 All right, thanks for tuning in to another episode of Let It Be Talk. Today will be a new music episode. Over the last 12 years, I've presented a lot of new bands on here, and they've gone on to do some big shit. Like one of them I can think of right away would be Rival Sons or Greta Van Fleet. A lot of these bands I had on when they were totally unknown. So here we are again. And this is the feel or feel. How are you guys? Good. Yeah, you're having us. And it is yourselves. I'm TJ. I'm the drummer in the band. Currently also the manager, engineer, booking agent, social media. Yeah, I'm Tyler Armstrong. I play guitar and TJ and I share some the recording duties and things like that. But I play guitar. Yeah, man. Great to have you guys on. I don't know where you are, but that looks like a fucking dream room to me. When I was in a band as a young guy, that looks like something that everybody wants. Just I don't know if it's your recording studio or where you're at, but it looks kick ass. What is that? So we're in a town right outside of St. Louis called Alton, Illinois. And me and a guy named Nick Bafana own a studio called Harbor Studio. And this is the control room, live rooms over there. And it's a good hang. Yeah, it's a good time. St. Louis. Oh, by the way, I'm going to be there. This week, are you guys in town? Yeah, yeah, I think so. I think doing the what is that? The Fox there. Oh, yeah. Nice. Yeah, that's also a great theater. Oh, yeah, I got to have you guys come to the show, man. It's going to be. Yeah, absolutely. Yeah, right on. That's a great theater. Like it's had some legendary shows there as well. Oh, yeah. Yeah, you know, I did the Fox in Atlanta and that's where the classic live, you know, skinner record was done, you know, play it pretty for Atlanta. But it's it's really cool to have you guys on it. It was interesting to hear what you just said. I'm the, you know, engineer, the drummer, the fucking social media, that blah, blah, blah. It is a different animal to play music these days. And if you don't do any of that, you will basically be unknown because this is how I found you on Instagram. Yeah, absolutely. And that's kind of crazy. I mean, the amount of people that like, you know, I mean, we've been doing this for now. I mean, Ty and I have been trying to make it in bands for cheese probably like eight years now. But like with this band, we've been doing it for a couple years and with the current lineup, only since like mid last year and the amount of like just weird connections that have come up through social media stuff or, you know, some of our heroes that are like, holy shit, like they just followed us and like or like sent us a DM or something. Like it's it's wild. And as much as like it does suck if you're not wired to like it, it's also pretty great because we're in St. Louis, Missouri and dudes that, you know, might have never had a chance to see us or are hearing about us, seeing, you know, what we're trying to do and everything. So that side of it's, you know, awesome. Well, yeah, you got to think about it's basically the modern day version of tape trading or going out and flying. When I fucking played music, dude, you had to go out at night to some band playing and flyer their fucking fans. Hey man, we're playing Friday. Come see us. And it was just God awful. Cause somebody might walk away and just toss your flyer on the ground and you have no money. You just spent all this money at Kinko's or you're stapling them up on a telephone pole and then you're sending the demos out. It's a, it's it's a double edge. So I mean, you know, on one point you're like, you know, there's people that are like, I'm an artist. I don't fuck with that. And it's like, good luck. Good luck, man. I'm 58 and I'm on it all day every day to get butts in the seats to see me do comedy. And it sucks. But at the same time, it's almost like mining for gold at any time something could go viral and skyrocket you. Totally. And that's like, we've talked about that a lot and that's why like, we've put so much effort into that in the past, you know, year cause we, I mean, unfortunately we've known and still know so many, you know, like you're saying amazing artists, like musicians or even guys from the past that were like, man, how are they not a household name? And the fact that nowadays it's like, sitting on my ass on the couch and like making a post could get us one step further or, you know, like we've had people show up to shows in Florida when we did a run with this band, Blackberry Smoke. And they're like, oh yeah, I flew down for you guys because I saw a clip on TikTok. And it's like, what? Like, okay, well, then I guess it's all worth it. You know, it's annoying, but like if that's the reality of what can happen, then man, it's 100% worth the effort, which I'm sure, you know, like you're saying with your career and I find it cool just how many parallels there are with like comedy and music, but like that's such a huge one nowadays, I think for sure. Sure. Yeah. And with, it's kind of the Wild West too, just like music sort of used to be and always has been, but TJ is skilled with the actual putting the social media together and the videos and things like that. But we discuss it deeply all the time, like we'll text each other. It's almost every morning, like at 8 a.m. It's like, hey, should we post it like this? And we used to be like, we should be really strategic doing it like this. But then we're like, well, I don't know. Let's just see what happens. And yeah, cause nobody knows. And thankfully a lot of people are starting to see what's going on with us. But yeah, it's kind of just a big, I don't know a lot of the time, but we've been blessed that it's kind of working out. Yeah, I shot it over. When I first saw it, I shot it over to Jay Buchanan, who's a great friend of mine. I shot it over to Marcus King and I shot it over to Scott, Scott Ian from Anthrax and his wife, Pearl. They love rock and roll. That's sick. And then I shot it over to Jason Flam, who was basically the owner of Lava Records. Lava? Yeah. And when I had him on the show, he was like, if you know any rock bands, send them to me because I'm signing rock. Now it's very rare that I play that card because if you play that card too many times with something that's not good, they're gonna be like, hey dude, you keep sending me garbage, you know? The thing that I liked about you guys, and I think that what is very crucial in this world, quote unquote, bring in rock back, which makes me fucking furious when someone says that because it never went away. Yeah, sure. The people, as they get older, they lose interest in finding new music. And I'm always looking for new music, but a lot of people will send me over the quote unquote, you know, here's a new band, they're bringing rock back and it's, they don't have the songs, you know? They got the outfit and the haircut and the fucking marshals, but they don't have the songs. And it's very rare over the years of the last 10 years, I would say, where I see a band and I go, this is it, they're authentic. They got the song and the look, they're doing this, they love this and bands like Rival Sons was one of them or Marcus King. And when I see him, I go, oh my God, this is it. So I wanted to give you guys some accolades on that because it was just incredible to see how good you guys are. And yet you still, you have songs, you know? Yeah, we appreciate that. I mean, it's that, yeah, that means a lot. Cause man, like you talk about, I mean, we see a lot of, you know, what we're talking about. And we don't like, you know, trash on other bands, but we do recognize, especially within the past couple of years, how it's like, oh yeah, you know, the rocks a thing now. And so there's, you know, dudes that, you know, yeah, they dress the part, but they're playing, you know, the most simple song you've ever heard. And it's like, hey, that's great. If you're able to build a fan base and do that, but like the reason that like, at least Tyler and I, I don't want to speak for him, but I mean, we talk about this all the time, like why we love the kind of music we're making is because like, if you really pay attention to music history and you like appreciate it, the thing about like the late sixties, early seventies music was like, that was such an incredible time where like the, the artistry was still being funded by major labels. So like you had these extremely artistic acts that were, you know, performing in a super emotional way. Like, you know, like some of our favorites, you know, Zeppelin, it's like, those guys are emoting on stage to their instrument. And they're being, you know, labels and management and all the stuff are behind them. And they're letting these artists genuinely explore and emote and do that type of thing. And because of that, like a special period in time, that's why we're so into that music. And so like when we're making our own, I know at least for me, it's like, I'm listening to that music and the