A time when everybody read the liner notes on albums
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Speaker 3: because it was so big when you but now.
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Speaker 2: You got these CDs and it's real tiny, tiny print.
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Speaker 3: I don't know if everybody's reading the liner notes as
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Speaker 3: to who produced it, who engineered where it was recorded. But,
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Speaker 3: you know, back in the day, that's what I did
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Speaker 3: every time I got an album. And I would know
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Speaker 3: all the studios, all the engineers who produced it, who
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Speaker 3: the musicians on every album were.
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Speaker 2: I think some of.
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Speaker 3: That's gotten lost in the changeover to CDs and streaming.
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Speaker 1: Well, yeah, and that's one of those things where, I mean,
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Speaker 1: I'll sit there even when I'm talking with Alexa and
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Speaker 1: I'll start asking those questions because that's become my new
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Speaker 1: inside sleeve. And she better have all the answers. Otherwise,
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Speaker 1: I'm going to go to chat GPT and I'm sure
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Speaker 1: Amazon doesn't want me to do that.
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Speaker 2: You can have a couple of them if chat doesn't
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Speaker 2: you go to gemini.
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Speaker 1: That's it so how did you protect your voice on
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Speaker 1: we were immortal i mean because that song right there
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Speaker 1: kind of gives me that john lennon ask of twist
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Speaker 1: and shout where i'm going oh my god he's challenging
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Speaker 1: his vocals on this one.
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Speaker 2: Um you know that was a fun one um.
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Speaker 3: Vocally it wasn't a problem for me but you know
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Speaker 3: so i have the gravelly voice and the smooth voice
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Speaker 3: depending whether it's a rocker or whether it's more of
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Speaker 3: a a mid-tempo or a ballad i'll go to either
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Speaker 3: the the the more gravelly springsteen-esque voice bob siger voice
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Speaker 3: that's the rocker but you know the ballads i'll go
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Speaker 3: to the smoother voice and um.
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Speaker 2: That we we were immortal was.
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Speaker 3: Um That was an interesting song because I had this
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Speaker 3: whole big concept album that I wrote that I never released,
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Speaker 3: but I started pulling songs from it that I thought
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Speaker 3: would be really cool to stand alone, and that.
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Speaker 2: Was one of them. Wow.
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Speaker 3: It's a proggy type of song, right? It's got a
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Speaker 3: lot of early Genesis vibe to it.
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Speaker 1: Yeah, it does. Well, there you go. You answered that
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Speaker 1: question because it does have that. But when I was
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Speaker 1: thinking about it, though, I went Peter Gabriel more than
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Speaker 1: a Phil Collins.
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Speaker 2: Yeah well you know what you're i think you're on
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Speaker 2: to it because i was always a.
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Speaker 3: Bigger uh peter gabriel i i latched on to genesis
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Speaker 3: early yeah with um selling england by the pound and
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Speaker 3: i just became so immersed into genesis and the funny
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Speaker 3: story is i was really in into the prog scene
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Speaker 3: and um bruce springsteen released um born to run and
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Speaker 3: um I didn't know who he was. And he just
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Speaker 3: finished his concert at Hammersmith Odie in England. And he
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Speaker 3: came to my small college, his first stop in upstate
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Speaker 3: New York. And they had to drag me kicking.
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Speaker 2: And screaming to go see him.
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Speaker 3: He's not my he's not my style of music.
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Speaker 2: I don't know. I don't even know anything about this guy.
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Speaker 3: And so I go to see him and he blew
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Speaker 3: the roof off of my house. little gymnasium there at
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Speaker 3: the school and ever since then I became this huge
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Speaker 3: Bruce Springsteen fan and you know you'll you'll hear in
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Speaker 3: my music you'll hear pieces of Springsteen and you'll hear
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Speaker 3: pieces of prog music because those are two paths that
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Speaker 3: I went down real strong.
