November 7, 2025 • 32 mins
A canceled gig can feel like a punch to the gut—especially when fans already have tickets. We dig into why that happens today, tracing the math venues use to keep doors open and why pre-sales have become the deciding factor for grassroots rooms across the UK. With Daz at the wheel—literally and figuratively—we explore what it takes to run three bands in one night, keep a van rolling for four-hour drives, and still deliver a tight set when the gear throws curveballs.
You’ll hear the inside track on practical touring: how to build a load-in plan that respects every instrument, why redundancy is your best friend, and how to stay musical when a Marshall’s inputs rip off the board or a pedalboard dies mid-song. Daz opens up about recording ambitions on the road, the moment he scaled back to protect energy and quality, and the simple habits that keep shows on time and bands in sync. We also zoom out to community, spotlighting Killfest’s charity roots and the scene-building power of tribute acts working alongside original rock.
There’s history here too: a New Jersey family who won Lemmy’s Rickenbacker on the Another Perfect Day tour, complete with photos and setup quirks that inspired how Daz wears his own bass. It’s a story about tone, identity, and the way small technical choices shape big stage presence. Through it all, kindness in the van, clear roles, and honest feedback turn long weekends into real growth for younger players finding their live voice.
If you love rock, touring strategy, and the craft behind a great night out, hit play and ride with us. Share this with a friend who lives for live music, subscribe for more behind-the-scenes stories, and drop a review to tell us your best onstage save—what’s the rule you never break on tour?
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.
Rob (00:29):
Hi, welcome to Franklin's Garage to Stage podcast.
My name is Rob WardrumsFranklin, and my co-host is Dana
Thunderbass Franklin.
Daz (00:38):
How are you doing, brother?
I'm doing really, really well.
Rob (00:41):
Hey, lately we've been starting our episodes with a
quote.
I like to do quotes for kind ofinspiration, and I always
relate them to music in someform.
So this is actually one of myfavorite quotes.
It's by uh Larry Cunningham,and it is it is difficult to
live in the present, ridiculousto try to live in the future,
(01:02):
and impossible to live in thepast.
Nothing is as far away as oneminute ago.
So to me, that's like I usethat for inspiration, like
especially if I like grew up atpractice or something.
It's like, okay, that's aminute ago.
Forget about it.
All right, David, you want toyou want to introduce our guest
today?
Daz (01:21):
Absolutely.
Um we've actually got areturning guest with us today,
um, all the way over from thefrom the UK.
His name is uh Daz.
And um, so so Daz, please tellthe uh tell the audience here
and all the listeners a littlebit about what you're all about
in case they didn't listen toour other episode with you.
Uh thank you.
Uh Rob, Dan, it's great to seeyou both again.
(01:41):
Thank you very much.
I'm Daz Evelope.
I am uh with the band Loser.
So we are a Motorhead TriviaDack.
Uh we're also uh a rock androll band.
So we're working on a neat keythat'll have three original
songs and uh three or fourcovers on it to release early to
mid next year.
Um we've been touring all yearthis year, so our first chat
(02:05):
together, we were talking aboutum the three bands I'm taking on
the road, typically with a mainsupport, local main support if
we get lucky, and taking themall over the UK.
So we're in the north ofEngland in Carlisle, and um, we
get three, four-hour drive awayregularly, up into Scotland, out
to Wales, down into the upperMidlands, I'll call it
(02:27):
Yorkshire, etc.
Dana (02:29):
Cool.
Daz (02:31):
And your quote was fantastic, by the way.
I just want to say it works formusic beautifully.
For live music, don't worryabout the note you hit wrong.
You know, go go forward becauseyou gotta keep going forward.
It also works for motorcycles.
Dana (02:48):
There you go.
There you go.
Daz (02:50):
Yeah, you can't focus on the mistake you just made, or
you're gonna make another one.
Not a good time to do it.
Rob (02:57):
So it looks like uh according to your socials,
you've got a show coming up uhSaturday, right?
Daz (03:03):
Oh, we have just really finished our tour for the year.
Um we we did a lovely show lastuh Sunday, something before
that.
Uh oh, we did, and and this isa really good point.
So, first off, we did have ashow on Saturday, November 8th,
which canceled.
Oh and the last time we spoke,we talked about advanced tickets
(03:27):
being so important.
Yes, uh we had we had uh 30something shows booked this
year, 25 we did, and fivecanceled.
And it really hurts for thepeople who bought the ticket who
want to make it to those fiveshows, you just can't make it
work, right?
Well, you know, and pre-sales.
You know, how do the how do howdo these clubs I mean I
(03:49):
understand the concept behindit, but it's like you know,
these these clubs gottaunderstand there's a lot of
last-minute people that justdon't do pre-sales and they'll
probably still fill the place.
And it's I mean, I know it's athin line there, but that kind
of sucks.
Yeah, but yeah, uhunfortunately, I mean, here in
the UK we have a lot ofgrassroots venues, but somehow
(04:11):
because we have so many, there'sa lot of closures.
So um the the clubs you playedlast year, 3%, 5% of them are
gone next year.
Wow.
Damn.
And you know, other ones aretrying to fill the gap.
They see that there's aproblem.
New places are coming up, thenthey're excited, they have new
energy.
But the issue is it the clubcan't constantly take that
(04:32):
gamble because they can'tconstantly take a loss or just
simply break even.
Right.
So they have to know it's gonnabe a good night.
unknown (04:39):
Right.
Dana (04:40):
Yeah, I I I definitely get that.
Rob (04:42):
They don't judge it on the number of followers you have,
unlike your socials, or is thatnot part of their like I I would
say that helps you get in thedoor.
Daz (04:51):
Okay.
Right?
You get the answer to therequest w, you know, uh is there
any interest, that type ofthing.
But it's this the pre-sales aregonna tell them if there's
enough people in there for themto make money on the bar, and
therefore, you know, have have anight that is gonna keep the
lights on.
Dana (05:10):
Yeah.
Daz (05:11):
So it's it's kind of I think it used to be the trick
where if you have enough uhattention, if you have enough
buzz, it's likely people aregonna show up on the night.
Nowadays, especially withsocials, etc.
etc., it's really down to thosepre-sale tickets here in the
UK.
I don't know what it's like inthe US.
But now what's with the withthat pre-sale?
(05:33):
Is there like a specialformula?
Is it like 50% capacity, or isthere like a certain number that
you think they're looking for?
Or yeah, so I think there is aspecial number, and it depends
on the venue.
And what they're gonna do isthey're gonna do a calculation.
The first piece of thecalculation is what would the
venue hire cost?
So you can do that.
You can call the venue and say,if I simply hired the venue,
(05:55):
what's my fee?
That that's not a great nightfor them, but that'll keep the
lights on.
Dana (06:01):
Yeah, that'll pay them for that.
Daz (06:04):
Exactly.
So then on top of that,depending on how many people are
coming, etc., they're gonnahave to hire security, there's
an extra cost, there's morestaff on at the bar, etc.
So they start trying to figureout what their outlay is gonna
be for the night, theiroverhead.
Um, but the the the firstpiece, the bare minimum, is what
would the venue hire cost be?
(06:25):
And if you can't hit that onpre-sales, I really don't think
you know they're they're gonnaget start giving pushback.
