April 24, 2025 • 49 mins
Rob and Dana Franklin welcome Daz from the UK-based Motorhead tribute band Loser to discuss his unique approach to tribute performances and supporting the local music scene.
• Loser is a relatively new Motorhead tribute band that tours across England, Wales, and Scotland playing mid-sized venues
• Rather than just performing Motorhead covers, Daz creates full evenings of entertainment with a comedian and original bands as opening acts
• Young musicians in the band gain valuable stage experience while helping carry on Motorhead's legacy
• Daz explains his philosophy of using tribute bands to introduce audiences to original music they might not otherwise hear
• Challenges of self-promotion and booking mid-sized venues in today's difficult market for live rock music
• Impressive collection of custom basses including a specially-made Rickenbacker-inspired instrument
• Communication and shared expectations are crucial for band success - musicians must discuss goals upfront
• July 5th streaming event planned featuring multiple local bands each performing Black Sabbath songs
If you enjoy live rock music, please buy advance tickets rather than waiting for the night of the show - it helps ensure venues remain willing to book bands and keeps performances happening.
Thank you and please visit our social medial sites to leave feedback and or support our project.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Rob (00:02):
Hi, welcome to Franklin's Garage to Stage podcast.
My name is Rob WardrumsFranklin and my co-host is Dana
Thunderbase Franklin.
Dana (00:12):
How you doing, man, I'm doing really good.
Well with us today.
We've got a special guest allthe way from the United Kingdom
Daz from the band Loser.
So how you doing, man?
Daz (00:24):
I'm great.
Thank you very much.
Good to meet you both.
Dana (00:26):
Good to meet you.
Yeah, it's a pleasure to haveyou on our show and for
everybody that's listening.
I was looking at a lot of yourstuff and it looks like most of
your stuff is a Motorheadtribute band.
Is that correct?
Daz (00:41):
Yeah, that's what we're going to focus on.
We've got Loser is aone-year-old,
one-and-a-half-year-oldMotorhead tribute.
I originally was trying tostick to calling it Motorhead
Covers Act, because I look andsound nothing like Lemmy and I'm
not trying to wear a wig oranything.
Rob (00:59):
I thought you sounded pretty spot on the shit I've
listened to.
Daz (01:06):
I mean I have fun with it's , that's what I'm really after,
right.
So I mean, um, you gotta leaninto it.
Motorhead tribute is what we'redoing all right, cool.
Rob (01:12):
Uh, my question for you is do you guys play in all four
countries of the uk or youpretty much just stick to, uh,
the england area?
Daz (01:20):
that's a great question.
That is a great question.
So northern ireland's outbecause it's a ferry ride or a
flight for us, so we're notgoing across there.
But yeah, the right now we'vestarted this year with England
across the kind of midsection,so just north of Manchester and
across.
We had a great show in Leeds,etc.
(01:42):
Across, we had a great show inleeds, etc.
Um, this weekend we've got twoshows, so saturday and sunday.
One of them is in wales, in atown that, let me, used to
actually live in, which I can'tpronounce, but I'm sure I'll
pronounce it a lot better when Iget back from there.
Um and uh, also in chester.
Chester is just on the edge ofwales, um, so it's, it's England
(02:04):
, but right on the border.
And Scotland we're doing inwinter.
We've got some dates inScotland we're going to end up
with at least six days up there,nice, awesome, awesome.
Dana (02:19):
So tell us a little bit about how you got into music to
start with, what age were youand what was your main influence
for getting involved in thiscrazy scene we call music?
Daz (02:27):
great questions.
Um and uh, rob on drums anddana on bass.
You certainly got an extensivebackground yourselves and it's
great, as siblings, to be ableto perform in the same band and
write music together.
It's really cool.
I had my brother pick up guitarwhen he was 16.
(02:48):
I was about 12, and I was thejealous younger brother, so I
did want to pick up a guitarbecause I knew he'd put me to
shame immediately.
So I picked up the bass and heput me to shame immediately and
I've been playing the bass sincethen.