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Speaker 1: I was going to ask you about that prog music
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Speaker 1: because I've been with the members of yes and boy
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Speaker 1: they are still promoting prog even today and I was
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Speaker 1: wondering if you were going to set up some sort
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Speaker 1: of you know, show or something like that and attend
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Speaker 1: a Prague festival?
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Speaker 3: I would love to, you know, and the stuff we're
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Speaker 3: recording right now, I probably have five really strong Prague songs.
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Speaker 3: You know, I'm trying to write music that.
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Speaker 2: Fall into different.
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Speaker 3: Styles so it's not 100 you know rock or 100
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Speaker 3: uh uh alt country or 100 americana i'm trying to
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Speaker 3: use a different um uh texture underneath everything so it's
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Speaker 3: always my voice so it's going to sound like me
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Speaker 3: but um But, you know, all of these influences growing up,
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Speaker 3: you know, I love Santana. So I've got a Santana
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Speaker 3: type sounding song. I love the blues. So I'm putting
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Speaker 3: blues music in there. And, of course, as we just
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Speaker 3: talked about, you know, I like the Springsteen, Seeger, Mellencamp,
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Speaker 3: Tom Petty type of singer songwriter. That's in there. And,
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Speaker 3: of course, Black Sabbath. You know, Gentle Giant was always
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Speaker 3: my favorite along with Genesis. I don't know if a
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Speaker 3: lot of people know who they are, but they're the
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Speaker 3: proggiest of the prog from that era. Yeah.
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Speaker 1: When you do a song like Looking for a Place,
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Speaker 1: I mean, this one right here, I mean, you talk
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Speaker 1: about that emotion that you were just discussing about. I mean,
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Speaker 1: this is definitely one of those where it's like, I
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Speaker 1: think people are going to be touched by this one
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Speaker 1: and they might even break out in some serious dancing
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Speaker 1: into it.
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Speaker 3: Oh, that was, you know what, that was, I wanted
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Speaker 3: to write a couple of songs for the album that
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Speaker 3: would be really good for live shows because, you know,
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Speaker 3: I go to a lot of clubs and everybody's playing
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Speaker 3: Allman Brothers. It's funny, they're playing songs from 50 years
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Speaker 3: ago still in most of the clubs. And I was like, okay,
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Speaker 3: I'm going to do something that's got kind of an
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Speaker 3: Allman Brothers-esque type of riff. When I came up with that,
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Speaker 3: whether it be Allman Brothers or, you know, you could
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Speaker 3: hear some Eric Clapton in that same riff. But then
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Speaker 3: I kind of meshed it together with a real Americana.
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Speaker 3: I slowed it down for the chorus for a really
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Speaker 3: interesting Americana chorus. So it's kind of an interesting mash
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Speaker 3: together of two different sounds in that one song.
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Speaker 1: Yeah, because I love the way that you explore. And
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Speaker 1: that to me is that somebody who's, are you getting
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Speaker 1: up at two, three o'clock in the morning because you
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Speaker 1: felt something and you've got to get it down now
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Speaker 1: or you're going to forget it?
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Speaker 2: No, I don't go to sleep until two, three in
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Speaker 2: the morning. You'll hear a song, you.
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Speaker 3: Know, I ain't ever grown up from, I did two
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Speaker 3: albums by that name, but... the one line I open
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Speaker 3: up with is, get up every day at the crack
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Speaker 3: of noon.
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Speaker 2: That's it. That's me.
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Speaker 1: Am I wrong to say that I hear some Beatles
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Speaker 1: inspirations in Going Down in Flames? Are we going to
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Speaker 1: go all out Springsteen on this one?
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Speaker 3: You know....
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Speaker 2: I don't think that there's a lot of Beatles influence
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Speaker 2: in me. Definitely. No, no doubt about it.
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Speaker 3: I don't think that's Springsteen and I don't think that's
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Speaker 3: a Beatles.
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Speaker 2: And that's great.
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Speaker 3: That's a great question. You know, again, it's the same
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Speaker 3: idea for looking for a place. I wanted a song
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Speaker 3: that would really translate to a crowd live.
