1 00:00:15,476 --> 00:00:15,956 Speaker 1: Pushkin. 2 00:00:20,396 --> 00:00:23,236 Speaker 2: Jerry Cantrell has been the lead guitarist and songwriter for 3 00:00:23,276 --> 00:00:26,236 Speaker 2: Alison Chane since the band formed in nineteen eighty seven. 4 00:00:26,876 --> 00:00:29,716 Speaker 2: By the mid nineties, after a run of multi platinum albums, 5 00:00:29,796 --> 00:00:32,996 Speaker 2: Alice secured their spot as one of Seattle's Big four 6 00:00:33,036 --> 00:00:37,516 Speaker 2: grunge bands, along with Pearl Jam, Soundgarden, and Nirvana. Legend 7 00:00:37,596 --> 00:00:40,116 Speaker 2: has it that the band's early whirlwind of commercial success 8 00:00:40,196 --> 00:00:43,036 Speaker 2: wreaked havoc on the personal and professional lives of the band. 9 00:00:43,676 --> 00:00:46,596 Speaker 2: In two thousand and two, lead singer Lane stay overdosed 10 00:00:46,636 --> 00:00:49,396 Speaker 2: and died after more than a decade of battling drug addiction. 11 00:00:50,196 --> 00:00:53,276 Speaker 2: Admits the turmoil, Jerry Cantrell found solace in continuing to 12 00:00:53,276 --> 00:00:55,676 Speaker 2: write and release music, both as a solo artist and 13 00:00:55,716 --> 00:00:58,796 Speaker 2: as a member in Alison Shane's He's Never Stopped Playing. 14 00:00:59,836 --> 00:01:02,516 Speaker 2: In twenty twenty one, he released his critically acclaimed solo 15 00:01:02,556 --> 00:01:05,756 Speaker 2: album Brighton, followed by last year's hard rock opus I 16 00:01:05,836 --> 00:01:08,916 Speaker 2: Want Blood. On today's episode, Lea Rose talks to Jerry 17 00:01:08,916 --> 00:01:11,436 Speaker 2: cant about how he's drawn to the art that exists 18 00:01:11,436 --> 00:01:14,596 Speaker 2: in the Shadows. He also talks about how getting sober 19 00:01:14,636 --> 00:01:17,476 Speaker 2: over twenty years ago, as influenced to songwriting, and he 20 00:01:17,556 --> 00:01:19,436 Speaker 2: remembers the time he tried to pass the demo tape 21 00:01:19,476 --> 00:01:22,436 Speaker 2: to Axel Rose, only to see a security guard throw 22 00:01:22,436 --> 00:01:28,556 Speaker 2: it in the trash. This is broken record Liner notes 23 00:01:28,556 --> 00:01:30,676 Speaker 2: for the digital Age. I'm justin Ritchman. 24 00:01:35,756 --> 00:01:39,956 Speaker 3: I wanted to ask you a couple questions about the 25 00:01:39,996 --> 00:01:43,596 Speaker 3: new album I Want Blood. Yeah, it's your fourth full 26 00:01:43,636 --> 00:01:47,356 Speaker 3: length album, released back in October. I was curious, now 27 00:01:47,396 --> 00:01:50,876 Speaker 3: that the album is out and you've had a chance 28 00:01:50,876 --> 00:01:53,756 Speaker 3: to sort of like hear what people are saying about it, 29 00:01:53,796 --> 00:01:56,516 Speaker 3: is there anything that you've heard that surprised you, Like 30 00:01:56,556 --> 00:01:58,996 Speaker 3: anything people are picking up on or noticing. 31 00:01:59,916 --> 00:02:02,196 Speaker 1: I mean, I'm really I'm really digging that people are 32 00:02:02,236 --> 00:02:02,956 Speaker 1: connecting with it. 33 00:02:03,076 --> 00:02:03,236 Speaker 3: You know. 34 00:02:03,316 --> 00:02:07,156 Speaker 1: That's that's always the It's always the first goal. You know, 35 00:02:07,396 --> 00:02:10,996 Speaker 1: you start off every every song or you know, or 36 00:02:11,036 --> 00:02:14,276 Speaker 1: a collection of songs or album, you're trying to kind 37 00:02:14,276 --> 00:02:18,556 Speaker 1: of satisfy an audience of one or or or five 38 00:02:18,636 --> 00:02:20,196 Speaker 1: the group of you, you know what I mean. So 39 00:02:20,396 --> 00:02:22,516 Speaker 1: it's really trying to make something that you guys are 40 00:02:22,556 --> 00:02:26,276 Speaker 1: excited about or I'm excited about. And uh, and so 41 00:02:26,436 --> 00:02:29,596 Speaker 1: that that box obviously obviously gets checked with its decision 42 00:02:29,636 --> 00:02:32,036 Speaker 1: to release because I wouldn't put something out that I 43 00:02:32,036 --> 00:02:36,196 Speaker 1: didn't think was good. Yes, so that the box for 44 00:02:36,356 --> 00:02:39,236 Speaker 1: me is checked. I was really I'm really satisfied with 45 00:02:39,916 --> 00:02:44,156 Speaker 1: and really excited about the songs and the energy, the performances, 46 00:02:44,196 --> 00:02:46,356 Speaker 1: the people that I got to create this music with. 47 00:02:46,716 --> 00:02:48,996 Speaker 1: And the thing that I guess I'm grateful for is 48 00:02:48,996 --> 00:02:51,956 Speaker 1: that people seem to feel like there's a see that 49 00:02:51,996 --> 00:02:54,556 Speaker 1: there's a lot of challenge to this the writing and 50 00:02:54,636 --> 00:02:57,676 Speaker 1: execution of the album, and and that makes me feel 51 00:02:57,676 --> 00:03:00,876 Speaker 1: good because I certainly felt like my face was pressed 52 00:03:00,916 --> 00:03:04,236 Speaker 1: against the ceiling of my abilities on all levels of 53 00:03:04,796 --> 00:03:08,196 Speaker 1: this album, you know, singing, writing, producing, you know, And 54 00:03:08,516 --> 00:03:10,076 Speaker 1: that's a good play us to be. You want to 55 00:03:10,076 --> 00:03:13,396 Speaker 1: be in a slightly uncomfortable, like hey, WHOA can I 56 00:03:13,436 --> 00:03:17,076 Speaker 1: pull this off? Kind of headspace because you you were 57 00:03:17,156 --> 00:03:21,436 Speaker 1: allowing yourself to grab stuff that you didn't know was attainable, 58 00:03:21,556 --> 00:03:24,476 Speaker 1: or reach a branch that you might not even be 59 00:03:24,476 --> 00:03:26,356 Speaker 1: be reaching for, you know what I mean, But like 60 00:03:26,396 --> 00:03:28,516 Speaker 1: you just feel like you're flailing about and some and 61 00:03:28,556 --> 00:03:30,516 Speaker 1: that's where you find some really cool stuff, you know, 62 00:03:30,556 --> 00:03:32,756 Speaker 1: instead of trying to be safe. And I've I've never 63 00:03:32,796 --> 00:03:36,236 Speaker 1: really gone about making music with that mindset. I'm not 64 00:03:36,276 --> 00:03:40,876 Speaker 1: trying to recreate old tunes or old records or or 65 00:03:40,916 --> 00:03:44,676 Speaker 1: rep myself. I'm trying to make something new that I 66 00:03:44,716 --> 00:03:46,556 Speaker 1: that I haven't made before, you know, and you can 67 00:03:46,596 --> 00:03:49,716 Speaker 1: always count on you can always count on sounding like yourself. 68 00:03:49,756 --> 00:03:52,836 Speaker 1: I can't really do anything else. And so that's that's 69 00:03:52,876 --> 00:03:54,996 Speaker 1: a that's a bonus, you know, to be able to 70 00:03:55,236 --> 00:03:58,596 Speaker 1: have that sort of a thing that's identifiable, I guess, 71 00:03:58,796 --> 00:04:00,836 Speaker 1: and that breeds you up to go where, but the 72 00:04:00,836 --> 00:04:02,836 Speaker 1: hell of music wants to take it. So it's uh, 73 00:04:03,676 --> 00:04:06,276 Speaker 1: it's as much a surprise to me every time I 74 00:04:06,356 --> 00:04:08,356 Speaker 1: end a project and put it out, because I had 75 00:04:08,516 --> 00:04:11,036 Speaker 1: no idea or intention of what it was going to 76 00:04:11,076 --> 00:04:11,996 Speaker 1: be before I started. 77 00:04:12,836 --> 00:04:14,636 Speaker 4: Do you ever give yourself props? 78 00:04:14,676 --> 00:04:17,876 Speaker 3: Like if you do get to a place where you're 79 00:04:17,876 --> 00:04:21,836 Speaker 3: pushing yourself creatively emotionally, do you take time to sort 80 00:04:21,876 --> 00:04:24,636 Speaker 3: of like congratulate yourself or you always sort of just 81 00:04:24,716 --> 00:04:28,396 Speaker 3: like have like this self critical voice in your head. 82 00:04:29,276 --> 00:04:32,116 Speaker 1: Yeah. Well, I mean after I'm done working on a record, 83 00:04:32,156 --> 00:04:34,756 Speaker 1: I don't listen to it a whole lot. But since 84 00:04:35,036 --> 00:04:37,156 Speaker 1: starting up a new tour here in about a week, 85 00:04:37,196 --> 00:04:39,916 Speaker 1: I'm going through all the materials, so I've been revisiting it, 86 00:04:40,396 --> 00:04:43,596 Speaker 1: or you'll run into people and they'll kind of talk 87 00:04:43,636 --> 00:04:45,596 Speaker 1: to you about I don't know, maybe the impact that 88 00:04:45,636 --> 00:04:48,436 Speaker 1: it's having on them. That's something that they really dig 89 00:04:48,476 --> 00:04:50,756 Speaker 1: and so then then then you're brought back to that 90 00:04:50,756 --> 00:04:54,276 Speaker 1: that mind frame and that discussion, and that always feels good, 91 00:04:54,476 --> 00:04:57,916 Speaker 1: you know, like, yeah, made a good record, that that's 92 00:04:57,676 --> 00:05:01,716 Speaker 1: what you're trying to do, and and it's fun revisiting it. 93 00:05:01,716 --> 00:05:03,716 Speaker 1: It still holds up. I'm not sick of it yet, 94 00:05:03,876 --> 00:05:05,676 Speaker 1: so that's always a good sign too. 95 00:05:06,436 --> 00:05:09,796 Speaker 3: Has getting feedback from people from fans about the way 96 00:05:09,836 --> 00:05:13,436 Speaker 3: that certain songs have impacted them. Does that change the 97 00:05:13,476 --> 00:05:17,196 Speaker 3: way you talk to musicians about songs of theirs that 98 00:05:17,236 --> 00:05:17,676 Speaker 3: you love. 99 00:05:18,196 --> 00:05:22,036 Speaker 1: You know, it's really personal what what an artist's music 100 00:05:22,156 --> 00:05:24,676 Speaker 1: means to me. You know, I'm sure there's gonna be 101 00:05:24,796 --> 00:05:27,116 Speaker 1: a lot of shared stuff what it means to them too, 102 00:05:27,236 --> 00:05:29,756 Speaker 1: But it's also going to be pretty personal to them. 103 00:05:30,036 --> 00:05:32,276 Speaker 1: And I might not know all the details, nor do 104 00:05:32,356 --> 00:05:34,196 Speaker 1: I need to know all the details. I just need 105 00:05:34,236 --> 00:05:36,116 Speaker 1: to know that it means something to me and the 106 00:05:36,156 --> 00:05:39,116 Speaker 1: particular story or slant that I took it ass you know, 107 00:05:39,196 --> 00:05:41,916 Speaker 1: and you know the few conversations I've had with with 108 00:05:42,116 --> 00:05:45,756 Speaker 1: writers about particular songs, And you know, I'll be hanging 109 00:05:45,876 --> 00:05:48,156 Speaker 1: with you know, Billy Gibbons or something a couple of 110 00:05:48,156 --> 00:05:50,716 Speaker 1: weeks ago, and I'll ask them about mechanic, you know, 111 00:05:50,836 --> 00:05:52,356 Speaker 1: like what the hell are you is on here? And 112 00:05:52,356 --> 00:05:54,516 Speaker 1: blah blah blah, and it sounds like a piano but 113 00:05:54,556 --> 00:05:57,116 Speaker 1: it's a guitar. And like, you know, I'll be wrong 114 00:05:57,156 --> 00:05:58,636 Speaker 1: a lot of the times, you know what I mean. 115 00:05:58,716 --> 00:06:01,356 Speaker 1: So like it's always it's always surprising to get somebody's 116 00:06:01,396 --> 00:06:04,436 Speaker 1: personal take on it. At the flip side of that coin, 117 00:06:05,036 --> 00:06:08,116 Speaker 1: it's also cool leaving the mystery there and leaving some 118 00:06:08,156 --> 00:06:10,956 Speaker 1: space for for the creation of your own story to it, 119 00:06:11,356 --> 00:06:14,156 Speaker 1: to connect to a piece of music or art or 120 00:06:14,196 --> 00:06:17,356 Speaker 1: film or whatever it is. You know, a play, a book. 121 00:06:17,596 --> 00:06:21,796 Speaker 3: You know, I know that you and Duff mccagan are 122 00:06:21,916 --> 00:06:24,836 Speaker 3: good friends. You guys play music a lot together. You 123 00:06:24,876 --> 00:06:28,636 Speaker 3: guys hang out watch football the first time. Like when 124 00:06:28,636 --> 00:06:31,276 Speaker 3: you first started hanging out with Duff, what did you 125 00:06:31,396 --> 00:06:33,276 Speaker 3: ask him about Guns N' Roses? 