And by the way, they hate doingit too.
It's not like um this is youknow somehow bringing them in
joy that they're nice.
Yeah.
Dana (06:45):
Shit.
Daz (06:47):
So I saw that you've got uh a cool festival coming up in um
next year uh called Killfest.
What's that all about?
Maybe explain a little bitabout what what's going on with
that.
Oh, what a great one.
Um, so I'm gonna start way atthe beginning, which is a friend
of mine, Harry Miller.
Uh, you should probably talk tohim.
He's in a motorhead tribute actin the UK.
(07:10):
Oh wait, so am I.
Um they were around they werearound a few years before we
were.
They're in the same county,they're in Cumbria.
They're called Motor Beard.
Rob (07:20):
Okay.
Daz (07:20):
Um, and they're so good.
They're a three-piece, andHarry is like watching the Ghost
of Lemmy on stage.
Really?
I mean, we're an homage.
We we bring our version ofMotorhead.
He brings Motorhead.
He's amazing.
Wow.
Well, you you sound amazingtoo.
Rob (07:34):
I've I watch your videos, and dude, you're spot on.
Serious.
I think.
Daz (07:38):
I I honestly appreciate it.
Uh I really I look up to Harry.
I think he does a great job.
Yeah.
Rob (07:43):
Um give us his contact info.
Daz (07:46):
Yeah.
Oh, I will.
I'll you should chat with him.
All right.
Um so he brought us to a clubuh where he was playing, and I
chatted with him.
I did an interview.
I've interviewed him maybethree times for my YouTube, and
none of them have made it to theYouTube.
Because the interview hasalways been after the drink.
So it's just not fit forpublishing.
(08:10):
Uh so not yet.
I haven't yet had an interviewthat made it.
Anyway, um, he brought us thereand he's a lovely football.
Um, so it's uh Phil Frain andhis wife Denise, and their son
was with him, and they havebrought um something that they
made as a uh a lockdown artproject, which was a a mobile
(08:32):
oh, this is really tough todescribe.
It's like an articulated lorry,uh, like think a truck, like a
Mac truck.
Okay, with Lemmy driving it, alittle model of Lemmy.
So it's like a one-third modelof a semi.
And it's got motorheads paintedon the side, and it's black,
and it's got um the signature ofBill Campbell and Girl School,
(08:56):
and all these amazing peoplehave been to it and signed this
little piece of art, and theybrought it up on a trailer.
And so Motorbeard were playingthis show, and these lovely
humans were there raising moneyfor the Sophie Lancaster
Foundation, um, taking donationsall night.
Um and they run charities allthe time.
So last year, Harry playedKillfest with Motorbeard and had
(09:20):
a blowout weekend three-daything.
I think it was just two orthree-day thing this year.
And um, when that was done, wechatted with them and they said,
Oh, why don't you come nextyear?
So uh we're gonna go down withall three apps Bay of Pigs,
Eagle Trip, and Loser, and we'regonna play on the Saturday to
open things up.
(09:40):
It's really good.
Um, the these people they havereally kind hearts.
Um, Bill recently had heartsurgery, and so they're raising
money for Sophie Lancaster andum the hospital that they went
to.
Really lovely humans.
Cool.
Is it like a charity eventthing?
Is that what it's like awesome?
Rob (10:01):
How much uh attendance-wise, well, how many
people are we talking?
Daz (10:04):
Usually, I I I suspect it's gonna be two, three hundred.
Okay, yeah, I can't guaranteethat I didn't go to the first
one, so I didn't see it myself.
But cool.
Rob (10:12):
Well, you you kind of brought it up already, but can
you can you give us a little bitof uh info about your other
bands that you participate in?
You kind of like touched on it.
Daz (10:23):
Sure.
Um yeah, it it is an amusingthing that uh we kind of roll
into town and I I stand on stagefor about four hours straight.
And so I play bass with theopening band, which is called
Bay of Pigs.
There's thrash.
We do four or five covers andthree original songs, and um
that starts the night off.
(10:44):
It's fun, it's a little bit ofan outlet, and then I go off
stage and change my shirt orsomething, and I come back as a
completely different bearded oldman, and uh I play with Ego
Trip.
Ego Trip are a kind of 90sgrunge thing.
You had an interview with them.
Uh they are young and have alot of energy, good guys.
(11:07):
And they've come a long waythis year.
That stage time has reallybenefited them.
And um, I mean we had a showjust in we did Glasgow in
Edinburgh.
And in Edinburgh, I waschatting with some folks in the
crowd before we went on.
And when I came off stage, thisfella in the audience he pulled
me aside, he grabbed my handand he did a Trump shake.
(11:28):
You know the Trump handshakewhere he pulled you in?
He pulled me in, he looked medead in my eyes, and he said, I
could swear I was in the roomwith Wayne Staley.
Oh wow.
It just uh you know it's anunsolicited comment.
He didn't have to say that.
Really lovely.
So Ego Trip are doing reallywell.
(11:50):
They're they've got aseven-track album, The Water.
Yeah, I was gonna ask you aboutthat.
Yep, yeah, a couple months ago.
Um doing all right, it couldalways do better.
Oh, yeah.
We'd love some of your 50,000listeners.
We will turn them on to it.
That's we will.
That's we will.
(12:10):
Um, yeah, but it's it's fromthe heart.
No covers on that album, it'sall original music, and it's
these guys been making it sincethey were teenagers.
Awesome.
That sounds cool.
Um, so I mean, you obviouslywear a lot of hats because you
know, being in all three bands,and then I think you've
mentioned before that you alsodrive the band, and you're
(12:31):
pretty much the manager and thethe the parents of the kids on
an eagle trip.
More or less, yeah.
So when do you sleep?
What what the hell?
I mean I get back exhausted.
I I honestly earnestly get backexhausted.
Um, we did a couple where wegrab uh now I'm gonna have to
share.
(12:51):
Oh yeah, share, please.
One one that was a tour storythat the boys absolutely loved
is we were coming back fromWales.
We did a lovely show in Wales,and we had kind of thought, oh,
we'll make we'll make a run homeand see if we can get home.
But that was the Sunday, it wasthe third day of a three-day
tour.
And we finished at one in themorning.
We weren't gonna get home untillike five in the morning.
(13:13):
So we were driving through, andon the way, my lead guitar
player got on the his phone andbooked us a hotel room with two
beds.
Dana (13:24):
Oh no.
How does that work?
Daz (13:27):
Yeah, so what they decided is four of us don't need to
sleep, but we don't want to die.
So we're gonna stop halfway.
You, you, the the guy going towork the next day, and the guy
who's driving us, go upstairs,get as much sleep as you can by
this time, and then come downand meet us, and we'll finish
(13:48):
the drive.
And uh they were all laughingbecause I did complete they said
it was like um uh hanging outwith a robot or something,
because we kind of we we got theroom, we got upstairs, I
immediately got under the coversand closed my eyes, and that
was it.
I was north.
Rob (14:04):
Yeah, I wish I could.
Daz (14:05):
And the alarm went off, and I just jumped straight up and I
was like, we must go.
Boom, we're out the door,right?
But we got home safely, andthat's what matters.
Cool.