music that those guys were listening to, to inspire my playing rather than listening to it, you know, watered down 10 times from that point. You know, I mean, we love, I mean, both Ty and I love Rival Sons. Probably the greatest show we've talked about we've ever been to Rival Sons show and we actually got to open for them like a year or so ago. But like, if we only listened to Rival Sons and Marcus King, we wouldn't have our own thing. And I think that's what's like, we just value a lot and honestly wish we knew more guys were, we could tell, like, oh, you're, you're also listening to the bands that, you know, from back then that were killing it, but also who they were listening to. Yeah. I mean, I think first and foremost, we're like TJ was saying, maybe an easier way to say it is we're just, we're fans of music and fans of a ton, the different kind of music. In the band van, we're listening to Buck Owens and also, you know, anything Coltrane or Miles Davis and not really a whole lot of rock stuff, but it's, it's just a word we keep hearing is authentic. And it's, that's a very, it's a very great thing to hear not because we can pat ourselves on the back and say, we're real, man, but it's just us and we're capable of different things. And like the song Brother You Brought Up, someone can hear that and everyone goes, man, they're influenced by free a ton. Yeah, no doubt. I mean, why wouldn't we be? But also I hear like for me, guitarist Ollie Hossle from Pato and things like that and TJ Mitch Mitchell and, you know, Roger, I mean, it is pretty awesome Andy Frazier kind of stuff. But, you know, yeah, that's just a point. Like first and foremost, we're fans of music and we connect with those dudes. I don't know for really trying to be anything per se. I think that's kind of what the point you're making. Yeah. Well, yeah, if you look at it, and I would say every 10 years or so, there comes a couple guys that fucking get it right and they rise above. And even if you look at, I think what a lot of these bands do wrong is they get the songwriting last. So they get the outfit. They get the Marshall. They get the Les Paul. They got the hair and then they go, oh, we need some songs. And then they're like, ooh, baby, baby, backseat. You know, and it's like perfect example of all of that was when I was, you know, playing music. Here comes the black crows. And they're still playing right now because of fantastic songs. Here comes Lenny Kravitz. He's fucking bigger than ever and still killing it. And his songwriting, you know, and then you go another fucking five years and here comes like Alice in Chains. Here's Blind Melon, you know. These bands that had songs and it keeps going. Then in 10 more years, here comes the strokes, you know. Oh fuck, these guys got songs and they're totally, you know, got attitude and they're the real deal. So, you know, there's always going to be some bands that get it and then the rest will be these spinoffs that are just, you know, and unfortunately, as much as I talk about it on the show, I get it. Most people are just looking at something like, oh, Dean's gonna like these guys. Look at this look right here, you know, but that's okay. Cause not everybody can be into like the full on art of rock and roll, you know. But you guys definitely got something going. Now, let's get into a little bit of history. I think I saw another singer at one point in a video. He was playing like guitar and had short hair. So what is the history of feel? Okay, so TJ and I were in a band. Oh, I don't know how many you're doing at this point. Yeah. Nick Paphato and the Innocence, back to the guy who I have the studio with. From the ashes of that started feel and that was TJ, myself, Roger Linhardt. I'm based on a guy named Dylan Wilk, who sang with us for a bit. And Dylan just wanted some other things in life. And that's kind of, he basically said, and we came to mutual agreement. It's a good time to step off instead of jumping out of the plane, you know, when it took off or anything like that. And then we kind of announced, we tried a few people, didn't really work out. Then we announced that we were looking for a singer. And then that's when Garrett Barkis from Sacramento came in and he didn't reach out to us. It was his friend who said, I've been telling him, you're the right singer for those bands since you guys first came out. And so we have some releases out with Dylan, but really all this started, and I hate to say start to discount anything we've done in the past, but when the ball started rolling was pretty much September 2023. And that's where the lineup is now with Garrett. Yeah. And prior to Garrett, so with that last thing or Dylan, we were having some local success and got on some cool shows, opening for like Cheap Trick and 38 Special and like Keishi, that's the legendary radio station around here started playing our stuff. And that was super cool. And we were like, all right, cool. Like this is, people are catching on that we've got something unique here. But yeah, again, he kind of decided to go his own way. But I think because we had a little of that success, and getting Garrett, he was able to see like, yo, these guys, you know, they are the real deal, they have potential. And then he came in and I mean, man, he's just, it's so weird how like every single member of this band, I feel like it's just like clicked. Like I don't even get into the story of like how we found Roger, but it's just like totally just luck. And Roger is the most unique and incredible bass player I've ever played with. And so that lined up perfectly. And then, yeah, Garrett coming in from Sacramento. And our first kind of introduction with him, we had like an instrumental of a song written for a while. And Tyler shot it over to him when we were sort of like in the auditioning phase. And it was like, hey, like what, what could you do with this song? Like what would you write lyric wise and like whatever? And literally within like three hours, he sent us back something. And Tyler showed it to me like the next day. And it was incredible. And it ended up being the first single we put out that's called find a love. It was that and we were just like, man, we've never worked with a singer that just brought something different to the table but spoke the same vocabulary. And so, yeah, so since then we've been working with him and recording with him, playing shows. And yeah, that's, there's a lot more detail in weird ways that this band has come together. But that's the brief history of like the past year or two. Now, Garrett, was he in bands in Sacramento? Cause I'm out in California and I know a lot of people out there and stuff. Was he in a band before? Yeah, he was primarily in a group with his brother-in-law called Greedy Lion. And unfortunately his brother-in-law passed away. So that band is all just due to emotional things and whatnot, understandable. But oddly enough on our live VP, one of the things that's not included before we played brother, he said, he was just so thankful and it was talking to the crowd and said, this is my 30th gig ever. So Garrett's kind of new to the like world of music. He's only been singing for a little bit. And that's also, we're just like, wow, man. The more he sings, the better it gets. So right on, like, so we got him pretty green. Yeah. Wow. And how old are you guys? I'm 28. I'm 28. Roger's 27, turning 28. And Garrett is 25. Yeah. He's a big killer. It's funny because when you hear Garrett, of course, you know where he's coming from. He's got some Robinson in there and he's got some, you know, Paul Rogers. And he also has some, so he has two faces, some faces covers and some Beatles covers and stuff. So he's got all the flavor. All of you guys being at the age you are, was it your parents or, you know, somebody that, you know, you're not into hip hop, of course, because that's been huge over the years. But what was it that, you know, it's usually cool parents when I talk to younger bands? For me, I actually didn't really like grow up listening to the kind of rock that like I'm into now, weirdly. My parents always had music on in the house, but they actually just listened to like modern country. So, and, you know, on one hand it's like, okay, it's modern country music, but it was also early 2000s country. So, you know, once I started playing the drums, all of a sudden I learned, oh, I grew up listening to Chris McHugh and, you know, Aaron Sterling and Larry London and like these legendary session drummers. And so like the, when it comes to like sounds and feel and all that stuff, I'm like, oh, that's where the love of music and drums was instilled. And then as I started to like take it more seriously, then obviously I got into, you know, more of like the old school rock stuff. And then honestly, since me and Tyler met and started like playing music together, I mean, I was already like into, you know, Zeppelin and a bunch of the typical kind of bands from that era, but he started turning me on to like