Awesome.
Rob (03:10):
Can you tell us little bit about your shows, cause it looks
like you like incorporate othergenres with your band when
you're playing, which is reallycool it's it's kind of unknown
around here, so that's kind ofcool.
Daz (03:22):
I'm trying, I'm trying my best to first off a full evening
of entertainment right, notjust one act With a tribute band
.
Typically you see one tributethat's about it, or two that
maybe match together somewhat.
I'm trying to createopportunity and create some
unique elements to the evening.
So first off, I've got a youngup and coming standup comedian
(03:45):
who's from Scotland.
He's from Glasgow and he'sjoining us on the tour all year.
That's cool and he's openingthe show and then does kind of
like a crowd work in between theacts and just keeps a little
changes up the flavor of thenight.
Very first night we did it.
We weren't sure none of us weresure if it would work and we
(04:06):
all walked away with a giantsmile on our faces because what
had really happened is that thecrowd suddenly became more open
to us.
So when you get up and you'refacing that brick wall of an
audience and the comedian hasalready kind of knocked the wall
down a little bit, there's thisyou learn about them, you learn
about what they're doing,you've all laughed together.
(04:26):
And now you're up there andyou've got that banter between
songs where you can kind of leaninto yeah, we're all right.
So that's been good fun.
But I'll disclose at this pointthat my opening acts are
original music and there's theintent that uh, someone who
(04:47):
would be willing to pay money tosee songs they know live isn't
always someone willing to paymoney to see songs they don't
know live.
So if I can bring uh, so if Icould bring along musicians that
are writing their own materialto play to an audience who are
willing to hear live music butwon't necessarily take a bet on
(05:10):
their music, I think that makesthe tribute worthwhile.
I think that's why I can leaninto a tribute instead of the
covers band.
The karma balances.
I'm bringing along severalopening acts and I'm giving them
the opportunity to play to anaudience that wouldn't have
bought their ticket.
Dana (05:24):
Nice, cool, um.
So we're trying to maybe youcan describe the difference of
what you think is in the Britishscene over there as opposed to
the American scene here, cause Imean, over here we got, you
know, a lot of country and popand that seems to be the big and
rap.
Of course you know know, it'sjust so hard for rock and metal
(05:46):
bands to, you know, to breakinto anything anymore and it
seems like it's more open tothat over there in the uk.
How do you feel about that?
Daz (05:55):
well, first off, the other thing to lean into.
Just so you're aware, youprobably detect that this isn't
a british accent yeah, I wasgonna ask you about that
actually actually, yeah, I findit funny because my family back
in the northeast of the US theyalways say I sound British.
They say you sound American.
So I'm a man with no country atthe moment, but I've been
(06:17):
living here since 2010 and gotmy British citizenship in 2017.
And I just love it over here.
I absolutely love it over here,bar the fact that I citizenship
in 2017 and, uh, I just love itover here, absolutely love it
over here, but, um, bar the factthat I'm happy to be here and
it did attract me and I wantedto be here.
There is something to the oldadage that the grass is always
greener, that I think it is aglobal thing.
(06:39):
I think rock is struggling.
I think guitar music I would, Iwould phrase it as guitar music
, live music as we remember it,live music as we know it.
Right, the Jimi Hendrix moment,the live performance it doesn't
hold the weight and the valueit used to.
The talent that is required tomake that music on stage isn't
(07:01):
appreciated anymore, in myhumble opinion.
So the scene here is strugglingin the same way.
Right, guitar music is not assuccessful on a live venue and a
live environment as it once was.
Rob (07:18):
Okay, Are you self-promoted or do you guys work with a
management company?
Daz (07:24):
We are desperate to get some promotions going on, which?
Rob (07:27):
is why.
Daz (07:29):
I'm reaching out from across the pond.
Yeah, we definitely need someadditional help and support for
the reason we were just saying.
Right, it's a struggle.
And so we're fullyself-promoted.
We're booking directly with thevenues, which is a massive risk
factor.
