 Look at our live, look at that. That is beautiful. That's from circa 1984. You're our life, guys, live on the metal voice and what a great group of people we have to talk about one of the greatest bands out there. Alan, what do we got? We got our good buddy from the West Coast, Neil Turbin. And we got Tom Loviser. Look at that. That is beautiful. Is that correct? From the Midwest Coast, right here. Tom, Tom, what state are you in? I'm in Green Bay, Wisconsin. Nice. The state of Wisconsin is confused. It's snowing there. That's right. It's not. It's like 70 degrees outside. I have my air conditioners on. It's ridiculous. We had the same thing here. That's pretty warm, yeah. On the East Coast, so. And of course, we're going to talk about Power Up, ACDC's new release. What does it say? November 13, Alan, November 13, Power Up. This is their, can you believe it, their 17th studio album. Of course, 18 of you include the one that was released in Australia back in the day, the first one. All right. So the sad thing about this, right, Alan, is Phil Rudd is there. Of course, Brian's there. That's not sad. That's a good thing, Jim. Sorry. Let me rephrase that. The sad thing is Malcolm is not part of this album. Yeah. That is sad. Yeah. Well, he is kind of part of it. His songs are part of it. Yeah. Yeah. It's a tribute to Malcolm. It's happening, Tommy. Hi, Neil. How you doing, buddy? Good to see you, man. I know. It's been a while. Look what I'm wearing. I got to come out to Green Bay so we can get a suntan. It's raining out here. I know. I know. You know what I'm wearing this? Because Anvil opened up for ACDC in Toronto at the stadium. I'm wearing this because I'm always wearing this, like 24 hours a day. And it's not even because Neil's here. I'm literally just this anthrax. It's almost permanently affixed to my body at this point, I think. All right. So I don't know who wants to start. Here's what I got. Here's what I got. Oh, Neil, you're bleeding. If you want a bond. You want some. That's so great. Let me, before we get on this, let me just plug. So we just did our new Ellison record, No Cover. And we actually did riff-raff with me and Jason McMaster do the vocals on it. Jason, for the record, was born to be Bond Scott. He's so amazing at doing Bond era ACDC stuff. And it's funny, because I sang it originally, and it sounded like Brian Johnson. And then he sang it and it sounded like Bond. I'm like, we're just going to use Jason's lead vocals. But it turned out amazing. And that actually came out on Friday. So you can hear it on all the digital outlets. And the video is coming out next Friday. And our record, No Cover, which is ironically all covers, comes out next Friday. There you go. Good. For those of you who don't know, Tom is the lead singer of Dave Ellison's solo band. I am. As well as the kingpin in the Ellison era empire. That's what they tell me. Allen, you want to start? Who wants to start here? Who wants to start? Well, look, let's get right into it then. This is like Back in Black was a tribute to Bond Angus. This is a tribute to his rest in the peace deceased brother Malcolm. And you know, let's start off with Realize, the first song on the album. All right. All right. I mean, how's this? Why don't we do this? Why don't we just give our overall impression and we'll tackle the song. Yeah. Okay. Yeah. Overall impression. ACDC Allen. Yeah. Yeah. Yeah. ACDC, right? I mean, And we're done. Yeah. Look, I'm glad Phil's back on drums. He's my favorite drummer, one of my favorites of all times. You got the cymbal crashes that he's so known for. It's nice to hear them again. Yeah. And you got Cliff, who's really signing on this album. I'm glad they got Cliff a little bit more in the forefront and letting him do a little bit more than what he usually does on this. So I thought that was a nice rhythm section as strong as ever, man. All right. I mean, to me, it really, I mean, to be honest, I wasn't a huge fan of stiff upper lip and some of the kind of last studio records. I mean, even conceptually, I wasn't really a fan of, I really like this. I mean, look, it feels very classic ACDC, but it feels a bit more of a return to form as far as, I mean, look, it's musically very ACDC. It's on point. Brian's voice sounds amazing. Lyrically, I think it's really cool. I mean, look, it is. It's a, it really is a classic ACDC record, man. And I was super excited to hear it. All right. Neil. Yeah, I got some, I put some time into listening to it and, you know, just to kind of digest it so I can go into detail on the songs. But I just want to say that it's a really fun record. I think it's, you know, got the ACDC stamp on it, you know, the sound that everyone expects, like Tom was talking about, you know, it sounds like ACDC. Earlier. And, you know, just, just the overall impression that I have is I think the fans are going to really love it. I mean, I think during this black plague that has been going on, I think it's a great thing for a band like ACDC to put out an album. And also, you know, ACDC, we thought was, was maybe no more after, you know, after Brian was having some issues with his hearing and, you know, of course, Malcolm passed away, which is, you know, a core writer, core member, core. Yeah, that's hard to come back from. I mean, two of the main guys, I mean, Brian, you didn't know if he could sing again and, you know, I mean, again, that's a hard thing to come back from two of the core guys in the band, you know, one passing away and one having a really serious health impediment that impedes him doing what he does in the band. I mean, that's a lot to come back from. Cliff was retired. He still had legal problems. He'll have some issues. Yeah, so. Yeah. Bill, let me just say, as a little abject side note, am I the only one, I actually loved the Axl Rose, the Axl DC man. I thought he did a killer job singing those songs. I thought he did a great job. It was fun, man. You know what I mean? Look, I'd rather have Brian back and have the band making a killer record. But look for one cool, fun, little weird thing to hear Axl Rose sing. And I'm a huge gunner. Hearing Axl Rose sing. It was kind of cool. I liked it. So sorry. Well, I agree with you like to sort of replace him in a show and in a situation. Yes. Yeah. But if he was to record, I would just like toss all my ACDC albums. I just get. I think it was cool of Axl to help out his friends. Yeah, exactly. And help out ACDC. But, you know, if he was to be part of the band, it's like, you know, there's a lot of, we could probably have a whole show and, and discuss like two different bands kind of melding together that don't belong together. Axl and ACDC, it's two different things. And I didn't ever see that as happening or even being like part of the plan. I think it was just kind of now looking at it in retrospect with everything that's happened. It was just kind of, look, they had this moment. Let's get him to fill in and do this live tour. And it was fun, man. I wish I could have seen it on his editing. I've seen a lot of videos on YouTube. I thought he killed the song. I thought he sounded great and whatever. But yeah, I definitely would have never been like, hey, let Axl be the singer and ACDC knew. Okay. The last two albums, Alan, was this better than the last two albums? This new album. Is it better? Yeah, I'm