December 22, 2024 • 28 mins
The episode reflects on key insights from previous discussions, emphasizing the importance of rehearsal spaces, auditioning musicians, and band dynamics. Rob and Dana explore the significance of image in music versus musicianship, encouraging aspiring musicians to engage with their passion genuinely.
• Recap of previous guest insights
• Importance of secure rehearsal environments
• Strategies for successful auditions
• Establishing band goals and identity
• Approaching rehearsals with professionalism
• Tips for recovering from mistakes during live performances
• Discussion on the role of band image versus musicianship
• Call for new guest musicians in Season 2
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Hello and welcome to Franklin's Garage to Stage
podcast.
My name is Rob Franklin and myco-host is my friend, brother
and fellow musician.
Who are you man?
Speaker 2 (00:14):
Dana Franklin, otherwise known as Thunder Bass.
There you go.
Speaker 1 (00:18):
I'm doing really well .
A little upset about practiceyesterday because I wasn't on my
game, but you know it takes awhile.
Speaker 2 (00:25):
Even a bad practice is a good day.
Speaker 1 (00:27):
That's true, it's very true.
Well, this episode is basicallya recap of our previous episode
.
This is our end of season oneand in 2025, we're going to
start season two.
But first I want to thank ourtwo guests that we've had on our
show, which is John Franklinand Eric Bogumil.
They contributed and they did agreat job and it was great to
(00:52):
hear from them.
One's a brother and one's afellow musician that we jammed
with for a while.
Dana, what do you have to sayabout those two guys?
Speaker 2 (01:00):
Well, you know it's always good to get you know
different people's insight onwhat's going on in the music
world right now, and you know tohear it from someone that goes
and sees a lot of shows asopposed to somebody that's
actually participating in a band.
It's good to see the contrastof you know what's going on,
because obviously the musicscene out there now is a whole
(01:20):
lot different than it was, youknow, 40 years ago when we were
doing our thing a lot.
So it's interesting to see thechanges.
And you know good and bad.
You know I look at it as, likeyou know, you can't stop
progress.
But you know the 80s and 90swere they were fun.
Speaker 1 (01:40):
Yeah, they were Definitely.
Speaker 2 (01:42):
It's a different animal out there right now, but
it's all good.
Speaker 1 (01:47):
Okay, well, I want to put a request out there also If
you're in a band, or if you'rea sound person, a sound engineer
, we'd really like to have youas a guest on our Season 2
episodes.
So please get us yourinformation and we'll contact
you.
So please get us yourinformation and we'll contact
you.
And if you're in a band, we'remore than happy to supply your
(02:08):
MP3s and your band informationon our website.
So free publicity is a goodthing, huh, dana.
Speaker 2 (02:16):
Oh, absolutely.
Who can turn that down?
Speaker 1 (02:18):
It's all about social media these days, so it's a
good thing to get with anyadditional information out there
you can.
Speaker 2 (02:28):
Yeah, we're kind of new to this whole social media
stuff, so if there's anybody outthere that can give us some
tips on how to better deal withit.
We'll take those comments toogood or bad.
Let us know.
Speaker 1 (02:40):
Cool, cool.
Okay, so the first thing wewant to recap on from our
previous episodes is basicallyauditioning and having a place
to play.
It really depends on kind ofyour financial situation to
begin with.
I mean, I know we're calledfrom garage to stage but to tell
(03:01):
you the truth, I've neverreally done the garage thing to
stage.
But to tell you the truth, I'venever really done the garage
thing.
It's always either been astorage unit, a rehearsal place
that's established by companies,or in a house.
But in my opinion, the bestplace to do it is in a rehearsal
spot.
That's what their business is.
(03:23):
Rehearsal spot, that's like.
That's what their business is.
Um, one of my successful bandsin sacramento was rehearsed at a
place called sacramentorehearsal and it was kind of a
not only sacramento but theywere kind of a bay area company.
And not only was it secure,where you had to have a, you
know, a, a card key kind ofthing to enter, but a gate
(03:46):
entrance and all that kind ofthing.
So it was secure, it wasclimate controlled, had
restrooms and all those kind ofthings.
So it's kind of the bestscenario.
But it all kind of depends onyour financial situation.
But as far as I'm concerned,that's the best route to go.
What do you think?
Speaker 2 (04:08):
didn't you say that one that you played out in
sacramento?
Now it was also soundproof too,right?
Speaker 1 (04:12):
yeah, in every room was soundproof and some rooms
had roll-up doors where youcould just back up your you know
cars, trucks or whatever youhad to get your equipment to a
show.
So but you know, you know therates vary.
Nowadays they're a little bitmore expensive, but back in the
day we were at this place it was, you know, less than 500 bucks
a month, and if you're playingevery weekend, you know you can
(04:33):
handle a place like that andit's nice to have a place.
you know where you can go out,you know you can go to the
restroom, you know it's climatecontrolled.
You don't have to worry aboutall that shit.
Speaker 2 (04:43):
Be able to back up the U-Haul or set trucks to load
everything up and unloadExactly.
That'd be really nice.
Speaker 1 (04:49):
So I mean, that's my preference, but I know,
financially if you're not ableto do something like that, you
may have to do it in a home.
But then you have to considerneighbors, the proximity to your
neighbors and things like that.
We've also done storage unittype thing.
As long as there's climatecontrol, that works pretty well
(05:12):
too.
Speaker 2 (05:19):
But then you have to worry about security who has
access to the room and thingslike that?
Yeah, and other bands playingat the same time yeah and sound
travels through the walls.
Not as soundproof, so you'relistening and hearing everything
that's going on two doors downfrom you, exactly.
If you're a band that plays ata low volume to hear yourself,
and all of a sudden you've got ascreamo band next to you, I
(05:42):
think that could make for a badexperience, which we kind of
experienced yesterday actually.
Exactly.
Speaker 1 (05:49):
Okay, so you've got your location, like we've talked
about.
Okay, so, whether it be agarage, a storage unit, a
established rehearsal spot, kindof, the next step is like
auditioning.
If you haven't already done so,so you really need to audition
people.
So the best steps for that arewhat would you?
What would you say, dana?
Speaker 2 (06:11):
for auditioning people.
Well, if you're, if you're theones that are getting the band
going and you're looking toaudition people, you know, like
we've mentioned before, there'stons of social media sites now
that you can.
You know, advertise on um, youknow, local music stores, or you
know, once you find the people,you know this is this is kind
(06:33):
of where the area gets great.
