 All right, here we are. Another episode of Let There Be Talk. It is Josh Todd from Buck Cherry here today. What's going on, buddy? What's happening? A lot's going on. You know, thank you for having me first. First of all, and yeah, we're about to drop our 10th record here, volume 10 June 2nd. And super excited. I go way back with the band. I remember, shit, I think it was like early 99 or something. Bruce Boulier was a good friend of mine. Such a good guy. Love him. And if you see him, please tell him I said hello. Yeah, I will. I see him once in a while in Vegas when I do shows out there. He comes in. Oh, is he living there? Yeah, he lives out there in Vegas. That's cool. Yeah, that brings back like a lot of great memories. That's where all the old rockers seem to move. Yeah, yeah. There's a lot of guys living out there for sure. But you know, I remember he got in my car and he was like, yeah, I'm working with this band Sparrow. Check him out. They got a buzz. He put it on and he played at the movies. And I was like, so incredible. And then I started digging into it. You guys were, it was interesting because you guys were kind of lighting it up in a time that was just right as grunge was starting to kind of fade a little bit again. You know, it was, it was like, you know, you had the sunset strip boom and then grunge came and then that kind of faded off a little bit. And then you guys come out and yeah, look like this bolt of lightning again down there. Everybody's like, oh, shit rocks back, you know. Yeah, you know, I just remember there was a lot of rap rock going on at the time. You know, that was pretty big at the time when we first dropped our first record. And we were kind of like this different thing, you know, on our own little island. And it just, it just worked. You know, we had the right song at the right time at that time with lit up and it reacted with people and thank God. Yeah, I think it was like spin or Rolling Stone did a little blurb on you guys too about how this cocaine song was, you know, labels were coming around. At what point did the labels start coming around? Because that's kind of at the end of also the quote unquote big A and R guy, like the Cologners and those kind of guys that were snipping around, Rick Rubens that would come around you back. Oh, shit, A and R guys, you know, right? Yeah, they used to be a big thing. Now, now it's like there's none of that anymore. But yeah, Michael Goldstone signed us to he's a big A and R guy. He signed Pearl Jam Rage Against Machine, you know, which are, you know, huge acts and it was very exciting time. I can tell you how it all happened. I mean, at that time, you know, we were starving musicians in LA and the bass player and I at the time were working a phone gig, you know, and so we used the phone lines that are worked to basically manage the band. And so what we are, our whole thing was we we booked shows up and down the coast of California, you know, and stayed out of LA. And we kind of built up this buzz around LA, you know, so that once we, you know, the plan was to like build up the buzz around LA. So we would go down and play San Diego and then we go out and play Monterey and then we would go down and play Orange County, you know, and there started, we would start getting these fan bases in these areas. And then eventually there was a buzz going on. Okay, we spoke to this entertainment attorney, Alan Mintz, and he's not alive anymore. God bless him. He was a great guy. And so we met with him. We got a plan together. He goes, okay, let's do like five shows in LA and I'll get everybody there. And you guys got to pack them. And you know how hard that is. It's super hard. Yeah, it's super hard to pack clubs consecutively and Hollywood, you know, so that's why we did all this work around it so that we had a show at the Viper Room and it was sold out and we had given out at all of our shows we gave out these two song demos for free. And I think one of it was Lawless and Lulu, and I think Lit Up was on there. I'm not sure. I know, I know Lawless and Lulu was on there, but we sold out the Viper Room and every A&R guy was there, right? And managers and, you know, and then all, and then VCR Sparrow fans at the time. And when we played Lawless and Lulu, people were singing the chorus as if we were in an arena, you know, they had all, they all knew it. And so the A&R guys were looking around the room and they're like, I can't believe this. This is a local band with no record and these people know the songs, you know, so I think that was a real big selling point. In fact, I know it was after talking to Michael at, you know, Goldstone after the fact. And then, and then we played another showcase at the whiskey and it was incredible. Another night like that where it was sold out and it was just bananas, you know, and then we were, I just remember walking up the street from the whiskey with the band guys and Michael Goldstone just walked up to us and he goes, hey guys, I'm Michael Goldstone. And we go, we know who you are, you know. And he's like, yeah, I was