I would much rather have alocal promoter who know the
scene, know the market, know thepeople who are going to come
(07:50):
out and can help fill thoseseats.
Everything that you do whenyou're booking is risk-reward
balance.
So I'm taking the greatest riskbecause I'm self-promoting.
I'm also potentially gettingthe greatest reward, but in this
market I'd much rather someoneelse was getting that reward if
they were able to successfullyput people into the venues.
(08:13):
I've just had to cancel oneshow from this weekend.
We were supposed to play onFriday.
We just didn't have thepre-sales.
It's unfortunate, right.
I mean, it's like we're justtalking about right.
And I've got another show, the11th of May.
That also was cancelled.
That one I can forgive a littlebit more, because that one is a
(08:35):
venue that doesn't normallyopen on a Sunday.
We had asked them to make anexception and open on a Sunday
for us.
So it's getting a bit tight,it's getting a bit close.
We're going to cancel that oneand postpone the Friday show.
So Friday would have beenanother show in Wales in excess,
Wrexham, and we're going topush that back about six months.
Rob (08:55):
How difficult is it to book venues there, and what size
venues do you kind of like aimfor?
Daz (09:03):
So good question, rob.
Um it's.
I find there are people whoreally struggle um to to to book
.
You don't normally get thecontact back, et cetera.
Um, I think again, this isuniversal.
You got to have the bestpossible press kit you can.
You've got to have a reallygood uh EPK.
You have to have somethingabout what you're offering that
(09:25):
people are going to take noticeof.
And even then you're notguaranteed to get a response
because there are 250 otherpeople in line all sending high
quality EPKs, who all want thatopportunity.
So one of the things that Ihave been really pushing my guys
.
By the way, I've renamed us fromthe UK's premier Motorhead Act
(09:49):
because there's a lot ofMotorhead Acts out here and
they're really really good.
I love them to death.
We hang out together.
They're all really good MotorHeadache's amazing Motor Beard's
great Motor Wreck playedBloodstock a bunch of times.
There's a bunch of bands hereand um, I don't, I don't want to
(10:09):
as the the newest ones on thescene.
I don't want to be throwingaround big words.
You know the, the marketingwords and that type of thing.
So I changed it to uh, the uk'syoungest motorhead act, because
I'm actually the old man in theband and all my others are
under 20.
So I thought that would bequite cute and it's nice.
(10:33):
In my opinion, you got thatmulti-generational thing on
stage as well in the audience.
Motorhead always drew amulti-generational audience and,
yeah, they love it.
They're absolutely enjoying it.
I got sidetracked and I need areminder of the question.
That's horrible.
Dana (10:49):
What was your question?
What?
Rob (10:52):
size venues do you try to book?
I mean, what's your optimalvenue size?
Daz (11:00):
So two 300s.
Which yeah, two, three hundredis what we are after.
It's larger than what we shouldbe hitting at our age.
Right A year and a half in.
We should be playing pubs, weshould be playing 50 venues with
50, et cetera.
But the problem with that isit's Motorhead and it can't
(11:20):
really turn down.
So in a club for 50, I'm I'mgonna hurt people you're gonna
be blasting yeah, and I reallydon't want to do that.
So, um, two, three hundred iswhat we've been hitting.
We've had some really nicenights, we've had some uh, good
turnouts and some really lovelyexperiences and we've had some
(11:40):
whiffs.
That's the industry, that'swhat happens.
But in a club that's two, threehundred, when you whip and
you've got 20 people in the door, it feels like you've got no
one and that drags the energydown for the musicians.
You know you want to keep thatenergy up.
You're touring, you're going tobe out there all year long, but
at the same time, the thing wealways remind ourselves of again
(12:02):
, my guys are young, right,they're getting this, this
experience.
The stage time is a big newthing for them and just trying
to remind them constantly, ifthere's one person in the
audience, you have to play theshow as if you were playing the
200 they paid they're in there.
Dana (12:16):
We've said, right, yes, so true, yeah, so, um, with your
band being so new, you know,like I said, a year, year and a
half old what was the processlike of getting these guys
together and auditioning andforming the banks.