Rob (14:17):
Well, you touched on this earlier as well, but uh I see
that you're doing interviews,and tell us about this interview
with Chris, I believe it'spronounced ILO.
Daz (14:25):
That's exactly right.
He says it's like threeletters, right?
ILO.
Yeah.
Yeah, Chris is from New Jersey.
I've been trying to line thisinterview up for a year, but a
year ago his father passed.
And um sorry, sorry, I got thatwrong.
His uncle Peter passed.
His father had passed, I think,the year or two before.
(14:46):
Um, so he was not ready to talkabout it, I don't think.
Um managed to line it up.
He was willing to chat with me,and he talked about his father
and two uncles who had gone to ashow in New York.
And um, when they went to gosee Motorhead L'Amour, they went
to a record store, there was acontest, they entered the
(15:08):
contest, and they wanted to justsee who was gonna win, and it
was them.
Chris's father, Chris, wonLemmy's Brick and Bacher bass
guitar.
Dana (15:17):
Damn.
Oh wow, oh shit, that was cool.
Daz (15:22):
That was just simply amazing.
It was on the Another PerfectDay tour, and it's got so much
provenance.
I mean, this guy's got thenewspaper article with his
picture of his father holdingthe Rick with Lemmy next to him,
like handing it off.
It's the back of the guy.
So that was uh actual bass thathe performed with.
I mean, it was uh that issweet.
(15:42):
That's cool.
Oh yeah.
And so during the interview, II couldn't get my trap shot, and
unfortunately, the videoswitches to me too much when I'm
trying I'm admiring the bassand the video switching away
from it.
But I was showing him that um Ican show you guys right now,
actually.
So on a on a real Rick likethis, the strap is on the horn.
(16:06):
Okay, so the strap button is uptop, but Lemmy didn't like
that, and he would put it in themiddle in the back of the
guitar, like an acoustic guitarwould do.
So just in the back side of theneck.
Rob (16:19):
Why out of curiosity?
Daz (16:22):
So it feels cool.
So it feels cool.
So like when I had this made bya luthier, and I had to make it
without the button there, andinstead, the buttons there.
Oh, okay.
And what happens is the way thestrap holds against the body,
and it's against your your botagainst your body, it pulls away
(16:42):
in a way.
Rob (16:43):
Oh, okay.
I'm a drummer, so I know it'slighter.
Daz (16:46):
Yeah, it just it just feels different in the hands.
I mean, if you've ever playedan acoustic guitar with a strap
on uh uh button on the back, youcan feel the difference in
weight in the way it sits onyou.
Oh, okay.
Um so yeah, it was a reallygood chat, and I was showing
him, I had him turning it aroundand showing me different parts
of it, and I was saying, oh,this is why that's like that.
(17:08):
This is why that's like that.
Um and he took the um when whenLemmy handed it to his father
Chris, he took off the um bridgecover.
So the bridge pickup cover,there's a little piece of metal
(17:59):
that comes out on aRickenbacher.
He wanted that, so he he hetook it off, he's unscrewed it
and took the cover.
Dana (18:07):
Oh that's it.
Daz (18:08):
Anyway, yeah, that was a great conversation.
Chris is a great guy.
Um you should probably try tochat with him, but I'll see if I
can get him on again.
Rob (18:16):
That was that was that something you're gonna continue
doing?
Uh it's like kind of your ownpodcast, I guess, so to speak.
Daz (18:24):
Yeah, so I've got a few different little podcasts on the
YouTube channel, and I I don'ttry to do it with regularity.
I'm not as good as you guysare, where like you you wrap up
and then it's posted.
I get it to video and then Iedit it to take out all my ums
and ers.
And that takes me three months,and then I feel like it's time
(18:44):
because it's so old.
So then uh it takes anotherthree months of sitting around
waiting to post it.
Yeah, I I I gotta think thetech guy over here, you know,
war drums, he's the one thatdoes all that stuff.
So whenever whenever I fuck up,he's like, okay, I can take
care of that.
We'll we'll edit that out.
So being on the road, and Imean I know you just got back
(19:06):
from you know doing what five,six, seven months of pretty
solid touring.
Uh what have you learned fromthat experience as far as I know
you said, especially with EagleTrip, that they were younger
kids and you were gettingexcited to get them out on the
stage and you know, used to thelive feel and all that.
It's like, did you learn any,you know, the good and bad of
what you learned just from thispast tour?
(19:27):
No, it was fantastic.
So we were out from Januarythrough October with uh at least
one weekend a month.
Several of them were two.
Um we we were at it and busy.
Um there there was a lot of,and I think every band will
relate to this, right?
A lot of figuring out what isall the equipment, what does it
(19:51):
mean?
Why is it with us?
How does it work?
Right?
So the drummer usually doesn'tworry about the bass guitar
stuff and blah blah blah, right?
But there's multiple bands inthis van, and we have to get
where we're going, and we haveto get set up as quickly as
possible and write down asquickly as possible, and that
means you need to think abouteverything that's on stage and
(20:14):
help each other out, right?
Um, so that was a learning allyear.
All yeah, right up until thevery end, we're still, you know,
uh improving on how what weuse.
Another big one is I brought myown back line and I brought my
own engineer monitor system as aum recording studio.
(20:38):
So I set all my mics up oneverything, and I multi-track
recorded all the original shows.
That was intensive.
Because as you know, I'm doingeverything and I and I'm driving
and I'm trying to stay awake.
So that slowly dwindled off.
Rob (21:02):
Yeah, that's a that's a lot of things you have to think
about.
Daz (21:05):
Yeah, so we left that behind most of the shows.
Uh we brought it recently, butI'd say for the past three or
four months, we haven't touchedit at all.
Um and yeah, there's been a lotof kind of like always have
backups.
This has always been my thing,but always have backups.
So it um guitars on stage,strings are gonna break.
(21:28):
So if you've got two guitarplayers and two guitars, have a
third sitting in the van.
unknown (21:34):
Right?
Daz (21:34):
That way, worst case scenario, uh you can grab
something and retune it orwhatever's needed.
Rob (21:39):
Well, that leads right into our moment that we like to
discuss with everybody we uhinterview.
What is the uh oh shit momentthat may have happened during
this uh last tour for you?
Daz (21:52):
All right, this is gonna be tough to describe.
Um just like if you'relistening to only audio and you
heard me describe thoseRickenbachers, right?
You're thinking, what was heeven talking about?
Can you see this amplifierbehind me?
Rob (22:07):
I sure can, yeah.
Daz (22:08):
All right, on a Marshall JMP amplifier, there are four
inputs.
There's input one, high andlow, or let's say bright and
rhythm, and there's input two,bright and rhythm.
And those four inputs, you canjump between them and you can
blend the volumes.
(22:29):
So you can it changes the tonewhere um input one and input two
have slightly different tones,so you can blend them together.
All fine, right?
Dana (22:40):
In theory, yeah.
Daz (22:44):
So along the way, um, I have a light an LED I had made
on the that I put on the face ofmy amplifier.
Okay, and along the way, westarted having fun by putting it
on the floor behind me in orderto kind of have this lit stage
feeling behind me.
Dana (23:02):
Cool.
Daz (23:03):
Yeah, it was nice, it was working fine until and I hold no
grudge button from Ego Tripquite accidentally stepped
backwards directly onto my inputboard.
