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Speaker 1: Taking a walk like music saved me as you know,

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Speaker 1: a kid, parents divorced, a fourteen shipped off to a

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Speaker 1: school two hours away from home when I was young

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Speaker 1: and feeling really isolated and music was the one thing

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Speaker 1: that made me feel you know, connected, kind of like

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Speaker 1: what religion does for a lot of people.

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Speaker 2: Welcome to another episode of Taking a Walk. I'm your host, Buzznight.

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Speaker 2: This is the show where we get into deep conversations.

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Speaker 3: We strolled through decades.

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Speaker 2: Of music meaning and reinvention with Rain made frontman of

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Speaker 2: the legendary our Lady Piece from the Echoing Chords, a

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Speaker 2: clumsy to trailblazing new musical frontiers with technology.

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Speaker 3: Rain's journey is anything but ordinary.

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Speaker 2: What keeps an alt rock icon curious after three decades

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Speaker 2: and then a world changing faster than ever? How does

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Speaker 2: he keep his creative spirit freshly tuned? Let's clear our

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Speaker 2: minds find out after some words from our sponsors.

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Speaker 3: Next with Rain taking a Walk. Hey, Rain, thanks for

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Speaker 3: being on taking a walk.

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Speaker 1: Love it very excited to be here.

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Speaker 2: So we call it taking a walk, and we like

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Speaker 2: talking about music history. If you could take a walk

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Speaker 2: with somebody in music history, living or dead, who would

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Speaker 2: you like to take a walk with and maybe where

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Speaker 2: would you take that walk?

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Speaker 1: You know, we're so today we're at Jones Beach, just

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Speaker 1: outside of Manhattan. And I was always enamored with Jeff

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Speaker 1: Buckley playing shows at Shine in Manhattan, you know, and

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Speaker 1: that whole journey of him working in originals but always

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Speaker 1: playing a lot of covers and just how that that

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Speaker 1: time and his kind of transcendence. I would have loved

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Speaker 1: to been a part of, you know, that early journey

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Speaker 1: of Jeff. I mean it didn't very last very long obviously,

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Speaker 1: and it's not because there's I know, there's a documentary

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Speaker 1: or a film coming out, but it's really just my

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Speaker 1: admiration for that kind of grind and putting in the

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Speaker 1: work early on. You know, that's so critical to musicians' career,

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Speaker 1: and I feel like that doesn't happen as much anymore.

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Speaker 1: It's it's just a different business.

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Speaker 2: Yeah, that's a good one. That's it's one that will

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Speaker 2: never forget. Who's got such a legacy and such a

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Speaker 2: story and such a you know, commitment to his craft.

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Speaker 1: Yeah, yeah, I mean I saw the thing. I mean,

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Speaker 1: Chris Cornell's gone as well, which is terrifying, but it

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Speaker 1: was Chris talking about how great a guitar player Jeff was.

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Speaker 1: I mean, he was an exquisite singer, but his his

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Speaker 1: the chord structures he chose and the notes and his

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Speaker 1: guitar playing really was. He was a master.

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Speaker 2: Congrats on thirty years of our Lady Piece. Can you

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Speaker 2: believe it that? Where is the time go on?

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Speaker 1: It's really scary. I mean I was talking to someone

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Speaker 1: the other day. I remember we opened for the Ramones

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Speaker 1: and Jersey Background just starting in like ninety six, and gosh,

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Speaker 1: like that seems like it wasn't even that long ago,

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Speaker 1: but it was thirty years ago.

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Speaker 2: So after more than thirty years, what keeps the creative

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Speaker 2: fires burning for you personally when you step onto a

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Speaker 2: stage or you go into the studio.

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Speaker 1: I mean, we're always creating new music, and I think

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Speaker 1: that's the one like thread that keeps this thing together.

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Speaker 1: I think, I know there's some bands that are able

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Speaker 1: just to kind of like rest on their laurels and

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Speaker 1: legacy and can do that really well and tour and

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Speaker 1: all that stuff. I think without new music, I'm not

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Speaker 1: sure if I'm doing this. To be honest, I think

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Speaker 1: it really has to come to with the thought of

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Speaker 1: like there was new music released and we want to

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Speaker 1: showcase that, or there's new music. I mean, there's ideas

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Speaker 1: that I have and I'm writing and I know that

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Speaker 1: that's forthcoming. So that's the driver. But I think, yeah,

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Speaker 1: the ability to stay creative is that the idea of

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Speaker 1: being more of a robot just playing stuff that used

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Speaker 1: to play and that's kind of where it starts and

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Speaker 1: ends doesn't really work for me.