a bit, I'm like Tom, a huge ACDC fan since, you know, 81. And, and it's just the last album. It's what I call stop and go riffs. You know, it's fine. If you have a riff like back in black or highway to hell, but man, every song is like, you know, this blue, da-da-da, stop, da-da-da. So that was really driving me nuts in the few, you know, going back, I dare I say back to ball breaker even. Yeah. So I really, I'm with Tom 100% on that. But, but this album, even though there is 12 songs, it sounds like it's a 36 minute album, like the good old days where the other one sound like there's a little bit of filler. Like they had to get to a certain amount of minutes. This time they cut it back and there's more quality. I find you. Yeah. And that was kind of my problem at the last few with black ice and rock or bust. And I get exactly going back to ball breaker even. It just felt like there's a lot of filler. And some of it was kind of phoned in like, you listen to even fly on the wall or obviously back in black. But, you know, for those, but all those records like, and even the bond era records, man, front to back, you just put those records on and let them play. And it was just 40 minutes of awesomeness. There was no filler. I go to, I can't think any of the 70s to mid 80s, I can't think of a filler song really, you know, I mean, front to back, they're just masterpieces. And it feels like they really put the time into each song. Like every song on this record feels like it's its own song. And it has its defining moments. I mean, sure, there's some similarities. ACDC does what they do. And it sounds like ACDC, but it feels like they put way more effort to energy into these songs and into kind of, you know, again, to me, it was kind of Megadeth with dystopia. It's like a return to form. And I really kind of feel felt like this is too. A note here. Angus Young said that there is actually no playing riffs by Malcolm Young. He hasn't actually contributed, we'll call it physically to the album, but the riffs, the ideas and music is there from Malcolm and Angus that he wrote together. So it's a side note. Yeah, Jimmy, I wanted to say also when we were talking about, you know, just to backtrack once, I mean, one little rewind regarding, you know, the members of ACDC and how everything kind of seemed like it was falling apart there. I mean, if you look at a band like Led Zeppelin who everybody loves, you know, they didn't get back together. So I think it's a really, it's a big step for rock and roll and for ACDC to bring it back, you know, and I respect them greatly for that. And, you know, I think they put out a really, you know, very fortified with ACDC sounds and, you know, all the things that people love about ACDC. So I think that's really the old tone of the album, but to get more deeper into it, we can get into that. But I think it's, you know, if you were to look at the catalog as Tom was saying, you know, the 70s and, you know, having some of the albums where, you know, front to back, you know, cover to cover, it's just unbelievable. I think it's a hard thing to live up to. And, you know, we're not talking about yesterday. We're talking about a long time ago yesterday. We're talking, you know, 40 years. 50 years. I mean, their career is in the early 70s. Yeah. It's really hard to compete with, it's a long way to the top or high voltage or highway to hell or back, even back in black. I mean, front to back, the whole album, every song is a winner. So I think what you're, what you're working with now is, you know, people have different lives. You know, they've, you know, not everybody is a Picasso for their whole life. I mean, Picasso may not have even been that his whole life. You know, in other words, there's a time where, you know, Jimi Hendrix, there's a timeframe. He did, Jimi did everything in three years. You know, it's really hard to, you know, imagine a span of 50 years and trying to come up. Maintaining that standard for 50 years. It's not an easy thing to do. It's not easy. And people, people's expectations now with technology and the internet and all that, they expect, you know, Oh, the last album was great, but we expect mega great. You know, yeah. All right. Go back to what Neil said, I just want to add to what Neil said before this, we need this ACDC album at this time. Yeah, it's true. You know, and that's a great point. I mean, I didn't realize until I was listening to it. And it's like, yeah, Hey, I feel a lot better today than I did yesterday. You know what I mean? ACDC always brings that energy to it, to do whatever you're doing. So it's a great time. Well, and the other thing too is with people passing away. I mean, look, we, we, you know, I think me and Jimmy maybe talked about this in one of the last things we did, but you know, we're at this point where we're kind of facing the mortality of a lot of our heroes. And a lot of those bands don't exist anymore. Like at Motorhead, man, they're all gone. You know, there is no more Motorhead. There is no, you know, I mean, we're getting to that point where we're facing the mortality of our heroes. So to hear another ACDC record that sounds like ACDC and really brings them back to, I mean, again, it's a comfort. It's like comfort food, man. It's like, holy shit. There's a new ACDC record. And it sounds like fucking ACDC, you know? I think that's what people should appreciate instead of, oh, well, you know, I like this one, but I don't like as much as that one or like this one. It's like, well, you may not get to say that too many more times. You know, in other words, is there another record after this? Who knows? But I think it's great that ACDC did this. And I think it's great that bands such as ACDC, I mean, they just came out with a big release for a thin Lizzie. I don't know if you guys are aware of the, was it a six CD and DVD set. So it's got a lot of, you know, listening, it's a lot of listening there. But for the fans of these bands, I mean, this is, this is amazing. This is like Christmas has come early, you know, Alan, you're talking, Neil just made my dad and I didn't realize that he had this release. This is exactly what I need for Christmas, Matt. Okay. Now the track list, Alan, I know you start off with the track list, like realize rejection, shot in the dark, dark through the mist of time. I think those four tracks are, are, are like, they're stoppers. They're just, they're just, you know, like right away, like those are great tracks and the production's good. It's classic ACDC. Is it as memorable as Thunderstruck or, you know, you shook me all night long. No, but there, there's still some good melodies and some good hooks and toe tapping. What ACDC has always done going back to blow up your video, right? Let's get the two, two songs that we get on the radio, right? They had heat seeker and it's along with the rock and roll. That's the way I like to rock and roll. That's the way I like to rock and roll. And that's what, you know, runaway train and recent albums, you know, so, so this realizes a great strong opener, upbeat, it's got a little kind of a groove, a swing to it. And that's what they do best, right? Let's get out the first song and set the tone for the rest of the album. And does it maintain? That's, that's a, for us to discuss today. So. Yeah. I mean, I think. Go ahead, Jim. Were