You know our show is basicallycentered around, you know, new
musicians trying to form bandstogether and and go, you know,
from garage to stage.
So explain that process of whatit was like for you and how
(12:39):
many headaches they wereinvolved great question.
Daz (12:44):
Um, you know the, uh, the, the is.
We've had one massive lineupchange already.
It started off as a three-pieceand the drummer went to
university which is a fantasticthing, so good for him and the
guitar player had beenovercommitted.
You know, he was a guitarteacher.
(13:05):
He's in like four differentacts, he taking on another thing
, etc.
Um, it didn't quite feel rightand that's unfortunate, but you
walk away, you know, each sayingokay, good, good that you can
recognize that, um, the increating the second round of
them.
That's why I have young guys,right, what they want is they
(13:27):
want stage time.
What they want is they want toto get the experience.
So there's less pressure on me.
When I have someone my age who'sa music instructor and both
people who are in my band allthree of us, you know,
self-employed uh, falling on theself-employed side of things,
it's difficult to build a brandand get something from the
ground up.
When there's an expectationimmediately this needs to start
(13:51):
paying for me.
So, for something like atribute band, people assume oh,
tribute band, immediately youcan start charging money.
No, you're not.
You need to prove yourself.
You need to get out there andshow what you're capable of that
you actually can draw a crowd,that there is money in it for
the promoter, for the venue, etc.
So you still need to build thatbrand.
(14:12):
So bringing in the younger guysand having that upfront, honest,
earnest discussion.
You know, here's what I'mtrying to do.
Here's where I want to be ableto take this.
I'd love you to come along forit.
And what will you get out of it?
What would you like to get outof it?
It's difficult to do.
I think in the music industryeverybody thinks of themselves
(14:32):
as just being chummy and pals.
They're hanging around, they'rehaving a beer or whatever it is
they're doing, and when you'rein that situation where you're
being mates, you're hangingaround, just good buddies, the
kind of business side of itsideswipes you.
So in my humble opinion, it'svery important early to
(14:54):
establish what do you want fromthis.
What are you trying to achieve?
If it's original music, usuallyit's just I want to be artistic
and creative and we'll seewhere it goes and not having
that discussion up front meansyou're leaving yourself wide
open to get sideswiped right.
If it's something like atribute or playing cover music
or something that's maybe a bitless personally creative, then
(15:20):
it's a little easier to havethat discussion up front, right?
I want to do this because Iwant this type of return, and if
everyone's able to get thereturn that they're looking for,
you can keep it moving forward.
Does that make any sense?
Rob (15:30):
Yeah, makes perfect sense.
Are you involved in any otherside projects?
Are you strictly involved withthe band Loser?
Daz (15:40):
So maybe you've been reading.
Rob (15:43):
A little bit.
Daz (15:46):
Yeah.
So Ego Trip, who I hope you'llhave an opportunity to talk to
as a unit they are a couple of.
There are three young lads.
These three young lads didn'thave a bass player for the
longest time.
At one point they had a bassplayer for a couple of months
(16:06):
and they got a bass player for acouple of months and they got a
phone call they would getoffered some pretty nice gigs
because what they're doing isreally quite nice.
It's a real throwback to 90sgrunge, it's very interesting
music and they're getting somegood attention in the local area
.
And they got a phone call toplay last August at a place
called Kendall Calling, afestival in Penrith up here in
(16:30):
the north of England.
And Kendall Calling last yearsold 45,000 tickets.
So these guys, these young kids, were asked can you come play
one of the stages?
You know, not the big stage,noel.
Gallagher was the next night onthe big stage.
But, um, you know, they, they,they had this opportunity.
It was great.
Uh, and they called me, theyknew me and they basically said
(16:51):
we've been told we can play thisshow, but only if we have a
bass player.
So can you play bass?
And I thought I'll help myfriends out.
These, these guys, you knowthey're, they're um, they've
been nothing but good to me,they're nice and I like what
(17:12):
they do.