Oh, and his foot just went tothe floor with the cable.
(23:24):
Oh, the two inputs that areinside this Marshall just
literally ripped off themotherboard.
Oh and I went from bowl todeath.
Rob (23:40):
That's definitely an ocean.
Daz (23:42):
Thankfully, there's that was ocean.
And I looked down and realizedwhat had happened, and there's
four inputs.
So I just swapped the two, andmy tone changed, but and the amp
was still working.
So quit thinking, all right.
Always have a back up.
Rob (23:58):
Oh.
You had to have more than oneocean.
Daz (24:00):
Yeah, yeah, yeah.
Throw some more at us.
Seven months, three bands.
We know you got more.
We'll put you on the spot tocome up with another one.
That that was uh ego tripplaying and messing up my loser
amplifier.
We had one uh just recently.
So we did, I said Glasgow andEdinburgh.
Rob (24:19):
Right.
Daz (24:19):
And our lead guitar player of Losers pedal board started
acting up.
And it was kind of it was justcutting out to nothing.
And on the first night, hewould get I would notice that he
would stop playing and he'd getdown on his knees, and it'd be
messing around with thequarter-inch cables in between
(24:40):
the pedals, right?
So which one is it?
Is it the power?
Is it the right?
I think every band discoveredthis one and had that.
But after, you know, what 10months of touring, he's messing
around with this pedal board.
And basically, it was onepedal, he would smack it, and
the thing would just come backto life, slightly louder than it
was before, and he'd get up andhe'd keep playing.
(25:02):
And the next thing I'd know,I'd see him kneeling down and
messing around the pedalboardagain.
And we said, Okay, well, let'sfix it for the second night.
Uh we didn't fix it, we made ittwice as bad.
So he spent half the gig on hisknees.
Dana (25:20):
Yeah, that's definitely yeah.
Daz (25:23):
We're chatting with the audience, and thank gosh, we
have two guitars.
So the bass, the guitar, andthe drums are still moving
forward, but he's over heremessing around, right?
So, from a crowd perspective, Idon't think anybody felt that
it was a disrupt distraction orthey had missed something.
The the song was still there,but he was sweating that the
(25:46):
poor guy was happening.
He said, Being on the road withthese guys for that long, not
only you know, just with onevan, but let alone with three,
you know, you guys are sleepingin the same quarters, driving
and all that.
Uh, you know, there's gotta besome episodes where you know
there's there's a time wheresomebody's like, okay, get the
fuck out of the van and walk fora couple of a couple miles
(26:09):
before I you know hit you.
I mean, were there were theretimes where you know the the the
temper started to fly?
I I'm I you're not gonnabelieve me.
And I think I'm really lucky,but these sticks, the core
sticks that represent the threebands now with member changes,
(26:29):
we'll get along so well.
Oh, that's cool.
Dana (26:32):
That's great.
Daz (26:33):
We we really are.
Uh it's a pleasure to work withthem.
I uh they they uh they knowthat there's this amazing
opportunity.
They're all younger and andthat they all want that stage
time, as we discussed in ourfirst interview.
And they're getting it.
Cool.
And they're improving and theycan feel it.
So they they have the rightattitude, they're here for the
right reason.
Rob (26:53):
So it's not a lot of nitpicking.
Well, you're doing this, you'redoing that kind of thing, or
no?
Daz (26:58):
No, really honestly.
Rob (26:59):
That's cool.
Daz (27:00):
That's really good.
And we're we're we've all beenreally good at kind of just
giving each other space.
If it looks like you're havinga rough day, don't worry, I'll
I'll pick up the slack and I'llmove the drums or whatever it
is, and it we all fill in foreach other.
Okay, so that that's live.
What about regular practices athome?
Is that when the ship flies?
No, that's a really, reallygood one.
(27:21):
I mean, we have these originalsongs we're working on, and
we're about to do the recording,and I suspect the creative
process is where things might alittle bit.
Um, but no one's brought noone's brought tempers, no one's
brought um negativity.
We just talk it through.
Rob (27:37):
Okay, awesome.
Hey, I've noticed that you'vegot some uh some pictures on
here from a James Hadleyphotography that are
outstanding.
Can we use some of these on ourwebsite?
Daz (27:47):
No, please do, yeah.
And just please, if you canpreserve the James Hadley
watermark.
Rob (27:52):
Okay, okay, yeah, sure will.
Daz (27:53):
He's great.
He lives here in Carlisle.
Um, he's he's uh doing musicvenues all over the place, and
we he's jumped in the van withus before and come with us on
tour.
Rob (28:05):
Oh, that's very cool.
All right.
Uh you still have a comedianopened up for you guys?
I know you had kind of like awhole uh whole thing show with
you know with that, you know,yeah, so not headling, but
starting.
Daz (28:17):
Yeah, it uh the about the first half of the tour we did
that, and then uh it kind offell apart.
Um it he really what washappening is that he was having
some health issues.
Oh we don't need to and and umfor him he's in Glasgow.
So before we get moving, he hasa two-hour journey to get to
us.
And then we drive another fourhours for the show, etc.
(28:39):
And um he started having somehealth issues that was affecting
his ability to drive.
Yeah, yeah.
Logistically, it had to betough anyway.
Yeah, so um uh he's he's doinglocal gigs, he's doing really
well in Glasgow.
He's doing these um uh Dungeonsand Dragons nights.
Dana (28:57):
Uh okay.
Daz (28:57):
Uh so so yeah, um stay staying in touch with him, but
it doesn't work logistically atthe moment.
Rob (29:06):
Unfortunately, we were cut off.
We had some internet issuesfrom uh our discussion with Daz.
Um but we will close it outhere saying it was a pleasure
having him, and um we apologizefor the interruption.
But Dana, what do you want tosay in closing?
I know you had some closingcomments there.
Dana (29:23):
You know, yeah.
Daz (29:24):
I I got a little phrase I'd like to say here too.
But yeah, it was it was awesometalking to Doz.
And you know, of course hecouldn't say goodbye because we
got cut off.
You know, I don't know if itwas our end or his end, but it's
it's always good to talk tohim.
Sounds like they had a greattime over there in tour.
So um, but in closing, I'd liketo say, you know, my little uh
speech here is uh you know thegreatest healer in life is
(29:45):
music.
Begin and end each day with it.
I mean uh how do you how do younot go wrong with that?
It's uh you know if you startyour day out with listening to
some good music and you end yourday with some good music, it's
uh you know it it doesn't matterwhat happens in between, right?
You know, we'd like to thankall of our listeners out there.
I mean we're at we're over the50,000 mark, and uh it's uh uh
(30:08):
you know I think we're at 31,32, 33 countries now, just uh
you know making this shitinternational and loving it.
So we thank each one of you.
And you know, you know, pleaseget on our website, you know,
Franklin GarageThestage.com.
Um you know, leave a comment.
We got some special prizes, wegot t-shirts, we got swag, swag
(30:30):
swag, whatever you want to add.
Uh you know, to give away toyou know, leave a cool ass
comment and we will get we'llhook you up with some shit.
You know, we've got some coolt-shirts and you know we can do
all kinds of stuff, but youknow, leave a comment, leave
your email so we can pass onother stuff to you.
