December 16, 2024 • 28 mins
Remember the rush of your first live performance? Join us as we revisit that exhilarating moment with our brother and fellow musician, John Franklin, sharing our early gigs at places like Duke's Wild Goose Bar in Reno. Get ready to uncover the secrets of live music success, from negotiating set times and mastering sound checks to the art of written contracts that keep your band protected. Aspiring musicians won't want to miss our tales of sound engineers as unsung heroes and how cover charges can be a hidden gem for income.
Laugh along with us as we recount our most awkward stage mishaps, like Dana's bluesy blunder at Tumbleweed and Rob's drum kit disaster at Shady Brady's, narrowly averted by a quick-thinking bass player. We ponder the exciting potential of remote musical collaboration and dream of an all-Franklin band, giving a nod to our cousin Bruce Franklin from Trouble, the Godfathers of Doom Metal. Our stories of wild nights in Redding and hilarious close calls with the law underline the importance of professionalism, stage etiquette, and a solid sound check. These anecdotes remind us that preparation and teamwork are the keys to a successful show.
Thank you and please visit our social medial sites to leave feedback and or support our project.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:19):
I mean not all the time, but just or contribute to
the show.
So please do supply us withthat, and we promise not to
share your information.
My name is Rob WardrumsFranklin and my co-host is Dana,
thunderbase, franklin, howy'all doing.
Good, good, hey, we've got aspecial guest we're going to
introduce here in a little bit.
What this episode is about iswe're kind of revisiting the
(00:42):
first time hitting a stage, thethings that you need to really
know from the club or bar ownerbefore getting up there doing
your thing and jamming.
Um dan, did you want tointroduce our special guest
today?
Speaker 3 (00:55):
I, you know, I would love to so with us.
Today we have, uh, you know,another fellow musician, that's
um, played guitar for quite awhile and definitely knows the
music scene and is involved withlocal scenes there back in Reno
, nevada, and so I'd like tointroduce not only a fellow
(01:16):
musician but a member of thefamily, john Franklin.
How you doing, bro?
I'm good man.
Speaker 1 (01:21):
Another Franklin, oh no.
Speaker 2 (01:29):
So, john man, tell us a little bit about yourself.
Uh, all right, well, obviouslyI'm your guys's younger bro, so
I grew up around music.
It's like fucking my drug, loveit, um, that's it.
That's all I got, that's allyou got all right.
Speaker 1 (01:44):
Well, well, dana, let's, let's's talk about the
first time we were hitting thestage.
I know that the things that wereally needed to know and really
got that information from barowners was when to start and end
, obviously, the length of yoursets, the length of the breaks,
the volume you play at and, ofcourse, how much you're going to
(02:04):
get paid.
Of course, the first coupletimes you get out there, you'd
be lucky to make enough to coveryour beer bill, but, and also,
like sound checks, you don'twant to piss off the owners and
go in there and like, like playat like a huge decibel level.
So, uh, what do you rememberfrom, like, our first time
hitting, basically, that wildgoose bar?
Speaker 3 (02:24):
Yeah, well, I do remember that, you know.
One of the things you reallyhave to think about is you know,
does the venue supply lights?
Do they have their own PAsystem?
You know, do they?
have an engineer that's going todo sound for you.
Is that something you got tobring on your own?
I think for that first placethey pretty much they had their
(02:44):
own sound and I think they had alittle bit of lights back there
, but it's kind of a small placeso we didn't worry too much
about that.
But you know, I mean a soundengineer or sound guy should be
like another member of yourfamily or the band.
Speaker 1 (02:57):
I mean, they're equally important.
Speaker 3 (03:00):
Yeah, yeah, because you know, if you don't get the
sound right whether it's a smallplace or a big place you're not
representing yourself that well.
So a sound guy is veryimportant.
What about you?
What do you remember?
I do know that we had, I think,back then we did, five sets.
(03:21):
We were doing something crazylike playing from nine at night
till two in the morning yeahnowadays, I don't, I think bands
only do two sets, three setsmaximum.
Speaker 1 (03:30):
So we definitely yeah yeah, and we did like a I think
it was a 45 minutes set andthen 15 minute break, um
something like that I doremember our first time up there
we were really good about likeplaying starting where we were
supposed to, ending when we weresupposed to, and not taking,
like you know, extended breaks.
We cut it down to like 10 or 15minutes and I think the only
(03:54):
problem we ran into at firsttime playing was volume, because
when we first went in there fora sound check, it was like a
bar slash restaurant and therewere still patrons in the
restaurant and we kind of likecranked it up a little bit and
we were piss.
It was like a bar slashrestaurant and there were still
patrons in the restaurant and wekind of like cranked it up a
little bit and we were pissingoff people trying to eat their
steaks.
Speaker 2 (04:11):
Where was that Wild Goose?
Speaker 1 (04:12):
Yeah, it was in Park Lane Mall.
It was a place called Duke'sWild Goose Bar.
Speaker 2 (04:21):
The stage was up behind the bar, tiny little
stage, and it was first time out.
Did you guys play atCattleman's too once, or?
Speaker 3 (04:25):
something I don't remember that, yeah, no,
cattleman's.
No, that that dukes, I think,was the only restaurant type
place that we played at.
Yeah, um, yeah, yeah.
Speaker 1 (04:35):
The other places were all pretty much just bars, yeah
I know we were, we were me andyou were kind of like, uh,
really in charge of things backthen and we had our own little
contract for bar owners as well.
I don't think we did it atDuke's, but I think after that
we did, we had this littlecontract we would bring to the
bar owner.
Basically, it would tell uswhat time we're supposed to
(04:58):
start and end and how much wewere going to get paid, and all
that yeah.
Speaker 3 (05:03):
I think it's important for anybody that is
out there playing live nownowadays that to have you know
something in something inwriting.
As far as you know, are yougetting paid?
Are you getting a percentage ofthe door?
Speaker 1 (05:13):
you know exactly, no, I mean it's you know.
Speaker 3 (05:17):
And then not only that, but you know, if something
happens, your stuff and there'sa you know a fire, somebody
rips your shit off.
You know, is there you shit off?
Who's held liable for that?
So all that kind of stuff needsto be in writing.
Speaker 1 (05:28):
Yeah, and I know a couple times we did shows, we
actually had somebody sitting atthe door doing cover charges
and that was basically our onlysource of income.
So these are the kind of thingsyou've got to think about when
you're first getting out there.
And I know the other thingyou've really got to think about
, especially nowadays if you'rein a rock or metal band, you're
usually playing with multiplebands, so you've got to discuss
(05:48):
not only with the bar owner butwith these other bands how long
it's going to take to set up andbreak down so the other bands
aren't stretched for time.
And you've really got tocoordinate those kind of things
with the other bands, otherwiseyou're setting yourself up for
some heartache.
Speaker 2 (06:04):
Yeah, it'll be a fight, It'll be a fight.