even further back stuff. And, you know, and so he and I sort of like, he's been much more into that stuff for a longer period, but for me, it was like later. And through that, I think it was great because it wasn't just, you know, oh, I've heard AC DC, my whole life saw him and play AC DC. It was like, oh no, I'm actually, I'm really interested in like, you know, the specifics of what makes John Bonham's playing the way it is as opposed to like, oh, he hits hard, you know, so anyway, that's sort of my, how I got really into it. Mine is, I was typical kid, I guess they say, I came home and I was hitting pots and pans and stuff like that. And my direct musical influences really came, I've said this in an interview not too long ago, a lot of it came like from what Tito was saying when my parents were listening to Initially, which was contemporary Christian music, which had a ton of melody and basically the same players that were playing on country stuff or all Christian music, it's all a Nashville. So just great players, great parts melodically. As I grew older and, you know, my parents never said I couldn't listen to second and musical chorus, but you know, you listen to what they're doing. My dad's a child of the 70s, he listened to AM, so Boston and Kansas and Wings and ELO and, you know, all those bands I love. But I went a little heavier route when I got into the Zeppelins and the Deep Purple's and things like that. But when I'm into something, I'm really into it. Like probably like to the point where it's annoying to some people, but when it came to 60s and 70s music, I just went headfirst. So I mean, I hate to say that I have influenced myself. That sounds very pretentious, but I just kept listening and listening. But yeah, a lot of it had to do with my dad and honestly, YouTube, like YouTube's a beautiful thing. You just search top 10 best guitarists of all time when I first started playing. And it was Hendrix, Dwayne Oman, Alex Lison, Jimmy Page, all these people. And so I just went on a Indiana Jones search for the whole of the grill of music. And then that spread out through rock. I was just a rock guy. I was like, man, if it's not, I used to hate, I always say I used to hate the Beatles until I actually listened to them. That's the thing. So, you know, it's pretty vast and related to that too. And well, we'll get back to that thing. And when you were talking about Garrett and the faces and Paul Rogers and stuff, it's interesting because I actually I really don't know. I'm sure he had listened to that stuff. But what he really loved, he got started because his brother-in-law said, man, you could sing. He was singing a bunch of Ray Charles. But that makes sense because you hear people like Steve Marriott, Paul Rogers and stuff. And they were obviously listening to Ray Charles and, you know, Otis Redding and things like that. So even more so than TJ and I, Garrett's kind of like not influenced by the rock. Not influenced by the R&B. But anyway, yeah. So I guess that's how I got into music. I don't know. Well, and I think an interesting thing like connected with that, like what we're getting at is Tyler and I are both, I mean, we're just obsessed with our crafts. Like, and I say that to like point out that, you know, rock is not all that we know. It's just what we love the most. Kind of like, cause what I was saying earlier, it's like, man, I just feel like the ability to be able to like emote through your instrument and do, you know, create art on stage, I think is done in the most, at least for us, most genuine way through the type of music we play. But like after growing up, you know, he and I both pursued music just pretty hardcore. I mean, I went and I got my degree in audio engineering and he went to, he was at MTSU for a while and was ended up doing session work in Nashville for a while. And, you know, my goal was to be like a hired gun and, you know, just play drums for a living, getting hired by people, but then, you know, you ask any of those guys who are doing it and most of them would say, hey, if you could be in any band of all time, what would it be? And they're like, oh, well, Led's up. So I think for me and Tyler, it's like, you know, we just have pursued, have tried to pursue our individual crafts at such a high level that we're kind of came together and are like, well, what's the like most fun way to get to play music together? Oh, well, it's this type of music that at the end of the day, we love the most. So. I don't know if that was a conscious discussion, but the thing about rock is, I think with the David Lee Roth quote, I can't believe I'm about to quote David Lee Roth, but I love David and I love David. He is one of the kings. Oh, holy man. He said something along the lines of rock is superior. You know, whatever that means because it's not just music. And that's true for all the music, but the interesting thing about rock is a jazzer is going to shoot me for saying this, but it's kind of the, in my opinion, the genre that can be the most vast within one genre. I mean, how many subgenres do you have a rock? Now it's like indie and all this stuff that's still rock. So it's really like jazz pop blues at its core. That's what rock music is and people have expanded on it. So really, I feel of what we're what we've released and what we're continuing to write is relatable to folks because it does touch on all of those aspects, melodically, power and intensity and energy. And, you know, we have stuff that's just as much humble pie as it is acoustic stuff, America or Laurel Canyon. And, you know, it's the dynamic of it. And that that's why I love rock so much. Yeah. Once you guys get Garrett, does he move out to St. Louis or is it kind of a cross country type of thing? Well, we're like busy enough to the point that he's like pretty much always here, but he will go home for, he splits his time, essentially. It just, it depends how hectic our schedule is, which right now it's a little nuts though and it's going to continue to get even more nuts though. So, so, you know, he doesn't technically live in St. Louis, but he's been a, he's adopted. Yeah, sort of, yeah. I gotta tell you, some of the tones are fantastic. There's the video, I think it's like four or five songs and it's in a studio, I don't know if it's in the studio, next story there or whatever, it has like the, yeah, okay. So, the quality of these live videos in there are fantastic and the filming of them looks amazing. Who did that? Just you guys? Yeah, yeah. Like I said, well, I don't want to discount anything else too. I'll make this really short. We have the most unique community. Yeah. And that our best friends are world-class with media, marketing, graphic design. It's insane. So, shout out to like Cameron Alvarez, because the stuff that's not iPhone video and some of this is Cameron. He's amazing. Yeah. When it comes to that stuff, TJ does have a background with some visual things. Yeah. So that's all him. So he is to blame for that specific video. When it comes to the recording stuff, like TJ said, we are so, you know, have dove into it specifically TJ and I with sounds and the instruments and the tones and so much that it's like, it's just what we do. Everything that's ever been recorded of us has come down to TJ and I mixing. Yeah. Mastering is not us, but yeah. So that's just us and experience of spending so much time with this is the sound we're going to we want. So I'm going to use this. I'm going to use this kit. Tune it this way, this amp use it this way. But yeah, that's the big video you're talking about, which is obviously completely live. And we just kind of went for it. And that was fantastic. Oh, yeah, that was like recorded like, oh, man, maybe like Garrett had been in the band. Maybe like two weeks. Yeah, it was one of the first times around here. And like, well, I think it was we'd auditioned him. And then I think that might have been the first trip. We were like, I think we recorded our first music video and had some other stuff. And we were like, hey, actually right before it was right before he left. And I think I said one of us had the idea. And I was like, yo, we should probably we should just do a live in the studio thing of like four or five songs. I have access to some cameras. And obviously I like I have some experience in video editing. So I was like, I'll you know, I'll do all that. But like, I don't know if we want to put this out on social media. If it's good enough quality, sure, whatever. But if it's not, we'll at least put it in our booking emails so that we can show like, hey, this is how we perform live. Not, you know, there's no overdubs in this. There's no whatever. This is what we sound like. And so we did that with him just one night, just ran the songs a bunch and a stressful play. But yeah, so that was all like, yeah, he had not been in it very long. And, you know, that honestly, it's a testament to him and just how man, how incredible of a of a musician and how just talented and quick to