126 00:06:34,956 --> 00:06:39,676 Speaker 1: Uh? Boy? I think I probably told him, Like when 127 00:06:39,716 --> 00:06:43,236 Speaker 1: I when I finally connected with this band, I mean 128 00:06:43,676 --> 00:06:45,316 Speaker 1: I was aware of the band, and a lot of 129 00:06:45,356 --> 00:06:49,236 Speaker 1: my favorite bands I don't like instantly, you know, yeah, 130 00:06:49,396 --> 00:06:52,396 Speaker 1: and so because they were so huge and blowing up. 131 00:06:52,436 --> 00:06:54,196 Speaker 1: I mean, I like, I like rock and roll, and 132 00:06:54,236 --> 00:06:56,716 Speaker 1: they had roots of all the stuff I love, Aerosmith 133 00:06:56,796 --> 00:07:00,116 Speaker 1: and you know, good funky R and B fucking nasty 134 00:07:00,196 --> 00:07:03,596 Speaker 1: rock and roll and uh so, you know, overtly, I 135 00:07:03,676 --> 00:07:05,236 Speaker 1: liked it and it was blowing up, but I didn't 136 00:07:05,236 --> 00:07:07,476 Speaker 1: connect with the record. And I think I listened to 137 00:07:07,516 --> 00:07:09,596 Speaker 1: it for about a week, and I don't know I 138 00:07:09,676 --> 00:07:11,676 Speaker 1: was I think I told him a story. I was 139 00:07:11,716 --> 00:07:14,996 Speaker 1: living in an apartment downtown behind the Seattle Center, and 140 00:07:15,116 --> 00:07:17,356 Speaker 1: I still hadn't connected to the record. So I decided 141 00:07:17,396 --> 00:07:20,556 Speaker 1: to drop acid and listen to the whole thing one 142 00:07:20,556 --> 00:07:23,516 Speaker 1: more time. And I decided on that trip, and I 143 00:07:23,556 --> 00:07:25,156 Speaker 1: listened to the record of I still didn't like it. 144 00:07:25,196 --> 00:07:26,596 Speaker 1: I was going to throw it out the window. And 145 00:07:26,636 --> 00:07:29,276 Speaker 1: by the time, by the time Rocket Queen came on 146 00:07:29,636 --> 00:07:32,196 Speaker 1: that base, the drums in the bass got me. That's 147 00:07:32,196 --> 00:07:34,596 Speaker 1: when it all came into focus. And I was just 148 00:07:34,676 --> 00:07:37,596 Speaker 1: coming on to an acid trip. And I think I 149 00:07:37,636 --> 00:07:40,836 Speaker 1: told him that story that was it was a good one, 150 00:07:40,836 --> 00:07:45,676 Speaker 1: and I got it the doors of perception when we're open. Yes, 151 00:07:46,196 --> 00:07:48,636 Speaker 1: and I connected because the thing that got me was 152 00:07:48,676 --> 00:07:51,876 Speaker 1: his base ref Yeah totally. You know. 153 00:07:52,076 --> 00:07:53,276 Speaker 4: Oh that's super cool. 154 00:07:53,676 --> 00:07:55,636 Speaker 3: Wasn't there a story that you were at like a 155 00:07:55,636 --> 00:07:58,316 Speaker 3: gun show and you gave a demo to Axel? 156 00:07:59,236 --> 00:08:03,396 Speaker 1: Oh? Yeah? Uh. Like all young artists, you know, sometimes 157 00:08:03,396 --> 00:08:05,876 Speaker 1: you run onto somebody that's one of your heroes and 158 00:08:05,916 --> 00:08:08,436 Speaker 1: you pass them on your demo tape or whatever. Yeah. 159 00:08:08,476 --> 00:08:11,636 Speaker 1: I was actually like, I say, I live right behind 160 00:08:11,636 --> 00:08:13,996 Speaker 1: the Seattle Center and that's where they were playing. So yeah, 161 00:08:14,036 --> 00:08:16,876 Speaker 1: I handed it to his security guard and his security 162 00:08:16,916 --> 00:08:19,996 Speaker 1: guard threw it away as they were walking. So it 163 00:08:20,036 --> 00:08:23,356 Speaker 1: was an Axles fault. Now. I told Axel that story too, 164 00:08:23,436 --> 00:08:24,836 Speaker 1: and we laughed about that as well. 165 00:08:24,916 --> 00:08:27,836 Speaker 4: So well, at least it wasn't him, It was a security. 166 00:08:27,396 --> 00:08:29,436 Speaker 1: Guard that was a security guard. Yeah. 167 00:08:30,236 --> 00:08:32,836 Speaker 3: I was having this debate with someone who I work 168 00:08:32,876 --> 00:08:35,836 Speaker 3: on this show with, and I wonder what, I'm just 169 00:08:35,876 --> 00:08:38,116 Speaker 3: curious what your answer would be, who do you think 170 00:08:39,236 --> 00:08:42,716 Speaker 3: is the best American rock band? 171 00:08:42,996 --> 00:08:46,196 Speaker 1: Oh? Man, I'm all I'm still bad with best. 172 00:08:46,516 --> 00:08:47,716 Speaker 4: Yeah, I know, I know me too. 173 00:08:48,516 --> 00:08:51,636 Speaker 1: It's an impossible statement, you know what I mean? You 174 00:08:51,956 --> 00:08:53,796 Speaker 1: want to be one of the best, you know, and 175 00:08:54,236 --> 00:08:57,556 Speaker 1: there's so many American American rock bands, just America. Yeah, 176 00:08:57,596 --> 00:08:58,956 Speaker 1: so you can throw out a couple. 177 00:08:58,996 --> 00:09:00,876 Speaker 4: I'm just curious where your brain goes. 178 00:09:01,636 --> 00:09:03,916 Speaker 1: Oh, I don't know. I mean, like, you know, Aerosmith's 179 00:09:03,916 --> 00:09:06,236 Speaker 1: got to be up there, pretty close to top of 180 00:09:06,276 --> 00:09:11,516 Speaker 1: the list, you know, GNR, Metallica, those are pretty good ones. Yeah, okay, yeah, 181 00:09:11,516 --> 00:09:12,556 Speaker 1: that's good. We were saying. 182 00:09:12,596 --> 00:09:16,276 Speaker 4: Also, he brought up Grateful Dead and the Beach Boys. 183 00:09:16,756 --> 00:09:19,876 Speaker 1: Yeah, I'd go with the Beats. I you know, I 184 00:09:19,956 --> 00:09:23,676 Speaker 1: appreciate the Dead, and I'm sure you've had this experience. 185 00:09:23,716 --> 00:09:25,956 Speaker 1: There's dead Heads, and then there's people that don't get 186 00:09:25,956 --> 00:09:27,876 Speaker 1: the Dead, and none one of the Beats never got 187 00:09:27,916 --> 00:09:31,116 Speaker 1: the Dead. I appreciate them as musicians and I respect 188 00:09:31,636 --> 00:09:34,796 Speaker 1: full respect for the connection they have with their fans, 189 00:09:34,796 --> 00:09:37,316 Speaker 1: but it just never really spoke to me. Beast Boys, Yeah, 190 00:09:37,356 --> 00:09:40,516 Speaker 1: for sure. You know, Beast Boys were early Beast Boys 191 00:09:40,556 --> 00:09:42,996 Speaker 1: is badass. Yeah, yeah, yeah, totally. 192 00:09:43,796 --> 00:09:44,116 Speaker 4: Okay. 193 00:09:44,236 --> 00:09:47,956 Speaker 3: Let me ask about a couple of the songs on 194 00:09:48,036 --> 00:09:49,556 Speaker 3: the new album. 195 00:09:49,716 --> 00:09:51,276 Speaker 4: The opening track Vilified. 196 00:09:51,716 --> 00:09:53,556 Speaker 3: Can you just tell me the story about how that 197 00:09:54,076 --> 00:09:56,556 Speaker 3: came together and especially that I love the like little 198 00:09:57,076 --> 00:10:01,436 Speaker 3: the hey, yeah, the repeating bit. It's so catching and 199 00:10:01,476 --> 00:10:04,156 Speaker 3: it's so good and it's sort of like reminiscent of 200 00:10:04,196 --> 00:10:08,396 Speaker 3: some old Alice songs. I thought, so tell me about 201 00:10:08,396 --> 00:10:10,236 Speaker 3: writing and arrange that one. 202 00:10:10,836 --> 00:10:13,476 Speaker 1: Well, the music is, it's a it's a really bizarre 203 00:10:13,676 --> 00:10:16,436 Speaker 1: piece of music. And it's in like six and seven 204 00:10:16,596 --> 00:10:19,156 Speaker 1: and I think maybe maybe there goes a section that 205 00:10:19,236 --> 00:10:23,196 Speaker 1: goes to eight too, So it's weird time signatures. It's 206 00:10:23,236 --> 00:10:25,316 Speaker 1: just four and a half half minutes of fury. You know, 207 00:10:25,356 --> 00:10:28,356 Speaker 1: once it once it starts, it does not stop. And 208 00:10:28,676 --> 00:10:32,236 Speaker 1: I remember coming up with it in two sections, both 209 00:10:32,236 --> 00:10:34,476 Speaker 1: at a sound check once when I was on tour 210 00:10:34,676 --> 00:10:37,756 Speaker 1: with on the Brighton tour, you know, was I was 211 00:10:37,796 --> 00:10:40,716 Speaker 1: messing around with with the riff and we were the 212 00:10:40,756 --> 00:10:42,236 Speaker 1: band kind of jumped in with me and kind of 213 00:10:42,236 --> 00:10:44,636 Speaker 1: played it. And then and then on another sound check 214 00:10:44,676 --> 00:10:48,116 Speaker 1: with Alice or a rehearsal room or something, I brought 215 00:10:48,156 --> 00:10:50,116 Speaker 1: that up and I was like that that's a good 216 00:10:50,116 --> 00:10:53,756 Speaker 1: one to file for file future use, and it ended up, 217 00:10:53,836 --> 00:10:55,716 Speaker 1: you know, working out that it ended up on being 218 00:10:55,756 --> 00:10:58,996 Speaker 1: on that record. But it's it's just weird, but it's 219 00:10:58,996 --> 00:11:02,876 Speaker 1: also really kind of got a pop element. To it 220 00:11:02,916 --> 00:11:06,636 Speaker 1: as well. It's just a weird psycho metal pop song. Uh, 221 00:11:06,716 --> 00:11:09,396 Speaker 1: and it's got a lot of energy. And you know, 222 00:11:10,036 --> 00:11:12,596 Speaker 1: the last two records I've done Brighton and I Want Blood, 223 00:11:12,996 --> 00:11:15,516 Speaker 1: two things have happened for me, and I don't know 224 00:11:15,556 --> 00:11:18,476 Speaker 1: if it's going to continue. But it's odd because I 225 00:11:18,556 --> 00:11:20,076 Speaker 1: never know what the record is going to be called. 226 00:11:20,116 --> 00:11:23,276 Speaker 1: And tell way, like when everybody's like, what the hell 227 00:11:23,316 --> 00:11:24,716 Speaker 1: are you going to call this thing? So it's a 228 00:11:24,796 --> 00:11:27,076 Speaker 1: last thing that you normally come up with. And on 229 00:11:27,156 --> 00:11:29,556 Speaker 1: both of these records, I had the title right out 230 00:11:29,596 --> 00:11:32,876 Speaker 1: the bat, importantly because I had written Vilified and I 231 00:11:32,876 --> 00:11:34,996 Speaker 1: had also written bright and then I'm like, those are great, 232 00:11:35,236 --> 00:11:37,716 Speaker 1: you know, and those are great songs. It gives it's 233 00:11:37,756 --> 00:11:39,876 Speaker 1: a good title for the body of work. It seems 234 00:11:39,876 --> 00:11:41,956 Speaker 1: to be a good descriptor you know what I mean. 235 00:11:42,036 --> 00:11:44,796 Speaker 1: So that Villified was a contender, you know, for an 236 00:11:44,796 --> 00:11:48,556 Speaker 1: album titled. But I guess my point being, I knew 237 00:11:48,556 --> 00:11:50,276 Speaker 1: what I was going to call them. I knew what 238 00:11:50,316 --> 00:11:53,116 Speaker 1: the how the albums were going to open, and Vilified 239 00:11:53,236 --> 00:11:56,596 Speaker 1: was always the open opener and it comes the closer. 240 00:11:56,676 --> 00:11:59,796 Speaker 1: So I came in almost with eight out of nine 241 00:11:59,796 --> 00:12:02,796 Speaker 1: songs in the position that they're on. I had them 242 00:12:02,796 --> 00:12:05,236 Speaker 1: written out in order like how the album was going 243 00:12:05,276 --> 00:12:06,836 Speaker 1: to go, and it ended up being pretty close in 244 00:12:06,836 --> 00:12:11,796 Speaker 1: the mark on brighton and I want uh and uh vilified. 