Speaker 3 (06:08):
You know one thing I'm hearing from, especially out
here and I don't know if thisis a new thing, because you know
we used to play back in the 80sand 90s and you know if it's
but a lot of these bands now aresharing, like they'll share,
like a drum kit, like one bandwill set up a kit and everybody
plays through the same kit, or Imean, I, yeah, I, I, I would
(06:28):
highly.
You know, just, you'll not letpeople do that, because you know
you're not getting the samesound.
Yeah, it's like you know how doyou control your sound if you're
playing somebody else's set, oryou know.
It's just to me that that seemslike it wouldn't be a good idea
yeah, plus then you're thinkingabout like there's damage,
who's responsible?
Speaker 1 (06:47):
You don't want to get in that situation either.
Like John said, you're lookingfor fights.
You don't want to get in thatsituation.
Speaker 2 (06:54):
Sorry, don't little places like that have their own
PAs and stuff.
You've got to use theirs.
Speaker 1 (06:59):
Typically, yeah, typically, some places do, some
don't.
Speaker 3 (07:11):
So then you've got gotta set it for your way.
You know your sound and ohexactly, then it's then even
individually, it's like you know, I mean even just like on my,
on my bass head, I mean it'slike I got, you know, 30
different knobs.
I can turn one way or another.
That would, you know, totallychange the sound.
So you know, if I'm usingsomebody else's bass head or you
know, or amp or somethingthey're trying to use my, it's
just no, it would not work.
I wouldn't let anybody touch myshit.
It's just you know, that's justthe way it is.
Speaker 1 (07:33):
So, john, john, what do you remember from?
From, like our early gigs,because you were, you're younger
, so you weren't really, youweren't really playing with
other bands at that time.
So what do you remember aboutus playing the?
Speaker 2 (07:46):
first time you guys were really getting started.
I remember I was living inCalifornia so I kind of only
came up.
You guys were practicing backthen.
I remember fuck, I don'tremember how long ago, but I
remember you guys did Battle ofthe Bands at Easy Street.
Remember that.
Speaker 1 (08:04):
Yeah, that's right, I couldn't remember the name of
that place.
Speaker 2 (08:08):
That was really cool.
That's when Brian was there too.
Brian was there recording it.
Speaker 1 (08:12):
Yeah.
Speaker 2 (08:13):
You had Sammy, who was in the band.
I don't know who was singing, Idon't remember Sammy.
Speaker 3 (08:19):
Robbie yeah, a guy named Robbie was actually our
singer.
I don't remember his last name?
Speaker 2 (08:23):
I don't either okay, that was cool, so john.
Speaker 3 (08:28):
So like when you go out to, you'll see bands and
stuff.
I mean, what's?
What do you notice?
What do you look for when yougo out to clubs and and?
Watch bands question do younotice how long they're playing?
You know what kind of crowdthey're doing?
I mean what, as, as someonegoing and watching other bands,
you know what are you lookingfor?
Speaker 2 (08:48):
mostly looking for a good metal band, but out here
lately it's all 21, all agesshows, so really don't do a lot
of that, but mostly just look tosee how they look, what kind of
music they're playing.
Speaker 1 (09:05):
So for you, looks are important in a band.
Speaker 2 (09:09):
I think looks are important.
Speaker 1 (09:10):
Okay.
Speaker 2 (09:12):
They're all like bald-headed and you know dressed
in emo and shit.
I'm walking and they don'tadvertise out here that much at
all.
You know I'm going to haveadvertising.
In the old days people wouldput up flyers and shit.
Speaker 3 (09:27):
Flyers everywhere, yeah, Social media.
Speaker 1 (09:30):
now, it's like all social media.
Speaker 2 (09:32):
It's all media.
Yeah, Bands suck these days.
They really do.
We'll say what you mean, man.
Speaker 3 (09:43):
You know.
So, like the last time you'vegone to like a club or a bar to
watch a band, are they likeoriginal bands or is it mostly
cover bands that you're seeingout there?
Mostly cover, mostly cover Outhere at least.
Well, it's pretty much what'sgoing on out here in the East
Coast too, which is you know andmost of them are you know.
(10:04):
They're older guys like our age, in their 50s and 60s, that are
still playing, because we wereplaying in the 70s, 80s and 90s
and it's like you just don't seeyoung kid bands out there like
yeah like yeah, where are theyplaying?
Speaker 2 (10:18):
I mean, are they just playing it and putting on
youtube?
Speaker 3 (10:22):
or I mean well, I think that's what a lot of them
are doing now.
I think with this whole socialthing, it just really breaks up.
You know what's going on outthere in the bar scene and you
know it's just.
It's so different out there nowthan what it used to be 30, 40
years ago.
Speaker 1 (10:36):
It's really.
It's really hard for new bandsnowadays.
You have to do these like fouror five band gigs where you only
get in like 25, maybe 45minutes sets.
It's, it's real.
I think it's really tough fornew bands nowadays as well.
Plus, you know they're notmaking any money because even if
there's a cover charge of 10bucks, you have five bands.
I mean, come on, what are theyreally?
Speaker 2 (10:57):
making exactly.
Yeah, and why don't you?
Speaker 3 (11:03):
yeah, there really isn't.
I know that some of the onesthat we've been to you know here
, closer to winston-salem, um,that a lot of these bands
they'll have literally they'llput out a guitar case or a hat
to collect tips and that's howthey're making their money.
I mean, I don't know if that'sa thing of the day I mean I've
never been in a band that's everdone that but that might be how
(11:25):
people are getting paid now.
Speaker 1 (11:26):
I don't know.
Speaker 3 (11:27):
I'm't know.
Anybody's got comments outthere.
Please let us know, and let usknow what's going on out there.
Speaker 1 (11:44):
And speaking of which , if you're in any of these
situations that we're talkingabout, please do text us your
information and if you'd like tobe a guest, please text us your
uh email address and we'll get.
We'll get back to you and wewould love to hear from you so
that it can help not only youknow listeners out there, but
fellow musicians.
So please do get yourinformation to us.
Well, dana going back to.
Speaker 3 (12:04):
Going back to what you said earlier, rob.
It's like um, you know, youknow people, yeah, definitely
leave comments, but I mean weare international now.
I mean we've got listeners ineurope, england and you know of
all places, we got a couplebangladesh.
I mean it's, we're goinginternational.
So, yeah, so keep you knowwhat's going on out there and,
(12:26):
you know, supply us with yourinformation so we can reach out
more yeah, especially the othercountry.
Speaker 1 (12:31):
We would love to see, love to hear you know what,
what you're going through as faras getting gigs, or what's your
first gigs are like out there,or what you really have to do to
like get into the bar scene.
Speaker 3 (12:43):
Well, dan, let's jump into, like all the ones that
we've got from england, I meanthat's you know.
Come on, british wave of heavymetal.
That's where all this shithappened.
