1 00:00:01,040 --> 00:00:03,760 Speaker 1: Taking a Walk. This is pretty much how great music 2 00:00:03,840 --> 00:00:07,960 Speaker 1: is put together. Yes, the way we do it. If 3 00:00:07,960 --> 00:00:10,039 Speaker 1: we do it, it's gonna be great. How about that? 4 00:00:10,240 --> 00:00:13,159 Speaker 2: This is Buzzsnight and welcome back to the Taking a 5 00:00:13,200 --> 00:00:16,279 Speaker 2: Walk Podcast. Appreciate you checking us out now. You know 6 00:00:16,400 --> 00:00:19,280 Speaker 2: that feeling when a bassline hits you so hard that 7 00:00:19,320 --> 00:00:23,439 Speaker 2: it rattles your chest, the low end rumble that makes 8 00:00:23,480 --> 00:00:25,880 Speaker 2: you turn up the volume instead of turning it down. 9 00:00:26,560 --> 00:00:30,800 Speaker 2: For fifty years, one guy has been doing that with 10 00:00:30,920 --> 00:00:35,600 Speaker 2: twelve strings instead of four. Tom Peterson doesn't just play 11 00:00:35,640 --> 00:00:39,520 Speaker 2: bass for Cheap Trick. He basically reinvented with a bass 12 00:00:39,560 --> 00:00:42,479 Speaker 2: guitar could sound like in a rock band, from playing 13 00:00:42,560 --> 00:00:47,000 Speaker 2: bars in Rockford, Illinois, to selling out Buddhacan, from MTV 14 00:00:47,240 --> 00:00:50,360 Speaker 2: to the Rock and Roll Hall of Fame. Tom has 15 00:00:50,440 --> 00:00:53,519 Speaker 2: seen it all and the band Cheap Trick is this 16 00:00:53,720 --> 00:00:57,320 Speaker 2: soundtrack to our life. Here's the thing. Cheap Trick still 17 00:00:57,400 --> 00:01:02,000 Speaker 2: making new music, the album call All Washed Up, a 18 00:01:02,160 --> 00:01:05,760 Speaker 2: tour certainly to support it, the single The Rift that 19 00:01:05,880 --> 00:01:10,920 Speaker 2: Won't Quit. Tom Peterson next on the Taking a Walk Podcast. 20 00:01:14,800 --> 00:01:17,960 Speaker 2: Taking a Walk, Tom Peterson, Welcome to Taking a Walk. 21 00:01:18,040 --> 00:01:20,399 Speaker 2: It's such an honor to have you on. We're going 22 00:01:20,480 --> 00:01:24,200 Speaker 2: to talk about new music, the Rift that won't quit 23 00:01:24,319 --> 00:01:27,680 Speaker 2: and all washed up and the tour, and you guys 24 00:01:27,720 --> 00:01:33,240 Speaker 2: are busy as always. But before we get into the festivities, Tom, 25 00:01:33,920 --> 00:01:36,800 Speaker 2: I ask the opening question of everybody, So I'm not 26 00:01:36,840 --> 00:01:39,880 Speaker 2: going to let you escape the opening question. If you 27 00:01:39,920 --> 00:01:42,319 Speaker 2: could take a walk with someone? Who would you take 28 00:01:42,360 --> 00:01:42,920 Speaker 2: a walk with? 29 00:01:43,720 --> 00:01:47,320 Speaker 1: Take a walk with? I? 30 00:01:47,319 --> 00:01:50,960 Speaker 2: I don't know, could be anybody under the sun, living 31 00:01:51,080 --> 00:01:51,440 Speaker 2: or dead. 32 00:01:52,320 --> 00:01:55,800 Speaker 1: Good lord, Can I have a while to think about this? Yeah? 33 00:01:55,800 --> 00:01:57,040 Speaker 1: I don't have to answer it right at first. 34 00:01:57,160 --> 00:02:00,760 Speaker 2: In fact, you know what, apologies didn't mean to throw 35 00:02:00,840 --> 00:02:04,560 Speaker 2: it off. It's just the opening icebreaker. 36 00:02:04,720 --> 00:02:06,920 Speaker 1: All right, But the ice is broken. 37 00:02:07,480 --> 00:02:10,760 Speaker 2: I'll come back. I'll come back to it so anyway. 38 00:02:10,720 --> 00:02:12,480 Speaker 1: And I'll be thinking the whole time. I can't think. 39 00:02:12,520 --> 00:02:13,880 Speaker 1: It was like who I want to take a walk with? 40 00:02:13,919 --> 00:02:15,040 Speaker 1: Who would I want? 41 00:02:15,600 --> 00:02:18,240 Speaker 2: Yeah, there's no right or wrong answer. But can you 42 00:02:18,320 --> 00:02:21,720 Speaker 2: take me back to Rockford, Illinois in the early seventies 43 00:02:21,960 --> 00:02:25,400 Speaker 2: and tell me paint a picture for Rockford? I was 44 00:02:25,440 --> 00:02:29,160 Speaker 2: in Rockford many years ago. But what do you remember 45 00:02:29,200 --> 00:02:31,760 Speaker 2: about that moment when Cheap Trick came together? 46 00:02:33,120 --> 00:02:37,840 Speaker 1: Well, we I left Rockford in nineteen seventy one, so 47 00:02:37,880 --> 00:02:40,920 Speaker 1: it wasn't the seventies. It really, you know, we grew 48 00:02:41,000 --> 00:02:46,000 Speaker 1: up there. Everybody in the band, and Rick and Bunny 49 00:02:46,080 --> 00:02:48,760 Speaker 1: and myself happened to go to the same high school. 50 00:02:48,760 --> 00:02:51,320 Speaker 1: We weren't friends at that point. We knew about each 51 00:02:51,320 --> 00:02:53,480 Speaker 1: other because we were all in bands, and Robin was 52 00:02:53,480 --> 00:02:56,240 Speaker 1: in a different high school in a different part of town, 53 00:02:56,760 --> 00:02:59,679 Speaker 1: so we knew about each other, but we didn't really 54 00:02:59,680 --> 00:03:01,840 Speaker 1: know each I really just started hanging out with Rick 55 00:03:01,960 --> 00:03:05,040 Speaker 1: after I got out of high school, and he and 56 00:03:05,040 --> 00:03:07,280 Speaker 1: I started hanging around together when we went to England 57 00:03:07,320 --> 00:03:10,240 Speaker 1: together in sixty eight. And before Chief Trick, we had 58 00:03:10,240 --> 00:03:12,480 Speaker 1: a couple other bands going and that, you know, nothing 59 00:03:12,560 --> 00:03:16,320 Speaker 1: was working out. And finally we got together with Bunny 60 00:03:16,720 --> 00:03:19,360 Speaker 1: and with Robin and we thought, okay, now we have 61 00:03:19,520 --> 00:03:23,120 Speaker 1: something and we just that was seventy four and we 62 00:03:23,440 --> 00:03:26,120 Speaker 1: just kept going, tried to get lucky. 63 00:03:27,080 --> 00:03:30,280 Speaker 2: Now you had that twelve string bass early on. What 64 00:03:30,440 --> 00:03:33,200 Speaker 2: made you want to push the boundaries of what a 65 00:03:33,200 --> 00:03:36,640 Speaker 2: bass player and really redefined what a bass player could 66 00:03:36,680 --> 00:03:37,640 Speaker 2: do in a rock band. 67 00:03:39,080 --> 00:03:41,520 Speaker 1: Well, it was just to make the sound, to make 68 00:03:41,600 --> 00:03:45,120 Speaker 1: us sound more really orchestrated, without adding extra people in. 69 00:03:45,560 --> 00:03:48,080 Speaker 1: We didn't have a keyboard player, didn't have another guitar player. 70 00:03:48,160 --> 00:03:50,520 Speaker 1: Robin plays guitar about half of the songs, you know, 71 00:03:51,040 --> 00:03:53,200 Speaker 1: but it's basically a setup like the Who. You know, 72 00:03:53,200 --> 00:03:56,360 Speaker 1: it's a four piece with a lead singer, you know, 73 00:03:56,560 --> 00:03:58,920 Speaker 1: Zeppelin or whatever, the Who, all that kind of stuff. 