So we had two rehearsals andthen we went up, embarrassed
ourselves in front of a tentfull of people and had a good
time.
We just enjoyed ourselves.
And um, they basically said,can you stick around?
And I said I'll be yourpermanent temporary bass player.
So when we tour um ego trip,play, usually play, usually
second support.
So we tried to bring a localact as main support because we
want to.
If we're touring around, youput the band before the
(17:35):
headliner.
That is local, that's going todraw a local crowd.
That's what you're trying toachieve.
Rob (17:39):
I saw that and I really appreciate that you guys are
doing that.
That's very cool.
Daz (17:44):
And they've been.
The folks we have played withso far have simply been amazing.
They're appreciative for theopportunity, their music is
great, they've got the rightattitude and they have the best
time slot of the night.
So it's been really lovely andthat gives each night a unique
flavor which, if you remind meof that, I'll come back to
(18:04):
unique flavor.
But Ego Trip play before themand I get up and I play bass
with Ego Trip and we do somegrunge tune.
They have a seven-song albumcoming out.
It's all recorded with my basson it and we do two or three
Alice in Chains-style covers.
And also there's another bandwhich happens to be Losers'
(18:25):
guitar player and drummer, andthey already had a band called
Bay of Pigs, so I offered toplay bass on that as well.
So basically every evening I'mplaying three or four hours of
music, nice Along with.
Rob (18:36):
That's awesome.
That shows your versatility.
That's killer.
Daz (18:41):
Oh yeah, it's a good point.
Bay of Pigs is thrash.
So you start with a thrash bandthat's doing like you know,
just just creeping Metallica orAnthrax songs, and then you know
some originals, and then grunge, and then whatever our local is
, which is typically a rockoriented metal, you know metal
(19:03):
band, and then straight intoMotorhead, which is, depending
on the curfew, we'll play fortwo hours, so an hour to two
hours.
Dana (19:11):
That's a long night for you.
That's awesome.
So when you do these shows, doyou have a dedicated sound guy
and a light guy?
Or is that per venue or are youjust kind?
Rob (19:22):
of crossing your fingers every show.
Daz (19:25):
Yeah, definitely garage the stage there.
You know there is a veryimportant member of a band that
not every band gets right.
None of my three have gotten itright.
The very important fifth silentmember is the sound man.
Dana (19:38):
Oh, hell yeah.
Rob (19:39):
Yes, yes.
Daz (19:41):
If you can get it, if you can do that, if you can have a
sound man who travels with you,wow, wow, you will have some
amazing evenings.
We haven't gotten that lucky.
We haven't managed to make itwork.
There's a financial pressure,obviously, as I discussed right,
I mean we have only so manyseats in the van and we you know
(20:02):
there's various parts of it,but we would love to do that,
that sometimes with a spare seat.
I mean we've got, obviously,the comedian who comes along,
but we have exactly one spareseat.
So sometimes we bring aphotographer and he comes with
us and that's great because hegets to take photos of the band
that he's never met before andthey usually end up using his
(20:25):
photos as their promo material.
From that point forward, we'retrying to just give back and do
as much as we can with the wholething.
I bring along our in-earmonitor system, which happens to
be a mobile recording studio.
So I bring my own mics and Iset the whole back line up.
So we bring the back line andall of our mics.
We multi-track record the wholeentire evening, which means
(20:46):
that I can offer the mainsupport band a recorded version
of their live set.
Rob (20:50):
Oh, very cool Okay.
Daz (20:53):
Yeah, so yeah, we don't bring them along.
It's usually depending upon thehouse.
Sunday we're playing this weirdplace, this kind of a wedding
venue.
It's an events venue and theydon't have their own PA, so
we've had to rent a PA and thesound man that is bad, that's a
financial thing, yeah, yeah.
Rob (21:13):
Well, I see an extensive collection of bases back there.
What is your, what is yourfavorite base and basically your
equipment that you typicallyplay with live?
Daz (21:25):
Oh, um, so, uh, I, I would.