Speaker 1 (12:51):
That's where it started.
Speaker 3 (12:52):
We were made in Saxon and stuff.
So yeah, let us tell us what'sgoing on across the pond.
Speaker 1 (12:58):
That's where all my influences are from.
So yeah, please, please dosupply us.
Dana, let's jump into, give itto me.
Speaker 3 (13:08):
Oh shit, Special Give it to me.
Speaker 1 (13:09):
Oh shit.
Special segment.
This is where we discusssomething embarrassing or funny
or just out of the unusualthat's happened to us either at
a practice or a live gig.
Speaker 3 (13:24):
Dana, what do you got ?
Well, okay, so mine is a littleembarrassing one here.
This is when we played.
I think it was 1990, 91, wewere playing at this place
called Tumbleweed Back in.
Speaker 1 (13:38):
Reno Remember well yeah.
Speaker 3 (13:40):
And Rob, I think this was the time that it was you
playing this song.
It was you, me and Gary.
I don't know if our otherguitar player was just taking a
break, and I know the singer didbecause it was an instrumental,
but it was.
You know, this blues song thatwe just learned, like literally
two or three days before theshow, and Gary really wanted to
(14:04):
play it and you know, know, hewas, of course, amazing at it
and you knew all your chops andyou and I just fumbled through
it so bad that I didn't knowwhat the hell I was doing.
I mean, it's just, you know,when I started playing, of
course I was learning all themaiden and you know all the rock
and metal stuff and I didn'treally take time to learn some
of the basics, like the, youknow, 12 bar blues and some of
(14:24):
the stuff that I know now.
And and oh, I was embarrassedas hell because by the time that
song was over I was justhanging my head because I sucked
and I knew it and I thinkeverybody in the crowd do it.
Speaker 1 (14:34):
Okay, well, I don't, I don't remember that at all.
Speaker 3 (14:37):
So for any musician out there, just like we've said
before in some of our otherpodcasts, be prepared, you know,
if know, if you know you'regoing to do some songs that are
a little bit, you know, not outof your league but maybe out of
the genre that you used to playin.
You know, learn your shitbefore you try to do a play,
before you try to do it live,because it could end up bad, and
(14:57):
that moment was really bad forme.
I'm glad you don't remember it,rob.
I don't, I really don't.
Speaker 1 (15:04):
I honestly do not.
Well, mine's from a littlebitty bar in Roseville,
california.
It's called Shady Brady's.
It was a killer place.
We played there a lot.
We were pretty much a house bandthere for a while and they had
this really cool like setupwhere you walk in the bar's like
right in front of you, you goup a few steps and there's a
dance floor and up a little bithigher was the stage.
(15:25):
But the stage was really tiny.
They had a house PA there whichwas cool, but the little drum
riser was pretty tiny and at thetime I had not a huge kit, but
it was probably like a six piecewith a DW rack system and it
would barely fit on the stage.
So we were like halfway throughprobably our first set and back
(15:49):
then I I played kind of heavyand so I was hitting it, hitting
the kit pretty hard, and this,the rack started to slide
forward.
So we were halfway through thisone song which was a.
We did a combination of uh, ofwar pigs into an original and
then back to the back into warpigs, kind of like blended
because they were in the same,the same kind of like uh keys
(16:09):
and all that.
But halfway through the song,my riser starts tipping off the
drum riser and so the bassplayer fortunately his name was
dan sores and he noticed whatwas happening and kind of backed
up and put his foot up againstmy riser so it wouldn't fall off
the damn stage.
So we ended up getting throughthe song, but I thought for sure
my whole kit was going to falloff the damn drum riser.
(16:32):
So that was my kind ofembarrassing moment because I
didn't know what would havehappened if that thing would
have fell off.
I don't know what we would havedone.
Speaker 3 (16:39):
Oh, you would have gone to Dublin.
Yeah See, bass players alwaysgot your back, man.
Speaker 1 (16:45):
Yeah, exactly, he definitely had my back, so that
was pretty cool.
Well, john, going back to you,man, how are you doing on your
guitar playing?
Are you ready to join us yet,or what?
Speaker 2 (16:55):
I am, but you guys look kind of far.
Everyone bailed on me Fuckingmoving to North Carolina.
Speaker 3 (17:03):
Yeah huh.
Speaker 1 (17:04):
Well, you know, there's ways to do it remote
nowadays.
I mean, we really haven'tlooked into it too much, but we
actually talked about that inour last episode.
Speaker 2 (17:12):
That's how bands record these days, pretty much
yeah Well, big bands, yeah, I'vebeen playing, I've been
practicing, that's all I do.
Speaker 1 (17:21):
It'd be cool to have an all-Franklin band.
Speaking of Franklins, we havea cousin that's in a pretty
famous band, John.
Tell us a little bit about it,because you're closer to him
than we are.
So tell us a little bit aboutour cuz.
Speaker 2 (17:34):
Bruce Franklin from the band Chicago and from
Trouble, the band Trouble.
From Chicago.
They got 10 CDs, 10 studio CDs,out.
He's toured the world.
They've played everywhere.
In fact, they just got backfrom Sweden because you know
they have all the festivals overthere.
Speaker 1 (17:53):
Yeah, yeah.
Speaker 2 (17:56):
You guys haven't heard of Trouble.
Check them out, they're awesome.
Oh yeah, cool, very talenteddude, very talented.
Yeah, it'd be cool to have a.
Like it's too, it's too bad,because he started the band in
high school and he's reallynever made that much money off
it.
Speaker 1 (18:13):
you know, they just it's too bad, but they just well
, I read an article in uh in amodern drummer, because they
were talking about one of theirold drummers that's that started
his own brewery, and theycalled them Trouble, the
Godfathers of Doom Metal, whichis pretty cool, that's a pretty
good title to have.
So they pretty much started itoff.
Speaker 2 (18:37):
Oli Olsen, is that who?
Speaker 1 (18:38):
Yeah, yeah, exactly.
Speaker 2 (18:40):
That was the original drummer.
Speaker 1 (18:42):
Yeah, and I guess he started a brewery up in.
Minnesota somewhere.
Speaker 3 (18:46):
Yeah, yeah, yeah.
So, john, you got any likefunny stories of you know times
you went and saw bands.
I mean, of course, I rememberthe old classic one of when we
went and saw that band and Idon't even remember where it was
in some club, somewhere out insomewhere in California.
I think we were there for ourother brother's wedding.
Speaker 2 (19:04):
I know when are you going, oh yeah, you guys came
down to see me when I was livingin Redding California.
Speaker 1 (19:13):
Exactly.
Speaker 2 (19:13):
Yeah, that's where it was, and we hooked up.
We went to this nightclub inRedding called Doc's and we're
watching bands, and we gotinvited to some house party.
Remember that.
Speaker 3 (19:24):
Oh yeah.
Speaker 2 (19:25):
And shit went crazy from that.