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Speaker 2: And and, you know, there's this thing about. You know,
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Speaker 2: where you you leave a lot.
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Speaker 3: Of empty space and you just have a vocal with
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Speaker 3: the drum in the background and then you hit it
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Speaker 3: with the guitar again. That really catches an audience's attention.
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Speaker 3: And they don't always hear the words, but they they
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Speaker 3: catch on to the vibe of it when when they're
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Speaker 3: hearing something for the first time live. And so I
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Speaker 3: was very conscious of that when I put that song together.
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Speaker 3: Of course, if you go back and you listen to
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Speaker 3: the words, there's an interesting story there. It's my follow-up, though.
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Speaker 3: I'm not ever growing up. It's like, well, not only
11:22
Speaker 3: am I never growing up, but I finally.
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Speaker 2: Leave this planet. I'm going down in flames.
11:28
Speaker 3: I'm not going easy.
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Speaker 1: So one of the things that I really truly think
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Speaker 1: is just so special with your music is the structure
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Speaker 1: of sound. And I'm very excited to find out, while
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Speaker 1: studying the structure of music, how are you able to
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Speaker 1: still stay focused in sharing a story? So many rules
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Speaker 1: around you, but you're still so in touch with giving.
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Speaker 1: Let them have that storyline.
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Speaker 2: Okay, there's two things going on there, right?
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Speaker 3: One thing is the musical structure. A lot of people
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Speaker 3: get stuck in this, what we'll call, Abba Cab is
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Speaker 3: what Genesis called it, where they go, you know, verse, chorus, verse, chorus, bridge, right?
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Speaker 2: And I didn't want to do that.
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Speaker 3: So, you know, what I picked up from a lot
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Speaker 3: of prog music is you want to keep the music
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Speaker 3: moving so that you're always... capturing the listener's interest. If
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Speaker 3: you're constantly repeating, you're going to lose their interest.
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Speaker 2: So you've got to, you've.
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Speaker 3: Got to get a song and you've got to get
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Speaker 3: it to move. And you may have, you know, six,
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Speaker 3: seven different parts in a song, but you, you don't
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Speaker 3: want to lose.
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Speaker 2: Their interest throughout. So musically, I try to do that musically.
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Speaker 3: I try to come up with some musical hooks, some
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Speaker 3: ear candy so that they'll latch onto that. And at
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Speaker 3: the same time you do that lyrically, you're like, okay,
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Speaker 3: what can I do lyrically to make this interesting?
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Speaker 2: And I get into storytelling more than anything else.
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Speaker 3: I like these like little mini three act plays, but
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Speaker 3: maybe I got, maybe I got from Springsteen, but I like,
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Speaker 3: you know, act one, act two, then act three has
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Speaker 3: a completely different.
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Speaker 2: Twist to it.
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Speaker 3: I'll have a, I'll have a song that it's like,
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Speaker 3: look left, look, look left, watch out for the right
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Speaker 3: type of thing. And I get a kick out of
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Speaker 3: writing songs like that because, you know, it's like.
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Speaker 2: I'll sit back and I'm like, the ending's not right.
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Speaker 2: I've got to change this ending because it's it's too commonplace.
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Speaker 3: I've got to surprise them with the ending. And I've
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Speaker 3: been able to pull that off a number of times,
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Speaker 3: which I think is fantastic.
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Speaker 2: Really good.
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Speaker 1: All right, you got to be reading my notes because
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Speaker 1: I'm going to tell you right now what you just
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Speaker 1: said in my notes. It says, will you turn Antarctica
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Speaker 1: into a stage show complete with vocal dialogue? So we're
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Speaker 1: on the same damn page here, dude.
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Speaker 2: What a cool story. You know, the story in Antarctica... Um,
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Speaker 2: so I was looking for ghost stories.
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Speaker 3: I was, I was, I started Googling, I started Googling, uh.