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Speaker 2: Well, I've heard you say that you're always focused on

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Speaker 2: tomorrow to your point instead of nostalgia, But is there

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Speaker 2: a time where you allow yourself to sort of look

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Speaker 2: back and really contemplate the band's legacy.

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Speaker 1: Yeah. I mean to me, it's just more of just gratitude,

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Speaker 1: you know, trying to wake up with gratitude every day

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Speaker 1: that we still get to do this and have fans

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Speaker 1: and have new fans come out. We had played in

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Speaker 1: in Maine last night and we had a bunch of

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Speaker 1: fans in the first row with like, you know, one

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Speaker 1: girl wearing are, another person wearing Lady, and then someone

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Speaker 1: else's Peace, and then a bunch of other fans and

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Speaker 1: they were young, and I was like, this is this

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Speaker 1: is this is the great thing about the paradigm shift

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Speaker 1: in the music business where anyone can find you now,

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Speaker 1: and I think that's that's that's it. That's probably a

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Speaker 1: bit of another driver knowing that there's new fans out

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Speaker 1: there that it'll probably never see us. I mean, we

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Speaker 1: keep hearing that. I see that on d ms every day.

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Speaker 1: It's like, wow, you know, someone introduced you to you.

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Speaker 1: I've never had the chance to see you. I just

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Speaker 1: saw you last night. It was amazing. So that's that.

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Speaker 1: That keeps us going too, for sure.

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Speaker 2: So you can reflect on classic albums like like Clumsy

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Speaker 2: and Spiritual Machines, and then now you see this new

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Speaker 2: generation of fans connecting with this music. And then when

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Speaker 2: you go out in particular out on the road, you

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Speaker 2: see this and it really must be just you know, heartwarming.

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Speaker 1: Yeah, it's amazing. And I see I see you know.

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Speaker 1: I have three boys, teenage boys, and like my youngest

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Speaker 1: one day, begin in the car and you obviously taste

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Speaker 1: control of like the music. He puts a Deftone song on,

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Speaker 1: I'm like, whoa Like before that it was like always

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Speaker 1: you know, not Deftones, And I was like, sal like

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Speaker 1: where did you where did you hear the debt? Like

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Speaker 1: the one of my favorite bands of all time, and

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Speaker 1: you know it was TikTok or whatever, which is fine.

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Speaker 1: But it's that ability for music to just hit people

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Speaker 1: on all these different levels now and I'm appreciative of it.

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Speaker 2: So what inspires you lyrically these days? And how has

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Speaker 2: your approach to songwriting differed at all if it's different

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Speaker 2: now compared to the nineties and early two thousands.

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Speaker 1: I mean, I think songwriting I've kind of gone back

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Speaker 1: to more. It's gone through the like I have a

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Speaker 1: studio at my home in Los Angeles tricked out with

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Speaker 1: everything you can want, but the idea of sitting with

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Speaker 1: an acoustic guitar, and I have an old like Triple

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Speaker 1: Odd nineteen twenty three Martin picking that up in the

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Speaker 1: morning with the glass, you know, a cup of coffee

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Speaker 1: or tea like that, to me is probably the most

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Speaker 1: pure relationship I have with music on a very just

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Speaker 1: visceral level. Like if I'm stroming some chords and start

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Speaker 1: singing and something comes out that's evocative, to me, an

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Speaker 1: idea starting there is the most pure. So I try

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Speaker 1: to really stick to that and and I like it.

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Speaker 1: I've come full circle because I used to I've done

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Speaker 1: it everyway. I've earned songs in multitude of kind of

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Speaker 1: experimental fashions and starting with beats and different things. But

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Speaker 1: the idea of just acoustic and piano as well. We

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Speaker 1: have an old upright in the in the control room

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Speaker 1: that I use a lot as well, and it's just

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Speaker 1: like so tangible because if it works like that, if

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Speaker 1: it makes you feel something just like that, then it's

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Speaker 1: probably worth pursuing as as a as an actual song.