there any weak tracks on this album? Like really like, oh jeez. At one point I'm thinking maybe they should have brought in a sort of an external writer. And I know this is, this is something I usually don't say, but I thought maybe an external sort of songwriter, just to give them a little more melody. It could have shaken things up a little bit. You know what I'm saying? Like usually I'm a purist. I'm a purist of purists, you know, but I think they could have used someone just to help them make sure they get a 10 out of 10. You know what I'm saying? Whereas there was, you know, kick you when you're down. Wild reputation and no man's land. It was kind of like, okay, I've heard this before a thousand times. It didn't work back on. Ball breaker and it's not working on now. So. Yeah. Well, and to be fair, I don't know who, I don't know who produced this record. If they did it. I was who at this point they probably do it themselves. Brendan O'Brien. Oh, did Brendan O'Brien do it? Okay. No, I mean, again, I, you know, it's hard. As a producer myself walking, you know what, when ACDC, you know, when Mutt Lang did back in black is probably a pretty different thing. Now there's an expectation for ACDC as a producer. You're kind of damned if you do and you're damned if you don't, because if you walk in to produce an ACDC record and you're Brendan O'Brien who's done pro jam and had a lot of huge records. But when you walk in, your hands are kind of tied because you can't really push the envelope too far. And you know, they're probably, I don't know how, I don't know the guys in ACDCs. I can't speak to it, but you can imagine at 50 years into their career, they're probably not that open to suggestion. They know what they do when they do what they do. So it's kind of a damned if you do damned, if you don't think, I mean, you know, I could probably say that back in black wouldn't have been the record it was without the producer they had, you know, who was probably very integral to that recording. You know what I mean? So it's kind of a, it's kind of a weird thing even being the producer on this record, because it's like, what do you do? How do you, you know, take ACDC out of their comfort zone? That is basically what they created. And it's been that for 50 years, you know, I'd like to add to that if I can, because that's another one of the points I want to bring up. No disrespect to Rick Rubin or Bruce Fairburn or Brendan O'Brien. Like you said, he's done it all, but no album ever sounded as good as the Mutt Lang, three albums that Mutt Lang produced. You listen to the backing vocals on this album and they sound thin. They don't sound, and I don't think Malcolm had the greatest voice in the world. And that's the reason why they sound a little thin. I think it's just they, no producer was able to get that, those big loud chanting vocals that they had to listen to stuff, going back to highway. That's what Mutt Lang did. I mean, that's what Mutt Lang does. That's literally his thing. You know, I mean, it's just, look at the records Mutt Lang did. I mean, groundbreaking, death leopard, ACDC, every band, even Shania Twain, but I mean, every band he did, he basically took that band and molded them to something just on a whole other level of what they were. And I don't feel like Brendan O'Brien's, that producer, I think he's great at just capturing what a band does. And I'm sure he did great things for Pearl Jam or whatever. I just feel like this might be a little out of his element when you just walk into that. And it's like, what do you do? I mean, when you're Brendan O'Brien, producing ACDC record, you're basically turning knobs and hitting record. You know what I mean? I don't feel like he had a lot of input. I mean, again, it doesn't seem to me like there was a producer pushing them out of their comfort zone at all. Look, I bet you this is what he did. And it's kind of like what I know producers do with Megadeth. And they kind of go, here, go back. What Brendan O'Brien probably did is he said, hey, go back and listen to Back in Black. Go back and listen to. And I noticed there's more similarity on this record to some of the older records. And if anything, that's probably what he did. He kind of steered them back towards their classic material and tried to make it more in line with that. As a producer producing a legacy band with a career and a sound that's so defined, that's really your only option here. Go back and listen to, you know, and it's kind of Rick Rubin does the same thing when he kind of does his later records with these career legacy bands. He probably said, go back and listen to Back in Black and flick of the switch and some of the older records. And to me, that's the thing that's a little different on this record than the last few. I think there's a little more variety in the risks. And I think there's a little more of a return to the style of those records and the style of riffs and songs that were on those records, you know? Neal, how do you sing as a singer, as a professional singer that you are? How do you sing when you're deaf, like Brian Johnson? Well, think about it. How do you walk with your legs broken? Yeah. You don't. You drag. So in other words, you got to have your shit working. Otherwise, you can't hear. I mean, it's impossible to, you know, you'd have to have some kind of technology. So the best thing to do is get a really good voice. I think there's somewhere in this record. In my record, I think you had to heal up. It's just that simple. And one thing to that. Yeah. And I don't know if the hearing loss is still persistent. Part of singing, part of pitch isn't necessarily hearing. It's a vibration too. So you know what I mean? I think you could figure out a way to, and look, Rick Allen figured out how to play drums with, without an arm. You know what I mean? So, yeah. But if you have an issue with your middle ear, if you have, you know, divers that have an issue with coming up too soon. And you're not just talking about your voice or your hearing but you know your physical body your knees you're you know when you're kid and you you abuse stuff you think okay great I'll jump off a building you know I'm superhero so no problem. And then your shit breaks and then you need knee replacements or hip replacements I mean that's the stuff that catches up so it's kind of like that it's like you really got to take care like for an instrumentalist their hands you know they got it in their elbows and they're You're in the studio you're doing an album and there's got to be a certain amount of hearing that you can have right. You have to listen intently and have very very very careful listening skills in order to have your timing and have your delivery and the level of volume and how you deliver it your vibrato or you're not vibrato and and you know inflections and all that so Brian the way he's singing on this album. Is that excellent you know he's really done a tremendous job. And you know as an AC DC fan any pitch correction is there any sort of manipulated pitch did you hear anything. That's that's not what I'm hearing at all but you know I'm sure they have a lot of sophisticated work on this album but I would say this to what Tom was saying I'm kind of backtracking. I didn't get a chance so I think that you're talking about a writer additional writer