It's like you really, you knowI think you mentioned once and I
think it's a great idea is, youknow, before you even go and
practice with these people, it'slike just meet somewhere, you
know, go meet at a restaurant ora bar and hang out for half an
hour just to see if you guyseven get along, before you waste
, waste the time on practicebecause, you know, 10 minutes
into you might realize like, hey, you know, you're just not what
(06:56):
I'm looking for.
Vice versa, they could be like,yeah, no, this isn't going to
work out.
So I mean, excuse me,personality is it's gonna, it's
gonna make or break the band.
I mean, you can have five guysthat are all great musicians,
but they don't get along.
So you know that doesn't do youany good.
So, yeah, I would highlysuggest some kind of meeting
(07:18):
ahead of time to uh, you know,just feel everybody out, see
what everybody's all about.
Speaker 1 (07:22):
Yeah, good point, good point.
Okay, dude, we talked about youknow getting people.
You know you've met them in abar or whatever and you're
getting ready to go practice,get into a practice place and
then you want to reallydetermine what kind of genre
number one you're going to play,what kind of set you're going
(07:43):
to do, are you going to playwhat kind of song?
I mean what kind of sets you'regoing to do.
Are you going to be long setsand short sets?
Are you primarily focused onplaying to a particular group of
people, or you know, basically,how you're going to set up your
practices?
In your opinion, what's a goodway to the the format that?
Speaker 2 (07:59):
yeah, I.
I guess the the first bigquestion would be you know how
does everybody feel about you?
Are you going to be strictly acover band or are you going to
be an original band?
Are you going to kind of be ahybrid between both of them and
try to do both?
I mean, it's one of thosethings where I think, once again
(08:20):
, this is two differentscenarios and two whole
different animals.
You can be a great cover bandor you can be a great original
band.
To try to do both, I think it'shard, unless you're just
starting out and you know youwant to do a couple of originals
, just so people recognizesomething that you're doing.
Um, but you know that's onething you really got to decide
(08:41):
on.
You know in the beginning isyou know which, know which which
.
What's your final destination?
Speaker 1 (08:45):
you know what are your goals what are you going to
focus on exactly?
Speaker 2 (08:49):
yeah, because you know if you're going to be a
cover band, then you know youcan spend all your time, you
know, trying to figure out, okay, what songs you know.
Not only do you want to do, butwhat are the.
You know the places you'regoing to play.
What are the people want tohear hear?
For your cover band, it's notall about you, it's what the
people want to hear, whether youlike it or not, whereas an
(09:09):
original band, it's going to beyour stuff.
You're representing yourselfand you're showing your style
and influence on what you'redoing and not trying to copy
somebody else.
So that's a discussion that youdefinitely have to have during
those first couple of practices.
Speaker 1 (09:27):
And I know what we've run into a lot is having a
vocalist join later.
So ironing out those songsprevious to having a vocalist, I
think is kind of a good thingactually, because you're getting
a good foundation for yoursongs before you bring in a
vocalist, which could be a goodthing, I believe.
Speaker 2 (09:48):
Yeah, it's a great thing.
Like you said, with a couple ofthose bands that we were in
we'd play for three or fourmonths before we got a vocalist,
so our musically was tight andwe weren't relying on when the
vocalist came in and lyrics.
We knew where all the changeswere, whereas, you know,
recently some of the otherprojects we've been trying, it's
like, you know, we had avocalist from day one, so all of
(10:10):
a sudden they don't show upwhen we try playing.
We were so reliant on thevocalist coming in that, you
know we had to really think like, oh wow, how does you know
where's our changes and how dothe progressions go?
Speaker 1 (10:21):
Yeah, it's a bad habit to get into too, keying
off somebody else rather thanjust concentrating on your part.
Yeah, it really is.
Speaker 2 (10:32):
You know they come in even one measure late, then it
really throws everything off andyou've got to think, okay, are
we going to play that extrameasure, or are we going to just
cut him off?
You've got to be on the samepage.
Speaker 1 (10:42):
Exactly.
Well, another thing we need totalk about, too is like okay,
we've talked about, you know,getting the people in.
You know we've auditioned them.
How do we control rehearsals?
I mean, do we establish atimeframe they have to be there
in, or um, and the amount oftimes you're going to show up
and you're within like a week ortwo, or what's your opinion on
(11:05):
how we should establish that?
Speaker 2 (11:06):
Yeah, I mean, my opinion personally is, you know
you got to, you got to approachit almost as a job it's.
You know, it all depends howserious you really want to be,
which, you know, these are allthings you can discuss in that,
you know, first meeting, maybe,first practice.
You know, is this somethingjust fun to do, that you want to
(11:27):
just hang out on the weekendsand throw a couple of jams
together and, you know, maybeplay out if you get to that
point, or is it something whereit's like, yeah, I work a
full-time job but you know, Ican practice three nights a week
still because I, you know, Ireally want to do this.
Um, so, depending on how, howserious everybody is about it,
you know that's gonna play a bigtoll on you know where you're
(11:49):
going and what practice is goingto be like.
But, like I said, personally, Ithink you know, even if you're
only going to practice once aweek, you can be like, okay,
we're going to practice everyFriday from six to nine and
we're going to go through theset list.
So, you know, do your homeworkbefore you come to practice, you
know.
Know the songs, don't userehearsal time as your practice
(12:10):
time.
You know you should bepracticing the stuff at home and
at least have a good idea ofyou, know what's going on in the
song and what you're, what youguys are doing you know, before
you even show up for rehearsalcool good point.
Speaker 1 (12:23):
Another thing is um, I've always been a real opponent
or proponent of uh practicingthe way you play live.
I know a lot of times,depending on you know, obviously
, your rehearsal spot, you maynot be able to rehearse at the
same volume that you play outlive, but I've always been.
Really I really like theemphasis on playing at your
(12:48):
practice the same way you playlive, because once you play live
, if you're not at the samevolumes volumes when you go to
play live, all of a sudden it'sa shock to everybody that
different volume levels and it'sit's kind of tough on not only
you but uh the pa.
You know person handling the paand all that as well.
So what do you think about it?
Speaker 2 (13:07):
no, I agree 100.
I mean it's not a.
It wouldn't be a bad thing tomaybe once a month do a
rehearsal and I've heard thisfrom other musicians do a
rehearsal at a really low volumeso you can really hear what's
going on and if there's likesome real subtle changes or time
changes, you can hear whateverybody's doing.
(13:28):
If you're doing it at a lowvolume, but I like the idea of
practicing as if you're playinglive, you know especially me
being a drummer.