wondering if you guys would like to do a record together. And we were like, fuck yeah, we want to do a record together. And that was like, right when DreamWorks had started, you know, and the rest is history. That's what happened. It's funny too, because what you just said, yeah, we know who you are. There were these guys and we knew who they were. And when they came in the room, it was almost like they were rock stars. It's like, oh my God, fuck it. You know, Tom Walley's here or, you know, these dudes, Mike, what's the guy that signed G&R? Fuck, I forget his name. But you know, these guys would be Tom Zuton. Yeah, Zuton. Yeah, yeah. He just came to one of our shows just recently in Tennessee, Lovely Guy. Yeah, I heard he's living out there selling cars or something. Yeah, he sells kios. That's fucking wild dude. Yeah, he's a cool dude. He is, man. I mean, but that was the kind of the last of the era of those guys. And just to thank too, also, like a big record deal, DreamWorks at the time had a huge buzz also. They were this new label, super late. So to be on that label and then have Terry Date do the record who had done Soundguard and, you know, and all these great, great records, that's just like a perfect storm, you know? Yeah, it was a really cool time for us. Everything was new. You know, we'd never been on a major label. You know, we'd never had a hit song. You know, we had a hit song with lit up and all those things. It was, you know, we gave DreamWorks their first gold record of that label, which was pretty special, you know, and here we were this rock band, you know, like so. We are just really enjoying the time period for sure. After he says, let's do a record, were there other people coming into the game? Was there a bidding war, that kind of stuff like old school? We'll give you $1 million. Alan Mintz handled all that kind of stuff. And I think there was a couple of other guys, people at the table. I can't remember specifically, but, you know, Goldie was who we really wanted, you know, and it all worked out, you know, it was just the right fit. I hadn't really heard of anything happening like that. It's funny, after that happened, Buck Cherry gets signed and you start making records and stuff, it doesn't really happen again until Shooters banned Star Gun. It seemed like every five years or so a rock ban would happen and people would be like rock, you know? Because that same thing, I remember they were playing Viper Room, there's a million people there into them and, you know, they were straight up rock and killing it, but it was so hard for rock to even, you know, fathom getting a record deal and a draw after what happened in the 80s, you know? Yeah, we've seen a lot of them come and go, I gotta say. We've been doing it 24 years now and you've seen a lot of them. One record out, two records out, you know, like it's only a small percentage can have longevity, for sure. Yeah, it's a gruer, for sure. I was surprised. I went to the time bomb tour show. I remember quite well, I was on the bus, I knew Yogi and you guys played Dog Pound in San Fran, which is just a shit venue and I was like, I immediately was like, this, this band's over, you know? If you're playing here, something went wrong and after that gig, I think you guys were done. Yeah, that was a tough, tough touring cycle, you know? I mean, I could sit down and give you all the reasons why it happened like that, but you know, it happened and we weathered the storm and you know, we took a little hiatus and made the biggest record of our career, you know, with 15. When you guys kind of go on hiatus, semi-breakup after time bomb, which by the way, I thought, I thought that was, for me, was the record. I thought it was better than the first one. For me, I liked one. I did too. I did too. It's like, it's a great record and I always tell like real Buck Cherry fans like, you gotta get, you gotta find that long lost record and that's time bomb. You know, it's a great record. It really is. And the videos, it's fucking mean too. It is. I love it. It's a goddamn rock record. Riding is fantastic, man. It was just, that song came out. I was like, oh, these guys got some fucking great songs, you know? Yeah, I sang Riding and Porno Star this morning. Yeah, great, great shit. And then Placing the Sun was great. Great song. Now, I've been in the business, so I understand once you go on hiatus and everything and you kind of go away, was there some long red tape before you do 15, you know, as far as being, hell yeah, there was every, every obstacle you can think of was thrown at us for that, for that record. It's a miracle that it happened, you know? Everybody was telling us what we couldn't do, you know? And so we just stayed focused on the beacon and just kept hustling, you know? The reasons, the reason it's called 15 is because no one would sign us in the United States and we got a small record deal in Japan and we had a small budget and we made it in 15 days. Now, when you guys, no one would sign you, is that because they would have to pay your back in like deal from DreamWorks, like