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Speaker 2: In finishing our Lady piece known for these, uh, I

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Speaker 2: would say deeper more poetic lyrics.

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Speaker 3: Who are the folks over.

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Speaker 2: Your life that have had an impact and an influence

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Speaker 2: in terms of the way you communicate as a songwriter.

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Speaker 1: Yeah, I mean, you know, I've always I've always loved poetry,

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Speaker 1: so I kind of grew up with the beat poets

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Speaker 1: from Furlongetti to to you know, all the all the

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Speaker 1: more famous ones. But the idea of condensing, even freedom

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Speaker 1: from what I think the beat poets were great at

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Speaker 1: at grabbing your attention with phrases, music has to go

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Speaker 1: a step further where it's more condensed. You know, you

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Speaker 1: don't only have so many lines and syllables within a verse.

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Speaker 1: Or of course to grab someone's attention or evocal thought

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Speaker 1: or an emotion. So I always saw it as a

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Speaker 1: challenge like that. And and you know, Leonard Cohne was

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Speaker 1: a big influence to me. Bands like ri Em for sure,

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Speaker 1: Neil Young, you know, they were able to say things

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Speaker 1: in these little blurbs that just were like even though

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Speaker 1: it was just a sentence or two, you know, and

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Speaker 1: sort of pros or something. So that's what I've always

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Speaker 1: looked at it. It's like, how do you create a

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Speaker 1: movie for someone in three minutes?

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Speaker 3: Can you walk us through the making of a recent song?

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Speaker 2: Maybe that in the end result it surprised you where

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Speaker 2: it went and where the message went and how the

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Speaker 2: output finally concluded.

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Speaker 1: Yeah, I mean, we just we just recorded a bunch

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Speaker 1: of new music with a Britisher named Nick Rasculin's who's

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Speaker 1: Deaftones Foo Fighters in Nashville. There was a song called

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Speaker 1: I Want to Be Your Drog that I've had for

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Speaker 1: probably ten years, and the lyric to it really meant

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Speaker 1: something to me. It was it was not flushed up,

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Speaker 1: but we demoed it up eight or nine years ago

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Speaker 1: really didn't work out. I always liked my first just

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Speaker 1: the demo that I did with myself. But it's funny

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Speaker 1: when we got into the room and Nick, he was like,

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Speaker 1: there's something here I'm not I'm not sure. I like

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Speaker 1: how you guys are presenting it. He said the same thing.

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Speaker 1: He's like, there's something in the lyric. I want to

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Speaker 1: be your drug, I want to be the air you breathe,

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Speaker 1: and and all these these different like you said like

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Speaker 1: it's I think he actually said this. It's like, it's

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Speaker 1: like it's creating a movie. But I don't know the

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Speaker 1: way where we've arranged the music that it's supporting that

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Speaker 1: film in my head. And so we kind of broke

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Speaker 1: that song down to where it was it was more

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Speaker 1: of an upbeat song, kind of like a Springstein like

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Speaker 1: Born to Run. Then we broke it down into a

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Speaker 1: halftime thing. So all of a sudden, the lyrics were

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Speaker 1: much more upfront because the band it wasn't fighting with

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Speaker 1: the music or it wasn't part of the music. And

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Speaker 1: I think the first first few lines, and this is

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Speaker 1: to me always the kind of indicator I got a

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Speaker 1: feeling you lost your faith in me. Take your pound

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Speaker 1: of flesh. It's all that I got left. I hope

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Speaker 1: you find relief. That first stance of lyrics was like,

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Speaker 1: this has to be a song that I get to

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Speaker 1: sing somewhere because it's so meaningful to me. The idea

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Speaker 1: of taking a pound of flesh and trying to give

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Speaker 1: someone else some relief from a sacrifice that you make.

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Speaker 1: It's just I was just like, you know, I don't

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Speaker 1: get to say things like that too often. So we

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Speaker 1: stuck with it and now we're performing live and ended

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Speaker 1: up being a really powerful song. So you have to

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Speaker 1: believe in in in the fact that I think as

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Speaker 1: a lyricist you're not giving. You're not giving, like thousands

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Speaker 1: of great lyrics, very sporadic, and once you hit on

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Speaker 1: something that means something, you got to mind it till

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Speaker 1: it finds its way to a song that everyone can

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Speaker 1: can hear.