Speaker 1 (13:37):
I mean, I like to hit the hit the kit at the same
volume.
I'm going to do it live,because if you're practicing at
a different level, I think it'sgoing to come across in your
live performances as not being.
You know, you're not reallygelling with the other musicians
if you're not really gellingwith the other musicians, if
you're not doing it the same wayyou did it in practice.
Speaker 2 (13:55):
Yeah, I mean I agree, especially as being a bass
player and you being the drummer, it's like you know, I got to
feel that bass drum.
Speaker 1 (14:02):
Exactly.
Speaker 2 (14:03):
I got to feel what you're doing.
It's like you know, if you'rejust, you know, just kind of
tapping it, then yeah thatdoesn't work for me.
Speaker 1 (14:09):
Yeah, that, yeah, that doesn't work for me.
Yeah, when I'm at a live show,I mean I want to feel that that
kick in my chest I mean I'm sureeverybody else is too I mean
something to stomp your feet to.
Is that that's really what youwant to hear when you're going
to a live show?
Speaker 2 (14:20):
yeah, exactly okay, dana.
Speaker 1 (14:22):
I think another thing we need to talk about is okay,
you, you've rehearsed, you'vehad good practices, you're
getting ready to play out, andyou play out and mistakes happen
.
What's a good way to not onlycover them, but to recover from
mistakes?
Speaker 2 (14:38):
yeah, that's.
Uh, you know, and like, yeah,like we, like we've said, every,
every band goes through this.
I don't care how professionalyou are, how long you been
playing exactly I mean, you knowwe've been in bands together
that have been together for two,three, four years, and you know
it happens.
Uh, and in bands together thathave been together for two,
three, four years, and you knowit happens.
And I guess the longer you playtogether you figure out how to
cover up for somebody else.
(14:59):
So that's, you know that is areally good question.
I know, you know, as a bassplayer, if I hear the guitar
player doing something totallydifferent, but I know that it's.
You know he just came intoprogression either late or early
, you know I'll just follow hislead as long as I know that the
drummer and everybody else is insync.
(15:21):
You know he's kind of, you know, tilt your head without making
it too obvious.
And you know, maybe, as you'reon stage, you know you're
strolling over, you're runningover, you're doing your stage
thing and you just make it lookas if, like, you're going over
to that person and you knowyou're just kind of like looking
at each other, like, okay, dowe know?
Are we on the same page?
Speaker 1 (15:37):
now, what the fuck?
Well, I know as a drummer, Iknow as a drummer, a lot of
times what I would do is justkick, keep the kick pattern
going and then kind of fall backinto the groove with my snare
when if I missed, if I missedthe section, you know.
Speaker 2 (15:54):
So it's tough sometimes to recover as a yeah,
and as a guitar player or bassguitar, but even as being, you
know, one of the guitar players.
It's like if I know I'm.
Just all of a sudden I feellike I'm lost and I totally
forgot something.
I'll just play like reallylightly and maybe just hit some
root notes, you know, justpretend like maybe that's even
part of the thing until I figureout where the hell I'm at.
Speaker 1 (16:16):
I know you've always been.
You've always been great at it,cause I very seldom heard
mistakes from you, and if theywere, there.
Speaker 2 (16:25):
They weren't noticed.
Like I said, it's you know andand what I've heard from other
people, especially, you know,people that are watching you.
Unless it's a cover song thatyou're doing note for note,
they're not even going to noticeit.
Speaker 1 (16:38):
You're going to notice it more than them, so
it's just a matter of you notmaking it look as if you made a
mistake.
Speaker 2 (16:44):
You almost got to be an actor and just play it off as
if like, oh yeah, that was acool little thing I was just
throwing in there.
Speaker 1 (16:50):
Good point, and you know what I've noticed.
I mean, I'm sure a lot of othermusicians have felt this way as
well, but some of my best showsyou get the least amount of
compliments.
Your worst shows, you get themost compliments.
And I've never reallyunderstood that.
I really haven't.
Speaker 2 (17:08):
Yeah, I think a lot of it is.
Also, you know who's who's inthe audience, you know what kind
of people do you have?
Of course Do you have moremusicians in the audience, or or
is it family members and justfriends that you know?
They don't know what the hellyou're playing and you know less
like, unless you're going intothe right key or the wrong key
(17:35):
or you come in early or late onsome progression.
But the musicians, if they knowthat song or particularly what
you're doing, they'll notice anylittle mistakes you make.
But they're also the first onesto compliment other musicians.
If you're on, they're going tobe like damn dude, that was a
fucking great show.
Yeah, very true, most musicianswe're all to be like damn dude
that was a fucking great show.
Speaker 1 (17:52):
Yeah, very true.
Speaker 2 (17:52):
Most musicians.
We're all a small family out inthe world and we're not going
to go and berate anybody, unlessyou're just an asshole.
Speaker 1 (18:00):
If you're one of those kind of musicians.
Speaker 2 (18:02):
You're just doing it because you're jealous that
those particular people are onstage and you're not.
And with that kind of attitudethey'll probably never be on a
stage.
Speaker 1 (18:11):
Very true, not, and with that kind of attitude,
they'll probably never be on thestage, very true?
Well, speaking of othermusicians, please do send us
your information.
If you're just starting in aband or if you're in an
established band, if you've got20 cds out, regardless of your
situation, please get a hold ofus if you want to be on the show
and we will.
We'll definitely support your,your website or whatever mp3s
out there you have, so pleasecontact us and we'd love to have
(18:34):
you on our show.
Okay, dana, what else do weneed to talk about here?
We're recapping last season, sowhat else have we talked about
in previous episodes that weneed to step on today?
Speaker 2 (18:47):
I think another one is image, you know.
I think another one is you know, image it's.
You know, when we were talkingwith our other guests, you know
our brother John, he said thefirst thing that he notices is
what the band looks like.
You know.
I kind of disagree with thatbecause I do too actually he
said oh, there's a bunch of baldguys up there.
(19:09):
Well, you know, you look at JoeSatriani, wolf Hoffman from
Accept.
I mean, they're all bald dudes.
I mean a lot of the good guitarplayers out there now that are
aging.
I mean, you know, we've alllost our hair.
I mean, if you're a 20-somethingband and you're looking for
that, you know metal and youstill want the long hair and
maybe even throwing you know,throwing some of the gothic
(19:31):
makeup and stuff like that onthere, then, hey, I understand.
If you're doing image as awhole, the whole band, I agree.
Speaker 1 (19:40):
Unfortunately, I used to feel that way as well.