Fill us in.
Speaker 1 (19:28):
Fill us in.
Speaker 3 (19:30):
What do you mean, crazy?
Speaker 2 (19:35):
Enlighten us.
I don't even remember the bandwere they?
Was there even a band playingor was it just live music?
But we got invited to thisparty out in fucking hills, up
in the dune box, and was thatword dune, dune, whatever?
You know, we're drinking andhaving a good time and I met
some fat girl and I ended up inthe back of her car.
You guys came looking for me.
(19:56):
You guys were like doing somecar hopping and shit.
You were jumping from car tocar looking for me.
Speaker 1 (20:02):
Yeah, exactly, jumping up on top of hoods,
looking, yelling your name,looking for you.
Speaker 2 (20:08):
It's in the back of a yellow marijuana number.
It was a cool car.
I hear you guys like, oh shit,here I go, here comes my
brothers.
So what was?
Speaker 3 (20:19):
the Huh the band or the club Docks?
Do you remember what band wasplaying there?
I mean, I remember theyactually seemed like they were
pretty decent.
That's all I remember from it.
Of course we had quite a fewelse.
Speaker 2 (20:32):
Was it Banshee?
Was it a band called Banshee?
They actually sounded a lotlike Judas Priest, really.
Speaker 1 (20:39):
I don't know, Good memory.
I don't remember that.
Speaker 2 (20:42):
I can't remember.
It was a good band that night.
I remember that Because that'sa small town.
That was the only place bandscould play.
Speaker 1 (20:51):
We had a good time None of us went to jail,
fortunately, this time Me andDana almost did on the drive
home.
Speaker 2 (21:01):
Oh yeah, that's right .
Remember when you fucking fellasleep or something and ended up
in the fucking field with cows?
Oh, too much.
Speaker 3 (21:08):
We had to change your tire.
Okay, yeah, I remember that wehad to change your tire.
We had it up on a jack and wewere hammered and we had it on
jack and of course, here comesHighway Patrol coming to check
out and see what we were doing,and we were.
I mean, if they would have gaveus a field sobriety test we
would have been done, but thisis back in the day, we didn't
really care no more.
So we're sitting here talkingto the cop leaning, leaning on
(21:31):
the car, and he's asking us whatwe're doing, and as he's asking
us questions, the car falls offthe jack.
He just looks like oh, you guysgot enough problems.
Speaker 2 (21:40):
He just left, which was absolutely amazing.
Yeah, he goes.
You guys got enough problem.
I'm gonna leave you alone, andwe appreciate that, man, I only
live down the street.
That was the car I had to uselike a screwdriver to start.
Speaker 3 (21:54):
Remember that yeah, yeah, I remember using a crowbar
too.
It's like you know, you jumpstart the battery at the crowbar
yeah, yeah, yeah, not good on arainy day oh tales from the
roadall this leads into something
else that I wanted to mention asfar as, like, when you start
playing at these places, youknow the personnel you have in
(22:14):
the band you need to talk about.
You know what you're going todo.
As far as you know, drinkingand drugs, I mean, you know it's
a lot of people now is like, oh, rock and roll and drugs and it
goes hand in hand.
Yeah, but you know, if you wantto be a professional band stuff
, you really got to discuss thiswith your band members.
As far as you know, know,you're just going to have, you
know, a beer here and there toloosen up, or, you know, maybe a
(22:34):
smoke here and there.
Or, you know, are you going tohave one of those band members
that are just going to go offthe loose, you know, off the off
the the end of the razor's edgethere, like we've had with one
of our guitar players, and endup getting fired from the club
because you know you startplaying songs that nobody else
in the band knows.
Speaker 2 (22:52):
So that's that's a big topic.
You can't do both man.
You can't be a, can't be anaddict and play.
And who?
Which guitar player was that,by the way?
Speaker 1 (23:02):
uh, let's not, let's not mention names there.
Speaker 3 (23:04):
Yeah, we don't want to throw too many names out
there, for, but it was, you know, in one of our bands and we
were.
We were playing at a reallywell-known club in reno, um, for
our first time ever and it onlylasted one night, because, you
know, he decided to startplaying songs that none of us
knew.
Speaker 1 (23:21):
And we're sitting there looking stupid for like
five minutes and yeah and all ofa sudden, hey, you guys want to
come back and talk to me in theoffice.
Yeah, that's not a way.
You want to end your set, so,dana in closing anything you
want, anything else you want tosay about, like the first time
hitting a stage, anything elsethat's like comes to mind that
you really want to talk about.
Speaker 3 (23:40):
I think the big thing is sound check is you know?
that's huge kind of back to whatI was saying about having a
sound guy and a sound engineer.
Sound check is so importantwhere you know when you go on
and you play that first song,you're not surprised by all of a
sudden it's like, oh my God, Ican't hear the bass or I can't
hear the guitars or the singer'sway too loud.
I mean, have it dialed in.
Then when you go and play,don't touch anything.
(24:01):
You know.
If you know you got it dialedin, don't mess with it and
pretend like you know all of,because, especially in small
clubs, you know one littleadjustment, as you know, rob, it
just makes a difference.
Speaker 1 (24:16):
Oh yeah, it's huge.
Speaker 3 (24:16):
It's huge, you sound clean and you got a clean tone,
or it just sounds muddy as hell.
Speaker 1 (24:20):
Not to mention it really affects I mean your
attitude towards playing.
If you're sounding good and youknow the crowd's into it,
you're going to play much betterthan if the sound is shitty and
there's feedback and you knowit's upsetting the crowd.
Speaker 3 (24:33):
It's just like your whole mood, your whole demeanor
just changes and, like we'vesaid millions of times too, it's
like you know whether there's10 people in the crowd or 10 000
.
It's like you know.
Play as if you were playing toyou know, in a stadium, exactly,
pretend like there's a hundredthousand people out there, even
if there's only five, five.
You never know who those fivepeople are.
(24:54):
You know that five, five cangrow into the thousands that you
want, but you know every bandI've heard black Sabbath.
Their first gig was in front of10 people.
Speaker 1 (25:02):
Oh yeah.
Speaker 3 (25:03):
Laundromat or some shit like that.
So I mean, it's you know, beprofessional at all times.
Speaker 1 (25:13):
Yeah, we were pretty lucky.
A lot of our first gigs were,you know, pretty big crowds so
we I mean that helps you reallyget into it and helps your first
couple gigs get off the groundlike rolling really quick.
So we were pretty fortunatethere.
Speaker 3 (25:26):
I think our first one , yeah, our first one with
Monolith.
You know that morphed from, youknow Vices.
I mean, I think our first gigwith that band was we had like
two, three, 400 people.
Yeah, I mean, it was big and itwas awesome.
Speaker 1 (25:41):
It was Okay.
Well, thank you everybody and,once again, please do email your
information if you want to beon the show or just if you want
some additional information fromus or just want to be a guest.