learn that dude is because, you know, nailed it in a testament to I guess the personal how proud I am of us as a as a band. And I always say that because I'm the guitar player and I got long hair and I wear tight jeans and all that crap. So like, I do like a lot of people will talk to me, but I'm like, it's so great to know that I don't have to worry about anybody in my band. I always sound the least talented, whatever that means, but I am in the band. But we kind of it's hard for us to listen to that video. I get it. I understand that because it was, you know, a while ago and now you're so much better. It's like, I'm glad people dig it, but it's like, man, come see us now, man. Yeah. Well, that's the good thing, you know, it's it's a lot like with comedy. It's like, ah, people are like, I love that bit. And it's like, well, it's been five years now. So much better than that, you know, which is cool because then people show up, they go, oh, shit, these guys are fire, you know. But yeah, what was good about it was right away. The quality was really good to be able to listen to it and understand right away. I go, oh, this is live. These guys are playing this in there. And I'm not one of those guys that like, there's no tapes. They're playing, you know, the play instruments. Like, yeah, yeah, you know, we understand there's all different versions of live people out there, but it sounded great. And, you know, I'm a huge free guy. And yeah, yeah. And, you know, Paul, like you were playing and your tone was really fucking good. The drumming was fantastic. Usually a band, the drummer is always the weak link. You know, I'm like, ah, the drummer is lagging here, you know, or whatever. But the drumming was fantastic. And then the bass player, of course, great. And then the singing was really good. And I was like, all right, this is this is on. I'll have him on the show and I'll and I'll tell people about him, you know. Yeah, well, we appreciate that, man. I mean, it's like kind of like what you're talking about. Like the other reason we did that video and part of like what we are kind of about as a band is like, you know, we're all just music lovers. And that that even goes to like modern music. I mean, man, that some of our favorite bands are our bands that have made music in the past 10 years. And so like the whole like tracks thing and overdubs thing for live records and all that, like that that's a thing. We're not here to say that that's invalid. But the problem is that it seems like that's just the standard now is like, you know, oh, you're on a gig. Well, you're playing with Ableton and click and all this stuff. And again, we've done all that for with in different scenarios. And it's it's fine. And in some ways, it's like, man, that's what that gig needs. But like with the music we're doing, it's like, man, why are there bands that are playing this type of thing? And then they're going in half the guitars are fake or I'm not going to say who. But we open for a band once who was literally piping in crowd noise. And so we're like, no, what is this? Like at least for Tyler and I, like what was so incredible about Zeppelin? I guess I won't speak for him. But like for me, it's like, I don't I'm not as much about like you know, oh, yeah, stairway, black dog, whatever. For me, it's like, no, I want live days than confused that goes on for a half hour. Like that's the reason Zeppelin is who they were. Because those guys, you know, we've talked about this before. And I mean, I don't know how people that actually play jazz would feel about it. But like, I feel like, you know, the structure of what Led Zeppelin would play was much more like jazz than it was rock. Like us and, you know, they have a head. Then they have like sections where they improvise, they reference other stuff and they come back to the head. And like, that's the type of stuff that we love playing. And we feel like even some of the, you know, the really cool bands that are playing cool rock nowadays, it's like, I don't see him doing a lot of that. And we want to, you know, let's let's do that then, I guess, you know, the jam scene is definitely healthy. I mean, yeah, totally healthy. I mean, I'm a bit more of a dead guy than the other dudes in the band. Roger likes them and they all like them well enough. But it's not like we're the only band that jam. Yeah, that's not the thing. But it's not really a but it's just it's just a thing of like, we're just playing the kind of music that has freedom within it. And it's it just it just feels right. And it's it's fun to connect in that way. This whole thing is whether it's back in the 70s or the 1300s or right now talking to you, you saying you dig it is us connecting and being one within that that moment and it's getting a little hippie with it. But it's true. It's like, that's what makes it so powerful. It's like in that one moment, everyone's like, I agree. Right on. Well, I'll tell you this right now. Without the jamming in the black crows, they would have been done after that first record because what would happen is they had the great song. She talks to angels, remedy, jealous. Sorry, remedies on Southern, but jealous again. They had the radio hits and stuff. But once they get into the Almond Brothers type of jamming of wiser time and and that whole scene as the scene that they were in was starting to dissipate. They were able to move into another audience that were like, oh, wow, these fucking guys can play the shit out of their instruments and they're taking us for a ride and, you know, Zeppelin being my all time favorite. All the different eras of their jamming is like the black crows. Different eras is just incredible. You know, you got 69, which is really radical blues in your face. Wild, then you get into the 72 era, 73, the long, long shows like Song Remains, the same type of stuff. That's just mind boggling, you know, and really taught me actually like, oh, yeah, you can go way outside the box and the deeper tracks are way cooler than the radio tracks, you know? Yeah. Yeah, I think about bands like the kind of way to really get into like describing pinpointing is like bands like that. They just don't you can't pity. I love a CDC, especially the 77 bond. If I love all of it, they have an identity and they own it. So that's a whole different thing. But a band like Chicago, who I love and T.J. loves to people always say, well, where they are horn band with with guitars or rock band or their rock band that has who it's like even the Beatles. It's like we don't know. And that's what's interesting. That's what it's freedom, you know, it's freedom within it to musically and the you know, in a spiritual way. It's like, you know, it's it just is what it is. But also, you don't know what it is, which is pretty cool. Yeah. Was there ever thought to add some B3 to the band? Yeah, we've talked about it many times. Yeah, it just hasn't been the right time and the right person also because if we're going to have someone to do that there, we're kind of running out of chances for people just to randomly fit. Perfectly like Roger and Gary. It's as we grow those things because just like T.J. said, he's a live Zeppelin guy. I do love live Zeppelin, the bootlegs and everything. I'm really like a house of the holy dude when they get when Jimmy starts to get really deep into things and layers. And we have some stuff we're recording and some songs that you'll definitely display that sort of creativity with it. So it's just going to come up and I don't play B3, so. Right, right. Well, it's funny how much the black crows changed once Eddie got into the band and Southern Harmony comes out and then the, you know, Amorica and three snakes is like, oh, wow, you know, and all the different keyboard atmosphere, you know, that that whole vibe of the band, it's a lot like when John Paul Jones goes over and plays the Worley and shit, you're just like, oh, my God, this is just so another level. And and and man, I just I hear it on some of the stuff, you know, when you guys are playing, I'm like, oh, here's like a B3 just swell, you know, you know. So does every guy who plays keys and has a tick tock because they're like, oh, man, let me play. Well, but like, yeah, but back to like what you're talking about, you know, we're we're just so like into sounds and whatever. So like those types of things, we actually have a song that I think we're going to be recording. We haven't played as much live recently, but like one of the sections had a very like faces-esque Worley solo. And the previous singer, like we'd bring out the Worley and he'd play that and whatever. So it's definitely something that we're like, we're not closed minded about, but we also very much like we feel very much like a band. And so kind of like what he's saying, it's like, man, we found the perfect person that is willing to, you know, I mean, not only fit in with us all musically, but also be willing to like, you know, sacrifice and do what it takes to like make this, you