74 00:03:59,400 --> 00:04:03,240 Speaker 1: It always to me sounded weird when you hear a 75 00:04:03,280 --> 00:04:05,560 Speaker 1: band live and there's like it's just then it's just 76 00:04:05,600 --> 00:04:09,160 Speaker 1: basing guitarre level Hendricks, you know, like how great was he? 77 00:04:09,320 --> 00:04:12,560 Speaker 1: But I was thought, boy, it'd be great if it 78 00:04:12,640 --> 00:04:15,560 Speaker 1: was it just to fill up the sound when there's 79 00:04:15,600 --> 00:04:17,720 Speaker 1: you know, the guitar player is soloing. 80 00:04:19,080 --> 00:04:22,400 Speaker 2: Now, those first few albums they didn't really explode in 81 00:04:22,720 --> 00:04:27,560 Speaker 2: the US right away, but Japan, yes, but Japan embraced 82 00:04:28,160 --> 00:04:31,640 Speaker 2: cheap trick immediately. What was it like experience in that 83 00:04:31,760 --> 00:04:35,560 Speaker 2: level of fame overseas before America really caught the magic 84 00:04:35,600 --> 00:04:36,279 Speaker 2: a cheap trick? 85 00:04:37,800 --> 00:04:40,560 Speaker 1: Well, it wasn't immediately. We had our first album came 86 00:04:40,560 --> 00:04:44,200 Speaker 1: out and that was not a success in Japan or 87 00:04:44,200 --> 00:04:48,720 Speaker 1: anywhere else. The second album, in Color, came out when 88 00:04:48,720 --> 00:04:52,680 Speaker 1: we were on tour with Kiss. At that time, they 89 00:04:52,720 --> 00:04:55,520 Speaker 1: were doing the Love Gun Tour and they were huge worldwide, 90 00:04:55,760 --> 00:04:59,920 Speaker 1: and because of that, they were very huge in jap 91 00:05:00,120 --> 00:05:04,160 Speaker 1: Pan as well. So the Japanese press followed them everywhere. 92 00:05:04,520 --> 00:05:07,040 Speaker 1: So everywhere we went there was Japanese press, and you know, 93 00:05:07,080 --> 00:05:09,040 Speaker 1: they were kind of stuck with us, and oh, here's 94 00:05:09,080 --> 00:05:13,359 Speaker 1: these goofballs, what's what's what's this? So that second album 95 00:05:13,400 --> 00:05:17,599 Speaker 1: in Color struck a chord with the Japanese and we 96 00:05:17,640 --> 00:05:19,919 Speaker 1: had a bunch of hit singles off of that second album, 97 00:05:19,920 --> 00:05:24,640 Speaker 1: which we had no success anywhere else none, And so 98 00:05:24,720 --> 00:05:27,960 Speaker 1: we went to Japan and did those songs and it 99 00:05:28,000 --> 00:05:31,120 Speaker 1: was it was pandemonium. It was really crazy. And they 100 00:05:31,160 --> 00:05:33,760 Speaker 1: decided to the record label said, you know, we're going 101 00:05:33,839 --> 00:05:36,599 Speaker 1: to film this and we're going to make a TV show, 102 00:05:36,600 --> 00:05:39,400 Speaker 1: an hour long show, which they did and it's you know, 103 00:05:39,440 --> 00:05:42,120 Speaker 1: it's it's pretty interesting because it's the Budaican Show a 104 00:05:42,160 --> 00:05:44,760 Speaker 1: part of it anyway, an hour with commercials, you know, 105 00:05:45,080 --> 00:05:47,800 Speaker 1: tooth based commercials and all that stuff. It's pretty funny. 106 00:05:48,800 --> 00:05:51,679 Speaker 1: But after that they said, you know, maybe we should 107 00:05:51,720 --> 00:05:55,000 Speaker 1: release this as a an album. Do you mind? Like no, 108 00:05:55,720 --> 00:05:58,719 Speaker 1: And I remember our manager going, yeah, there are departments 109 00:05:58,760 --> 00:06:00,200 Speaker 1: going to do the cover you we don't have to 110 00:06:00,200 --> 00:06:02,720 Speaker 1: do anything. It's like, okay, fine, and we were like, 111 00:06:03,080 --> 00:06:05,599 Speaker 1: the cover kind of sucks and this isn't that great, 112 00:06:05,640 --> 00:06:08,400 Speaker 1: and our manager said, don't worry about it. No one's 113 00:06:08,440 --> 00:06:14,200 Speaker 1: ever going to hear about this record. Okay, that's wild. 114 00:06:15,240 --> 00:06:18,159 Speaker 1: So much for the master plan, right, Yeah? So we uh. 115 00:06:18,400 --> 00:06:20,560 Speaker 1: In fact, when we got to Japan, we did not 116 00:06:21,200 --> 00:06:23,400 Speaker 1: even have I Want You to Want Me in the 117 00:06:23,600 --> 00:06:26,800 Speaker 1: set list, and the promoter goes, hey, we're still I 118 00:06:26,800 --> 00:06:29,479 Speaker 1: Want you to Want Me? Like, oh, we don't even 119 00:06:29,520 --> 00:06:32,880 Speaker 1: do it? What he's freaked? So, oh well, we played 120 00:06:32,880 --> 00:06:35,760 Speaker 1: it a million times in bars, so yeah, we can 121 00:06:35,800 --> 00:06:38,200 Speaker 1: do that easily. That turned out to be our biggest hit. 122 00:06:39,400 --> 00:06:42,440 Speaker 1: What do we know? Don't leave it to us is 123 00:06:42,440 --> 00:06:44,720 Speaker 1: what we know now. 124 00:06:44,880 --> 00:06:47,040 Speaker 2: As far as I Want You to Want Me, I mean. 125 00:06:47,080 --> 00:06:49,560 Speaker 1: That was even that was even around for our first album. 126 00:06:49,600 --> 00:06:51,000 Speaker 1: It didn't even make that record. 127 00:06:51,600 --> 00:06:54,560 Speaker 2: That's incredible. And now when you think about it, playing 128 00:06:54,600 --> 00:06:58,400 Speaker 2: it thousands of times, how does it feel, you know, 129 00:06:58,520 --> 00:07:01,960 Speaker 2: keeping it fresh every time you play it. 130 00:07:01,960 --> 00:07:04,200 Speaker 1: It's not that it's fresh every time. It just as 131 00:07:04,200 --> 00:07:08,719 Speaker 1: long as it seems like it's fresh, that's what counts. Yeah, amen, 132 00:07:09,360 --> 00:07:13,200 Speaker 1: looks like we're having a good time. That's what counts. Now. 133 00:07:13,200 --> 00:07:15,040 Speaker 2: Who were your bass heroes growing up? 134 00:07:16,000 --> 00:07:18,880 Speaker 1: Well? I started out as a guitar player, rhythm guitar player, 135 00:07:19,080 --> 00:07:20,880 Speaker 1: you know, and we were just you know, doing Beatles 136 00:07:20,880 --> 00:07:23,120 Speaker 1: songs and the Stones and all that, and you know, 137 00:07:23,280 --> 00:07:27,000 Speaker 1: high school events and you know, we were teenagers. So 138 00:07:27,040 --> 00:07:30,120 Speaker 1: everybody's doing the same thing. The Stones, the Kinks, the Beatles, 139 00:07:30,360 --> 00:07:35,440 Speaker 1: who you know who, that kind of stuff. And I 140 00:07:35,520 --> 00:07:37,720 Speaker 1: can't remember what I was. I had lost my train, 141 00:07:37,800 --> 00:07:39,760 Speaker 1: Well how do we keep it fresh? But doing what 142 00:07:39,800 --> 00:07:42,880 Speaker 1: I just did, we're just kind of daydreaming, you know. 143 00:07:42,920 --> 00:07:45,440 Speaker 1: They're like, oh, hey, whoa where am I? You know, 144 00:07:46,920 --> 00:07:50,360 Speaker 1: but our whole you know, we're alive. We're a freaking 145 00:07:50,480 --> 00:07:55,360 Speaker 1: bar band. And we played thousands of gigs, five four 146 00:07:55,440 --> 00:07:57,480 Speaker 1: or five sets of nights, six nights a week, that 147 00:07:57,600 --> 00:08:02,040 Speaker 1: kind of thing, driving around and completely destitute, no money, 148 00:08:02,520 --> 00:08:07,240 Speaker 1: no nothing, but we kept going. It doesn't seem like 149 00:08:07,280 --> 00:08:10,520 Speaker 1: a good idea, but it worked out for us. I 150 00:08:10,520 --> 00:08:15,480 Speaker 1: wouldn't advise anyone else to try it. But it's like, 151 00:08:15,880 --> 00:08:17,880 Speaker 1: if you've ever seen behind the Music or one of 152 00:08:18,000 --> 00:08:20,240 Speaker 1: you know, those type of shows. Did you ever seen 153 00:08:20,240 --> 00:08:21,400 Speaker 1: one of the happy ending. 