245 00:12:11,876 --> 00:12:14,396 Speaker 1: I mean, it's just, you know, there's I think that 246 00:12:14,436 --> 00:12:16,836 Speaker 1: we're living in a really interesting time, you know what 247 00:12:16,876 --> 00:12:19,316 Speaker 1: I mean. And I think that we're I think that 248 00:12:19,476 --> 00:12:23,156 Speaker 1: everybody's everybody's got an opinion, and is is a rush 249 00:12:23,236 --> 00:12:25,636 Speaker 1: to share it with everybody and at each other's throats 250 00:12:25,676 --> 00:12:28,916 Speaker 1: and pointing fingers and and uh, you know, we're dealing 251 00:12:28,956 --> 00:12:31,516 Speaker 1: with dealing it with a different time, with a new time, 252 00:12:31,636 --> 00:12:34,436 Speaker 1: with new toys and new technology, and and I don't 253 00:12:34,476 --> 00:12:37,196 Speaker 1: know that we've necessarily learned how to use all that 254 00:12:37,236 --> 00:12:41,996 Speaker 1: stuff mainly, Yeah, no, And maybe that song is just 255 00:12:42,036 --> 00:12:44,356 Speaker 1: kind of like a like pointing out that fact and 256 00:12:44,396 --> 00:12:46,996 Speaker 1: maybe being a call to you know, be a little 257 00:12:46,996 --> 00:12:48,876 Speaker 1: cooler with each other, be a little more accepting. 258 00:12:49,636 --> 00:12:51,436 Speaker 4: And then how did you come up with that the 259 00:12:51,556 --> 00:12:52,116 Speaker 4: catchy bit? 260 00:12:52,636 --> 00:12:54,756 Speaker 1: You know? It just it always starts with the music. 261 00:12:55,076 --> 00:12:57,956 Speaker 1: So generally it always starts with the music. I'll get 262 00:12:57,956 --> 00:13:00,116 Speaker 1: the music together. So I got those three parts, the 263 00:13:00,596 --> 00:13:03,356 Speaker 1: main riff and then the and then the the B 264 00:13:03,516 --> 00:13:08,156 Speaker 1: section with the dead you know, and then the then 265 00:13:08,196 --> 00:13:11,396 Speaker 1: the slow you know, slow stomp that comes after that. 266 00:13:11,676 --> 00:13:13,556 Speaker 1: So I'm like, this is a good song. And then 267 00:13:13,596 --> 00:13:17,156 Speaker 1: you get that together and it can happen really quickly 268 00:13:17,276 --> 00:13:20,676 Speaker 1: with sections, and while you're listening. I do a lot 269 00:13:20,716 --> 00:13:23,356 Speaker 1: of listening in my car old school, So yeah, I 270 00:13:23,476 --> 00:13:26,076 Speaker 1: listen to the demos that we've made or or sometimes 271 00:13:26,076 --> 00:13:28,436 Speaker 1: write off the battle just pop pop, a good vocal, 272 00:13:28,876 --> 00:13:30,796 Speaker 1: I'll have a vocal idea that will go through my head, 273 00:13:30,796 --> 00:13:34,076 Speaker 1: so I'll singing some nonsense, nonsense lyrics to get the 274 00:13:34,116 --> 00:13:36,876 Speaker 1: melody lined down until it works, you know, and then 275 00:13:37,036 --> 00:13:38,956 Speaker 1: the next one, what the fuck are you trying to 276 00:13:38,956 --> 00:13:41,996 Speaker 1: say with that melody? So that's usually that's the very 277 00:13:42,036 --> 00:13:43,516 Speaker 1: last thing the subject matter. 278 00:13:44,116 --> 00:13:46,596 Speaker 3: Are you conscious of when you hear a new song, like, 279 00:13:46,836 --> 00:13:49,756 Speaker 3: not a new song of yours, but somebody else's song, Like, 280 00:13:50,196 --> 00:13:52,836 Speaker 3: are you conscious of what part of the song you 281 00:13:52,876 --> 00:13:56,716 Speaker 3: pay attention to most, whether it's the lyrics or the 282 00:13:56,756 --> 00:13:59,836 Speaker 3: melody or you know, a certain instrument. 283 00:14:00,836 --> 00:14:03,876 Speaker 1: There's so much freedom in music, you know. I mean basically, 284 00:14:03,916 --> 00:14:06,636 Speaker 1: if you look, if you're kind of break down songwriting 285 00:14:06,676 --> 00:14:11,156 Speaker 1: to structure, you know, you're talking about intro, a verse, 286 00:14:11,316 --> 00:14:13,996 Speaker 1: a bridge, a chorus, and maybe like a middle eight, 287 00:14:14,196 --> 00:14:16,316 Speaker 1: you know, so that that's the thing. But there's so 288 00:14:16,396 --> 00:14:18,876 Speaker 1: much ways, so many ways you can play with that 289 00:14:19,076 --> 00:14:21,956 Speaker 1: and sounds and and and what somebody is trying to 290 00:14:21,956 --> 00:14:25,836 Speaker 1: get across. And you know, I'm a big fan of film. 291 00:14:25,876 --> 00:14:28,756 Speaker 1: I still watch tons of movies, and you know, good movies, 292 00:14:28,756 --> 00:14:31,956 Speaker 1: crappy movies, doesn't matter, like I just like movies, and 293 00:14:32,316 --> 00:14:34,876 Speaker 1: music is a big part of film and the storytelling 294 00:14:34,916 --> 00:14:38,796 Speaker 1: of that. So so of course I'm always keyed into 295 00:14:38,876 --> 00:14:41,236 Speaker 1: the music aspect of telling a story. And that's really 296 00:14:41,236 --> 00:14:43,356 Speaker 1: what I'm trying to do is make a little mini 297 00:14:43,396 --> 00:14:46,156 Speaker 1: movie by writing a song, you know, like a little scene. 298 00:14:46,556 --> 00:14:49,396 Speaker 1: I want to be transported to some place that that 299 00:14:49,436 --> 00:14:52,916 Speaker 1: I've never been to, or or maybe be reminded of 300 00:14:52,956 --> 00:14:55,516 Speaker 1: a place that's familiar to me. Like, hey, that's kind 301 00:14:55,556 --> 00:14:58,156 Speaker 1: of cool, you know, like that brings me back to 302 00:14:59,036 --> 00:15:01,476 Speaker 1: this thing, and that's fucking cool. I like that, you know, 303 00:15:01,596 --> 00:15:04,796 Speaker 1: And it's a shared experience. But you know, there's there's 304 00:15:04,836 --> 00:15:07,756 Speaker 1: only twelve notes and and there's you know, basically, songs 305 00:15:07,756 --> 00:15:10,596 Speaker 1: are three parts, three or four parts, and you know 306 00:15:10,636 --> 00:15:12,796 Speaker 1: the math of it is is pretty simple, but but 307 00:15:12,876 --> 00:15:16,236 Speaker 1: it's so so intricate and unique and the way that 308 00:15:16,236 --> 00:15:19,396 Speaker 1: ever the lens of everybody, that all of that flows through, 309 00:15:19,716 --> 00:15:22,556 Speaker 1: those basic elements flow through it. And when somebody's able 310 00:15:22,596 --> 00:15:24,476 Speaker 1: to put those into like a song that makes you 311 00:15:24,556 --> 00:15:26,356 Speaker 1: feel and takes you on a ride or makes you 312 00:15:26,396 --> 00:15:29,436 Speaker 1: want to play it again, like call somebody and go like, man, 313 00:15:29,476 --> 00:15:32,596 Speaker 1: have you heard this? Man? You know that that that 314 00:15:32,836 --> 00:15:34,956 Speaker 1: that's cool? Man? You want to be part of that story? 315 00:15:35,076 --> 00:15:36,996 Speaker 1: And I think that's I think that's what we're all 316 00:15:37,036 --> 00:15:37,596 Speaker 1: trying to do. 317 00:15:38,316 --> 00:15:41,036 Speaker 3: Can you remember the last song that you were super 318 00:15:41,076 --> 00:15:43,716 Speaker 3: moved by that maybe you shared with someone else or 319 00:15:43,756 --> 00:15:44,996 Speaker 3: you couldn't stop listening to. 320 00:15:47,716 --> 00:15:52,116 Speaker 1: I mean, I'm in I'm in me mode right now. Yeah, 321 00:15:52,156 --> 00:15:54,676 Speaker 1: So I haven't really you know, I haven't really listened 322 00:15:54,716 --> 00:15:58,116 Speaker 1: to a whole lot of stuff. But I was watching 323 00:15:58,996 --> 00:16:01,636 Speaker 1: I was watching The Accountant last night, and there's like 324 00:16:01,676 --> 00:16:05,156 Speaker 1: a really cool I Forget the This with Ben Affleck. 325 00:16:05,196 --> 00:16:08,636 Speaker 1: He's like some like a autistic hit man kind of dude. 326 00:16:08,636 --> 00:16:11,076 Speaker 1: And oh wow, but there's a song in that soundtrack 327 00:16:11,116 --> 00:16:12,716 Speaker 1: and I can't remember off the top of my head 328 00:16:12,756 --> 00:16:14,756 Speaker 1: what it was. And also up in the air I 329 00:16:14,836 --> 00:16:18,036 Speaker 1: might be in a R bock tune. It's fucking cool 330 00:16:18,036 --> 00:16:20,156 Speaker 1: as shit. I really like. I like the Black Keys 331 00:16:20,196 --> 00:16:23,516 Speaker 1: a lot. They're they're really talented. And then watching the 332 00:16:23,556 --> 00:16:26,516 Speaker 1: Agency and it's it's got that great Jack White song 333 00:16:26,596 --> 00:16:29,236 Speaker 1: in it too. He's pretty fucking badass as well. 334 00:16:29,316 --> 00:16:31,836 Speaker 4: Yeah, he is badass. 335 00:16:31,836 --> 00:16:34,996 Speaker 3: I think I heard you in another interview talking about 336 00:16:35,036 --> 00:16:37,236 Speaker 3: an album he did where there was like an EP, 337 00:16:38,356 --> 00:16:39,796 Speaker 3: like hidden in the album. 338 00:16:40,116 --> 00:16:43,396 Speaker 1: Yeah, inside the grooves of the album another it there's 339 00:16:43,436 --> 00:16:46,196 Speaker 1: an album groove, and then inside the album of that 340 00:16:46,236 --> 00:16:49,516 Speaker 1: groove is an EP. That's so cool. I've never heard 341 00:16:49,556 --> 00:16:52,956 Speaker 1: of anything like that. That's like how that dude's brain works. 342 00:16:53,236 --> 00:16:53,836 Speaker 4: Yeah. 343 00:16:54,116 --> 00:16:56,876 Speaker 3: Is there any other genre of music outside of rock 344 00:16:56,916 --> 00:17:01,716 Speaker 3: that you are fanatic about or that you just know 345 00:17:01,836 --> 00:17:02,476 Speaker 3: a lot about. 346 00:17:02,996 --> 00:17:05,196 Speaker 1: I just like good music, man. I don't care about 347 00:17:05,236 --> 00:17:07,396 Speaker 1: the style, man, I like I like Who's I like 348 00:17:07,516 --> 00:17:10,156 Speaker 1: R and B, I like even I even like some 349 00:17:10,236 --> 00:17:13,356 Speaker 1: hip hop, you know, I like soul, o the country, 350 00:17:13,516 --> 00:17:18,396 Speaker 1: like jazz, like metal, you know. I mean, yeah, I 351 00:17:18,516 --> 00:17:22,156 Speaker 1: like classical. You know, some classical ship. It's just fucking amazing, 352 00:17:22,236 --> 00:17:24,876 Speaker 1: you know what I mean, It's still great and what 353 00:17:25,476 --> 00:17:28,396 Speaker 1: you know it it's it's such a personal music is 354 00:17:28,396 --> 00:17:31,396 Speaker 1: such a personal thing, like what what connects? I'm not 355 00:17:31,476 --> 00:17:34,756 Speaker 1: like hunting for stuff. I'm only hunting when I'm trying 356 00:17:34,796 --> 00:17:37,076 Speaker 1: to make something myself. You know. It's just like the 357 00:17:37,076 --> 00:17:40,156 Speaker 1: rest of life is just you know, lucky happenstance. When 358 00:17:40,436 --> 00:17:42,516 Speaker 1: when you turn on the radio, or you see something 359 00:17:42,676 --> 00:17:44,636 Speaker 1: in a movie, or you or you go to a 360 00:17:44,716 --> 00:17:47,396 Speaker 1: show and or you're playing a bill at a at 361 00:17:47,436 --> 00:17:50,716 Speaker 1: a festival and a band comes on and kickshaw that 362 00:17:50,756 --> 00:17:52,916 Speaker 1: you don't know about, Like holy shit. I mean, that's 363 00:17:53,676 --> 00:17:56,036 Speaker 1: that's the cool part. Somebody's there's a lot of us 364 00:17:56,076 --> 00:17:57,916 Speaker 1: out there still doing it, and that gives me a 365 00:17:58,116 --> 00:18:00,636 Speaker 1: qlope the reason why I do it in the first place. 366 00:18:00,796 --> 00:18:03,476 Speaker 1: You know, it's not supposed to speak to everybody, but 367 00:18:03,516 --> 00:18:05,676 Speaker 1: it's it finds its people, you know. I mean, each 368 00:18:05,756 --> 00:18:09,636 Speaker 1: each band, each each song, each piece of music someone somewhere. 369 00:18:10,236 --> 00:18:13,356 Speaker 1: It's kind of eternal in a respect, at least longer 370 00:18:13,396 --> 00:18:15,356 Speaker 1: than a lifetime. I don't know if it's like yes, 371 00:18:15,556 --> 00:18:18,436 Speaker 1: all time eternal, but once it's out there, it's there 372 00:18:18,516 --> 00:18:20,956 Speaker 1: for people to find, you know, throughout the generations. And 373 00:18:20,996 --> 00:18:24,116 Speaker 1: I think that's that's a pretty magical thing, and that 374 00:18:24,156 --> 00:18:26,316 Speaker 1: aspect has never been lost on me. And so like 375 00:18:26,396 --> 00:18:30,036 Speaker 1: anytime I hear something that that makes me feel or 376 00:18:30,636 --> 00:18:33,316 Speaker 1: or like fuck, that's cool man, you know that that's 377 00:18:33,356 --> 00:18:34,076 Speaker 1: a beautiful thing. 