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Speaker 2: I think there's another theme I think you would agree,

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Speaker 2: perseverance in the writing, both for you know, the band,

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Speaker 2: certainly in the writing, but also in life. Perseverance. Is

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Speaker 2: there one challenge that you can relate that pushed you

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Speaker 2: to your limits and what did it teach you?

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Speaker 1: Song Fomiti was one of those songs. It went through

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Speaker 1: multiple We probably recorded that song six times and six

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Speaker 1: different versions of that song, and it got so frustrating

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Speaker 1: to where I was ready to give up on it,

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Speaker 1: Like I knew there was stuff there, and but you

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Speaker 1: just at some point you're like, man, how far do

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Speaker 1: you go with something? You know? How much do you

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Speaker 1: commit to an idea where it's just not revealing itself

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Speaker 1: to be something good or even close to great? And

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Speaker 1: we were really close to bailing on that song. I'm

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Speaker 1: glad we didn't. Somehow we stuck it out and it

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Speaker 1: ended up being, you know, an important song for us.

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Speaker 1: But yeah, that was one of those when I look

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Speaker 1: back on it, literally could have gone it was fifth

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Speaker 1: like flip of a coin, we're gonna we're done with

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Speaker 1: this thing, or we're gonna take another stab at it,

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Speaker 1: And that last effort was what clumsy became.

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Speaker 3: We'll be back with more of the Taken Walk podcast

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Speaker 3: in a bit now. If you're looking for a rock

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Speaker 3: and roll oriented podcast, we invite you to check out.

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Speaker 2: The Imbalanced History of rock and Roll. The History's fascinating.

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Speaker 2: There's so much to uncover. The Embalanced History of rock

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Speaker 2: and roll explores moments in time, albums, songs, events, and

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Speaker 2: people who had an impact on the history of rock

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Speaker 2: and roll that keep rock and roll fun, the imbalanced

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Speaker 2: history of rock and roll.

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Speaker 3: Find it wherever you get your podcasts. Welcome back to

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Speaker 3: the Taking a Walk podcast.

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Speaker 2: Tell me how it felt when you broughte Mike Turner

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Speaker 2: back for the Spiritual Machines tour and what did it

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Speaker 2: reveal about the band's chemistry and the overall spirit of collaboration.

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Speaker 1: That's a great question. I think it's the latter what

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Speaker 1: you just said. The idea of collaboration is so key,

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Speaker 1: and I think you have to always pay honors to that.

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Speaker 1: And Mike was ian bringing that book The Age Spiritual

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Speaker 1: Machines by Kurzweld into that Spiritual Machine, you know, recording

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Speaker 1: session for that album, and I just I was. I

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Speaker 1: was blown away by the conceptual nature of Kurzweil making

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Speaker 1: all these predictions that maybe even back then we thought

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Speaker 1: were a little far fetched, but obviously he was, you know,

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Speaker 1: ninety three percent right, from like colcular implants to the

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Speaker 1: idea of driverless vehicles, which we obviously talking about AI,

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Speaker 1: Like that was something that was so in the front

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Speaker 1: forefront for Ray back then and the band and that

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Speaker 1: that record, but no one would talk about AI, so

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Speaker 1: just by virtue of Mike bringing that in and being

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Speaker 1: a part of that record to do spiritual machines too,

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Speaker 1: and move that chapter two decades forward and look at

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Speaker 1: Kurzwild's next set of predictions. It wouldn't have seemed right

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Speaker 1: to play those shows without felt Mike there. It was just,

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Speaker 1: you know, he was He's just in trench tied to that.

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Speaker 1: I mean, he's tied to the band forever as well.

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Speaker 1: But the idea of his, like he said, collaboration on

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Speaker 1: that record specifically and with Ray's book was pretty critical.

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Speaker 1: So it was amazing to have him on stage for

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Speaker 1: those shows.

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Speaker 2: You know, one of the core principles of you and

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Speaker 2: the band, or your your social activism and your philanthropic

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Speaker 2: approach to the world as an activist. I think that's

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Speaker 2: fair to say. Has it shaped the music in a

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Speaker 2: certain way as well?