I would give two answers andeverything behind me here is
based on those answers.
These are my versions of, uh,my answer.
Um, so hold on, let me go overhere.
Nice, so from a motorheadperspective, it has to be a Rick
(21:47):
.
Dana (21:47):
There you go, there you go .
I saw that in the videos and Iwas jealous.
Daz (21:51):
Yeah, I mean that would be the real deal, Um, but because I
uh like custom things I don'tand I don't typically take the
real deal with me, Um, this is,uh, UK made knockoff, so that is
made by a luthier in the UK.
It weighs about half as much asthe rick itself, Neck through
(22:16):
and customized with my initials,and it really plays beautifully
, absolutely beautifully.
So I love that one and thenthis one.
This took me four years to makeand involved people from about
three different continents tomake happen.
I had a factory in China thatdoes these CNC bits, so I
(22:45):
ordered just the wood.
And then I had a Luther here inthe UK take the wooden body and
finish it off.
So he ripped off the fretboardthat had come with it, put a
fretboard on, put my own custominlays into it, finished the
body.
This is a Seymour Duncan customshop pickup, Lemmy signature.
(23:07):
And at NAMM when they announcedthese, they pointed out that
Lemmy loved to hack around withhis bases and the one that they
had taken the pickups apart inorder to figure out exactly how
it was getting the growl it got.
He had cut the bridge pickupout.
He had cut the bridge pickupout.
So even though the bass hadneck and bridge pickups, the
(23:30):
bridge pickup was never wired in.
He had literally disconnectedthe wiring for it.
So I bought just the neckpickup and I had it put in the
neck position in order to createsomething that is intentionally
unique, and I want someonelooking at that and saying, oh,
he's trying to pass it off as aRickenbacker.
It looks a little bit like aRickenbacker, but there's no way
(23:52):
someone's going to look at thisbeast and think, oh yeah,
that's actually a Rick.
Right, that's clearly aknockoff.
That's clearly my thing.
That's not attempting to looklike it came out of a factory
and has some problems.
It's a lot of fun.
It's a lot of fun and I had myown little custom strap Nice.
(24:18):
And then excuse me, I'm sorry,I'm going to have to cough,
that's all right.
It's terrible On the other sideof the fence for the other
bands of the evening.
My preference is um pluswhatever you decide fender pj.
So that's a jazz bass specialright.
Um, this is the duff mckaganversion, um, the duff mckagan
(24:43):
signature, which has thebeautiful hip shot.
Love gear, absolutely love gear, anyway.
So that is my preference.
And then, because I love themso much, because everything has
to be custom, I had these madeby the same luthier who fixed
the non-rick, the wooden thing,right.
So that is made by John Shuker,and again it has my initials on
(25:11):
the inlay and the head.
Very nice, very nice, and it'salso got a hip shot.
But this is strung bead, sothat allows me to drop A instead
of drop D.
Nice, good fun.
Oh yeah, thanks for thequestions.
It's Good fun.
Oh yeah, thanks for thequestions.
It's always fun just talkingabout that.
Rob (25:31):
Thanks for showing us your accent.
Dana (25:32):
Oh yeah, that's a beautiful instrument.
I'm severely jealous just bylooking in the background there.
So I mean we can't talk to you.
Know a UK band without talkingabout you?
Know the version of the Britishinvasion?
I mean, you know, I don't knowwhere your influences came from,
but mine and I'm sure Rob's tosome sense, is mostly the late
(25:55):
70s, early 80s, of course,starting with Led Zeppelin, but
you've got the Black Sabbath,iron Maiden and of course
Motorhead and then even earlierbands like the Beatles and the
Kinks and Zombies and some ofthem.
But how do you, do you have anyinfluence from?
I mean, I guess because youactually just moved there.
Well, not not just move there,but you've been a part of the
(26:16):
States also.
What kind of influence did youget from that or from the from
the US side of it?