We would love to hear from you,so please do.
At the end of every episode,there's a place to text us your
information, so please do supplyus that information and we
(26:04):
really appreciate you listening.
And if you haven't listened toour previous episodes, please do
so closing words, john.
Speaker 2 (26:13):
Yeah, I'm gonna give a shout out to my three
beautiful daughters, kayla,brianna, erica please say hi for
us as well we all gotta gettogether and jam man yeah, we do
oh yeah all right, guys loveyou and everybody.
Goodbye love you guys.
Bye-bye peace.
I mean not all the time, but just or contribute to
the show.
So please do supply us withthat, and we promise not to
share your information.
My name is Rob WardrumsFranklin and my co-host is Dana,
thunderbase, franklin, howy'all doing.
Good, good, hey, we've got aspecial guest we're going to
introduce here in a little bit.
What this episode is about iswe're kind of revisiting the
(00:42):
first time hitting a stage, thethings that you need to really
know from the club or bar ownerbefore getting up there doing
your thing and jamming.
Um dan, did you want tointroduce our special guest
today?
Speaker 3 (00:55):
I, you know, I would love to so with us.
Today we have, uh, you know,another fellow musician, that's
um, played guitar for quite awhile and definitely knows the
music scene and is involved withlocal scenes there back in Reno
, nevada, and so I'd like tointroduce not only a fellow
(01:16):
musician but a member of thefamily, john Franklin.
How you doing, bro?
I'm good man.
Speaker 1 (01:21):
Another Franklin, oh no.
Speaker 2 (01:29):
So, john man, tell us a little bit about yourself.
Uh, all right, well, obviouslyI'm your guys's younger bro, so
I grew up around music.
It's like fucking my drug, loveit, um, that's it.
That's all I got, that's allyou got all right.
Speaker 1 (01:44):
Well, well, dana, let's, let's's talk about the
first time we were hitting thestage.
I know that the things that wereally needed to know and really
got that information from barowners was when to start and end
, obviously, the length of yoursets, the length of the breaks,
the volume you play at and, ofcourse, how much you're going to
(02:04):
get paid.
Of course, the first coupletimes you get out there, you'd
be lucky to make enough to coveryour beer bill, but, and also,
like sound checks, you don'twant to piss off the owners and
go in there and like, like playat like a huge decibel level.
So, uh, what do you rememberfrom, like, our first time
hitting, basically, that wildgoose bar?
Speaker 3 (02:24):
Yeah, well, I do remember that, you know.
One of the things you reallyhave to think about is you know,
does the venue supply lights?
Do they have their own PAsystem?
You know, do they?
have an engineer that's going todo sound for you.
Is that something you got tobring on your own?
I think for that first placethey pretty much they had their
(02:44):
own sound and I think they had alittle bit of lights back there
, but it's kind of a small placeso we didn't worry too much
about that.
But you know, I mean a soundengineer or sound guy should be
like another member of yourfamily or the band.
Speaker 1 (02:57):
I mean, they're equally important.
Speaker 3 (03:00):
Yeah, yeah, because you know, if you don't get the
sound right whether it's a smallplace or a big place you're not
representing yourself that well.
So a sound guy is veryimportant.
What about you?
What do you remember?
I do know that we had, I think,back then we did, five sets.
(03:21):
We were doing something crazylike playing from nine at night
till two in the morning yeahnowadays, I don't, I think bands
only do two sets, three setsmaximum.
Speaker 1 (03:30):
So we definitely yeah yeah, and we did like a I think
it was a 45 minutes set andthen 15 minute break, um
something like that I doremember our first time up there
we were really good about likeplaying starting where we were
supposed to, ending when we weresupposed to, and not taking,
like you know, extended breaks.
We cut it down to like 10 or 15minutes and I think the only
(03:54):
problem we ran into at firsttime playing was volume, because
when we first went in there fora sound check, it was like a
bar slash restaurant and therewere still patrons in the
restaurant and we kind of likecranked it up a little bit and
we were piss.
It was like a bar slashrestaurant and there were still
patrons in the restaurant and wekind of like cranked it up a
little bit and we were pissingoff people trying to eat their
steaks.
Speaker 2 (04:11):
Where was that Wild Goose?
Speaker 1 (04:12):
Yeah, it was in Park Lane Mall.
It was a place called Duke'sWild Goose Bar.
Speaker 2 (04:21):
The stage was up behind the bar, tiny little
stage, and it was first time out.
Did you guys play atCattleman's too once, or?
Speaker 3 (04:25):
something I don't remember that, yeah, no,
cattleman's.
No, that that dukes, I think,was the only restaurant type
place that we played at.
Yeah, um, yeah, yeah.
Speaker 1 (04:35):
The other places were all pretty much just bars, yeah
I know we were, we were me andyou were kind of like, uh,
really in charge of things backthen and we had our own little
contract for bar owners as well.
I don't think we did it atDuke's, but I think after that
we did, we had this littlecontract we would bring to the
bar owner.
Basically, it would tell uswhat time we're supposed to
(04:58):
start and end and how much wewere going to get paid, and all
that yeah.
Speaker 3 (05:03):
I think it's important for anybody that is
out there playing live nownowadays that to have you know
something in something inwriting.
As far as you know, are yougetting paid?
Are you getting a percentage ofthe door?
Speaker 1 (05:13):
you know exactly, no, I mean it's you know.
Speaker 3 (05:17):
And then not only that, but you know, if something
happens, your stuff and there'sa you know a fire, somebody
rips your shit off.
You know, is there you shit off?
Who's held liable for that?
So all that kind of stuff needsto be in writing.
Speaker 1 (05:28):
Yeah, and I know a couple times we did shows, we
actually had somebody sitting atthe door doing cover charges
and that was basically our onlysource of income.
So these are the kind of thingsyou've got to think about when
you're first getting out there.
And I know the other thingyou've really got to think about
, especially nowadays if you'rein a rock or metal band, you're
usually playing with multiplebands, so you've got to discuss
(05:48):
not only with the bar owner butwith these other bands how long
it's going to take to set up andbreak down so the other bands
aren't stretched for time.
And you've really got tocoordinate those kind of things
with the other bands, otherwiseyou're setting yourself up for
some heartache.
Speaker 2 (06:04):
Yeah, it'll be a fight, It'll be a fight.
Speaker 3 (06:08):
You know one thing I'm hearing from, especially out
here and I don't know if thisis a new thing, because you know
we used to play back in the 80sand 90s and you know if it's
but a lot of these bands now aresharing, like they'll share,
like a drum kit, like one bandwill set up a kit and everybody
plays through the same kit, or Imean, I, yeah, I, I, I would
(06:28):
highly.
You know, just, you'll not letpeople do that, because you know
you're not getting the samesound.
Yeah, it's like you know how doyou control your sound if you're
playing somebody else's set, oryou know.
