April 5, 2025 • 57 mins
Rob and Dana Franklin share their 30+ year journey as musicians in hard rock, metal, and blues, offering insights from both sides of the podcast mic. The brothers discuss their musical beginnings, touring experiences, and how they've maintained their passion while navigating the industry's challenges.
• Rob was inspired to become a drummer after seeing a live performance at his aunt's wedding
• Dana followed his brother's path, switching from guitar to bass when he discovered his natural connection to the instrument
• Their parents were exceptionally supportive, attending shows despite the loud heavy metal and hard rock
• "Fool's Gold," an original song written by Dana, became one of their most successful tracks
• The brothers have toured with bands including Monolith from Reno and Eyewitness Blues from Sacramento
• They've opened for notable acts including Quiet Riot
• Teaching music helped Rob reconnect with the fundamentals of drumming
• Creating bands involves finding the right personalities, not just talented musicians
• Their podcast aims to help musicians navigate the journey from garage practice to professional performance
• Dana emphasizes the importance of relationship support when pursuing a serious music career
Visit franklinsgaragetostage.com and email rob@franklinsgaragetostage.com or dana@franklinsgaragetostage.com to join their mailing list for episode updates and giveaways.
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 (00:01):
Hi, welcome to Franklin's Garage to Stage
podcast.
My name is Rob WardrumsFranklin and my co-host is Dana
Thumberbys Franklin.
Speaker 2 (00:11):
How you doing, bro, good.
How you doing, man, I'm doingreally good.
Speaker 1 (00:15):
Cool.
Well, today's episode isbasically an excerpt from a
podcast we did with a Canadianhost.
The name of the podcast iscalled On Stage Music.
It's only video through YouTube, so we thought we'd put this
interview that he did of us onour episode so that all the
people that hear us throughpodcast sites could hear the
(00:40):
interview as well.
It went pretty well.
Huh, Dana, that guy was prettycool.
Yeah, he was really good.
Speaker 2 (00:45):
That guy was pretty cool, yeah, yeah, he was really
good.
The guy was really informative.
He's talked to a lot of coolmusicians and stuff and yeah, it
was good.
It was kind of weird to usactually being interviewed
instead of us talking to people.
It kind of put us on theopposite side of the coin there.
Yeah, it was pretty cool.
It almost felt like a star orsomething.
I was like damn, somebody'sinterviewing me.
Speaker 1 (01:04):
So, listeners, we've got some exciting guests lined
up, so please stay tuned forfuture episodes, but we really
appreciate all the new listenersand a couple new countries, a
bunch of new cities, so wereally really appreciate it,
Dana, with that said, what elsedo you have to?
Speaker 2 (01:20):
say Well, you know, going back to what you just said
, I just want to thank everybodythat's tuned in.
We thought it would be yearsbefore we got close to the
10,000 download mark.
I mean we're a couple days awayfrom that, so that's real
exciting.
And all kinds of countries overin Europe, I mean just all new
(01:42):
places, it's like this is kindof blowing up to where I, you
know, didn't think it would goso quick, so soon, and it's
really exciting.
You know, we talked to thatMartin dude from Accept.
You know that was just amazingtalking to that guy.
And, like I said, we've got acouple other really cool guests
lined up with some otherhardcore bands out of Sacramento
and, just you know, maybe somedoom metal stuff happening.
(02:04):
We'll see what's down the pipethere, yeah, yeah.
Speaker 1 (02:07):
And I want to remind everybody, we have a new website
.
It's calledfranklinsgaragethestagecom, and
then you can email us throughthat website as well.
It's either rob atfranklinsgaragethestagecom or
dana atfranklinsgaragethestagecom, so
(02:28):
please do send us an email soyou're on our list, so we can
let you know about futureepisodes and any special things.
Like we have some giveawayswe're thinking about doing in
the near future.
Speaker 2 (02:35):
Yeah, I like it.
Well, you know, listeners, weneed a couple things from you.
Like Rob just said, emails youknow we need your emails so we
can start building our database.
You know pictures, comments.
You know need your email so wecan start building our database.
Um, you know pictures, comments.
You know good or bad.
You know we'll take your shitif we deserve it.
You know throw stuff at us andyou know, and then for you,
people that have theavailability, I think we need
some money.
(02:55):
I mean it's, you know, a littlebit of kick down to keep this
thing going.
I mean this is you know, allstuff that just me and my
brother do and my brother, robWardrums, he does all the
editing and producing and allthat stuff.
So it takes time and money.
So please contribute a fewbucks if you can.
We appreciate it.
That's all I got to say today.
Speaker 1 (03:16):
Alright, well, stay tuned, because the excerpt from
the interview we did is next.
Talk to everybody later.
Bye.
Speaker 2 (03:24):
Thank you Later.
Speaker 4 (03:29):
Oops, I forgot the thing here.
Welcome to another podcast, theOn Sage podcast.
I'm going to introduce you toRob and Dana Franklin, two
brothers who are musicians.
They've been musicians for 30plus years, recording artists in
genres hard rock, metal andblues.
They've toured with two verysuccessful bands and they love
(03:51):
speaking about their experiencein creating bands, performing
and recording.
They've taught music theory,beginning advanced drums and
beginning guitar, and they loveeverything music.
Thank you for joining us, roband Dana, how are you?
Very good.
Speaker 1 (04:05):
Thank you for joining us rob and dana, how are you
very good?
Thank you for having us.
We appreciate it you're verywelcome.
Speaker 4 (04:11):
Um, can you tell us what inspired you to get into
music and podcasting andeverything else?
Speaker 1 (04:19):
go back to the beginning okay, well, the
beginning is, uh, basically Iwas one of those kids that, uh,
I.
My very first experience withthe live band was at my aunt's
wedding and I saw the first timea drummer play live and from
that moment on I was mesmerized,I was, I was hooked.
So after that just basicallywent on, started hitting on pots
(04:40):
and pans with spoons and ladlesand just progressed from there.
So I went from that to gettinginto a band program at high
school, initially marching band,a symphonic band, and after
that starting my own bands andgetting into rock music.
And so that's the beginning ofthe musical journey, but the
(05:03):
podcast journey I'll let mybrother explain here.
Speaker 3 (05:06):
Well, the podcast we recently started I mean it's
only been three, about fourmonths now.
You know this is something thatactually Rob kind of came up
with, an idea.
He's like you know what aboutdoing a podcast about all the
music and everything that we'veexperienced?
And you know all the trials andtribulations of starting a band
to getting on stage and allthat.
And you know why don't we shareall of this information to
(05:29):
other people that are juststarting bands or trying to
figure out how to go through theprocess of, you know, getting
the band going, getting bandmembers and getting on stage and
then, of course, all this stuffof dealing with, you know, the
managers of clubs to try to playand the legalities of all that.
You know all that fun stuff.
So that's, you know, that'swhere the podcast kind of came
(05:50):
in.
And you know, musically Istarted, you know, mostly
because of watching my brotherhere.
He's a few years older than me,so I'd watch him in the
basement banging on drums andlike, oh, this is cool.
You know I love music, I wantto, I want to, I want to be in a
band with him someday.
So you know I started a littlebit later in life, about 17, 18,
.
I picked up the guitar and youknow messed around with it a
(06:12):
little bit and you know it was.
It was decent but not great andyou know I knew I wasn't going
to be good enough to play in aband as far as with guitar um,
with my brother here, so youknow he mentioned once he's like
hey, think about getting, youknow, picking up the bass.
You know bass players are kindof hard to find and you know,
think about that.
(06:32):
And so I picked up a bass andit was kind of automatic as soon
as I touched it it was thefeeling I can't describe, it was
the perfect thing.
And you know I startedpracticing on that and A couple
years later we started out withbands and haven't looked back.
Speaker 4 (06:50):
What kind of relationships did you have with
your parents and your othersiblings, if you have anybody?
Did they encourage you to getinto music or they were like, no
, don't touch anything.
No, no, no, no.
Speaker 1 (07:01):
No, actually my parents were extremely
supportive.
I had never once heard them sayyou know, stop that racket, or
you know any of those kind ofthings that you hear.
They were always verysupportive because they were, I
mean, back when they wereearlier.
My father was actually avocalist and my mother was a
pianist, and so I think becauseof that they kind of encouraged
(07:25):
us and they were, like I said,very supportive.
And we have another brotherwho's actually a guitar player
and we have two that aren't intomusical instruments at all.
But they've always been verysupportive and by our side
through the whole process.
Speaker 3 (07:41):
And our parents.
I mean every show that weplayed, even with the crazy
heavy metal and hard rock thatthey were, we were doing they.
They came to every show thatthey possibly could.
You know, mostly in the back,so you know, wouldn't hurt their
ears.
Speaker 4 (07:53):
But but they were, they were always there and
definitely supported everythingwe did very true, very true I
like the fact that it says thatyou, um you, that you're
recording artists in genres rock, hard rock, metal and blues.
But what I really want to know,Rob, is that you toured with
two very successful bands, andwho are they?
Speaker 1 (08:18):
Probably the two most successful was one was from
Reno called Monolith, and thesecond, from Sacramento-based,
was called Eyewitness Blues.
Those were the two mostsuccessful as far as consistent
gigging and traveling.
Speaker 4 (08:33):
So what's your favorite genre?
Speaker 1 (08:36):
Rock by far only because to me it's more
intricate playing for a drummer.
Blues is more of a steady-typepattern for the majority of the
songs.
I'm not going to say all, butyou know blues is more of a
steady type pattern for, youknow, majority of the songs.
I'm not going to say all.
But for rock there's moreintricate breakdowns in style
and you know timing and dynamicsand there's just a lot more
(08:57):
elements to rock than there isto blues, in my opinion.
Speaker 4 (09:03):
Hey Dana, is there any music or songs or that rob
plays that you say?
Can you turn that off please?
Speaker 3 (09:09):
you know I don't like it you know, no, there isn't,
because we, we pretty much agreeas far as musically, what kind
of stuff we like and what wedon't like, um, we're pretty
much on the same say, wavelengthwith that.
Um, I mean, I'm not a big fanof country and hip hop and stuff
like that.
So you know I don't have toworry about that, cause he
(09:30):
doesn't listen to that either.
But as far as you know, evenwith the music, um, I mean, I
might say I I learned, you know,listening to Iron Maiden, black
Sabbath, uh, you know the truecreators of heavy metal in my
opinion.
(09:51):
So my style of playing mostlyemulates Steve Harris, gezer,
butler, that type of stuff.
But the more I started playingbass, I started listening to
more genres.
I'll even listen to some of theold-style funk and Motown stuff
, just because the bass is soprevalent in that style of music
, you know.
And just to hear different,different types and stuff and
kind of incorporate in my, in myplaying.
(10:12):
So you know it doesn't allsound the same, like it's just
rock or just metal, you know,throw a little bit of different
styles in there, you know, whichI think all musicians you know
should do.
Speaker 1 (10:23):
And if I could add to that, actually Dana is our
primary songwriter.
I mean he comes up with thefoundation of our most
successful songs.
He's been the songwriter.
I mean he's basically writtendown.
You know the structure and youknow the dynamics of the song
and everybody's kind ofdeveloped the song from his
(10:43):
foundation of what he's written.
Speaker 2 (10:48):
So he's the primary songwriter.
Speaker 4 (10:49):
thanks for that do you remember the first song you
ever wrote or played?
What was that like?
Speaker 1 (10:55):
uh, the first song that we really played that was
real successful as far as youknow crowd response response was
a song called Fool's Gold thatmy brother had written, and it
was just once we played thattogether on stage.
That was just one of thosemoments where your hair tingles.
You just knew it was, it feltgreat and it came across great
(11:17):
as well.
And great crowd response.
It was just one of thosemoments.
Speaker 3 (11:22):
You can't't, you know , you can't, you can't copy
definitely definitely it's uhyou know when, when you play
your own music and you can thecrowd and the people are getting
into it.
Speaker 1 (11:34):
There's you know, with your brother, yeah, yeah,
when you're doing it with familymembers, it doesn't get any
better.
Speaker 3 (11:39):
But you know when the crowd is loving something that
you wrote and you're notcovering it.
I can't even describe thefeeling.
You've talked to a lot ofmusicians so I'm sure they've
said the same thing.
There's just no feeling.
There's no drug that can copythat feeling.
Speaker 4 (11:58):
Oh yeah.
What was your mindset when youknew that, okay, we're going to
play this song Fool's Gold forthe very first time.
What was going through yourhead?
Like they're not going to likeit, they're going to throw
tomatoes.
Do you have the tomato bag withyou?
Speaker 1 (12:13):
No, I don't think that fear was ever in our mind
because, you know, we felt thatit was a great song and, if we
could express that, when weplayed it we knew it was going
to come across well and itreally did.
It really did.
Speaker 4 (12:28):
Yeah.
So I always ask an artistwhenever you write a song, it's
based on experience, like abreakup, relationship, failure,
death, For instance.
I always use this example DanReynolds from Magic Dragons.
They have a song called Wrecked.
He wrote it in the death of hissister-in-law, Alicia, who died
of cancer.
So what is the song Fool's Goatabout?
Speaker 3 (12:52):
It's.
You know it's about a, you knowit is.