Uh we've got some really killerpodcasts lined up over the next
couple of months.
Uh I mean we're we're blessedthat we're actually uh booked
(30:53):
for the rest of November and uhyou know and all into next month
and up up until the new year.
Yeah, we've got some cool shitcoming up.
So you know, thanks you guysfor listening and you know.
Get on our thing and you knowsupport us.
We could use a couple buckshere and there to you know help
do all the editing and all thecool stuff we do here.
You know, buy more t shirts anddo stuff like that.
So, you know, you if you buy at shirt, we'll ship it to you
(31:14):
for free.
Just, you know, just just justhit us up with some money.
That's all we ask for.
Money, money and love.
Rob (31:20):
Yeah.
All right, everybody.
Thank you very much, and bye.
Bye.
Hi, welcome to Franklin's Garage to Stage podcast.
My name is Rob WardrumsFranklin, and my co-host is Dana
Thunderbass Franklin.
Daz (00:38):
How are you doing, brother?
I'm doing really, really well.
Rob (00:41):
Hey, lately we've been starting our episodes with a
quote.
I like to do quotes for kind ofinspiration, and I always
relate them to music in someform.
So this is actually one of myfavorite quotes.
It's by uh Larry Cunningham,and it is it is difficult to
live in the present, ridiculousto try to live in the future,
(01:02):
and impossible to live in thepast.
Nothing is as far away as oneminute ago.
So to me, that's like I usethat for inspiration, like
especially if I like grew up atpractice or something.
It's like, okay, that's aminute ago.
Forget about it.
All right, David, you want toyou want to introduce our guest
today?
Daz (01:21):
Absolutely.
Um we've actually got areturning guest with us today,
um, all the way over from thefrom the UK.
His name is uh Daz.
And um, so so Daz, please tellthe uh tell the audience here
and all the listeners a littlebit about what you're all about
in case they didn't listen toour other episode with you.
Uh thank you.
Uh Rob, Dan, it's great to seeyou both again.
(01:41):
Thank you very much.
I'm Daz Evelope.
I am uh with the band Loser.
So we are a Motorhead TriviaDack.
Uh we're also uh a rock androll band.
So we're working on a neat keythat'll have three original
songs and uh three or fourcovers on it to release early to
mid next year.
Um we've been touring all yearthis year, so our first chat
(02:05):
together, we were talking aboutum the three bands I'm taking on
the road, typically with a mainsupport, local main support if
we get lucky, and taking themall over the UK.
So we're in the north ofEngland in Carlisle, and um, we
get three, four-hour drive awayregularly, up into Scotland, out
to Wales, down into the upperMidlands, I'll call it
(02:27):
Yorkshire, etc.
Dana (02:29):
Cool.
Daz (02:31):
And your quote was fantastic, by the way.
I just want to say it works formusic beautifully.
For live music, don't worryabout the note you hit wrong.
You know, go go forward becauseyou gotta keep going forward.
It also works for motorcycles.
Dana (02:48):
There you go.
There you go.
Daz (02:50):
Yeah, you can't focus on the mistake you just made, or
you're gonna make another one.
Not a good time to do it.
Rob (02:57):
So it looks like uh according to your socials,
you've got a show coming up uhSaturday, right?
Daz (03:03):
Oh, we have just really finished our tour for the year.
Um we we did a lovely show lastuh Sunday, something before
that.
Uh oh, we did, and and this isa really good point.
So, first off, we did have ashow on Saturday, November 8th,
which canceled.
Oh and the last time we spoke,we talked about advanced tickets
(03:27):
being so important.
Yes, uh we had we had uh 30something shows booked this
year, 25 we did, and fivecanceled.
And it really hurts for thepeople who bought the ticket who
want to make it to those fiveshows, you just can't make it
work, right?
Well, you know, and pre-sales.
You know, how do the how do howdo these clubs I mean I
(03:49):
understand the concept behindit, but it's like you know,
these these clubs gottaunderstand there's a lot of
last-minute people that justdon't do pre-sales and they'll
probably still fill the place.
And it's I mean, I know it's athin line there, but that kind
of sucks.
Yeah, but yeah, uhunfortunately, I mean, here in
the UK we have a lot ofgrassroots venues, but somehow
(04:11):
because we have so many, there'sa lot of closures.
So um the the clubs you playedlast year, 3%, 5% of them are
gone next year.
Wow.
Damn.
And you know, other ones aretrying to fill the gap.
They see that there's aproblem.
New places are coming up, thenthey're excited, they have new
energy.
But the issue is it the clubcan't constantly take that
(04:32):
gamble because they can'tconstantly take a loss or just
simply break even.
Right.
So they have to know it's gonnabe a good night.
unknown (04:39):
Right.
Dana (04:40):
Yeah, I I I definitely get that.
Rob (04:42):
They don't judge it on the number of followers you have,
unlike your socials, or is thatnot part of their like I I would
say that helps you get in thedoor.
Daz (04:51):
Okay.
Right?
You get the answer to therequest w, you know, uh is there
any interest, that type ofthing.
But it's this the pre-sales aregonna tell them if there's
enough people in there for themto make money on the bar, and
therefore, you know, have have anight that is gonna keep the
lights on.
Dana (05:10):
Yeah.
Daz (05:11):
So it's it's kind of I think it used to be the trick
where if you have enough uhattention, if you have enough
buzz, it's likely people aregonna show up on the night.
Nowadays, especially withsocials, etc.
etc., it's really down to thosepre-sale tickets here in the
UK.
I don't know what it's like inthe US.
But now what's with the withthat pre-sale?
(05:33):
Is there like a specialformula?
Is it like 50% capacity, or isthere like a certain number that
you think they're looking for?
Or yeah, so I think there is aspecial number, and it depends
on the venue.
And what they're gonna do isthey're gonna do a calculation.
The first piece of thecalculation is what would the
venue hire cost?
So you can do that.
You can call the venue and say,if I simply hired the venue,
(05:55):
what's my fee?
That that's not a great nightfor them, but that'll keep the
lights on.
Dana (06:01):
Yeah, that'll pay them for that.
Daz (06:04):
Exactly.
So then on top of that,depending on how many people are
coming, etc., they're gonnahave to hire security, there's
an extra cost, there's morestaff on at the bar, etc.
So they start trying to figureout what their outlay is gonna
be for the night, theiroverhead.
Um, but the the the firstpiece, the bare minimum, is what
would the venue hire cost be?
(06:25):
And if you can't hit that onpre-sales, I really don't think
you know they're they're gonnaget start giving pushback.
And by the way, they hate doingit too.
It's not like um this is youknow somehow bringing them in
joy that they're nice.
Yeah.
Dana (06:45):
Shit.
Daz (06:47):
So I saw that you've got uh a cool festival coming up in um
next year uh called Killfest.
What's that all about?
Maybe explain a little bitabout what what's going on with
that.
Oh, what a great one.
Um, so I'm gonna start way atthe beginning, which is a friend
of mine, Harry Miller.
Uh, you should probably talk tohim.
He's in a motorhead tribute actin the UK.
(07:10):
Oh wait, so am I.
Um they were around they werearound a few years before we
were.
They're in the same county,they're in Cumbria.
They're called Motor Beard.
Rob (07:20):
Okay.