154 00:08:22,280 --> 00:08:23,360 Speaker 2: No definitely not. 155 00:08:24,080 --> 00:08:27,000 Speaker 1: Yeah really, so there you are. 156 00:08:27,160 --> 00:08:32,560 Speaker 2: Maybe another type of washed up all of us. I'm 157 00:08:32,559 --> 00:08:37,920 Speaker 2: gonna hit you with with five fast questions here, okay, these. 158 00:08:38,880 --> 00:08:42,000 Speaker 1: Take a walk with Okay, Norma Jean, who would you 159 00:08:42,040 --> 00:08:44,520 Speaker 1: let Norman Jean? Norma Jean, she's the art show queen. 160 00:08:44,640 --> 00:08:48,280 Speaker 1: She was the art show queen before she became Maryland. 161 00:08:48,320 --> 00:08:50,080 Speaker 1: And I only know that because we just played in 162 00:08:50,160 --> 00:08:52,120 Speaker 1: Monterey and we were going through this little town and 163 00:08:52,160 --> 00:08:54,360 Speaker 1: they go, well, this is the art show capital and 164 00:08:54,440 --> 00:08:58,320 Speaker 1: Norma Jean. Okay, so I'll pick Norma perfect. 165 00:08:58,520 --> 00:09:03,199 Speaker 2: I love it, Okay. Twelve string base or four string. 166 00:09:03,840 --> 00:09:07,400 Speaker 1: Depends on what situation. Live, I only use the twelve string. 167 00:09:08,800 --> 00:09:11,720 Speaker 1: In the studio, I use whatever works for the songs, 168 00:09:12,200 --> 00:09:14,599 Speaker 1: and it's usually not the twelve string. Because you're in 169 00:09:14,600 --> 00:09:17,120 Speaker 1: the studios, you can overdub if you want to want 170 00:09:17,160 --> 00:09:19,120 Speaker 1: it to sound like a cello or a grand piano. 171 00:09:19,240 --> 00:09:22,080 Speaker 1: While you get one of those things and then batten 172 00:09:22,160 --> 00:09:24,679 Speaker 1: up the sound. You don't need to take up all 173 00:09:24,720 --> 00:09:28,160 Speaker 1: the space on a record. It's oh, it's completely different live. 174 00:09:28,960 --> 00:09:31,840 Speaker 1: All subtlety is gone. It doesn't you know, you know, 175 00:09:31,920 --> 00:09:34,880 Speaker 1: we're not out there making the records sound exactly like 176 00:09:34,960 --> 00:09:38,640 Speaker 1: the records. We never cared about that, like, oh, we 177 00:09:38,760 --> 00:09:40,760 Speaker 1: better not do that song because you can't do it live. 178 00:09:41,240 --> 00:09:45,280 Speaker 1: So what what matters is the recorded version. That's what 179 00:09:45,320 --> 00:09:49,520 Speaker 1: people are going to hear, So doing it live, that's 180 00:09:49,600 --> 00:09:50,400 Speaker 1: just a different thing. 181 00:09:51,880 --> 00:09:55,120 Speaker 2: Best city to play, to play live in? And why 182 00:09:56,360 --> 00:09:56,920 Speaker 2: best city? 183 00:09:57,000 --> 00:10:00,680 Speaker 1: There is no best city. It's the best venues. Usually 184 00:10:00,720 --> 00:10:04,199 Speaker 1: they're your theaters or something like that. Indoors. I mean 185 00:10:04,200 --> 00:10:07,839 Speaker 1: the worst venus are outdoor, the big arenas and all 186 00:10:07,840 --> 00:10:12,120 Speaker 1: that stuff. That's you know, it's just completely different. The 187 00:10:12,120 --> 00:10:15,800 Speaker 1: power you get in a club or a theater is 188 00:10:15,840 --> 00:10:16,679 Speaker 1: no comparison. 189 00:10:18,000 --> 00:10:19,760 Speaker 2: A piece of gear you can't live without. 190 00:10:20,920 --> 00:10:26,800 Speaker 1: Well, a bass guitar perfect, Well, I couldn't live without 191 00:10:26,800 --> 00:10:27,720 Speaker 1: that too, a piece of gear. 192 00:10:29,240 --> 00:10:32,439 Speaker 2: Is there a bass player you'd like to jam with? 193 00:10:33,640 --> 00:10:37,480 Speaker 1: They're all dead? No wow? Bass player to jam with? 194 00:10:38,320 --> 00:10:41,920 Speaker 1: No thanks? Yeah, somebody does not. Yeah, somebody that's not 195 00:10:42,080 --> 00:10:44,360 Speaker 1: very good. That would be good, That would be good. 196 00:10:44,559 --> 00:10:47,000 Speaker 1: Do I want a jam with John Entwhistler Paul McCartney? 197 00:10:47,080 --> 00:10:49,719 Speaker 1: I did you know even if I wanted to, that 198 00:10:50,000 --> 00:10:52,440 Speaker 1: would it's not in the cards. Well, I can't do 199 00:10:52,480 --> 00:10:54,720 Speaker 1: it with nt whistle But he was one of my 200 00:10:54,760 --> 00:10:57,160 Speaker 1: big heroes, even though at that point I was not 201 00:10:57,200 --> 00:11:00,520 Speaker 1: playing bass. I was a rhythm guitar player, saying with Paul, 202 00:11:00,720 --> 00:11:04,120 Speaker 1: So all that stuff I did as a teenager was 203 00:11:04,480 --> 00:11:07,280 Speaker 1: rhythm guitar stuff, so all the Rolling Stone stuff. So 204 00:11:07,320 --> 00:11:10,240 Speaker 1: I wasn't really influenced directly by the bass player. I 205 00:11:10,559 --> 00:11:13,720 Speaker 1: liked their style so and then there were all sorts 206 00:11:13,720 --> 00:11:17,160 Speaker 1: of different ones that you know. Eventually I liked Jack 207 00:11:17,240 --> 00:11:20,360 Speaker 1: Cassidy with the Airplane. I thought he was great. I thought, 208 00:11:20,480 --> 00:11:23,520 Speaker 1: you know, it's just all different people. Ronnie Wood was 209 00:11:23,559 --> 00:11:25,959 Speaker 1: one of my all time favorites with the Jeff Beck group. 210 00:11:26,720 --> 00:11:29,840 Speaker 1: Now he doesn't get any credit, well for me, he does, 211 00:11:29,960 --> 00:11:32,840 Speaker 1: but doesn't get much credit for that work he did 212 00:11:32,880 --> 00:11:37,160 Speaker 1: with Jeff and with Rod's solo stuff. His bass playing 213 00:11:37,240 --> 00:11:40,880 Speaker 1: is terrific, and it's it's the kind of thing. It's 214 00:11:40,920 --> 00:11:43,960 Speaker 1: the bass playing that's kind of taken from a guitar 215 00:11:44,000 --> 00:11:47,280 Speaker 1: player's point of view, which is where I came from. 216 00:11:47,480 --> 00:11:50,240 Speaker 1: It's not typical. Oh I sat around listening to this, 217 00:11:50,360 --> 00:11:52,079 Speaker 1: and you know, I got to hook up with the 218 00:11:52,160 --> 00:11:54,439 Speaker 1: kick drum and I gotta do it. Was none of that, 219 00:11:55,240 --> 00:11:59,360 Speaker 1: just what feels right, Just do it. So it's a 220 00:11:59,360 --> 00:12:02,560 Speaker 1: combination of a rhythm thing and an orchestra thing and 221 00:12:02,640 --> 00:12:06,040 Speaker 1: the base you know, just it's just a it's basically 222 00:12:06,040 --> 00:12:07,559 Speaker 1: an orchestrated sound. 