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Speaker 2: Ghost stories and I'm like Amityville horror. Nah, I've heard
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Speaker 2: that one before. And they were going in like, I
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Speaker 2: heard that, heard it. And they get to this one thing,
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Speaker 2: you know, about this island.
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Speaker 3: Outside Antarctica in the South Shetlands called Deception Island.
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Speaker 2: And I'm like, oh, I've never heard of this before.
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Speaker 3: And supposedly, this is where they used to take the
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Speaker 3: whales back before they killed them on the ship. And
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Speaker 3: they would render them for their oil and then ship
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Speaker 3: the oil out to New York for machinery and for
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Speaker 3: lights and everything.
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Speaker 2: And so what happens is.
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Speaker 3: this island still has all of the skeletons and all
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Speaker 3: the old.
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Speaker 2: You know, vats and everything on there.
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Speaker 3: But the story is that at nighttime you hear all
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Speaker 3: these howlings of these whales, the ghosts of these whales,
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Speaker 3: and they like grab you and they take you down
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Speaker 3: to the bottom of the ocean. Right. And I'm like, okay,
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Speaker 3: this is a story I can, I can build the
15:06
Speaker 3: rest of this around this story. And so I started
15:10
Speaker 3: to build the whole thing around that story. And, of course,
15:13
Speaker 3: it evolved from a ghost story to, you know, a
15:17
Speaker 3: save the whale story. And it also evolved to a
15:20
Speaker 3: bit of an immigration story because, you know, I was
15:23
Speaker 3: I said it in 1921, which is a little bit late.
15:27
Speaker 3: But there's there was this company called the Hector Company, true,
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Speaker 3: that set up their station down there at Whaler's Bay. True.
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Speaker 2: In Antarctica.
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Speaker 3: But at that time in 1921, they ended World War
15:40
Speaker 3: I and they stopped letting the immigrants into Ellis Island.
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Speaker 3: So I built this whole story around, well, a guy
15:48
Speaker 3: couldn't get into Ellis Island.
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Speaker 2: What am I going to do? I wanted to go
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Speaker 2: for the gold rush. And so I'm going to go
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Speaker 2: out and work on these whaling boats.
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Speaker 3: I used oil, but it was really whale oil, not
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Speaker 3: oil on the ground. But I built that whole story
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Speaker 3: up there. And, you know, so you've got a couple
16:06
Speaker 3: of different layers in there. And I came up with
16:09
Speaker 3: the the ending with the, you know.
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Speaker 2: The way she rises. Whoa, there she blows kind of
16:18
Speaker 2: a whaler's type of chancy. She chancy. And I wanted
16:21
Speaker 2: to add that into it. And then just before I
16:24
Speaker 2: finished it, I'm like, you know what?
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Speaker 3: I need an intro and an outro to make this
16:30
Speaker 3: very eerie and ghost-like. And I came up with this
16:35
Speaker 3: really cool idea. I sat down on my piano and
16:40
Speaker 3: came up with this intro. And the outro was a
16:43
Speaker 3: little different, but it's all done with minor chords. And
16:46
Speaker 3: I kind of looked up, how do you write... eerie
16:51
Speaker 3: music for horror movies and, you know, scary movies. And
16:56
Speaker 3: they explained, well, they do a lot with these minor
16:59
Speaker 3: chords at these different intervals. And that's how they get
17:01
Speaker 3: that creepy type of, you know, feeling and effect.
17:04
Speaker 2: And I'm like, OK, I can I can do that.
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Speaker 3: So I started playing around with different minor changes and stuff. And, um,
17:14
Speaker 3: I came up with the whole thing. I had to
17:16
Speaker 3: sit down and, and, and, and teach the organ player.
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Speaker 3: This is exactly how I want you.
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Speaker 2: To do it.