It's just to me that that seemslike it wouldn't be a good idea
yeah, plus then you're thinkingabout like there's damage,
who's responsible?
Speaker 1 (06:47):
You don't want to get in that situation either.
Like John said, you're lookingfor fights.
You don't want to get in thatsituation.
Speaker 2 (06:54):
Sorry, don't little places like that have their own
PAs and stuff.
You've got to use theirs.
Speaker 1 (06:59):
Typically, yeah, typically, some places do, some
don't.
Speaker 3 (07:11):
So then you've got gotta set it for your way.
You know your sound and ohexactly, then it's then even
individually, it's like you know, I mean even just like on my,
on my bass head, I mean it'slike I got, you know, 30
different knobs.
I can turn one way or another.
That would, you know, totallychange the sound.
So you know, if I'm usingsomebody else's bass head or you
know, or amp or somethingthey're trying to use my, it's
just no, it would not work.
I wouldn't let anybody touch myshit.
It's just you know, that's justthe way it is.
Speaker 1 (07:33):
So, john, john, what do you remember from?
From, like our early gigs,because you were, you're younger
, so you weren't really, youweren't really playing with
other bands at that time.
So what do you remember aboutus playing the?
Speaker 2 (07:46):
first time you guys were really getting started.
I remember I was living inCalifornia so I kind of only
came up.
You guys were practicing backthen.
I remember fuck, I don'tremember how long ago, but I
remember you guys did Battle ofthe Bands at Easy Street.
Remember that.
Speaker 1 (08:04):
Yeah, that's right, I couldn't remember the name of
that place.
Speaker 2 (08:08):
That was really cool.
That's when Brian was there too.
Brian was there recording it.
Speaker 1 (08:12):
Yeah.
Speaker 2 (08:13):
You had Sammy, who was in the band.
I don't know who was singing, Idon't remember Sammy.
Speaker 3 (08:19):
Robbie yeah, a guy named Robbie was actually our
singer.
I don't remember his last name?
Speaker 2 (08:23):
I don't either okay, that was cool, so john.
Speaker 3 (08:28):
So like when you go out to, you'll see bands and
stuff.
I mean, what's?
What do you notice?
What do you look for when yougo out to clubs and and?
Watch bands question do younotice how long they're playing?
You know what kind of crowdthey're doing?
I mean what, as, as someonegoing and watching other bands,
you know what are you lookingfor?
Speaker 2 (08:48):
mostly looking for a good metal band, but out here
lately it's all 21, all agesshows, so really don't do a lot
of that, but mostly just look tosee how they look, what kind of
music they're playing.
Speaker 1 (09:05):
So for you, looks are important in a band.
Speaker 2 (09:09):
I think looks are important.
Speaker 1 (09:10):
Okay.
Speaker 2 (09:12):
They're all like bald-headed and you know dressed
in emo and shit.
I'm walking and they don'tadvertise out here that much at
all.
You know I'm going to haveadvertising.
In the old days people wouldput up flyers and shit.
Speaker 3 (09:27):
Flyers everywhere, yeah, Social media.
Speaker 1 (09:30):
now, it's like all social media.
Speaker 2 (09:32):
It's all media.
Yeah, Bands suck these days.
They really do.
We'll say what you mean, man.
Speaker 3 (09:43):
You know.
So, like the last time you'vegone to like a club or a bar to
watch a band, are they likeoriginal bands or is it mostly
cover bands that you're seeingout there?
Mostly cover, mostly cover Outhere at least.
Well, it's pretty much what'sgoing on out here in the East
Coast too, which is you know andmost of them are you know.
(10:04):
They're older guys like our age, in their 50s and 60s, that are
still playing, because we wereplaying in the 70s, 80s and 90s
and it's like you just don't seeyoung kid bands out there like
yeah like yeah, where are theyplaying?
Speaker 2 (10:18):
I mean, are they just playing it and putting on
youtube?
Speaker 3 (10:22):
or I mean well, I think that's what a lot of them
are doing now.
I think with this whole socialthing, it just really breaks up.
You know what's going on outthere in the bar scene and you
know it's just.
It's so different out there nowthan what it used to be 30, 40
years ago.
Speaker 1 (10:36):
It's really.
It's really hard for new bandsnowadays.
You have to do these like fouror five band gigs where you only
get in like 25, maybe 45minutes sets.
It's, it's real.
I think it's really tough fornew bands nowadays as well.
Plus, you know they're notmaking any money because even if
there's a cover charge of 10bucks, you have five bands.
I mean, come on, what are theyreally?
Speaker 2 (10:57):
making exactly.
Yeah, and why don't you?
Speaker 3 (11:03):
yeah, there really isn't.
I know that some of the onesthat we've been to you know here
, closer to winston-salem, um,that a lot of these bands
they'll have literally they'llput out a guitar case or a hat
to collect tips and that's howthey're making their money.
I mean, I don't know if that'sa thing of the day I mean I've
never been in a band that's everdone that but that might be how
(11:25):
people are getting paid now.
Speaker 1 (11:26):
I don't know.
Speaker 3 (11:27):
I'm't know.
Anybody's got comments outthere.
Please let us know, and let usknow what's going on out there.
Speaker 1 (11:44):
And speaking of which , if you're in any of these
situations that we're talkingabout, please do text us your
information and if you'd like tobe a guest, please text us your
uh email address and we'll get.
We'll get back to you and wewould love to hear from you so
that it can help not only youknow listeners out there, but
fellow musicians.
So please do get yourinformation to us.
Well, dana going back to.
Speaker 3 (12:04):
Going back to what you said earlier, rob.
It's like um, you know, youknow people, yeah, definitely
leave comments, but I mean weare international now.
I mean we've got listeners ineurope, england and you know of
all places, we got a couplebangladesh.
I mean it's, we're goinginternational.
So, yeah, so keep you knowwhat's going on out there and,
(12:26):
you know, supply us with yourinformation so we can reach out
more yeah, especially the othercountry.
Speaker 1 (12:31):
We would love to see, love to hear you know what,
what you're going through as faras getting gigs, or what's your
first gigs are like out there,or what you really have to do to
like get into the bar scene.
Speaker 3 (12:43):
Well, dan, let's jump into, like all the ones that
we've got from england, I meanthat's you know.
Come on, british wave of heavymetal.
That's where all this shithappened.
Speaker 1 (12:51):
That's where it started.
Speaker 3 (12:52):
We were made in Saxon and stuff.
So yeah, let us tell us what'sgoing on across the pond.
Speaker 1 (12:58):
That's where all my influences are from.
So yeah, please, please dosupply us.
Dana, let's jump into, give itto me.
Speaker 3 (13:08):
Oh shit, Special Give it to me.
Speaker 1 (13:09):
Oh shit.
Special segment.
This is where we discusssomething embarrassing or funny
or just out of the unusualthat's happened to us either at
a practice or a live gig.