223 00:12:08,760 --> 00:12:12,240 Speaker 2: Finish this sentence. The new cheap trick music is. 224 00:12:13,720 --> 00:12:19,280 Speaker 1: The new cheap trick music is unbeatable. 225 00:12:19,960 --> 00:12:20,440 Speaker 2: Amen. 226 00:12:21,280 --> 00:12:24,960 Speaker 1: Yes, if you like riffs, on't quit. It's your lucky day. 227 00:12:25,880 --> 00:12:32,760 Speaker 2: Yeah, don't too bad. I'm gonna single out another song 228 00:12:32,840 --> 00:12:36,880 Speaker 2: here since I live outside of Boston, down the road 229 00:12:37,480 --> 00:12:40,000 Speaker 2: Tom from this place called Wooster. 230 00:12:40,840 --> 00:12:43,240 Speaker 1: So oh yeah, that's how you pronounced that. 231 00:12:43,400 --> 00:12:47,920 Speaker 2: Yes, a long way to Wooster. Tell me about that. 232 00:12:50,240 --> 00:12:54,920 Speaker 1: It's always a long way to Wister. Always. There's no 233 00:12:55,040 --> 00:12:56,920 Speaker 1: great way to get that. It's impossible to get there 234 00:12:56,960 --> 00:12:59,599 Speaker 1: from here. I'm in San Francisco right now, so I 235 00:12:59,600 --> 00:13:02,959 Speaker 1: don't want to know about going to Worcester. That's way too. 236 00:13:03,120 --> 00:13:04,680 Speaker 1: That's a long drive. 237 00:13:04,400 --> 00:13:06,439 Speaker 2: From here, always has been. 238 00:13:06,720 --> 00:13:11,240 Speaker 1: Yeah, especially in the of the sixties. Bondabille pulling a 239 00:13:11,320 --> 00:13:12,839 Speaker 1: U haul trailer, that's a long drive. 240 00:13:12,920 --> 00:13:16,840 Speaker 2: That's a long drive. Yeah, but a terrific rock and 241 00:13:16,920 --> 00:13:20,360 Speaker 2: roll city. I mean, you know, they love their rock 242 00:13:20,400 --> 00:13:24,240 Speaker 2: and roll. Boston is in general, I say Boston in general, 243 00:13:24,280 --> 00:13:29,079 Speaker 2: but Wooster always had that little you know, we're the underdog. 244 00:13:29,400 --> 00:13:31,439 Speaker 1: Started like Philadelphia, New York, a. 245 00:13:31,400 --> 00:13:33,679 Speaker 2: Little bit like that. Yeah, in fact, as far as 246 00:13:33,679 --> 00:13:35,600 Speaker 2: Wooster versus Boston, for sure. 247 00:13:35,880 --> 00:13:38,559 Speaker 1: Yeah, yeah, that's what I mean. He writes, I don't 248 00:13:38,600 --> 00:13:40,640 Speaker 1: know anything about it. We show up, we do the show, 249 00:13:40,679 --> 00:13:43,360 Speaker 1: and then we leave. I never stayed in Wister, but 250 00:13:43,880 --> 00:13:44,920 Speaker 1: I'm now I'm gonna have to. 251 00:13:45,440 --> 00:13:48,079 Speaker 2: Yeah, well, at least maybe. 252 00:13:48,800 --> 00:13:50,120 Speaker 1: To pounce it and spell it. 253 00:13:51,160 --> 00:13:56,800 Speaker 2: Yes, exactly. Tell me about the process of putting the 254 00:13:56,840 --> 00:13:59,400 Speaker 2: new music together. It was recorded in a couple of 255 00:13:59,400 --> 00:14:00,800 Speaker 2: different plays, wasn't. 256 00:14:00,559 --> 00:14:04,760 Speaker 1: It mainly in Nashville. All the tracks and stuff we do, 257 00:14:04,960 --> 00:14:08,120 Speaker 1: we do those live and go from there. And some 258 00:14:08,160 --> 00:14:11,520 Speaker 1: of the vocals it's here that we're done in Los Angeles? 259 00:14:12,120 --> 00:14:16,160 Speaker 2: And so was there anything in this process that was 260 00:14:16,200 --> 00:14:18,200 Speaker 2: a little different for you guys? Or is this is 261 00:14:18,240 --> 00:14:21,800 Speaker 2: pretty much the way you guys always put great music together. 262 00:14:22,760 --> 00:14:26,680 Speaker 1: This is pretty much how great music is put together. Yes, 263 00:14:27,360 --> 00:14:29,560 Speaker 1: the way we do it. If we do it, it's 264 00:14:29,560 --> 00:14:31,000 Speaker 1: gonna be great. How about that? 265 00:14:31,440 --> 00:14:32,320 Speaker 2: Yeah? Amen? 266 00:14:32,720 --> 00:14:35,480 Speaker 1: Well, but he agrees with that. That's a different story. 267 00:14:35,520 --> 00:14:40,560 Speaker 2: But I love twelve Gates. It It's outstanding and it's 268 00:14:40,640 --> 00:14:45,800 Speaker 2: obviously got influence from a band that's very close to 269 00:14:45,840 --> 00:14:51,160 Speaker 2: you guys, namely the Beatles, obviously. But tell me about 270 00:14:51,200 --> 00:14:55,520 Speaker 2: that song and you know how that came together because 271 00:14:55,560 --> 00:14:58,120 Speaker 2: it sounds awesome like the whole album. 272 00:14:58,800 --> 00:15:00,960 Speaker 1: Well, that was just one of those things we put 273 00:15:01,000 --> 00:15:04,800 Speaker 1: together song ideas and then play them for each other. So, hey, 274 00:15:04,800 --> 00:15:06,840 Speaker 1: I got this, what have we got that? That was 275 00:15:06,880 --> 00:15:08,560 Speaker 1: a track that I had come up with, but I 276 00:15:08,600 --> 00:15:11,560 Speaker 1: didn't have any vocal idea. I didn't have any vocal 277 00:15:12,040 --> 00:15:15,240 Speaker 1: hearts or anything. And Robin immediately just jumped on like, 278 00:15:15,280 --> 00:15:17,520 Speaker 1: oh I love that. I've got some great ideas for that. 279 00:15:17,600 --> 00:15:20,280 Speaker 1: So that's just how that fell together. But that's kind 280 00:15:20,320 --> 00:15:22,920 Speaker 1: of like all of the songs. You know, somebody's got 281 00:15:22,960 --> 00:15:25,040 Speaker 1: an idea and I go, hey, that's what's that? And 282 00:15:25,160 --> 00:15:28,000 Speaker 1: usually the person that's idea it is it is not 283 00:15:28,760 --> 00:15:31,880 Speaker 1: sure is this any good? You're too close to it. 284 00:15:31,920 --> 00:15:35,040 Speaker 1: You're like, hey, somebody else goes, hey, wow, what's that? Like? 285 00:15:35,120 --> 00:15:37,920 Speaker 1: Oh I don't know, that was just some weird riff. No, no, no, 286 00:15:38,000 --> 00:15:41,960 Speaker 1: that's great, let's okay go with that. Usually the person 287 00:15:42,000 --> 00:15:45,480 Speaker 1: that's responsible for the original idea has no idea how 288 00:15:45,520 --> 00:15:48,440 Speaker 1: good or bad it is. This is for the rest 289 00:15:48,440 --> 00:15:51,240 Speaker 1: of us to decide like, ah, no, no, that's a 290 00:15:51,280 --> 00:15:51,880 Speaker 1: bad idea. 291 00:15:52,440 --> 00:15:54,640 Speaker 3: We'll be right back with more of the Taking a 292 00:15:54,640 --> 00:16:02,880 Speaker 3: Walk Podcast. Welcome back to the Taking a Walk Podcast. 293 00:16:04,000 --> 00:16:07,480 Speaker 2: You know, the music industry has changed completely since you 294 00:16:07,520 --> 00:16:11,920 Speaker 2: guys started out, you know, streaming and social media and everything. 