WEBVTT - Jerry Cantrell 0:00:15.476 --> 0:00:15.956 Pushkin. 0:00:20.396 --> 0:00:23.236 Jerry Cantrell has been the lead guitarist and songwriter for 0:00:23.276 --> 0:00:26.236 Alison Chane since the band formed in nineteen eighty seven. 0:00:26.876 --> 0:00:29.716 By the mid nineties, after a run of multi platinum albums, 0:00:29.796 --> 0:00:32.996 Alice secured their spot as one of Seattle's Big four 0:00:33.036 --> 0:00:37.516 grunge bands, along with Pearl Jam, Soundgarden, and Nirvana. Legend 0:00:37.596 --> 0:00:40.116 has it that the band's early whirlwind of commercial success 0:00:40.196 --> 0:00:43.036 wreaked havoc on the personal and professional lives of the band. 0:00:43.676 --> 0:00:46.596 In two thousand and two, lead singer Lane stay overdosed 0:00:46.636 --> 0:00:49.396 and died after more than a decade of battling drug addiction. 0:00:50.196 --> 0:00:53.276 Admits the turmoil, Jerry Cantrell found solace in continuing to 0:00:53.276 --> 0:00:55.676 write and release music, both as a solo artist and 0:00:55.716 --> 0:00:58.796 as a member in Alison Shane's He's Never Stopped Playing. 0:00:59.836 --> 0:01:02.516 In twenty twenty one, he released his critically acclaimed solo 0:01:02.556 --> 0:01:05.756 album Brighton, followed by last year's hard rock opus I 0:01:05.836 --> 0:01:08.916 Want Blood. On today's episode, Lea Rose talks to Jerry 0:01:08.916 --> 0:01:11.436 cant about how he's drawn to the art that exists 0:01:11.436 --> 0:01:14.596 in the Shadows. He also talks about how getting sober 0:01:14.636 --> 0:01:17.476 over twenty years ago, as influenced to songwriting, and he 0:01:17.556 --> 0:01:19.436 remembers the time he tried to pass the demo tape 0:01:19.476 --> 0:01:22.436 to Axel Rose, only to see a security guard throw 0:01:22.436 --> 0:01:28.556 it in the trash. This is broken record Liner notes 0:01:28.556 --> 0:01:30.676 for the digital Age. I'm justin Ritchman. 0:01:35.756 --> 0:01:39.956 I wanted to ask you a couple questions about the 0:01:39.996 --> 0:01:43.596 new album I Want Blood. Yeah, it's your fourth full 0:01:43.636 --> 0:01:47.356 length album, released back in October. I was curious, now 0:01:47.396 --> 0:01:50.876 that the album is out and you've had a chance 0:01:50.876 --> 0:01:53.756 to sort of like hear what people are saying about it, 0:01:53.796 --> 0:01:56.516 is there anything that you've heard that surprised you, Like 0:01:56.556 --> 0:01:58.996 anything people are picking up on or noticing. 0:01:59.916 --> 0:02:02.196 I mean, I'm really I'm really digging that people are 0:02:02.236 --> 0:02:02.956 connecting with it. 0:02:03.076 --> 0:02:03.236 You know. 0:02:03.316 --> 0:02:07.156 That's that's always the It's always the first goal. You know, 0:02:07.396 --> 0:02:10.996 you start off every every song or you know, or 0:02:11.036 --> 0:02:14.276 a collection of songs or album, you're trying to kind 0:02:14.276 --> 0:02:18.556 of satisfy an audience of one or or or five 0:02:18.636 --> 0:02:20.196 the group of you, you know what I mean. So 0:02:20.396 --> 0:02:22.516 it's really trying to make something that you guys are 0:02:22.556 --> 0:02:26.276 excited about or I'm excited about. And uh, and so 0:02:26.436 --> 0:02:29.596 that that box obviously obviously gets checked with its decision 0:02:29.636 --> 0:02:32.036 to release because I wouldn't put something out that I 0:02:32.036 --> 0:02:36.196 didn't think was good. Yes, so that the box for 0:02:36.356 --> 0:02:39.236 me is checked. I was really I'm really satisfied with 0:02:39.916 --> 0:02:44.156 and really excited about the songs and the energy, the performances, 0:02:44.196 --> 0:02:46.356 the people that I got to create this music with. 0:02:46.716 --> 0:02:48.996 And the thing that I guess I'm grateful for is 0:02:48.996 --> 0:02:51.956 that people seem to feel like there's a see that 0:02:51.996 --> 0:02:54.556 there's a lot of challenge to this the writing and 0:02:54.636 --> 0:02:57.676 execution of the album, and and that makes me feel 0:02:57.676 --> 0:03:00.876 good because I certainly felt like my face was pressed 0:03:00.916 --> 0:03:04.236 against the ceiling of my abilities on all levels of 0:03:04.796 --> 0:03:08.196 this album, you know, singing, writing, producing, you know, And 0:03:08.516 --> 0:03:10.076 that's a good play us to be. You want to 0:03:10.076 --> 0:03:13.396 be in a slightly uncomfortable, like hey, WHOA can I 0:03:13.436 --> 0:03:17.076 pull this off? Kind of headspace because you you were 0:03:17.156 --> 0:03:21.436 allowing yourself to grab stuff that you didn't know was attainable, 0:03:21.556 --> 0:03:24.476 or reach a branch that you might not even be 0:03:24.476 --> 0:03:26.356 be reaching for, you know what I mean, But like 0:03:26.396 --> 0:03:28.516 you just feel like you're flailing about and some and 0:03:28.556 --> 0:03:30.516 that's where you find some really cool stuff, you know, 0:03:30.556 --> 0:03:32.756 instead of trying to be safe. And I've I've never 0:03:32.796 --> 0:03:36.236 really gone about making music with that mindset. I'm not 0:03:36.276 --> 0:03:40.876 trying to recreate old tunes or old records or or 0:03:40.916 --> 0:03:44.676 rep myself. I'm trying to make something new that I 0:03:44.716 --> 0:03:46.556 that I haven't made before, you know, and you can 0:03:46.596 --> 0:03:49.716 always count on you can always count on sounding like yourself. 0:03:49.756 --> 0:03:52.836 I can't really do anything else. And so that's that's 0:03:52.876 --> 0:03:54.996 a that's a bonus, you know, to be able to 0:03:55.236 --> 0:03:58.596 have that sort of a thing that's identifiable, I guess, 0:03:58.796 --> 0:04:00.836 and that breeds you up to go where, but the 0:04:00.836 --> 0:04:02.836 hell of music wants to take it. So it's uh, 0:04:03.676 --> 0:04:06.276 it's as much a surprise to me every time I 0:04:06.356 --> 0:04:08.356 end a project and put it out, because I had 0:04:08.516 --> 0:04:11.036 no idea or intention of what it was going to 0:04:11.076 --> 0:04:11.996 be before I started. 0:04:12.836 --> 0:04:14.636 Do you ever give yourself props? 0:04:14.676 --> 0:04:17.876 Like if you do get to a place where you're 0:04:17.876 --> 0:04:21.836 pushing yourself creatively emotionally, do you take time to sort 0:04:21.876 --> 0:04:24.636 of like congratulate yourself or you always sort of just 0:04:24.716 --> 0:04:28.396 like have like this self critical voice in your head. 0:04:29.276 --> 0:04:32.116 Yeah. Well, I mean after I'm done working on a record, 0:04:32.156 --> 0:04:34.756 I don't listen to it a whole lot. But since 0:04:35.036 --> 0:04:37.156 starting up a new tour here in about a week, 0:04:37.196 --> 0:04:39.916 I'm going through all the materials, so I've been revisiting it, 0:04:40.396 --> 0:04:43.596 or you'll run into people and they'll kind of talk 0:04:43.636 --> 0:04:45.596 to you about I don't know, maybe the impact that 0:04:45.636 --> 0:04:48.436 it's having on them. That's something that they really dig 0:04:48.476 --> 0:04:50.756 and so then then then you're brought back to that 0:04:50.756 --> 0:04:54.276 that mind frame and that discussion, and that always feels good, 0:04:54.476 --> 0:04:57.916 you know, like, yeah, made a good record, that that's 0:04:57.676 --> 0:05:01.716 what you're trying to do, and and it's fun revisiting it. 0:05:01.716 --> 0:05:03.716 It still holds up. I'm not sick of it yet, 0:05:03.876 --> 0:05:05.676 so that's always a good sign too. 0:05:06.436 --> 0:05:09.796 Has getting feedback from people from fans about the way 0:05:09.836 --> 0:05:13.436 that certain songs have impacted them. Does that change the 0:05:13.476 --> 0:05:17.196 way you talk to musicians about songs of theirs that 0:05:17.236 --> 0:05:17.676 you love. 0:05:18.196 --> 0:05:22.036 You know, it's really personal what what an artist's music 0:05:22.156 --> 0:05:24.676 means to me. You know, I'm sure there's gonna be 0:05:24.796 --> 0:05:27.116 a lot of shared stuff what it means to them too, 0:05:27.236 --> 0:05:29.756 But it's also going to be pretty personal to them. 0:05:30.036 --> 0:05:32.276 And I might not know all the details, nor do 0:05:32.356 --> 0:05:34.196 I need to know all the details. I just need 0:05:34.236 --> 0:05:36.116 to know that it means something to me and the 0:05:36.156 --> 0:05:39.116 particular story or slant that I took it ass you know, 0:05:39.196 --> 0:05:41.916 and you know the few conversations I've had with with 0:05:42.116 --> 0:05:45.756 writers about particular songs, And you know, I'll be hanging 0:05:45.876 --> 0:05:48.156 with you know, Billy Gibbons or something a couple of 0:05:48.156 --> 0:05:50.716 weeks ago, and I'll ask them about mechanic, you know, 0:05:50.836 --> 0:05:52.356 like what the hell are you is on here? And 0:05:52.356 --> 0:05:54.516 blah blah blah, and it sounds like a piano but 0:05:54.556 --> 0:05:57.116 it's a guitar. And like, you know, I'll be wrong 0:05:57.156 --> 0:05:58.636 a lot of the times, you know what I mean. 0:05:58.716 --> 0:06:01.356 So like it's always it's always surprising to get somebody's 0:06:01.396 --> 0:06:04.436 personal take on it. At the flip side of that coin, 0:06:05.036 --> 0:06:08.116 it's also cool leaving the mystery there and leaving some 0:06:08.156 --> 0:06:10.956 space for for the creation of your own story to it, 0:06:11.356 --> 0:06:14.156 to connect to a piece of music or art or 0:06:14.196 --> 0:06:17.356 film or whatever it is. You know, a play, a book. 0:06:17.596 --> 0:06:21.796 You know, I know that you and Duff mccagan are 0:06:21.916 --> 0:06:24.836 good friends. You guys play music a lot together. You 0:06:24.876 --> 0:06:28.636 guys hang out watch football the first time. Like when 0:06:28.636 --> 0:06:31.276 you first started hanging out with Duff, what did you 0:06:31.396 --> 0:06:33.276 ask him about Guns N' Roses? 