Speaker 3 (13:24):
Dana, what do you got ?
Well, okay, so mine is a littleembarrassing one here.
This is when we played.
I think it was 1990, 91, wewere playing at this place
called Tumbleweed Back in.
Speaker 1 (13:38):
Reno Remember well yeah.
Speaker 3 (13:40):
And Rob, I think this was the time that it was you
playing this song.
It was you, me and Gary.
I don't know if our otherguitar player was just taking a
break, and I know the singer didbecause it was an instrumental,
but it was.
You know, this blues song thatwe just learned, like literally
two or three days before theshow, and Gary really wanted to
(14:04):
play it and you know, know, hewas, of course, amazing at it
and you knew all your chops andyou and I just fumbled through
it so bad that I didn't knowwhat the hell I was doing.
I mean, it's just, you know,when I started playing, of
course I was learning all themaiden and you know all the rock
and metal stuff and I didn'treally take time to learn some
of the basics, like the, youknow, 12 bar blues and some of
(14:24):
the stuff that I know now.
And and oh, I was embarrassedas hell because by the time that
song was over I was justhanging my head because I sucked
and I knew it and I thinkeverybody in the crowd do it.
Speaker 1 (14:34):
Okay, well, I don't, I don't remember that at all.
Speaker 3 (14:37):
So for any musician out there, just like we've said
before in some of our otherpodcasts, be prepared, you know,
if know, if you know you'regoing to do some songs that are
a little bit, you know, not outof your league but maybe out of
the genre that you used to playin.
You know, learn your shitbefore you try to do a play,
before you try to do it live,because it could end up bad, and
(14:57):
that moment was really bad forme.
I'm glad you don't remember it,rob.
I don't, I really don't.
Speaker 1 (15:04):
I honestly do not.
Well, mine's from a littlebitty bar in Roseville,
california.
It's called Shady Brady's.
It was a killer place.
We played there a lot.
We were pretty much a house bandthere for a while and they had
this really cool like setupwhere you walk in the bar's like
right in front of you, you goup a few steps and there's a
dance floor and up a little bithigher was the stage.
(15:25):
But the stage was really tiny.
They had a house PA there whichwas cool, but the little drum
riser was pretty tiny and at thetime I had not a huge kit, but
it was probably like a six piecewith a DW rack system and it
would barely fit on the stage.
So we were like halfway throughprobably our first set and back
(15:49):
then I I played kind of heavyand so I was hitting it, hitting
the kit pretty hard, and this,the rack started to slide
forward.
So we were halfway through thisone song which was a.
We did a combination of uh, ofwar pigs into an original and
then back to the back into warpigs, kind of like blended
because they were in the same,the same kind of like uh keys
(16:09):
and all that.
But halfway through the song,my riser starts tipping off the
drum riser and so the bassplayer fortunately his name was
dan sores and he noticed whatwas happening and kind of backed
up and put his foot up againstmy riser so it wouldn't fall off
the damn stage.
So we ended up getting throughthe song, but I thought for sure
my whole kit was going to falloff the damn drum riser.
(16:32):
So that was my kind ofembarrassing moment because I
didn't know what would havehappened if that thing would
have fell off.
I don't know what we would havedone.
Speaker 3 (16:39):
Oh, you would have gone to Dublin.
Yeah See, bass players alwaysgot your back, man.
Speaker 1 (16:45):
Yeah, exactly, he definitely had my back, so that
was pretty cool.
Well, john, going back to you,man, how are you doing on your
guitar playing?
Are you ready to join us yet,or what?
Speaker 2 (16:55):
I am, but you guys look kind of far.
Everyone bailed on me Fuckingmoving to North Carolina.
Speaker 3 (17:03):
Yeah huh.
Speaker 1 (17:04):
Well, you know, there's ways to do it remote
nowadays.
I mean, we really haven'tlooked into it too much, but we
actually talked about that inour last episode.
Speaker 2 (17:12):
That's how bands record these days, pretty much
yeah Well, big bands, yeah, I'vebeen playing, I've been
practicing, that's all I do.
Speaker 1 (17:21):
It'd be cool to have an all-Franklin band.
Speaking of Franklins, we havea cousin that's in a pretty
famous band, John.
Tell us a little bit about it,because you're closer to him
than we are.
So tell us a little bit aboutour cuz.
Speaker 2 (17:34):
Bruce Franklin from the band Chicago and from
Trouble, the band Trouble.
From Chicago.
They got 10 CDs, 10 studio CDs,out.
He's toured the world.
They've played everywhere.
In fact, they just got backfrom Sweden because you know
they have all the festivals overthere.
Speaker 1 (17:53):
Yeah, yeah.
Speaker 2 (17:56):
You guys haven't heard of Trouble.
Check them out, they're awesome.
Oh yeah, cool, very talenteddude, very talented.
Yeah, it'd be cool to have a.
Like it's too, it's too bad,because he started the band in
high school and he's reallynever made that much money off
it.
Speaker 1 (18:13):
you know, they just it's too bad, but they just well
, I read an article in uh in amodern drummer, because they
were talking about one of theirold drummers that's that started
his own brewery, and theycalled them Trouble, the
Godfathers of Doom Metal, whichis pretty cool, that's a pretty
good title to have.
So they pretty much started itoff.
Speaker 2 (18:37):
Oli Olsen, is that who?
Speaker 1 (18:38):
Yeah, yeah, exactly.
Speaker 2 (18:40):
That was the original drummer.
Speaker 1 (18:42):
Yeah, and I guess he started a brewery up in.
Minnesota somewhere.
Speaker 3 (18:46):
Yeah, yeah, yeah.
So, john, you got any likefunny stories of you know times
you went and saw bands.
I mean, of course, I rememberthe old classic one of when we
went and saw that band and Idon't even remember where it was
in some club, somewhere out insomewhere in California.
I think we were there for ourother brother's wedding.
Speaker 2 (19:04):
I know when are you going, oh yeah, you guys came
down to see me when I was livingin Redding California.
Speaker 1 (19:13):
Exactly.
Speaker 2 (19:13):
Yeah, that's where it was, and we hooked up.
We went to this nightclub inRedding called Doc's and we're
watching bands, and we gotinvited to some house party.
Remember that.
Speaker 3 (19:24):
Oh yeah.
Speaker 2 (19:25):
And shit went crazy from that.
Fill us in.
Speaker 1 (19:28):
Fill us in.
Speaker 3 (19:30):
What do you mean, crazy?
Speaker 2 (19:35):
Enlighten us.
I don't even remember the bandwere they?
Was there even a band playingor was it just live music?
But we got invited to thisparty out in fucking hills, up
in the dune box, and was thatword dune, dune, whatever?
You know, we're drinking andhaving a good time and I met
some fat girl and I ended up inthe back of her car.
You guys came looking for me.
(19:56):
You guys were like doing somecar hopping and shit.