295 00:16:12,800 --> 00:16:15,960 Speaker 2: How do you navigate that change? Do you even think 296 00:16:16,000 --> 00:16:18,600 Speaker 2: about that change? Or is it just full steam ahead, 297 00:16:18,720 --> 00:16:22,520 Speaker 2: cheap trick. We're here man, it's we don't think about it. 298 00:16:22,680 --> 00:16:26,760 Speaker 1: Anything that we've actually planned never worked out, So just 299 00:16:26,880 --> 00:16:28,880 Speaker 1: let the chips fall where they may. 300 00:16:29,680 --> 00:16:31,800 Speaker 2: I have a feeling when I think back at the 301 00:16:31,880 --> 00:16:37,520 Speaker 2: way everything came together, you know, the success first abroad 302 00:16:38,200 --> 00:16:41,560 Speaker 2: and then obviously the success that came with the US. 303 00:16:42,000 --> 00:16:44,560 Speaker 2: Didn't it kind of first because of your you know, 304 00:16:44,680 --> 00:16:48,160 Speaker 2: Midwest roots. Didn't it first start in the Midwest and 305 00:16:48,280 --> 00:16:52,120 Speaker 2: kind of sprout to the respective coasts. Wasn't that your 306 00:16:52,480 --> 00:16:53,920 Speaker 2: core first in the US? 307 00:16:54,560 --> 00:16:59,960 Speaker 1: A No, the first place that we were really popular, 308 00:17:00,880 --> 00:17:04,200 Speaker 1: because in those days, it just depended on what area 309 00:17:04,400 --> 00:17:06,800 Speaker 1: you were. In different parts of the country, they would 310 00:17:06,800 --> 00:17:10,480 Speaker 1: all have local radio stations, and the disc jockeys, believe 311 00:17:10,520 --> 00:17:13,719 Speaker 1: this or not, would actually choose what songs they played 312 00:17:13,720 --> 00:17:18,240 Speaker 1: and just you know. So we became successful for some 313 00:17:18,320 --> 00:17:21,520 Speaker 1: reason out of the blue in Buffalo, New York. Okay, 314 00:17:21,920 --> 00:17:27,080 Speaker 1: so we're playing for four people in Shaky's pizza parlors 315 00:17:27,119 --> 00:17:30,639 Speaker 1: everywhere else excepting Buffalo, and we were selling out this 316 00:17:30,760 --> 00:17:33,440 Speaker 1: theater downtown, Like wow, this is wow what happened here? 317 00:17:33,840 --> 00:17:35,439 Speaker 1: And then the same thing kind of happened to us 318 00:17:35,440 --> 00:17:40,680 Speaker 1: in Los Angeles. Rodney Bingenheimer, he's the mayor of Hollywood. 319 00:17:41,400 --> 00:17:44,480 Speaker 1: He took a liking to us and took us under 320 00:17:44,520 --> 00:17:47,400 Speaker 1: his wing at that time and just showed us around 321 00:17:47,480 --> 00:17:49,399 Speaker 1: and was put us on you know, K Rock and 322 00:17:49,440 --> 00:17:53,240 Speaker 1: all this stuff. So we had success in Los Angeles 323 00:17:53,280 --> 00:17:56,760 Speaker 1: in the general area that we are from. There was 324 00:17:56,800 --> 00:18:00,600 Speaker 1: nothing there. We weren't getting radio play, we weren't get support. 325 00:18:00,680 --> 00:18:04,399 Speaker 1: It's like, you know, so now that's all forgotten, Like 326 00:18:04,560 --> 00:18:08,120 Speaker 1: oh really, yeah, hey great. We didn't break out of there. 327 00:18:08,160 --> 00:18:13,320 Speaker 1: We started there and we became a local bar draw. 328 00:18:14,000 --> 00:18:18,400 Speaker 1: So we were successful in that world. But beyond that, 329 00:18:18,480 --> 00:18:20,320 Speaker 1: once a record came out, it wasn't like, oh, all 330 00:18:20,359 --> 00:18:23,280 Speaker 1: the stations in Chicago and Rockford and Madison and the Walker, 331 00:18:23,359 --> 00:18:28,240 Speaker 1: they all started playing us. No none of them did. Thanks, 332 00:18:29,720 --> 00:18:32,600 Speaker 1: thanks for nothing. It's just it's the luck of the 333 00:18:32,680 --> 00:18:35,399 Speaker 1: damn draw then when you get lucky in Japan. Who knew? 334 00:18:35,480 --> 00:18:39,239 Speaker 1: You know, we had no idea. We still don't are. 335 00:18:39,280 --> 00:18:43,080 Speaker 2: There's some bands today, some newer bands that you guys 336 00:18:43,119 --> 00:18:44,520 Speaker 2: listened to, that you listened to. 337 00:18:45,880 --> 00:18:47,520 Speaker 1: Yes, but I can't think of any of the top 338 00:18:47,520 --> 00:18:49,960 Speaker 1: of my head. But yeah, I listened to all sorts 339 00:18:50,000 --> 00:18:50,440 Speaker 1: of stuff. 340 00:18:50,560 --> 00:18:53,760 Speaker 2: Is there anything on your playlist that we'd be surprised at? 341 00:18:54,280 --> 00:18:57,720 Speaker 1: Probably? You mean like VIAGRAA Boys or something like that. 342 00:19:00,080 --> 00:19:09,560 Speaker 1: Of those guys pretty funny, you know. I like stuff 343 00:19:09,560 --> 00:19:11,480 Speaker 1: that's got a good time to hum. I don't really. 344 00:19:11,720 --> 00:19:15,040 Speaker 1: I don't listen to regular radio as far as songs 345 00:19:15,080 --> 00:19:18,840 Speaker 1: like it drives me crazy. I hate everything that's you know, 346 00:19:19,440 --> 00:19:22,080 Speaker 1: most things, And I don't want to hear as much 347 00:19:22,119 --> 00:19:24,920 Speaker 1: as i'd love led Zeppelin or whatever act it might be. 348 00:19:25,400 --> 00:19:28,639 Speaker 1: Do I need to hear Cebory the Heaven all the time? No, 349 00:19:29,119 --> 00:19:31,439 Speaker 1: let's play some damn deep tracks. Do I need to 350 00:19:31,440 --> 00:19:34,320 Speaker 1: hear all right now? By Free? No? I like you, 351 00:19:34,440 --> 00:19:36,600 Speaker 1: mister Big, It's not you whatever it is, it's all 352 00:19:37,160 --> 00:19:40,960 Speaker 1: pop radio. It never I don't listen to it. Kind 353 00:19:40,960 --> 00:19:43,240 Speaker 1: of the joke is if it's not played on NPR, 354 00:19:43,359 --> 00:19:45,840 Speaker 1: I don't hear it. But I get a lot of 355 00:19:46,960 --> 00:19:49,960 Speaker 1: ideas from people on Instagram that have like songs in 356 00:19:50,000 --> 00:19:52,360 Speaker 1: the background of their posts, and it's like, hey, wow, 357 00:19:52,440 --> 00:19:54,879 Speaker 1: what's that. That's a cool one. Oh, that's l seven, 358 00:19:55,200 --> 00:19:58,840 Speaker 1: what's that that's cool? You know, it's just all different stuff. 359 00:19:59,200 --> 00:20:02,399 Speaker 1: I like to hear things that I have never heard before. 360 00:20:03,119 --> 00:20:05,480 Speaker 1: But the hard part with that is I also like 361 00:20:05,560 --> 00:20:07,760 Speaker 1: to know who it is. I can look them up, 362 00:20:07,840 --> 00:20:11,159 Speaker 1: you know, or something that's so bad that I have 363 00:20:11,240 --> 00:20:14,080 Speaker 1: to look it up. Pull over, who is this? I 364 00:20:14,080 --> 00:20:15,919 Speaker 1: gotta wait till they say who this is? This is 365 00:20:15,960 --> 00:20:19,400 Speaker 1: the biggest bunch of shit I've ever heard. And then 366 00:20:19,400 --> 00:20:23,480 Speaker 1: it's then it's the top act in the US suddenly like, Okay, 367 00:20:25,119 --> 00:20:27,520 Speaker 1: I'm not going to name any names. If I was 368 00:20:27,560 --> 00:20:30,040 Speaker 1: an oasis, I could start naming names. I'm not going to. 369 00:20:30,200 --> 00:20:33,520 Speaker 1: You know, it's anybody has any success at all, it's 370 00:20:33,520 --> 00:20:35,520 Speaker 1: like more power to them. You know. This is far 371 00:20:35,600 --> 00:20:39,240 Speaker 1: be it from me to question anybody. It's just a 372 00:20:39,920 --> 00:20:41,440 Speaker 1: damn crap shoot anyway. 