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Speaker 3: Uh, which, which was really, it was a lot of
17:24
Speaker 3: fun when we recorded that song. And then, then what
17:28
Speaker 3: we did is we, we went and put a lot of,
17:30
Speaker 3: you know, the like ghost ship effects. So you'll hear
17:34
Speaker 3: all these ghost ships like rattling and creeping as, as
17:38
Speaker 3: you're hearing this, um, Captain Nemo.
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Speaker 2: Or Phantom of the Opera type of organ in the intro.
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Speaker 3: And I think that intro and outro, because I kind
17:50
Speaker 3: of used them, really sets the song up real well.
17:53
Speaker 3: And then the guitar comes in, and again, it's a
17:56
Speaker 3: little different. It's like a Led Zeppelin slash Cates type
17:59
Speaker 3: of guitar that's a little different from anything else I did.
18:03
Speaker 3: I'm telling you, I thought that was the crown jewel
18:06
Speaker 3: of all the recordings I did.
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Speaker 2: Yeah, yeah. I did 20 songs.
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Speaker 3: Okay, we recorded 20 songs at Sunset Sound. And 10
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Speaker 3: of them became Yorick, the album before this, and 10
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Speaker 3: of them became Antarctica.
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Speaker 2: Really?
18:23
Speaker 3: Sitting on that Antarctica in my back pocket for a
18:27
Speaker 3: couple of years was really tough because I knew that
18:31
Speaker 3: was a Crown Jewel song and I didn't want to
18:33
Speaker 3: let it out until it was ready. And so I
18:37
Speaker 3: had to wait for Yorick to get, and Yorick did
18:40
Speaker 3: real well. I mean, it got some really great reviews. So,
18:44
Speaker 3: you know, the 20 songs we did, all were super
18:49
Speaker 3: received by the critics and by my audience.
18:54
Speaker 1: Please don't move. There's a lot more of Tom right
18:56
Speaker 1: around the corner. The name of the album is Antarctica.
18:59
Speaker 1: We're going to start breaking down the songs. We'll be
19:01
Speaker 1: right back. Hey, thanks for coming back to my conversation
19:06
Speaker 1: with Tom Zurzak. The name of the album, Antarctica. Plus,
19:10
Speaker 1: I want you to check out Call Me Ismael. There's
19:13
Speaker 1: so much music here for you to explore. Now, being
19:16
Speaker 1: a radio guy, only because I know how listeners are,
19:19
Speaker 1: you've got what I call the Jason Mraz. How are
19:22
Speaker 1: people going to find Sir Zach, and what is the
19:26
Speaker 1: best way for them when they go searching for you
19:27
Speaker 1: on Spotify or go to Amazon Music and things? What
19:30
Speaker 1: is your secret to get them to find you? Because
19:33
Speaker 1: you know how we are. We're quitters. We'll go, I
19:36
Speaker 1: can't find it. I can't find it. Where can we
19:38
Speaker 1: find it?
19:39
Speaker 3: That is such a problem. I didn't realize that. you know,
19:42
Speaker 3: since I've been a little kid, I could spell my name.
19:50
Speaker 3: I didn't realize right away that, uh, uh, nobody else could,
19:55
Speaker 3: could spell my name, but, um, it is Tom surzac.com
20:00
Speaker 3: is my website. Um, but, uh, I do have a, uh,
20:05
Speaker 3: a secondary, um, uh, website called tokyotami58. com and that'll get
20:12
Speaker 3: you to my website too because um so i used
20:15
Speaker 3: to run a company um in japan for the longest
20:19
Speaker 3: time so that's where the the tokyo tommy but apparently
20:23
Speaker 3: somebody had that name so i just uh you know
20:27
Speaker 3: used the first number that came to mind was 58
20:28
Speaker 3: but um.
20:32
Speaker 2: But tokyotommy58.
20:32
Speaker 3: Com will also get you to my my website and
20:36
Speaker 3: from there it's got links to everything.