0:06:34.956 --> 0:06:39.676 Uh? Boy? I think I probably told him, Like when 0:06:39.716 --> 0:06:43.236 I when I finally connected with this band, I mean 0:06:43.676 --> 0:06:45.316 I was aware of the band, and a lot of 0:06:45.356 --> 0:06:49.236 my favorite bands I don't like instantly, you know, yeah, 0:06:49.396 --> 0:06:52.396 and so because they were so huge and blowing up. 0:06:52.436 --> 0:06:54.196 I mean, I like, I like rock and roll, and 0:06:54.236 --> 0:06:56.716 they had roots of all the stuff I love, Aerosmith 0:06:56.796 --> 0:07:00.116 and you know, good funky R and B fucking nasty 0:07:00.196 --> 0:07:03.596 rock and roll and uh so, you know, overtly, I 0:07:03.676 --> 0:07:05.236 liked it and it was blowing up, but I didn't 0:07:05.236 --> 0:07:07.476 connect with the record. And I think I listened to 0:07:07.516 --> 0:07:09.596 it for about a week, and I don't know I 0:07:09.676 --> 0:07:11.676 was I think I told him a story. I was 0:07:11.716 --> 0:07:14.996 living in an apartment downtown behind the Seattle Center, and 0:07:15.116 --> 0:07:17.356 I still hadn't connected to the record. So I decided 0:07:17.396 --> 0:07:20.556 to drop acid and listen to the whole thing one 0:07:20.556 --> 0:07:23.516 more time. And I decided on that trip, and I 0:07:23.556 --> 0:07:25.156 listened to the record of I still didn't like it. 0:07:25.196 --> 0:07:26.596 I was going to throw it out the window. And 0:07:26.636 --> 0:07:29.276 by the time, by the time Rocket Queen came on 0:07:29.636 --> 0:07:32.196 that base, the drums in the bass got me. That's 0:07:32.196 --> 0:07:34.596 when it all came into focus. And I was just 0:07:34.676 --> 0:07:37.596 coming on to an acid trip. And I think I 0:07:37.636 --> 0:07:40.836 told him that story that was it was a good one, 0:07:40.836 --> 0:07:45.676 and I got it the doors of perception when we're open. Yes, 0:07:46.196 --> 0:07:48.636 and I connected because the thing that got me was 0:07:48.676 --> 0:07:51.876 his base ref Yeah totally. You know. 0:07:52.076 --> 0:07:53.276 Oh that's super cool. 0:07:53.676 --> 0:07:55.636 Wasn't there a story that you were at like a 0:07:55.636 --> 0:07:58.316 gun show and you gave a demo to Axel? 0:07:59.236 --> 0:08:03.396 Oh? Yeah? Uh. Like all young artists, you know, sometimes 0:08:03.396 --> 0:08:05.876 you run onto somebody that's one of your heroes and 0:08:05.916 --> 0:08:08.436 you pass them on your demo tape or whatever. Yeah. 0:08:08.476 --> 0:08:11.636 I was actually like, I say, I live right behind 0:08:11.636 --> 0:08:13.996 the Seattle Center and that's where they were playing. So yeah, 0:08:14.036 --> 0:08:16.876 I handed it to his security guard and his security 0:08:16.916 --> 0:08:19.996 guard threw it away as they were walking. So it 0:08:20.036 --> 0:08:23.356 was an Axles fault. Now. I told Axel that story too, 0:08:23.436 --> 0:08:24.836 and we laughed about that as well. 0:08:24.916 --> 0:08:27.836 So well, at least it wasn't him, It was a security. 0:08:27.396 --> 0:08:29.436 Guard that was a security guard. Yeah. 0:08:30.236 --> 0:08:32.836 I was having this debate with someone who I work 0:08:32.876 --> 0:08:35.836 on this show with, and I wonder what, I'm just 0:08:35.876 --> 0:08:38.116 curious what your answer would be, who do you think 0:08:39.236 --> 0:08:42.716 is the best American rock band? 0:08:42.996 --> 0:08:46.196 Oh? Man, I'm all I'm still bad with best. 0:08:46.516 --> 0:08:47.716 Yeah, I know, I know me too. 0:08:48.516 --> 0:08:51.636 It's an impossible statement, you know what I mean? You 0:08:51.956 --> 0:08:53.796 want to be one of the best, you know, and 0:08:54.236 --> 0:08:57.556 there's so many American American rock bands, just America. Yeah, 0:08:57.596 --> 0:08:58.956 so you can throw out a couple. 0:08:58.996 --> 0:09:00.876 I'm just curious where your brain goes. 0:09:01.636 --> 0:09:03.916 Oh, I don't know. I mean, like, you know, Aerosmith's 0:09:03.916 --> 0:09:06.236 got to be up there, pretty close to top of 0:09:06.276 --> 0:09:11.516 the list, you know, GNR, Metallica, those are pretty good ones. Yeah, okay, yeah, 0:09:11.516 --> 0:09:12.556 that's good. We were saying. 0:09:12.596 --> 0:09:16.276 Also, he brought up Grateful Dead and the Beach Boys. 0:09:16.756 --> 0:09:19.876 Yeah, I'd go with the Beats. I you know, I 0:09:19.956 --> 0:09:23.676 appreciate the Dead, and I'm sure you've had this experience. 0:09:23.716 --> 0:09:25.956 There's dead Heads, and then there's people that don't get 0:09:25.956 --> 0:09:27.876 the Dead, and none one of the Beats never got 0:09:27.916 --> 0:09:31.116 the Dead. I appreciate them as musicians and I respect 0:09:31.636 --> 0:09:34.796 full respect for the connection they have with their fans, 0:09:34.796 --> 0:09:37.316 but it just never really spoke to me. Beast Boys, Yeah, 0:09:37.356 --> 0:09:40.516 for sure. You know, Beast Boys were early Beast Boys 0:09:40.556 --> 0:09:42.996 is badass. Yeah, yeah, yeah, totally. 0:09:43.796 --> 0:09:44.116 Okay. 0:09:44.236 --> 0:09:47.956 Let me ask about a couple of the songs on 0:09:48.036 --> 0:09:49.556 the new album. 0:09:49.716 --> 0:09:51.276 The opening track Vilified. 0:09:51.716 --> 0:09:53.556 Can you just tell me the story about how that 0:09:54.076 --> 0:09:56.556 came together and especially that I love the like little 0:09:57.076 --> 0:10:01.436 the hey, yeah, the repeating bit. It's so catching and 0:10:01.476 --> 0:10:04.156 it's so good and it's sort of like reminiscent of 0:10:04.196 --> 0:10:08.396 some old Alice songs. I thought, so tell me about 0:10:08.396 --> 0:10:10.236 writing and arrange that one. 0:10:10.836 --> 0:10:13.476 Well, the music is, it's a it's a really bizarre 0:10:13.676 --> 0:10:16.436 piece of music. And it's in like six and seven 0:10:16.596 --> 0:10:19.156 and I think maybe maybe there goes a section that 0:10:19.236 --> 0:10:23.196 goes to eight too, So it's weird time signatures. It's 0:10:23.236 --> 0:10:25.316 just four and a half half minutes of fury. You know, 0:10:25.356 --> 0:10:28.356 once it once it starts, it does not stop. And 0:10:28.676 --> 0:10:32.236 I remember coming up with it in two sections, both 0:10:32.236 --> 0:10:34.476 at a sound check once when I was on tour 0:10:34.676 --> 0:10:37.756 with on the Brighton tour, you know, was I was 0:10:37.796 --> 0:10:40.716 messing around with with the riff and we were the 0:10:40.756 --> 0:10:42.236 band kind of jumped in with me and kind of 0:10:42.236 --> 0:10:44.636 played it. And then and then on another sound check 0:10:44.676 --> 0:10:48.116 with Alice or a rehearsal room or something, I brought 0:10:48.156 --> 0:10:50.116 that up and I was like that that's a good 0:10:50.116 --> 0:10:53.756 one to file for file future use, and it ended up, 0:10:53.836 --> 0:10:55.716 you know, working out that it ended up on being 0:10:55.756 --> 0:10:58.996 on that record. But it's it's just weird, but it's 0:10:58.996 --> 0:11:02.876 also really kind of got a pop element. To it 0:11:02.916 --> 0:11:06.636 as well. It's just a weird psycho metal pop song. Uh, 0:11:06.716 --> 0:11:09.396 and it's got a lot of energy. And you know, 0:11:10.036 --> 0:11:12.596 the last two records I've done Brighton and I Want Blood, 0:11:12.996 --> 0:11:15.516 two things have happened for me, and I don't know 0:11:15.556 --> 0:11:18.476 if it's going to continue. But it's odd because I 0:11:18.556 --> 0:11:20.076 never know what the record is going to be called. 0:11:20.116 --> 0:11:23.276 And tell way, like when everybody's like, what the hell 0:11:23.316 --> 0:11:24.716 are you going to call this thing? So it's a 0:11:24.796 --> 0:11:27.076 last thing that you normally come up with. And on 0:11:27.156 --> 0:11:29.556 both of these records, I had the title right out 0:11:29.596 --> 0:11:32.876 the bat, importantly because I had written Vilified and I 0:11:32.876 --> 0:11:34.996 had also written bright and then I'm like, those are great, 0:11:35.236 --> 0:11:37.716 you know, and those are great songs. It gives it's 0:11:37.756 --> 0:11:39.876 a good title for the body of work. It seems 0:11:39.876 --> 0:11:41.956 to be a good descriptor you know what I mean. 0:11:42.036 --> 0:11:44.796 So that Villified was a contender, you know, for an 0:11:44.796 --> 0:11:48.556 album titled. But I guess my point being, I knew 0:11:48.556 --> 0:11:50.276 what I was going to call them. I knew what 0:11:50.316 --> 0:11:53.116 the how the albums were going to open, and Vilified 0:11:53.236 --> 0:11:56.596 was always the open opener and it comes the closer. 0:11:56.676 --> 0:11:59.796 So I came in almost with eight out of nine 0:11:59.796 --> 0:12:02.796 songs in the position that they're on. I had them 0:12:02.796 --> 0:12:05.236 written out in order like how the album was going 0:12:05.276 --> 0:12:06.836 to go, and it ended up being pretty close in 0:12:06.836 --> 0:12:11.796 the mark on brighton and I want uh and uh vilified. 