373 00:20:41,560 --> 00:20:45,639 Speaker 2: So, but you said earlier about the state of the DJs, 374 00:20:45,720 --> 00:20:48,800 Speaker 2: back when you know, cheap trick broke out. The DJs 375 00:20:48,960 --> 00:20:52,119 Speaker 2: had an actual you know, say, they could play what 376 00:20:52,160 --> 00:20:55,040 Speaker 2: they wanted. They didn't have to go ask anybody, and 377 00:20:55,080 --> 00:20:57,959 Speaker 2: it was it was the freedom of that. And they 378 00:20:58,000 --> 00:21:00,600 Speaker 2: knew their audience, you know, they were what they were 379 00:21:00,640 --> 00:21:04,959 Speaker 2: passionate about. They played, and it was it was way different. 380 00:21:05,000 --> 00:21:08,360 Speaker 2: I totally agree with you in that regard. 381 00:21:08,440 --> 00:21:12,200 Speaker 1: You know, yeah, it was way different. And there were 382 00:21:12,240 --> 00:21:15,359 Speaker 1: college reps and college radio and you know, you didn't 383 00:21:15,359 --> 00:21:18,399 Speaker 1: just get every radio station you had to. You know, 384 00:21:18,960 --> 00:21:22,399 Speaker 1: there were all these underground like pirate radio kind of stations, 385 00:21:22,480 --> 00:21:25,600 Speaker 1: not a Little Rock Arkansas of all Pergin things, and 386 00:21:25,640 --> 00:21:28,199 Speaker 1: you can only really get it at night because it 387 00:21:28,240 --> 00:21:32,000 Speaker 1: was cloudy, so the radio waves, I don't know. So 388 00:21:32,080 --> 00:21:35,800 Speaker 1: it was different everywhere. Nobody knew what was going on 389 00:21:35,920 --> 00:21:39,199 Speaker 1: anywhere else except in their own neck of the woods. 390 00:21:39,760 --> 00:21:41,600 Speaker 1: You know, they didn't know anything of you know, all 391 00:21:41,680 --> 00:21:43,800 Speaker 1: people dressing, what are they doing? What I'm listening to? 392 00:21:44,880 --> 00:21:46,399 Speaker 1: It was all you had to just go there and 393 00:21:46,440 --> 00:21:50,760 Speaker 1: try to find out. In those days, there was no 394 00:21:50,880 --> 00:21:54,400 Speaker 1: information basically about anything. You had to really search for it. 395 00:21:54,680 --> 00:21:57,920 Speaker 1: Now it's the opposite. There's so much that you can't 396 00:21:58,040 --> 00:22:00,200 Speaker 1: keep track of it. 397 00:22:00,200 --> 00:22:03,520 Speaker 2: It's overwhelming. Ultimately, first time I ever played you on 398 00:22:03,560 --> 00:22:06,320 Speaker 2: the radio, it was actually it was a college radio station. 399 00:22:06,440 --> 00:22:10,680 Speaker 2: It was the station that was owned by the University 400 00:22:10,720 --> 00:22:13,879 Speaker 2: of Dayton and Dayton, Ohio. It was called WVUD, and 401 00:22:13,960 --> 00:22:16,399 Speaker 2: it was like a it was a commercial college station, 402 00:22:16,880 --> 00:22:20,360 Speaker 2: but we still played whatever we wanted, and it was. 403 00:22:20,480 --> 00:22:22,960 Speaker 1: Yeah, you're putting you know. In those days too, the 404 00:22:23,040 --> 00:22:26,159 Speaker 1: stuff that was on the right was more up with 405 00:22:26,280 --> 00:22:29,000 Speaker 1: people and Pat Boone or whatever, you know who. You 406 00:22:29,200 --> 00:22:32,119 Speaker 1: just this kind of middle of the road man be 407 00:22:32,320 --> 00:22:35,800 Speaker 1: pamby stuff. And then we're listening to the Yardbirds and 408 00:22:35,840 --> 00:22:38,320 Speaker 1: the Kinks and the Beatles and the Who and the 409 00:22:38,400 --> 00:22:42,239 Speaker 1: Stones and all this. That stuff was completely underground. Those 410 00:22:42,280 --> 00:22:45,800 Speaker 1: were not hit The Beatles, that's they're a different category. 411 00:22:45,880 --> 00:22:48,959 Speaker 1: They're just you can't even compare what happened or what 412 00:22:49,000 --> 00:22:50,760 Speaker 1: they did or you know anything about them. They're in 413 00:22:50,760 --> 00:22:56,000 Speaker 1: a different world. But everybody else from the Stones on down, 414 00:22:56,320 --> 00:22:59,680 Speaker 1: that was all underground. That was stuff you led Zeppelin say, 415 00:22:59,720 --> 00:23:02,080 Speaker 1: that was to me. The le Zeppelin is one of 416 00:23:02,119 --> 00:23:04,760 Speaker 1: the newer groups, and that just so far back that go. 417 00:23:05,359 --> 00:23:08,960 Speaker 1: You know, they weren't until a bit later, but even 418 00:23:08,960 --> 00:23:12,359 Speaker 1: that stuff was I wasn't played on the normal radio. 419 00:23:12,440 --> 00:23:13,440 Speaker 1: Those weren't hits. 420 00:23:14,119 --> 00:23:17,600 Speaker 2: Tell me about your Ed Sullivan moment watching the Beatles 421 00:23:17,640 --> 00:23:21,040 Speaker 2: on Ed Sullivan Describe that moment. 422 00:23:20,920 --> 00:23:24,879 Speaker 1: For me, Well, it was the second time I'd seen them, 423 00:23:25,000 --> 00:23:28,920 Speaker 1: because I saw them first a few months earlier on 424 00:23:29,040 --> 00:23:31,679 Speaker 1: Jack the Jack Parr Show, eased to about Jagpire. Now 425 00:23:32,480 --> 00:23:36,280 Speaker 1: that would have been sixty three, and he goes, I 426 00:23:36,320 --> 00:23:38,879 Speaker 1: went to England and there's this group and they're throwing 427 00:23:38,960 --> 00:23:41,600 Speaker 1: jelly babies and it's like, this is nuts, and they've 428 00:23:41,640 --> 00:23:45,000 Speaker 1: got hair like girls in a sense pandemonium, like, what 429 00:23:45,040 --> 00:23:48,000 Speaker 1: the hell is this? Wow? This is wow? That was 430 00:23:48,040 --> 00:23:50,720 Speaker 1: really these guys look are cool, all right? What's that? 431 00:23:50,800 --> 00:23:53,320 Speaker 1: So then you know, that was that, And then then 432 00:23:53,400 --> 00:23:56,840 Speaker 1: they showed up in America. It's all of it, and 433 00:23:56,920 --> 00:24:01,440 Speaker 1: you know, everything changed. It's hard to even and describe it. 434 00:24:01,440 --> 00:24:06,760 Speaker 1: It's the whole society changed. Just everything, the whole culture 435 00:24:07,000 --> 00:24:10,640 Speaker 1: was turned on its head at that moment. And there 436 00:24:10,680 --> 00:24:14,639 Speaker 1: we are, all these kids, baby boomers, you know, with 437 00:24:14,760 --> 00:24:18,080 Speaker 1: the World War two parents, you know, there, there we are. 438 00:24:18,119 --> 00:24:21,600 Speaker 1: You know, they didn't like any of this kind of stuff. 