It's a personal thing, it'sabout a relationship that you
know it just didn't quite liveup to what it was supposed to be
like.
Everything about it was, youknow, I mean, we.
Originally my original name forthe song was going to be Pyrite
, which is pretty much a synonymfor fool's gold, and I like the
(13:16):
way fool's gold sounds a littlebit better.
But yeah, it's all about theidea of, you know, a
relationship that is supposed tobe rock steady and you know you
think it's going good.
But when you really break itdown and investigate it a little
bit more, you find out thateverything about it was all fake
, and so that's definitely whatthe song is about.
And a few weeks after that Iwent through my first divorce
(13:40):
and so this kind of solidifiedwhat was going on in my life at
the time good enough am I?
Speaker 4 (13:48):
under your impression that the fool is you I mean, I
guess it could be.
I was definitely fooled so whatis your song creation?
Like, like, how did you putfool's gold together?
What was?
What was it?
Like?
You went outside and we'regoing to write the song, or
we'll do the lyrics first, we'lldo the music, the melody,
(14:09):
everything.
Like you said, dana was themain songwriter, so how did you
start it?
Speaker 1 (14:14):
Basically with just Dana and myself.
We were actually at my parents'house at the time we didn't
have a rehearsal studio, so tospeak at the time and we were
actually in a room at myparents' house, just me and him,
and he had created the bassline and I developed the drum
riff and the timing behind itand it kind of snowballed from
(14:34):
there.
Then we ended up being with twoguitar players that were
phenomenal and they added theirparts to it and they added the
lyrics to it and it just allfell together really nicely.
Speaker 3 (14:45):
Yeah, it was music first and then the lyrics.
You know, once we recorded, youknow the music part to it.
You know, I just sat at homeand of course you know my state
of mind at the time and wrotedown Fool's Gold to match how
the music was already written.
Speaker 1 (15:01):
But a funny story to back that up is when we were
actually rehearsing that songgetting our two pieces what we
call the bottom end bass anddrums.
While we were developing that inthis house at my parents' house
(15:22):
, which know pretty big house upin the virginia highlands in
reno, nevada but, um, we wentdownstairs after taking a break
and my mom's pet guinea pig wasdead because of the volume.
So, okay, this is probably apretty good song.
That's just kind of a funnylittle thing that happened.
But I mean, it was sad for mymom, but it was just something
that's.
Speaker 3 (15:34):
At the time we kind of thought that's funny yeah,
that's how we knew it was goingto be a good song.
You know, you kill a guinea pig, that's that's.
That's a heavy metal song.
Speaker 4 (15:42):
It's good yeah yeah, I can imagine you pranking your
brother.
Dana say hey, dana, I think Igot a really good name for a
song guinea pig.
That'd be funny, that's awesome.
Yeah.
So who were your big musicalinfluences?
Speaker 1 (16:02):
Like, how did they shape your work?
For me there's a few TommyAldridge, bill Ward and Tommy
Lee from Motley Crue.
Those are my three primary.
I mean, they're the ones thatkind of influenced my style and
of course when I was juststarting it was Buddy Rich
learning the rudiments and therolls and all that.
(16:22):
As far as technique it wasBuddy Rich because everybody
said, well, you've got to listento Buddy Rich if you want to
really learn your rudiments andperfect your style.
So that's kind of where Istarted and obviously that guy's
phenomenal.
But then for showmanship Istarted listening to Tommy
Aldridge and Tommy Lee, you know, just for showmanship and for
(16:43):
how to deliver what you'velearned in a more professional
way and the way to appease theaudience.
Speaker 3 (16:52):
And mine, you know, being a bass player, you know,
steve Harris from Iron Maidenwas definitely the guy that I
listened to the most and youknow, a lot of my style is a lot
like him, a lot of thegalloping and fast.
And then, of course, you know,geddy Lee from Rush is just
absolutely amazing.
You know how he can play.
(17:12):
The way he plays and then singat the same time is beyond me.
But you know, those two are mybiggest influences.
And Steve Harris, of course, notonly the way he plays but just
his showmanship, the way he runsaround on stage and the energy
he brings.
And you know, and of coursehe's, you know, the main
songwriter, you know, for IronMaiden too.
(17:33):
So I really like to follow alot in the footsteps of what
he's created.
And you know, of course, like Isaid, I've listened to some
other stuff and you know bootsycollins from parliament just you
know the, that funk stuff, andyou know, and flea from chili
peppers just you know differentstyles.
But you know, my heart is stillwith the, the whole.
(17:53):
You know, um, heavy metal andhard rock, that's.
That's that's where my heart is, still with the whole heavy
metal and hard rock, that'swhere my heart is and always
will be.
Speaker 4 (18:02):
Okay, so if you ended up, you guys walk into a room
and you can choose any guitaristto be part of your new band.
You have Geddy Lee, you haveSting, you have Robin Zander
from Cheap Trick, you have,let's say you have the whole
(18:22):
room is filled with these big,important musicians.
Who would you choose?
Speaker 1 (18:26):
Wow, that is a good and very tough question For a
guitar player.
I'm going to have to give thatover to Dana.
Speaker 3 (18:34):
You know from what I've been listening to lately
and what I really like as far aswhat I think would fit into
what we're doing right now, Iwould love to play with Zach
Wild.
I mean, he's just got the way.
His style is the way he playson stage, and not only that,
he's got an amazing voice.
I would love to get togetherand jam with him.
(18:56):
That would be, absolutelyamazing.
Speaker 4 (19:00):
Well, now I'm going to throw Jimmy Page in there.
Oh yeah you can't go wrong with.
Speaker 3 (19:04):
Jimmy of course, you can't go wrong with any of the
classic.
Speaker 4 (19:09):
So you choose Jimmy Page and Eric Clapton goes.
Excuse me, I'm here too.
Really.
That's like, who are you going?
Excuse me, I'm here too Really.
That's like, who are you goingto choose?
I don't know.
Speaker 1 (19:19):
Well, someday in heaven, hopefully, we'll get a
chance to jam with them all whenit happens.
Speaker 4 (19:24):
Yeah, I mean if Paul McCartney knocked on my door,
which is really weird.
Speaker 1 (19:27):
Oh yeah, I wouldn't send him away.
Speaker 4 (19:28):
No, I'm Paul McCartney.
I hope that you want to playwith me.
I that you want to play with me, I do know, but I'm in a
podcast right now, just joking.
Do you have a favoriteinstrument you love to play,
besides guitar, of course, andwhy?
Speaker 1 (19:46):
Besides guitar.
Speaker 3 (19:48):
I mean I'd love to learn how to play drums.
I already got a good drummer ina band.
I guess if I really had youknow the option, I would you
know, even though I don't see itin in metal and rock, is that
much is.
You know keyboards?
I mean there are some coolstuff that you can do with the
keyboards.
You know, like the guy fromdream theater I can't think of
(20:10):
his name, but the way he does itin in their music is absolutely
phenomenal.
Um band called pretty maids,you know hard rock band.
I think they're from sweden.
You know they use the keyboards.
Really nice, you know.
But I would like to experimenta little bit with keyboards, by
the chance, definitely or didyou mean specific type of
instrument?
Speaker 4 (20:29):
yeah, like if you could.
Just okay, I want to learnanother instrument.
Speaker 1 (20:31):
Oh okay, yeah, for me it would be I well, I, I do
play guitar, but I want to learnanother instrument.
Oh, okay, yeah, for me it wouldbe.
Well, I do play guitar, but Iwant to be able to play better.
I've been playing for quite awhile and, unfortunately, while
I was going through all thebands that I've been in in the
past, I didn't really take theopportunity to learn from some
phenomenal guitar players, and Iwish that I had taken more time
(20:53):
to pick their brain and learnmore.
But guitar for me, I mean Iwant to get better at it.
I mean I can do some chords,but I'm not a guitar player.
Speaker 4 (21:06):
What do you think of Edgar Winner?
Speaker 1 (21:09):
I love his stuff.
Yeah, I mean, it's been a longtime since I've listened to it,
but yeah, he's got somephenomenal stuff.
Speaker 4 (21:15):
That's awesome.
When you perform, do you guyshave an opener and a closer song
, and it's always the same.
Speaker 1 (21:21):
No, our mindset is always open and close strong.
Of course you want the wholeshow to be strong, but we always
try to pick our like strongestsongs for opening and typically
our strongest if we're doingcover songs our strongest
original to close.
So it all depends on the typeof show that we're doing, but I
would say, yeah, that's ourmindset yeah, definitely.
Speaker 3 (21:44):
Um, I'm a big fan of always closing with what you
feel is your best original song.
You know, if you're a coverband, if you're doing just all
originals, then you know youshould still end with your best
original.
Speaker 1 (21:57):
Yeah, you want people to walk away thinking about
that song because you knowthat's, that's a lasting
impression.
Usually is the last thing theyhear yeah, that's amazing.
Speaker 4 (22:05):
How do you connect with your fans when you're
performing like?
Do you do it mostly on onlinesocial networks or just like
someone walks up to you said, mrfranklin, unless they don't
know your name?
Speaker 1 (22:15):
yes, that was a great song.
Speaker 4 (22:17):
How do you do you know?
Speaker 1 (22:18):
well, it's a little bit different nowadays because
now it's all about social media,so we've really had to adapt as
far as that.
But yeah, I love, I loveparticipating with when we do
shows.
You know, typically they're,you know smaller shows anywhere
from.
You know 500 to a thousand, butsmaller shows where you can get
out and actually meet people, Imean that's the way to really
(22:39):
connect.
Speaker 3 (22:41):
Yeah.
Speaker 1 (22:42):
I agree.
Speaker 3 (22:42):
That's, you know smaller places, I think are you
know more personal.
You know you're seeingeverybody, almost everybody in
the crowd and, like I said, whenyou take a little bit of a
break, if you're're doing acouple of sets, you can actually
get out and talk to the peopleout there.
You find out.
It's like, hey, how'd you comeout?
You know, how'd you hear aboutus?
And you know, just get thestories from everybody and you
(23:04):
really, you know, connect withthe crowd and the audience
that's true.
Speaker 4 (23:09):
Can you share the story behind one of your
favorite songs you've written orperformed?
A good story or a bad storywhichever one you want to choose
, and you don't have to usefool's gold.
You can use another song,something that, uh, something
that's memorable, whether bad orgood.
Speaker 1 (23:25):
We just want you to open up a little bit more okay,
uh, well, we were doing, uh, oneof our very first real big
shows, but we had a new singeruh, he'd only been with us less
than a month.
I mean, the guy was phenomenal,but we were playing this song.
It was actually another bandsong, it's called swords and
tequila by riot, but halfwaythrough our set we used it as
(23:49):
like a song to introduceourselves and to kind of, um,
how do you describe we walked,um, we did.
Halfway through the songthere's kind of a part where we
stopped playing, except for theguitar, and the guitar would try
, was doing the rhythm in thebackground and I would come down
off my drum riser, come andlike, like, slap hands with
people in the front of the crowdand all that kind of stuff.
(24:10):
And while I was doing that, Ihad accidentally kicked the
lyrics off the stage of becauseour singer was like reading off
the lyric, because he wasn'tfamiliar with all the songs yet,
and I had kicked his lyrics offthe stage and got back up my
drum wiser, and he's up, he'slooking at me like what the hell
did you do?
it's like so that was kind of amoment where I mean it ended up
(24:34):
ended up coming across fine, butit was just one of those
moments, like it was an oh shitkind of moment.
Excuse my language.
Speaker 4 (24:41):
Yeah, wow, that's amazing.
If someone walked up to you andsaid how would you describe
your music style to someone whohasn't heard it before?
Speaker 3 (24:52):
Ooh, that's you know's so many.
You know, we just talked aboutthis a couple days ago on one of
our podcasts.
You know there's so manydifferent titles and subtitles
of even rock and metal now thatif you say you know just regular
rock music, I mean that couldbe mean 30 different genres,
different things.
Now, you know because you gotdeath metal, you got screamo
(25:14):
metal and you've got new metaland you know there's just so
many different genres, differentthings.
Now, you know because you gotdeath metal, you got screamo
metal and you've got new metaland you know there's just so
many different genres out there.
So I think the best way todescribe the type of music that
we play, um, would be just to,you know, name a couple of bands
.
Like you know, black sabbath,um, you know, maybe scorpions,
(25:35):
something that's in the classicrock, maybe hard rock genre,
judas priest, something likethat.
That you know it'll give them agood idea of the type of type
of music we're playing.
Because you know, you just saymetal now, and that could mean
so many different things okay,let me test you oh van halen
(25:56):
metal or not?
van halen, I would say no, I'dput that more on a hard rock,
you know.
Speaker 1 (26:07):
But okay, okay, I agree with that.
I mean, this is my riot quiet,right that's.
Speaker 3 (26:13):
That's kind of a funny one Commercial rock.
Yeah, commercial rock.
I mean we actually opened upfor Quiet Riot once back in the
day and that was a great show.
It was amazing to meet allthose guys.
I've got to say the late KevinDubrow.
He was a character, he wasinteresting, he was a character.
Speaker 1 (26:34):
He was interesting.
Speaker 3 (26:37):
He was a character, without a doubt, but it was
really nice to meet those guys.
But yeah, I think they're kindof on the edge of maybe being
metal, but not quite.