0:12:11.876 --> 0:12:14.396 I mean, it's just, you know, there's I think that 0:12:14.436 --> 0:12:16.836 we're living in a really interesting time, you know what 0:12:16.876 --> 0:12:19.316 I mean. And I think that we're I think that 0:12:19.476 --> 0:12:23.156 everybody's everybody's got an opinion, and is is a rush 0:12:23.236 --> 0:12:25.636 to share it with everybody and at each other's throats 0:12:25.676 --> 0:12:28.916 and pointing fingers and and uh, you know, we're dealing 0:12:28.956 --> 0:12:31.516 with dealing it with a different time, with a new time, 0:12:31.636 --> 0:12:34.436 with new toys and new technology, and and I don't 0:12:34.476 --> 0:12:37.196 know that we've necessarily learned how to use all that 0:12:37.236 --> 0:12:41.996 stuff mainly, Yeah, no, And maybe that song is just 0:12:42.036 --> 0:12:44.356 kind of like a like pointing out that fact and 0:12:44.396 --> 0:12:46.996 maybe being a call to you know, be a little 0:12:46.996 --> 0:12:48.876 cooler with each other, be a little more accepting. 0:12:49.636 --> 0:12:51.436 And then how did you come up with that the 0:12:51.556 --> 0:12:52.116 catchy bit? 0:12:52.636 --> 0:12:54.756 You know? It just it always starts with the music. 0:12:55.076 --> 0:12:57.956 So generally it always starts with the music. I'll get 0:12:57.956 --> 0:13:00.116 the music together. So I got those three parts, the 0:13:00.596 --> 0:13:03.356 main riff and then the and then the the B 0:13:03.516 --> 0:13:08.156 section with the dead you know, and then the then 0:13:08.196 --> 0:13:11.396 the slow you know, slow stomp that comes after that. 0:13:11.676 --> 0:13:13.556 So I'm like, this is a good song. And then 0:13:13.596 --> 0:13:17.156 you get that together and it can happen really quickly 0:13:17.276 --> 0:13:20.676 with sections, and while you're listening. I do a lot 0:13:20.716 --> 0:13:23.356 of listening in my car old school, So yeah, I 0:13:23.476 --> 0:13:26.076 listen to the demos that we've made or or sometimes 0:13:26.076 --> 0:13:28.436 write off the battle just pop pop, a good vocal, 0:13:28.876 --> 0:13:30.796 I'll have a vocal idea that will go through my head, 0:13:30.796 --> 0:13:34.076 so I'll singing some nonsense, nonsense lyrics to get the 0:13:34.116 --> 0:13:36.876 melody lined down until it works, you know, and then 0:13:37.036 --> 0:13:38.956 the next one, what the fuck are you trying to 0:13:38.956 --> 0:13:41.996 say with that melody? So that's usually that's the very 0:13:42.036 --> 0:13:43.516 last thing the subject matter. 0:13:44.116 --> 0:13:46.596 Are you conscious of when you hear a new song, like, 0:13:46.836 --> 0:13:49.756 not a new song of yours, but somebody else's song, Like, 0:13:50.196 --> 0:13:52.836 are you conscious of what part of the song you 0:13:52.876 --> 0:13:56.716 pay attention to most, whether it's the lyrics or the 0:13:56.756 --> 0:13:59.836 melody or you know, a certain instrument. 0:14:00.836 --> 0:14:03.876 There's so much freedom in music, you know. I mean basically, 0:14:03.916 --> 0:14:06.636 if you look, if you're kind of break down songwriting 0:14:06.676 --> 0:14:11.156 to structure, you know, you're talking about intro, a verse, 0:14:11.316 --> 0:14:13.996 a bridge, a chorus, and maybe like a middle eight, 0:14:14.196 --> 0:14:16.316 you know, so that that's the thing. But there's so 0:14:16.396 --> 0:14:18.876 much ways, so many ways you can play with that 0:14:19.076 --> 0:14:21.956 and sounds and and and what somebody is trying to 0:14:21.956 --> 0:14:25.836 get across. And you know, I'm a big fan of film. 0:14:25.876 --> 0:14:28.756 I still watch tons of movies, and you know, good movies, 0:14:28.756 --> 0:14:31.956 crappy movies, doesn't matter, like I just like movies, and 0:14:32.316 --> 0:14:34.876 music is a big part of film and the storytelling 0:14:34.916 --> 0:14:38.796 of that. So so of course I'm always keyed into 0:14:38.876 --> 0:14:41.236 the music aspect of telling a story. And that's really 0:14:41.236 --> 0:14:43.356 what I'm trying to do is make a little mini 0:14:43.396 --> 0:14:46.156 movie by writing a song, you know, like a little scene. 0:14:46.556 --> 0:14:49.396 I want to be transported to some place that that 0:14:49.436 --> 0:14:52.916 I've never been to, or or maybe be reminded of 0:14:52.956 --> 0:14:55.516 a place that's familiar to me. Like, hey, that's kind 0:14:55.556 --> 0:14:58.156 of cool, you know, like that brings me back to 0:14:59.036 --> 0:15:01.476 this thing, and that's fucking cool. I like that, you know, 0:15:01.596 --> 0:15:04.796 And it's a shared experience. But you know, there's there's 0:15:04.836 --> 0:15:07.756 only twelve notes and and there's you know, basically, songs 0:15:07.756 --> 0:15:10.596 are three parts, three or four parts, and you know 0:15:10.636 --> 0:15:12.796 the math of it is is pretty simple, but but 0:15:12.876 --> 0:15:16.236 it's so so intricate and unique and the way that 0:15:16.236 --> 0:15:19.396 ever the lens of everybody, that all of that flows through, 0:15:19.716 --> 0:15:22.556 those basic elements flow through it. And when somebody's able 0:15:22.596 --> 0:15:24.476 to put those into like a song that makes you 0:15:24.556 --> 0:15:26.356 feel and takes you on a ride or makes you 0:15:26.396 --> 0:15:29.436 want to play it again, like call somebody and go like, man, 0:15:29.476 --> 0:15:32.596 have you heard this? Man? You know that that that 0:15:32.836 --> 0:15:34.956 that's cool? Man? You want to be part of that story? 0:15:35.076 --> 0:15:36.996 And I think that's I think that's what we're all 0:15:37.036 --> 0:15:37.596 trying to do. 0:15:38.316 --> 0:15:41.036 Can you remember the last song that you were super 0:15:41.076 --> 0:15:43.716 moved by that maybe you shared with someone else or 0:15:43.756 --> 0:15:44.996 you couldn't stop listening to. 0:15:47.716 --> 0:15:52.116 I mean, I'm in I'm in me mode right now. Yeah, 0:15:52.156 --> 0:15:54.676 So I haven't really you know, I haven't really listened 0:15:54.716 --> 0:15:58.116 to a whole lot of stuff. But I was watching 0:15:58.996 --> 0:16:01.636 I was watching The Accountant last night, and there's like 0:16:01.676 --> 0:16:05.156 a really cool I Forget the This with Ben Affleck. 0:16:05.196 --> 0:16:08.636 He's like some like a autistic hit man kind of dude. 0:16:08.636 --> 0:16:11.076 And oh wow, but there's a song in that soundtrack 0:16:11.116 --> 0:16:12.716 and I can't remember off the top of my head 0:16:12.756 --> 0:16:14.756 what it was. And also up in the air I 0:16:14.836 --> 0:16:18.036 might be in a R bock tune. It's fucking cool 0:16:18.036 --> 0:16:20.156 as shit. I really like. I like the Black Keys 0:16:20.196 --> 0:16:23.516 a lot. They're they're really talented. And then watching the 0:16:23.556 --> 0:16:26.516 Agency and it's it's got that great Jack White song 0:16:26.596 --> 0:16:29.236 in it too. He's pretty fucking badass as well. 0:16:29.316 --> 0:16:31.836 Yeah, he is badass. 0:16:31.836 --> 0:16:34.996 I think I heard you in another interview talking about 0:16:35.036 --> 0:16:37.236 an album he did where there was like an EP, 0:16:38.356 --> 0:16:39.796 like hidden in the album. 0:16:40.116 --> 0:16:43.396 Yeah, inside the grooves of the album another it there's 0:16:43.436 --> 0:16:46.196 an album groove, and then inside the album of that 0:16:46.236 --> 0:16:49.516 groove is an EP. That's so cool. I've never heard 0:16:49.556 --> 0:16:52.956 of anything like that. That's like how that dude's brain works. 0:16:53.236 --> 0:16:53.836 Yeah. 0:16:54.116 --> 0:16:56.876 Is there any other genre of music outside of rock 0:16:56.916 --> 0:17:01.716 that you are fanatic about or that you just know 0:17:01.836 --> 0:17:02.476 a lot about. 0:17:02.996 --> 0:17:05.196 I just like good music, man. I don't care about 0:17:05.236 --> 0:17:07.396 the style, man, I like I like Who's I like 0:17:07.516 --> 0:17:10.156 R and B, I like even I even like some 0:17:10.236 --> 0:17:13.356 hip hop, you know, I like soul, o the country, 0:17:13.516 --> 0:17:18.396 like jazz, like metal, you know. I mean, yeah, I 0:17:18.516 --> 0:17:22.156 like classical. You know, some classical ship. It's just fucking amazing, 0:17:22.236 --> 0:17:24.876 you know what I mean, It's still great and what 0:17:25.476 --> 0:17:28.396 you know it it's it's such a personal music is 0:17:28.396 --> 0:17:31.396 such a personal thing, like what what connects? I'm not 0:17:31.476 --> 0:17:34.756 like hunting for stuff. I'm only hunting when I'm trying 0:17:34.796 --> 0:17:37.076 to make something myself. You know. It's just like the 0:17:37.076 --> 0:17:40.156 rest of life is just you know, lucky happenstance. When 0:17:40.436 --> 0:17:42.516 when you turn on the radio, or you see something 0:17:42.676 --> 0:17:44.636 in a movie, or you or you go to a 0:17:44.716 --> 0:17:47.396 show and or you're playing a bill at a at 0:17:47.436 --> 0:17:50.716 a festival and a band comes on and kickshaw that 0:17:50.756 --> 0:17:52.916 you don't know about, Like holy shit. I mean, that's 0:17:53.676 --> 0:17:56.036 that's the cool part. Somebody's there's a lot of us 0:17:56.076 --> 0:17:57.916 out there still doing it, and that gives me a 0:17:58.116 --> 0:18:00.636 qlope the reason why I do it in the first place. 0:18:00.796 --> 0:18:03.476 You know, it's not supposed to speak to everybody, but 0:18:03.516 --> 0:18:05.676 it's it finds its people, you know. I mean, each 0:18:05.756 --> 0:18:09.636 each band, each each song, each piece of music someone somewhere. 0:18:10.236 --> 0:18:13.356 It's kind of eternal in a respect, at least longer 0:18:13.396 --> 0:18:15.356 than a lifetime. I don't know if it's like yes, 0:18:15.556 --> 0:18:18.436 all time eternal, but once it's out there, it's there 0:18:18.516 --> 0:18:20.956 for people to find, you know, throughout the generations. And 0:18:20.996 --> 0:18:24.116 I think that's that's a pretty magical thing, and that 0:18:24.156 --> 0:18:26.316 aspect has never been lost on me. And so like 0:18:26.396 --> 0:18:30.036 anytime I hear something that that makes me feel or 0:18:30.636 --> 0:18:33.316 or like fuck, that's cool man, you know that that's 0:18:33.356 --> 0:18:34.076 a beautiful thing. 