439 00:24:22,000 --> 00:24:24,520 Speaker 1: They were not fans of the Beetles and the Stones 440 00:24:24,560 --> 00:24:28,399 Speaker 1: and the Who not even close. So it was this 441 00:24:28,560 --> 00:24:31,840 Speaker 1: battle against kind of the establishment. But it wasn't even 442 00:24:31,920 --> 00:24:34,199 Speaker 1: fact like why we're not competing with these We just 443 00:24:34,320 --> 00:24:37,800 Speaker 1: like this stuff. But it was not popular. You didn't 444 00:24:37,840 --> 00:24:40,639 Speaker 1: see those groups winning Grammys or anything like that. 445 00:24:41,720 --> 00:24:44,560 Speaker 2: It was viewed as a subversive right. 446 00:24:45,080 --> 00:24:48,879 Speaker 1: Yes, and then eventually it didn't help when Charles Manson 447 00:24:48,960 --> 00:24:50,560 Speaker 1: came around. But all of a sudden you were not 448 00:24:50,640 --> 00:24:54,320 Speaker 1: only you know, offensive to people, you were also murderers. 449 00:24:54,520 --> 00:24:55,240 Speaker 1: So there you go. 450 00:24:55,680 --> 00:24:58,920 Speaker 2: Thanks, So cheap Trick is going to be out with 451 00:24:59,080 --> 00:25:02,920 Speaker 2: some non time, NonStop tour schedule. 452 00:25:03,640 --> 00:25:05,399 Speaker 1: Might as well be NonStop, Yes. 453 00:25:05,359 --> 00:25:09,359 Speaker 2: Pretty pretty close. You're going to be out a long 454 00:25:09,440 --> 00:25:11,800 Speaker 2: time and a lot of places seeing people. Tell me, 455 00:25:12,160 --> 00:25:15,639 Speaker 2: tell me what playing live to this day still means 456 00:25:15,680 --> 00:25:16,879 Speaker 2: to you and the band. 457 00:25:18,000 --> 00:25:21,639 Speaker 1: Well, it's different because now we've done it so long 458 00:25:21,800 --> 00:25:24,720 Speaker 1: and we have a lot of the hardcore fans and 459 00:25:24,920 --> 00:25:28,200 Speaker 1: at pretty much any show that we do, no matter 460 00:25:28,200 --> 00:25:30,879 Speaker 1: where it is, we will actually know people in the 461 00:25:30,920 --> 00:25:34,640 Speaker 1: audience and it seems like a bit of a family reunion. 462 00:25:34,680 --> 00:25:36,800 Speaker 1: It's great, like, oh, look at there's so and so 463 00:25:36,840 --> 00:25:39,040 Speaker 1: out there. Then we're in Tokyo. What the hell? You know? 464 00:25:39,760 --> 00:25:42,440 Speaker 1: It becomes like a big family in a way. Even 465 00:25:42,440 --> 00:25:44,520 Speaker 1: though you don't know necessarily the people's names, we do 466 00:25:44,600 --> 00:25:46,800 Speaker 1: know a lot of them. But now it's to the 467 00:25:46,800 --> 00:25:50,200 Speaker 1: point where we've got people bringing their kids and they're 468 00:25:50,240 --> 00:25:52,800 Speaker 1: you know, the young people are are singing along with 469 00:25:53,080 --> 00:25:56,760 Speaker 1: deep cuts. Now that's weird. It's one thing to sing 470 00:25:56,800 --> 00:25:59,639 Speaker 1: along with. I want you to want your obvious songs 471 00:25:59,640 --> 00:26:03,280 Speaker 1: that people probably heard, but once they start going along 472 00:26:03,320 --> 00:26:07,320 Speaker 1: with tracks that you know that no normal person listened to, 473 00:26:08,800 --> 00:26:13,359 Speaker 1: so I don't know, you know, it's it's like a 474 00:26:13,520 --> 00:26:16,399 Speaker 1: it's like a big family. We don't want to go 475 00:26:16,440 --> 00:26:19,320 Speaker 1: out there and sound like shit, but you know, it 476 00:26:19,440 --> 00:26:22,960 Speaker 1: is what it is. So if we do eh, like 477 00:26:23,040 --> 00:26:28,760 Speaker 1: Rick says, our mistakes are better than anyone else's. There's 478 00:26:28,800 --> 00:26:30,960 Speaker 1: something my dad know what he says. I can't listen 479 00:26:31,000 --> 00:26:32,080 Speaker 1: to him. That's all right. 480 00:26:32,560 --> 00:26:37,040 Speaker 2: Is there one song that surprises you that has emerged 481 00:26:37,080 --> 00:26:40,520 Speaker 2: as a deep track that you see people responding to? 482 00:26:41,080 --> 00:26:44,000 Speaker 2: You know that you're like, Holy mackerel, that one they love? 483 00:26:44,119 --> 00:26:45,040 Speaker 2: I mean, is there one that? 484 00:26:45,160 --> 00:26:45,399 Speaker 3: Is there? 485 00:26:45,400 --> 00:26:46,399 Speaker 2: One that comes to mind? 486 00:26:47,440 --> 00:26:53,200 Speaker 1: Well? The thing is our biggest hit single was the Flank, 487 00:26:53,720 --> 00:26:56,439 Speaker 1: which we didn't write. That was a power ballad, and 488 00:26:56,480 --> 00:26:59,760 Speaker 1: it really wasn't. It wasn't something we were doing, even though, 489 00:26:59,840 --> 00:27:02,400 Speaker 1: you know. And our second biggest hit was I Want 490 00:27:02,440 --> 00:27:06,159 Speaker 1: You to Want Me, which is ours. But none of 491 00:27:06,160 --> 00:27:09,040 Speaker 1: the other songs were hits, not big hits like that, 492 00:27:09,200 --> 00:27:12,520 Speaker 1: so people think, oh, dream Please it was a hit Surrendered. No, 493 00:27:13,080 --> 00:27:17,879 Speaker 1: those were deep tracks. So almost all of our twenty 494 00:27:17,920 --> 00:27:20,440 Speaker 1: one records except where I Want You to Want Me, 495 00:27:21,920 --> 00:27:24,520 Speaker 1: they're all deep cuts. I don't care what it is. 496 00:27:24,720 --> 00:27:28,000 Speaker 1: Dream Police, that was not a hit. California Man, that 497 00:27:28,119 --> 00:27:31,160 Speaker 1: was not a hit. I Want You to Want Me? Yes, 498 00:27:31,400 --> 00:27:34,840 Speaker 1: the Flame? Yes? What else was a hit? Don't be cruel. 499 00:27:35,359 --> 00:27:39,160 Speaker 1: We were the only act to cover an Elvis saw 500 00:27:39,840 --> 00:27:42,960 Speaker 1: to get into the top five besides himself, and I 501 00:27:43,000 --> 00:27:47,320 Speaker 1: thought that can't be true, and it is, I think. 502 00:27:48,359 --> 00:27:51,960 Speaker 1: But that was a minor hit. Ain't that a shame? 503 00:27:52,080 --> 00:27:56,000 Speaker 1: Was kind of a hit for us too, But in general, 504 00:27:56,560 --> 00:27:59,600 Speaker 1: they're all deep tracks. It's kind of like the un 505 00:27:59,600 --> 00:28:02,760 Speaker 1: Occasion Breakdown or whatever bled Zeppelin songs, you know, those 506 00:28:02,760 --> 00:28:05,160 Speaker 1: were not hits. I don't think Stair Where It Happened 507 00:28:05,200 --> 00:28:07,719 Speaker 1: was a hit either, right, I don't think it was. 508 00:28:08,359 --> 00:28:11,240 Speaker 1: We've certainly all heard it enough. You know, it's Smoke 509 00:28:11,320 --> 00:28:14,200 Speaker 1: on the water. Is that a hit? I don't know, maybe, 510 00:28:14,720 --> 00:28:16,720 Speaker 1: but we've heard it enough. You know, Oh that was 511 00:28:16,760 --> 00:28:18,399 Speaker 1: a big ye dreamfully that was a big hit. No 512 00:28:18,480 --> 00:28:21,400 Speaker 1: it was not a big hit. No it wasn't. 513 00:28:22,160 --> 00:28:25,280 Speaker 2: So the band was was obviously inducted as it should 514 00:28:25,320 --> 00:28:27,360 Speaker 2: have been some time ago in the Rock and Roll 515 00:28:27,400 --> 00:28:31,199 Speaker 2: Hall of Fame. As we're recording this, the Rock and 516 00:28:31,240 --> 00:28:34,320 Speaker 2: Roll Hall of Fame ceremonies just occurred. As