know, your career than 100 percent. And if it fits the music to, you know, like that's kind of like going all the way back to what you're saying at the beginning. Like the reason, you know, I mean, we might disagree. But the reason, you know, like you're saying the songs are there is like because that's what we care about, you know, we didn't say like, man, we got to start this 70 inspired rock band. Now it's right. You know, the material is like, no, we just are making music we love. And that goes down to the sounds, the playing, the authenticity of it, like it actually being us on our instruments, as opposed to like, you know, just trying to emulate someone from then. It's so it's got to fit. And like you said, we're confident where it's at. On the other hand, I'm not saying we're going to turn to a prog band. I love, yes, I love Genesis, the early stuff specifically. So I've got an old mini-mogue. I've got the roads and the whirlies and things like that. But yeah, we've talked about a bunch. We've talked about it as kind of a utility guy, like a handle. But more so like like Roger Manning from he always plays keys. He's going to guitar. And I can't remember the dude's name, but I always watch the UFO videos that left-handed dude with the firebird. He'd be playing. Oh, yeah. Bone down, do lots out and all that. So that could be cool, too. But it's just it's it's not the right time. What about, you know, I mean, I know there's absolutely no money and music these days. It's or any time really, unless you really hit it, people are always like, but, you know, the whole fucking streaming platform and all of that is just brutal day jobs for you guys. What do you guys do? So I do like audio visual tech stuff, you know, sometimes, you know, like at churches or in like live sound type things. And I also do some like video work with that stuff as well. And then I'll do freelance sessions either here at the studio or just like with my own remote setup at the house. So yeah, it's definitely something where, you know, we all have day jobs. So yeah, I have a really easy life. I play guitar all day and I I deal in vintage guitars. Oh, yeah. I'm associated with the shop that sells I run the joint for vintage guitars and vintage clothes, vinyl. That's what I used to do, man. I'd flip and and guitars and and everything. And, you know, that you got to have multiple, you know, revenue streams to do art, which is nothing wrong with that. As long as you can keep doing the art. That's what's fucking that's the main prize. Totally. Sure. Totally. Well, man, it's funny you say I was literally last night me and Garrett the singer were like talking about that and how, you know, like Tyler and I are whole background doing what we do. And, you know, him even even down to the flipping of guitar, like I've spent years flipping drums too. And, you know, I'm such a drum nerd when it comes to gear and like vintage stuff. And the amazing thing about all those side things is that they they've all been in pursuit of the art, though. And in a cool way, they've played out, you know, like us flipping gear. Well, we figured out what we like, what we don't like, what this thing does, what it doesn't do, what stuff is durable or what stuff's going to blow up on the road. And then, you know, kind of like we were talking about earlier, it's like, well, for me, the freelance or doing the AV stuff and video stuff has led to us being able to like create content for the band. But anyway, what like Garrett and I were talking about is like, man, it's cool to see this stuff finally happen that will allow us to not have to lean into the side stuff as much because then all we have to focus on is the art. And for all of us, that's been the dream the whole time. And, you know, it's it's we've always said, we're like, man, if we can make a living doing this, that's it. You know, obviously, the dream for for any band is, oh, yeah, I played sold out arenas and all that. Like we're not going to sell our dreams short, but we're also like, man, all I have to do is play drums and pursue this type of art. Like I've got the best life, you know, who needs retirement? And so I think that's just a philosophy we all have with this. You know, we just care so much about what this thing we're doing. Yeah, I tell I tell people that all the time. They're like, man, you should be huge, man. I don't understand like, you know, you're out there and you're funny. And it's like, hey, what you don't understand is I'm 58. And I've been doing comedy for a living for the last 12 years. You're putting in a monetary label on on success. And I'm putting a what I'm doing for a living as success. I'm doing comedy every fucking night. I've made it. Do you understand? I fucking have made it. And people they are just unbelievably clueless when it comes to like, they'll just say shit to your face that you can't believe. And you're like, hey, man, do you understand? I haven't worked at the motorcycle shop for 12 fucking years. It's complete superstardom. Oh, yeah. Yeah. Fucking props to you big time, because like I will get into it. But like, I'm a big fan of like comedy, comedy podcasts. I've checked out your stuff and it's like, you know, for you guys, even it's even more intense because, you know, we've got a band of us together. You guys like, hey, it's me. I'm showing up to this club across the country and doing this. But like, yeah, like that's incredible to be able to that you are only doing that. And it is just funny how you get out and, you know, the people that are, you know, just counting down days till retirement are like, oh, how come? You know, when are you going to make it? It's like, it's the whole thing, though. It's OK, though, that people don't get it because they did. And they everyone would do it while that cliche. But it is it's not interesting. It's just a thing we're experiencing. I talk about my life and not not in stair steps, because it makes it seem like I'm stepping on people, but it's an elevator. It's an escalator of things that just one thing after the other. This, this, this and this is the fact that it's starting to become more of a reality that, oh, man, like those who have to take PTO. Well, they're just going to be PT zero because you just can't do it anymore. It's like that's off like right on. Like we're just busy and it's just cool that people are digging it, man. And it's just it's really tight. Let's get into the gear now. AC 15s or, you know, that seems to be what you were playing when I looked at it. And I don't know if those are new or vintage, but I love Vox, but it's interesting because, you know, the sounds that you guys are getting are, you know, big Marshall sounds a lot of those bands use. And when you go into these places now and you bring a Marshall half stack or full stack, they're like, can you turn that down? Can you turn it down a little more? That's just going to be too loud. And it's really a different atmosphere now. I was, you know, I do this Bond Scott tribute once a year and it's full Marshalls all the way across the stage. But when I played music, it was just a AC 15 or a matchless lightning 15. And it was still too loud for people. You know, you'd be at the Viper room. They're like, we're going to need to turn that down. So what is the amps that you guys use? Do you go in with the big amps? Well, it just depends on the gig. Like, like TJ mentioned, if we're out with Blackberry Smoke, which we love those guys, they become good friends of ours and they rock. Yeah, super hard. Yeah, I'm going to bring up the big amp, but, you know, but I also it's no surprise I bring out small amps too. I get the two amps that I brought it on this last run was a 67 Marshall. It's a model 1973. So it's an 18 watt 212. Love it. Pretty almost rare as Hens Tees. I'm happy to have that. And then a 65 AC 15 together. What dry rig? But those are still pretty loud. I mean, those are cooking over a hundred decibels together. But I've got a risk of sign of pretentious. I have this I've got a lot of it. I got a lot of vintage amp. I got a lot of vintage guitars. This is like the nature of flipping and just people being gracious enough to say, well, I can't take it with me. Here you go, man. I'm like, whoa. Wow. Yeah, some serious stuff, too. But yeah, anything. He just has an extensive vintage drum collection. He's using some newer Lord of Wigs that sound amazing. They're they're maple, but they're like still loud, which is awesome. As far as bass live, Roger's using a old vintage Ampeg V4B. So it's like a hundred watt version of the SVT. Because a 300 watt SVT, that the that the whole lot. That's money. Yeah. And I've got one, but it's never going to see a lot of day. And then for me, I don't know. I got a lot of old Marshall and high watt and box stuff and whatever. But any pretty much anything you see is is vintage on stage. I, you know, it's funny to think about like a class A say a matchless that's eight watts is so fucking loud. You can't even believe you're like, wow. Yeah, my