0:18:35.556 --> 0:18:38.436 We'll be right back with more from Jerry Cantrell. After 0:18:38.476 --> 0:18:45.156 the break, We're back with more from Jerry Cantrell. 0:18:46.316 --> 0:18:49.236 Do you have any tricks that help you unlock. 0:18:50.556 --> 0:18:52.476 You know, if you're having like writer's block, or you 0:18:52.516 --> 0:18:54.236 don't know where to go with a song, if a 0:18:54.236 --> 0:18:56.276 part is missing. Do you have any things that you 0:18:56.276 --> 0:19:00.676 can sort of like trick yourself into coming up with ideas? 0:19:00.876 --> 0:19:02.716 Uh, well, there's a there's a couple of ways you 0:19:02.716 --> 0:19:05.436 can go about it. Well, one one is leave it alone, 0:19:05.876 --> 0:19:08.356 walk away from it, you know, until if you just 0:19:08.436 --> 0:19:11.316 keep banging your head against it and it ain't happened 0:19:11.356 --> 0:19:13.396 and you can't fucking force it, you know what I mean. 0:19:13.996 --> 0:19:16.476 But you still you can take a temps at it 0:19:16.556 --> 0:19:18.916 now and again when you when you like funk, that's 0:19:18.956 --> 0:19:21.596 cool man, It's but but if it ain't happening, leave 0:19:21.596 --> 0:19:25.356 it alone, move on to something else, you know, to 0:19:26.356 --> 0:19:29.036 go to somebody else, you know, go to go to Sean, 0:19:29.276 --> 0:19:33.076 go to Duff, go to Tyler go to Big or 0:19:33.236 --> 0:19:35.756 Max like like, yeah, what do you think about this? Man? 0:19:35.796 --> 0:19:38.436 I like, I don't have an idea here, like and 0:19:38.436 --> 0:19:41.796 and and bounce your bounce that off of people that 0:19:41.836 --> 0:19:45.996 you trusty creative people, and and that can that that 0:19:46.116 --> 0:19:48.916 that's a good way to to jostle you. If it's 0:19:48.956 --> 0:19:51.596 not the part, it might be something to challenge you 0:19:51.636 --> 0:19:53.316 of like I can do better than that, you know 0:19:53.356 --> 0:19:55.916 what I mean? So whatever, something to shift you off 0:19:55.956 --> 0:19:58.876 of the dead space if you happen to find yourself 0:19:58.916 --> 0:20:02.596 on and then the third way is just to keep grinding, 0:20:02.876 --> 0:20:04.436 Just to keep grinding at it, you know what I mean. 0:20:05.876 --> 0:20:08.836 Lyrics for me are that that way. I always get 0:20:08.836 --> 0:20:12.876 block up on that stuff. The longest part of the 0:20:12.916 --> 0:20:15.436 processes is the lyric writing. A lot of the time 0:20:15.516 --> 0:20:18.556 on this record, I was blocked on throw me a line. 0:20:18.916 --> 0:20:22.036 I had a really great opening chapter for the story, 0:20:22.116 --> 0:20:24.316 and I had it set pretty good, and I had 0:20:24.596 --> 0:20:28.436 had a good intro, I had a good, good verse 0:20:28.476 --> 0:20:31.076 written down and in a B section, and then it 0:20:31.116 --> 0:20:33.276 came to the second version, I got completely blocked and 0:20:33.316 --> 0:20:36.236 I could I was blocked for a bit, and I 0:20:36.276 --> 0:20:39.756 went to a went and saw a film by Scorsese 0:20:40.156 --> 0:20:43.796 Killers of the Flower Moon has nothing to do with 0:20:43.996 --> 0:20:46.636 the song, but a couple of scenes in that movie 0:20:47.116 --> 0:20:49.196 knocked me out of something visually, and then I was 0:20:49.236 --> 0:20:51.996 able to kind of continue the thread with that, kind 0:20:52.036 --> 0:20:53.956 of like the fire scene in the middle of that 0:20:54.076 --> 0:20:57.596 movie where they're kind of torching the fields and stuff like, Okay, 0:20:57.596 --> 0:21:00.356 I got it. So it's you know, go to another artist, 0:21:00.476 --> 0:21:02.596 you know, go to another artist, go to another medium 0:21:02.636 --> 0:21:04.356 you know that can that can knock you out of 0:21:04.436 --> 0:21:06.996 out of your out of your staleness and give you 0:21:07.036 --> 0:21:07.996 a fresh perspective. 0:21:08.036 --> 0:21:10.436 You know, do you have to like take a voice 0:21:10.476 --> 0:21:11.876 note right as you're watching it? 0:21:11.916 --> 0:21:15.196 So I do I talk it right into my phone, 0:21:15.316 --> 0:21:17.436 or if I hear something, I sing it, or if 0:21:17.476 --> 0:21:19.796 I play something, I record it immediately. As one another 0:21:19.836 --> 0:21:24.396 thing learned about the process, I've lost not a ton, 0:21:24.756 --> 0:21:26.916 not a ton because I've learned this lesson early on 0:21:27.116 --> 0:21:30.396 of like I'll remember that and then oh, right, what 0:21:30.516 --> 0:21:32.596 the tuck was that? You know what I mean? So 0:21:32.796 --> 0:21:35.396 I've always been a big recorder and a big documentary 0:21:35.516 --> 0:21:37.516 I call it riff mining, and so I make sure 0:21:37.876 --> 0:21:39.716 when I find a nugget, to make sure to make 0:21:39.716 --> 0:21:42.596 a record of it, you know what I mean. Yeah, 0:21:42.676 --> 0:21:45.716 you can always come back to it and refer to it, 0:21:45.796 --> 0:21:49.156 you know, and an form that it actually exists, you know, 0:21:49.236 --> 0:21:50.276 to be able to refer to. 0:21:50.516 --> 0:21:54.676 So yes, And then historically, how has it been for you? 0:21:55.476 --> 0:21:59.276 Have you had success writing lyrics or writing music or 0:21:59.396 --> 0:22:04.676 arranging anything with like drinking or like you know, some 0:22:04.676 --> 0:22:07.356 people can only write if they smoke some pot or 0:22:07.356 --> 0:22:09.396 whatever it is, Like, how has that been for you? 0:22:09.716 --> 0:22:12.116 Well, I've done it both ways, and I've written some 0:22:12.156 --> 0:22:15.036 really good songs both ways. So I think both both 0:22:15.036 --> 0:22:17.796 ways work. You know, I've lived through a period of 0:22:17.836 --> 0:22:22.676 my life where it worked and then it didn't work. Yeah, 0:22:22.796 --> 0:22:25.716 so I try to try, which relates exactly to what 0:22:25.956 --> 0:22:28.116 we were just talking about with the block. If something's 0:22:28.156 --> 0:22:30.156 not working for me or you got to find a 0:22:30.196 --> 0:22:32.636 new way to do it, so you know, and that 0:22:32.756 --> 0:22:35.556 I went through that change personally about twenty one years ago. 0:22:36.116 --> 0:22:40.276 And you know, I think I'm still still writing as 0:22:40.396 --> 0:22:45.596 impactful to me anyway, impactful weird, fucked up music like 0:22:45.636 --> 0:22:49.836 I made when I fucked up. So I don't really 0:22:49.876 --> 0:22:53.116 think that that's a requirement. It is part of the 0:22:53.116 --> 0:22:56.756 mythos of being a musician and an art I think 0:22:56.756 --> 0:22:58.996 everybody kind of asked to go through that period. I know, 0:22:59.076 --> 0:23:02.756 I knew that was attractive and appealing to me, even 0:23:02.796 --> 0:23:05.796 with all of the yeah, even with all of the 0:23:05.836 --> 0:23:10.156 signposts of early deaths and not working out for people like, hey, 0:23:10.156 --> 0:23:12.076 that's not going to happen to me. You know, I'm 0:23:12.236 --> 0:23:15.916 sure they thought that too, right, you know what I mean. 0:23:16.036 --> 0:23:18.676 So I don't denigrate it. I don't put it down. 0:23:18.996 --> 0:23:21.196 I've been sober for twenty one years and I still 0:23:21.196 --> 0:23:23.036 wouldn't be able to get fucked up, you know what 0:23:23.076 --> 0:23:25.356 I mean? Because it is fun. It's fun getting outside. 0:23:26.156 --> 0:23:30.196 It's totally trippy hanging out with weird people, you know, 0:23:30.356 --> 0:23:34.236 just different scenarios, different different frames of mind that being 0:23:34.356 --> 0:23:37.196 high and getting fucked up can can put you in. 0:23:37.476 --> 0:23:38.996 So I'm not going to put it down because I 0:23:39.036 --> 0:23:40.556 did it, and I and I did a lot of 0:23:40.556 --> 0:23:42.916 good stuff, but you know, at some point it stopped 0:23:42.956 --> 0:23:46.316 working for me. Luckily, I knew a lot of people 0:23:46.396 --> 0:23:49.276 that did what I that I did, referring to some 0:23:49.316 --> 0:23:51.556 of the guys in the the sort of playing with 0:23:51.876 --> 0:23:55.476 right after I got sober, Billy Morrison, Tomorrow, Matt's Arm 0:23:55.716 --> 0:23:58.316 Billy duppy, you know, the guys who'd been through through 0:23:58.356 --> 0:24:00.516 what I through partying and then gone through the other 0:24:00.556 --> 0:24:02.516 side of like, Okay, this doesn't work anymore. I got 0:24:02.516 --> 0:24:04.756 to figure a new way to out to do this. Yeah, 0:24:05.596 --> 0:24:08.196 all those guys still rock as far as I've last checked, 0:24:08.236 --> 0:24:10.876 and I think I'm doing okay too as far as the 0:24:10.996 --> 0:24:13.236 music element. So you can. You can do it either way. 0:24:13.356 --> 0:24:16.076 You know, was there a time in your life where 0:24:16.076 --> 0:24:18.836 you thought drug use was glamorous? 0:24:19.156 --> 0:24:20.796 Oh? I don't know. I mean, it's just like I say, 0:24:20.836 --> 0:24:22.876 it's part of the part of the mythos and you're 0:24:22.916 --> 0:24:24.996 you're a young kid, so you're gonna you're gonna do 0:24:25.036 --> 0:24:27.116 all this stuff that young kids do. I'm not a 0:24:27.156 --> 0:24:30.156 young kid anymore. So I can't do what young kids do. 0:24:30.196 --> 0:24:32.676 It would fucking kill me. So I gotta do. Uh 0:24:32.796 --> 0:24:35.116 this version of me, which which I like very much. 0:24:35.236 --> 0:24:39.836 I I like life. I like the consistency of life now, 0:24:40.276 --> 0:24:43.756 Like the ceilings are not as high, okay, but the 0:24:43.796 --> 0:24:47.956 floors are not as low either, so you know, I 0:24:47.956 --> 0:24:50.796 mean it's a little bit more even, and uh, I 0:24:50.916 --> 0:24:51.956 like that consistency. 