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Speaker 1: Yeah, I think it puts a weight on it, just

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Speaker 1: in terms of not I would never call music important,

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Speaker 1: but just in terms of understanding what it does for

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Speaker 1: other people, Like music saved me, as you know, a

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Speaker 1: kid parents divorced at fourteen, shipped off to a school

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Speaker 1: two hours away from home when I was young and

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Speaker 1: feeling really isolated and music was the one thing that

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Speaker 1: made me feel you know, connected, kind of like what

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Speaker 1: religion does for a lot of people, and so understanding

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Speaker 1: that I think is part of it. And I think

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Speaker 1: your experience as a human, like getting outside of your community,

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Speaker 1: outside of your state or country or province, like being

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Speaker 1: able to travel with warchild to you know, whether it

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Speaker 1: was like Iraq or Darfur or other places in Africa.

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Speaker 1: I think you start to understand, like Sudan, it's like, man,

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Speaker 1: there's a much bigger world. And to feel like the

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Speaker 1: global citizen and start to understand that concept from like

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Speaker 1: a thirty thousand foot view is so key in terms

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Speaker 1: of what we bring back to our songs and making

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Speaker 1: sure that I don't know, we're just I think we

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Speaker 1: see ourselves as global citizens as artists as well, and

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Speaker 1: that's that's really key in terms of how it drives

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Speaker 1: the music and some of the message that makes sense.

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Speaker 2: Yeah, it totally makes sense. We also produce this other

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Speaker 2: podcast called Music Save Me coincidentally, so we focus on

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Speaker 2: that core aspect of you know, what it does for

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Speaker 2: the world, what it does for the artist obviously, what

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Speaker 2: it does for human connections.

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Speaker 3: So it's a critical of force in our life. I mean,

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Speaker 3: it really is.

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Speaker 1: Yeah, I mean, and it was funny, like this is

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Speaker 1: on a music level, but the first time I really

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Speaker 1: understood that, like the cliche of music is universal, like

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Speaker 1: we've all heard that, but it truly is. I remember

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Speaker 1: the first time you played in France at this little

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Speaker 1: little flaw outside of Paris, and people were singing clumsy.

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Speaker 1: Then I would go to talk to them afterwards and

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Speaker 1: they couldn't speak English at all, you know, and that

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Speaker 1: just all of a sudden is like wow, Okay, the

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Speaker 1: universality of music is very real. And then, like I said,

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Speaker 1: traveling to you know, places like Darfur and talking to

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Speaker 1: people there and these like you know, and people are

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Speaker 1: displaced like unspeakable sadness. But it was like a little boombox,

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Speaker 1: not like sometimes it was Lionel Richie there playing and

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Speaker 1: it didn't matter. It was just the spirit of music

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Speaker 1: that lifted their souls. And he's incredibly difficult and treacherous

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Speaker 1: times that without music, it's a different scenario. I know,

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Speaker 1: it's a different it's a different outcome maybe even.

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Speaker 2: In uh in today's you know, rapidly changing landscape.

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Speaker 3: You know, you mentioned Ai earlier technology, social justice.

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Speaker 2: How do you see the role of musicians and artists evolving?

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Speaker 1: I actually see it. I see a real strong component

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Speaker 1: of music going back to basics, where the craft, the artistry,

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Speaker 1: the wood shedding it takes to become a master at

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Speaker 1: your instrument, be it piano, vocal, drums too, but whatever

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Speaker 1: that is, I feel like there's a new appreciation for that.

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Speaker 1: And then there's also going to be this other other

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Speaker 1: wave of you know, AI produced music, and the divergence

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Speaker 1: I think will help you appreciate one or the other.

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Speaker 1: You know, like if that's what you're looking for, it's

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Speaker 1: just something to kind of numb you, and it could

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Speaker 1: be anything. And maybe you don't even want an artist

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Speaker 1: attasted with it because that always has like a different

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Speaker 1: level of commitment when you know it's this person that

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Speaker 1: was from here whatever. Maybe AI music serves that value.

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Speaker 1: But I do think there's this real raft of musicianship

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Speaker 1: coming back, and I'm seeing it, you know, kind of

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Speaker 1: I don't hate it. Sounds stupid like on the streets

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Speaker 1: of la but I do see it with all of

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Speaker 1: young musicians that are so talented and have really put

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Speaker 1: in the time at an early age. Whether you believe

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Speaker 1: in like ten thousand hours whatever the concept might be.