buy it from DreamWorks? How did that happen? No, no, no, we were out of our deal and just became, we got the, you guys are, you know, over whatever their excuse was and so our manager stepped up Alan Kovac at the time and he's like, you know what, fuck all this. I'm going to start, I'll start my own label and you guys will be the first record and we'll do a, we got a distribution deal through Atlantic and they had an upstreaming clause in there if they wanted it at some point and we released it on 11.7 Music, which was Alan Kovac's label that is now a pretty big independent label now, you know, with lots of other bands, you know? And of course, Crazy Bitch started happening and then everybody wanted to be our friends again. No, yeah. Oh, yeah, that's the, everybody, everybody wanted to be in the book carry business again. Yeah. Imagine that. That's Hollywood, man. Yep. Oh, we can make some money. Hey, buddy, we've always loved you, man. We just couldn't figure out how to make it work. Yeah. You guys, now that it's easy, we want in. My whole idea, I listened to a lot of hip-hop, so I just wanted it to sound like a hip-hop song, you know, but with Rock, I wanted it to have a lot of space and groove and very simple and it's crazy the life that that song has had. Yeah, we never would have thought that it was going to be like that. I mean, you could actually, this is the crazy thing I was thinking about, you could have no records out before that and still tour the rest of your life because of that song. Isn't that crazy? Yeah, I wouldn't want to do that, but I understand that, but I'm saying the power of a hip-hop. I think you could, yeah, you could go do some shows, but you couldn't tour extensively, you know, you'd have to, you have to keep putting out records. But yeah, I mean, that's what's great about hip songs. We always want a hip song, you know, for sure, because that's exactly what you're talking about. It gives you that platform to continue to go out there and make a living at this, you know, that's what it's all about. I did notice one thing when I saw you guys. I was on the bus on the time bomb tour just hanging out and you had a pretty vigorous warm-up thing I've sang for years and years and years. At first, when you first start singing, you're just singing like, you know, a gig a week or whatever and at rehearsal. But once you get on tour, do you immediately try to find a great vocal coach and figure out warming up and warming down and all that stuff? Well, yeah, it's a whole different ballgame, you know. I really self-taught myself all the way through the first record and the first tour. So since I was 15, you know, and I created a lot of bad habits and this was before in-ear monitors and all that, you know, and my ears were starting to get really fatigued from the noise on stage and I was blowing my voice out a lot on that first record tour and I needed help, you know. And I got a vocal coach. Don was his last name. I forget his last name. Then I went to a lot of different people until I finally landed on Mark Baxter. He's my guy and I really love him and now I'm a real student of vocal technique and it's hard for me to listen to the first record because I just hear how underdeveloped I am vocally and, you know, and I continue to constantly work on my voice to this day, especially when you get older, you got to work harder and you always find new little areas of your voice that are, you know, if you're constantly working on it, you know, and I warm down now too. I've been warming down for years. So not only do I warm up, I do a show and then I warm down after a show, you know. What is a warm down? Because that seemed to happen after I stopped singing. You're warming up of course, but a warm down, I'm trying to figure out what is that? Yeah, the whole theory behind it is like you have your speaking voice and you have your singing voice, you know what I mean? And so you warm up with scales to get your body and your voice, everything ready to go out there and perform. And then you go out there and perform and you're basically, you're in your singing voice, you know. So warming down is just somewhere where I get off stage and then I just vocalize for about eight minutes, which is just doing some light scales until I'm back to my speaking voice, you know, and that's really the whole thing behind it. And, you know, once you start doing that, it's like it's the next day and the next morning where you really feel a difference, you know, and then you don't ever want to not do it, you know. Yeah, that's wild. Did you ever get any nodes or anything? No. Yeah, yeah, lucky, you know, and I haven't sang with in-ear monitors. I was like you in the era of just side fills and monitors and bad monitor guys, but feedback and just trashing your ears and stuff. How great is it to sing with the in-ear monitors? It's a game changer. I'll never sing without them, you know, because you can really dial in your mix to where there's only stuff that you want to hear. You don't have any, like I don't have like cymbals and all kinds of stuff