Daz (07:20):
Um, and they're so good.
They're a three-piece, andHarry is like watching the Ghost
of Lemmy on stage.
Really?
I mean, we're an homage.
We we bring our version ofMotorhead.
He brings Motorhead.
He's amazing.
Wow.
Well, you you sound amazingtoo.
Rob (07:34):
I've I watch your videos, and dude, you're spot on.
Serious.
I think.
Daz (07:38):
I I honestly appreciate it.
Uh I really I look up to Harry.
I think he does a great job.
Yeah.
Rob (07:43):
Um give us his contact info.
Daz (07:46):
Yeah.
Oh, I will.
I'll you should chat with him.
All right.
Um so he brought us to a clubuh where he was playing, and I
chatted with him.
I did an interview.
I've interviewed him maybethree times for my YouTube, and
none of them have made it to theYouTube.
Because the interview hasalways been after the drink.
So it's just not fit forpublishing.
(08:10):
Uh so not yet.
I haven't yet had an interviewthat made it.
Anyway, um, he brought us thereand he's a lovely football.
Um, so it's uh Phil Frain andhis wife Denise, and their son
was with him, and they havebrought um something that they
made as a uh a lockdown artproject, which was a a mobile
(08:32):
oh, this is really tough todescribe.
It's like an articulated lorry,uh, like think a truck, like a
Mac truck.
Okay, with Lemmy driving it, alittle model of Lemmy.
So it's like a one-third modelof a semi.
And it's got motorheads paintedon the side, and it's black,
and it's got um the signature ofBill Campbell and Girl School,
(08:56):
and all these amazing peoplehave been to it and signed this
little piece of art, and theybrought it up on a trailer.
And so Motorbeard were playingthis show, and these lovely
humans were there raising moneyfor the Sophie Lancaster
Foundation, um, taking donationsall night.
Um and they run charities allthe time.
So last year, Harry playedKillfest with Motorbeard and had
(09:20):
a blowout weekend three-daything.
I think it was just two orthree-day thing this year.
And um, when that was done, wechatted with them and they said,
Oh, why don't you come nextyear?
So uh we're gonna go down withall three apps Bay of Pigs,
Eagle Trip, and Loser, and we'regonna play on the Saturday to
open things up.
(09:40):
It's really good.
Um, the these people they havereally kind hearts.
Um, Bill recently had heartsurgery, and so they're raising
money for Sophie Lancaster andum the hospital that they went
to.
Really lovely humans.
Cool.
Is it like a charity eventthing?
Is that what it's like awesome?
Rob (10:01):
How much uh attendance-wise, well, how many
people are we talking?
Daz (10:04):
Usually, I I I suspect it's gonna be two, three hundred.
Okay, yeah, I can't guaranteethat I didn't go to the first
one, so I didn't see it myself.
But cool.
Rob (10:12):
Well, you you kind of brought it up already, but can
you can you give us a little bitof uh info about your other
bands that you participate in?
You kind of like touched on it.
Daz (10:23):
Sure.
Um yeah, it it is an amusingthing that uh we kind of roll
into town and I I stand on stagefor about four hours straight.
And so I play bass with theopening band, which is called
Bay of Pigs.
There's thrash.
We do four or five covers andthree original songs, and um
that starts the night off.
(10:44):
It's fun, it's a little bit ofan outlet, and then I go off
stage and change my shirt orsomething, and I come back as a
completely different bearded oldman, and uh I play with Ego
Trip.
Ego Trip are a kind of 90sgrunge thing.
You had an interview with them.
Uh they are young and have alot of energy, good guys.
(11:07):
And they've come a long waythis year.
That stage time has reallybenefited them.
And um, I mean we had a showjust in we did Glasgow in
Edinburgh.
And in Edinburgh, I waschatting with some folks in the
crowd before we went on.
And when I came off stage, thisfella in the audience he pulled
me aside, he grabbed my handand he did a Trump shake.
(11:28):
You know the Trump handshakewhere he pulled you in?
He pulled me in, he looked medead in my eyes, and he said, I
could swear I was in the roomwith Wayne Staley.
Oh wow.
It just uh you know it's anunsolicited comment.
He didn't have to say that.
Really lovely.
So Ego Trip are doing reallywell.
(11:50):
They're they've got aseven-track album, The Water.
Yeah, I was gonna ask you aboutthat.
Yep, yeah, a couple months ago.
Um doing all right, it couldalways do better.
Oh, yeah.
We'd love some of your 50,000listeners.
We will turn them on to it.
That's we will.
That's we will.
(12:10):
Um, yeah, but it's it's fromthe heart.
No covers on that album, it'sall original music, and it's
these guys been making it sincethey were teenagers.
Awesome.
That sounds cool.
Um, so I mean, you obviouslywear a lot of hats because you
know, being in all three bands,and then I think you've
mentioned before that you alsodrive the band, and you're
(12:31):
pretty much the manager and thethe the parents of the kids on
an eagle trip.
More or less, yeah.
So when do you sleep?
What what the hell?
I mean I get back exhausted.
I I honestly earnestly get backexhausted.
Um, we did a couple where wegrab uh now I'm gonna have to
share.
(12:51):
Oh yeah, share, please.
One one that was a tour storythat the boys absolutely loved
is we were coming back fromWales.
We did a lovely show in Wales,and we had kind of thought, oh,
we'll make we'll make a run homeand see if we can get home.
But that was the Sunday, it wasthe third day of a three-day
tour.
And we finished at one in themorning.
We weren't gonna get home untillike five in the morning.
(13:13):
So we were driving through, andon the way, my lead guitar
player got on the his phone andbooked us a hotel room with two
beds.
Dana (13:24):
Oh no.
How does that work?
Daz (13:27):
Yeah, so what they decided is four of us don't need to
sleep, but we don't want to die.
So we're gonna stop halfway.
You, you, the the guy going towork the next day, and the guy
who's driving us, go upstairs,get as much sleep as you can by
this time, and then come downand meet us, and we'll finish
(13:48):
the drive.
And uh they were all laughingbecause I did complete they said
it was like um uh hanging outwith a robot or something,
because we kind of we we got theroom, we got upstairs, I
immediately got under the coversand closed my eyes, and that
was it.
I was north.
Rob (14:04):
Yeah, I wish I could.
Daz (14:05):
And the alarm went off, and I just jumped straight up and I
was like, we must go.
Boom, we're out the door,right?
But we got home safely, andthat's what matters.
Cool.
Rob (14:17):
Well, you touched on this earlier as well, but uh I see
that you're doing interviews,and tell us about this interview
with Chris, I believe it'spronounced ILO.
Daz (14:25):
That's exactly right.
He says it's like threeletters, right?
ILO.
Yeah.
Yeah, Chris is from New Jersey.
I've been trying to line thisinterview up for a year, but a
year ago his father passed.
And um sorry, sorry, I got thatwrong.
His uncle Peter passed.
His father had passed, I think,the year or two before.
(14:46):
Um, so he was not ready to talkabout it, I don't think.
Um managed to line it up.
He was willing to chat with me,and he talked about his father
and two uncles who had gone to ashow in New York.
And um, when they went to gosee Motorhead L'Amour, they went
to a record store, there was acontest, they entered the
(15:08):
contest, and they wanted to justsee who was gonna win, and it
was them.