I mean, throw some other namesout out there Metallica,
(26:58):
definitely metal.
Quite I mean, you know, throwsome other names out at there
metallica, definitely metal.
Yeah, they've gotten a littlebit more commercial than I would
like to to say.
You know, I love their firstthree or four albums and lately
they've gotten morecommercialized, but their newer
stuff seems like they're tryingto get back to where they were.
I mean, I'm a huge fan of cliffburton, their original bass
player, so I, you know I lovethe old stuff tool tool I would.
Speaker 1 (27:20):
I would consider a more more progressive kind of
metal actually great bassinteresting, interesting.
Speaker 4 (27:27):
So I asked a musician once.
I said what's the differencebetween um death metal and heavy
metal, like, what is thedifference?
What's considered death metaland heavy metal?
What is the difference?
What's considered death metalto you?
Speaker 1 (27:35):
To me, it's all about lyrics.
When you start getting intosubgenres, it's kind of what
they're trying to portray intheir lyrics.
To me, that's the hugedifference between at least
those two that you mentioned.
Speaker 3 (27:50):
When you get the vocalist, that's doing more of
the.
That's what I would call deathmetal they're doing.
Speaker 2 (28:02):
What are they saying?
Speaker 4 (28:04):
Exactly exactly.
Speaker 3 (28:07):
Actually, last summer I had the chance to see a band
called Avatar, which I thinkthey're out there as like a
maybe a death metal.
I'm not sure what genre theywould be labeled under, but you
know, I didn't know how I wouldreact to it and how I'd like it,
cause my, my son, actuallyinvited me to go see that show
and and they were actuallyamazing.
(28:27):
But I would kind of throw themin there with the death metal,
because some of the stuff youreally couldn't understand.
But the music was definitelymetal and yeah, yeah, death
metal.
I, I, I consider if you canhear some of the lyrics, but not
all of them.
Speaker 4 (28:47):
Yeah, Uh metal.
Heavy metal doesn't mean,you're sure, but, um, I know
tool does that quite a bit,saying ah, I don't know.
But I know Tool does that quitea bit and I'm not really into
heavy metal.
But it's kind of interesting tofind out what is death metal,
what is heavy metal, like LedZeppelin?
Is that metal or not?
Speaker 3 (29:08):
Yeah, and I guess it really depends on who you ask
and what style of music they'reused to listening to.
Some people would probably sayLed Zeppelin is heavy metal,
where I really wouldn't considerthem heavy metal.
Speaker 1 (29:23):
That's more of a hard rock I would think Classic hard
rock.
Speaker 4 (29:25):
I would say yeah.
So it says that you're a musicteacher, both of you, or just
you, rob.
Speaker 1 (29:34):
I did it for about 10 years, basically music theory,
beginning intermediate andadvanced drums and beginning
guitar.
I mean that was a greatexperience.
It actually helped me to getback to learning the
fundamentals, because as youplay a lot, you tend to forget
the fundamentals as far as likethe basic rudiments and things
(29:56):
like that.
So it was great.
I actually enjoyed it.
Seeing that light bulb go offin somebody else when they learn
something they really alwayswanted to learn to me was the
most exciting part of it.
Speaker 4 (30:07):
What are you teaching them first?
What's the first day like?
Speaker 1 (30:10):
First thing is basically just getting to know
each other.
I mean, that's what I did, andthen on a chalkboard I would
show them okay.
Well, here's the very basics oflike notes.
You know difference between aneighth note, 16th note, 32nd
note, whatever it would be,whole note, half note, just the
very basics and then from therejust how it might.
(30:33):
My structure was just kind ofgetting to know them and seeing
what they really wanted to learnand then kind of do that on an
individual basis.
Speaker 4 (30:39):
Do you still do it or did you quit?
Speaker 1 (30:41):
No, I haven't done that for the last probably year.
I enjoyed it, but I'd like toget back into it.
Speaker 4 (30:47):
Oh wow.
So, guys, what do you think isthe most rewarding part of being
a musician?
Speaker 1 (30:55):
To me it's every part of it.
I just love playing period.
I mean everything from learningnew songs to performing them,
to setting.
I mean every piece of it Ienjoy.
I really do.
Speaker 3 (31:08):
Yeah.
I mean the most rewarding for me, I think, was not only getting
good enough to where I can playwith my brother and be
comfortable and playing in aband environment with other
talented musicians and and themnot saying, hey, who's this bass
player?
He sucks, you know, and youknow being on the same level as
(31:28):
you know someone you'd callprofessional musician.
And then, you know, thehighlight would be, you know, to
play one of your songs,something that you've written,
and for people to like it.
I mean that moves me more thananything that I can even name.
That would definitely be it.
Speaker 4 (31:48):
That's interesting, Rob.
It mentions that you haveexperiences in creating bands.
How many bands have youactually created, you might ask?
Speaker 1 (31:58):
That I personally created about four.
Wow, between Dana and myselfwe've created probably two or
three, but myself I mean four,and that's a great process.
It's a great and frustratingprocess.
Just getting the right peoplein the same room is sometimes
the biggest challenge.
And then even once you do havepeople in the same room is
sometimes the biggest challenge.
And then even once you do havethem in the same room, how those
(32:22):
personalities develop over timecould be a huge struggle as
well.
So I mean it's fun, but it canbe aggravating and rewarding at
the same time.
Speaker 4 (32:34):
Were they all, four of them, successful, or did you
just say you know?
Speaker 1 (32:37):
guys forget it.
Speaker 4 (32:38):
Forget it.
Two weeks you're gone.
Speaker 1 (32:43):
Not me, not the initial project, but over time.
Yes, I mean, when you're firststarting a band, getting the
right people in the room, like Isaid, is the number one
challenge, so sometimes it takes, you know, some tweaking.
You got to get rid of a guy,add another guy.
It's a process, but all fourthat I've been in I mean the
main ones that I've beeninvolved in have turned out to
be pretty successful.
Speaker 4 (33:06):
Tell me about the time that you met a band member
where you're just like I don'treally want to go up to him and
say that you're not good for theband, that he should leave.
Speaker 1 (33:16):
There's been a lot of those actually.
So I mean specifically, whatare you asking me?
How do you handle that?
Speaker 4 (33:24):
Yeah, give me one of the worst situations where you
just don't know what to do.
And they were good too.
Speaker 1 (33:32):
Yeah, I hate to even mention those because it might
indicate who they are, but it'salways a very, very painful
thing to do, especially ifthey're talented.
But if you're not getting alongpersonality-wise, you're not
going to be able to go out andplay shows every weekend with
this person, if you just can'tget along with them.
(33:53):
So it's a very difficultscenario actually, but we've had
to do that on a number ofoccasions, but in the long run
it's best for everybody in theband.
So I mean you, you've got to doit.
Speaker 3 (34:04):
we made one mistake, and that that one I, we, uh, we
had, we had a really good, youknow, successful band and we
brought on a new singer becauseour old singer had had to quit
for some reason, and the newsinger suggested we get rid of
another member of the bandbecause we were looking for more
(34:24):
of a look instead of the way wewere playing.
We were basing on looks, andone guy just looked a little bit
different than the rest of us,and so we parted ways with him,
and that was a big mistake.
He was a very talented guy andto this day I hated the fact
that we did that, because theband pretty much went
dysfunctional after that good,good example, good example oh
(34:49):
wow, right.
Speaker 4 (34:51):
So you know um it's, it's drums, you know right right
?
Speaker 1 (34:55):
I think right.
Speaker 4 (34:55):
Well, primarily yes yeah and yeah, and I know that
you taught beginning advanceddrums.
Now, when you teach someone howto play the drums, what do you
tell them?
To work on the snare first, doyou teach them how to do the
thing and be able to do this?
Speaker 1 (35:14):
First, well, primarily, I mean I teach like a
4-4 pattern to begin with,because that's, you know, the
obvious one, the 2,.
You know you hit the snare onthe 2, and the kick on the 2 and
the 4.
It's, like you know, eighthnotes on the hi-hat, just a
simple 4-4 pattern and, believeit or not, most people can do it
.
That don't even think they can.
There's always like 1 in 10that just does not have the
(35:39):
coordination to even do that.
But most people, believe it ornot, have the ability to play a
basic rock song, which is yourbasic 4-4 pattern.
Speaker 4 (35:49):
So what about cover songs?
What cover songs have youperformed, or do you like cover
songs?
Speaker 1 (35:56):
That's a tough question because I do like cover
songs but I'm not thrilledabout performing.
I prefer originals only becauseit's something you've created.
But we're currently playingcover songs some cover songs and
we really enjoy them, like WarPigs by Black Sabbath, because
that's a classic and everybodyknows it and loves it and it's
(36:17):
got some good changes.
I mean it's not a typicalpattern for most songs.
It's got some different coolchanges to it.
So I mean it's a tough questionbut I do enjoy playing the good
ones.
In my opinion.
Speaker 4 (36:36):
Yeah, so have you faced any challenges or setbacks
in your musical journey?
How did you overcome them?
Speaker 3 (36:41):
oh boy good questions yeah I mean there's been, you
know, quite a few setbacks andyou know, I think the majority
of them, you know, and it's noteven because of the musicians,
it's you know, a lot of it'sjust personal, the personal
stuff that gets in the way, youknow, whether it's somebody got
(37:04):
married or somebody got divorced, or you know somebody had to
move for a job.
You know those kind of thingsare really tough to overcome
because you know, if you've gotlike, you know we had this one
band you know, monolith RenoNevada.
That was very popular in thearea and we did a bunch of stuff
on the West Coast and when itended up being twirled we had a
(37:30):
band member that had to leavefor a job or move out of town
and it was tough to duplicate,duplicate, duplicate that, um,
that band again, with justadding a number, another member.
So you know, so you know westarted over again and, yeah,
the the obstacles that that comewith keeping it.
You know I envy some of thesebands, like you know, the iron
(37:53):
maiden and some of these guys,scorpions, that have been on the
road for 40, 50 years together.
I mean they've had a few lineupchanges but the majority of it
is, you know the same band and Imean that's a hard thing to do.
I'm amazed at some of theseguys.
You know Rolling Stones andOzzy Osbourne, some of these
guys that have been doing it forthe number of years that
(38:15):
they've been doing it and arestill live.
It's amazing.
Speaker 4 (38:21):
Yeah, I know that people like Chicago, but I know
Chicago originally started withTerry Kath and then he died and
then Peter Cetera became thelead singer.
Then he left.
So would you consider that OzzyOsbourne was Black Sabbath?
So when he left, Black Sabbathcouldn't continue.
Speaker 1 (38:42):
No, they actually continued pretty well with
Ronnie James Dio and theycontinued on pretty well and I
think they I mean Ozzy himselfobviously continued to be very
successful.
But I think Black Sabbathcarried on well.
It obviously didn't have thesame feel, so to speak, but they
carried on very well.
Speaker 3 (39:03):
Yeah, one of the few bands that I think lost their
main vocalist and identity tothe band and still carried on
well.
Both.
Like I said, Ozzy carried onvery well and Black Sabbath did,
but you get some bands thatlose a major part of their
creative process and they're notthe same.
Speaker 4 (39:27):
So what do you think about Linkin Park and the death
of Chester Bennington and MikeShinoda resurrecting the band by
using Emily Armstrong as thelead singer?
Speaker 1 (39:36):
I'm not familiar enough with them to actually
give an opinion.
Speaker 3 (39:39):
to tell you the truth , I mean, I've heard a little
bit of them but I don't thinkit's the same.
You know, with the change, tome it doesn't work.
It's kind of like Van Halen Iloved early Van Halen with David
Lee Roth, you know, and I loveSammy Hagar, but together it's
just for me it didn't work.
Speaker 4 (40:07):
Wow, um, how do you say motivated?
Speaker 1 (40:08):
inspired when creating new music.
Uh, just working, I meanworking on it, and you, you, you
know if it's going to reallyinitially, you know if it's
going to work or not.
I mean, if you've got a likefor us we're like the bottom end
, the bass and the drums If thatpart's solid and it's got a
good foundation, the rest of itis going to come together, and
if it doesn't, you just move on.
Speaker 4 (40:33):
I mean there's a lot of times where you have to scrap
things that you think are goingto be good, but this just
doesn't gel in the end.
Yeah, wow.
So what do you think of AImusic?
Would you ever loan your voiceto record a song?
Speaker 1 (40:49):
Not my voice.
They don't want to hear myvoice, would you?
Speaker 4 (40:51):
ever use AI.
Speaker 1 (40:54):
Well, once again, that's an area I'm not familiar
enough with, but I don't likethe idea of AI being involved in
music.
I think that it takes away fromthe music is personal, I mean
it comes from your heart.
I mean it takes away from thataspect of it.
Speaker 3 (41:12):
Yeah, and personally for me, I hate to see some of
these bands that are usingbacking tracks you know, and
even live.
If you can't play the stuffthat you recorded live anymore,
then maybe it's time to be agreeter at Walmart or something.
Because you know, when you seeand I know this has surfaced on
(41:38):
YouTube and some other placesbut when you see these bands
that you know, all of a suddenthe track and it sounds like
they're still playing everything, but the guitar player isn't
touching the guitar singer's notsinging, but yet it's still all
there in its natural glory.