that really fatigue your ears. I don't have, I don't even have an audience in my, in my ears, you know. I don't have backup vocals in my ears. I just have, I just have drums, you know, bass, guitar, and my vocal. Yeah, man. I'd like to try it out, you know, because when you're singing in the studio, you know, you've got cans on and you could just, you don't have to like trash your voice. You could just sing in this great volume and everything. You're not trying to get over Marshall stacks, especially when you guys- That's the thing. That's the thing. It really saves your voice. And the coolest part about in-ear monitors is you can walk anywhere on a stage. So say you're on an arena stage and you go all the way to the left and all the way to the right. It all sounds the same wherever you're out on stage, you know, and then you go, then you go play a club gig and it's the same. And then you go play a theater and it's the same, you know, or they're very small tweaks, but you know what I mean? And now, now guitar players are on simulators now or they don't even have guitar amps on stage anymore, which is amazing because it even cuts down more noise. So you can even dial it in even better. It's just, it's so great for singers, for sure. Yeah, absolutely. When you were coming up, you know, like we're talking about, you were talking about hip-hop, I loved hip-hop, I still do, but it was wild, right? What happened? We just had like, you know, of course, we know like Sugar Hill gang and that was really coming around. Rapper still lied and then you start getting some of the stuff. Brent DMC, Public Enemy being my favorite and then it kind of with NWA and it's a whole game changer for years, right? What was it? Yeah, yeah. NWA was really where it was at for me. I mean, when that was straight out of Compton hit and I was in Orange County, California surfing and skateboarding and all the kids were listening to that record. It was really huge and I just remember as a kid putting out on that record, I'm like, damn, this is so fucking dangerous. This is so rad. It just felt like, for me, like it was these young guys talking about what was going on in their lives in the hood and I was like, it was something that I had no knowledge of. So as a kid, it was just really awesome to listen to it and to be close to that without knowing who they were. And that's what it was for all of us. So we did everything to the straight out of Compton record. We would skate to it and we jam it in the car and put it on at parties and it was a huge record for us. Yeah, it was massive. That one and for me, Fear of the Black Planet, you know, I just thought that was great. And then that's when I got into everything after the fact. I didn't even know public enemy at that time. Yeah. And then all that stuff later. And then of course, the masterpiece. And you know, I got in, I was really into the ghetto boys back then. Oh yeah, the ghetto boys. They were great. It's just classic. There was so much great hip hop that if you think it's wild, some people just have like one or two records. But you put them on and you go, God damn this shit. And it was dangerous. It was dangerous. It was. It was awesome. And then you had Easy, Ice Cube, they did their thing and then Dre did his thing and then Tupac, it was amazing. And then Biggie, like all such a great transition and time period for hip hop for sure. And there's a lot of great stuff now. You know, I just, I listen to hip hop all the time and pop music. Yeah, same. Yeah, I listen to the M&M Serious channel. And it's always this shit is, this shit is great. They just play crazy stuff, you know, and it's, I don't even know who it is. I just roll it. And I'm like, this is great, you know. Yep. Yep. Now you and Stevie D, like there was a time where Buck Cherry kind of fell apart again after Keith leaves and you do a hip hop thing with Stevie D, right? Oh, we did a lot of stuff. We did a EP called Spray Gun War, which was like electronic and rock. It was a lot of fun for us. I was like the first, you know, Stevie D is really talented guy and he never got an opportunity to shine because of the politics of the band at the time, you know. And so we did the, we did the Spray Gun War EP. And then we did Josh Todd and the Conflict, you hear the Tiger record, which was amazing record. And me and Stevie wrote that whole thing. And so we were getting our song writing language together and cut to the first Buck Cherry record, which he and I run in the show was War Paint and had a lot of fun making that record. And then, you know, Hellbound and Volume 10, in my opinion, are the best Buck Cherry records to date. We co-wrote all the songs, most of them with Marty and me and Stevie and Marty. And it's amazing from top to bottom. Let me ask you a little bit about your dancing because that was one thing that really blew me away. Like, you know, it seemed like when I was coming up, you had some Stephen Tyler had kick ass moves. And then you had, you know, Richard from Shark Island. And then you got that whole GNR, you know, Axl, did he take the