for AC DC. Now if we take a back a step back to the 80s where you had you know these Desmond Child and these different writers for different bands like Kiss and other bands Bon Jovi and all these bands. It's like that can be a real plus you know Diane Warren. You get them the right to hit song but that changes kind of the direction. And like AC DC. I remember when I had a girlfriend back at Lieber Krebs in the 80s even the 70s. And she worked you know AC DC was one of the bands being managed by them and they were not a big band that they were trying to make their find their way. And you know they sound like they did then you know they didn't they stuck to their guns. And that's probably one of their songs. I mean they were they were just that kind of a band and you know you don't want to change you don't want to change something that works like that and especially down the road you can't say oh well we should get this person that person. To be an AC DC. But if I if I look back and I look at a band like Metallica for example. And you look at Bob Rock and the success he had with Metallica. I still I prefer you know Michael Wagner. You know I like master of puppets I mean how do you improve on that well you do similar to that but they did improve they did some things like you know they had a bigger album with the black album was a different thing. But with AC DC you don't really change what they're doing. That's the last thing I think with AC DC they're probably a bit insulated. There's a bit of an inner circle I would think and you know I would have liked to have seen maybe a producer and I think Brendan O'Brien did a fantastic job. Not to take away from him in any way. But I think someone like an Andy Sneep. I think that would be an interesting. I wouldn't want any sneak touching AC DC. I don't know. I kind of liked it at the beginning but now it's sort of just I don't know it's all generic now everything is cranking out. He's done some pretty amazing amazing things but I think to Tom's point not so bad. I'm just saying I wouldn't want to touch AC DC that's all with a producer that might have had a different focus just like mutt Lang had a specific focus you know he brought out like what I what I'm hearing on this album and I wanted to talk to your point as well Jimmy you had a point that you mentioned one of the songs that you love which actually was a song when I first heard it. It was not my favorite song and I'm just trying to look at my notes here so. Okay through the midst of time I heard that thing the first time and I'm like. What the hell you know. It's got that. At first listen. I really didn't love the song. Then listen I listened a few more times and I wanted to better understand what was going on so I had to listen carefully. The melody reminds me very much of a song called working class man it's an Aussie rock song by Jimmy Barnes a big hit. A huge hit and the melody does kind of have some flair maybe and I think you know it was a huge anthem for Jimmy Barnes I think Brian. He sounds just a little bit tight on that particular song it's just there's not a lot of movement like Stevie Wonder movement it's not like. He always sounds tight though I think that's a sound. It sounds really like it's screechy on that song to me. Oh yeah I think it's screechy on that song. Brian Johnson sounds screechy or it's immediate. I feel it wasn't very fluid and melodic as a song melody so I think I was actually surprised that they put that one. On the album because I felt like and so high in the order because I felt like this is a great song like Jimmy Barnes that's his that's his that's his world and his daughter Mahalia Barnes. I mean with all the backup vocals whole family sings everyone's musical. I mean that's the song that I'm hearing and but the hearing AC DC do something that's even in that realm. You know Neil that's a hit song that should have been their next video through the midst of time. I just want to add to what Neil said because the first time I listened to it as well I'm like what's what's this this is just filler. Going back you got the melodic guitar line and that's one of the things I like to blow up your video. They tried stuffing some stuff new on it like twos up twos up is a fantastic track. They really really shift gears on that and I think that's the equivalent on this album which is through the midst of time. So when you didn't mention Jimmy one that you didn't mention and I thought this was one of the best songs on the album and I think it's a sleeper of a song. And I think it comes in with an approach that's straight off a sergeant pepper and that is you know the Beatles album and it was a kick you when you're down kick you down. What did I write for that? Yeah, so it comes in with this chorus and it's kind of repetitive to a point, you know, which you know it's not a surprise, but that's more of a stop and go song from what I remember. So what's really great about that song is it has an alternating riff. Okay on the guitar so there's a lot of intricate like even though it seems like it's simplistic to some extent on the music. The guitar riffs, like they build and they do stuff and the music, you know they keep that driving rhythm, but they build and they turn back so on that particular one it really has some amazing alternating riff changes and excellent production and there's another thing that's going on the theme of thunderstruck. So you have the first song on the album, which is, which I relate to this one realize, which has you know those back. Yeah, it kind of gives you that feeling like oh here it comes you know like thunderstruck but but then they go in a different direction, which is fine and it sounds great. And this one, they use that same technique on the on the back of vocal so you know maybe that's the mutlang backups that they stack them up or whatever they do to make that happen sound, you know, has a certain sound. I just want to add to what Neil said Jim because I have that down kick you when you're down I have that as being a 21st century steroid blues. Okay, and it's also calling my new album that 21st century steroid blues. And it's also a reminiscent of a nervous shakedown off of a flick of the switch for me. It's got that bluesy feel but much much more modern sounding so it was a little bit of a surprise I agree with Neil so. Yeah, it combines simplicity and complexity all in one for ACDC this is definitely more. That's what I like about Neil he finds a little nuances in every song that I didn't even you know listen to or didn't. This is more of the Brian Johnson era sound and modern ACDC this is the 2020 ACDC sound this song to me. What about the blues off of black ice you know. What about the plucking on which is spell like you hear that sort of sink the pink you know that the guitar. What are they calling it. Yeah, it's a plug. They call it ACDC. A lot of people are going to love which is spell I think that's a fantastic song it's one of the outstanding tracks. I think the riff on that one has the Thunderstruck vibe and approach, but it's not Thunderstruck, but it has you know it kind of gives you an impression for a moment that drives you that direction until it hits the pre chorus and the chorus so it's something in that formula. And that you know brilliant build up of the guitars and then there's no doubt