Chris's father, Chris, wonLemmy's Brick and Bacher bass
guitar.
Dana (15:17):
Damn.
Oh wow, oh shit, that was cool.
Daz (15:22):
That was just simply amazing.
It was on the Another PerfectDay tour, and it's got so much
provenance.
I mean, this guy's got thenewspaper article with his
picture of his father holdingthe Rick with Lemmy next to him,
like handing it off.
It's the back of the guy.
So that was uh actual bass thathe performed with.
I mean, it was uh that issweet.
(15:42):
That's cool.
Oh yeah.
And so during the interview, II couldn't get my trap shot, and
unfortunately, the videoswitches to me too much when I'm
trying I'm admiring the bassand the video switching away
from it.
But I was showing him that um Ican show you guys right now,
actually.
So on a on a real Rick likethis, the strap is on the horn.
(16:06):
Okay, so the strap button is uptop, but Lemmy didn't like
that, and he would put it in themiddle in the back of the
guitar, like an acoustic guitarwould do.
So just in the back side of theneck.
Rob (16:19):
Why out of curiosity?
Daz (16:22):
So it feels cool.
So it feels cool.
So like when I had this made bya luthier, and I had to make it
without the button there, andinstead, the buttons there.
Oh, okay.
And what happens is the way thestrap holds against the body,
and it's against your your botagainst your body, it pulls away
(16:42):
in a way.
Rob (16:43):
Oh, okay.
I'm a drummer, so I know it'slighter.
Daz (16:46):
Yeah, it just it just feels different in the hands.
I mean, if you've ever playedan acoustic guitar with a strap
on uh uh button on the back, youcan feel the difference in
weight in the way it sits onyou.
Oh, okay.
Um so yeah, it was a reallygood chat, and I was showing
him, I had him turning it aroundand showing me different parts
of it, and I was saying, oh,this is why that's like that.
(17:08):
This is why that's like that.
Um and he took the um when whenLemmy handed it to his father
Chris, he took off the um bridgecover.
So the bridge pickup cover,there's a little piece of metal
(17:59):
that comes out on aRickenbacher.
He wanted that, so he he hetook it off, he's unscrewed it
and took the cover.
Dana (18:07):
Oh that's it.
Daz (18:08):
Anyway, yeah, that was a great conversation.
Chris is a great guy.
Um you should probably try tochat with him, but I'll see if I
can get him on again.
Rob (18:16):
That was that was that something you're gonna continue
doing?
Uh it's like kind of your ownpodcast, I guess, so to speak.
Daz (18:24):
Yeah, so I've got a few different little podcasts on the
YouTube channel, and I I don'ttry to do it with regularity.
I'm not as good as you guysare, where like you you wrap up
and then it's posted.
I get it to video and then Iedit it to take out all my ums
and ers.
And that takes me three months,and then I feel like it's time
(18:44):
because it's so old.
So then uh it takes anotherthree months of sitting around
waiting to post it.
Yeah, I I I gotta think thetech guy over here, you know,
war drums, he's the one thatdoes all that stuff.
So whenever whenever I fuck up,he's like, okay, I can take
care of that.
We'll we'll edit that out.
So being on the road, and Imean I know you just got back
(19:06):
from you know doing what five,six, seven months of pretty
solid touring.
Uh what have you learned fromthat experience as far as I know
you said, especially with EagleTrip, that they were younger
kids and you were gettingexcited to get them out on the
stage and you know, used to thelive feel and all that.
It's like, did you learn any,you know, the good and bad of
what you learned just from thispast tour?
(19:27):
No, it was fantastic.
So we were out from Januarythrough October with uh at least
one weekend a month.
Several of them were two.
Um we we were at it and busy.
Um there there was a lot of,and I think every band will
relate to this, right?
A lot of figuring out what isall the equipment, what does it
(19:51):
mean?
Why is it with us?
How does it work?
Right?
So the drummer usually doesn'tworry about the bass guitar
stuff and blah blah blah, right?
But there's multiple bands inthis van, and we have to get
where we're going, and we haveto get set up as quickly as
possible and write down asquickly as possible, and that
means you need to think abouteverything that's on stage and
(20:14):
help each other out, right?
Um, so that was a learning allyear.
All yeah, right up until thevery end, we're still, you know,
uh improving on how what weuse.
Another big one is I brought myown back line and I brought my
own engineer monitor system as aum recording studio.
(20:38):
So I set all my mics up oneverything, and I multi-track
recorded all the original shows.
That was intensive.
Because as you know, I'm doingeverything and I and I'm driving
and I'm trying to stay awake.
So that slowly dwindled off.
Rob (21:02):
Yeah, that's a that's a lot of things you have to think
about.
Daz (21:05):
Yeah, so we left that behind most of the shows.
Uh we brought it recently, butI'd say for the past three or
four months, we haven't touchedit at all.
Um and yeah, there's been a lotof kind of like always have
backups.
This has always been my thing,but always have backups.
So it um guitars on stage,strings are gonna break.
(21:28):
So if you've got two guitarplayers and two guitars, have a
third sitting in the van.
unknown (21:34):
Right?
Daz (21:34):
That way, worst case scenario, uh you can grab
something and retune it orwhatever's needed.
Rob (21:39):
Well, that leads right into our moment that we like to
discuss with everybody we uhinterview.
What is the uh oh shit momentthat may have happened during
this uh last tour for you?
Daz (21:52):
All right, this is gonna be tough to describe.
Um just like if you'relistening to only audio and you
heard me describe thoseRickenbachers, right?
You're thinking, what was heeven talking about?
Can you see this amplifierbehind me?
Rob (22:07):
I sure can, yeah.
Daz (22:08):
All right, on a Marshall JMP amplifier, there are four
inputs.
There's input one, high andlow, or let's say bright and
rhythm, and there's input two,bright and rhythm.
And those four inputs, you canjump between them and you can
blend the volumes.
(22:29):
So you can it changes the tonewhere um input one and input two
have slightly different tones,so you can blend them together.
All fine, right?
Dana (22:40):
In theory, yeah.
Daz (22:44):
So along the way, um, I have a light an LED I had made
on the that I put on the face ofmy amplifier.
Okay, and along the way, westarted having fun by putting it
on the floor behind me in orderto kind of have this lit stage
feeling behind me.
Dana (23:02):
Cool.
Daz (23:03):
Yeah, it was nice, it was working fine until and I hold no
grudge button from Ego Tripquite accidentally stepped
backwards directly onto my inputboard.
Oh, and his foot just went tothe floor with the cable.
(23:24):
Oh, the two inputs that areinside this Marshall just
literally ripped off themotherboard.
Oh and I went from bowl todeath.
Rob (23:40):
That's definitely an ocean.
Daz (23:42):
Thankfully, there's that was ocean.
And I looked down and realizedwhat had happened, and there's
four inputs.
So I just swapped the two, andmy tone changed, but and the amp
was still working.
So quit thinking, all right.
Always have a back up.
Rob (23:58):
Oh.
You had to have more than oneocean.
Daz (24:00):
Yeah, yeah, yeah.
Throw some more at us.
Seven months, three bands.
We know you got more.
We'll put you on the spot tocome up with another one.