dance and with the snake shit? But dude started dancing. And as a front man, you're like, well, fuck, now I got to dance too. I'm like this bad white guy. I'm like biker rock, you know what I mean? I'm up there trying to whatever. But man, you fucking had some sick moves still do was, did you go to some dancing coaching and stuff? Also, I mean, it had to be the whole package, right? As a front man. You know, I have an older sister. She's two and a half years older. And when I was a kid, you know, I had my, my records that I listened to, which was a lot of punk rock records and all that. But I'm a fan of music and I would sneak in her room. And she had Billy Idol, Prince, Apollonia six, Sheila E, you know, yeah, I was a big fan of the Yaz record upstairs at Eric's. So anyways, I would go in there and listen to it. And she was all into going out to clubs and dancing, you know, so I got a fake ID when I was 17. And I would start going to clubs with her and I started dancing. So I would be like this little punk rock surfer skateboarder kid during the week. And then I would go dancing with my sister at like dance clubs in Orange County, you know, and I really enjoyed that. So dancing has always been a part of my thing. You know, I really love funk music as well. And, you know, I like very soulful rock and roll music. And I think that's what's missing in rock is soul, you know. And, you know, I bring all those elements into Bucketary stuff and Bucketary performances. And yeah, it's just part of me. I think that's what's missing in music in general is a full blown soul, like 70s type of bands, where they played soul and played instruments, talking earthwind. Well, you know, thank God, thank God for Bruno Mars, because Bruno Mars is really special. And thank God for him because he is, he's legit and every aspect he's like the king right now, you know, just an amazing talent. But isn't it wild? We can only name maybe one when you look at like the 70s of like earth, wind and fire, lakeside, you know, implement funkadelic that I mean, that entire soul train era of just fantastic musicians and crushing songwriting. And it's just not around. It's wild. Yeah, well, I mean, you know, it's because technology made it really easy for people to have to measure it and, you know, put out music, you know what I mean? Back then, you're talking about all, you know, even disco back then was like played by live bands, you know, they had to go out and play like Donna Summer was amazing live. And she had a live band playing disco and it was incredible, you know. So, you know, now it's people go out and they're just, you know, some of them are even lip syncing the tracks, you know what I mean? It's just all tracks and there's not a whole lot of spontaneity and soul and that kind of stuff, you know. But I mean, Bruno still does that, you know, he has a great live band and live situation. He's an incredible dancer and performer and songwriter and singer and all that. Yeah, I mean, you know, I mean, I fell in love with D'Angelo and, you know, he was great. Yeah. It's just a smoker and Maxwell, remember him? Oh, my God. Amazing. Amazing. All this shit was just like there was soul going on then, man. I mean, just a run of them. Yeah. I saw D'Angelo way back in the day at the Health and Blues sold out and it was like, it was a love fest in there, man. Everybody was dancing everywhere in that place. It was amazing. Yeah, D'Angelo is a God. And of course, the Bee Gees for me, Saturday Night Fever. Amazing. Amazing. That stuff's next level to me, that soundtrack, that film. Yeah. Dancing, the clothing, the music, it's nuts, man. You got good taste. Same taste as me. Yeah, absolutely, man. It comes down to good songs. That's what it comes down to. It does. It's all about the song, you know, and that's where we're at to this day. It's like, we just do what's best for the song and that's why the records are so good right now. So you did the new record again in Nashville with Marty. This is the third one with Marty, right? No, second full record with Marty. I mean, no, Marty produced some records like Back Butterfly and China Confessions and he co-wrote Sorry with us back in the day. But these are the first two records that we've just done, just with him from top to bottom. And, you know, he and I and Stevie writing the majority of the music together and it's just amazing. And now you got my old friend Billy in the band, Billy Rowe from Jet Boy. Such a wonderful guy, really, really good dude. It's so funny because when I was young, Billy and Jet Boy moved to LA and I was a band in San Francisco. And that was a big deal when you're young. And you, I mean, that's when you can make a big move like that, but it's also scary as hell. And then they came back after a while, you know, the Bay Area. But eventually I moved to LA and my entire life changed from just a 300 mile move, you know, and now comedy, it's just bizarre. And I talked to Billy a lot at night, you know, and I'd be like, yeah, just get out of there. San Fran is completely done, you know, and I'm like, you