one of the holdover riffs from the Malcolm Young, you know work, I feel like that came from Malcolm and it's a definite favorite for me so I mean that's that's It sounds like a leftover for rock or bust a song maybe that didn't make that album that's what it sounds like for me so for me it's one of the I find it's one of the weakest tracks that I enjoyed the least so Which is spell? Yeah. I thought it was one of my favorite tracks I found kick you when you're down I didn't enjoy that too much but maybe everybody sees something else. Alan I want to ask you this and I've been dying to ask you this from these two albums. Is it maybe this way. Do you prefer this new album over the last two albums I know you like. Yeah you asked me that really yeah yeah the answer is yes. I know Alan's a huge fan Alan's a huge fan of AC DC I know all you guys too I know Neil you actually did a cover song on your your first solo album. If you got which one was it. Touch too much touch too much yeah nice. And I know Neil does a lot of it you do the the Bond Scott tribute right in LA. And here man oh man. If you haven't heard Neil Turbin sing AC DC please go Google Neil Turbin AC DC he does a phenomenal job man. Try sometimes. Yeah. Did you do Thunderstruck too. I did I did it with an orchestra. That's awesome. It was a challenge you know that's that's some high high stuff but you know Brian you know give an AC DC all the credit the world. I mean talk about a band that's like a cat that has nine lives. I mean you know after your singer dies and you have a great album and your bands finally you know breaking breaking through with the highway to hell then all of a sudden. What do you do. It's kind of like almost reminds me of Ozzy Osbourne when he left Black Sabbath would never die. I think it was never say die was the last one he did before he left and then deal came in but it's like. How do you recover. How do you recover. Not only did they recover. They they thought. Who would have thought that Ozzy with all the drugs and all the craziness and all the you know stuff. Yeah. I don't know. Show us your man. Your tool is Randy Rhodes and Bob Dasey. Two words. Max Norman. Yeah. And the drummer from Uriah Heap and I mean. Yeah. Unbelievable. Nick. Amazing. And unbelievable that I mean to me it's like you came out of Black Sabbath but the two Blizzard of Oz albums with that lineup. I mean holy smokes. Yeah. I mean to me as a thing like honestly I would take those two records and this price sacrilege is to say over anything in the Black Sabbath. I love Black Sabbath. We're going with this. That's a heavy metal. ACDC. We're going to a good place. This is great conversation. Guys. Guys. This is the show. The show here. If you look at ACDC and you love the Bond era. I mean there was Dave Evans there. Okay. And Dave Dave Evans. Yes. Great stuff with ACDC. I had the pleasure of touring with him last year and Dave great guy and he's still doing it. He's touring over there. And I think he's in Latin America right now somehow they're touring or playing some gigs. But you know I think that if you love the Bond Scott era after back in black it's pretty hard to not. I mean how do you. You can love Bond Scott but how do you. How do you just. You can't ignore. You can't. It's it's undeniable back in black. I mean and then for those about to rock. So I mean they really came out with some. It's much like the. Alan took apart a lot back in black just a month ago. We just took the whole album apart you know. And yeah. So much. And the other crazy thing about it about that that triumph that they had after bond passed away and with Brian is that. That bond was such a distinctive singer and they had such a distinctive band like a lot of bands is easy. It's not easy but it's easier to replace a singer. It's something that's specific and kind of in left field as easy easy was to find a similar style singer and be able to. You okay. Yeah. Okay. Tom's point I mean it's exactly the case I mean trying to replace some someone like a Steve Perry or trying to replace someone like a Steve Walsh or. You know Lou Graham I mean yeah they they got YouTube singers and so forth and yeah they do a pretty darn good job but it's like. I'm sorry but for me. There's only one Lou Graham and there's only one Steve Perry shows your treat their deal shows your treat shows your your your your. Yeah so. I'll tell you I'll tell you a quick AC DC story so. I mean there's a lot of them but I'll tell you one specific one so I just wanted to say. I really love the AC DC guitar sound is both you know the amazing playing by Malcolm who holds the fort down and the rest of the rhythm section and and Angus young of course and I'm sure you know many people agree but the reason I bring that up. Is they have a secret weapon okay and everybody may not be aware and there's a company that's called solo Dallas and it happens to be a friend of mine that I met. Through a young a young guitar player Taj Faran who is out of Australia and he he actually I played with him he was out here. He's got you know major management and label and he just he just played with Carlos Santana and he played with Rob Thomas and kiss as a matter of fact they invited him to show that I did with him at the Viper room. One of the guys from the kiss crew was there and he invited them to come to kiss rehearsal and he played with kiss. So anyway he plays it through one of these things. And I wanted to share this with you so this is the secret weapon. There it is. This is a secret weapon I'll just unplug some cables here. Okay this is called ex tower pull it back pull it back pull it back. You're getting a bleed there. You're getting you're getting back in black again. Can I can I just say Neil that that whole green screen black it makes me feel like I'm on an acid trip I feel like I'm watching fear and loathing in Las Vegas. I'm like. His hair is alive. Watch what happens. Hey. Hey. It's gone. So that is now. This is so Angus plays with two of these in his rig. And this is something that gives you a very distinctive tone. And it's pretty much this in a and you know some vintage Marshalls I'm sure like a noise gate or something. Oh no no so this particular this unit here it's called I'll show you the image on it. It's called the Schaefer replica. So there's a company that was by Ken Schaefer out of New York. They did the shape of Vega. What diversity wireless system so people like Roger Waters played it in the 70s ace freely. Then Lizzie Scott Gorham maybe Brian Robertson maybe Gary Moore I'm not sure about exactly who and Lizzie but they had it. Also you're talking about you know rolling stones were playing through it. And you look back at some of the guitar sounds so what this thing was this was actually a wireless system. And this was the receiver unit. So what happened is the wireless had an optical filter. So it's almost like a noise gate of sorts. And then you have a gain and a boost. So that's where you know you know Angus is playing or Malcolm is playing those those those SG's or or you know the the Gretch that Malcolm would play. And you'd have just a little bit of this this sound and you know every guitar player that loves AC DC. I mean we're all trying to get the sound right and that's that's really you know this unit here. This unit here is not a cheap one. Okay this