friend of Ed Khan, he designs all the magnetone stuff. Oh, great. Yeah, they just did the new slash amp. And I had to keep quiet about it, because that's that's a circuit we've been talking about for a long time, and he did it with slash. But that's all right. Anyway, those things are like twenty two watts. And it's like, God almighty, holy crap, that's loud. But they're those old amps and matchless. I mean, at this point, I guess matchless, the original ones or might be able to be considered old. Yeah, vintage by guitar, in respect. But fucking nineties, you know. But those old amps, even when loud, they're just extremely musical. I'll take out a hundred watt super bass. And but it just it sits in. But the other thing is to find ourselves on the back here because we understand our music and our instruments. So while we're able to be dynamic with it, there's a way to be, you know, get that amp overdrive without seeming loud. It also has to do a lot with front of house. And we have a great team with us, too. And just some trickery here and there. I'm not going to lie. But yeah, yeah. Did you guys see Mr. Jimmy? Oh, man, you're going to want to see this when we're done with the show. Mr. Jimmy, I had him on the podcast. Mr. Jimmy is a guy who grew up in Japan, obsessed with Jimmy Page. Oh, yeah, yeah. So there's a documentary. It came out about six months ago on him and it is fantastic. And it is really interesting as we're talking about where, you know, his whole vision is like a 73 show or a 77 show. But the fans, the surface, quote, unquote, fans and the promoters are like, hey, just play the hits. What's this 28 no quarter bullshit? You know, fans are walking out on this, you know, well, they're not the fans, you know, they just want to hear Black Dog and a whole lot of love, you know, and all that. But I highly recommend you see it because he's a session with the gear. And my obsession was like that, too. I was obsessed with gear. I love even if I don't play music now and I love gear so fucking much, man. It's artistic. It's the design. You know, I've got a banker, Karina V here. But then it's just fucking beautiful. But, you know, you get an AC fit like I had a fawn, you know, with Black Panther. And you just get into that. You're just like, this is fucking great, you know, and his obsession will blow your fucking mind, man. What he does, it's crazy, rewinding constantly of pickups and finding the right home, you know, homage on the fucking pots and and redoing his marshals. I mean, this guy is and he plays the shit out of the guitar. You've got to see it. It's called Mr. Jimmy. Yeah. Well, I'm sure it was even harder for him because when he was getting into it, you know, you couldn't just go on YouTube and click back. Like you actually physically rewind it to the right spot. So it's like, geez, like gear with a lot cheaper. Well, yeah. But it's funny. You mentioned the whole thing about the real fans don't walk out. The theater you're you're going to be at in St. Louis Fox, either. There's a classic story about Zappa there in 71. It's flowing in the era, which is my favorite Zappa era. And he he started off. I can't remember what book it was, but he started off a show. He walks out. He sits in a chair and he starts reading. I might have been the dictionary or something like that. I can't remember. Yeah. But he's reading for like an hour and everybody's leaving. And he gets to a point. He closes it. He takes his 15 minute union break. And then he says, all right, now I know who my real fans are. And then it's it's a legendary show that Zappa 71 at the Fox. Well, it's it's interesting. I'm a huge black crow's guy, huge. Yeah, I love them. I've seen them, I don't know, 60, 70 times. People always go, come on, man. But that's the truth. I played gigs with some of the guys that Mark Ford played in my band a few a few nights. And I've been a fan of him forever. What made me interested in him was once they got into the deep, deep tracks, there's stuff that the black crows where the she talks to angels fans leave immediately. If they're playing something like Pain in Eight or, you know, a deep song like, you know, Cursed Diamond. And then they're playing it for like 15 minutes. People are like, what is all this jam and shit, you know? But yeah, man, I became a dead fan because of the black crows. I found the dead backwards because I grew up in the San Francisco Bay Area. I couldn't stand the dead. I was like, God, he's fucking hippies, you know. And now, you know, I went from black crows to almond brothers with Warren Haynes into, you know, grateful dead into dead and co now. And holy shit, man. It's it's amazing to you get into this weird thing like the black crows right now are back. They got a new record out. It's fantastic. But they're not going to be doing any of that jam in anymore because it just seems like, man, we lost a lot of people over the years. And let's just get back into playing the songs like the records, you know? Well, I also like, I don't know. I think we're at an interesting time or like I'm so appreciative of, you know, anyone that's dug what we're doing. And like, yeah, we have some of like the hit type stuff. But like live we have when we have our headline shows, we have at least two like songs that are 15 to 20 minute kind of jam medley. Some of it's just completely like, you know, that night we're we're thinking we're feeling in the moment and like improvising. But I am curious because like, you know, I think the other part of like the crows on top of, you know, them wanting to play the hits because they've been, you know, all the stuff that's going on. It's like, man, I worry that the whole idea of like people's attention spans being so minimized, it's like, man, is that going to impact the music? Because I really hope it doesn't. Because like the most kind of like you're talking about with the crows, like, man, the most powerful musical experiences I've had are those when you're locked into like a jam, like, you know, whether it's Olden Brothers Mountain Jam or like some of their extended stuff on the film or record or, you know, live Zeppelin stuff, bootlegs, whatever. It's like there's some of the most just powerful musical things there. And I'm afraid that that like, are we going to lose that? Since everyone's attention span is being willed down to three seconds, you know, are they going to be like, oh, I can't sing this chorus. So all right, we're getting the Uber, you know, and I don't know. Maybe it will. But I know that for us, like we're at least as a band on the same page or like, hey, we're going to we're just going to play this music the way we play, you know, at least for now. But I do wonder if that's, you know, that's part of a symptom of that, too. You know, I think it's based you come up in, you know, so let's put it like Black Cross came out and they had some big, big radio hits. And then they started to change their their fan base started in the hit hit song world where somebody like the dead or fish or those are your zappa and stuff. They were never hit song bands. You know, I mean, touch of gray was a hit, but that was way deep in. So I think it's really how you start at the beginning, you know, with growing stuff like a Metallica, you know, some of the songs were like fucking 12 minutes. But there were extreme thrash metal music and they weren't geared around. I mean, fuck, one of their hits, one was a fluke and that things like eight minutes or seven minutes, you know. So I think it's where you where your seeds were grown at, you know. And yeah, you know, like we said, the A.D.D. world is fucking brutal. But I go to a dead and co-show and I see people they have no problem with the 18 minute morning do, you know. Oh, yeah, I saw an 18 minute eyes of the world last summer. Sick. And nobody nobody's going, wrap it up, you know, holy shit. And I'm saying, holy shit myself. But, you know, the black crows, when they get into a 21 minute my morning song or, you know, no speak, no slave, I'm fucking in, man. You know, well, it's the other there's another way to look at it, too. Maybe not another way, but another point is most bands starting out don't have the platform to do so when it comes to live. I mean, we we released a live EP and it has, I don't know, we're balls or what is just what we do. We have a song that it's 10 minutes long. It's a jam heated as a drum solo in it has a cover within it. So we we've kind of been we've tailored our set that we could do that. But a lot of people, you know, they're a new band. They just want to do song, song, song, song, song. And we've done that, too. I get it. But yeah, we've kind of set the set the ground that, well, this is us. And we have some stuff. We have this one song that it's going to we say it's epic, I don't know. But it can be anywhere from 10 to 15 minutes Eastern song. Yeah, it's going to stay that. But it's like proggy, it's bluesy. It's Elizabeth Reed. It's guitar instrumental. And the thing about people's ADHD is