gotta get out of there. This is in LA, you can just walk around and anything can happen, man. You got to be in the river if you're panning for gold, you know, and his guitar company Rock and Roll Relics took off and then bam, he lands a gig in Buck Cherry. And it's just fucking crazy how people's lives can change. Yeah, he's really renewed my faith in musicians, you know, I mean, he's a he's like a really lovely guy, you know, and he's in it to win it. And he never complains. And he's a he's a world class player and a very professional guy and all those things, you know, and then he has his own his own business as well, who that he's really talented at. And what can I say, you know, we found a gym. Were you aware of Jet Boy or did somebody recommend him to you? How'd that go down? Stevie knew him. And we, you know, we had, we had a situation and we had to address it. And he's like, I know this guy, you know, and I'm like, at this point, it wasn't even about like, okay, he's done Jet Boy and we know he can play guitar, you know, but it's really about the person because at the end of the day, you got to be in tight quarters with, you know, these people, your musicians and and you got to basically live with them, you know, I mean, that's what people don't really realize. And we had been through our run of, you know, situations in this band. So, you know, I was very gun shy. So I said, let's just go to breakfast, you know, let's just have a talk, you know, and so that's what we did, you know, Stevie was really championing him, said he's a really good guy and really liked him. And it was important for me, for Stevie to have that good, you know, camaraderie between him and another guitar player because that's that's a big deal, you know, so I go, so let's, let's go to breakfast. So we went to breakfast in Toluca Lake and it was me, Billy and Stevie, and it was just a lovely time, you know, Billy was just a really great guy. He came off like somebody that I just could really jive with from the get go is very nice person and and that was what was so important for me, you know, and I we left there and I go, I'm fine with him. If you're fine with him, let's let's get going. And then it was just about like, you know, I told I told Billy, I go, you know, we don't really know who we got until they're two years deep in this band. That seems to be the that seems to be the pattern that's gone on with us, you know, it's like, people don't really show their true colors until they're about two years deep. And then we get all the stuff we get, you know, people bitching because they're on the road too long or pre Madonna's or whatever, you know, you name it, you know. So he's like, he goes, I understand. And that was it, you know, and he's been in the band over two years and he's just thought is the day day one, you know, and it's been going great. Yeah, that's great, man. We've been friends, I think, I don't know, 38 years or something. So it's wild. And now you're out on this great, successful skid row buck cherry coat headlining tour. What kind of dog you got? It's a King Charles Cavalier. Oh, this is lion lion. Does he got a blue eye? He's got one blue eye like Bowie. Yeah, he's lovely. Yeah. My dog's looking who's barking. That's cool. Yeah, we all love dogs. I love it. I love it. You guys are out on the skid row buck cherry tour. That's growing great. They keep adding dates. That's pretty damn cool. And you guys. Yeah, yeah. Yeah. And you're regular at the fucking, at the Sturges, which is pretty cool, man. That's always wild to play. Yeah, they need to build us a house out there. We play there so many times. Now the records, when's record come out in June, right? Yeah, the record comes out June 2nd. You can pre-order it right now. You can get like three or four songs if you pre-order it right now already. And we're hitting on all cylinders. You know, got a lot of touring ahead of us and come out to the live shows. It's going to be great. Yeah, congrats on everything. I know how fucking hard it is touring. I just got off a two-month tour. The buses are triple the money. The gas is a fortune. The rooms are a fortune. It's just fucking loony out there, man. It is crazy. Yeah. Yeah, people don't understand how expensive it is to tour. It's a lot of money. It's worse than ever, you know. Yeah. Yeah, but you just, you know, you gotta just navigate through it and work through it. And that's, you know, we always do that. We've been through it all. You guys watch some comedy on the tour bus? Yeah, I'm always watching comedy. You know, we watch a lot of stand-up on Netflix and Amazon Prime, the stand-up, you know, always. I love stand-up. Who's your guys? Honey, who's the last guy with Mulaney? Oh, yeah. Oh, the cocaine one. John Mulaney. Yeah, that was amazing. The cocaine one, that's the great stuff. We love Sebastian, man, Skalko, you know. Who's the, I'm drawing a blank right now. Oh, Bill Burke? Yeah. Yeah, he's really great. Really great, yeah. He's fantastic. You've got to come down to the comedy store sometime, man. I would love to. Let me