0:24:52.036 --> 0:24:56.956 So yeah, have you always been drawn two dark things? 0:24:56.996 --> 0:24:59.076 Like you said, like you can write equally as fucked 0:24:59.116 --> 0:25:01.636 up things now as you know back when. 0:25:01.716 --> 0:25:03.956 But have you always been drawn to sort of like 0:25:04.076 --> 0:25:05.236 the dark arts. 0:25:05.636 --> 0:25:08.876 Yeah, like horror movies, books like how far does It go? 0:25:09.356 --> 0:25:11.116 Yeah? I think it goes really deep. I mean I 0:25:11.156 --> 0:25:13.756 was a huge horror fan. I mean, Stephen King is 0:25:13.756 --> 0:25:16.556 one of my all time favorite authors. I like material 0:25:16.676 --> 0:25:20.636 that has weight, that's dark, that has impact that shocks. 0:25:20.836 --> 0:25:23.956 You know. I love party music too, man, I just 0:25:23.996 --> 0:25:26.396 don't write it, you know what I mean. It doesn't 0:25:26.396 --> 0:25:28.716 connect to me as something I want to recreate. There's 0:25:28.756 --> 0:25:30.956 other artists and other bands that do it and do 0:25:30.996 --> 0:25:34.356 it well, and I enjoy it. I love that shit, man. 0:25:34.676 --> 0:25:36.916 But I agree with you that, you know, I'm kind 0:25:36.916 --> 0:25:39.996 of drawn to things a little bit more in the shadows, 0:25:39.996 --> 0:25:42.156 and also something that's going to give you a good 0:25:42.276 --> 0:25:44.436 left turn or a good shock or a good punch 0:25:44.476 --> 0:25:47.596 to the face, or maybe confronting some things that are 0:25:47.956 --> 0:25:50.836 some things and emotions and situations that aren't easy to 0:25:50.876 --> 0:25:53.876 talk about. You know. I'm into music, you know, so 0:25:54.356 --> 0:25:57.156 I think that that's one of the aspects of music 0:25:57.196 --> 0:26:01.276 that is so appealing to us weird little monkeys. You know, 0:26:01.316 --> 0:26:03.356 it's it's a way for us to share things with 0:26:03.396 --> 0:26:06.476 each other without actually ever you know, even if we 0:26:06.556 --> 0:26:08.716 have never met or you know what I mean, we 0:26:08.756 --> 0:26:11.476 can can still understand each other and communicate with each 0:26:11.516 --> 0:26:14.996 other and share stuff. And it makes the tough stuff easier, 0:26:15.196 --> 0:26:18.156 you know, because it's because it's shared. It also makes 0:26:18.196 --> 0:26:22.116 the good stuff even that much more fucking celebratory because 0:26:22.236 --> 0:26:25.036 you know, we're all feeling that way. So I think 0:26:25.036 --> 0:26:27.756 that that's a pretty apt descriptor do you. 0:26:27.636 --> 0:26:30.916 Remember as a kid when you started realizing that you 0:26:30.956 --> 0:26:34.956 were into dark stuff or when that started to when 0:26:34.956 --> 0:26:36.116 that just started overall? 0:26:36.796 --> 0:26:39.596 I don't know when it started, you know dark to me, 0:26:39.716 --> 0:26:41.556 I don't know, it's I don't know that there's like 0:26:41.596 --> 0:26:44.516 a lot of connotations of that that that I would 0:26:44.556 --> 0:26:48.356 take exception to, Like, so like what dark? So it's 0:26:48.396 --> 0:26:52.076 it's just a it's a bummer, it's evil. I think 0:26:52.076 --> 0:26:55.876 the word for me that better is weight, something that's 0:26:55.876 --> 0:27:00.916 got substantial you know, like a big, greasy, bleeding cheeseburger, 0:27:01.116 --> 0:27:05.156 you know, you know what I mean? So uh Bord 0:27:05.196 --> 0:27:08.036 and I just we always talk about making big, greasy, 0:27:08.076 --> 0:27:12.956 bloody cheeseburgers. We're fitting drub cheeseburgers. But what that is, 0:27:12.956 --> 0:27:14.956 that's the type of work we want to make. You know, 0:27:14.996 --> 0:27:17.356 it's a sloppy, fucking mess, and it should have some 0:27:17.396 --> 0:27:20.956 fucking on it. There's no reason it may not be 0:27:21.156 --> 0:27:25.436 nutritionally fucking the great for you, but it's just fucking primal, 0:27:25.636 --> 0:27:29.236 you know. So I've always been drawn to films, books, 0:27:29.716 --> 0:27:32.876 music like that, even classical type stuff when I was 0:27:32.916 --> 0:27:36.076 in school, So I guess that's the music. I tried 0:27:36.116 --> 0:27:38.516 to make my own version of it. 0:27:39.476 --> 0:27:43.076 I saw someone refer to to you and laying your 0:27:43.116 --> 0:27:46.076 harmonies as the Devil's Everly Brothers. 0:27:46.316 --> 0:27:48.476 Yeah, well I always liked that one. Yeah. 0:27:49.316 --> 0:27:52.116 Do you remember the first time you guys sang together 0:27:52.276 --> 0:27:55.596 and what you realize like, was it like a revelation 0:27:56.196 --> 0:27:58.636 or did it sort of take some time to become 0:27:58.676 --> 0:27:59.156 what it was? 0:28:00.036 --> 0:28:03.196 I mean, it always takes time in retrospect, it wasn't 0:28:03.396 --> 0:28:05.716 that much time. I mean we formed at the end 0:28:05.756 --> 0:28:10.316 of eighty seven, and we so basically basically eighty eight 0:28:10.676 --> 0:28:13.036 was where you know, we started actually, you know, playing 0:28:13.076 --> 0:28:15.196 gigs and stuff like that. We'd played our first gig 0:28:15.476 --> 0:28:19.036 at Caine Hall at the University of Washington in I 0:28:19.076 --> 0:28:22.036 think December of eighty seven, so, and we put our 0:28:22.036 --> 0:28:25.116 first record out in ninety you know, FACELIOFS. So it 0:28:25.156 --> 0:28:26.996 wasn't really that long, but you know, we would just 0:28:27.036 --> 0:28:30.316 spend a lot of time jamming and you know, living together, 0:28:30.556 --> 0:28:32.596 like either in the rehearsal place or we had a 0:28:32.596 --> 0:28:34.676 band house, and you know, we were coming up with 0:28:34.756 --> 0:28:37.876 ideas and jam and stuff. And you know, I think 0:28:38.036 --> 0:28:40.996 Laine was a big fan of you know, harmony and 0:28:41.436 --> 0:28:43.596 different voices, you know, in the band. It was his 0:28:43.756 --> 0:28:47.436 actually suggestion that I actually sing more, you know, starting 0:28:47.476 --> 0:28:50.956 from sap onward. You know, I started singing more and 0:28:50.956 --> 0:28:54.436 more at his suggestion, and I was completely happy just 0:28:55.076 --> 0:28:58.756 singing some singing backups and writing songs because we had him, 0:28:58.916 --> 0:29:00.516 you know, so but he was like that, you know, 0:29:00.556 --> 0:29:03.196 you should you should sing these two and you know, 0:29:03.236 --> 0:29:06.236 the Beatles is probably the best reference. There are many 0:29:06.276 --> 0:29:09.076 bands that come after the Beatles that are this blue 0:29:09.236 --> 0:29:11.316 print where there's more than one lead singer, more than 0:29:11.356 --> 0:29:15.996 one writer, more than one lead voice. And I've always 0:29:15.996 --> 0:29:18.236 been a fan of bands like that, and so it 0:29:18.316 --> 0:29:21.396 was really cool to be able to develop into a 0:29:21.436 --> 0:29:24.076 band that kind of had that. Those Hallwarks you know, 0:29:24.276 --> 0:29:27.756 the either Lane could lead or I could lead, or 0:29:28.156 --> 0:29:31.156 when we sang together, you know, we created something bigger 0:29:31.196 --> 0:29:33.076 than the both of us, you know, and so like 0:29:33.156 --> 0:29:34.916 one plus one equals three, you know. 0:29:35.116 --> 0:29:38.556 Yeah, when you meet super fans, when you meet Alice 0:29:38.596 --> 0:29:41.956 and Jane super fans, what are they usually curious about? 0:29:41.956 --> 0:29:43.156 What do they ask you about? 0:29:43.996 --> 0:29:45.596 What are they ask me about? I mean all sorts 0:29:45.596 --> 0:29:48.956 of stuff. It's cool, man, Like, you know, it's amazing 0:29:49.036 --> 0:29:52.636 that to have people that have connected to the work 0:29:52.636 --> 0:29:55.596 that you've been a part of, you know. So so 0:29:55.676 --> 0:29:58.436 you know this musical stuff, personal stuff, you know, stuff 0:29:58.476 --> 0:30:02.276 from the past. You know what's going on now. You know, 0:30:02.636 --> 0:30:08.876 generally everybody wants a picture. Yeah, sometimes that's an opportune 0:30:08.916 --> 0:30:11.036 time for me. So I always I always want to 0:30:11.076 --> 0:30:13.396 send somebody away with at least a hello, a handshake, 0:30:13.436 --> 0:30:14.236 and a guitar pick. 0:30:14.316 --> 0:30:16.436 So I always have a yeah I saw somebody on 0:30:16.436 --> 0:30:17.676 Reddit who got a guitar pick. 0:30:17.916 --> 0:30:20.516 I usually have a big pocket full of guitar picks. 