That that was uh ego tripplaying and messing up my loser
amplifier.
We had one uh just recently.
So we did, I said Glasgow andEdinburgh.
Rob (24:19):
Right.
Daz (24:19):
And our lead guitar player of Losers pedal board started
acting up.
And it was kind of it was justcutting out to nothing.
And on the first night, hewould get I would notice that he
would stop playing and he'd getdown on his knees, and it'd be
messing around with thequarter-inch cables in between
(24:40):
the pedals, right?
So which one is it?
Is it the power?
Is it the right?
I think every band discoveredthis one and had that.
But after, you know, what 10months of touring, he's messing
around with this pedal board.
And basically, it was onepedal, he would smack it, and
the thing would just come backto life, slightly louder than it
was before, and he'd get up andhe'd keep playing.
(25:02):
And the next thing I'd know,I'd see him kneeling down and
messing around the pedalboardagain.
And we said, Okay, well, let'sfix it for the second night.
Uh we didn't fix it, we made ittwice as bad.
So he spent half the gig on hisknees.
Dana (25:20):
Yeah, that's definitely yeah.
Daz (25:23):
We're chatting with the audience, and thank gosh, we
have two guitars.
So the bass, the guitar, andthe drums are still moving
forward, but he's over heremessing around, right?
So, from a crowd perspective, Idon't think anybody felt that
it was a disrupt distraction orthey had missed something.
The the song was still there,but he was sweating that the
(25:46):
poor guy was happening.
He said, Being on the road withthese guys for that long, not
only you know, just with onevan, but let alone with three,
you know, you guys are sleepingin the same quarters, driving
and all that.
Uh, you know, there's gotta besome episodes where you know
there's there's a time wheresomebody's like, okay, get the
fuck out of the van and walk fora couple of a couple miles
(26:09):
before I you know hit you.
I mean, were there were theretimes where you know the the the
temper started to fly?
I I'm I you're not gonnabelieve me.
And I think I'm really lucky,but these sticks, the core
sticks that represent the threebands now with member changes,
(26:29):
we'll get along so well.
Oh, that's cool.
Dana (26:32):
That's great.
Daz (26:33):
We we really are.
Uh it's a pleasure to work withthem.
I uh they they uh they knowthat there's this amazing
opportunity.
They're all younger and andthat they all want that stage
time, as we discussed in ourfirst interview.
And they're getting it.
Cool.
And they're improving and theycan feel it.
So they they have the rightattitude, they're here for the
right reason.
Rob (26:53):
So it's not a lot of nitpicking.
Well, you're doing this, you'redoing that kind of thing, or
no?
Daz (26:58):
No, really honestly.
Rob (26:59):
That's cool.
Daz (27:00):
That's really good.
And we're we're we've all beenreally good at kind of just
giving each other space.
If it looks like you're havinga rough day, don't worry, I'll
I'll pick up the slack and I'llmove the drums or whatever it
is, and it we all fill in foreach other.
Okay, so that that's live.
What about regular practices athome?
Is that when the ship flies?
No, that's a really, reallygood one.
(27:21):
I mean, we have these originalsongs we're working on, and
we're about to do the recording,and I suspect the creative
process is where things might alittle bit.
Um, but no one's brought noone's brought tempers, no one's
brought um negativity.
We just talk it through.
Rob (27:37):
Okay, awesome.
Hey, I've noticed that you'vegot some uh some pictures on
here from a James Hadleyphotography that are
outstanding.
Can we use some of these on ourwebsite?
Daz (27:47):
No, please do, yeah.
And just please, if you canpreserve the James Hadley
watermark.
Rob (27:52):
Okay, okay, yeah, sure will.
Daz (27:53):
He's great.
He lives here in Carlisle.
Um, he's he's uh doing musicvenues all over the place, and
we he's jumped in the van withus before and come with us on
tour.
Rob (28:05):
Oh, that's very cool.
All right.
Uh you still have a comedianopened up for you guys?
I know you had kind of like awhole uh whole thing show with
you know with that, you know,yeah, so not headling, but
starting.
Daz (28:17):
Yeah, it uh the about the first half of the tour we did
that, and then uh it kind offell apart.
Um it he really what washappening is that he was having
some health issues.
Oh we don't need to and and umfor him he's in Glasgow.
So before we get moving, he hasa two-hour journey to get to
us.
And then we drive another fourhours for the show, etc.
(28:39):
And um he started having somehealth issues that was affecting
his ability to drive.
Yeah, yeah.
Logistically, it had to betough anyway.
Yeah, so um uh he's he's doinglocal gigs, he's doing really
well in Glasgow.
He's doing these um uh Dungeonsand Dragons nights.
Dana (28:57):
Uh okay.
Daz (28:57):
Uh so so yeah, um stay staying in touch with him, but
it doesn't work logistically atthe moment.
Rob (29:06):
Unfortunately, we were cut off.
We had some internet issuesfrom uh our discussion with Daz.
Um but we will close it outhere saying it was a pleasure
having him, and um we apologizefor the interruption.
But Dana, what do you want tosay in closing?
I know you had some closingcomments there.
Dana (29:23):
You know, yeah.
Daz (29:24):
I I got a little phrase I'd like to say here too.
But yeah, it was it was awesometalking to Doz.
And you know, of course hecouldn't say goodbye because we
got cut off.
You know, I don't know if itwas our end or his end, but it's
it's always good to talk tohim.
Sounds like they had a greattime over there in tour.
So um, but in closing, I'd liketo say, you know, my little uh
speech here is uh you know thegreatest healer in life is
(29:45):
music.
Begin and end each day with it.
I mean uh how do you how do younot go wrong with that?
It's uh you know if you startyour day out with listening to
some good music and you end yourday with some good music, it's
uh you know it it doesn't matterwhat happens in between, right?
You know, we'd like to thankall of our listeners out there.
I mean we're at we're over the50,000 mark, and uh it's uh uh
(30:08):
you know I think we're at 31,32, 33 countries now, just uh
you know making this shitinternational and loving it.
So we thank each one of you.
And you know, you know, pleaseget on our website, you know,
Franklin GarageThestage.com.
Um you know, leave a comment.
We got some special prizes, wegot t-shirts, we got swag, swag
(30:30):
swag, whatever you want to add.
Uh you know, to give away toyou know, leave a cool ass
comment and we will get we'llhook you up with some shit.
You know, we've got some coolt-shirts and you know we can do
all kinds of stuff, but youknow, leave a comment, leave
your email so we can pass onother stuff to you.
Uh we've got some really killerpodcasts lined up over the next
couple of months.
Uh I mean we're we're blessedthat we're actually uh booked
(30:53):
for the rest of November and uhyou know and all into next month
and up up until the new year.
Yeah, we've got some cool shitcoming up.
So you know, thanks you guysfor listening and you know.
Get on our thing and you knowsupport us.
We could use a couple buckshere and there to you know help
do all the editing and all thecool stuff we do here.
You know, buy more t shirts anddo stuff like that.
So, you know, you if you buy at shirt, we'll ship it to you
(31:14):
for free.
Just, you know, just just justhit us up with some money.
That's all we ask for.
Money, money and love.
Rob (31:20):
Yeah.
All right, everybody.
Thank you very much, and bye.
Bye.
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