It's like you know, that's justnot.
It's not right to me.
I mean, you know I understandthat some of these guys are
(41:58):
getting up in age and maybe youknow the vocalist can't quite
hit those high notes, but youknow that's expected and you
know people want to go see theband for what they are not for.
Speaker 4 (42:13):
You know what they're pretending to be, rob Dana.
Does the technology playanything in your music creation
and performance process?
Speaker 1 (42:20):
I'm sorry, can you repeat that?
Speaker 4 (42:22):
Yeah.
Speaker 1 (42:30):
So what role does technology play in your music
creation or performance process?
Not a whole lot.
We don't use a lot of synthsounds or anything like that.
But as far as technology, Ithink that's more based around
recording, like practices andrecording period.
But I mean I use, I use atrigger for my kick drum, but
that's the only really part ofthat that we really use I mean,
(42:52):
some technology is good.
Speaker 3 (42:53):
You know, like rob touched on a little while ago,
it's ago back when we firststarted playing, we were
recording everything on a littleboom box in our storage unit.
And so now that we've gottenbetter 8, 16 track, 32 track
recorders that you can put inyour practice spot and actually
(43:14):
know your recording sound betterand you can hear your mistakes
or your progressions and andwhat you want to do better, you
know I like that technology.
Um, and you know I I do got,you know, a pedal board that has
quite a bit of technology in itwith, as far as you know, being
able to use different soundsand different different pedals
(43:34):
and, you know, creatingdifferent sounds with different
amps, whether it's tube or solidstate.
So I like some of that stuff,but, yeah, I would figure that
the drums doesn't use a wholelot of technology.
Yeah.
Speaker 4 (43:49):
Do you have any rituals or habits before
performing a recording?
Speaker 1 (43:54):
I have one.
I always do a shot of Patronand a beer.
That's my pre-gig ritual.
But other than that, really norituals, Other than you know,
just getting together witheverybody and say, hey, let's
have a good show and move on.
Speaker 3 (44:07):
Yeah, I think, something that just lets you
relax just a little bit.
You know, not a big fan ofthose guys that want to drink a
lot and, you know, hit the stageand they're halfway drunk and
don't remember what they'redoing.
Speaker 1 (44:20):
We've had problems like that.
We've had that problem, yeah.
Speaker 3 (44:23):
If you want to hit the pipe and get a little quick
hit in something just to easeyou a little bit, then I'm okay
with that.
Speaker 4 (44:33):
How do you feel that your music has evolved over time
?
Speaker 1 (44:37):
I think it's been a natural evolution.
I mean, you know, the betteryou get, the more relaxed you
get with your writing process, Ithink.
And I think what tends tohappen with like a lot of new
artists is they try to overplayeverything, and I think we've
gotten to the point where youknow not to overplay your parts
but to play them in a solid way,and that's actually a learning
(45:01):
process.
A lot of new performers theywant to overplay everything and
that's something you learn overtime.
Speaker 4 (45:08):
That's very true.
Speaker 1 (45:09):
Sometimes less is more.
Speaker 4 (45:13):
Yeah, less is more exactly.
Unless you have a guy named Lesplaying for you, then that's
more.
Yeah, Ladies and gentlemen ondrums, les Moore, I'm not saying
you can't more exactly.
Unless you have a guy namedless playing for you, then
that's more.
Yeah, gentlemen on drums, less,more I'm not saying you can't
be technical.
Speaker 1 (45:22):
I'm just saying you know there's a time and place
for for all that yeah, um.
Speaker 4 (45:28):
Can you share a moment when music profoundly
impacted your life?
Speaker 1 (45:32):
for me it was when I was a kid, went to my aunt's
wedding and saw my first liveband.
Like I said earlier, that's,that was the moment I was hooked
and I'll be.
I'll be playing drums until Ican physically no longer do it
because of that, that firstencounter with a live band.
Speaker 3 (45:49):
And mine was.
You know, like I said,listening to my brother play in
the basement all the time I knewI loved music as far as
listening to it I didn't.
When I knew I wanted to be amusician was one of the first
concerts I saw was Ted Nugent,and the guy came swinging on the
stage off a rope and just yeah,I mean just a crazy guy that he
(46:11):
is and just seeing how he actedon stage, how the, how the
audience reacted to him and justthe energy and the feeling
around it all, it's like I don'twant to be a part of the
audience.
I wanted to be on stage myselfand that Ted Nugent concert
definitely did it for me.
Speaker 4 (46:32):
Yeah, what do you think of Triumph?
I mean, we have the Metalworksstudio just like 20 minutes from
here and Prince recorded hisMusicology album there.
Nelly Furtado recorded there.
If you walk into the recordingstudio you'll see the platinum
(46:53):
records behind the frame andtheir autograph of all the
people and it's owned by Gilmorefrom Triumph.
Gilmore behind the frame andtheir autograph of all the
people that and it's owned bygilmore from um triumph.
Gilmore and uh, they come induring the week but they have
like um tours every so often anduh, the recording studio is
amazing.
What they did is um queenliterally allowed them access to
(47:18):
the original recording ofBohemian Rhapsody and the guy
behind the fairly large 100 to200 lever recording thing.
Speaker 1 (47:29):
The board the mixing board.
Speaker 4 (47:33):
Yeah, so he would.
This is Freddie Mercury's voiceand he would isolate that.
And this is then he'd isolateall the others, then he'd
isolate.
It's a beautiful, beautifulthing.
I think it was awesome to seethat.
It's awesome.
Speaker 3 (47:50):
Yes, as far as Triumph, I mean I love, I've
always liked Triumph.
I mean there's, you know, likeI said's, there's quite a few
canadian bands that I absolutelyloved, you know, triumph, and
of course, rush, and I thinklover boy was even from, you
know, canada, and it wasn't ahuge fan of that.
Speaker 1 (48:08):
Chrissy, chrissy steel.
Speaker 3 (48:10):
Oh, chrissy steel, yeah oh yeah, that's right yeah
um, but yeah, I, I love you know, and funny, you know, not that
this has anything to domusically, but you know, for a
while there I lived on the WestCoast and you know Santa Rosa,
napa Valley, and forThanksgiving, you know me and my
family would go up to BritishColumbia for Thanksgiving,
(48:31):
because you know it's not aholiday for them up there and we
always, you know, to get awayfrom America and all the
traditions, we go up to BritishColumbia and Vancouver and I, I
absolutely love Canada.
I mean, I'm a huge, huge fan ofof Canada, with the exception
of, you know, and I don't knowif I should probably be saying
this but we, we went to the Eastcoast once and and into
(48:52):
Montreal and wasn't a huge fit.
That's a different Canadian,that's a different Canadian,
that's the French Canadians, youknow.
I mean, I like, I love BritishColumbia, absolutely, loved it
up there.
Never been to Toronto, whichI'd like to go to someday.
Speaker 4 (49:10):
I'll give you a good tour of Toronto if you like Take
you up to.
Cn.
Speaker 1 (49:12):
Tower.
Speaker 4 (49:14):
Take you to the El Macombo, which is almost 60
years old.
That's where most of the bandsplay.
You should look it up, elMacombo.
Speaker 1 (49:20):
Okay sure it's been there for years.
Speaker 3 (49:24):
I'm a huge hockey fan and I know all.
Canadians are.
Speaker 4 (49:30):
Definitely so.
Tell me more about the podcast.
How do you find your talent?
What's your first thing you do?
Speaker 1 (49:38):
Well, our basic philosophy is we want to help
musicians.
I mean, that's kind of what westarted to begin with Everything
from garage to stage.
So we try to encompass thestages that a musician is going
to go through Right now.
We've talked to the CEO ofGrassFit Music, which is in Los
Angeles.
We've talked to a producer.
We've talked to the CEO ofGrass-Fed Music, which is in Los
(49:58):
Angeles.
We've talked to a producer.
We've talked to a mixingengineer Just all the kind of
things that a musician is goingto need to encounter in their
journey from garage to stage andbeyond.
Speaker 3 (50:13):
Yeah, I mean our first episodes.
First couple episodes werebased on okay, you're a musician
playing in your bedroom.
You know how do you get a bandgoing, how do you even start the
process of auditioning or goingto auditions or auditioning
people if you want to start aband, and so we talk about all
the.
You know, like Rob said, thejourney that it takes from being
(50:36):
a solo kid or an adult in yourroom to forming a band.
Then, once you got that bandgoing, you know how do you
approach clubs to get to playinto the clubs and all the
trials and tribulations and allthe all the fun and and the
humor and the bad stuff thatkind of goes along with all of
(50:57):
it, because there is good andbad, I mean oh yeah
Speaker 4 (50:59):
yeah yeah, that's true.
Wow.
So to find a talent, you justreach out to them and email them
, or do they come to you, or uh,kind of a combination of both.
Speaker 1 (51:11):
In fact, we're going to ask you the same thing is how
do you get yours?
Speaker 3 (51:15):
yeah, I just saw one of.
I just saw one of your recentepisodes I'm not sure if it's
recent, but one of your episodeswhere you were interviewing the
bass player for Accept.
And we're a huge Accept fan andof course I jumped on that
right away.
It's like I would love to beMartin.
Speaker 4 (51:29):
Motnik.
Speaker 3 (51:30):
Yeah, Martin.
Speaker 4 (51:30):
Motnik and I are good friends, he's good.
Speaker 3 (51:32):
What is your process to get in touch with these
people?
Speaker 2 (51:34):
Because we'd love to know that secret.
Speaker 3 (51:35):
Okay, touch with these people, because we'd love
to know that.
Speaker 4 (51:38):
We'd love to know that secret.
Okay, I'll tell you the secret.
You ready yeah?
Speaker 2 (51:43):
what I do that was good.
Speaker 4 (51:48):
That was good.
I like that.
So what you do, what you haveto do, is you have to determine
who you want on your podcast,and then what you do.
You listen to their music andyou go to facebook and see on
the bottom it says to theirmusic and you go to facebook and
see on the bottom this is aboutinfo yeah and you check to see
if there's an email.
If there's an email, then youjust email them.
But if they don't, you go tothe website, you go to contact.
(52:09):
They'll tell you, okay, themanager to contact them.
You have to contact them.
Or if you just want to send mean email, here's my email and
then you got from there.
But if they in the menu, theyjust have a contact form.
Fill out the form, who you are,and put in your email and
they'll send to you.
One of my old co-hosts, kylie.
She originally just went rightinto Instagram and she sent a
(52:32):
private message and they said,yeah, I'd love to.
I tried the same thing nothing,I realized oh, because she's a
girl yeah.
Speaker 2 (52:43):
That makes sense.
Speaker 4 (52:44):
But we're trying to get Sting, we're trying to get
Alice Cooper.
Speaker 1 (52:48):
Oh, wow.
Speaker 4 (52:49):
Tomorrow we have one of the biggest opera tenors who
is friends with Trump and allthat stuff.
So yeah, we're going, big manwe're going big and Martin
Montnick's great.
That's why I wanted him morethan three hours on the probe
because I thought he was worthit Cool.
Speaker 1 (53:06):
I'm glad you're having success with it.
I really am.
Speaker 4 (53:10):
If you need anybody, let me know If there's anybody
on there you need.
I'm free to give their emailsif you want.
Speaker 1 (53:16):
Sounds good.
I appreciate that.
Speaker 4 (53:18):
It's a really good.
I can get you a Martin Monickon there if you want.
Speaker 1 (53:24):
Love it.
That would be ideal.
Speaker 3 (53:26):
As a bass player, I would love to talk to that guy.
Speaker 4 (53:31):
So, yes, that's great , wow, and we can exchange notes
after as well.
Speaker 1 (53:36):
Yeah, sounds good.
Speaker 4 (53:38):
So what advice would you give to aspiring musicians
or songwriters?
They walk up to you and say,Dom, I want to be a musician or
a songwriter.
What do I do?
Speaker 1 (53:47):
Good question.
I would just say stick with it,stick to your guns and follow
your dream.
I mean, take advice from thingslike this, from podcasts from
other musicians.
Take advice from things likethis from podcasts from other
musicians.
I mean, just get every piece ofinformation you can to get to
that next level.
(54:08):
That's really what it's allabout.
Is that drive?
You've got to continue.
Speaker 3 (54:14):
If you feel it, continue with that drive and
just go for it.
And for me I would go more onthe personal side of it of it
also is like, okay, you lovemusic, great, how is your
relationship with yoursignificant other?
Because it's going to change.
It will change overnight, and Imean between the two of us.
We can't even tell you how manystories we've got of
relationships gone bad becausethey just don't understand you
(54:39):
know what you're putting intothis band.
They're like, well, what do youmean?
You're going to practice again.
You did last night.
It's like, well, yeah, and thentomorrow and the next day.
So I mean the commitment thatit takes.
If it's something that you'rereally serious about as, as I'm
sure you've heard from otherpeople you've talked to on the
professional end, it's, you knowit's.
It's not only another job, itit's your only job.
(55:00):
If that's what you want to doand it's.
And you've got to have thatsupport from the family or your
loved ones, otherwise you'regoing to be writing songs like
fools go yeah, um, I had one ofthe singers from little river
band on my podcast and I askedhim same question and he goes
(55:22):
don't don't well
Speaker 1 (55:24):
that could be a good advice too, I guess yeah, you
guys just said, don't.