is this is pricey but the other one that they make. I mean I play a bunch of different ones. This one here is the Schaefer replica storm pedal. This one's about $200 and I can tell you it's the best pedal that I've ever ever played through and I have a TS 808. You're losing me. I really love it and and I'm not trying to sound like Angus but the thing or AC DC but the thing is is that it really gives you know a boost. You could play an acoustic guitar through this thing and it boosts the signal practically 40 dB. So it's really amazing product. But what's cool about it is that is what was used on this album. Okay. There's the time. There is the time. I see the time. And it was used on back in black and on highway to hell. All right. So I mean that guitar sound to me is you know that's that's a masterpiece. I mean, and it's a masterpiece. And I think they figured it out and they found it. This is back in the 70s. So I mean kudos to knowing that and then a guy named Phil Oliveira from Italy who's in the US and I think he's in Florida right now. He makes these products. The company called Solo Dallas and it's called the EX tower and storm. It's a Schaefer replica. So I mean people know about it. I'm sure a lot of folks out there are very aware about it. And I, you know, Phil is at NAMM when they have the NAMM convention again, hopefully soon. And, you know, All right. That's great stuff, Neil. Thank you for that. I'm sure there's a guitar enthusiast will, you know, really appreciate that. That's very cool. Tom, last words. Last words. Go check out our cover of riffraff with Dave Lombardo, Jason McMaster and buy our record next week. Well, let me ask you something for, for that cover art. Show me that cover right there. It's like on through the night. Def Lepper. Did you have to get the licensing for that? No, I mean, look, it's parody. It's not, I mean, it's totally different elements. I mean, if you look at it, it's got a sticker. So it's hard to see, but I mean, if you look at it, I mean, it's a totally different, you know, like it's parody. It's homage. You know, I mean, technically it's a, you know, the same basic concept. But if you look at the totally different truck, it's a, it's a modern truck. It's a base. No, it's a guitar. Okay. It's a base in the back. Yeah. It's David's base. It's David's Jackson base. Oh, it is. Yeah. It is. It's David's Jackson base. It's a totally different moon. And that's kind of caring for the concept. I like the different moon. Yeah. But it's, it is. It's a totally different. It's a photo realistic interpretation. The original covers a painting and it's not very detailed. This is like a photo realistic modernized interpretation of it. Obviously it was David's base in the back of the, in the back of the truck. It's a nice picture. It's really nice. Yeah. Melody. Melody Meyers, our designer who does all that. And I was talking to David when we decided to do wasted. It was part of the same call. We were like, we have to do a death leopard song. What should we do? And obviously I'm a, I love on through the night, but I'm a Pyramania hysteria guy, but we kind of went back and forth on a few things. And we just came to the obvious choice of wasted. And then I say, you know, it'd be really fun. We should do for the, could we, again, it's a cover record. What do you do for the cover of a cover record? We covered the cover. So I'm like, it'll be really fun to do for the cover. We should do like a parody of the on through the night cover, but put your Jackson base in the back of the truck. Instead of the, the less Paul that's on the death leopard cover. And I, I, we both just fell in love. And I hit up Melody and she pulled it off. And I, I was, I, that's a great thing about her. I come up with these ridiculous ideas and she just somehow does it. And it, it floors me every time, but I didn't know we could even physically do it. You know, I mean, the original one's like a painting and, but she, she did it. And again, it's a little more, again, if you look at it at close, I mean, again, it's an updated truck. It's a modern semi. Everything's a little updated more, but again, it's just an homage, man, you know, death leopard was so important to me and David. I mean, look, death leopard is what inspired, you know, the death leopard being so young in that era was what inspired David to move to LA and join Megadeth. He was like, look, death leopard is young and they're doing it. I can do this too. And that is literally Rick Allen was like 16 years old or something. That's what inspired David to go and move to LA and, and join Megadeth. Speaking of death leopard, I wish there was, they brought back Pete Willis actually met Pete Willis. You did. I was, I was at Aussie. I was when I met Randy Rose at the Aussie Osborne show at NASA Coliseum when they played, you know, in the 80s first time. And it was Aussie, Joe Perry project and death leopard. I think it was Joe Perry and Joe Perry had a really bad sound. If I'm thinking of the right lineup, but death leopard. I mentioned Lieber Krebs and my ex-girlfriend at the time, you know, worked there. And so she brought me to backstage to death leopard and I'm sitting there on their couch and then they walk in. Who's this guy sitting on our couch? Eating our food and drinking our beer. And they had the best looking girlfriends ever. I mean, unbelievable. It's like they must have robbed a playboy building or something. Pretty much that's what was back there. But I was just like, I was 16 or something. I was like, man, what am I doing back here? Yeah. But it was cool. I like to interview Pete Willis. I don't know where he is. Yeah. I mean, bringing on the heart, heartache and heartbreak and all that amazing stuff. Yeah. I'm more of a high and dry guy. The band was on fire. And they were, that was like the pinnacle moment of like they're, they're on fire and they're rising up. But then of course, Pyramania and that whole thing that was just Willis. Pete Willis. Pete Willis. I mean, he wrote the choral photograph. I mean, he was essential in that album. And they fired him. Hey, Jimmy Allen and Tom, I just wanted to kind of give you some of my notes from the other songs. I think it's something that's valuable because I, I did dig in and I just wanted to see what you guys thought about this. I'll just kind of just fire it out there. Yeah. So I'll do it in order because I have, you know, because people are going to listen to the album and they're going to want to listen back to our, you know, our interview here and, you know, so realize, right? That song, you liked it and thumbs up for me. Here you go. Right. Yeah. So thunderstruck backing vocal feel at the beginning and throughout the song, you know, uses that mutt laying technique. And then the song builds to me. It's like an AC DC ball breaker MTV era sound. And that's at least what I'm hearing. And then the guitar solo is all also reminiscent of that fly into wall era. And then I thought it was really interesting on the song rejection because I'm always listening like, what are the influences in these songs? Neil, I just want to add to your comments and realize before you go to the next song. One of the things I liked, there was some harmonizing with Angus's guitar with Brian's vocal just before the pre-chorus, which is something you never heard of before. I