0:30:20.636 --> 0:30:23.316 So so I've got something to give somebody. But you know, 0:30:23.796 --> 0:30:26.316 it's usually just a quick hello, how you do? And 0:30:26.956 --> 0:30:28.996 my head that that was cool? You know me. 0:30:29.236 --> 0:30:31.396 Yea early on in the band. 0:30:32.156 --> 0:30:36.636 How would you describe everyone in the band, like what 0:30:36.676 --> 0:30:38.916 their individual expertise was. 0:30:40.316 --> 0:30:42.436 Well, I mean, I think I think all bands have 0:30:43.276 --> 0:30:46.316 a particular alchemy, and I think I think that a 0:30:46.356 --> 0:30:48.716 lot of the I think a lot of the things 0:30:48.716 --> 0:30:52.476 of why things work and what those elements are are 0:30:52.636 --> 0:30:56.116 kind of hard to define, but they're completely necessary. You know, 0:30:57.116 --> 0:31:00.076 you need Ringo, you need you need George Harrison, you 0:31:00.116 --> 0:31:02.836 need Cartney, you need Lenin to make the Beatles. And 0:31:02.876 --> 0:31:06.196 you can say that about any band, including ours, Mike, 0:31:06.316 --> 0:31:10.996 Me and Sean. So all elements are acquired. Uh, you 0:31:11.036 --> 0:31:14.676 have a shared vision. I guess that you develop because 0:31:14.716 --> 0:31:16.636 you're a bunch of young guys and you're kind of 0:31:16.676 --> 0:31:20.116 excited about making music together, and at some point you decide, hey, 0:31:20.956 --> 0:31:23.196 I like hanging out with you, you know, why don't 0:31:23.196 --> 0:31:25.556 we Why don't we try to make a band? You know? 0:31:25.796 --> 0:31:28.636 And it works? You know. And I think also that 0:31:28.996 --> 0:31:31.676 you know, there may be certain like roles I guess 0:31:31.756 --> 0:31:35.236 that each guy plays or whatever that are yeah, or 0:31:35.276 --> 0:31:38.596 maybe clearly defined, but but I think they're all roles 0:31:38.596 --> 0:31:42.276 that we all trade off to each other at different times, 0:31:42.356 --> 0:31:46.316 you know, So you know, maybe somebody is the main songwriter. 0:31:46.676 --> 0:31:51.476 Now maybe maybe that changes later, or maybe somebody handles 0:31:51.516 --> 0:31:54.236 the business aspect of it, or maybe that changes later 0:31:54.276 --> 0:31:56.756 to somebody else, Like it's you. Yeah, you have a 0:31:56.796 --> 0:32:01.276 shared experience and you're all learning things and going about 0:32:01.316 --> 0:32:04.316 things and together. So it's stuff you all share. So 0:32:04.516 --> 0:32:07.676 we everybody can play any position on the field that 0:32:07.836 --> 0:32:10.676 need to, including the one that they play in the band, 0:32:10.756 --> 0:32:13.756 you know, whether the bass player, the drummer, or the 0:32:13.796 --> 0:32:14.516 guitar player. 0:32:16.396 --> 0:32:18.236 Very cool, Okay, So I wanted to ask you about 0:32:18.236 --> 0:32:19.636 a couple of individual songs. 0:32:20.516 --> 0:32:23.556 First is Damn That River. Do you remember how that 0:32:23.676 --> 0:32:24.276 came about? 0:32:24.356 --> 0:32:27.796 Do you remember any of the sessions or anything really 0:32:27.836 --> 0:32:30.636 from you know, writing that song, arranging that song? 0:32:32.316 --> 0:32:35.316 Oh boy, I mean I don't know. It's it's been 0:32:35.356 --> 0:32:41.756 a few years. Yeah, Damn that I was just a 0:32:41.876 --> 0:32:46.876 really aggressive riff, you know, and a lot of energy 0:32:46.956 --> 0:32:49.316 to that. Good tunes, good riff. 0:32:49.116 --> 0:32:50.236 Yeah totally. 0:32:50.476 --> 0:32:52.716 Do you find like, do you trust your memory at 0:32:52.716 --> 0:32:54.636 this point? Like I know that you have to. When 0:32:54.636 --> 0:32:58.276 people interview you, they ask often about things that happened, 0:32:58.636 --> 0:33:02.036 you know, as early as eighty seven. Now, do you 0:33:02.196 --> 0:33:06.556 trust that the stories happened as you remember? 0:33:06.556 --> 0:33:06.756 Them. 0:33:07.516 --> 0:33:10.836 I just no memory can be a funny thing and sometimes. 0:33:10.516 --> 0:33:12.676 Yeah, well, you know, there's there's a couple of elements here, 0:33:12.796 --> 0:33:14.556 you know, like like one, do you want to talk 0:33:14.556 --> 0:33:17.236 about it too? You might not want to let somebody 0:33:17.276 --> 0:33:19.596 know all that all there is to know at any 0:33:19.636 --> 0:33:22.956 given moment, right Two. Uh, yeah, it's a lot of 0:33:23.316 --> 0:33:26.156 years past. But you know, you also have the collective 0:33:26.196 --> 0:33:28.556 memory of all of you together, so that helps if 0:33:28.556 --> 0:33:31.316 there's fucking lapses, you know what I mean. So I'm 0:33:31.356 --> 0:33:33.036 focused on what I'm doing right now. 0:33:33.076 --> 0:33:36.196 So yeah, yeah, can you tell me a little bit 0:33:36.236 --> 0:33:39.916 about Afterglow? That's another track that really stood out to 0:33:39.956 --> 0:33:42.876 me on the new album. How did that one come 0:33:42.916 --> 0:33:43.116 to be? 0:33:43.636 --> 0:33:45.796 You know, I did most of the demoing and writing 0:33:45.836 --> 0:33:47.916 here at my house, and you know, I've got a 0:33:47.916 --> 0:33:50.756 pretty minimal setup. It's not like a grand studio thing. 0:33:50.796 --> 0:33:53.076 It's just you know, pro tools type stuff, and you know, 0:33:53.116 --> 0:33:56.436 I got a little electronic drum kit and some headphones 0:33:56.476 --> 0:33:58.716 that we can all jam on and so we don't 0:33:58.996 --> 0:34:01.316 piss the neighbors off, you know what I mean. So yeah, 0:34:01.356 --> 0:34:03.356 but it's cool, you know, just like it's like old 0:34:03.396 --> 0:34:07.476 school shity living room jamsh you know, a converted bedroom 0:34:07.516 --> 0:34:10.636 to write in, and I got a little converted bedroom 0:34:10.676 --> 0:34:12.916 studio upstairs, and then the living rooms turned into a 0:34:12.996 --> 0:34:16.236 jam room. And the process for me is pretty similar, 0:34:16.396 --> 0:34:18.596 you know, It's pretty tried and true, so I stick 0:34:18.636 --> 0:34:21.756 with it. It's it's about I don't know what what 0:34:21.836 --> 0:34:24.436 flips the switch in my head. I don't write all 0:34:24.476 --> 0:34:27.396 the time, and I think it's important. It takes months, 0:34:28.156 --> 0:34:31.556 you know, sometimes even years before I make another think 0:34:31.596 --> 0:34:33.516 about making another record, you know what I mean, or 0:34:34.036 --> 0:34:36.276 or writing another song, you know. And once when I'm 0:34:36.276 --> 0:34:40.716 in the the headspace of touring, which I am right now, 0:34:40.876 --> 0:34:43.156 I will write a lot less, you know. And when 0:34:43.476 --> 0:34:46.196 that all wraps up, then at some point it'll go 0:34:46.276 --> 0:34:48.796 on and that that switch will get flipped and it'll 0:34:48.796 --> 0:34:50.716 be it's time to time to go again. And so 0:34:50.796 --> 0:34:54.116 I'll call up Max or my good buddy Paul Figueroa, 0:34:54.156 --> 0:34:57.556 who has been my demo and engineer partner for the 0:34:57.636 --> 0:35:00.916 last four four records. This year was Maxwell Yurowski, really 0:35:00.996 --> 0:35:04.956 talented dude, and it'll just be me and me and 0:35:04.996 --> 0:35:07.716 them in a room just sketching shit out, mess and 0:35:07.716 --> 0:35:09.516 messing around with stuff, and then call and a few 0:35:09.516 --> 0:35:11.836 people few friends to jam them out in the in 0:35:11.956 --> 0:35:15.076 the room to to uh to test them, test the theory, 0:35:16.716 --> 0:35:18.876 see how it feels in a live context, and then 0:35:18.916 --> 0:35:22.356 also get ideas and go back into the writing process. 0:35:22.396 --> 0:35:24.676 But it's usually once it starts, it's about three four 0:35:24.716 --> 0:35:27.236 months of demoing, and then it's a month or two 0:35:27.276 --> 0:35:29.356 of like pre production with like who you're going to 0:35:29.396 --> 0:35:32.396 make the record with and who's gonna record it for you, 0:35:32.716 --> 0:35:34.676 and then you go onto the record and that's another 0:35:34.996 --> 0:35:37.276 you know, three to six months, and so it's it's 0:35:37.276 --> 0:35:40.396 about a year process of making a record from wow, 0:35:40.556 --> 0:35:43.236 from scratch to end, and then it and then the 0:35:43.276 --> 0:35:45.356 touring cycle starts. And then that when you were from 0:35:45.396 --> 0:35:47.396 a year to year and a half, so you're looking 0:35:47.396 --> 0:35:49.436 at a two and a half to three year cycle 0:35:49.676 --> 0:35:51.716 and you got to you got to be willing to 0:35:51.716 --> 0:35:54.636 take that whole ride, leave anything on the field, and 0:35:54.676 --> 0:35:57.276 you can't. You can't wo's out once it starts, it's 0:35:57.316 --> 0:35:59.596 like when you've got to commit to that. And so 0:35:59.956 --> 0:36:01.756 going back to the beginning of that, that's why I 0:36:01.836 --> 0:36:04.076 take time off, you know, I think time off totally 0:36:04.156 --> 0:36:08.756 it's important so that you can recharge, you can kind 0:36:08.756 --> 0:36:11.516 of clear the decks of ideas, the halls are empty 0:36:11.716 --> 0:36:14.716 and get quiet again for new ideas to come in 0:36:14.756 --> 0:36:17.796 and start collecting again. So yeah, but you were asking 0:36:17.796 --> 0:36:21.196 me about Afterglow. I thought that was a cornerstone song. 0:36:21.236 --> 0:36:24.316 I think there's a handful of really cornerstone songs to 0:36:24.436 --> 0:36:28.396 each album and vilify it and and Afterglow are both those. 0:36:28.476 --> 0:36:30.716 And I got to work with one of my one 0:36:30.756 --> 0:36:34.116 of my favorite filmmakers and video artists, Matt Maherne, and 0:36:34.156 --> 0:36:37.556 he made a great video for it as well. But yeah, 0:36:37.556 --> 0:36:40.356 it's a really lush landscape and it's got the got 0:36:40.356 --> 0:36:42.996 the cool keys and the strings kind of you know, 0:36:43.316 --> 0:36:46.316 all of my love Led Zeppelin kind of vibe to 0:36:46.996 --> 0:36:49.596 a little bit of that kind of bottom roll to it, 0:36:49.636 --> 0:36:54.436 and some John Paul Jones keyboards and shit. And it's 0:36:54.436 --> 0:36:56.836 an important song and I think that's gonna where That's 0:36:56.836 --> 0:36:57.876 going to be the next single here. 0:36:57.996 --> 0:37:01.796 So what do you see, if Eddie, the difference between 0:37:02.516 --> 0:37:06.036 Brighton and I Want Blood. I've seen that, you know, 0:37:06.076 --> 0:37:10.276 people describing I Want Blood as having more teeth and 0:37:10.396 --> 0:37:14.116 just being harder, generally more aggressive and brightened, being a 0:37:14.156 --> 0:37:17.996 little bit more like mild tempo acoustic bass songs. 