Speaker 4 (55:34):
Well, I really appreciate this, guys hey, we
appreciate it really wonderfulguests.
I really look forward togetting this on the platform
because this is amazing.
I really appreciate how openyou are and boy everyone.
Things will be linked downbelow Rob Franklin, his brother,
Dana, and probably the musicmonolith, probably, and all the
things you need to know.
Thank you so much, Rob and Dana.
Speaker 3 (55:54):
Hey, thank you.
Thank you, it's been aprivilege.
Speaker 4 (55:57):
Wait right.
Hi, welcome to Franklin's Garage to Stage
podcast.
My name is Rob WardrumsFranklin and my co-host is Dana
Thumberbys Franklin.
Speaker 2 (00:11):
How you doing, bro, good.
How you doing, man, I'm doingreally good.
Speaker 1 (00:15):
Cool.
Well, today's episode isbasically an excerpt from a
podcast we did with a Canadianhost.
The name of the podcast iscalled On Stage Music.
It's only video through YouTube, so we thought we'd put this
interview that he did of us onour episode so that all the
people that hear us throughpodcast sites could hear the
(00:40):
interview as well.
It went pretty well.
Huh, Dana, that guy was prettycool.
Yeah, he was really good.
Speaker 2 (00:45):
That guy was pretty cool, yeah, yeah, he was really
good.
The guy was really informative.
He's talked to a lot of coolmusicians and stuff and yeah, it
was good.
It was kind of weird to usactually being interviewed
instead of us talking to people.
It kind of put us on theopposite side of the coin there.
Yeah, it was pretty cool.
It almost felt like a star orsomething.
I was like damn, somebody'sinterviewing me.
Speaker 1 (01:04):
So, listeners, we've got some exciting guests lined
up, so please stay tuned forfuture episodes, but we really
appreciate all the new listenersand a couple new countries, a
bunch of new cities, so wereally really appreciate it,
Dana, with that said, what elsedo you have to?
Speaker 2 (01:20):
say Well, you know, going back to what you just said
, I just want to thank everybodythat's tuned in.
We thought it would be yearsbefore we got close to the
10,000 download mark.
I mean we're a couple days awayfrom that, so that's real
exciting.
And all kinds of countries overin Europe, I mean just all new
(01:42):
places, it's like this is kindof blowing up to where I, you
know, didn't think it would goso quick, so soon, and it's
really exciting.
You know, we talked to thatMartin dude from Accept.
You know that was just amazingtalking to that guy.
And, like I said, we've got acouple other really cool guests
lined up with some otherhardcore bands out of Sacramento
and, just you know, maybe somedoom metal stuff happening.
(02:04):
We'll see what's down the pipethere, yeah, yeah.
Speaker 1 (02:07):
And I want to remind everybody, we have a new website
.
It's calledfranklinsgaragethestagecom, and
then you can email us throughthat website as well.
It's either rob atfranklinsgaragethestagecom or
dana atfranklinsgaragethestagecom, so
(02:28):
please do send us an email soyou're on our list, so we can
let you know about futureepisodes and any special things.
Like we have some giveawayswe're thinking about doing in
the near future.
Speaker 2 (02:35):
Yeah, I like it.
Well, you know, listeners, weneed a couple things from you.
Like Rob just said, emails youknow we need your emails so we
can start building our database.
You know pictures, comments.
You know need your email so wecan start building our database.
Um, you know pictures, comments.
You know good or bad.
You know we'll take your shitif we deserve it.
You know throw stuff at us andyou know, and then for you,
people that have theavailability, I think we need
some money.
(02:55):
I mean it's, you know, a littlebit of kick down to keep this
thing going.
I mean this is you know, allstuff that just me and my
brother do and my brother, robWardrums, he does all the
editing and producing and allthat stuff.
So it takes time and money.
So please contribute a fewbucks if you can.
We appreciate it.
That's all I got to say today.
Speaker 1 (03:16):
Alright, well, stay tuned, because the excerpt from
the interview we did is next.
Talk to everybody later.
Bye.
Speaker 2 (03:24):
Thank you Later.
Speaker 4 (03:29):
Oops, I forgot the thing here.
Welcome to another podcast, theOn Sage podcast.
I'm going to introduce you toRob and Dana Franklin, two
brothers who are musicians.
They've been musicians for 30plus years, recording artists in
genres hard rock, metal andblues.
They've toured with two verysuccessful bands and they love
(03:51):
speaking about their experiencein creating bands, performing
and recording.
They've taught music theory,beginning advanced drums and
beginning guitar, and they loveeverything music.
Thank you for joining us, roband Dana, how are you?
Very good.
Speaker 1 (04:05):
Thank you for joining us rob and dana, how are you
very good?
Thank you for having us.
We appreciate it you're verywelcome.
Speaker 4 (04:11):
Um, can you tell us what inspired you to get into
music and podcasting andeverything else?
Speaker 1 (04:19):
go back to the beginning okay, well, the
beginning is, uh, basically Iwas one of those kids that, uh,
I.
My very first experience withthe live band was at my aunt's
wedding and I saw the first timea drummer play live and from
that moment on I was mesmerized,I was, I was hooked.
So after that just basicallywent on, started hitting on pots
(04:40):
and pans with spoons and ladlesand just progressed from there.
So I went from that to gettinginto a band program at high
school, initially marching band,a symphonic band, and after
that starting my own bands andgetting into rock music.
And so that's the beginning ofthe musical journey, but the
(05:03):
podcast journey I'll let mybrother explain here.
Speaker 3 (05:06):
Well, the podcast we recently started I mean it's
only been three, about fourmonths now.
You know this is something thatactually Rob kind of came up
with, an idea.
He's like you know what aboutdoing a podcast about all the
music and everything that we'veexperienced?
And you know all the trials andtribulations of starting a band
to getting on stage and allthat.
And you know why don't we shareall of this information to
(05:29):
other people that are juststarting bands or trying to
figure out how to go through theprocess of, you know, getting
the band going, getting bandmembers and getting on stage and
then, of course, all this stuffof dealing with, you know, the
managers of clubs to try to playand the legalities of all that.
You know all that fun stuff.
So that's, you know, that'swhere the podcast kind of came
(05:50):
in.
And you know, musically Istarted, you know, mostly
because of watching my brotherhere.
He's a few years older than me,so I'd watch him in the
basement banging on drums andlike, oh, this is cool.
You know I love music, I wantto, I want to, I want to be in a
band with him someday.
So you know I started a littlebit later in life, about 17, 18,
.
I picked up the guitar and youknow messed around with it a
(06:12):
little bit and you know it was.
It was decent but not great andyou know I knew I wasn't going
to be good enough to play in aband as far as with guitar um,
with my brother here, so youknow he mentioned once he's like
hey, think about getting, youknow, picking up the bass.
You know bass players are kindof hard to find and you know,
think about that.
(06:32):
And so I picked up a bass andit was kind of automatic as soon
as I touched it it was thefeeling I can't describe, it was
the perfect thing.
And you know I startedpracticing on that and A couple
years later we started out withbands and haven't looked back.
Speaker 4 (06:50):
What kind of relationships did you have with
your parents and your othersiblings, if you have anybody?
Did they encourage you to getinto music or they were like, no
, don't touch anything.
No, no, no, no.
Speaker 1 (07:01):
No, actually my parents were extremely
supportive.
I had never once heard them sayyou know, stop that racket, or
you know any of those kind ofthings that you hear.
They were always verysupportive because they were, I
mean, back when they wereearlier.
My father was actually avocalist and my mother was a
pianist, and so I think becauseof that they kind of encouraged
(07:25):
us and they were, like I said,very supportive.
And we have another brotherwho's actually a guitar player
and we have two that aren't intomusical instruments at all.
But they've always been verysupportive and by our side
through the whole process.
Speaker 3 (07:41):
And our parents.
I mean every show that weplayed, even with the crazy
heavy metal and hard rock thatthey were, we were doing they.
They came to every show thatthey possibly could.
You know, mostly in the back,so you know, wouldn't hurt their
ears.
Speaker 4 (07:53):
But but they were, they were always there and
definitely supported everythingwe did very true, very true I
like the fact that it says thatyou, um you, that you're
recording artists in genres rock, hard rock, metal and blues.
But what I really want to know,Rob, is that you toured with
two very successful bands, andwho are they?
Speaker 1 (08:18):
Probably the two most successful was one was from
Reno called Monolith, and thesecond, from Sacramento-based,
was called Eyewitness Blues.
Those were the two mostsuccessful as far as consistent
gigging and traveling.
Speaker 4 (08:33):
So what's your favorite genre?
Speaker 1 (08:36):
Rock by far only because to me it's more
intricate playing for a drummer.
Blues is more of a steady-typepattern for the majority of the
songs.
I'm not going to say all, butyou know blues is more of a
steady type pattern for, youknow, majority of the songs.
I'm not going to say all.
But for rock there's moreintricate breakdowns in style
and you know timing and dynamicsand there's just a lot more
(08:57):
elements to rock than there isto blues, in my opinion.
Speaker 4 (09:03):
Hey Dana, is there any music or songs or that rob
plays that you say?
Can you turn that off please?
Speaker 3 (09:09):
you know I don't like it you know, no, there isn't,
because we, we pretty much agreeas far as musically, what kind
of stuff we like and what wedon't like, um, we're pretty
much on the same say, wavelengthwith that.
Um, I mean, I'm not a big fanof country and hip hop and stuff
like that.
So you know I don't have toworry about that, cause he
(09:30):
doesn't listen to that either.
But as far as you know, evenwith the music, um, I mean, I
might say I I learned, you know,listening to Iron Maiden, black
Sabbath, uh, you know the truecreators of heavy metal in my
opinion.
(09:51):
So my style of playing mostlyemulates Steve Harris, gezer,
butler, that type of stuff.
But the more I started playingbass, I started listening to
more genres.
I'll even listen to some of theold-style funk and Motown stuff
, just because the bass is soprevalent in that style of music
, you know.
And just to hear different,different types and stuff and
kind of incorporate in my, in myplaying.
(10:12):
So you know it doesn't allsound the same, like it's just
rock or just metal, you know,throw a little bit of different
styles in there, you know, whichI think all musicians you know
should do.
Speaker 1 (10:23):
And if I could add to that, actually Dana is our
primary songwriter.
I mean he comes up with thefoundation of our most
successful songs.
He's been the songwriter.
I mean he's basically writtendown.
You know the structure and youknow the dynamics of the song
and everybody's kind ofdeveloped the song from his
(10:43):
foundation of what he's written.
Speaker 2 (10:48):
So he's the primary songwriter.
Speaker 4 (10:49):
thanks for that do you remember the first song you
ever wrote or played?
What was that like?
Speaker 1 (10:55):
uh, the first song that we really played that was
real successful as far as youknow crowd response response was
a song called Fool's Gold thatmy brother had written, and it
was just once we played thattogether on stage.
That was just one of thosemoments where your hair tingles.
You just knew it was, it feltgreat and it came across great
(11:17):
as well.
And great crowd response.
It was just one of thosemoments.
Speaker 3 (11:22):
You can't't, you know , you can't, you can't copy
definitely definitely it's uhyou know when, when you play
your own music and you can thecrowd and the people are getting
into it.
Speaker 1 (11:34):
There's you know, with your brother, yeah, yeah,
when you're doing it with familymembers, it doesn't get any
better.
Speaker 3 (11:39):
But you know when the crowd is loving something that
you wrote and you're notcovering it.
I can't even describe thefeeling.
You've talked to a lot ofmusicians so I'm sure they've
said the same thing.
There's just no feeling.
There's no drug that can copythat feeling.
Speaker 4 (11:58):
Oh yeah.
What was your mindset when youknew that, okay, we're going to
play this song Fool's Gold forthe very first time.
What was going through yourhead?
Like they're not going to likeit, they're going to throw
tomatoes.
Do you have the tomato bag withyou?
Speaker 1 (12:13):
No, I don't think that fear was ever in our mind
because, you know, we felt thatit was a great song and, if we
could express that, when weplayed it we knew it was going
to come across well and itreally did.
It really did.
Speaker 4 (12:28):
Yeah.
So I always ask an artistwhenever you write a song, it's
based on experience, like abreakup, relationship, failure,
death, For instance.
I always use this example DanReynolds from Magic Dragons.
They have a song called Wrecked.
He wrote it in the death of hissister-in-law, Alicia, who died
of cancer.
So what is the song Fool's Goatabout?
Speaker 3 (12:52):
It's.
You know it's about a, you knowit is.
It's a personal thing, it'sabout a relationship that you
know it just didn't quite liveup to what it was supposed to be
like.
Everything about it was, youknow, I mean, we.
Originally my original name forthe song was going to be Pyrite
, which is pretty much a synonymfor fool's gold, and I like the
(13:16):
way fool's gold sounds a littlebit better.
But yeah, it's all about theidea of, you know, a
relationship that is supposed tobe rock steady and you know you
think it's going good.
But when you really break itdown and investigate it a little
bit more, you find out thateverything about it was all fake
, and so that's definitely whatthe song is about.
And a few weeks after that Iwent through my first divorce
(13:40):
and so this kind of solidifiedwhat was going on in my life at
the time good enough am I?