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Speaker 1: But these kids are working at their craft and they

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Speaker 1: don't actually care about social media. They're not buying into

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Speaker 1: all the other stuff, the TikTok things and trying to

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Speaker 1: you know, blow up a career from something like that.

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Speaker 1: They're concerned about being great at their instrument and that's inspiring.

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Speaker 2: Fascinated with the various projects that have been sort of

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Speaker 2: partnerships that you've been involved with that are new tech relationships.

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Speaker 2: Maybe talk a little bit about that. The NFTs and

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Speaker 2: some of the other projects that have I would say

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Speaker 2: changed enhanced your relationship with your fans and the industry

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Speaker 2: as a whole.

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Speaker 1: Yeah, I mean from the from the beginning, you know,

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Speaker 1: I remember we're making a record with Bob Rock in

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Speaker 1: Maui and the whole thing with Napster and obviously Metallica

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Speaker 1: was a big deal. So you start talking about that

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Speaker 1: kind of stuff and it just felt like, Okay, there's

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Speaker 1: a shift happening here, Like you know, we were paying

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Speaker 1: for music on Apple, but like the Napster thing was happening,

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Speaker 1: and Okay, where do we fit in? What does that

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Speaker 1: do to us? As you know, recording touring musicians, and

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Speaker 1: I just felt the idea of like supporting the independent

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Speaker 1: musicians because I really felt like there was gonna be

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Speaker 1: this movement towards independence because we could own our uff again,

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Speaker 1: which is great. But what I what you know, fast forward,

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Speaker 1: like fifteen years I've been doing tech. The the key

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Speaker 1: component for an artist these days is to have that

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Speaker 1: direct relationship with your fan. The idea of building on

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Speaker 1: building fan relationships on third party platforms is very volatile.

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Speaker 1: Happened with MySpace, so we all were psyched about, Wow,

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Speaker 1: we could talk to fans. We can see, Hey, there

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Speaker 1: is one hundred and ninety two people in Saint Louis.

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Speaker 1: I want our Lady Piece to come play there. This

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Speaker 1: is like early data, you know, in the sense of

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Speaker 1: oh God, like this is cool. I can I'm I'm

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Speaker 1: really close to these people now, and then my Space

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Speaker 1: goes away. So to all those relationships, We've continued to

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Speaker 1: like bet on all these whether it's Facebook or Instagram

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Speaker 1: or any other platform, which are great for marketing. But

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Speaker 1: if you can't connect directly to your fans, you're in

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Speaker 1: trouble moving forward. I truly believe that, and I feel

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Speaker 1: like that there's enough information out there. It's I look

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Speaker 1: at it basically the you know my company fan drop

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Speaker 1: right now, which makes that connection at a live setting

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Speaker 1: because that's where you have your audience. My thing is

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Speaker 1: that our ethos and mantra at fan drop is they

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Speaker 1: if they came to see you, do not let them

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Speaker 1: leave anonymous. Everybody else has their data, whether it's a

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Speaker 1: ticketing company or a promoter, or if it's a merged company,

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Speaker 1: or everyone else is grabbing data. But as an artist,

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Speaker 1: we've always just felt like, oh, it's amazing to play

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Speaker 1: and that's all we need to do. It's not true anymore.

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Speaker 1: You need to create that direct connection. So fan drop

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Speaker 1: makes that super simple, and that's really the mantra is

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Speaker 1: to help artists build their communities. How you communicate and

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Speaker 1: what you do afterwards is really up to the artists.

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Speaker 1: We try not to involve ourselves to that because that's

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Speaker 1: a very personal relationship. But the hardest thing is is

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Speaker 1: just getting that first connection. So fan drop does that.

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Speaker 1: We use geolocation and some really cool rewards kind of

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Speaker 1: features and components within our tech, but yeah, just don't

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Speaker 1: let them leave a show anonymous.

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Speaker 2: I have to think there's some kind of surprise and

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Speaker 2: delight theory here that you're.

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Speaker 3: Assuring as well.