Unfortunately, I did feel thatway at one point.
Speaker 2 (19:46):
Yeah, we definitely were doing that the whole time.
At one time my hair hair downto my ass and I refused to cut
it because no matter what job orwhat it's like, no, I've got to
keep the image for the band.
That was a huge thing.
I totally understand the bandsthat are are still doing that,
um, but that's one thing you gotto agree with with all all your
(20:07):
other fan, other other, yourfellow bandmates.
It's like you know what?
What are we?
What are we looking for as faras an image is?
Are we going to have an image?
We're just going to do streetstyle jeans and shirts or, you
know, leather?
I mean, where are we going withit?
So that's something I talkedabout yeah, in my opinion.
Speaker 1 (20:26):
I mean nowadays it's more about social media than it
really is about.
Like.
Back in the day it was flyerswith pictures of you and you
know image was a huge thing.
I think nowadays, to me, what'smore important is your
musicianship.
Are you a good musician?
That's what I listen for when Igo see other bands oh,
absolutely.
Speaker 2 (20:44):
I don't give a shit what they look like.
You know, I've I've listened tohundreds of bands on spotify.
I have no idea what they looklike exactly you know, and I
don't care because they're greatmusicians.
You know it means you know.
I always use the, the bandvolbeat, as one of my examples
now because you know, first timeI saw what they really look
like, I was surprised.
They looked like a bunch of youknow yuppies and you know guys
(21:05):
with short hair, but they kickass and I love their music.
So it's like you know.
I don't you know, unless you'rea particular doing a particular
genre and you want to look aparticular way, I I don't think
image is as big of a deal as itwas in the 80s I don't think so
either.
I really don't well, anotherthing about musicians.
(21:27):
I just want to throw this andthere's like, you know, enjoy
the ride, you know, when you'redoing it, enjoy every practice.
And I mean I, I love going topractice.
It's, you know, I I never sayit's like I just don't feel like
doing it.
You know, like some peoplemight have practiced if they're,
you know, if they're, you know,professional athletes and like,
yeah, I just don't feel likeyou know, but musician, I just I
(21:49):
can't wait to go to practice.
I mean it's just not only is itjust an outlet, but it's just
like I love.
You know, I love the feel ofplaying music.
I mean, hearing it and playingit are two different things.
And I just I love hearing that.
You know that bass drum in mychest and you know, and the
guitars and everything, I meanthere's no feeling like it.
And once you get to the pointwhere you're playing in front of
(22:11):
people and you hear peoplecheering for you, especially if
you're an original band and theylove your music that you
created, there's no drug thatcan replicate that.
Speaker 1 (22:21):
That's an excellent, excellent point.
And your musicianship showsthat as well, because when you
play, even at practice, I meanyou're always on point.
And you know, your musicianshipshows that as well, because
when you play, even at practice,I mean you're always on point
and I think that's really,really important.
If you're not feeling it, Imean maybe musicianship isn't
what your goal should be,because you really have to love
it.
I mean, in order to be a goodmusician, you have to feel the
(22:43):
music.
I mean feel the, you know whatyou're doing and be able to
perform it like you enjoy it.
Speaker 2 (22:51):
Yeah, and going back to a point that you said earlier
about practicing as if, likeyou're playing live.
Another good point would bewhen you're practicing, you see
so many guitar players and bassplayers and maybe even vocalists
looking at iPads trying tofigure out the lyrics, or guitar
players and bass players andmaybe you know even vocalists
looking at ipads, you know,trying to figure out the lyrics,
or guitar players and bassplayers, always looking at the
(23:12):
neck, at the notes that you'replaying.
It's like you know practice asif you know you want to interact
with the crowd.
You can't do that if you'realways looking at your, you know
, fretboard or keyboard orwhatever you know your choice of
instrument is like you know,yeah, you're gonna make mistakes
until you get a feel foreverything you're playing.
But you know you look at theseprofessional guys out there that
have been on tour forever.
(23:33):
It's like you know they'reinteracting with the crowd.
They're looking up the crowds,you know.
Maybe during the solo theymight be doing some little bit
of glancing, but for the mostpart their heads are always up
looking at the crowd all right,I I think that comes across too.
Speaker 1 (23:46):
I mean how you feel it's going to come across to the
crowd?
I mean I enjoy shows where Isee musicians, like looking at
each other, laughing, you knowinteracting with the crowd, like
you said.
Speaker 2 (23:56):
I mean it's a totally different feeling you have for
that show than bands that juststand there and then play and,
you know, don't express anyfeelings yeah, if you're just
standing there playing andlooking at what you're doing
because you don't feelcomfortable not looking at it,
you know that takes you awayfrom running around on stage.
(24:16):
You know doing all the stuffthat the audience wants to see
exactly you're there you knowyou're there for them.
I mean they're they paid, orthey're they're paying buying
beer or whatever they're doingto come see you.
It's like you know you got togive them a show.
You know you're.
It's a, it's a performance.
It's not.
It's not practice, it's aperformance.
Speaker 1 (24:37):
So it is, it is worth .
Okay, well, thank you everybody.
This has been a just a kind ofa minor recap of what we covered
in episode one.
Like we said, episode or seasontwo, we really want to cover
more of the playing out in theclubs aspect of it all, as far
as, uh, working with a soundengineer or working with the bar
(25:00):
owners and basically gettinggigs.
So if you're involved in anyaspect of that in your band,
like I said, please get us yourcontact information and and help
us with these episodes.
Being a guest, dana, what doyou think?
Speaker 2 (25:16):
Cool, I, I, I like everything you just said.
And the more, the more info weget from everybody, the more we
can spread the word.
And I mean, you know we'redoing this to help out other
musicians, know we're notgetting paid for this, it's, you
know, it's not like we'resitting at home.
Just, you know, getting moneyfor this.
We're doing this to helpanybody.
It's it's in the situation thatwe were at or that's, you know,
(25:39):
looking to get somethingstarted, or even if you've
gotten started, it's like youknow, and we'll talk about that
next year with our new episodes.
As far as legal stuff that goesinto it studio time and now
that you are out of the garageand you're playing live, okay,
well, now you've got anotherwhole set of stuff to think
(26:02):
about, exactly, and we'lldiscuss that next season.
Speaker 1 (26:04):
Sounds good.
Sounds good.
Hey, well, I want to wisheverybody a Merry Christmas, if
that's what you celebrate, and ahappy new year.
And Dan, thank you.
And I want to thank everybodyout there that's that's been a
loyal listener and our to ourtwo previous guests.