need an AC DC album. So that's another encouraging sign that they're trying something new. I like that. You can just hear just a little bit layered in, just kind of harmonizing with the vocals. And I think that that's what makes this review, you know, this is the nuts and bolts that differentiate because we're talking about actual inflections or things that are, that we're noticing. And I think rejection, get it hot off of a highway to hell. I think it was and gone shooting. That's another kind of a sleeper track. It kind of just got that vibe or there's a feeling, not necessarily exactly the same, but get it hot is pretty much what I'm getting out of that. And then I like the 70s AC DC with bond Scott. I mean, you know, Tom was talking about that. It's, it's, it's, you know, undeniable. So amazing. And I can hear this riff. And the song being a bonus track on if you want blood or maybe the Powerage era or highway to hell. And especially the riff and the way the league guitars interact with the vocals on this song. So, you know, you're talking about realize Alan where the guitar and Angus's guitar and the vocals are interacting. Same thing on rejection. I mean, two in a row. And then shot. I don't know if anyone had any comments on that one. I just had the vocals. They're doubling up on the vocals there. Like you said, they got, so that's something you don't hear very often. And also the bass, the bass is just driving it right through, right? You got the stop and go kind of riff, but the bass continues right through. So it's great. And Cliff Williams who actually left the band retired and then he just came back for this. So that was another member that was gone that came back, right? Yeah. Cliff and Phil, they both know what to do. I mean, that's why Angus probably made the phone call because they knew what he was looking for. I think shot in the dark. Obviously the first single and video. I love the massive guitar riff. It reminds me of have a drink on me. And also a little bit of evil walks. I would say it's a much, it's a sped up version of evil walks. And if you listen to the melody of evil walks, I'm not going to sing it, but, and you put that melody on. But then again, it's close. I mean, everything in ACDC is close, right? And then it circles back to what Tom was saying about maybe, you know, you know, a different writer, different producer. So I like the melodies, but the song title makes me think of Ozzie. Oh yeah. Yeah. And Jakey with Jakey Lee, who had a huge hit with a shot in the dark. Well, it feels so sad, right? It wasn't a feel so sad. I played with Bill before. Yeah, he's a great guy. And I think they, if they changed the lyric around and called it a walk in the park and they used the other part of the lyric and flipped it. To me, that would have been the, you know, the kicker, but you know, it is what it is. But I think on the backing vocals on this song, shot on the dark, here's where I wanted to say the mutlang influence. I mean, I mean, you know, I mean, on this particular song, on the other songs, maybe it sounds more like an AC DC backup, but on this one, it sounds like you got deaf leopard in the room. Okay. Pick one or two more because I actually have to run. Okay. I got, I have demon fire. It sounds like a recycled riff, caught with your pants down from a ball breaker. But, but you know what's, you know what's, I find a Neil to your point here, like actually for Neil, he never sings in his chest voice. He sings at a high voice falsetto. Like, I mean, for God's sakes, I mean, he could sing a couple of songs in his chest voice. I don't know why he always does that. Well, is that Brian? Brian. Brian singing a low voice. Cause I said, I mean, my notes are, I like the second voice. I like the second voice. It sounds like another person I never heard before. That's Brian. He never sings. He always never sings in his chest voice. They need to use that. He needs to use that. I know. It's interesting, right? It's interesting. It's fantastic. And I like 99% of his singing. Is in his, his falsetto. Is his head voice. 99% of it. I don't think he ever sings in his chest voice. If you'd like to hear him do more with that. Exactly. And I like this easy top feeling. It's like a zeezy top kind of feeling with that voice in there. And then the bad boy boogie feel. And I think the song is in a demon's fire. It's an attention grabber. It's a fast, you know, pushing you song. And it brings you into the song. Definitely a good choice for a single. Definitely one of my favorites to stand out for me on the record for sure. Yeah. It's, it's the rhythm section. They're so tight on that. It's like beating, beating around the bush. And I wish they would have done more fast songs like this one and this style. And then I'm going to zip past it and say, wild reputation. That one just, Tom had mentioned what rock and roll, a noise pollution. I think. And that's what I got out of this one. That's the one I heard in this song. And, you know, reusing the secondary vocal. It's, you know, that second vocal of the lower voice of Brian. That that's in this song as well. And it's pretty much in typical AC DC fashion. It didn't, you know, like a filler song. I think the next one, no man's land. That one's really interesting. And here's why it reminds me of. Led Zeppelin three. Celebration day on guitars. A slow version of it. And brawny or stomp. You know, you know, vocal melody. Guess what I wrote for that song. Bored. No. Just one word. I don't hear the Robert plant. Vocal influence and the Jimmy Page influence on that song. I mean, I'm hearing that. Okay. So. Everybody takes away something else. And that's the beauty of it. Right. Systems down. T-Rex, bang a gong drum beat. Right. I didn't like systems down. That was a great. And then it goes into a typical AC DC groove and vocal delivery in the beginning, but then that's when it changes into the pre-chorus and chorus that really lifts it up. And I think this is a real representation. Real representation of AC DC today. And I think that song, no, I think systems down should be a single money shot. You know, rock, rock till you drop backing vocals, maybe. Code red. Code red. Code red. I had beating around the bush. That song I found reminiscing or beating around the bush. Okay. Okay. So code read the guitar opens with a riff that's kind of reminiscent of back in black feel to it. Sort of kind of. And then it goes into a drum beat. That reminds me. Get this one. Tom might like it. Of a half-time G and R. Mr. Brownstone. Along with the guitar riff and the vocal delivery. The vocal delivery is the key. Where it's doing this kind of fast. Yeah. You know, a fast delivery and the drum beat is, you know, in half time. So like maybe there's some type of a G and R, you know, Axol influence on that. That's why I like about Neil Turbin. I'll tell you, he picks up on everything. I'm using one word to describe things. And he's like, He's like, he's like, he's like the hi-hat symbol on the fourth bar of the second chorus. And really reminiscing. He knows what pedals they're using. Not quite. But you know, I'm just like, you know, I'm in here like, yeah, it sounds like fucking ACDC. Yeah. We think Stephen Adler's third bar on. Mr. Brownstone. He's like, he's like, he's like, he's like, it's really, Mr. Brownstone. You slow it down. the