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Speaker 1: Right, Yeah, we have some cool stuff. We have like

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Speaker 1: a digital scratch and win, so you know on the

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Speaker 1: Canadian tour that we did, we were giving away you know,

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Speaker 1: we're in these big arenas. I get it. There's some

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Speaker 1: like American Express Platinum seats that some people can afford,

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Speaker 1: but then there's the ones for like eighty five dollars

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Speaker 1: in the nosebleeds that you know, people just can't get close.

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Speaker 1: So the idea of democratizing a space I think is

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Speaker 1: really powerful. So that's what fan dropped it typeinfandrop dot com,

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Speaker 1: you go straight to the OLP. It was called Encore Experience.

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Speaker 1: So ten people every night, no matter where you're sitting,

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Speaker 1: one chance to be on stage with us for the

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Speaker 1: Encore and feel what it felt like to be you know,

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Speaker 1: literally right on stage with us and look at it

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Speaker 1: out to the fans and stuff. So there was that there.

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Speaker 1: We you know, we do, we do. There's tons of

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Speaker 1: different things. The scratching wind is cool. We also let

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Speaker 1: people vote on the Encore songs in real time so

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Speaker 1: you can see those boats go up and down. We

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Speaker 1: were selling you know, like limited edition and hoodies and

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Speaker 1: T shirts just to the people because it was it

433
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Speaker 1: was almost like saying, my view is like, if you're

434
00:24:04,960 --> 00:24:07,439
Speaker 1: coming to an ural DP show at this point, I

435
00:24:07,520 --> 00:24:11,000
Speaker 1: consider you a super fan. It's my responsibility to make

436
00:24:11,000 --> 00:24:13,639
Speaker 1: you feel that way, and fan Drop really helps do that.

437
00:24:14,560 --> 00:24:17,840
Speaker 2: It's awesome, it's so cool. So let's lay out the

438
00:24:18,160 --> 00:24:20,280
Speaker 2: rest of twenty twenty five. It's not going to be

439
00:24:20,280 --> 00:24:22,760
Speaker 2: a slow rest of the year. I could certainly tell

440
00:24:22,880 --> 00:24:26,200
Speaker 2: you got a lot of dates that you guys are

441
00:24:26,359 --> 00:24:29,399
Speaker 2: out out on the road with, and tell me what

442
00:24:29,440 --> 00:24:30,840
Speaker 2: else is going to be going on.

443
00:24:31,160 --> 00:24:34,000
Speaker 1: This We finish up in Vegas on August thirty first,

444
00:24:34,280 --> 00:24:37,399
Speaker 1: and then I have actually have a book in an

445
00:24:37,440 --> 00:24:41,119
Speaker 1: album coming out with my wife. We have a project together,

446
00:24:42,040 --> 00:24:45,200
Speaker 1: she's an artist songwriter as well, going to be finishing

447
00:24:45,200 --> 00:24:48,320
Speaker 1: the LP album in the fall as well. And then yeah,

448
00:24:48,440 --> 00:24:51,480
Speaker 1: looking I can't believe it, but looking towards a big

449
00:24:52,080 --> 00:24:54,879
Speaker 1: twenty twenty six when this year is already felt like

450
00:24:54,880 --> 00:24:58,200
Speaker 1: a whirlwind. So just keep that train in the tracks,

451
00:24:58,240 --> 00:24:59,680
Speaker 1: I guess so to speak.

452
00:25:00,119 --> 00:25:01,640
Speaker 3: Oh, I love it well.

453
00:25:01,680 --> 00:25:04,200
Speaker 2: In closing back to the take of a walk theme,

454
00:25:04,320 --> 00:25:06,440
Speaker 2: so if you could take a walk with your younger

455
00:25:06,520 --> 00:25:10,000
Speaker 2: self from nineteen ninety two as you're just starting the band.

456
00:25:10,520 --> 00:25:12,640
Speaker 3: What advice would you give to him?

457
00:25:14,280 --> 00:25:16,440
Speaker 1: Actually just wrote this chapter in this book that my

458
00:25:16,480 --> 00:25:21,679
Speaker 1: wife are doing, and it's really about being in the moment.