20:39
Speaker 1: Yeah yeah so were you reading the headlines when you
20:42
Speaker 1: came up with adam glow what were you doing because
20:44
Speaker 1: i mean i feel like that you were sitting in
20:46
Speaker 1: the same room i was we we read the same
20:49
Speaker 1: exact article but we came up with different interpretations what
20:52
Speaker 1: what's the story behind that one.
20:53
Speaker 2: Okay, well, first of all, that one was written in
20:57
Speaker 2: the 1980s. Shut up. You're kidding. Oh, my God.
21:01
Speaker 3: I wrote that in the 1980s, so it was written
21:04
Speaker 3: quite a long time ago. And I wrote it before
21:07
Speaker 3: The Walking Dead came out, so when I'm talking about
21:10
Speaker 3: lobotomized zombies and stuff.
21:12
Speaker 2: I was ahead of those guys.
21:15
Speaker 3: But the song that inspired me, believe it or not,
21:18
Speaker 3: was Billy Joel's Miami 2017. So he or he already
21:23
Speaker 3: had written a song about, you know, I saw the
21:26
Speaker 3: lights go out on Broadway and, you know, the Empire
21:29
Speaker 3: State lay low. And I was like, well, I'm just
21:31
Speaker 3: going to follow up on this theme and, you know,
21:35
Speaker 3: have like this, you know, nuclear bomb go off in
21:39
Speaker 3: New York City. And then, of course, I played there's
21:42
Speaker 3: so much tongue in cheek humor in that song. I mean,
21:46
Speaker 3: you'll hear like, you know, this half-life is better than
21:49
Speaker 3: the one we left. And just all kinds, just little
21:54
Speaker 3: types of silly humor in there.
21:57
Speaker 2: But the cool thing about that song is what we
22:02
Speaker 2: talked about earlier.
22:04
Speaker 3: It moves through a lot of, it's not a verse, chorus, verse,
22:09
Speaker 3: chorus song. It has a lot of different musical elements
22:14
Speaker 3: in it. And I think that's one of the things
22:16
Speaker 3: that really makes that song very cool is that it
22:20
Speaker 3: isn't a verse, chorus, verse, chorus, bridge type of song. And, yeah,
22:27
Speaker 3: I've been doing that kind of thinking on how to
22:29
Speaker 3: write songs for a long time.
22:31
Speaker 2: I love.
22:35
Speaker 3: It.
22:35
Speaker 2: But I had a lot of fun.
22:37
Speaker 3: You know, one of the things that's very important, I
22:40
Speaker 3: guess I grabbed onto it again before it happened, is
22:43
Speaker 3: in today's world, there's like a six second attention span.
22:47
Speaker 3: So when people are on Spotify, they'll put a song
22:51
Speaker 3: on and they'll listen for maybe six seconds, then skip
22:54
Speaker 3: to the next one. So you got to grab their
22:57
Speaker 3: attention in the first six seconds. So that's either musically
23:01
Speaker 3: or lyrically, you got to say something that sparks them
23:04
Speaker 3: that they want to keep listening to it. That seems
23:07
Speaker 3: to be the trick. So that has an opening line.
23:10
Speaker 3: The sun never comes up anymore. It hides behind all
23:13
Speaker 3: that's left of New York City. All that's left is
23:15
Speaker 3: the Adam glow that hovers all around like a halo.
23:18
Speaker 2: Ain't it pretty? And I was like, Oh, it's kind
23:20
Speaker 2: of a nice line. I like that. Pretty, pretty.
23:26
Speaker 1: What kind of swag you got going on? Cause you
23:28
Speaker 1: here in the Carolinas, we love our swag. So I
23:30
Speaker 1: want people to go to your website and get that swag.
23:34
Speaker 3: Well, Right now, I've got all the CDs. I've got
23:37
Speaker 3: the two vinyl albums that just came out. I did
23:42
Speaker 3: the Antarctica in vinyl.
23:44
Speaker 2: You know what?
23:45
Speaker 3: I don't know if you guys have all looked at
23:47
Speaker 3: what's happening in vinyl. They're like bowling balls.