I want to thank them and pleasedo visit us on season two.
(26:24):
Cool, keep the music alive.
People All right, and please dovisit us on season two.
Speaker 2 (26:28):
Cool.
Keep the music alive, people.
Speaker 1 (26:30):
All right, Thank you everybody.
Bye.
Hello and welcome to Franklin's Garage to Stage
podcast.
My name is Rob Franklin and myco-host is my friend, brother
and fellow musician.
Who are you man?
Speaker 2 (00:14):
Dana Franklin, otherwise known as Thunder Bass.
There you go.
Speaker 1 (00:18):
I'm doing really well .
A little upset about practiceyesterday because I wasn't on my
game, but you know it takes awhile.
Speaker 2 (00:25):
Even a bad practice is a good day.
Speaker 1 (00:27):
That's true, it's very true.
Well, this episode is basicallya recap of our previous episode
.
This is our end of season oneand in 2025, we're going to
start season two.
But first I want to thank ourtwo guests that we've had on our
show, which is John Franklinand Eric Bogumil.
They contributed and they did agreat job and it was great to
(00:52):
hear from them.
One's a brother and one's afellow musician that we jammed
with for a while.
Dana, what do you have to sayabout those two guys?
Speaker 2 (01:00):
Well, you know it's always good to get you know
different people's insight onwhat's going on in the music
world right now, and you know tohear it from someone that goes
and sees a lot of shows asopposed to somebody that's
actually participating in a band.
It's good to see the contrastof you know what's going on,
because obviously the musicscene out there now is a whole
(01:20):
lot different than it was, youknow, 40 years ago when we were
doing our thing a lot.
So it's interesting to see thechanges.
And you know good and bad.
You know I look at it as, likeyou know, you can't stop
progress.
But you know the 80s and 90swere they were fun.
Speaker 1 (01:40):
Yeah, they were Definitely.
Speaker 2 (01:42):
It's a different animal out there right now, but
it's all good.
Speaker 1 (01:47):
Okay, well, I want to put a request out there also If
you're in a band, or if you'rea sound person, a sound engineer
, we'd really like to have youas a guest on our Season 2
episodes.
So please get us yourinformation and we'll contact
you.
So please get us yourinformation and we'll contact
you.
And if you're in a band, we'remore than happy to supply your
(02:08):
MP3s and your band informationon our website.
So free publicity is a goodthing, huh, dana.
Speaker 2 (02:16):
Oh, absolutely.
Who can turn that down?
Speaker 1 (02:18):
It's all about social media these days, so it's a
good thing to get with anyadditional information out there
you can.
Speaker 2 (02:28):
Yeah, we're kind of new to this whole social media
stuff, so if there's anybody outthere that can give us some
tips on how to better deal withit.
We'll take those comments toogood or bad.
Let us know.
Speaker 1 (02:40):
Cool, cool.
Okay, so the first thing wewant to recap on from our
previous episodes is basicallyauditioning and having a place
to play.
It really depends on kind ofyour financial situation to
begin with.
I mean, I know we're calledfrom garage to stage but to tell
(03:01):
you the truth, I've neverreally done the garage thing to
stage.
But to tell you the truth, I'venever really done the garage
thing.
It's always either been astorage unit, a rehearsal place
that's established by companies,or in a house.
But in my opinion, the bestplace to do it is in a rehearsal
spot.
That's what their business is.
(03:23):
Rehearsal spot, that's like.
That's what their business is.
Um, one of my successful bandsin sacramento was rehearsed at a
place called sacramentorehearsal and it was kind of a
not only sacramento but theywere kind of a bay area company.
And not only was it secure,where you had to have a, you
know, a, a card key kind ofthing to enter, but a gate
(03:46):
entrance and all that kind ofthing.
So it was secure, it wasclimate controlled, had
restrooms and all those kind ofthings.
So it's kind of the bestscenario.
But it all kind of depends onyour financial situation.
But as far as I'm concerned,that's the best route to go.
What do you think?
Speaker 2 (04:08):
didn't you say that one that you played out in
sacramento?
Now it was also soundproof too,right?
Speaker 1 (04:12):
yeah, in every room was soundproof and some rooms
had roll-up doors where youcould just back up your you know
cars, trucks or whatever youhad to get your equipment to a
show.
So but you know, you know therates vary.
Nowadays they're a little bitmore expensive, but back in the
day we were at this place it was, you know, less than 500 bucks
a month, and if you're playingevery weekend, you know you can
(04:33):
handle a place like that andit's nice to have a place.
you know where you can go out,you know you can go to the
restroom, you know it's climatecontrolled.
You don't have to worry aboutall that shit.
Speaker 2 (04:43):
Be able to back up the U-Haul or set trucks to load
everything up and unloadExactly.
That'd be really nice.
Speaker 1 (04:49):
So I mean, that's my preference, but I know,
financially if you're not ableto do something like that, you
may have to do it in a home.
But then you have to considerneighbors, the proximity to your
neighbors and things like that.
We've also done storage unittype thing.
As long as there's climatecontrol, that works pretty well
(05:12):
too.
Speaker 2 (05:19):
But then you have to worry about security who has
access to the room and thingslike that?
Yeah, and other bands playingat the same time yeah and sound
travels through the walls.
Not as soundproof, so you'relistening and hearing everything
that's going on two doors downfrom you, exactly.
If you're a band that plays ata low volume to hear yourself,
and all of a sudden you've got ascreamo band next to you, I
(05:42):
think that could make for a badexperience, which we kind of
experienced yesterday actually.
Exactly.
Speaker 1 (05:49):
Okay, so you've got your location, like we've talked
about.
Okay, so, whether it be agarage, a storage unit, a
established rehearsal spot, kindof, the next step is like
auditioning.
If you haven't already done so,so you really need to audition
people.
So the best steps for that arewhat would you?
What would you say, dana?
Speaker 2 (06:11):
for auditioning people.
Well, if you're, if you're theones that are getting the band
going and you're looking toaudition people, you know, like
we've mentioned before, there'stons of social media sites now
that you can.
You know, advertise on um, youknow, local music stores, or you
know, once you find the people,you know this is this is kind
(06:33):
of where the area gets great.
It's like you really, you knowI think you mentioned once and I
think it's a great idea is, youknow, before you even go and
practice with these people, it'slike just meet somewhere, you
know, go meet at a restaurant ora bar and hang out for half an
hour just to see if you guyseven get along, before you waste
, waste the time on practicebecause, you know, 10 minutes
into you might realize like, hey, you know, you're just not what
(06:56):
I'm looking for.