Speaker 4 (13:48):
under your impression that the fool is you I mean, I
guess it could be.
I was definitely fooled so whatis your song creation?
Like, like, how did you putfool's gold together?
What was?
What was it?
Like?
You went outside and we'regoing to write the song, or
we'll do the lyrics first, we'lldo the music, the melody,
(14:09):
everything.
Like you said, dana was themain songwriter, so how did you
start it?
Speaker 1 (14:14):
Basically with just Dana and myself.
We were actually at my parents'house at the time we didn't
have a rehearsal studio, so tospeak at the time and we were
actually in a room at myparents' house, just me and him,
and he had created the bassline and I developed the drum
riff and the timing behind itand it kind of snowballed from
(14:34):
there.
Then we ended up being with twoguitar players that were
phenomenal and they added theirparts to it and they added the
lyrics to it and it just allfell together really nicely.
Speaker 3 (14:45):
Yeah, it was music first and then the lyrics.
You know, once we recorded, youknow the music part to it.
You know, I just sat at homeand of course you know my state
of mind at the time and wrotedown Fool's Gold to match how
the music was already written.
Speaker 1 (15:01):
But a funny story to back that up is when we were
actually rehearsing that songgetting our two pieces what we
call the bottom end bass anddrums.
While we were developing that inthis house at my parents' house
(15:22):
, which know pretty big house upin the virginia highlands in
reno, nevada but, um, we wentdownstairs after taking a break
and my mom's pet guinea pig wasdead because of the volume.
So, okay, this is probably apretty good song.
That's just kind of a funnylittle thing that happened.
But I mean, it was sad for mymom, but it was just something
that's.
Speaker 3 (15:34):
At the time we kind of thought that's funny yeah,
that's how we knew it was goingto be a good song.
You know, you kill a guinea pig, that's that's.
That's a heavy metal song.
Speaker 4 (15:42):
It's good yeah yeah, I can imagine you pranking your
brother.
Dana say hey, dana, I think Igot a really good name for a
song guinea pig.
That'd be funny, that's awesome.
Yeah.
So who were your big musicalinfluences?
Speaker 1 (16:02):
Like, how did they shape your work?
For me there's a few TommyAldridge, bill Ward and Tommy
Lee from Motley Crue.
Those are my three primary.
I mean, they're the ones thatkind of influenced my style and
of course when I was juststarting it was Buddy Rich
learning the rudiments and therolls and all that.
(16:22):
As far as technique it wasBuddy Rich because everybody
said, well, you've got to listento Buddy Rich if you want to
really learn your rudiments andperfect your style.
So that's kind of where Istarted and obviously that guy's
phenomenal.
But then for showmanship Istarted listening to Tommy
Aldridge and Tommy Lee, you know, just for showmanship and for
(16:43):
how to deliver what you'velearned in a more professional
way and the way to appease theaudience.
Speaker 3 (16:52):
And mine, you know, being a bass player, you know,
steve Harris from Iron Maidenwas definitely the guy that I
listened to the most and youknow, a lot of my style is a lot
like him, a lot of thegalloping and fast.
And then, of course, you know,geddy Lee from Rush is just
absolutely amazing.
You know how he can play.
(17:12):
The way he plays and then singat the same time is beyond me.
But you know, those two are mybiggest influences.
And Steve Harris, of course, notonly the way he plays but just
his showmanship, the way he runsaround on stage and the energy
he brings.
And you know, and of coursehe's, you know, the main
songwriter, you know, for IronMaiden too.
(17:33):
So I really like to follow alot in the footsteps of what
he's created.
And you know, of course, like Isaid, I've listened to some
other stuff and you know bootsycollins from parliament just you
know the, that funk stuff, andyou know, and flea from chili
peppers just you know differentstyles.
But you know, my heart is stillwith the, the whole.
(17:53):
You know, um, heavy metal andhard rock, that's.
That's that's where my heart is, still with the whole heavy
metal and hard rock, that'swhere my heart is and always
will be.
Speaker 4 (18:02):
Okay, so if you ended up, you guys walk into a room
and you can choose any guitaristto be part of your new band.
You have Geddy Lee, you haveSting, you have Robin Zander
from Cheap Trick, you have,let's say you have the whole
(18:22):
room is filled with these big,important musicians.
Who would you choose?
Speaker 1 (18:26):
Wow, that is a good and very tough question For a
guitar player.
I'm going to have to give thatover to Dana.
Speaker 3 (18:34):
You know from what I've been listening to lately
and what I really like as far aswhat I think would fit into
what we're doing right now, Iwould love to play with Zach
Wild.
I mean, he's just got the way.
His style is the way he playson stage, and not only that,
he's got an amazing voice.
I would love to get togetherand jam with him.
(18:56):
That would be, absolutelyamazing.
Speaker 4 (19:00):
Well, now I'm going to throw Jimmy Page in there.
Oh yeah you can't go wrong with.
Speaker 3 (19:04):
Jimmy of course, you can't go wrong with any of the
classic.
Speaker 4 (19:09):
So you choose Jimmy Page and Eric Clapton goes.
Excuse me, I'm here too.
Really.
That's like, who are you going?
Excuse me, I'm here too Really.
That's like, who are you goingto choose?
I don't know.
Speaker 1 (19:19):
Well, someday in heaven, hopefully, we'll get a
chance to jam with them all whenit happens.
Speaker 4 (19:24):
Yeah, I mean if Paul McCartney knocked on my door,
which is really weird.
Speaker 1 (19:27):
Oh yeah, I wouldn't send him away.
Speaker 4 (19:28):
No, I'm Paul McCartney.
I hope that you want to playwith me.
I that you want to play with me, I do know, but I'm in a
podcast right now, just joking.
Do you have a favoriteinstrument you love to play,
besides guitar, of course, andwhy?
Speaker 1 (19:46):
Besides guitar.
Speaker 3 (19:48):
I mean I'd love to learn how to play drums.
I already got a good drummer ina band.
I guess if I really had youknow the option, I would you
know, even though I don't see itin in metal and rock, is that
much is.
You know keyboards?
I mean there are some coolstuff that you can do with the
keyboards.
You know, like the guy fromdream theater I can't think of
(20:10):
his name, but the way he does itin in their music is absolutely
phenomenal.
Um band called pretty maids,you know hard rock band.
I think they're from sweden.
You know they use the keyboards.
Really nice, you know.
But I would like to experimenta little bit with keyboards, by
the chance, definitely or didyou mean specific type of
instrument?
Speaker 4 (20:29):
yeah, like if you could.
Just okay, I want to learnanother instrument.
Speaker 1 (20:31):
Oh okay, yeah, for me it would be I well, I, I do
play guitar, but I want to learnanother instrument.
Oh, okay, yeah, for me it wouldbe.
Well, I do play guitar, but Iwant to be able to play better.
I've been playing for quite awhile and, unfortunately, while
I was going through all thebands that I've been in in the
past, I didn't really take theopportunity to learn from some
phenomenal guitar players, and Iwish that I had taken more time
(20:53):
to pick their brain and learnmore.
But guitar for me, I mean Iwant to get better at it.
I mean I can do some chords,but I'm not a guitar player.
Speaker 4 (21:06):
What do you think of Edgar Winner?
Speaker 1 (21:09):
I love his stuff.
Yeah, I mean, it's been a longtime since I've listened to it,
but yeah, he's got somephenomenal stuff.
Speaker 4 (21:15):
That's awesome.
When you perform, do you guyshave an opener and a closer song
, and it's always the same.
Speaker 1 (21:21):
No, our mindset is always open and close strong.
Of course you want the wholeshow to be strong, but we always
try to pick our like strongestsongs for opening and typically
our strongest if we're doingcover songs our strongest
original to close.
So it all depends on the typeof show that we're doing, but I
would say, yeah, that's ourmindset yeah, definitely.
Speaker 3 (21:44):
Um, I'm a big fan of always closing with what you
feel is your best original song.
You know, if you're a coverband, if you're doing just all
originals, then you know youshould still end with your best
original.
Speaker 1 (21:57):
Yeah, you want people to walk away thinking about
that song because you knowthat's, that's a lasting
impression.
Usually is the last thing theyhear yeah, that's amazing.
Speaker 4 (22:05):
How do you connect with your fans when you're
performing like?
Do you do it mostly on onlinesocial networks or just like
someone walks up to you said, mrfranklin, unless they don't
know your name?
Speaker 1 (22:15):
yes, that was a great song.
Speaker 4 (22:17):
How do you do you know?
Speaker 1 (22:18):
well, it's a little bit different nowadays because
now it's all about social media,so we've really had to adapt as
far as that.
But yeah, I love, I loveparticipating with when we do
shows.
You know, typically they're,you know smaller shows anywhere
from.
You know 500 to a thousand, butsmaller shows where you can get
out and actually meet people, Imean that's the way to really
(22:39):
connect.
Speaker 3 (22:41):
Yeah.
Speaker 1 (22:42):
I agree.
Speaker 3 (22:42):
That's, you know smaller places, I think are you
know more personal.
You know you're seeingeverybody, almost everybody in
the crowd and, like I said, whenyou take a little bit of a
break, if you're're doing acouple of sets, you can actually
get out and talk to the peopleout there.
You find out.
It's like, hey, how'd you comeout?
You know, how'd you hear aboutus?
And you know, just get thestories from everybody and you
(23:04):
really, you know, connect withthe crowd and the audience
that's true.
Speaker 4 (23:09):
Can you share the story behind one of your
favorite songs you've written orperformed?
A good story or a bad storywhichever one you want to choose
, and you don't have to usefool's gold.
You can use another song,something that, uh, something
that's memorable, whether bad orgood.
Speaker 1 (23:25):
We just want you to open up a little bit more okay,
uh, well, we were doing, uh, oneof our very first real big
shows, but we had a new singeruh, he'd only been with us less
than a month.
I mean, the guy was phenomenal,but we were playing this song.
It was actually another bandsong, it's called swords and
tequila by riot, but halfwaythrough our set we used it as
(23:49):
like a song to introduceourselves and to kind of, um,
how do you describe we walked,um, we did.
Halfway through the songthere's kind of a part where we
stopped playing, except for theguitar, and the guitar would try
, was doing the rhythm in thebackground and I would come down
off my drum riser, come andlike, like, slap hands with
people in the front of the crowdand all that kind of stuff.
(24:10):
And while I was doing that, Ihad accidentally kicked the
lyrics off the stage of becauseour singer was like reading off
the lyric, because he wasn'tfamiliar with all the songs yet,
and I had kicked his lyrics offthe stage and got back up my
drum wiser, and he's up, he'slooking at me like what the hell
did you do?
it's like so that was kind of amoment where I mean it ended up
(24:34):
ended up coming across fine, butit was just one of those
moments, like it was an oh shitkind of moment.
Excuse my language.
Speaker 4 (24:41):
Yeah, wow, that's amazing.
If someone walked up to you andsaid how would you describe
your music style to someone whohasn't heard it before?
Speaker 3 (24:52):
Ooh, that's you know's so many.
You know, we just talked aboutthis a couple days ago on one of
our podcasts.
You know there's so manydifferent titles and subtitles
of even rock and metal now thatif you say you know just regular
rock music, I mean that couldbe mean 30 different genres,
different things.
Now, you know because you gotdeath metal, you got screamo
(25:14):
metal and you've got new metaland you know there's just so
many different genres, differentthings.
Now, you know because you gotdeath metal, you got screamo
metal and you've got new metaland you know there's just so
many different genres out there.
So I think the best way todescribe the type of music that
we play, um, would be just to,you know, name a couple of bands
.
Like you know, black sabbath,um, you know, maybe scorpions,
(25:35):
something that's in the classicrock, maybe hard rock genre,
judas priest, something likethat.
That you know it'll give them agood idea of the type of type
of music we're playing.
Because you know, you just saymetal now, and that could mean
so many different things okay,let me test you oh van halen
(25:56):
metal or not?
van halen, I would say no, I'dput that more on a hard rock,
you know.
Speaker 1 (26:07):
But okay, okay, I agree with that.
I mean, this is my riot quiet,right that's.
Speaker 3 (26:13):
That's kind of a funny one Commercial rock.
Yeah, commercial rock.
I mean we actually opened upfor Quiet Riot once back in the
day and that was a great show.
It was amazing to meet allthose guys.
I've got to say the late KevinDubrow.
He was a character, he wasinteresting, he was a character.
Speaker 1 (26:34):
He was interesting.
Speaker 3 (26:37):
He was a character, without a doubt, but it was
really nice to meet those guys.
But yeah, I think they're kindof on the edge of maybe being
metal, but not quite.
I mean, throw some other namesout out there Metallica,
(26:58):
definitely metal.
Quite I mean, you know, throwsome other names out at there
metallica, definitely metal.
Yeah, they've gotten a littlebit more commercial than I would
like to to say.
You know, I love their firstthree or four albums and lately
they've gotten morecommercialized, but their newer
stuff seems like they're tryingto get back to where they were.
I mean, I'm a huge fan of cliffburton, their original bass
player, so I, you know I lovethe old stuff tool tool I would.
Speaker 1 (27:20):
I would consider a more more progressive kind of
metal actually great bassinteresting, interesting.