23:50
Speaker 2: They come in all different colors. They're clear. They're solid,
23:57
Speaker 2: but you can get them splattered.
23:59
Speaker 3: They're collector's items, and they're 180.
24:03
Speaker 2: Gram vinyl now. So they're real heavy. Yeah.
24:07
Speaker 3: It's the, the, the, the, the world of vinyl is
24:10
Speaker 3: really rejuvenated itself. And, and I, um, I talked to
24:14
Speaker 3: the guys that print my vinyl up here in LA.
24:17
Speaker 3: He says that they're manufacturing and sales of vinyl skyrocketing.
24:22
Speaker 2: It's just, it's just going through the, through the roof
24:26
Speaker 2: right now.
24:27
Speaker 3: So anyways, I made, um, Antarctica with a, uh, translucent turquoise, um, vinyl, uh,
24:35
Speaker 3: very cool looking. And I made, um, the Antarctica one
24:39
Speaker 3: is in a marble red translucent, you know, and I
24:44
Speaker 3: haven't seen anything like that since Jay Giles did their
24:47
Speaker 3: bloodshot album. And they did that in red way back
24:50
Speaker 3: in the day, which I was like, wow, look at this.
24:53
Speaker 2: It's not in black. So today's world is, is changed
24:57
Speaker 2: a lot.
24:57
Speaker 3: And, um, But I think if you're going to buy
25:01
Speaker 3: an album, you want it to be a collector's looking
25:04
Speaker 3: type of thing. You don't want the Henry Ford, it's
25:07
Speaker 3: always in black type of thing.
25:08
Speaker 2: You want variations, right?
25:13
Speaker 1: Dude, you got to come back to this show anytime
25:15
Speaker 1: in the future. I love your attitude with music and
25:18
Speaker 1: I love the way that you break things down. That's
25:20
Speaker 1: so important because that to me is where the listener,
25:23
Speaker 1: you know, gets their appreciation for the song a lot
25:26
Speaker 1: more when they understand the vibe of those that create it.
25:31
Speaker 2: Oh, yeah. You know, I think this is a passion
25:36
Speaker 2: for me, right?
25:37
Speaker 3: But I find that I believe dove into this Orange County,
25:43
Speaker 3: LA world, and I've met all the musicians here in
25:47
Speaker 3: Southern California.
25:48
Speaker 2: And the musical community is all like that. And I think,
25:54
Speaker 2: and of.
25:54
Speaker 3: Course, I learned that going back east too, but my goodness,
25:59
Speaker 3: it's so much different than the business world, which seems
26:02
Speaker 3: to be very cutthroat. When you're getting to the musician
26:04
Speaker 3: side of this world, These guys will give you.
26:08
Speaker 2: The shirt off their back. They're just wonderful human beings.
26:12
Speaker 2: You're right. You're right.
26:13
Speaker 1: Dude, once again, please come back to this show. I mean,
26:16
Speaker 1: the door is always going to be open for you.
26:20
Speaker 2: Well, we're recording again, Arrow.
26:22
Speaker 3: So, you know, I will have a 2027 album.
26:25
Speaker 2: I'm trying to do this thing like... I can't do
26:27
Speaker 2: it like the Beatles. They were doing one every six months.
26:30
Speaker 3: I'm like, okay, that's a little too fast for me.
26:32
Speaker 3: But I have this goal to do one a year.
26:35
Speaker 3: And I'm like.
26:36
Speaker 2: I've got enough material, I can do it.
26:38
Speaker 3: And I really think the stuff I'm recording right now
26:45
Speaker 3: is so cool and such a different turn from the
26:50
Speaker 3: last two albums.
26:51
Speaker 2: I think everybody's going to really be surprised. Wow, wow.
26:55
Speaker 1: Well, man, dude, I can't wait to talk to you again.
26:58
Speaker 1: You be brilliant today, okay, sir?
26:59
Speaker 2: Hey, you too. Thanks a lot, Arrow. Enjoyed talking to you, man.