0:37:18.476 --> 0:37:21.036 How do you see the difference in what, like. 0:37:21.036 --> 0:37:23.916 Where were you at in your life personally when those 0:37:23.956 --> 0:37:25.076 albums were coming together. 0:37:25.836 --> 0:37:27.796 Well, they're three years apart, so that's a lot of 0:37:27.796 --> 0:37:30.596 life and yeah, always going to be in a different 0:37:31.116 --> 0:37:34.036 a much different place with that much time that's passed. 0:37:34.076 --> 0:37:37.356 So then that's the cool thing about about living a life, 0:37:37.556 --> 0:37:42.236 about living a musical, creative life. You know, you're always 0:37:42.276 --> 0:37:45.836 standing somewhere new, you know what I mean. The world 0:37:45.916 --> 0:37:48.596 is going through something that hasn't gone through before. The 0:37:48.796 --> 0:37:52.916 you know, events, you know, things happen, your relationships change. 0:37:53.356 --> 0:37:56.476 I mean, for me, it's a different kid. You know, 0:37:56.516 --> 0:37:58.876 it's a kid born three years after the last one, 0:37:58.956 --> 0:38:01.196 so you should be able to see the lineage. Yeah, 0:38:01.196 --> 0:38:04.236 that's his kid. But yeah, so it's the baby right 0:38:04.276 --> 0:38:06.836 now and it might be a little more really and 0:38:07.116 --> 0:38:08.996 a little bit more of a troublemaker than the last. 0:38:10.036 --> 0:38:13.676 Yes, that makes sense. 0:38:16.756 --> 0:38:18.596 On Brighton, I want to ask you about the song 0:38:18.636 --> 0:38:21.476 A Tone. How did that one come to be? 0:38:22.636 --> 0:38:25.716 Yeah, that's a that's a really interesting Uh, it's a 0:38:25.756 --> 0:38:28.996 really interesting story on the tone. I had that riff 0:38:29.716 --> 0:38:33.196 and I had two parts of a three part song, 0:38:33.556 --> 0:38:35.356 but I only had the two and so that's why 0:38:35.396 --> 0:38:39.276 it never became a song, So cycling through my head 0:38:39.316 --> 0:38:42.156 for almost two decades. So then I knew it was 0:38:42.196 --> 0:38:45.036 really good, but I also knew it needed a it 0:38:45.076 --> 0:38:47.516 needed a third part, so that breakdown section in the 0:38:47.556 --> 0:38:52.796 middle and also the outro stomp Tyler Bates contribution to 0:38:52.836 --> 0:38:56.596 that that particular song. H those two new things came 0:38:56.596 --> 0:39:00.196 into existence and allowed it to be finally a song. 0:39:01.156 --> 0:39:03.636 Ideas or ideas, you know, like, you know, not every 0:39:03.636 --> 0:39:05.916 script gets made, you know, but it's cool to keep it, 0:39:06.436 --> 0:39:08.476 you know what I mean? And and like maybe maybe 0:39:08.476 --> 0:39:12.396 like parts of parts of things can be frankenstein into 0:39:12.436 --> 0:39:16.236 something else later on and become a full fledged song 0:39:16.316 --> 0:39:18.356 on its own. And a Tone was one of those. 0:39:18.396 --> 0:39:21.196 It's great and I like philified. I thought it was 0:39:21.236 --> 0:39:22.196 the perfect gopiner. 0:39:23.676 --> 0:39:25.476 After this last quick break, we'll be back with the 0:39:25.476 --> 0:39:32.916 rest of Lea Rose's conversation with Jerry Cantrell. Here's the 0:39:32.956 --> 0:39:35.796 rest of Lea Rose's conversation with Jerry Cantrell. 0:39:36.796 --> 0:39:40.636 Is there anything else about the new album or anything 0:39:40.676 --> 0:39:43.516 about the tour that you want to talk about specifically? 0:39:44.236 --> 0:39:46.476 Yeah, Well, this year is it's going to be interesting 0:39:46.756 --> 0:39:49.836 because you know, I am a member of Alis in Chains, 0:39:49.876 --> 0:39:51.516 and so you know, that's kind of my first and 0:39:51.556 --> 0:39:54.316 foremost love and has been my commitment. I don't get 0:39:54.316 --> 0:39:58.036 the opportunity to do these very often records outside of 0:39:58.076 --> 0:40:00.876 the band. I guess that's why I'm a little more 0:40:01.156 --> 0:40:03.796 wanting to focus on this right now. It's because it 0:40:03.836 --> 0:40:07.436 doesn't happen very often. I've done these two records within 0:40:07.476 --> 0:40:10.036 a three year period, andlast time I did that, I 0:40:10.116 --> 0:40:13.916 did another two records within a three year period nineteen 0:40:13.956 --> 0:40:17.636 to twenty years ago. Hopefully one other twenty years before 0:40:17.636 --> 0:40:19.796 I get to do a couple more. But if that's 0:40:19.836 --> 0:40:22.356 the case, that's fine, because I'll be making music with 0:40:22.676 --> 0:40:25.476 Alice like I have been doing all along. So so 0:40:25.556 --> 0:40:27.716 this year is fun because I get to I get 0:40:27.756 --> 0:40:30.676 to do some touring with Alice and also do some 0:40:31.396 --> 0:40:34.396 touring on a record that I made for myself and 0:40:35.396 --> 0:40:37.676 with my creative partners outside the band. 0:40:37.756 --> 0:40:40.196 So how are you with touring? Do you enjoy it 0:40:40.316 --> 0:40:40.876 at this point? 0:40:41.316 --> 0:40:43.276 Oh? Yeah, I mean that's the best part, you know, 0:40:43.436 --> 0:40:46.156 The best part is standing in front of people and 0:40:46.196 --> 0:40:49.076 playing this stuff and having it back to it and 0:40:49.476 --> 0:40:54.396 getting that instant you know, connection. It's always surprising, you know, 0:40:54.636 --> 0:40:58.156 to me, it still is. You know, there's that I 0:40:58.196 --> 0:41:00.596 think you know, we're all human and so you know, 0:41:00.756 --> 0:41:03.076 there's always that voice in the back of your head 0:41:03.156 --> 0:41:04.556 like you know, one of these days they're going to 0:41:04.556 --> 0:41:10.116 figure out you're a fucking fraud. And that right, you know, 0:41:10.156 --> 0:41:12.436 that's that's that's a good voice because it drives you 0:41:12.476 --> 0:41:16.356 to prove, to achieve, to be better, to work hard. 0:41:17.036 --> 0:41:19.596 And the payoff is when you're standing on a stage 0:41:19.596 --> 0:41:22.036 and you're and you've gone through all that process and 0:41:22.236 --> 0:41:25.596 mental mumbo jumbo with yourself and and you come out 0:41:25.636 --> 0:41:27.396 the other side with a batch of tunes and stand 0:41:27.436 --> 0:41:29.756 on a stage and play I've made connections, you know, 0:41:29.796 --> 0:41:32.316 and written some pretty good songs over the last uh, 0:41:32.476 --> 0:41:35.596 you know, three four decades that people want to you know, 0:41:35.996 --> 0:41:38.956 react to. So to play them stuff along with that 0:41:39.036 --> 0:41:41.876 old the older tunes and have them react in the 0:41:41.876 --> 0:41:44.876 same way, it gives you chills. I was in the 0:41:44.956 --> 0:41:48.636 Buenos Ais uh in particular. Uh, it's really trippy there. 0:41:48.676 --> 0:41:51.876 They like sing the guitar solos as well as the 0:41:52.316 --> 0:41:55.076 I mean, the whole thing, like you know it's going 0:41:55.156 --> 0:41:57.996 to happen, but but like even the little little riffs 0:41:58.076 --> 0:42:04.356 like on on Afterglow they start singing that ship and 0:42:04.476 --> 0:42:07.276 it's like so cool. It takes you by It takes 0:42:07.316 --> 0:42:09.796 me by surprise, and like I can kind I've expected 0:42:09.836 --> 0:42:11.436 because I know the audience is going to do that, 0:42:11.476 --> 0:42:13.636 but when it actually happens and it hits you and 0:42:13.676 --> 0:42:15.836 this thing just came out like a week ago, you know, 0:42:15.956 --> 0:42:18.076 it's it's a really powerful moment, you know. 0:42:18.236 --> 0:42:21.396 So when is the ideal time would you say to 0:42:21.436 --> 0:42:23.476 see a band, like at what point during the tour 0:42:23.516 --> 0:42:24.756 in the beginning, middle, or end. 0:42:25.276 --> 0:42:27.756 I think any times really good. I mean, you know, 0:42:27.956 --> 0:42:29.876 if there's a band that you want to see and 0:42:30.076 --> 0:42:32.636 you're you happen to be at the first aid on 0:42:32.676 --> 0:42:37.516 the tour, you can't really do anything exactly unless you 0:42:37.556 --> 0:42:40.596 want to travel. Sometimes it's cool, man, when it's raw 0:42:40.636 --> 0:42:43.796 and loose, you know, and that that really is rock 0:42:43.836 --> 0:42:46.836 and roll. Rock and roll is the threat that the 0:42:46.876 --> 0:42:49.956 train could come off the rails at any moment. Yes, 0:42:50.996 --> 0:42:53.636 And I think I even reference that in a in 0:42:53.716 --> 0:42:55.916 a song and off the rails, so like there's always 0:42:55.916 --> 0:42:58.916 two wheels off the rails. Man, it's always threatening, you know, 0:42:58.996 --> 0:43:01.556 to come off, to come off and it doesn't somehow, 0:43:01.556 --> 0:43:05.196 and and and it's always fun live when shit gets 0:43:05.236 --> 0:43:07.836 a little squirrely, like can they bring it back? You know? 0:43:07.916 --> 0:43:12.236 Can you can you save? Yeah, because it's it's live performance, 0:43:12.276 --> 0:43:14.476 and and that's kind of the beauty of it. You know, 0:43:15.356 --> 0:43:17.476 some of the early gigs can be fun because there's 0:43:17.476 --> 0:43:20.276 they're kind of a little looser and raw. And then 0:43:20.476 --> 0:43:22.876 you know, but it's also kind of cool seeing middle 0:43:22.916 --> 0:43:25.996 tour gigs who were where you're kind of greasy and 0:43:25.996 --> 0:43:28.916 and in the groove, and you know, at toward toward 0:43:28.996 --> 0:43:31.556 the end of the tour sometimes you know you could 0:43:31.556 --> 0:43:34.516 be dealing with elements like where or somebody could be 0:43:34.676 --> 0:43:37.316 you know, you could be sick. That always sucks. The 0:43:37.396 --> 0:43:39.796 worst thing. You can be sick and feel like shit 0:43:39.876 --> 0:43:42.196 and play a gig doing any other position in the band, 0:43:42.196 --> 0:43:44.476 but trying to sing when you have an o blaces. 