Speaker 4 (27:27):
So I asked a musician once.
I said what's the differencebetween um death metal and heavy
metal, like, what is thedifference?
What's considered death metaland heavy metal?
What is the difference?
What's considered death metalto you?
Speaker 1 (27:35):
To me, it's all about lyrics.
When you start getting intosubgenres, it's kind of what
they're trying to portray intheir lyrics.
To me, that's the hugedifference between at least
those two that you mentioned.
Speaker 3 (27:50):
When you get the vocalist, that's doing more of
the.
That's what I would call deathmetal they're doing.
Speaker 2 (28:02):
What are they saying?
Speaker 4 (28:04):
Exactly exactly.
Speaker 3 (28:07):
Actually, last summer I had the chance to see a band
called Avatar, which I thinkthey're out there as like a
maybe a death metal.
I'm not sure what genre theywould be labeled under, but you
know, I didn't know how I wouldreact to it and how I'd like it,
cause my, my son, actuallyinvited me to go see that show
and and they were actuallyamazing.
(28:27):
But I would kind of throw themin there with the death metal,
because some of the stuff youreally couldn't understand.
But the music was definitelymetal and yeah, yeah, death
metal.
I, I, I consider if you canhear some of the lyrics, but not
all of them.
Speaker 4 (28:47):
Yeah, Uh metal.
Heavy metal doesn't mean,you're sure, but, um, I know
tool does that quite a bit,saying ah, I don't know.
But I know Tool does that quitea bit and I'm not really into
heavy metal.
But it's kind of interesting tofind out what is death metal,
what is heavy metal, like LedZeppelin?
Is that metal or not?
Speaker 3 (29:08):
Yeah, and I guess it really depends on who you ask
and what style of music they'reused to listening to.
Some people would probably sayLed Zeppelin is heavy metal,
where I really wouldn't considerthem heavy metal.
Speaker 1 (29:23):
That's more of a hard rock I would think Classic hard
rock.
Speaker 4 (29:25):
I would say yeah.
So it says that you're a musicteacher, both of you, or just
you, rob.
Speaker 1 (29:34):
I did it for about 10 years, basically music theory,
beginning intermediate andadvanced drums and beginning
guitar.
I mean that was a greatexperience.
It actually helped me to getback to learning the
fundamentals, because as youplay a lot, you tend to forget
the fundamentals as far as likethe basic rudiments and things
(29:56):
like that.
So it was great.
I actually enjoyed it.
Seeing that light bulb go offin somebody else when they learn
something they really alwayswanted to learn to me was the
most exciting part of it.
Speaker 4 (30:07):
What are you teaching them first?
What's the first day like?
Speaker 1 (30:10):
First thing is basically just getting to know
each other.
I mean, that's what I did, andthen on a chalkboard I would
show them okay.
Well, here's the very basics oflike notes.
You know difference between aneighth note, 16th note, 32nd
note, whatever it would be,whole note, half note, just the
very basics and then from therejust how it might.
(30:33):
My structure was just kind ofgetting to know them and seeing
what they really wanted to learnand then kind of do that on an
individual basis.
Speaker 4 (30:39):
Do you still do it or did you quit?
Speaker 1 (30:41):
No, I haven't done that for the last probably year.
I enjoyed it, but I'd like toget back into it.
Speaker 4 (30:47):
Oh wow.
So, guys, what do you think isthe most rewarding part of being
a musician?
Speaker 1 (30:55):
To me it's every part of it.
I just love playing period.
I mean everything from learningnew songs to performing them,
to setting.
I mean every piece of it Ienjoy.
I really do.
Speaker 3 (31:08):
Yeah.
I mean the most rewarding for me, I think, was not only getting
good enough to where I can playwith my brother and be
comfortable and playing in aband environment with other
talented musicians and and themnot saying, hey, who's this bass
player?
He sucks, you know, and youknow being on the same level as
(31:28):
you know someone you'd callprofessional musician.
And then, you know, thehighlight would be, you know, to
play one of your songs,something that you've written,
and for people to like it.
I mean that moves me more thananything that I can even name.
That would definitely be it.
Speaker 4 (31:48):
That's interesting, Rob.
It mentions that you haveexperiences in creating bands.
How many bands have youactually created, you might ask?
Speaker 1 (31:58):
That I personally created about four.
Wow, between Dana and myselfwe've created probably two or
three, but myself I mean four,and that's a great process.
It's a great and frustratingprocess.
Just getting the right peoplein the same room is sometimes
the biggest challenge.
And then even once you do havepeople in the same room is
sometimes the biggest challenge.
And then even once you do havethem in the same room, how those
(32:22):
personalities develop over timecould be a huge struggle as
well.
So I mean it's fun, but it canbe aggravating and rewarding at
the same time.
Speaker 4 (32:34):
Were they all, four of them, successful, or did you
just say you know?
Speaker 1 (32:37):
guys forget it.
Speaker 4 (32:38):
Forget it.
Two weeks you're gone.
Speaker 1 (32:43):
Not me, not the initial project, but over time.
Yes, I mean, when you're firststarting a band, getting the
right people in the room, like Isaid, is the number one
challenge, so sometimes it takes, you know, some tweaking.
You got to get rid of a guy,add another guy.
It's a process, but all fourthat I've been in I mean the
main ones that I've beeninvolved in have turned out to
be pretty successful.
Speaker 4 (33:06):
Tell me about the time that you met a band member
where you're just like I don'treally want to go up to him and
say that you're not good for theband, that he should leave.
Speaker 1 (33:16):
There's been a lot of those actually.
So I mean specifically, whatare you asking me?
How do you handle that?
Speaker 4 (33:24):
Yeah, give me one of the worst situations where you
just don't know what to do.
And they were good too.
Speaker 1 (33:32):
Yeah, I hate to even mention those because it might
indicate who they are, but it'salways a very, very painful
thing to do, especially ifthey're talented.
But if you're not getting alongpersonality-wise, you're not
going to be able to go out andplay shows every weekend with
this person, if you just can'tget along with them.
(33:53):
So it's a very difficultscenario actually, but we've had
to do that on a number ofoccasions, but in the long run
it's best for everybody in theband.
So I mean you, you've got to doit.
Speaker 3 (34:04):
we made one mistake, and that that one I, we, uh, we
had, we had a really good, youknow, successful band and we
brought on a new singer becauseour old singer had had to quit
for some reason, and the newsinger suggested we get rid of
another member of the bandbecause we were looking for more
(34:24):
of a look instead of the way wewere playing.
We were basing on looks, andone guy just looked a little bit
different than the rest of us,and so we parted ways with him,
and that was a big mistake.
He was a very talented guy andto this day I hated the fact
that we did that, because theband pretty much went
dysfunctional after that good,good example, good example oh
(34:49):
wow, right.
Speaker 4 (34:51):
So you know um it's, it's drums, you know right right
?
Speaker 1 (34:55):
I think right.
Speaker 4 (34:55):
Well, primarily yes yeah and yeah, and I know that
you taught beginning advanceddrums.
Now, when you teach someone howto play the drums, what do you
tell them?
To work on the snare first, doyou teach them how to do the
thing and be able to do this?
Speaker 1 (35:14):
First, well, primarily, I mean I teach like a
4-4 pattern to begin with,because that's, you know, the
obvious one, the 2,.
You know you hit the snare onthe 2, and the kick on the 2 and
the 4.
It's, like you know, eighthnotes on the hi-hat, just a
simple 4-4 pattern and, believeit or not, most people can do it
.
That don't even think they can.
There's always like 1 in 10that just does not have the
(35:39):
coordination to even do that.
But most people, believe it ornot, have the ability to play a
basic rock song, which is yourbasic 4-4 pattern.
Speaker 4 (35:49):
So what about cover songs?
What cover songs have youperformed, or do you like cover
songs?
Speaker 1 (35:56):
That's a tough question because I do like cover
songs but I'm not thrilledabout performing.
I prefer originals only becauseit's something you've created.
But we're currently playingcover songs some cover songs and
we really enjoy them, like WarPigs by Black Sabbath, because
that's a classic and everybodyknows it and loves it and it's
(36:17):
got some good changes.
I mean it's not a typicalpattern for most songs.
It's got some different coolchanges to it.
So I mean it's a tough questionbut I do enjoy playing the good
ones.
In my opinion.
Speaker 4 (36:36):
Yeah, so have you faced any challenges or setbacks
in your musical journey?
How did you overcome them?
Speaker 3 (36:41):
oh boy good questions yeah I mean there's been, you
know, quite a few setbacks andyou know, I think the majority
of them, you know, and it's noteven because of the musicians,
it's you know, a lot of it'sjust personal, the personal
stuff that gets in the way, youknow, whether it's somebody got
(37:04):
married or somebody got divorced, or you know somebody had to
move for a job.
You know those kind of thingsare really tough to overcome
because you know, if you've gotlike, you know we had this one
band you know, monolith RenoNevada.
That was very popular in thearea and we did a bunch of stuff
on the West Coast and when itended up being twirled we had a
(37:30):
band member that had to leavefor a job or move out of town
and it was tough to duplicate,duplicate, duplicate that, um,
that band again, with justadding a number, another member.
So you know, so you know westarted over again and, yeah,
the the obstacles that that comewith keeping it.
You know I envy some of thesebands, like you know, the iron
(37:53):
maiden and some of these guys,scorpions, that have been on the
road for 40, 50 years together.
I mean they've had a few lineupchanges but the majority of it
is, you know the same band and Imean that's a hard thing to do.
I'm amazed at some of theseguys.
You know Rolling Stones andOzzy Osbourne, some of these
guys that have been doing it forthe number of years that
(38:15):
they've been doing it and arestill live.
It's amazing.
Speaker 4 (38:21):
Yeah, I know that people like Chicago, but I know
Chicago originally started withTerry Kath and then he died and
then Peter Cetera became thelead singer.
Then he left.
So would you consider that OzzyOsbourne was Black Sabbath?
So when he left, Black Sabbathcouldn't continue.
Speaker 1 (38:42):
No, they actually continued pretty well with
Ronnie James Dio and theycontinued on pretty well and I
think they I mean Ozzy himselfobviously continued to be very
successful.
But I think Black Sabbathcarried on well.
It obviously didn't have thesame feel, so to speak, but they
carried on very well.
Speaker 3 (39:03):
Yeah, one of the few bands that I think lost their
main vocalist and identity tothe band and still carried on
well.
Both.
Like I said, Ozzy carried onvery well and Black Sabbath did,
but you get some bands thatlose a major part of their
creative process and they're notthe same.
Speaker 4 (39:27):
So what do you think about Linkin Park and the death
of Chester Bennington and MikeShinoda resurrecting the band by
using Emily Armstrong as thelead singer?
Speaker 1 (39:36):
I'm not familiar enough with them to actually
give an opinion.
Speaker 3 (39:39):
to tell you the truth , I mean, I've heard a little
bit of them but I don't thinkit's the same.
You know, with the change, tome it doesn't work.
It's kind of like Van Halen Iloved early Van Halen with David
Lee Roth, you know, and I loveSammy Hagar, but together it's
just for me it didn't work.
Speaker 4 (40:07):
Wow, um, how do you say motivated?
Speaker 1 (40:08):
inspired when creating new music.
Uh, just working, I meanworking on it, and you, you, you
know if it's going to reallyinitially, you know if it's
going to work or not.
I mean, if you've got a likefor us we're like the bottom end
, the bass and the drums If thatpart's solid and it's got a
good foundation, the rest of itis going to come together, and
if it doesn't, you just move on.
Speaker 4 (40:33):
I mean there's a lot of times where you have to scrap
things that you think are goingto be good, but this just
doesn't gel in the end.
Yeah, wow.
So what do you think of AImusic?
Would you ever loan your voiceto record a song?
Speaker 1 (40:49):
Not my voice.
They don't want to hear myvoice, would you?
Speaker 4 (40:51):
ever use AI.
Speaker 1 (40:54):
Well, once again, that's an area I'm not familiar
enough with, but I don't likethe idea of AI being involved in
music.
I think that it takes away fromthe music is personal, I mean
it comes from your heart.
I mean it takes away from thataspect of it.
Speaker 3 (41:12):
Yeah, and personally for me, I hate to see some of
these bands that are usingbacking tracks you know, and
even live.
If you can't play the stuffthat you recorded live anymore,
then maybe it's time to be agreeter at Walmart or something.
Because you know, when you seeand I know this has surfaced on
(41:38):
YouTube and some other placesbut when you see these bands
that you know, all of a suddenthe track and it sounds like
they're still playing everything, but the guitar player isn't
touching the guitar singer's notsinging, but yet it's still all
there in its natural glory.
It's like you know, that's justnot.
It's not right to me.
I mean, you know I understandthat some of these guys are
(41:58):
getting up in age and maybe youknow the vocalist can't quite
hit those high notes, but youknow that's expected and you
know people want to go see theband for what they are not for.
Speaker 4 (42:13):
You know what they're pretending to be, rob Dana.
Does the technology playanything in your music creation
and performance process?
Speaker 1 (42:20):
I'm sorry, can you repeat that?
Speaker 4 (42:22):
Yeah.
Speaker 1 (42:30):
So what role does technology play in your music
creation or performance process?
Not a whole lot.