know. You know, last time my wife and I went down there just, we just went into the main room and Man of Skalko came up there. He was, he came up and did like 15 minutes. We were like, oh my God, it's amazing, you know. It was, it was pretty cool. Yeah, it's like that every night. You're going to get an Ali Wong, Sebastian, you can get Burr, and then you got me. Yeah. Yeah, yeah. That's great. I, you know, I tip my hat to you. It's, it's, it takes a, it's a hustle and you got to be good. And, you know, the writing and everything, I love it. I think it's a, it's an amazing thing. You know, I don't know. Did you see the HBO Max special on George Carlin? Oh, yeah, absolutely. The documentary. Yeah. Yeah. Judd Apatow did it. It's two parts. It was incredible. I was a huge, like I was really in a dirty comedy when I was a kid and like Sam Kinnison and George were huge for me when I was a kid. Yeah. It's wild to think too that, you know, I had no idea. I saw Carlin when I was young and I was a huge fan. You know, I remember I saw him and he was just like, he had this thing. He had his way with words, but he was just like, the fart is always funny, no matter what the fart is funny. Yeah. Yeah. And he had that baseball who's on for, you know, baseball and football, that kind of thing. But yeah, but when you see the scope of all the transitions he made as a, as a comic and the fact that he wrote all his stuff, he is just an extraordinary talent, you know, just amazing. Yeah. And just specials every year. And, you know, and almost like a, kind of like a one man show. And all that stuff he's talking about, the politics and everything then is right now the same shit his head would pop off if he is alive. He'd be like, still the same shit, you know, I always say that I was like, I wish Carlin was alive to do a special on what's going on today. He would just kill it. It would be amazing. You know, the last Chris Rock special is really great too. Yeah, we're in the second boom, golden age of comedy again, man. And it's, it feels like old school rock and roll, you know, because you're in this room. There's not phones allowed in there. So you don't have people with their fucking phones in your face. That was a tough thing for me as winded down as a musician was just people not engaged in the crowd with the rock. They were filming it. And, you know, I know in the days when you and I would go to concerts, I remember every fucking thing, the clothing, the song they open with, the guitar changes, the opening band, because I didn't have any phone. It was all senses going into my brain, you know, and I remember them to this day and they're the greatest memories I have. Yeah, yeah, it's definitely changed a lot. And as a musician, you got to just kind of tune that out because you're not changing it, you know. Yeah. Well, we tour a lot now with the yonder bags. Have you played any gigs with the yonder bags, where the phones are in the bags? It's night and day different, man. The people are so on. Oh, no. Yeah, you put, they put their phones in a bag and they're kind of locked up by a magnet and they can open them if they go outside of the venue. And man, it is. Never heard of that. Oh, yeah. That's cool. One day you're going to play a gig and they're going to have them and you're going to be like, holy shit, it's 1984 in here. That's cool. That's cool. Well, hey man, it was great talking to you and we're neighbors. Hopefully I'll see you one day around town and come to the store anytime, hit a billy, get my info and we'll hang out. I will. I will for sure. That'd be cool. I'd love to support and just come check you out. That'd be awesome. Yeah, I went and saw you. You're a huge fan. I saw you about a year ago at the whiskey and it was fucking smoking, man. Thank you so much. Yeah, we should be playing LA pretty soon. I think playing a Henry Fonda Theater is someplace in LA. So with the Skid Row package, so you should come out. Yeah, sure. I'll come out and give everybody your tour dates and stuff. So buckcherry.com. At buckcherry.com. Yeah, you can pre-order and do everything there and get the tour dates and it's a one-stop shop for sure. And they got the new videos out right now. Good time. Let's get wild, shine your light. They're all on YouTube. Shine your light. Yeah, yeah. And oh, one last thing. I remember you guys did a video and I was invited to the shoot, but I was on tour. But my buddy Kevin went Hollywood Jesus. You remember that video in the church? Hollywood Jesus. That was Gluttony. Yeah. Yeah. The song was Gluttony and I was just talking about that guy. The other day he passed away. Yeah, he passed away, man. So sad. It's just a song. Too bad. He was a very nice guy. Very nice guy. Beautiful man. Hanged out at the comedy story. He was just, I mean, that guy was beautiful, man. Yeah, cool dude. It's very sad. Anyway, thanks a lot for doing the show and I'll see you soon. Yeah, man. Thanks for having me. Good interview. I'll see you. Take care of everybody and good luck with everything. Stand up for everything. You too, man. See you. Cheers.