378 00:18:35,556 --> 00:18:38,436 Speaker 2: We'll be right back with more from Jerry Cantrell. After 379 00:18:38,476 --> 00:18:45,156 Speaker 2: the break, We're back with more from Jerry Cantrell. 380 00:18:46,316 --> 00:18:49,236 Speaker 4: Do you have any tricks that help you unlock. 381 00:18:50,556 --> 00:18:52,476 Speaker 3: You know, if you're having like writer's block, or you 382 00:18:52,516 --> 00:18:54,236 Speaker 3: don't know where to go with a song, if a 383 00:18:54,236 --> 00:18:56,276 Speaker 3: part is missing. Do you have any things that you 384 00:18:56,276 --> 00:19:00,676 Speaker 3: can sort of like trick yourself into coming up with ideas? 385 00:19:00,876 --> 00:19:02,716 Speaker 1: Uh, well, there's a there's a couple of ways you 386 00:19:02,716 --> 00:19:05,436 Speaker 1: can go about it. Well, one one is leave it alone, 387 00:19:05,876 --> 00:19:08,356 Speaker 1: walk away from it, you know, until if you just 388 00:19:08,436 --> 00:19:11,316 Speaker 1: keep banging your head against it and it ain't happened 389 00:19:11,356 --> 00:19:13,396 Speaker 1: and you can't fucking force it, you know what I mean. 390 00:19:13,996 --> 00:19:16,476 Speaker 1: But you still you can take a temps at it 391 00:19:16,556 --> 00:19:18,916 Speaker 1: now and again when you when you like funk, that's 392 00:19:18,956 --> 00:19:21,596 Speaker 1: cool man, It's but but if it ain't happening, leave 393 00:19:21,596 --> 00:19:25,356 Speaker 1: it alone, move on to something else, you know, to 394 00:19:26,356 --> 00:19:29,036 Speaker 1: go to somebody else, you know, go to go to Sean, 395 00:19:29,276 --> 00:19:33,076 Speaker 1: go to Duff, go to Tyler go to Big or 396 00:19:33,236 --> 00:19:35,756 Speaker 1: Max like like, yeah, what do you think about this? Man? 397 00:19:35,796 --> 00:19:38,436 Speaker 1: I like, I don't have an idea here, like and 398 00:19:38,436 --> 00:19:41,796 Speaker 1: and and bounce your bounce that off of people that 399 00:19:41,836 --> 00:19:45,996 Speaker 1: you trusty creative people, and and that can that that 400 00:19:46,116 --> 00:19:48,916 Speaker 1: that's a good way to to jostle you. If it's 401 00:19:48,956 --> 00:19:51,596 Speaker 1: not the part, it might be something to challenge you 402 00:19:51,636 --> 00:19:53,316 Speaker 1: of like I can do better than that, you know 403 00:19:53,356 --> 00:19:55,916 Speaker 1: what I mean? So whatever, something to shift you off 404 00:19:55,956 --> 00:19:58,876 Speaker 1: of the dead space if you happen to find yourself 405 00:19:58,916 --> 00:20:02,596 Speaker 1: on and then the third way is just to keep grinding, 406 00:20:02,876 --> 00:20:04,436 Speaker 1: Just to keep grinding at it, you know what I mean. 407 00:20:05,876 --> 00:20:08,836 Speaker 1: Lyrics for me are that that way. I always get 408 00:20:08,836 --> 00:20:12,876 Speaker 1: block up on that stuff. The longest part of the 409 00:20:12,916 --> 00:20:15,436 Speaker 1: processes is the lyric writing. A lot of the time 410 00:20:15,516 --> 00:20:18,556 Speaker 1: on this record, I was blocked on throw me a line. 411 00:20:18,916 --> 00:20:22,036 Speaker 1: I had a really great opening chapter for the story, 412 00:20:22,116 --> 00:20:24,316 Speaker 1: and I had it set pretty good, and I had 413 00:20:24,596 --> 00:20:28,436 Speaker 1: had a good intro, I had a good, good verse 414 00:20:28,476 --> 00:20:31,076 Speaker 1: written down and in a B section, and then it 415 00:20:31,116 --> 00:20:33,276 Speaker 1: came to the second version, I got completely blocked and 416 00:20:33,316 --> 00:20:36,236 Speaker 1: I could I was blocked for a bit, and I 417 00:20:36,276 --> 00:20:39,756 Speaker 1: went to a went and saw a film by Scorsese 418 00:20:40,156 --> 00:20:43,796 Speaker 1: Killers of the Flower Moon has nothing to do with 419 00:20:43,996 --> 00:20:46,636 Speaker 1: the song, but a couple of scenes in that movie 420 00:20:47,116 --> 00:20:49,196 Speaker 1: knocked me out of something visually, and then I was 421 00:20:49,236 --> 00:20:51,996 Speaker 1: able to kind of continue the thread with that, kind 422 00:20:52,036 --> 00:20:53,956 Speaker 1: of like the fire scene in the middle of that 423 00:20:54,076 --> 00:20:57,596 Speaker 1: movie where they're kind of torching the fields and stuff like, Okay, 424 00:20:57,596 --> 00:21:00,356 Speaker 1: I got it. So it's you know, go to another artist, 425 00:21:00,476 --> 00:21:02,596 Speaker 1: you know, go to another artist, go to another medium 426 00:21:02,636 --> 00:21:04,356 Speaker 1: you know that can that can knock you out of 427 00:21:04,436 --> 00:21:06,996 Speaker 1: out of your out of your staleness and give you 428 00:21:07,036 --> 00:21:07,996 Speaker 1: a fresh perspective. 429 00:21:08,036 --> 00:21:10,436 Speaker 4: You know, do you have to like take a voice 430 00:21:10,476 --> 00:21:11,876 Speaker 4: note right as you're watching it? 431 00:21:11,916 --> 00:21:15,196 Speaker 1: So I do I talk it right into my phone, 432 00:21:15,316 --> 00:21:17,436 Speaker 1: or if I hear something, I sing it, or if 433 00:21:17,476 --> 00:21:19,796 Speaker 1: I play something, I record it immediately. As one another 434 00:21:19,836 --> 00:21:24,396 Speaker 1: thing learned about the process, I've lost not a ton, 435 00:21:24,756 --> 00:21:26,916 Speaker 1: not a ton because I've learned this lesson early on 436 00:21:27,116 --> 00:21:30,396 Speaker 1: of like I'll remember that and then oh, right, what 437 00:21:30,516 --> 00:21:32,596 Speaker 1: the tuck was that? You know what I mean? So 438 00:21:32,796 --> 00:21:35,396 Speaker 1: I've always been a big recorder and a big documentary 439 00:21:35,516 --> 00:21:37,516 Speaker 1: I call it riff mining, and so I make sure 440 00:21:37,876 --> 00:21:39,716 Speaker 1: when I find a nugget, to make sure to make 441 00:21:39,716 --> 00:21:42,596 Speaker 1: a record of it, you know what I mean. Yeah, 442 00:21:42,676 --> 00:21:45,716 Speaker 1: you can always come back to it and refer to it, 443 00:21:45,796 --> 00:21:49,156 Speaker 1: you know, and an form that it actually exists, you know, 444 00:21:49,236 --> 00:21:50,276 Speaker 1: to be able to refer to. 445 00:21:50,516 --> 00:21:54,676 Speaker 3: So yes, And then historically, how has it been for you? 446 00:21:55,476 --> 00:21:59,276 Speaker 3: Have you had success writing lyrics or writing music or 447 00:21:59,396 --> 00:22:04,676 Speaker 3: arranging anything with like drinking or like you know, some 448 00:22:04,676 --> 00:22:07,356 Speaker 3: people can only write if they smoke some pot or 449 00:22:07,356 --> 00:22:09,396 Speaker 3: whatever it is, Like, how has that been for you? 450 00:22:09,716 --> 00:22:12,116 Speaker 1: Well, I've done it both ways, and I've written some 451 00:22:12,156 --> 00:22:15,036 Speaker 1: really good songs both ways. So I think both both 452 00:22:15,036 --> 00:22:17,796 Speaker 1: ways work. You know, I've lived through a period of 453 00:22:17,836 --> 00:22:22,676 Speaker 1: my life where it worked and then it didn't work. Yeah, 454 00:22:22,796 --> 00:22:25,716 Speaker 1: so I try to try, which relates exactly to what 455 00:22:25,956 --> 00:22:28,116 Speaker 1: we were just talking about with the block. If something's 456 00:22:28,156 --> 00:22:30,156 Speaker 1: not working for me or you got to find a 457 00:22:30,196 --> 00:22:32,636 Speaker 1: new way to do it, so you know, and that 458 00:22:32,756 --> 00:22:35,556 Speaker 1: I went through that change personally about twenty one years ago. 459 00:22:36,116 --> 00:22:40,276 Speaker 1: And you know, I think I'm still still writing as 460 00:22:40,396 --> 00:22:45,596 Speaker 1: impactful to me anyway, impactful weird, fucked up music like 461 00:22:45,636 --> 00:22:49,836 Speaker 1: I made when I fucked up. So I don't really 462 00:22:49,876 --> 00:22:53,116 Speaker 1: think that that's a requirement. It is part of the 463 00:22:53,116 --> 00:22:56,756 Speaker 1: mythos of being a musician and an art I think 464 00:22:56,756 --> 00:22:58,996 Speaker 1: everybody kind of asked to go through that period. I know, 465 00:22:59,076 --> 00:23:02,756 Speaker 1: I knew that was attractive and appealing to me, even 466 00:23:02,796 --> 00:23:05,796 Speaker 1: with all of the yeah, even with all of the 467 00:23:05,836 --> 00:23:10,156 Speaker 1: signposts of early deaths and not working out for people like, hey, 468 00:23:10,156 --> 00:23:12,076 Speaker 1: that's not going to happen to me. You know, I'm 469 00:23:12,236 --> 00:23:15,916 Speaker 1: sure they thought that too, right, you know what I mean. 470 00:23:16,036 --> 00:23:18,676 Speaker 1: So I don't denigrate it. I don't put it down. 471 00:23:18,996 --> 00:23:21,196 Speaker 1: I've been sober for twenty one years and I still 472 00:23:21,196 --> 00:23:23,036 Speaker 1: wouldn't be able to get fucked up, you know what 473 00:23:23,076 --> 00:23:25,356 Speaker 1: I mean? Because it is fun. It's fun getting outside. 474 00:23:26,156 --> 00:23:30,196 Speaker 1: It's totally trippy hanging out with weird people, you know, 475 00:23:30,356 --> 00:23:34,236 Speaker 1: just different scenarios, different different frames of mind that being 476 00:23:34,356 --> 00:23:37,196 Speaker 1: high and getting fucked up can can put you in. 477 00:23:37,476 --> 00:23:38,996 Speaker 1: So I'm not going to put it down because I 478 00:23:39,036 --> 00:23:40,556 Speaker 1: did it, and I and I did a lot of 479 00:23:40,556 --> 00:23:42,916 Speaker 1: good stuff, but you know, at some point it stopped 480 00:23:42,956 --> 00:23:46,316 Speaker 1: working for me. Luckily, I knew a lot of people 481 00:23:46,396 --> 00:23:49,276 Speaker 1: that did what I that I did, referring to some 482 00:23:49,316 --> 00:23:51,556 Speaker 1: of the guys in the the sort of playing with 483 00:23:51,876 --> 00:23:55,476 Speaker 1: right after I got sober, Billy Morrison, Tomorrow, Matt's Arm 484 00:23:55,716 --> 00:23:58,316 Speaker 1: Billy duppy, you know, the guys who'd been through through 485 00:23:58,356 --> 00:24:00,516 Speaker 1: what I through partying and then gone through the other 486 00:24:00,556 --> 00:24:02,516 Speaker 1: side of like, Okay, this doesn't work anymore. I got 487 00:24:02,516 --> 00:24:04,756 Speaker 1: to figure a new way to out to do this. Yeah, 488 00:24:05,596 --> 00:24:08,196 Speaker 1: all those guys still rock as far as I've last checked, 489 00:24:08,236 --> 00:24:10,876 Speaker 1: and I think I'm doing okay too as far as the 490 00:24:10,996 --> 00:24:13,236 Speaker 1: music element. So you can. You can do it either way. 491 00:24:13,356 --> 00:24:16,076 Speaker 3: You know, was there a time in your life where 492 00:24:16,076 --> 00:24:18,836 Speaker 3: you thought drug use was glamorous? 493 00:24:19,156 --> 00:24:20,796 Speaker 1: Oh? I don't know. I mean, it's just like I say, 494 00:24:20,836 --> 00:24:22,876 Speaker 1: it's part of the part of the mythos and you're 495 00:24:22,916 --> 00:24:24,996 Speaker 1: you're a young kid, so you're gonna you're gonna do 496 00:24:25,036 --> 00:24:27,116 Speaker 1: all this stuff that young kids do. I'm not a 497 00:24:27,156 --> 00:24:30,156 Speaker 1: young kid anymore. So I can't do what young kids do. 498 00:24:30,196 --> 00:24:32,676 Speaker 1: It would fucking kill me. So I gotta do. Uh 499 00:24:32,796 --> 00:24:35,116 Speaker 1: this version of me, which which I like very much. 500 00:24:35,236 --> 00:24:39,836 Speaker 1: I I like life. I like the consistency of life now, 501 00:24:40,276 --> 00:24:43,756 Speaker 1: Like the ceilings are not as high, okay, but the 502 00:24:43,796 --> 00:24:47,956 Speaker 1: floors are not as low either, so you know, I 503 00:24:47,956 --> 00:24:50,796 Speaker 1: mean it's a little bit more even, and uh, I 504 00:24:50,916 --> 00:24:51,956 Speaker 1: like that consistency. 