Vice versa, they could be like,yeah, no, this isn't going to
work out.
So I mean, excuse me,personality is it's gonna, it's
gonna make or break the band.
I mean, you can have five guysthat are all great musicians,
but they don't get along.
So you know that doesn't do youany good.
So, yeah, I would highlysuggest some kind of meeting
(07:18):
ahead of time to uh, you know,just feel everybody out, see
what everybody's all about.
Speaker 1 (07:22):
Yeah, good point, good point.
Okay, dude, we talked about youknow getting people.
You know you've met them in abar or whatever and you're
getting ready to go practice,get into a practice place and
then you want to reallydetermine what kind of genre
number one you're going to play,what kind of set you're going
(07:43):
to do, are you going to playwhat kind of song?
I mean what kind of sets you'regoing to do.
Are you going to be long setsand short sets?
Are you primarily focused onplaying to a particular group of
people, or you know, basically,how you're going to set up your
practices?
In your opinion, what's a goodway to the the format that?
Speaker 2 (07:59):
yeah, I.
I guess the the first bigquestion would be you know how
does everybody feel about you?
Are you going to be strictly acover band or are you going to
be an original band?
Are you going to kind of be ahybrid between both of them and
try to do both?
I mean, it's one of thosethings where I think, once again
(08:20):
, this is two differentscenarios and two whole
different animals.
You can be a great cover bandor you can be a great original
band.
To try to do both, I think it'shard, unless you're just
starting out and you know youwant to do a couple of originals
, just so people recognizesomething that you're doing.
Um, but you know that's onething you really got to decide
(08:41):
on.
You know in the beginning isyou know which, know which which
.
What's your final destination?
Speaker 1 (08:45):
you know what are your goals what are you going to
focus on exactly?
Speaker 2 (08:49):
yeah, because you know if you're going to be a
cover band, then you know youcan spend all your time, you
know, trying to figure out, okay, what songs you know.
Not only do you want to do, butwhat are the.
You know the places you'regoing to play.
What are the people want tohear hear?
For your cover band, it's notall about you, it's what the
people want to hear, whether youlike it or not, whereas an
(09:09):
original band, it's going to beyour stuff.
You're representing yourselfand you're showing your style
and influence on what you'redoing and not trying to copy
somebody else.
So that's a discussion that youdefinitely have to have during
those first couple of practices.
Speaker 1 (09:27):
And I know what we've run into a lot is having a
vocalist join later.
So ironing out those songsprevious to having a vocalist, I
think is kind of a good thingactually, because you're getting
a good foundation for yoursongs before you bring in a
vocalist, which could be a goodthing, I believe.
Speaker 2 (09:48):
Yeah, it's a great thing.
Like you said, with a couple ofthose bands that we were in
we'd play for three or fourmonths before we got a vocalist,
so our musically was tight andwe weren't relying on when the
vocalist came in and lyrics.
We knew where all the changeswere, whereas, you know,
recently some of the otherprojects we've been trying, it's
like, you know, we had avocalist from day one, so all of
(10:10):
a sudden they don't show upwhen we try playing.
We were so reliant on thevocalist coming in that, you
know we had to really think like, oh wow, how does you know
where's our changes and how dothe progressions go?
Speaker 1 (10:21):
Yeah, it's a bad habit to get into too, keying
off somebody else rather thanjust concentrating on your part.
Yeah, it really is.
Speaker 2 (10:32):
You know they come in even one measure late, then it
really throws everything off andyou've got to think, okay, are
we going to play that extrameasure, or are we going to just
cut him off?
You've got to be on the samepage.
Speaker 1 (10:42):
Exactly.
Well, another thing we need totalk about, too is like okay,
we've talked about, you know,getting the people in.
You know we've auditioned them.
How do we control rehearsals?
I mean, do we establish atimeframe they have to be there
in, or um, and the amount oftimes you're going to show up
and you're within like a week ortwo, or what's your opinion on
(11:05):
how we should establish that?
Speaker 2 (11:06):
Yeah, I mean, my opinion personally is, you know
you got to, you got to approachit almost as a job it's.
You know, it all depends howserious you really want to be,
which, you know, these are allthings you can discuss in that,
you know, first meeting, maybe,first practice.
You know, is this somethingjust fun to do, that you want to
(11:27):
just hang out on the weekendsand throw a couple of jams
together and, you know, maybeplay out if you get to that
point, or is it something whereit's like, yeah, I work a
full-time job but you know, Ican practice three nights a week
still because I, you know, Ireally want to do this.
Um, so, depending on how, howserious everybody is about it,
you know that's gonna play a bigtoll on you know where you're
(11:49):
going and what practice is goingto be like.
But, like I said, personally, Ithink you know, even if you're
only going to practice once aweek, you can be like, okay,
we're going to practice everyFriday from six to nine and
we're going to go through theset list.
So, you know, do your homeworkbefore you come to practice, you
know.
Know the songs, don't userehearsal time as your practice
(12:10):
time.
You know you should bepracticing the stuff at home and
at least have a good idea ofyou, know what's going on in the
song and what you're, what youguys are doing you know, before
you even show up for rehearsalcool good point.
Speaker 1 (12:23):
Another thing is um, I've always been a real opponent
or proponent of uh practicingthe way you play live.
I know a lot of times,depending on you know, obviously
, your rehearsal spot, you maynot be able to rehearse at the
same volume that you play outlive, but I've always been.
Really I really like theemphasis on playing at your
(12:48):
practice the same way you playlive, because once you play live
, if you're not at the samevolumes volumes when you go to
play live, all of a sudden it'sa shock to everybody that
different volume levels and it'sit's kind of tough on not only
you but uh the pa.
You know person handling the paand all that as well.
So what do you think about it?
Speaker 2 (13:07):
no, I agree 100.
I mean it's not a.
It wouldn't be a bad thing tomaybe once a month do a
rehearsal and I've heard thisfrom other musicians do a
rehearsal at a really low volumeso you can really hear what's
going on and if there's likesome real subtle changes or time
changes, you can hear whateverybody's doing.
(13:28):
If you're doing it at a lowvolume, but I like the idea of
practicing as if you're playinglive, you know especially me
being a drummer.
Speaker 1 (13:37):
I mean, I like to hit the hit the kit at the same
volume.
I'm going to do it live,because if you're practicing at
a different level, I think it'sgoing to come across in your
live performances as not being.
You know, you're not reallygelling with the other musicians
if you're not really gellingwith the other musicians, if
you're not doing it the same wayyou did it in practice.