You were jumping from car tocar looking for me.
Speaker 1 (20:02):
Yeah, exactly, jumping up on top of hoods,
looking, yelling your name,looking for you.
Speaker 2 (20:08):
It's in the back of a yellow marijuana number.
It was a cool car.
I hear you guys like, oh shit,here I go, here comes my
brothers.
So what was?
Speaker 3 (20:19):
the Huh the band or the club Docks?
Do you remember what band wasplaying there?
I mean, I remember theyactually seemed like they were
pretty decent.
That's all I remember from it.
Of course we had quite a fewelse.
Speaker 2 (20:32):
Was it Banshee?
Was it a band called Banshee?
They actually sounded a lotlike Judas Priest, really.
Speaker 1 (20:39):
I don't know, Good memory.
I don't remember that.
Speaker 2 (20:42):
I can't remember.
It was a good band that night.
I remember that Because that'sa small town.
That was the only place bandscould play.
Speaker 1 (20:51):
We had a good time None of us went to jail,
fortunately, this time Me andDana almost did on the drive
home.
Speaker 2 (21:01):
Oh yeah, that's right .
Remember when you fucking fellasleep or something and ended up
in the fucking field with cows?
Oh, too much.
Speaker 3 (21:08):
We had to change your tire.
Okay, yeah, I remember that wehad to change your tire.
We had it up on a jack and wewere hammered and we had it on
jack and of course, here comesHighway Patrol coming to check
out and see what we were doing,and we were.
I mean, if they would have gaveus a field sobriety test we
would have been done, but thisis back in the day, we didn't
really care no more.
So we're sitting here talkingto the cop leaning, leaning on
(21:31):
the car, and he's asking us whatwe're doing, and as he's asking
us questions, the car falls offthe jack.
He just looks like oh, you guysgot enough problems.
Speaker 2 (21:40):
He just left, which was absolutely amazing.
Yeah, he goes.
You guys got enough problem.
I'm gonna leave you alone, andwe appreciate that, man, I only
live down the street.
That was the car I had to uselike a screwdriver to start.
Speaker 3 (21:54):
Remember that yeah, yeah, I remember using a crowbar
too.
It's like you know, you jumpstart the battery at the crowbar
yeah, yeah, yeah, not good on arainy day oh tales from the
roadall this leads into something
else that I wanted to mention asfar as, like, when you start
playing at these places, youknow the personnel you have in
(22:14):
the band you need to talk about.
You know what you're going todo.
As far as you know, drinkingand drugs, I mean, you know it's
a lot of people now is like, oh, rock and roll and drugs and it
goes hand in hand.
Yeah, but you know, if you wantto be a professional band stuff
, you really got to discuss thiswith your band members.
As far as you know, know,you're just going to have, you
know, a beer here and there toloosen up, or, you know, maybe a
(22:34):
smoke here and there.
Or, you know, are you going tohave one of those band members
that are just going to go offthe loose, you know, off the off
the the end of the razor's edgethere, like we've had with one
of our guitar players, and endup getting fired from the club
because you know you startplaying songs that nobody else
in the band knows.
Speaker 2 (22:52):
So that's that's a big topic.
You can't do both man.
You can't be a, can't be anaddict and play.
And who?
Which guitar player was that,by the way?
Speaker 1 (23:02):
uh, let's not, let's not mention names there.
Speaker 3 (23:04):
Yeah, we don't want to throw too many names out
there, for, but it was, you know, in one of our bands and we
were.
We were playing at a reallywell-known club in reno, um, for
our first time ever and it onlylasted one night, because, you
know, he decided to startplaying songs that none of us
knew.
Speaker 1 (23:21):
And we're sitting there looking stupid for like
five minutes and yeah and all ofa sudden, hey, you guys want to
come back and talk to me in theoffice.
Yeah, that's not a way.
You want to end your set, so,dana in closing anything you
want, anything else you want tosay about, like the first time
hitting a stage, anything elsethat's like comes to mind that
you really want to talk about.
Speaker 3 (23:40):
I think the big thing is sound check is you know?
that's huge kind of back to whatI was saying about having a
sound guy and a sound engineer.
Sound check is so importantwhere you know when you go on
and you play that first song,you're not surprised by all of a
sudden it's like, oh my God, Ican't hear the bass or I can't
hear the guitars or the singer'sway too loud.
I mean, have it dialed in.
Then when you go and play,don't touch anything.
(24:01):
You know.
If you know you got it dialedin, don't mess with it and
pretend like you know all of,because, especially in small
clubs, you know one littleadjustment, as you know, rob, it
just makes a difference.
Speaker 1 (24:16):
Oh yeah, it's huge.
Speaker 3 (24:16):
It's huge, you sound clean and you got a clean tone,
or it just sounds muddy as hell.
Speaker 1 (24:20):
Not to mention it really affects I mean your
attitude towards playing.
If you're sounding good and youknow the crowd's into it,
you're going to play much betterthan if the sound is shitty and
there's feedback and you knowit's upsetting the crowd.
Speaker 3 (24:33):
It's just like your whole mood, your whole demeanor
just changes and, like we'vesaid millions of times too, it's
like you know whether there's10 people in the crowd or 10 000
.
It's like you know.
Play as if you were playing toyou know, in a stadium, exactly,
pretend like there's a hundredthousand people out there, even
if there's only five, five.
You never know who those fivepeople are.
(24:54):
You know that five, five cangrow into the thousands that you
want, but you know every bandI've heard black Sabbath.
Their first gig was in front of10 people.
Speaker 1 (25:02):
Oh yeah.
Speaker 3 (25:03):
Laundromat or some shit like that.
So I mean, it's you know, beprofessional at all times.
Speaker 1 (25:13):
Yeah, we were pretty lucky.
A lot of our first gigs were,you know, pretty big crowds so
we I mean that helps you reallyget into it and helps your first
couple gigs get off the groundlike rolling really quick.
So we were pretty fortunatethere.
Speaker 3 (25:26):
I think our first one , yeah, our first one with
Monolith.
You know that morphed from, youknow Vices.
I mean, I think our first gigwith that band was we had like
two, three, 400 people.
Yeah, I mean, it was big and itwas awesome.
Speaker 1 (25:41):
It was Okay.
Well, thank you everybody and,once again, please do email your
information if you want to beon the show or just if you want
some additional information fromus or just want to be a guest.
We would love to hear from you,so please do.
At the end of every episode,there's a place to text us your
information, so please do supplyus that information and we
(26:04):
really appreciate you listening.
And if you haven't listened toour previous episodes, please do
so closing words, john.
Speaker 2 (26:13):
Yeah, I'm gonna give a shout out to my three
beautiful daughters, kayla,brianna, erica please say hi for
us as well we all gotta gettogether and jam man yeah, we do
oh yeah all right, guys loveyou and everybody.
Goodbye love you guys.
Bye-bye peace.
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