505 00:24:52,036 --> 00:24:56,956 Speaker 3: So yeah, have you always been drawn two dark things? 506 00:24:56,996 --> 00:24:59,076 Speaker 3: Like you said, like you can write equally as fucked 507 00:24:59,116 --> 00:25:01,636 Speaker 3: up things now as you know back when. 508 00:25:01,716 --> 00:25:03,956 Speaker 4: But have you always been drawn to sort of like 509 00:25:04,076 --> 00:25:05,236 Speaker 4: the dark arts. 510 00:25:05,636 --> 00:25:08,876 Speaker 3: Yeah, like horror movies, books like how far does It go? 511 00:25:09,356 --> 00:25:11,116 Speaker 1: Yeah? I think it goes really deep. I mean I 512 00:25:11,156 --> 00:25:13,756 Speaker 1: was a huge horror fan. I mean, Stephen King is 513 00:25:13,756 --> 00:25:16,556 Speaker 1: one of my all time favorite authors. I like material 514 00:25:16,676 --> 00:25:20,636 Speaker 1: that has weight, that's dark, that has impact that shocks. 515 00:25:20,836 --> 00:25:23,956 Speaker 1: You know. I love party music too, man, I just 516 00:25:23,996 --> 00:25:26,396 Speaker 1: don't write it, you know what I mean. It doesn't 517 00:25:26,396 --> 00:25:28,716 Speaker 1: connect to me as something I want to recreate. There's 518 00:25:28,756 --> 00:25:30,956 Speaker 1: other artists and other bands that do it and do 519 00:25:30,996 --> 00:25:34,356 Speaker 1: it well, and I enjoy it. I love that shit, man. 520 00:25:34,676 --> 00:25:36,916 Speaker 1: But I agree with you that, you know, I'm kind 521 00:25:36,916 --> 00:25:39,996 Speaker 1: of drawn to things a little bit more in the shadows, 522 00:25:39,996 --> 00:25:42,156 Speaker 1: and also something that's going to give you a good 523 00:25:42,276 --> 00:25:44,436 Speaker 1: left turn or a good shock or a good punch 524 00:25:44,476 --> 00:25:47,596 Speaker 1: to the face, or maybe confronting some things that are 525 00:25:47,956 --> 00:25:50,836 Speaker 1: some things and emotions and situations that aren't easy to 526 00:25:50,876 --> 00:25:53,876 Speaker 1: talk about. You know. I'm into music, you know, so 527 00:25:54,356 --> 00:25:57,156 Speaker 1: I think that that's one of the aspects of music 528 00:25:57,196 --> 00:26:01,276 Speaker 1: that is so appealing to us weird little monkeys. You know, 529 00:26:01,316 --> 00:26:03,356 Speaker 1: it's it's a way for us to share things with 530 00:26:03,396 --> 00:26:06,476 Speaker 1: each other without actually ever you know, even if we 531 00:26:06,556 --> 00:26:08,716 Speaker 1: have never met or you know what I mean, we 532 00:26:08,756 --> 00:26:11,476 Speaker 1: can can still understand each other and communicate with each 533 00:26:11,516 --> 00:26:14,996 Speaker 1: other and share stuff. And it makes the tough stuff easier, 534 00:26:15,196 --> 00:26:18,156 Speaker 1: you know, because it's because it's shared. It also makes 535 00:26:18,196 --> 00:26:22,116 Speaker 1: the good stuff even that much more fucking celebratory because 536 00:26:22,236 --> 00:26:25,036 Speaker 1: you know, we're all feeling that way. So I think 537 00:26:25,036 --> 00:26:27,756 Speaker 1: that that's a pretty apt descriptor do you. 538 00:26:27,636 --> 00:26:30,916 Speaker 3: Remember as a kid when you started realizing that you 539 00:26:30,956 --> 00:26:34,956 Speaker 3: were into dark stuff or when that started to when 540 00:26:34,956 --> 00:26:36,116 Speaker 3: that just started overall? 541 00:26:36,796 --> 00:26:39,596 Speaker 1: I don't know when it started, you know dark to me, 542 00:26:39,716 --> 00:26:41,556 Speaker 1: I don't know, it's I don't know that there's like 543 00:26:41,596 --> 00:26:44,516 Speaker 1: a lot of connotations of that that that I would 544 00:26:44,556 --> 00:26:48,356 Speaker 1: take exception to, Like, so like what dark? So it's 545 00:26:48,396 --> 00:26:52,076 Speaker 1: it's just a it's a bummer, it's evil. I think 546 00:26:52,076 --> 00:26:55,876 Speaker 1: the word for me that better is weight, something that's 547 00:26:55,876 --> 00:27:00,916 Speaker 1: got substantial you know, like a big, greasy, bleeding cheeseburger, 548 00:27:01,116 --> 00:27:05,156 Speaker 1: you know, you know what I mean? So uh Bord 549 00:27:05,196 --> 00:27:08,036 Speaker 1: and I just we always talk about making big, greasy, 550 00:27:08,076 --> 00:27:12,956 Speaker 1: bloody cheeseburgers. We're fitting drub cheeseburgers. But what that is, 551 00:27:12,956 --> 00:27:14,956 Speaker 1: that's the type of work we want to make. You know, 552 00:27:14,996 --> 00:27:17,356 Speaker 1: it's a sloppy, fucking mess, and it should have some 553 00:27:17,396 --> 00:27:20,956 Speaker 1: fucking on it. There's no reason it may not be 554 00:27:21,156 --> 00:27:25,436 Speaker 1: nutritionally fucking the great for you, but it's just fucking primal, 555 00:27:25,636 --> 00:27:29,236 Speaker 1: you know. So I've always been drawn to films, books, 556 00:27:29,716 --> 00:27:32,876 Speaker 1: music like that, even classical type stuff when I was 557 00:27:32,916 --> 00:27:36,076 Speaker 1: in school, So I guess that's the music. I tried 558 00:27:36,116 --> 00:27:38,516 Speaker 1: to make my own version of it. 559 00:27:39,476 --> 00:27:43,076 Speaker 3: I saw someone refer to to you and laying your 560 00:27:43,116 --> 00:27:46,076 Speaker 3: harmonies as the Devil's Everly Brothers. 561 00:27:46,316 --> 00:27:48,476 Speaker 1: Yeah, well I always liked that one. Yeah. 562 00:27:49,316 --> 00:27:52,116 Speaker 3: Do you remember the first time you guys sang together 563 00:27:52,276 --> 00:27:55,596 Speaker 3: and what you realize like, was it like a revelation 564 00:27:56,196 --> 00:27:58,636 Speaker 3: or did it sort of take some time to become 565 00:27:58,676 --> 00:27:59,156 Speaker 3: what it was? 566 00:28:00,036 --> 00:28:03,196 Speaker 1: I mean, it always takes time in retrospect, it wasn't 567 00:28:03,396 --> 00:28:05,716 Speaker 1: that much time. I mean we formed at the end 568 00:28:05,756 --> 00:28:10,316 Speaker 1: of eighty seven, and we so basically basically eighty eight 569 00:28:10,676 --> 00:28:13,036 Speaker 1: was where you know, we started actually, you know, playing 570 00:28:13,076 --> 00:28:15,196 Speaker 1: gigs and stuff like that. We'd played our first gig 571 00:28:15,476 --> 00:28:19,036 Speaker 1: at Caine Hall at the University of Washington in I 572 00:28:19,076 --> 00:28:22,036 Speaker 1: think December of eighty seven, so, and we put our 573 00:28:22,036 --> 00:28:25,116 Speaker 1: first record out in ninety you know, FACELIOFS. So it 574 00:28:25,156 --> 00:28:26,996 Speaker 1: wasn't really that long, but you know, we would just 575 00:28:27,036 --> 00:28:30,316 Speaker 1: spend a lot of time jamming and you know, living together, 576 00:28:30,556 --> 00:28:32,596 Speaker 1: like either in the rehearsal place or we had a 577 00:28:32,596 --> 00:28:34,676 Speaker 1: band house, and you know, we were coming up with 578 00:28:34,756 --> 00:28:37,876 Speaker 1: ideas and jam and stuff. And you know, I think 579 00:28:38,036 --> 00:28:40,996 Speaker 1: Laine was a big fan of you know, harmony and 580 00:28:41,436 --> 00:28:43,596 Speaker 1: different voices, you know, in the band. It was his 581 00:28:43,756 --> 00:28:47,436 Speaker 1: actually suggestion that I actually sing more, you know, starting 582 00:28:47,476 --> 00:28:50,956 Speaker 1: from sap onward. You know, I started singing more and 583 00:28:50,956 --> 00:28:54,436 Speaker 1: more at his suggestion, and I was completely happy just 584 00:28:55,076 --> 00:28:58,756 Speaker 1: singing some singing backups and writing songs because we had him, 585 00:28:58,916 --> 00:29:00,516 Speaker 1: you know, so but he was like that, you know, 586 00:29:00,556 --> 00:29:03,196 Speaker 1: you should you should sing these two and you know, 587 00:29:03,236 --> 00:29:06,236 Speaker 1: the Beatles is probably the best reference. There are many 588 00:29:06,276 --> 00:29:09,076 Speaker 1: bands that come after the Beatles that are this blue 589 00:29:09,236 --> 00:29:11,316 Speaker 1: print where there's more than one lead singer, more than 590 00:29:11,356 --> 00:29:15,996 Speaker 1: one writer, more than one lead voice. And I've always 591 00:29:15,996 --> 00:29:18,236 Speaker 1: been a fan of bands like that, and so it 592 00:29:18,316 --> 00:29:21,396 Speaker 1: was really cool to be able to develop into a 593 00:29:21,436 --> 00:29:24,076 Speaker 1: band that kind of had that. Those Hallwarks you know, 594 00:29:24,276 --> 00:29:27,756 Speaker 1: the either Lane could lead or I could lead, or 595 00:29:28,156 --> 00:29:31,156 Speaker 1: when we sang together, you know, we created something bigger 596 00:29:31,196 --> 00:29:33,076 Speaker 1: than the both of us, you know, and so like 597 00:29:33,156 --> 00:29:34,916 Speaker 1: one plus one equals three, you know. 598 00:29:35,116 --> 00:29:38,556 Speaker 3: Yeah, when you meet super fans, when you meet Alice 599 00:29:38,596 --> 00:29:41,956 Speaker 3: and Jane super fans, what are they usually curious about? 600 00:29:41,956 --> 00:29:43,156 Speaker 4: What do they ask you about? 601 00:29:43,996 --> 00:29:45,596 Speaker 1: What are they ask me about? I mean all sorts 602 00:29:45,596 --> 00:29:48,956 Speaker 1: of stuff. It's cool, man, Like, you know, it's amazing 603 00:29:49,036 --> 00:29:52,636 Speaker 1: that to have people that have connected to the work 604 00:29:52,636 --> 00:29:55,596 Speaker 1: that you've been a part of, you know. So so 605 00:29:55,676 --> 00:29:58,436 Speaker 1: you know this musical stuff, personal stuff, you know, stuff 606 00:29:58,476 --> 00:30:02,276 Speaker 1: from the past. You know what's going on now. You know, 607 00:30:02,636 --> 00:30:08,876 Speaker 1: generally everybody wants a picture. Yeah, sometimes that's an opportune 608 00:30:08,916 --> 00:30:11,036 Speaker 1: time for me. So I always I always want to 609 00:30:11,076 --> 00:30:13,396 Speaker 1: send somebody away with at least a hello, a handshake, 610 00:30:13,436 --> 00:30:14,236 Speaker 1: and a guitar pick. 611 00:30:14,316 --> 00:30:16,436 Speaker 3: So I always have a yeah I saw somebody on 612 00:30:16,436 --> 00:30:17,676 Speaker 3: Reddit who got a guitar pick. 613 00:30:17,916 --> 00:30:20,516 Speaker 1: I usually have a big pocket full of guitar picks. 