I might be different because I listen to things like early Genesis has always crazy arrangements. But to me, it's like, man, things are changing every three seconds. So it's like, it's like multiple songs. And so I think there's going to be people who are like, this sucks. There's going to be people be like, man, this is awesome. And there's also going to be people that are like, all right, I can tolerate this. I'm going to stay for the whole show. Yeah, because I don't know it's we've had a lot of actually dead heads are starting to follow us. But I don't know why awesome because it's a loyal fan base. And, you know, those are music people. So I don't know. It's like it's it's we there's two sides. Like I was saying earlier, there's no identity. It's like, we're just going to do it. And there's some things that we aren't going to do. Yeah, you know, we're not going to. I don't I don't know of an example, but it's we're going to stay us. Well, and whatever we make is going to be us. I think an interesting thing, too, that like related to what you're saying about like how it depends on where you start is like what's been honestly, what's been so great about literally the past, you know, just a couple of weeks or months of how, you know, people are starting to take notice about what we're doing is that, like, we have been very intentional about, like, here's what we want to do. Here's, you know, we're not shown up to the gig and hit and play on the computer and then just running our hits to make sure that we hit the time. Like, and we've had people that have, like, you know, we've, you know, we'll see the comments and some stuff. And some when we did that, you know, 10, 15 minute thing where I do a drum solo or whatever and we're opening for someone which is like kind of, you know, that might be a naive move. But we're like, never screw it. Like that's what we're doing. You know, yeah, there's some people in the comments like, no opener should have a drum solo and be playing some boring jam. And we're like, OK, so we'll be like 99 percent of other bands and play a bunch of songs that you don't know. So you're not going to get into it. It comes down to it doesn't matter. But yeah, the whole thing. These people try to fucking think there's rules. Exactly. And it's fucking insane. I love the Bill Hicks thing, you know, as a comedian. He was like, play to the highest IQ in the room. And we the other fucking clowns out because these people, they just think there's these rules like, hey, man, you shouldn't be doing this. And it's like, well, it affected you enough for you to reach out. So that's literally OK. You know, I don't know how many. We'll see how many people actually want to hear him and I talk this long. But for anyone that gets this deep, that's been our whole frigging tiktok full constipation. Like, hey, we're going to say like, I mean, we're not going crazy of just like saying absurd, I've seen some bands who are like, this is the greatest rock band of 2024. And they're like, we're not doing that. But we're going to throw out a couple of names that are influenced. It doesn't be like, hey, this is what we're like. It's if half the comments are there to say, no, you're wrong. You don't sound like that. Yeah, we got we got you to comment. So going to find the people. Yeah. And so that's been part of our approach lately is like, hey, like, no, we're not going to say arrogant absurd stuff. But we are going to like put some stuff out there that's going to get people. You know, maybe it's controversial. And honestly, town, I've talked about this a lot. And it does kind of suck that that's where we're at in the air of like rock music. But like, you know, part of that was part of Greta Van Fleet's whole thing is like the reason he and I knew about that, the reason like the first conversation when we heard about them, it was probably 2017 or 18. And he goes, dude, have you heard this band? Like, you know, it's, you know, it's just like Zeppelin or something. And that controversy, you know, as much as, you know, honestly, I don't want to be in their shoes because of some of the hate and some of the stuff people say. But that controversy had people talking about them. And, you know, and it's like there's I think there's a fine line of that, you know, again, we're experimenting with. But there is sort of this thing of like trying to create some sort of interest, whether it's positive or negative, just so you get in front of more people. And you kind of see through that. Oh, you end up getting a lot of positive that that kind of backs off the negative. Way more likely the owner of the comedy store. Her name is Mitzi Shore. Right. Yeah. Yeah. Her philosophy philosophy was you want half the people to hate you and half of them to love you because they're always talking about you. Yeah. You know, and that's the fucking truth. You know, it's crazy. I grew up in an era where there's a band called Kingdom Come and they sounded like, you know, Zeppelin. Exact. They had a song called Get It On and people called them Kingdom Clone. Now, they went away pretty quick because of some, you know, weird arrogance and stuff like, you know, but with Greta Van Fleet, the thing was they had some quote unquote hit songs like the Highway Song and stuff. So, you know, you you're looking at it like, OK, well, they do kind of sound like that. But to me, that was just the naïve ear because all I was hearing was heart. I was like, this is hard. You know, straight on to you kind of vibe, you know, heart themselves. The whole thing they were voted the best. Led Zeppelin cover band in Seattle or wherever. Is that right? I mean, I love heart. But it's whether somebody likes Greta Van Fleet or not, what I was going to say to TJ is if you're going to make claims, if they're going to whatever, you have to have something to back it up. And again, whether somebody likes their music or not, like they had something to back it up. It's like what Getty Lee says about kiss. It's like, think whatever you want about kiss. They backed it up and they they owned it. But I hate to be one of those people is like, I love hate. You know, that's that's cool. Like I'll take the hate. But it is good to have those things because it makes you think and you can have a vision and be focused on something here. The voice is over here. You can still consider what they're saying. It's like, you know, we're not doing this for other people, but we do want to consider what the people want. You know, if people are hating on it and, you know, that's that's cool, too. Like I, you know, a lot of people don't like Abba. I do like just just leave it be. It's yeah, it's cool. Yeah, I don't want right on. Well, yeah. And I think it's that's just like, I don't know, an interesting part of pursuing art, as I know you and, you know, all of your peers pursuing comedy understand, too, because it's like if you are doing something that is truly, you know, like unique to yourself and it's genuine, you're making decisions that are not, you know, don't follow the rules. Not for the sake of breaking the rule, but, you know, like it's because it's genuinely you like us doing, you know, freaking drum solo and we're opening for a band like that's because it is a genuine expression from like us, that's why it's not fitting into that box. And it's like, at the end of the day, nobody, no art is loved by 100% everybody. Like that's why when I don't know, there's so many things to talk about. Like, man, if art was a democracy, it would be the worst art ever because it would just be like most vanilla boring. It wouldn't stir anything. It would just be like whatever. And I don't know. I just the more that we've been doing this, the more I find that and then it's it's the same. That's again, that's why I think it's so cool listening to like a lot of your guys journeys because it's the same stuff where you're like, oh, yeah. A whole crowd thought I was the worst comedian they'd ever seen. Two years later, you know, I've been Netflix special or whatever. Like, yeah, yeah. I mean, I've watched comedians that couldn't sell 10 tickets and now they're doing theaters and arenas a couple of years later because a clip took off and it wasn't because they were bad or something, but there's gatekeepers that are like, no, we're not letting you in. Or there's, you know, they're not getting any kind of exposure or they do get the exposure, but the people aren't grabbing on to it. It's there's all kinds of weird shit. And then either it goes or or you just keep going or you quit. Those are the three fucking things in art, you know. Yeah, absolutely. I don't know. I just find it really cool that there's anyone, you know, that I've listened to that I respect like and really look up to within like, you know, whether it's drums, music, comedy, whatever. It's like you hear the same stuff over and over. I know you've had so many like killer drummers on on your podcast and it's it's you hear the same stuff. And it's exactly like this type