a band 517 00:28:34,359 --> 00:28:37,880 Speaker 2: that's in the rock Hall? Is there a band that 518 00:28:38,480 --> 00:28:41,800 Speaker 2: annoys you to know end that should be in that 519 00:28:41,960 --> 00:28:42,280 Speaker 2: isn't in. 520 00:28:43,440 --> 00:28:46,040 Speaker 1: I'm not surprised that a lot of the acts that 521 00:28:46,080 --> 00:28:48,760 Speaker 1: I like are not here. You know, I don't even 522 00:28:48,760 --> 00:28:51,840 Speaker 1: know what the parameters are, how you're getting or what. 523 00:28:52,200 --> 00:28:54,280 Speaker 1: You know. There wasn't the Hall of Fame when we started, 524 00:28:54,280 --> 00:28:56,320 Speaker 1: so it wasn't something we're like, oh, inspired you to 525 00:28:56,400 --> 00:28:58,760 Speaker 1: the Hall of Fame. No, you know, there wasn't one 526 00:28:58,880 --> 00:29:03,280 Speaker 1: to start with. And it's always like, well, who's judging this? 527 00:29:03,440 --> 00:29:07,520 Speaker 1: It's not like stats and baseball or footballers, you know, 528 00:29:07,640 --> 00:29:10,880 Speaker 1: it's why should we be in there instead of somebody else? 529 00:29:10,920 --> 00:29:13,520 Speaker 1: I have no idea. But it's the kind of thing 530 00:29:13,560 --> 00:29:15,560 Speaker 1: where we didn't think about it and didn't really we 531 00:29:15,560 --> 00:29:19,160 Speaker 1: weren't thinking about it. It's like, whoa, we got what Oh, 532 00:29:19,160 --> 00:29:22,360 Speaker 1: we're on the list, you know, we voted on like wow, 533 00:29:22,400 --> 00:29:24,160 Speaker 1: how do we get on the list? And then boom 534 00:29:24,160 --> 00:29:26,840 Speaker 1: we got in. It was it didn't really hit us 535 00:29:26,920 --> 00:29:30,760 Speaker 1: until we actually got there and we're at the venue 536 00:29:30,960 --> 00:29:32,920 Speaker 1: and it was like, wow, look at all these people, 537 00:29:33,080 --> 00:29:35,160 Speaker 1: you know, what are how do we fit in here? 538 00:29:35,200 --> 00:29:39,000 Speaker 1: Like Jesus, Jerrmy Lewis, Bat's Domino, you know, the Stones, Like, 539 00:29:39,680 --> 00:29:41,959 Speaker 1: but but the hell, We'll take it. 540 00:29:41,960 --> 00:29:47,280 Speaker 2: It's wonderful. Tom Peterson, congrats on the new music all stuff. 541 00:29:48,280 --> 00:29:50,800 Speaker 1: See, that's what that makes me happy. That's that's why 542 00:29:50,840 --> 00:29:54,120 Speaker 1: we do it. It's for you and for it's like 543 00:29:54,240 --> 00:29:56,320 Speaker 1: friends and family. If you can't play it for your 544 00:29:56,320 --> 00:29:59,000 Speaker 1: friends and family, like yeah, I know this is shit, 545 00:29:59,120 --> 00:30:02,720 Speaker 1: but people are gonna it like uh yeah, okay, yeah, 546 00:30:03,120 --> 00:30:06,200 Speaker 1: I always like that. Oh they're they're getting bad press, 547 00:30:06,280 --> 00:30:08,720 Speaker 1: but they're laughing all the way to the bank. The 548 00:30:08,760 --> 00:30:11,480 Speaker 1: people that I know that got bad press were not 549 00:30:11,720 --> 00:30:14,040 Speaker 1: laughing all they were going to the bank. Yes, but 550 00:30:14,760 --> 00:30:18,760 Speaker 1: having your friends and family, like your stuff is way 551 00:30:18,800 --> 00:30:22,840 Speaker 1: more important than them hating it, and you're embarrassed, like 552 00:30:22,960 --> 00:30:25,560 Speaker 1: er Gee's yeah, well that's sold ten million copies. Yeah, 553 00:30:25,560 --> 00:30:29,400 Speaker 1: but it's a brother that's bad. We don't look at 554 00:30:29,440 --> 00:30:30,800 Speaker 1: it that way. We don't know what the hell people 555 00:30:30,800 --> 00:30:32,480 Speaker 1: want to hear. We just know what we might want 556 00:30:32,520 --> 00:30:34,720 Speaker 1: to hear and what we Hey, that was where bad 557 00:30:34,720 --> 00:30:36,560 Speaker 1: come from? How'd you come up with that? That's a 558 00:30:36,560 --> 00:30:39,480 Speaker 1: good one, you know. It's exciting being in the studio 559 00:30:39,480 --> 00:30:42,120 Speaker 1: and coming up with this stuff out of whole cloth. 560 00:30:43,000 --> 00:30:45,200 Speaker 1: Now you've got AI. They can do everything right. But 561 00:30:45,520 --> 00:30:50,000 Speaker 1: to me, most music already was AI. It all sounds 562 00:30:50,040 --> 00:30:52,880 Speaker 1: like elevator music to me anyway, So what's the damn difference? 563 00:30:53,960 --> 00:30:57,680 Speaker 1: There's no accounting for caste. Who cares if it's you know, 564 00:30:58,160 --> 00:31:01,720 Speaker 1: if you like it, there you are, Yeah. 565 00:31:01,160 --> 00:31:04,560 Speaker 2: Oh man, you can't help I love it. I love 566 00:31:04,640 --> 00:31:08,640 Speaker 2: cheap trick. I'm so thrilled to be able to talk 567 00:31:08,680 --> 00:31:08,880 Speaker 2: to you. 568 00:31:09,520 --> 00:31:15,560 Speaker 1: That is really not honest, That means that, that means everything, honestly, Oh. 569 00:31:15,160 --> 00:31:18,080 Speaker 2: I'm so I'm so thrilled. And next time you're in 570 00:31:18,120 --> 00:31:21,400 Speaker 2: Worcesta or in Boston, we'll see you there. 571 00:31:21,560 --> 00:31:24,880 Speaker 1: We're always in box, for God's sake. And I've got 572 00:31:24,920 --> 00:31:27,120 Speaker 1: good friends. So every time I get it's like here 573 00:31:27,120 --> 00:31:31,040 Speaker 1: in Boston again. I always my friend Jamie Rubin, and Reeves, Gabriel, 574 00:31:31,200 --> 00:31:34,080 Speaker 1: he they're they're from. So every time I'm there, I'm 575 00:31:34,080 --> 00:31:37,200 Speaker 1: sending him a picture of the Expressway or whatever, like, hey, 576 00:31:37,240 --> 00:31:40,640 Speaker 1: I'm back in Boston, you know. And Reeves he's doing well. 577 00:31:40,680 --> 00:31:42,719 Speaker 1: He's a good friend. And he lived in Nashville. It's 578 00:31:42,720 --> 00:31:44,880 Speaker 1: where I met him, and he he got that gig 579 00:31:44,920 --> 00:31:48,240 Speaker 1: with the cure. Like, oh my god, what a great 580 00:31:48,320 --> 00:31:52,720 Speaker 1: gig and what a great player, you know. Anyway, Yeah, 581 00:31:52,840 --> 00:31:54,120 Speaker 1: enough about red right. 582 00:31:54,040 --> 00:31:56,960 Speaker 2: Yeah, thanks man for being on the podcast. Thanks for 583 00:31:57,000 --> 00:31:59,800 Speaker 2: being not Taking a Walk. Tom Peterson, see you around, Man, 584 00:32:00,160 --> 00:32:03,320 Speaker 2: see you. Thanks bye, I'm off doing NBA. 585 00:32:07,000 --> 00:32:09,480 Speaker 3: Thanks for listening to this episode of the Taking a 586 00:32:09,520 --> 00:32:13,400 Speaker 3: Walk podcast. Share this and other episodes with your friends 587 00:32:13,480 --> 00:32:16,960 Speaker 3: and follow us so you never miss an episode. Taking 588 00:32:17,000 --> 00:32:20,920 Speaker 3: a Walk is available on the iHeartRadio app, Apple Podcasts, 589 00:32:21,120 --> 00:32:23,400 Speaker 3: and wherever you get your podcasts.