half time. Time. Then you know, you're brilliant. It's at the time of the care to be meticulous about. And you know what? You're saying, you know, people will appreciate the album more by hearing what you I agree. They'll say you know what? I didn't see that was detailed and meticulous and very I feel so stupid compared to you. Like, I think it's the album that we're smart, I'm just trying to catch up. So, as far as this album, I mean, this is something that is an ACDC fan's wet dream. I mean, we thought ACDC was done and dusted, and it's not. It's back, ACDC is back in black times 2020. I mean, there are. And so is Neil Turbin. He is also back in black. Yes, yes. Great Neil. It's actually true. It's true. That's a great, great review, Neil. We thank you for that. That's fantastic stuff. Yeah. Yeah. And you know what? I would have never caught any of that. You know what Jimmy said earlier? I got them all here. Of course, Brian Johnson joined ACDC. He didn't want anybody buying these, right? This is his old banjority that they actually have those. They even use the ACDC font, the same font with the lightning bolt, right? But on this copy, there's House of the Rising Sun, which is a fantastic cover that Brian Johnson does. And he sings in his lower register. Yeah, and that's what I liked about that stuff. He sings a little different on that. It was interesting when I found those and they kind of became widely available on the internet. I went back and listened to those. It was interesting to hear all these voicings that Brian has because in ACDC, he has one. You know what I mean? Now you gave me something I need to go listen to also. Thanks for that, Alan. No problem. And Jimmy, you had mentioned a couple of things real quick. I know you got to go, but I was going to say system of it down. We're not going to review them necessarily, but he told me about their new songs. And I just wanted to say I checked it out. I was very pleasantly surprised on how excellent it was. I mean, I've seen them live. You know, the band, the band sounds like, you know, they haven't missed a beat and, you know, very meaningful songs for a meaningful cause. And, you know, obviously, you know, there's a lot of shite going on. It's nice with all the turmoil in that band. And I know some of the guys in the band kind of personally, it's nice to see them rise above all of it and all of their politics and all their stuff to come together for our media, which has always been a very important cause, the recognizing, recognizing the genocide and, and now again, the current situations there. I mean, so again, it's always been a very important cause for them. So it's great to see them rise above all the little weird internal band shit to go and be able to record some new material and just kind of throw it out. I don't know. I mean, good, good for them. They believe in what they believe in. And Alan, Alan, you got a comment. House of the Rising Sun. And so for people don't know that was a cover right from Jordy. Yeah. In the Jordy days cover from the animals and animals that get No, no, no. Yeah, that's what I meant. That's what I meant. Yeah, yeah. But it was recorded with Jordy. Yeah, I would imagine so. All right. House of the Rising Sun. I actually sang with my soul band Scream and Soul Demon. But that song is actually originally written like early 1900s. I mean, it's actually something that the animals redid. Yeah. So it's a cover of a cover of a cover of a cover of a cover. I didn't know that. It was back in the what? Back in the 1800s? No, well, it's early 1900s. I think it was like a folk song. They changed the lyrics. They changed it around a little bit. But yeah, I mean, the animals did put a stamp on it. Yeah, it went away. Kind of like a cover of a cover of a cover of a cover. There you go. No cover. Love the irony. Love the irony. And then call it. I hope you're not going to come up with Neighbor of the Beast next. Neighbor of the Beast. It only works because I find it works because it's called No Cover. Well, that was the idea. It is. It's called No Cover and it's just two CDs of this thing is great, man. We have Dave Lombardo on here, Charlie Benante, Doro Pesh, Frank and Troy from Tesla, Mark Slaughter, Dirk Fribier and Chuck Bieler, Jimmy DeGrasseau, Andrew Freeman from Last in Line. I mean, we have Todd Curl. We have so many great guys and obviously David and Bumblefoot and our band and our guitar player, Andy Martin. And Tom, Tom, you, you're doing the vocals. I am on there. I'm like 15 of the 19 songs. Andrew Freeman sings on one. Todd Kearn sings on one. Jason McMaster, again, I let him kind of do the lead on Riff Raff. Because again, when I sing ACDC, it sounds like Brian Johnson. So again, so I sing that. It's not like Brian Johnson and then Jason sang it. Jason McMaster, I love him. He's a great guy. He's such a we're both very nerdy music fans. Every time I call him, we just kind of nerd out about ACDC and Judas Priest and just like our show. Exactly. Like, like Jason would fit right in in this round table. Jason, next time. We will, we will. Fantastic. All right, guys, I think that's it. I think we've covered everything and more. And I appreciate everybody's time. Unless you want to talk about Ozzy some more. I mean, I'm always down for that. I got all kinds of things. Ozzy just wants to play his last shows. I mean, it'd be nice. What about next time? Next time, we'll do one of the fits of having Sharon Osborn as your manager. I would say this is my favorite album cover. Look at this. Look at this beautiful B.O.C. Isn't that a beautiful album cover? It is. I was there when when they filmed the movie Godzilla at the NASA Coliseum in Black Sabbath, Heaven and Hell. No, but but you know what? Godzilla has never actually that song that they wrote. Their song has never actually appeared in a Godzilla movie. Their original song. So what's up with that? That's all I'm going to say. I don't know. All right, Tom, thanks, man. The new album coming out soon. Everybody go out and buy it and it sounds like ACDC. And it sounds like. And Neil, what do you what do you got going before we let you go? You know, I'm just working on writing, recording, doing some, you know, acoustic unplugged type performances since I have multiple genres. You know, I have my solo band where I stream that I'm doing. I'll let you know on that. And then also with my solo band, Neil Turbin, East Los, we're we're working on, you know, record we recording the first album and some of the other recordings that didn't come out with me. But they'll come out and the band sounds great. And, you know, it's a good time to be working on stuff. If you can't be out there in front of people, you could be in the studio recording. And that's it. That's it. One more thing I actually want to plug. We're doing. We're actually we are doing a live stream like senior release Sunday the 22nd. It hasn't officially been announced yet, but it will be this week. So we're going to do a cool little live stream the 22nd. So keep your eyes first here on the metal voice. That's right. You know what? And this was a nice little Saturday chat. That's that's what it was. Thank you. It was a Saturday chat, chit chat, talk in ACDC and everybody yourself. Have yourself a great Saturday night. Awesome. Power up guys. Thanks a lot. Power up. Anvil.