We don't use a lot of synthsounds or anything like that.
But as far as technology, Ithink that's more based around
recording, like practices andrecording period.
But I mean I use, I use atrigger for my kick drum, but
that's the only really part ofthat that we really use I mean,
(42:52):
some technology is good.
Speaker 3 (42:53):
You know, like rob touched on a little while ago,
it's ago back when we firststarted playing, we were
recording everything on a littleboom box in our storage unit.
And so now that we've gottenbetter 8, 16 track, 32 track
recorders that you can put inyour practice spot and actually
(43:14):
know your recording sound betterand you can hear your mistakes
or your progressions and andwhat you want to do better, you
know I like that technology.
Um, and you know I I do got,you know, a pedal board that has
quite a bit of technology in itwith, as far as you know, being
able to use different soundsand different different pedals
(43:34):
and, you know, creatingdifferent sounds with different
amps, whether it's tube or solidstate.
So I like some of that stuff,but, yeah, I would figure that
the drums doesn't use a wholelot of technology.
Yeah.
Speaker 4 (43:49):
Do you have any rituals or habits before
performing a recording?
Speaker 1 (43:54):
I have one.
I always do a shot of Patronand a beer.
That's my pre-gig ritual.
But other than that, really norituals, Other than you know,
just getting together witheverybody and say, hey, let's
have a good show and move on.
Speaker 3 (44:07):
Yeah, I think, something that just lets you
relax just a little bit.
You know, not a big fan ofthose guys that want to drink a
lot and, you know, hit the stageand they're halfway drunk and
don't remember what they'redoing.
Speaker 1 (44:20):
We've had problems like that.
We've had that problem, yeah.
Speaker 3 (44:23):
If you want to hit the pipe and get a little quick
hit in something just to easeyou a little bit, then I'm okay
with that.
Speaker 4 (44:33):
How do you feel that your music has evolved over time
?
Speaker 1 (44:37):
I think it's been a natural evolution.
I mean, you know, the betteryou get, the more relaxed you
get with your writing process, Ithink.
And I think what tends tohappen with like a lot of new
artists is they try to overplayeverything, and I think we've
gotten to the point where youknow not to overplay your parts
but to play them in a solid way,and that's actually a learning
(45:01):
process.
A lot of new performers theywant to overplay everything and
that's something you learn overtime.
Speaker 4 (45:08):
That's very true.
Speaker 1 (45:09):
Sometimes less is more.
Speaker 4 (45:13):
Yeah, less is more exactly.
Unless you have a guy named Lesplaying for you, then that's
more.
Yeah, Ladies and gentlemen ondrums, les Moore, I'm not saying
you can't more exactly.
Unless you have a guy namedless playing for you, then
that's more.
Yeah, gentlemen on drums, less,more I'm not saying you can't
be technical.
Speaker 1 (45:22):
I'm just saying you know there's a time and place
for for all that yeah, um.
Speaker 4 (45:28):
Can you share a moment when music profoundly
impacted your life?
Speaker 1 (45:32):
for me it was when I was a kid, went to my aunt's
wedding and saw my first liveband.
Like I said earlier, that's,that was the moment I was hooked
and I'll be.
I'll be playing drums until Ican physically no longer do it
because of that, that firstencounter with a live band.
Speaker 3 (45:49):
And mine was.
You know, like I said,listening to my brother play in
the basement all the time I knewI loved music as far as
listening to it I didn't.
When I knew I wanted to be amusician was one of the first
concerts I saw was Ted Nugent,and the guy came swinging on the
stage off a rope and just yeah,I mean just a crazy guy that he
(46:11):
is and just seeing how he actedon stage, how the, how the
audience reacted to him and justthe energy and the feeling
around it all, it's like I don'twant to be a part of the
audience.
I wanted to be on stage myselfand that Ted Nugent concert
definitely did it for me.
Speaker 4 (46:32):
Yeah, what do you think of Triumph?
I mean, we have the Metalworksstudio just like 20 minutes from
here and Prince recorded hisMusicology album there.
Nelly Furtado recorded there.
If you walk into the recordingstudio you'll see the platinum
(46:53):
records behind the frame andtheir autograph of all the
people and it's owned by Gilmorefrom Triumph.
Gilmore behind the frame andtheir autograph of all the
people that and it's owned bygilmore from um triumph.
Gilmore and uh, they come induring the week but they have
like um tours every so often anduh, the recording studio is
amazing.
What they did is um queenliterally allowed them access to
(47:18):
the original recording ofBohemian Rhapsody and the guy
behind the fairly large 100 to200 lever recording thing.
Speaker 1 (47:29):
The board the mixing board.
Speaker 4 (47:33):
Yeah, so he would.
This is Freddie Mercury's voiceand he would isolate that.
And this is then he'd isolateall the others, then he'd
isolate.
It's a beautiful, beautifulthing.
I think it was awesome to seethat.
It's awesome.
Speaker 3 (47:50):
Yes, as far as Triumph, I mean I love, I've
always liked Triumph.
I mean there's, you know, likeI said's, there's quite a few
canadian bands that I absolutelyloved, you know, triumph, and
of course, rush, and I thinklover boy was even from, you
know, canada, and it wasn't ahuge fan of that.
Speaker 1 (48:08):
Chrissy, chrissy steel.
Speaker 3 (48:10):
Oh, chrissy steel, yeah oh yeah, that's right yeah
um, but yeah, I, I love you know, and funny, you know, not that
this has anything to domusically, but you know, for a
while there I lived on the WestCoast and you know Santa Rosa,
napa Valley, and forThanksgiving, you know me and my
family would go up to BritishColumbia for Thanksgiving,
(48:31):
because you know it's not aholiday for them up there and we
always, you know, to get awayfrom America and all the
traditions, we go up to BritishColumbia and Vancouver and I, I
absolutely love Canada.
I mean, I'm a huge, huge fan ofof Canada, with the exception
of, you know, and I don't knowif I should probably be saying
this but we, we went to the Eastcoast once and and into
(48:52):
Montreal and wasn't a huge fit.
That's a different Canadian,that's a different Canadian,
that's the French Canadians, youknow.
I mean, I like, I love BritishColumbia, absolutely, loved it
up there.
Never been to Toronto, whichI'd like to go to someday.
Speaker 4 (49:10):
I'll give you a good tour of Toronto if you like Take
you up to.
Cn.
Speaker 1 (49:12):
Tower.
Speaker 4 (49:14):
Take you to the El Macombo, which is almost 60
years old.
That's where most of the bandsplay.
You should look it up, elMacombo.
Speaker 1 (49:20):
Okay sure it's been there for years.
Speaker 3 (49:24):
I'm a huge hockey fan and I know all.
Canadians are.
Speaker 4 (49:30):
Definitely so.
Tell me more about the podcast.
How do you find your talent?
What's your first thing you do?
Speaker 1 (49:38):
Well, our basic philosophy is we want to help
musicians.
I mean, that's kind of what westarted to begin with Everything
from garage to stage.
So we try to encompass thestages that a musician is going
to go through Right now.
We've talked to the CEO ofGrassFit Music, which is in Los
Angeles.
We've talked to a producer.
We've talked to the CEO ofGrass-Fed Music, which is in Los
(49:58):
Angeles.
We've talked to a producer.
We've talked to a mixingengineer Just all the kind of
things that a musician is goingto need to encounter in their
journey from garage to stage andbeyond.
Speaker 3 (50:13):
Yeah, I mean our first episodes.
First couple episodes werebased on okay, you're a musician
playing in your bedroom.
You know how do you get a bandgoing, how do you even start the
process of auditioning or goingto auditions or auditioning
people if you want to start aband, and so we talk about all
the.
You know, like Rob said, thejourney that it takes from being
(50:36):
a solo kid or an adult in yourroom to forming a band.
Then, once you got that bandgoing, you know how do you
approach clubs to get to playinto the clubs and all the
trials and tribulations and allthe all the fun and and the
humor and the bad stuff thatkind of goes along with all of
(50:57):
it, because there is good andbad, I mean oh yeah
Speaker 4 (50:59):
yeah yeah, that's true.
Wow.
So to find a talent, you justreach out to them and email them
, or do they come to you, or uh,kind of a combination of both.
Speaker 1 (51:11):
In fact, we're going to ask you the same thing is how
do you get yours?
Speaker 3 (51:15):
yeah, I just saw one of.
I just saw one of your recentepisodes I'm not sure if it's
recent, but one of your episodeswhere you were interviewing the
bass player for Accept.
And we're a huge Accept fan andof course I jumped on that
right away.
It's like I would love to beMartin.
Speaker 4 (51:29):
Motnik.
Speaker 3 (51:30):
Yeah, Martin.
Speaker 4 (51:30):
Motnik and I are good friends, he's good.
Speaker 3 (51:32):
What is your process to get in touch with these
people?
Speaker 2 (51:34):
Because we'd love to know that secret.
Speaker 3 (51:35):
Okay, touch with these people, because we'd love
to know that.
Speaker 4 (51:38):
We'd love to know that secret.
Okay, I'll tell you the secret.
You ready yeah?
Speaker 2 (51:43):
what I do that was good.
Speaker 4 (51:48):
That was good.
I like that.
So what you do, what you haveto do, is you have to determine
who you want on your podcast,and then what you do.
You listen to their music andyou go to facebook and see on
the bottom it says to theirmusic and you go to facebook and
see on the bottom this is aboutinfo yeah and you check to see
if there's an email.
If there's an email, then youjust email them.
But if they don't, you go tothe website, you go to contact.
(52:09):
They'll tell you, okay, themanager to contact them.
You have to contact them.
Or if you just want to send mean email, here's my email and
then you got from there.
But if they in the menu, theyjust have a contact form.
Fill out the form, who you are,and put in your email and
they'll send to you.
One of my old co-hosts, kylie.
She originally just went rightinto Instagram and she sent a
(52:32):
private message and they said,yeah, I'd love to.
I tried the same thing nothing,I realized oh, because she's a
girl yeah.
Speaker 2 (52:43):
That makes sense.
Speaker 4 (52:44):
But we're trying to get Sting, we're trying to get
Alice Cooper.
Speaker 1 (52:48):
Oh, wow.
Speaker 4 (52:49):
Tomorrow we have one of the biggest opera tenors who
is friends with Trump and allthat stuff.
So yeah, we're going, big manwe're going big and Martin
Montnick's great.
That's why I wanted him morethan three hours on the probe
because I thought he was worthit Cool.
Speaker 1 (53:06):
I'm glad you're having success with it.
I really am.
Speaker 4 (53:10):
If you need anybody, let me know If there's anybody
on there you need.
I'm free to give their emailsif you want.
Speaker 1 (53:16):
Sounds good.
I appreciate that.
Speaker 4 (53:18):
It's a really good.
I can get you a Martin Monickon there if you want.
Speaker 1 (53:24):
Love it.
That would be ideal.
Speaker 3 (53:26):
As a bass player, I would love to talk to that guy.
Speaker 4 (53:31):
So, yes, that's great , wow, and we can exchange notes
after as well.
Speaker 1 (53:36):
Yeah, sounds good.
Speaker 4 (53:38):
So what advice would you give to aspiring musicians
or songwriters?
They walk up to you and say,Dom, I want to be a musician or
a songwriter.
What do I do?
Speaker 1 (53:47):
Good question.
I would just say stick with it,stick to your guns and follow
your dream.
I mean, take advice from thingslike this, from podcasts from
other musicians.
Take advice from things likethis from podcasts from other
musicians.
I mean, just get every piece ofinformation you can to get to
that next level.
(54:08):
That's really what it's allabout.
Is that drive?
You've got to continue.
Speaker 3 (54:14):
If you feel it, continue with that drive and
just go for it.
And for me I would go more onthe personal side of it of it
also is like, okay, you lovemusic, great, how is your
relationship with yoursignificant other?
Because it's going to change.
It will change overnight, and Imean between the two of us.
We can't even tell you how manystories we've got of
relationships gone bad becausethey just don't understand you
(54:39):
know what you're putting intothis band.
They're like, well, what do youmean?
You're going to practice again.
You did last night.
It's like, well, yeah, and thentomorrow and the next day.
So I mean the commitment thatit takes.
If it's something that you'rereally serious about as, as I'm
sure you've heard from otherpeople you've talked to on the
professional end, it's, you knowit's.
It's not only another job, itit's your only job.
(55:00):
If that's what you want to doand it's.
And you've got to have thatsupport from the family or your
loved ones, otherwise you'regoing to be writing songs like
fools go yeah, um, I had one ofthe singers from little river
band on my podcast and I askedhim same question and he goes
(55:22):
don't don't well
Speaker 1 (55:24):
that could be a good advice too, I guess yeah, you
guys just said, don't.
Speaker 4 (55:34):
Well, I really appreciate this, guys hey, we
appreciate it really wonderfulguests.
I really look forward togetting this on the platform
because this is amazing.
I really appreciate how openyou are and boy everyone.
Things will be linked downbelow Rob Franklin, his brother,
Dana, and probably the musicmonolith, probably, and all the
things you need to know.
Thank you so much, Rob and Dana.
Speaker 3 (55:54):
Hey, thank you.
Thank you, it's been aprivilege.
Speaker 4 (55:57):
Wait right.
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