of thing. And the fact that we're kind of running into that first hand right now in some ways is cool because I'm like, OK, we must be on the right path. But like, you know, it's great to hear. It's great to have that encouragement and that the voices from all the other people that have dealt with that in the past, too. You know. Oh, yeah. I mean, you know, every fucking band I've had on here, 740 episodes of what it is and the comedians and myself. Not once has a guy sat down and went, you know, man, I just had the fucking looks. I had the songs. I had the talent. The record company understood it right away. Signed me and I sold a million. It's never ever been that story. It's always been like everyone said no. No one liked it. I lost a million band members over the years. I was grinding. I was on the floor. I was on my last fucking nickel. And then somebody said, wow, and then it caught fire. And it's always that, man. It's always the fucking no, no, no, no, no. If you watch that twisted sister documentary, I can't even believe those guys kept it crazy ever. But it is. They had like, I don't know if you ever watched it. I've been telling them to watch it. Even if you don't like Twisted Sister, every everyone on earth needs to watch that. And the Mike, the Bulls documentary, the last day after that, something's wrong. Yeah. Twisted Sister. I think they said they counted. It was like five calendar dates in like 11 years that they had off. Yeah. And they were recording. Everybody said no, they could sell out everywhere in New York. And then, yeah. And then then at one point, they get a dude who's way into it. I think it's Jason Flum, actually, and he's going, I'm going to sign this in the Atlantic President goes, if you talk about that band again, you're fucking fired. And he's like, wait, I just went and saw him. They sold out an arena in Jersey. They have no record deal. We could sell at least a hundred thousand records tomorrow. And he's like, I don't give a fuck. They suck. Get out of here. And man, that is crazy shit. All right. It just shows up persistence with a band like that, too. It was in the documentary. They had an A&R guy coming out or maybe a few, maybe they're being chopped to showcase, so to speak. And they rented out this huge place that like kids could have sold out and they got all these crazy lights. It was like a huge production. And the guitars had like a seizure or something, a heart attack or something. The gig was terrible because I mean, understandably so. And by the end of the first song they had like left, it is like they didn't pack it up, though. They're like, all right, let's go back to Jersey and have the gig tonight. And it's like, you know, again, think what you want about the sister. I think JJ French is a genius businessman and as well as D Snyder. But it's just that whole thing. It's it's persistence. And we do this. We have, you know, this much experience with it. But I am proud of what we're doing because we, Nick, the guy has a studio with and we were in a band with. He's like, it's going well for you, dude, because you've done literally nothing else. And it's like, well, yeah, maybe it's because I don't know. I I can't play baseball anymore. But, you know, it's just it's just cool. I probably said that eight million times in this podcast, but it's just cool, man. What are you guys? Let's get into it. Wrap it up here. So you're touring as much as you can. You're kind of opening for big bands. You've opened for some great fucking bands. What are you doing? You're going to record your own record. You have some stuff on Apple Music right now. You got a ton of great stuff on YouTube. You have a YouTube channel. Everybody check that out. Feel F E E L and then they have a TikTok and an Instagram. Are you guys recording a record with your now that you have the singer situated all that? What's going on? Yeah, we're we're in the midst of recording a full length. We have about, I don't know, maybe half of it or so done. And we're kind of we're planning on putting it out. Hopefully late summer, maybe later this year. Some business stuff might affect how all that goes. But we are in the midst of recording that for anyone that's been, you know, asking about when we'll have more stuff out. But yeah, otherwise I would I'd pay attention to what we're doing. And we're we try to be super active on socials, especially like Instagram and TikTok. And yeah, we're just we've got more, a lot more stuff in the hopper for sure. That I mean, even in the past couple of days, we just did a music video and some other stuff. So yeah, I don't know what else is. Yeah, I mean, it's just we're kind of at the point right now that it's decisions are having to be made based on if we should release these things right now, just because the nature of the business side of things and making a little bit of noise. So we're we're not entirely sure exact dates, but we got plenty of music on the way. That's right. And how about some shows coming up? Any shows? Yeah, we've got the next one. We have a headlining show. It's it's down around us, but it's in a town called Cape Gerardo, Missouri. And we don't lately we we've kind of intentionally chosen not to do a ton of headlining stuff just for the sake of like exposure. And, you know, we're fortunate enough to be able to get asked to be on certain dates with some bigger artists. We're trying to like leverage that a bit. We are we have been discussing like we're trying to work out, you know, to or out stuff, what would make sense for headlining stuff, you know, maybe this summer. That show, though. Sorry, I circled around that show is April 6th. And then we have there's a bunch that are in the works. But then the other only other ones we have announced right now are May 10th. We're opening for this girl named Hannah Wicklund in Indianapolis, who she actually dates one of the German fleet guys. I think we just opened for her in Cincinnati. So we're opening for her in Indianapolis, May 10th. And then we are playing one of the days of Rockfest in I don't know, he's say Kadot, Kadoa, Wisconsin. It's the big rock festival they have up there. And we're kind of in a weird slot. We're on like a it's technically if you buy the three day pass for the actual festival, we're on the Wednesday before opening for like, I think, Vince Neal. Yeah, those are just announced dates. We've got others we haven't announced yet. Just like I spoke about the music, we're in the period of time where we're being contacted by a bunch of things, you know, upper people in business and just venues and stuff. So just trying to navigate all that. But yeah, it's all on the social medias. Yeah. All right. Well, I'll see you this week in St. Louis, man. That'd be great. Yeah, that's awesome. Yeah, that'd be awesome. Come come see the show and hang out and it would be great to meet you guys face to face. Yeah, man, I'll hit you with the my phone number and we'll get that all together. Yeah, absolutely. Thanks for doing the show. And I can't wait to see you guys alive. And I look forward to watching your career take off, man, because I can tell it's it's in there. You got the chemistry and you've got the right fit now. And you guys are smart. You're putting, you know, together, your own video, your recording, your own shit, your self made, your in-house, you know, so you're not one of those bands going, man, I wish we got a fucking record deal. You're just doing it. You're out there and I really appreciate that, man, watching people go for it, you know, and thank you for doing the show. Oh, we're so grateful for the not only the opportunity, but just the encouragement and the sending stuff to your buddies and just that you're into it and everything. And we couldn't do it without you. Yeah, thanks. Seriously, thanks a ton for having us. I mean, when I was going through some of the other, you know, I've listened to some of your stuff, but when I was going through it, then I was kind of like, oh, my gosh, like, you've talked to a lot of the people that are like some of my heroes and, you know, in drumming and guys I look up to a lot. So it's it is an honor to to be on here for sure. Now, one last thing. It's the feel band is the Instagram, right? At the band called feel. Yeah, that's it. There's a lot of things on earth called feel. Yes. So at the band called the band called socials, but we are feel. Yes. Yeah. The band called feel is socials, everybody. I just want because, yeah, if you're going to search for it, you put in feel. Oh, my God, even on Amazon, what the fuck, man? Yeah, interesting things. My papa, yeah, yeah, yeah. Copper feel. Yeah. Yeah. All right, guys, thank you so much. And I will see you this week. Great fucking talking to you guys. And there you guys, everybody, follow them on Instagram. And don't forget to leave a review and subscribe to my podcast on YouTube and iTunes. I greatly appreciate it. And thank you, guys. I'll see you this week. Awesome. Thank you so much. Thank you so much. Later, guys.