614 00:30:20,636 --> 00:30:23,316 Speaker 1: So so I've got something to give somebody. But you know, 615 00:30:23,796 --> 00:30:26,316 Speaker 1: it's usually just a quick hello, how you do? And 616 00:30:26,956 --> 00:30:28,996 Speaker 1: my head that that was cool? You know me. 617 00:30:29,236 --> 00:30:31,396 Speaker 4: Yea early on in the band. 618 00:30:32,156 --> 00:30:36,636 Speaker 3: How would you describe everyone in the band, like what 619 00:30:36,676 --> 00:30:38,916 Speaker 3: their individual expertise was. 620 00:30:40,316 --> 00:30:42,436 Speaker 1: Well, I mean, I think I think all bands have 621 00:30:43,276 --> 00:30:46,316 Speaker 1: a particular alchemy, and I think I think that a 622 00:30:46,356 --> 00:30:48,716 Speaker 1: lot of the I think a lot of the things 623 00:30:48,716 --> 00:30:52,476 Speaker 1: of why things work and what those elements are are 624 00:30:52,636 --> 00:30:56,116 Speaker 1: kind of hard to define, but they're completely necessary. You know, 625 00:30:57,116 --> 00:31:00,076 Speaker 1: you need Ringo, you need you need George Harrison, you 626 00:31:00,116 --> 00:31:02,836 Speaker 1: need Cartney, you need Lenin to make the Beatles. And 627 00:31:02,876 --> 00:31:06,196 Speaker 1: you can say that about any band, including ours, Mike, 628 00:31:06,316 --> 00:31:10,996 Speaker 1: Me and Sean. So all elements are acquired. Uh, you 629 00:31:11,036 --> 00:31:14,676 Speaker 1: have a shared vision. I guess that you develop because 630 00:31:14,716 --> 00:31:16,636 Speaker 1: you're a bunch of young guys and you're kind of 631 00:31:16,676 --> 00:31:20,116 Speaker 1: excited about making music together, and at some point you decide, hey, 632 00:31:20,956 --> 00:31:23,196 Speaker 1: I like hanging out with you, you know, why don't 633 00:31:23,196 --> 00:31:25,556 Speaker 1: we Why don't we try to make a band? You know? 634 00:31:25,796 --> 00:31:28,636 Speaker 1: And it works? You know. And I think also that 635 00:31:28,996 --> 00:31:31,676 Speaker 1: you know, there may be certain like roles I guess 636 00:31:31,756 --> 00:31:35,236 Speaker 1: that each guy plays or whatever that are yeah, or 637 00:31:35,276 --> 00:31:38,596 Speaker 1: maybe clearly defined, but but I think they're all roles 638 00:31:38,596 --> 00:31:42,276 Speaker 1: that we all trade off to each other at different times, 639 00:31:42,356 --> 00:31:46,316 Speaker 1: you know, So you know, maybe somebody is the main songwriter. 640 00:31:46,676 --> 00:31:51,476 Speaker 1: Now maybe maybe that changes later, or maybe somebody handles 641 00:31:51,516 --> 00:31:54,236 Speaker 1: the business aspect of it, or maybe that changes later 642 00:31:54,276 --> 00:31:56,756 Speaker 1: to somebody else, Like it's you. Yeah, you have a 643 00:31:56,796 --> 00:32:01,276 Speaker 1: shared experience and you're all learning things and going about 644 00:32:01,316 --> 00:32:04,316 Speaker 1: things and together. So it's stuff you all share. So 645 00:32:04,516 --> 00:32:07,676 Speaker 1: we everybody can play any position on the field that 646 00:32:07,836 --> 00:32:10,676 Speaker 1: need to, including the one that they play in the band, 647 00:32:10,756 --> 00:32:13,756 Speaker 1: you know, whether the bass player, the drummer, or the 648 00:32:13,796 --> 00:32:14,516 Speaker 1: guitar player. 649 00:32:16,396 --> 00:32:18,236 Speaker 3: Very cool, Okay, So I wanted to ask you about 650 00:32:18,236 --> 00:32:19,636 Speaker 3: a couple of individual songs. 651 00:32:20,516 --> 00:32:23,556 Speaker 4: First is Damn That River. Do you remember how that 652 00:32:23,676 --> 00:32:24,276 Speaker 4: came about? 653 00:32:24,356 --> 00:32:27,796 Speaker 3: Do you remember any of the sessions or anything really 654 00:32:27,836 --> 00:32:30,636 Speaker 3: from you know, writing that song, arranging that song? 655 00:32:32,316 --> 00:32:35,316 Speaker 1: Oh boy, I mean I don't know. It's it's been 656 00:32:35,356 --> 00:32:41,756 Speaker 1: a few years. Yeah, Damn that I was just a 657 00:32:41,876 --> 00:32:46,876 Speaker 1: really aggressive riff, you know, and a lot of energy 658 00:32:46,956 --> 00:32:49,316 Speaker 1: to that. Good tunes, good riff. 659 00:32:49,116 --> 00:32:50,236 Speaker 4: Yeah totally. 660 00:32:50,476 --> 00:32:52,716 Speaker 3: Do you find like, do you trust your memory at 661 00:32:52,716 --> 00:32:54,636 Speaker 3: this point? Like I know that you have to. When 662 00:32:54,636 --> 00:32:58,276 Speaker 3: people interview you, they ask often about things that happened, 663 00:32:58,636 --> 00:33:02,036 Speaker 3: you know, as early as eighty seven. Now, do you 664 00:33:02,196 --> 00:33:06,556 Speaker 3: trust that the stories happened as you remember? 665 00:33:06,556 --> 00:33:06,756 Speaker 1: Them. 666 00:33:07,516 --> 00:33:10,836 Speaker 4: I just no memory can be a funny thing and sometimes. 667 00:33:10,516 --> 00:33:12,676 Speaker 1: Yeah, well, you know, there's there's a couple of elements here, 668 00:33:12,796 --> 00:33:14,556 Speaker 1: you know, like like one, do you want to talk 669 00:33:14,556 --> 00:33:17,236 Speaker 1: about it too? You might not want to let somebody 670 00:33:17,276 --> 00:33:19,596 Speaker 1: know all that all there is to know at any 671 00:33:19,636 --> 00:33:22,956 Speaker 1: given moment, right Two. Uh, yeah, it's a lot of 672 00:33:23,316 --> 00:33:26,156 Speaker 1: years past. But you know, you also have the collective 673 00:33:26,196 --> 00:33:28,556 Speaker 1: memory of all of you together, so that helps if 674 00:33:28,556 --> 00:33:31,316 Speaker 1: there's fucking lapses, you know what I mean. So I'm 675 00:33:31,356 --> 00:33:33,036 Speaker 1: focused on what I'm doing right now. 676 00:33:33,076 --> 00:33:36,196 Speaker 3: So yeah, yeah, can you tell me a little bit 677 00:33:36,236 --> 00:33:39,916 Speaker 3: about Afterglow? That's another track that really stood out to 678 00:33:39,956 --> 00:33:42,876 Speaker 3: me on the new album. How did that one come 679 00:33:42,916 --> 00:33:43,116 Speaker 3: to be? 680 00:33:43,636 --> 00:33:45,796 Speaker 1: You know, I did most of the demoing and writing 681 00:33:45,836 --> 00:33:47,916 Speaker 1: here at my house, and you know, I've got a 682 00:33:47,916 --> 00:33:50,756 Speaker 1: pretty minimal setup. It's not like a grand studio thing. 683 00:33:50,796 --> 00:33:53,076 Speaker 1: It's just you know, pro tools type stuff, and you know, 684 00:33:53,116 --> 00:33:56,436 Speaker 1: I got a little electronic drum kit and some headphones 685 00:33:56,476 --> 00:33:58,716 Speaker 1: that we can all jam on and so we don't 686 00:33:58,996 --> 00:34:01,316 Speaker 1: piss the neighbors off, you know what I mean. So yeah, 687 00:34:01,356 --> 00:34:03,356 Speaker 1: but it's cool, you know, just like it's like old 688 00:34:03,396 --> 00:34:07,476 Speaker 1: school shity living room jamsh you know, a converted bedroom 689 00:34:07,516 --> 00:34:10,636 Speaker 1: to write in, and I got a little converted bedroom 690 00:34:10,676 --> 00:34:12,916 Speaker 1: studio upstairs, and then the living rooms turned into a 691 00:34:12,996 --> 00:34:16,236 Speaker 1: jam room. And the process for me is pretty similar, 692 00:34:16,396 --> 00:34:18,596 Speaker 1: you know, It's pretty tried and true, so I stick 693 00:34:18,636 --> 00:34:21,756 Speaker 1: with it. It's it's about I don't know what what 694 00:34:21,836 --> 00:34:24,436 Speaker 1: flips the switch in my head. I don't write all 695 00:34:24,476 --> 00:34:27,396 Speaker 1: the time, and I think it's important. It takes months, 696 00:34:28,156 --> 00:34:31,556 Speaker 1: you know, sometimes even years before I make another think 697 00:34:31,596 --> 00:34:33,516 Speaker 1: about making another record, you know what I mean, or 698 00:34:34,036 --> 00:34:36,276 Speaker 1: or writing another song, you know. And once when I'm 699 00:34:36,276 --> 00:34:40,716 Speaker 1: in the the headspace of touring, which I am right now, 700 00:34:40,876 --> 00:34:43,156 Speaker 1: I will write a lot less, you know. And when 701 00:34:43,476 --> 00:34:46,196 Speaker 1: that all wraps up, then at some point it'll go 702 00:34:46,276 --> 00:34:48,796 Speaker 1: on and that that switch will get flipped and it'll 703 00:34:48,796 --> 00:34:50,716 Speaker 1: be it's time to time to go again. And so 704 00:34:50,796 --> 00:34:54,116 Speaker 1: I'll call up Max or my good buddy Paul Figueroa, 705 00:34:54,156 --> 00:34:57,556 Speaker 1: who has been my demo and engineer partner for the 706 00:34:57,636 --> 00:35:00,916 Speaker 1: last four four records. This year was Maxwell Yurowski, really 707 00:35:00,996 --> 00:35:04,956 Speaker 1: talented dude, and it'll just be me and me and 708 00:35:04,996 --> 00:35:07,716 Speaker 1: them in a room just sketching shit out, mess and 709 00:35:07,716 --> 00:35:09,516 Speaker 1: messing around with stuff, and then call and a few 710 00:35:09,516 --> 00:35:11,836 Speaker 1: people few friends to jam them out in the in 711 00:35:11,956 --> 00:35:15,076 Speaker 1: the room to to uh to test them, test the theory, 712 00:35:16,716 --> 00:35:18,876 Speaker 1: see how it feels in a live context, and then 713 00:35:18,916 --> 00:35:22,356 Speaker 1: also get ideas and go back into the writing process. 714 00:35:22,396 --> 00:35:24,676 Speaker 1: But it's usually once it starts, it's about three four 715 00:35:24,716 --> 00:35:27,236 Speaker 1: months of demoing, and then it's a month or two 716 00:35:27,276 --> 00:35:29,356 Speaker 1: of like pre production with like who you're going to 717 00:35:29,396 --> 00:35:32,396 Speaker 1: make the record with and who's gonna record it for you, 718 00:35:32,716 --> 00:35:34,676 Speaker 1: and then you go onto the record and that's another 719 00:35:34,996 --> 00:35:37,276 Speaker 1: you know, three to six months, and so it's it's 720 00:35:37,276 --> 00:35:40,396 Speaker 1: about a year process of making a record from wow, 721 00:35:40,556 --> 00:35:43,236 Speaker 1: from scratch to end, and then it and then the 722 00:35:43,276 --> 00:35:45,356 Speaker 1: touring cycle starts. And then that when you were from 723 00:35:45,396 --> 00:35:47,396 Speaker 1: a year to year and a half, so you're looking 724 00:35:47,396 --> 00:35:49,436 Speaker 1: at a two and a half to three year cycle 725 00:35:49,676 --> 00:35:51,716 Speaker 1: and you got to you got to be willing to 726 00:35:51,716 --> 00:35:54,636 Speaker 1: take that whole ride, leave anything on the field, and 727 00:35:54,676 --> 00:35:57,276 Speaker 1: you can't. You can't wo's out once it starts, it's 728 00:35:57,316 --> 00:35:59,596 Speaker 1: like when you've got to commit to that. And so 729 00:35:59,956 --> 00:36:01,756 Speaker 1: going back to the beginning of that, that's why I 730 00:36:01,836 --> 00:36:04,076 Speaker 1: take time off, you know, I think time off totally 731 00:36:04,156 --> 00:36:08,756 Speaker 1: it's important so that you can recharge, you can kind 732 00:36:08,756 --> 00:36:11,516 Speaker 1: of clear the decks of ideas, the halls are empty 733 00:36:11,716 --> 00:36:14,716 Speaker 1: and get quiet again for new ideas to come in 734 00:36:14,756 --> 00:36:17,796 Speaker 1: and start collecting again. So yeah, but you were asking 735 00:36:17,796 --> 00:36:21,196 Speaker 1: me about Afterglow. I thought that was a cornerstone song. 736 00:36:21,236 --> 00:36:24,316 Speaker 1: I think there's a handful of really cornerstone songs to 737 00:36:24,436 --> 00:36:28,396 Speaker 1: each album and vilify it and and Afterglow are both those. 738 00:36:28,476 --> 00:36:30,716 Speaker 1: And I got to work with one of my one 739 00:36:30,756 --> 00:36:34,116 Speaker 1: of my favorite filmmakers and video artists, Matt Maherne, and 740 00:36:34,156 --> 00:36:37,556 Speaker 1: he made a great video for it as well. But yeah, 741 00:36:37,556 --> 00:36:40,356 Speaker 1: it's a really lush landscape and it's got the got 742 00:36:40,356 --> 00:36:42,996 Speaker 1: the cool keys and the strings kind of you know, 743 00:36:43,316 --> 00:36:46,316 Speaker 1: all of my love Led Zeppelin kind of vibe to 744 00:36:46,996 --> 00:36:49,596 Speaker 1: a little bit of that kind of bottom roll to it, 745 00:36:49,636 --> 00:36:54,436 Speaker 1: and some John Paul Jones keyboards and shit. And it's 746 00:36:54,436 --> 00:36:56,836 Speaker 1: an important song and I think that's gonna where That's 747 00:36:56,836 --> 00:36:57,876 Speaker 1: going to be the next single here. 748 00:36:57,996 --> 00:37:01,796 Speaker 3: So what do you see, if Eddie, the difference between 749 00:37:02,516 --> 00:37:06,036 Speaker 3: Brighton and I Want Blood. I've seen that, you know, 750 00:37:06,076 --> 00:37:10,276 Speaker 3: people describing I Want Blood as having more teeth and 751 00:37:10,396 --> 00:37:14,116 Speaker 3: just being harder, generally more aggressive and brightened, being a 752 00:37:14,156 --> 00:37:17,996 Speaker 3: little bit more like mild tempo acoustic bass songs. 