Speaker 2 (13:55):
Yeah, I mean I agree, especially as being a bass
player and you being the drummer, it's like you know, I got to
feel that bass drum.
Speaker 1 (14:02):
Exactly.
Speaker 2 (14:03):
I got to feel what you're doing.
It's like you know, if you'rejust, you know, just kind of
tapping it, then yeah thatdoesn't work for me.
Speaker 1 (14:09):
Yeah, that, yeah, that doesn't work for me.
Yeah, when I'm at a live show,I mean I want to feel that that
kick in my chest I mean I'm sureeverybody else is too I mean
something to stomp your feet to.
Is that that's really what youwant to hear when you're going
to a live show?
Speaker 2 (14:20):
yeah, exactly okay, dana.
Speaker 1 (14:22):
I think another thing we need to talk about is okay,
you, you've rehearsed, you'vehad good practices, you're
getting ready to play out, andyou play out and mistakes happen
.
What's a good way to not onlycover them, but to recover from
mistakes?
Speaker 2 (14:38):
yeah, that's.
Uh, you know, and like, yeah,like we, like we've said, every,
every band goes through this.
I don't care how professionalyou are, how long you been
playing exactly I mean, you knowwe've been in bands together
that have been together for two,three, four years, and you know
it happens.
Uh, and in bands together thathave been together for two,
three, four years, and you knowit happens.
And I guess the longer you playtogether you figure out how to
cover up for somebody else.
(14:59):
So that's, you know that is areally good question.
I know, you know, as a bassplayer, if I hear the guitar
player doing something totallydifferent, but I know that it's.
You know he just came intoprogression either late or early
, you know I'll just follow hislead as long as I know that the
drummer and everybody else is insync.
(15:21):
You know he's kind of, you know, tilt your head without making
it too obvious.
And you know, maybe, as you'reon stage, you know you're
strolling over, you're runningover, you're doing your stage
thing and you just make it lookas if, like, you're going over
to that person and you knowyou're just kind of like looking
at each other, like, okay, dowe know?
Are we on the same page?
Speaker 1 (15:37):
now, what the fuck?
Well, I know as a drummer, Iknow as a drummer, a lot of
times what I would do is justkick, keep the kick pattern
going and then kind of fall backinto the groove with my snare
when if I missed, if I missedthe section, you know.
Speaker 2 (15:54):
So it's tough sometimes to recover as a yeah,
and as a guitar player or bassguitar, but even as being, you
know, one of the guitar players.
It's like if I know I'm.
Just all of a sudden I feellike I'm lost and I totally
forgot something.
I'll just play like reallylightly and maybe just hit some
root notes, you know, justpretend like maybe that's even
part of the thing until I figureout where the hell I'm at.
Speaker 1 (16:16):
I know you've always been.
You've always been great at it,cause I very seldom heard
mistakes from you, and if theywere, there.
Speaker 2 (16:25):
They weren't noticed.
Like I said, it's you know andand what I've heard from other
people, especially, you know,people that are watching you.
Unless it's a cover song thatyou're doing note for note,
they're not even going to noticeit.
Speaker 1 (16:38):
You're going to notice it more than them, so
it's just a matter of you notmaking it look as if you made a
mistake.
Speaker 2 (16:44):
You almost got to be an actor and just play it off as
if like, oh yeah, that was acool little thing I was just
throwing in there.
Speaker 1 (16:50):
Good point, and you know what I've noticed.
I mean, I'm sure a lot of othermusicians have felt this way as
well, but some of my best showsyou get the least amount of
compliments.
Your worst shows, you get themost compliments.
And I've never reallyunderstood that.
I really haven't.
Speaker 2 (17:08):
Yeah, I think a lot of it is.
Also, you know who's who's inthe audience, you know what kind
of people do you have?
Of course Do you have moremusicians in the audience, or or
is it family members and justfriends that you know?
They don't know what the hellyou're playing and you know less
like, unless you're going intothe right key or the wrong key
(17:35):
or you come in early or late onsome progression.
But the musicians, if they knowthat song or particularly what
you're doing, they'll notice anylittle mistakes you make.
But they're also the first onesto compliment other musicians.
If you're on, they're going tobe like damn dude, that was a
fucking great show.
Yeah, very true, most musicianswe're all to be like damn dude
that was a fucking great show.
Speaker 1 (17:52):
Yeah, very true.
Speaker 2 (17:52):
Most musicians.
We're all a small family out inthe world and we're not going
to go and berate anybody, unlessyou're just an asshole.
Speaker 1 (18:00):
If you're one of those kind of musicians.
Speaker 2 (18:02):
You're just doing it because you're jealous that
those particular people are onstage and you're not.
And with that kind of attitudethey'll probably never be on a
stage.
Speaker 1 (18:11):
Very true, not, and with that kind of attitude,
they'll probably never be on thestage, very true?
Well, speaking of othermusicians, please do send us
your information.
If you're just starting in aband or if you're in an
established band, if you've got20 cds out, regardless of your
situation, please get a hold ofus if you want to be on the show
and we will.
We'll definitely support your,your website or whatever mp3s
out there you have, so pleasecontact us and we'd love to have
(18:34):
you on our show.
Okay, dana, what else do weneed to talk about here?
We're recapping last season, sowhat else have we talked about
in previous episodes that weneed to step on today?
Speaker 2 (18:47):
I think another one is image, you know.
I think another one is you know, image it's.
You know, when we were talkingwith our other guests, you know
our brother John, he said thefirst thing that he notices is
what the band looks like.
You know.
I kind of disagree with thatbecause I do too actually he
said oh, there's a bunch of baldguys up there.
(19:09):
Well, you know, you look at JoeSatriani, wolf Hoffman from
Accept.
I mean, they're all bald dudes.
I mean a lot of the good guitarplayers out there now that are
aging.
I mean, you know, we've alllost our hair.
I mean, if you're a 20-somethingband and you're looking for
that, you know metal and youstill want the long hair and
maybe even throwing you know,throwing some of the gothic
(19:31):
makeup and stuff like that onthere, then, hey, I understand.
If you're doing image as awhole, the whole band, I agree.
Speaker 1 (19:40):
Unfortunately, I used to feel that way as well.
Unfortunately, I did feel thatway at one point.
Speaker 2 (19:46):
Yeah, we definitely were doing that the whole time.
At one time my hair hair downto my ass and I refused to cut
it because no matter what job orwhat it's like, no, I've got to
keep the image for the band.
That was a huge thing.