0:43:44.756 --> 0:43:47.996 Fucking that's that sucks. And I've done it many times 0:43:47.996 --> 0:43:51.836 and I will unless I absolutely can't utter a word 0:43:52.076 --> 0:43:54.796 or I've got a fucking ivy in my arm and 0:43:54.836 --> 0:43:57.076 I'm in a bed, which has only happened once or 0:43:57.116 --> 0:43:58.956 twice in my career. I'm going to be up there 0:43:58.996 --> 0:44:03.476 until I fall over, wow, because they paid money and 0:44:03.516 --> 0:44:07.116 bought tickets, and they made plans and they got hotel rooms, 0:44:07.156 --> 0:44:09.596 and if I can make it happen, I'm try to 0:44:09.596 --> 0:44:11.756 do it. And so that all goes in with what 0:44:11.796 --> 0:44:14.476 we were talking about with the live element. Once it starts, 0:44:14.516 --> 0:44:16.556 you can't stop it, you know what I mean, unless 0:44:16.556 --> 0:44:21.076 it's catastrophic, you know, And and those happened very rarely, thankfully. 0:44:21.156 --> 0:44:24.676 So have you ever had any like major malfunctions happened 0:44:24.756 --> 0:44:28.076 during a show where like sound goes out or all 0:44:28.116 --> 0:44:28.516 the time? 0:44:28.716 --> 0:44:31.156 Yeah, all the time. I think one of the most 0:44:31.236 --> 0:44:33.836 epic ones was I think it was the show we 0:44:33.876 --> 0:44:38.676 got signed on. We were playing at some I think 0:44:38.676 --> 0:44:41.156 it was a drag strip, some sort of raceway and 0:44:41.236 --> 0:44:46.116 Spokane or something. We were opening for Tesla, Great White 0:44:46.476 --> 0:44:49.996 and somebody else, and we had like a I don't know, 0:44:49.996 --> 0:44:53.316 we had like twenty minutes to open. We were were 0:44:53.556 --> 0:44:56.316 the first band. We had twenty minutes, and the PA 0:44:56.516 --> 0:44:59.476 wasn't on for so we basically played like four songs, 0:44:59.476 --> 0:45:01.876 four or five songs, and the PA wasn't even on 0:45:01.956 --> 0:45:07.876 for about half of them. Oh, and everybody in the 0:45:07.876 --> 0:45:11.436 audience is like, can't hear you, we can't hear you. 0:45:11.516 --> 0:45:13.436 And we got off and we were so pissed off 0:45:13.596 --> 0:45:15.836 and we thought we blew our big break. But the 0:45:16.196 --> 0:45:18.996 guys from Nick Turzo and Ron I think his name was, 0:45:19.076 --> 0:45:21.996 but they're like, now, you guys, dealt with it. Dealt 0:45:21.996 --> 0:45:24.436 with it fine. And the two songs that were through 0:45:24.476 --> 0:45:27.316 the PA were killed some we're going to sign anyway, 0:45:27.436 --> 0:45:30.756 So another gig and I want to say it was 0:45:31.716 --> 0:45:35.236 maybe Finland or something, and the PA went out for 0:45:35.236 --> 0:45:38.276 about forty five minutes and like my god, basically we 0:45:38.356 --> 0:45:40.916 just stopped the show. We went and went down to 0:45:40.956 --> 0:45:43.036 the barricade and kind of let everybody know because they 0:45:43.076 --> 0:45:44.676 couldn't hear us through the mic. So we went down 0:45:44.676 --> 0:45:46.636 and said, hey, the power is off. We're going to 0:45:46.676 --> 0:45:49.396 stay here till the power comes back on, if that's 0:45:49.396 --> 0:45:50.956 okay with you, and we just kind of hung out 0:45:51.036 --> 0:45:53.516 talk with the crowd until the power came back on 0:45:53.556 --> 0:45:54.676 and then we finished our set. 0:45:54.836 --> 0:45:58.276 Yeah yeah, I heard you had food poisoning during the 0:45:58.516 --> 0:45:59.876 Alison Chains unplug show. 0:46:00.076 --> 0:46:03.076 Oh yeah, I was not feeling well. Yeah, And if 0:46:03.116 --> 0:46:06.476 you look very closely, there's a trash can at my 0:46:06.596 --> 0:46:09.676 feet for me to vomit in but luck when the 0:46:09.956 --> 0:46:12.436 when the light went green and the cameras went on 0:46:12.956 --> 0:46:15.716 and we started playing, I got a little adrenaline rush 0:46:15.756 --> 0:46:18.676 and I started. Yeah. So that turned out to be 0:46:18.716 --> 0:46:21.436 one of the greatest shows we've ever played, you know. 0:46:21.636 --> 0:46:25.316 So yeah, but I was feeling like fucking shit until 0:46:25.316 --> 0:46:27.516 it started, and then soon as the show was over, 0:46:27.596 --> 0:46:29.636 I went back to feeling like shit and back on 0:46:29.676 --> 0:46:33.036 the IV. So I was sick and sick as a dog. Yeah. 0:46:33.156 --> 0:46:34.716 Yeah, I was watching it last night and I saw 0:46:34.716 --> 0:46:36.316 I think it was during Rooster. You were kind of 0:46:36.356 --> 0:46:39.116 like laughing doing something. I was like, oh, he looks 0:46:39.396 --> 0:46:40.076 he looks happy. 0:46:40.156 --> 0:46:44.116 Actually, yeah, yeah, that's just part of the deal man. Cool. 0:46:44.876 --> 0:46:46.556 Is there anything else you want to talk about with 0:46:46.596 --> 0:46:49.996 the new album, any other new projects, any movie projects 0:46:50.036 --> 0:46:50.516 coming up? 0:46:51.116 --> 0:46:53.276 Uh, you know, I'm always open to that. I would 0:46:53.316 --> 0:46:56.156 love to do a song with Tyler for a movie. 0:46:56.396 --> 0:46:58.676 We wrote a song called A Job to Do for 0:46:58.756 --> 0:47:01.956 the second John Wick installment and that was really fun. 0:47:02.716 --> 0:47:05.996 You know, I want blood the people that I that 0:47:06.076 --> 0:47:08.396 I had made the record with, you know, Gil Sharon 0:47:08.516 --> 0:47:12.116 and Mike than on drums. You know, it's it's my 0:47:12.196 --> 0:47:15.476 second record with both of those guys. Robert Trujillo. It's 0:47:15.516 --> 0:47:19.396 my second record with Degradation Trip and this one Duff 0:47:19.436 --> 0:47:22.036 and I. I think I've done three or four records together, 0:47:22.076 --> 0:47:27.196 a couple of his, couple of Greg Proshato. That's it's 0:47:27.236 --> 0:47:30.116 our it's our second record together. Being in a band 0:47:30.396 --> 0:47:32.956 is hanging out with your friends, just like it always was, 0:47:33.036 --> 0:47:35.396 you know, like you get together in a basement, in 0:47:35.436 --> 0:47:38.356 a garage, in a living room and you rock out 0:47:38.676 --> 0:47:41.396 and try to figure out this thing called rock and roll, 0:47:41.516 --> 0:47:43.876 share it and try to create your own version of it. 0:47:43.916 --> 0:47:46.956 And so in Alice, we're a family, and first and 0:47:46.996 --> 0:47:50.756 foremost we're friends. And so if I'm making music outside 0:47:50.756 --> 0:47:52.876 the band, I still go by that template. I call 0:47:52.876 --> 0:47:55.876 it my friend. So that's why all these these fine 0:47:55.916 --> 0:47:59.036 folks are on the record. Also, you know, it's not 0:47:59.156 --> 0:48:01.396 lost on me that I'm pretty lucky to be able 0:48:01.436 --> 0:48:04.796 to call these guys up who all have pretty amazing 0:48:04.876 --> 0:48:08.516 bands and pretty full time jobs with their bands, and 0:48:08.836 --> 0:48:11.156 catch him in windows when when we're able to make 0:48:11.196 --> 0:48:14.236 some music together, it's just it's just lined up that way, 0:48:14.556 --> 0:48:17.116 and uh, and we make we make some pretty good 0:48:17.116 --> 0:48:20.876 noise together. So I'm glad, everybody said yes when I called. 0:48:21.636 --> 0:48:23.076 Yeah, it sounds like so much fun. 0:48:23.356 --> 0:48:24.436 It is it should be. 0:48:25.236 --> 0:48:27.676 Thank you so much, Jerry, appreciate you. I appreciate your 0:48:27.716 --> 0:48:29.636 time and have fun on tour. 0:48:30.116 --> 0:48:30.996 Okay, thanks Leah. 0:48:33.836 --> 0:48:35.876 Thanks so much to Jerry Cantreell for coming on to 0:48:35.916 --> 0:48:38.996 talk about his new project I Want Blood and His 0:48:39.116 --> 0:48:41.956 Days and Alison Chains to hear some of our favorite 0:48:41.996 --> 0:48:44.756 Jerry Cantroyl and Alison Chans songs. Check out the playlist 0:48:44.796 --> 0:48:47.476 and episode notes or on our website at broken Record 0:48:47.516 --> 0:48:50.076 podcast dot com, and be sure to follow us on 0:48:50.116 --> 0:48:53.436 Instagram at the Broken Record pot. You can follow us 0:48:53.436 --> 0:48:56.916 on Twitter at Broken Record. Broken Record is produced and 0:48:57.076 --> 0:49:00.116 edited by Leah Rose, with marketing help from Eric Sandler 0:49:00.156 --> 0:49:02.956 and Jordan McMillan. Our engineer is Ben Tolat. 0:49:03.716 --> 0:49:04.756 Broken Record is a. 0:49:04.676 --> 0:49:08.196 Production of Pushkin Industries. If you love this show and 0:49:08.316 --> 0:49:12.596 others from push and consider subscribing to Pushkin Plus. Pushkin 0:49:12.636 --> 0:49:15.676 Plus is a podcast subscription that offers bonus content and 0:49:15.716 --> 0:49:19.196 ad free listening for four ninety nine a month. Look 0:49:19.236 --> 0:49:22.996 for Pushkin Plus on Apple podcast subscriptions, and if you 0:49:23.116 --> 0:49:25.676 like this show, please remember to share, rate, and review 0:49:25.756 --> 0:49:28.956 us on your podcast aff Our theme music's by Kenny Beats. 0:49:29.076 --> 0:49:30.156 I'm Justin Richmond,