459
00:25:21,920 --> 00:25:24,439
Speaker 1: I think I was so focused on what's next. It's like,

460
00:25:24,520 --> 00:25:25,840
Speaker 1: you know, you get a call to open up for

461
00:25:25,880 --> 00:25:31,000
Speaker 1: the Ramones and Poughkeepsie and it was incredible, but I

462
00:25:31,000 --> 00:25:34,360
Speaker 1: don't remember it, like I was so like, Okay, that's amazing.

463
00:25:34,440 --> 00:25:36,840
Speaker 1: What are we doing next? Like what's what's the next show?

464
00:25:37,400 --> 00:25:40,919
Speaker 1: And so I remember standing next to next to the

465
00:25:40,960 --> 00:25:44,639
Speaker 1: guys you know and the Ramones like Joey Even, and man,

466
00:25:44,760 --> 00:25:46,760
Speaker 1: it just didn't I didn't take it in.

467
00:25:46,840 --> 00:25:47,480
Speaker 3: I remember when.

468
00:25:47,400 --> 00:25:50,000
Speaker 1: Robert Plant, you know, heard our song star Seed in

469
00:25:50,080 --> 00:25:52,520
Speaker 1: his limo in New York and all of a sudden

470
00:25:52,960 --> 00:25:55,119
Speaker 1: we were touring. We were in like Boston playing like

471
00:25:55,119 --> 00:25:57,959
Speaker 1: the Middle East a little club and our tournament as

472
00:25:57,960 --> 00:26:00,400
Speaker 1: it runs, and he's like, we're tear and now we're

473
00:26:00,400 --> 00:26:01,960
Speaker 1: not playing the show tonight. We have to drive to

474
00:26:02,680 --> 00:26:05,399
Speaker 1: Indianapolis to open up for you know, the first page

475
00:26:05,400 --> 00:26:08,920
Speaker 1: and plan reunion. Didn't take it in, like Robert Plant

476
00:26:08,920 --> 00:26:10,400
Speaker 1: came up there mean I was telling me how much

477
00:26:10,440 --> 00:26:12,760
Speaker 1: he loved that first record na Vide, and he was like,

478
00:26:12,800 --> 00:26:15,719
Speaker 1: I really relate to the lyrics and the sounds. And

479
00:26:15,760 --> 00:26:18,919
Speaker 1: I was like, some, but I didn't take it in.

480
00:26:19,240 --> 00:26:19,600
Speaker 3: I did.

481
00:26:19,720 --> 00:26:22,560
Speaker 1: I wasn't in. I wasn't present. So that would be

482
00:26:23,080 --> 00:26:25,399
Speaker 1: if I could be walking with my my, you know,

483
00:26:25,520 --> 00:26:28,960
Speaker 1: younger self, I'd be like, man, it's just stop. Take

484
00:26:29,000 --> 00:26:31,800
Speaker 1: this moment in. You know, listen to Robert, Listen to

485
00:26:31,840 --> 00:26:34,800
Speaker 1: what he's saying, ask him questions. You know, I miss

486
00:26:34,880 --> 00:26:36,480
Speaker 1: some of those opportunities. Unfortunately.

487
00:26:36,960 --> 00:26:40,159
Speaker 3: Oh I got chills. I've missed so many myself.

488
00:26:40,359 --> 00:26:41,560
Speaker 1: Right, No, that's life.

489
00:26:41,640 --> 00:26:44,399
Speaker 2: Yeah, yeah, but I mean I and then when I

490
00:26:44,440 --> 00:26:47,520
Speaker 2: think about what I'm doing now and being able to

491
00:26:47,760 --> 00:26:50,280
Speaker 2: talk to folks like you on the podcast, I go, man,

492
00:26:50,320 --> 00:26:51,919
Speaker 2: I'm pretty pretty damn lucky.

493
00:26:52,000 --> 00:26:54,119
Speaker 1: So uh yeah, these are the moments I think we

494
00:26:54,160 --> 00:26:56,840
Speaker 1: all can appreciate it more and get to do something

495
00:26:56,840 --> 00:26:59,000
Speaker 1: more long form like this is so key, right.

496
00:26:59,480 --> 00:27:02,800
Speaker 2: It's oneful rain. Thank you so much. Man, I'm on,

497
00:27:03,600 --> 00:27:05,320
Speaker 2: have you on. This was a blast, man

498
00:27:05,840 --> 00:27:07,160
Speaker 1: Love it, love it, Thank you so much,