I totally understand the bandsthat are are still doing that,
um, but that's one thing you gotto agree with with all all your
(20:07):
other fan, other other, yourfellow bandmates.
It's like you know what?
What are we?
What are we looking for as faras an image is?
Are we going to have an image?
We're just going to do streetstyle jeans and shirts or, you
know, leather?
I mean, where are we going withit?
So that's something I talkedabout yeah, in my opinion.
Speaker 1 (20:26):
I mean nowadays it's more about social media than it
really is about.
Like.
Back in the day it was flyerswith pictures of you and you
know image was a huge thing.
I think nowadays, to me, what'smore important is your
musicianship.
Are you a good musician?
That's what I listen for when Igo see other bands oh,
absolutely.
Speaker 2 (20:44):
I don't give a shit what they look like.
You know, I've I've listened tohundreds of bands on spotify.
I have no idea what they looklike exactly you know, and I
don't care because they're greatmusicians.
You know it means you know.
I always use the, the bandvolbeat, as one of my examples
now because you know, first timeI saw what they really look
like, I was surprised.
They looked like a bunch of youknow yuppies and you know guys
(21:05):
with short hair, but they kickass and I love their music.
So it's like you know.
I don't you know, unless you'rea particular doing a particular
genre and you want to look aparticular way, I I don't think
image is as big of a deal as itwas in the 80s I don't think so
either.
I really don't well, anotherthing about musicians.
(21:27):
I just want to throw this andthere's like, you know, enjoy
the ride, you know, when you'redoing it, enjoy every practice.
And I mean I, I love going topractice.
It's, you know, I I never sayit's like I just don't feel like
doing it.
You know, like some peoplemight have practiced if they're,
you know, if they're, you know,professional athletes and like,
yeah, I just don't feel likeyou know, but musician, I just I
(21:49):
can't wait to go to practice.
I mean it's just not only is itjust an outlet, but it's just
like I love.
You know, I love the feel ofplaying music.
I mean, hearing it and playingit are two different things.
And I just I love hearing that.
You know that bass drum in mychest and you know, and the
guitars and everything, I meanthere's no feeling like it.
And once you get to the pointwhere you're playing in front of
(22:11):
people and you hear peoplecheering for you, especially if
you're an original band and theylove your music that you
created, there's no drug thatcan replicate that.
Speaker 1 (22:21):
That's an excellent, excellent point.
And your musicianship showsthat as well, because when you
play, even at practice, I meanyou're always on point.
And you know, your musicianshipshows that as well, because
when you play, even at practice,I mean you're always on point
and I think that's really,really important.
If you're not feeling it, Imean maybe musicianship isn't
what your goal should be,because you really have to love
it.
I mean, in order to be a goodmusician, you have to feel the
(22:43):
music.
I mean feel the, you know whatyou're doing and be able to
perform it like you enjoy it.
Speaker 2 (22:51):
Yeah, and going back to a point that you said earlier
about practicing as if, likeyou're playing live.
Another good point would bewhen you're practicing, you see
so many guitar players and bassplayers and maybe even vocalists
looking at iPads trying tofigure out the lyrics, or guitar
players and bass players andmaybe you know even vocalists
looking at ipads, you know,trying to figure out the lyrics,
or guitar players and bassplayers, always looking at the
(23:12):
neck, at the notes that you'replaying.
It's like you know practice asif you know you want to interact
with the crowd.
You can't do that if you'realways looking at your, you know
, fretboard or keyboard orwhatever you know your choice of
instrument is like you know,yeah, you're gonna make mistakes
until you get a feel foreverything you're playing.
But you know you look at theseprofessional guys out there that
have been on tour forever.
(23:33):
It's like you know they'reinteracting with the crowd.
They're looking up the crowds,you know.
Maybe during the solo theymight be doing some little bit
of glancing, but for the mostpart their heads are always up
looking at the crowd all right,I I think that comes across too.
Speaker 1 (23:46):
I mean how you feel it's going to come across to the
crowd?
I mean I enjoy shows where Isee musicians, like looking at
each other, laughing, you knowinteracting with the crowd, like
you said.
Speaker 2 (23:56):
I mean it's a totally different feeling you have for
that show than bands that juststand there and then play and,
you know, don't express anyfeelings yeah, if you're just
standing there playing andlooking at what you're doing
because you don't feelcomfortable not looking at it,
you know that takes you awayfrom running around on stage.
(24:16):
You know doing all the stuffthat the audience wants to see
exactly you're there you knowyou're there for them.
I mean they're they paid, orthey're they're paying buying
beer or whatever they're doingto come see you.
It's like you know you got togive them a show.
You know you're.
It's a, it's a performance.
It's not.
It's not practice, it's aperformance.
Speaker 1 (24:37):
So it is, it is worth .
Okay, well, thank you everybody.
This has been a just a kind ofa minor recap of what we covered
in episode one.
Like we said, episode or seasontwo, we really want to cover
more of the playing out in theclubs aspect of it all, as far
as, uh, working with a soundengineer or working with the bar
(25:00):
owners and basically gettinggigs.
So if you're involved in anyaspect of that in your band,
like I said, please get us yourcontact information and and help
us with these episodes.
Being a guest, dana, what doyou think?
Speaker 2 (25:16):
Cool, I, I, I like everything you just said.
And the more, the more info weget from everybody, the more we
can spread the word.
And I mean, you know we'redoing this to help out other
musicians, know we're notgetting paid for this, it's, you
know, it's not like we'resitting at home.
Just, you know, getting moneyfor this.
We're doing this to helpanybody.
It's it's in the situation thatwe were at or that's, you know,
(25:39):
looking to get somethingstarted, or even if you've
gotten started, it's like youknow, and we'll talk about that
next year with our new episodes.
As far as legal stuff that goesinto it studio time and now
that you are out of the garageand you're playing live, okay,
well, now you've got anotherwhole set of stuff to think
(26:02):
about, exactly, and we'lldiscuss that next season.
Speaker 1 (26:04):
Sounds good.
Sounds good.
Hey, well, I want to wisheverybody a Merry Christmas, if
that's what you celebrate, and ahappy new year.
And Dan, thank you.
And I want to thank everybodyout there that's that's been a
loyal listener and our to ourtwo previous guests.
I want to thank them and pleasedo visit us on season two.
(26:24):
Cool, keep the music alive.
People All right, and please dovisit us on season two.
Speaker 2 (26:28):
Cool.
Keep the music alive, people.
Speaker 1 (26:30):
All right, Thank you everybody.
Bye.
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