753 00:37:18,476 --> 00:37:21,036 Speaker 4: How do you see the difference in what, like. 754 00:37:21,036 --> 00:37:23,916 Speaker 3: Where were you at in your life personally when those 755 00:37:23,956 --> 00:37:25,076 Speaker 3: albums were coming together. 756 00:37:25,836 --> 00:37:27,796 Speaker 1: Well, they're three years apart, so that's a lot of 757 00:37:27,796 --> 00:37:30,596 Speaker 1: life and yeah, always going to be in a different 758 00:37:31,116 --> 00:37:34,036 Speaker 1: a much different place with that much time that's passed. 759 00:37:34,076 --> 00:37:37,356 Speaker 1: So then that's the cool thing about about living a life, 760 00:37:37,556 --> 00:37:42,236 Speaker 1: about living a musical, creative life. You know, you're always 761 00:37:42,276 --> 00:37:45,836 Speaker 1: standing somewhere new, you know what I mean. The world 762 00:37:45,916 --> 00:37:48,596 Speaker 1: is going through something that hasn't gone through before. The 763 00:37:48,796 --> 00:37:52,916 Speaker 1: you know, events, you know, things happen, your relationships change. 764 00:37:53,356 --> 00:37:56,476 Speaker 1: I mean, for me, it's a different kid. You know, 765 00:37:56,516 --> 00:37:58,876 Speaker 1: it's a kid born three years after the last one, 766 00:37:58,956 --> 00:38:01,196 Speaker 1: so you should be able to see the lineage. Yeah, 767 00:38:01,196 --> 00:38:04,236 Speaker 1: that's his kid. But yeah, so it's the baby right 768 00:38:04,276 --> 00:38:06,836 Speaker 1: now and it might be a little more really and 769 00:38:07,116 --> 00:38:08,996 Speaker 1: a little bit more of a troublemaker than the last. 770 00:38:10,036 --> 00:38:13,676 Speaker 4: Yes, that makes sense. 771 00:38:16,756 --> 00:38:18,596 Speaker 3: On Brighton, I want to ask you about the song 772 00:38:18,636 --> 00:38:21,476 Speaker 3: A Tone. How did that one come to be? 773 00:38:22,636 --> 00:38:25,716 Speaker 1: Yeah, that's a that's a really interesting Uh, it's a 774 00:38:25,756 --> 00:38:28,996 Speaker 1: really interesting story on the tone. I had that riff 775 00:38:29,716 --> 00:38:33,196 Speaker 1: and I had two parts of a three part song, 776 00:38:33,556 --> 00:38:35,356 Speaker 1: but I only had the two and so that's why 777 00:38:35,396 --> 00:38:39,276 Speaker 1: it never became a song, So cycling through my head 778 00:38:39,316 --> 00:38:42,156 Speaker 1: for almost two decades. So then I knew it was 779 00:38:42,196 --> 00:38:45,036 Speaker 1: really good, but I also knew it needed a it 780 00:38:45,076 --> 00:38:47,516 Speaker 1: needed a third part, so that breakdown section in the 781 00:38:47,556 --> 00:38:52,796 Speaker 1: middle and also the outro stomp Tyler Bates contribution to 782 00:38:52,836 --> 00:38:56,596 Speaker 1: that that particular song. H those two new things came 783 00:38:56,596 --> 00:39:00,196 Speaker 1: into existence and allowed it to be finally a song. 784 00:39:01,156 --> 00:39:03,636 Speaker 1: Ideas or ideas, you know, like, you know, not every 785 00:39:03,636 --> 00:39:05,916 Speaker 1: script gets made, you know, but it's cool to keep it, 786 00:39:06,436 --> 00:39:08,476 Speaker 1: you know what I mean? And and like maybe maybe 787 00:39:08,476 --> 00:39:12,396 Speaker 1: like parts of parts of things can be frankenstein into 788 00:39:12,436 --> 00:39:16,236 Speaker 1: something else later on and become a full fledged song 789 00:39:16,316 --> 00:39:18,356 Speaker 1: on its own. And a Tone was one of those. 790 00:39:18,396 --> 00:39:21,196 Speaker 1: It's great and I like philified. I thought it was 791 00:39:21,236 --> 00:39:22,196 Speaker 1: the perfect gopiner. 792 00:39:23,676 --> 00:39:25,476 Speaker 2: After this last quick break, we'll be back with the 793 00:39:25,476 --> 00:39:32,916 Speaker 2: rest of Lea Rose's conversation with Jerry Cantrell. Here's the 794 00:39:32,956 --> 00:39:35,796 Speaker 2: rest of Lea Rose's conversation with Jerry Cantrell. 795 00:39:36,796 --> 00:39:40,636 Speaker 3: Is there anything else about the new album or anything 796 00:39:40,676 --> 00:39:43,516 Speaker 3: about the tour that you want to talk about specifically? 797 00:39:44,236 --> 00:39:46,476 Speaker 1: Yeah, Well, this year is it's going to be interesting 798 00:39:46,756 --> 00:39:49,836 Speaker 1: because you know, I am a member of Alis in Chains, 799 00:39:49,876 --> 00:39:51,516 Speaker 1: and so you know, that's kind of my first and 800 00:39:51,556 --> 00:39:54,316 Speaker 1: foremost love and has been my commitment. I don't get 801 00:39:54,316 --> 00:39:58,036 Speaker 1: the opportunity to do these very often records outside of 802 00:39:58,076 --> 00:40:00,876 Speaker 1: the band. I guess that's why I'm a little more 803 00:40:01,156 --> 00:40:03,796 Speaker 1: wanting to focus on this right now. It's because it 804 00:40:03,836 --> 00:40:07,436 Speaker 1: doesn't happen very often. I've done these two records within 805 00:40:07,476 --> 00:40:10,036 Speaker 1: a three year period, andlast time I did that, I 806 00:40:10,116 --> 00:40:13,916 Speaker 1: did another two records within a three year period nineteen 807 00:40:13,956 --> 00:40:17,636 Speaker 1: to twenty years ago. Hopefully one other twenty years before 808 00:40:17,636 --> 00:40:19,796 Speaker 1: I get to do a couple more. But if that's 809 00:40:19,836 --> 00:40:22,356 Speaker 1: the case, that's fine, because I'll be making music with 810 00:40:22,676 --> 00:40:25,476 Speaker 1: Alice like I have been doing all along. So so 811 00:40:25,556 --> 00:40:27,716 Speaker 1: this year is fun because I get to I get 812 00:40:27,756 --> 00:40:30,676 Speaker 1: to do some touring with Alice and also do some 813 00:40:31,396 --> 00:40:34,396 Speaker 1: touring on a record that I made for myself and 814 00:40:35,396 --> 00:40:37,676 Speaker 1: with my creative partners outside the band. 815 00:40:37,756 --> 00:40:40,196 Speaker 4: So how are you with touring? Do you enjoy it 816 00:40:40,316 --> 00:40:40,876 Speaker 4: at this point? 817 00:40:41,316 --> 00:40:43,276 Speaker 1: Oh? Yeah, I mean that's the best part, you know, 818 00:40:43,436 --> 00:40:46,156 Speaker 1: The best part is standing in front of people and 819 00:40:46,196 --> 00:40:49,076 Speaker 1: playing this stuff and having it back to it and 820 00:40:49,476 --> 00:40:54,396 Speaker 1: getting that instant you know, connection. It's always surprising, you know, 821 00:40:54,636 --> 00:40:58,156 Speaker 1: to me, it still is. You know, there's that I 822 00:40:58,196 --> 00:41:00,596 Speaker 1: think you know, we're all human and so you know, 823 00:41:00,756 --> 00:41:03,076 Speaker 1: there's always that voice in the back of your head 824 00:41:03,156 --> 00:41:04,556 Speaker 1: like you know, one of these days they're going to 825 00:41:04,556 --> 00:41:10,116 Speaker 1: figure out you're a fucking fraud. And that right, you know, 826 00:41:10,156 --> 00:41:12,436 Speaker 1: that's that's that's a good voice because it drives you 827 00:41:12,476 --> 00:41:16,356 Speaker 1: to prove, to achieve, to be better, to work hard. 828 00:41:17,036 --> 00:41:19,596 Speaker 1: And the payoff is when you're standing on a stage 829 00:41:19,596 --> 00:41:22,036 Speaker 1: and you're and you've gone through all that process and 830 00:41:22,236 --> 00:41:25,596 Speaker 1: mental mumbo jumbo with yourself and and you come out 831 00:41:25,636 --> 00:41:27,396 Speaker 1: the other side with a batch of tunes and stand 832 00:41:27,436 --> 00:41:29,756 Speaker 1: on a stage and play I've made connections, you know, 833 00:41:29,796 --> 00:41:32,316 Speaker 1: and written some pretty good songs over the last uh, 834 00:41:32,476 --> 00:41:35,596 Speaker 1: you know, three four decades that people want to you know, 835 00:41:35,996 --> 00:41:38,956 Speaker 1: react to. So to play them stuff along with that 836 00:41:39,036 --> 00:41:41,876 Speaker 1: old the older tunes and have them react in the 837 00:41:41,876 --> 00:41:44,876 Speaker 1: same way, it gives you chills. I was in the 838 00:41:44,956 --> 00:41:48,636 Speaker 1: Buenos Ais uh in particular. Uh, it's really trippy there. 839 00:41:48,676 --> 00:41:51,876 Speaker 1: They like sing the guitar solos as well as the 840 00:41:52,316 --> 00:41:55,076 Speaker 1: I mean, the whole thing, like you know it's going 841 00:41:55,156 --> 00:41:57,996 Speaker 1: to happen, but but like even the little little riffs 842 00:41:58,076 --> 00:42:04,356 Speaker 1: like on on Afterglow they start singing that ship and 843 00:42:04,476 --> 00:42:07,276 Speaker 1: it's like so cool. It takes you by It takes 844 00:42:07,316 --> 00:42:09,796 Speaker 1: me by surprise, and like I can kind I've expected 845 00:42:09,836 --> 00:42:11,436 Speaker 1: because I know the audience is going to do that, 846 00:42:11,476 --> 00:42:13,636 Speaker 1: but when it actually happens and it hits you and 847 00:42:13,676 --> 00:42:15,836 Speaker 1: this thing just came out like a week ago, you know, 848 00:42:15,956 --> 00:42:18,076 Speaker 1: it's it's a really powerful moment, you know. 849 00:42:18,236 --> 00:42:21,396 Speaker 3: So when is the ideal time would you say to 850 00:42:21,436 --> 00:42:23,476 Speaker 3: see a band, like at what point during the tour 851 00:42:23,516 --> 00:42:24,756 Speaker 3: in the beginning, middle, or end. 852 00:42:25,276 --> 00:42:27,756 Speaker 1: I think any times really good. I mean, you know, 853 00:42:27,956 --> 00:42:29,876 Speaker 1: if there's a band that you want to see and 854 00:42:30,076 --> 00:42:32,636 Speaker 1: you're you happen to be at the first aid on 855 00:42:32,676 --> 00:42:37,516 Speaker 1: the tour, you can't really do anything exactly unless you 856 00:42:37,556 --> 00:42:40,596 Speaker 1: want to travel. Sometimes it's cool, man, when it's raw 857 00:42:40,636 --> 00:42:43,796 Speaker 1: and loose, you know, and that that really is rock 858 00:42:43,836 --> 00:42:46,836 Speaker 1: and roll. Rock and roll is the threat that the 859 00:42:46,876 --> 00:42:49,956 Speaker 1: train could come off the rails at any moment. Yes, 860 00:42:50,996 --> 00:42:53,636 Speaker 1: And I think I even reference that in a in 861 00:42:53,716 --> 00:42:55,916 Speaker 1: a song and off the rails, so like there's always 862 00:42:55,916 --> 00:42:58,916 Speaker 1: two wheels off the rails. Man, it's always threatening, you know, 863 00:42:58,996 --> 00:43:01,556 Speaker 1: to come off, to come off and it doesn't somehow, 864 00:43:01,556 --> 00:43:05,196 Speaker 1: and and and it's always fun live when shit gets 865 00:43:05,236 --> 00:43:07,836 Speaker 1: a little squirrely, like can they bring it back? You know? 866 00:43:07,916 --> 00:43:12,236 Speaker 1: Can you can you save? Yeah, because it's it's live performance, 867 00:43:12,276 --> 00:43:14,476 Speaker 1: and and that's kind of the beauty of it. You know, 868 00:43:15,356 --> 00:43:17,476 Speaker 1: some of the early gigs can be fun because there's 869 00:43:17,476 --> 00:43:20,276 Speaker 1: they're kind of a little looser and raw. And then 870 00:43:20,476 --> 00:43:22,876 Speaker 1: you know, but it's also kind of cool seeing middle 871 00:43:22,916 --> 00:43:25,996 Speaker 1: tour gigs who were where you're kind of greasy and 872 00:43:25,996 --> 00:43:28,916 Speaker 1: and in the groove, and you know, at toward toward 873 00:43:28,996 --> 00:43:31,556 Speaker 1: the end of the tour sometimes you know you could 874 00:43:31,556 --> 00:43:34,516 Speaker 1: be dealing with elements like where or somebody could be 875 00:43:34,676 --> 00:43:37,316 Speaker 1: you know, you could be sick. That always sucks. The 876 00:43:37,396 --> 00:43:39,796 Speaker 1: worst thing. You can be sick and feel like shit 877 00:43:39,876 --> 00:43:42,196 Speaker 1: and play a gig doing any other position in the band, 878 00:43:42,196 --> 00:43:44,476 Speaker 1: but trying to sing when you have an o blaces. 879 00:43:44,756 --> 00:43:47,996 Speaker 1: Fucking that's that sucks. And I've done it many times 880 00:43:47,996 --> 00:43:51,836 Speaker 1: and I will unless I absolutely can't utter a word 881 00:43:52,076 --> 00:43:54,796 Speaker 1: or I've got a fucking ivy in my arm and 882 00:43:54,836 --> 00:43:57,076 Speaker 1: I'm in a bed, which has only happened once or 883 00:43:57,116 --> 00:43:58,956 Speaker 1: twice in my career. I'm going to be up there 884 00:43:58,996 --> 00:44:03,476 Speaker 1: until I fall over, wow, because they paid money and 885 00:44:03,516 --> 00:44:07,116 Speaker 1: bought tickets, and they made plans and they got hotel rooms, 886 00:44:07,156 --> 00:44:09,596 Speaker 1: and if I can make it happen, I'm try to 887 00:44:09,596 --> 00:44:11,756 Speaker 1: do it. And so that all goes in with what 888 00:44:11,796 --> 00:44:14,476 Speaker 1: we were talking about with the live element. Once it starts, 889 00:44:14,516 --> 00:44:16,556 Speaker 1: you can't stop it, you know what I mean, unless 890 00:44:16,556 --> 00:44:21,076 Speaker 1: it's catastrophic, you know, And and those happened very rarely, thankfully. 891 00:44:21,156 --> 00:44:24,676 Speaker 3: So have you ever had any like major malfunctions happened 892 00:44:24,756 --> 00:44:28,076 Speaker 3: during a show where like sound goes out or all 893 00:44:28,116 --> 00:44:28,516 Speaker 3: the time? 894 00:44:28,716 --> 00:44:31,156 Speaker 1: Yeah, all the time. I think one of the most 895 00:44:31,236 --> 00:44:33,836 Speaker 1: epic ones was I think it was the show we 896 00:44:33,876 --> 00:44:38,676 Speaker 1: got signed on. We were playing at some I think 897 00:44:38,676 --> 00:44:41,156 Speaker 1: it was a drag strip, some sort of raceway and 898 00:44:41,236 --> 00:44:46,116 Speaker 1: Spokane or something. We were opening for Tesla, Great White 899 00:44:46,476 --> 00:44:49,996 Speaker 1: and somebody else, and we had like a I don't know, 900 00:44:49,996 --> 00:44:53,316 Speaker 1: we had like twenty minutes to open. We were were 901 00:44:53,556 --> 00:44:56,316 Speaker 1: the first band. We had twenty minutes, and the PA 902 00:44:56,516 --> 00:44:59,476 Speaker 1: wasn't on for so we basically played like four songs, 903 00:44:59,476 --> 00:45:01,876 Speaker 1: four or five songs, and the PA wasn't even on 904 00:45:01,956 --> 00:45:07,876 Speaker 1: for about half of them. Oh, and everybody in the 905 00:45:07,876 --> 00:45:11,436 Speaker 1: audience is like, can't hear you, we can't hear you. 906 00:45:11,516 --> 00:45:13,436 Speaker 1: And we got off and we were so pissed off 907 00:45:13,596 --> 00:45:15,836 Speaker 1: and we thought we blew our big break. But the 908 00:45:16,196 --> 00:45:18,996 Speaker 1: guys from Nick Turzo and Ron I think his name was, 909 00:45:19,076 --> 00:45:21,996 Speaker 1: but they're like, now, you guys, dealt with it. Dealt 910 00:45:21,996 --> 00:45:24,436 Speaker 1: with it fine. And the two songs that were through 911 00:45:24,476 --> 00:45:27,316 Speaker 1: the PA were killed some we're going to sign anyway, 912 00:45:27,436 --> 00:45:30,756 Speaker 1: So another gig and I want to say it was 913 00:45:31,716 --> 00:45:35,236 Speaker 1: maybe Finland or something, and the PA went out for 914 00:45:35,236 --> 00:45:38,276 Speaker 1: about forty five minutes and like my god, basically we 915 00:45:38,356 --> 00:45:40,916 Speaker 1: just stopped the show. We went and went down to 916 00:45:40,956 --> 00:45:43,036 Speaker 1: the barricade and kind of let everybody know because they 917 00:45:43,076 --> 00:45:44,676 Speaker 1: couldn't hear us through the mic. So we went down 918 00:45:44,676 --> 00:45:46,636 Speaker 1: and said, hey, the power is off. We're going to 919 00:45:46,676 --> 00:45:49,396 Speaker 1: stay here till the power comes back on, if that's 920 00:45:49,396 --> 00:45:50,956 Speaker 1: okay with you, and we just kind of hung out 921 00:45:51,036 --> 00:45:53,516 Speaker 1: talk with the crowd until the power came back on 922 00:45:53,556 --> 00:45:54,676 Speaker 1: and then we finished our set. 923 00:45:54,836 --> 00:45:58,276 Speaker 3: Yeah yeah, I heard you had food poisoning during the 924 00:45:58,516 --> 00:45:59,876 Speaker 3: Alison Chains unplug show. 925 00:46:00,076 --> 00:46:03,076 Speaker 1: Oh yeah, I was not feeling well. Yeah, And if 926 00:46:03,116 --> 00:46:06,476 Speaker 1: you look very closely, there's a trash can at my 927 00:46:06,596 --> 00:46:09,676 Speaker 1: feet for me to vomit in but luck when the 928 00:46:09,956 --> 00:46:12,436 Speaker 1: when the light went green and the cameras went on 929 00:46:12,956 --> 00:46:15,716 Speaker 1: and we started playing, I got a little adrenaline rush 930 00:46:15,756 --> 00:46:18,676 Speaker 1: and I started. Yeah. So that turned out to be 931 00:46:18,716 --> 00:46:21,436 Speaker 1: one of the greatest shows we've ever played, you know. 932 00:46:21,636 --> 00:46:25,316 Speaker 1: So yeah, but I was feeling like fucking shit until 933 00:46:25,316 --> 00:46:27,516 Speaker 1: it started, and then soon as the show was over, 934 00:46:27,596 --> 00:46:29,636 Speaker 1: I went back to feeling like shit and back on 935 00:46:29,676 --> 00:46:33,036 Speaker 1: the IV. So I was sick and sick as a dog. Yeah. 936 00:46:33,156 --> 00:46:34,716 Speaker 3: Yeah, I was watching it last night and I saw 937 00:46:34,716 --> 00:46:36,316 Speaker 3: I think it was during Rooster. You were kind of 938 00:46:36,356 --> 00:46:39,116 Speaker 3: like laughing doing something. I was like, oh, he looks 939 00:46:39,396 --> 00:46:40,076 Speaker 3: he looks happy. 940 00:46:40,156 --> 00:46:44,116 Speaker 1: Actually, yeah, yeah, that's just part of the deal man. Cool. 941 00:46:44,876 --> 00:46:46,556 Speaker 3: Is there anything else you want to talk about with 942 00:46:46,596 --> 00:46:49,996 Speaker 3: the new album, any other new projects, any movie projects 943 00:46:50,036 --> 00:46:50,516 Speaker 3: coming up? 944 00:46:51,116 --> 00:46:53,276 Speaker 1: Uh, you know, I'm always open to that. I would 945 00:46:53,316 --> 00:46:56,156 Speaker 1: love to do a song with Tyler for a movie. 946 00:46:56,396 --> 00:46:58,676 Speaker 1: We wrote a song called A Job to Do for 947 00:46:58,756 --> 00:47:01,956 Speaker 1: the second John Wick installment and that was really fun. 948 00:47:02,716 --> 00:47:05,996 Speaker 1: You know, I want blood the people that I that 949 00:47:06,076 --> 00:47:08,396 Speaker 1: I had made the record with, you know, Gil Sharon 950 00:47:08,516 --> 00:47:12,116 Speaker 1: and Mike than on drums. You know, it's it's my 951 00:47:12,196 --> 00:47:15,476 Speaker 1: second record with both of those guys. Robert Trujillo. It's 952 00:47:15,516 --> 00:47:19,396 Speaker 1: my second record with Degradation Trip and this one Duff 953 00:47:19,436 --> 00:47:22,036 Speaker 1: and I. I think I've done three or four records together, 954 00:47:22,076 --> 00:47:27,196 Speaker 1: a couple of his, couple of Greg Proshato. That's it's 955 00:47:27,236 --> 00:47:30,116 Speaker 1: our it's our second record together. Being in a band 956 00:47:30,396 --> 00:47:32,956 Speaker 1: is hanging out with your friends, just like it always was, 957 00:47:33,036 --> 00:47:35,396 Speaker 1: you know, like you get together in a basement, in 958 00:47:35,436 --> 00:47:38,356 Speaker 1: a garage, in a living room and you rock out 959 00:47:38,676 --> 00:47:41,396 Speaker 1: and try to figure out this thing called rock and roll, 960 00:47:41,516 --> 00:47:43,876 Speaker 1: share it and try to create your own version of it. 961 00:47:43,916 --> 00:47:46,956 Speaker 1: And so in Alice, we're a family, and first and 962 00:47:46,996 --> 00:47:50,756 Speaker 1: foremost we're friends. And so if I'm making music outside 963 00:47:50,756 --> 00:47:52,876 Speaker 1: the band, I still go by that template. I call 964 00:47:52,876 --> 00:47:55,876 Speaker 1: it my friend. So that's why all these these fine 965 00:47:55,916 --> 00:47:59,036 Speaker 1: folks are on the record. Also, you know, it's not 966 00:47:59,156 --> 00:48:01,396 Speaker 1: lost on me that I'm pretty lucky to be able 967 00:48:01,436 --> 00:48:04,796 Speaker 1: to call these guys up who all have pretty amazing 968 00:48:04,876 --> 00:48:08,516 Speaker 1: bands and pretty full time jobs with their bands, and 969 00:48:08,836 --> 00:48:11,156 Speaker 1: catch him in windows when when we're able to make 970 00:48:11,196 --> 00:48:14,236 Speaker 1: some music together, it's just it's just lined up that way, 971 00:48:14,556 --> 00:48:17,116 Speaker 1: and uh, and we make we make some pretty good 972 00:48:17,116 --> 00:48:20,876 Speaker 1: noise together. So I'm glad, everybody said yes when I called. 973 00:48:21,636 --> 00:48:23,076 Speaker 4: Yeah, it sounds like so much fun. 974 00:48:23,356 --> 00:48:24,436 Speaker 1: It is it should be. 975 00:48:25,236 --> 00:48:27,676 Speaker 4: Thank you so much, Jerry, appreciate you. I appreciate your 976 00:48:27,716 --> 00:48:29,636 Speaker 4: time and have fun on tour. 977 00:48:30,116 --> 00:48:30,996 Speaker 1: Okay, thanks Leah. 978 00:48:33,836 --> 00:48:35,876 Speaker 2: Thanks so much to Jerry Cantreell for coming on to 979 00:48:35,916 --> 00:48:38,996 Speaker 2: talk about his new project I Want Blood and His 980 00:48:39,116 --> 00:48:41,956 Speaker 2: Days and Alison Chains to hear some of our favorite 981 00:48:41,996 --> 00:48:44,756 Speaker 2: Jerry Cantroyl and Alison Chans songs. Check out the playlist 982 00:48:44,796 --> 00:48:47,476 Speaker 2: and episode notes or on our website at broken Record 983 00:48:47,516 --> 00:48:50,076 Speaker 2: podcast dot com, and be sure to follow us on 984 00:48:50,116 --> 00:48:53,436 Speaker 2: Instagram at the Broken Record pot. You can follow us 985 00:48:53,436 --> 00:48:56,916 Speaker 2: on Twitter at Broken Record. Broken Record is produced and 986 00:48:57,076 --> 00:49:00,116 Speaker 2: edited by Leah Rose, with marketing help from Eric Sandler 987 00:49:00,156 --> 00:49:02,956 Speaker 2: and Jordan McMillan. Our engineer is Ben Tolat. 988 00:49:03,716 --> 00:49:04,756 Speaker 1: Broken Record is a. 989 00:49:04,676 --> 00:49:08,196 Speaker 2: Production of Pushkin Industries. If you love this show and 990 00:49:08,316 --> 00:49:12,596 Speaker 2: others from push and consider subscribing to Pushkin Plus. Pushkin 991 00:49:12,636 --> 00:49:15,676 Speaker 2: Plus is a podcast subscription that offers bonus content and 992 00:49:15,716 --> 00:49:19,196 Speaker 2: ad free listening for four ninety nine a month. Look 993 00:49:19,236 --> 00:49:22,996 Speaker 2: for Pushkin Plus on Apple podcast subscriptions, and if you 994 00:49:23,116 --> 00:49:25,676 Speaker 2: like this show, please remember to share, rate, and review 995 00:49:25,756 --> 00:49:28,956 Speaker 2: us on your podcast aff Our theme music's by Kenny Beats. 996 00:49:29,076 --> 00:49:30,156 Speaker 2: I'm Justin Richmond,