Daz (26:24):
That's great, and I guess that's why the evening works so
well for me in being uh kind ofmixed up right, because the the
younger folks who are bringingtheir original music are
influenced by things that cameout of the us.
but those things that came outof the us were influenced by the
new wave of freedom exactlyeverything's kind of circular,
yeah and and there's definitelyan attraction to being in the UK
(26:49):
where so much great music camefrom right, and you can feel it
right and you go into some ofthe clubs that you play and you
realize you know this club.
Iron Maiden played on theirfirst tour or you know Motorhead
were here in this space in 1983or whatever it is.
You just have that lovely sense.
You feel it in the States too,right, when you're traveling
(27:11):
around, when you're touring inthe States, when you're in
different venues and there areBritish fans who've come through
, who've played that venue.
That's quite inspiring as well,because it was good enough for
them to book on a tour whenthey're outside of their country
and making their way around.
So yeah, heavily influenced byeverything you're talking about
(27:34):
Definitely Iron Maiden, blackSabbath, etc.
Our intent is to do July 5th,which is a Saturday, in all-day
streaming.
If you don't mind, I'll kind ofgo on another little rant, of
course.
We're in Carlisle.
Carlisle is a city in the north.
(27:54):
It's a rather large city in thenorth.
There's over 150,000inhabitants.
Our next motorway exit north isScotland.
So we're on the Scottish-Englishborder and here in the city
there's quite a lot of wonderfultalent.
There's a lot of folk who aredoing great stuff and I'm a
transplant, so I'm here and Isee it happening and I'm
(28:17):
becoming a part of that musicscene and I really want to help
celebrate it, because all thesegreat folks around me who are
doing these amazing things butthey don't tend to get out of
the city as much.
So running a tour like this andbringing that original music
with me is my way of giving backto the area I've adopted and
I've moved into.
I'm bringing that music that Ihear here a lot and taking it
out and sharing it with othersdown the road.
(28:39):
So in the same sense, I want toshare it even wider.
So on July 5th we're going to doa streaming, an all-day
streaming session, and theCarlyle bands that I've
participated with, that I'veinteracted with, that I rehearse
across the hall from, etc.
We're all going to do ahalf-hour set and because July
(29:03):
5th is also Black Sabbath's lastshow, that only a handful of
people will get to go to.
We're going to make sure we doone Black Sabbath song, so every
single band that plays will doa Black Sabbath song all night.
Rob (29:16):
Have you decided on which one yet?
Daz (29:19):
So I've got a list.
I've started to make a list.
I don't.
So basically, the two openingacts for my tour, they've chosen
a song which I know I need tolearn and for the Motorhead act
I haven't chosen a song.
I'm holding back because I wantto allow everybody else to
choose and then take one ratherthan try to get in early.
(29:40):
But there has been a little bitof infighting.
Several of the bands havewanted the same song and.
I won't let it happen.
So yeah, it should be good fun.
Keep an eye out for it.
Rob (29:53):
So you brought up something I actually want to ask you
about rehearsal spots.
What is it like there findingrehearsal spots, and is it I
mean cost effective, I mean forstarting bands?
Daz (30:06):
So it depends where you are , and I think it's the same
there, right?
So it depends where you are andI think it's the same there,
right?
Rob (30:17):
So if I was in New York trying, to find a rehearsal spot
, versus if I was in, say, thegreat state of Maine.
Daz (30:23):
It's free in your garage in Maine because, you've got a big
enough house because everyonelives in a house, because
there's a million inhabitants ina state the size of the rest of
New England, whereas whenyou're in Manhattan and real
estate is at a premium and noiselevels are a really big deal,
(30:44):
you struggle.
So, like in London, forget it.
You have to find a studio.
You have to rent space in astudio, and you have to find a
studio.
You have to rent space in astudio and there are some really
nice lockups.
There are some really greatplaces around the UK where you
can rent at a reasonable fee.
Most of them are kind of eithera digital code or a combo, so
(31:08):
you just kind of get the comboon the way into the building and
then you get a combo to thedoor that you have for a period
of time and then get kicked out.
But they kind of run themselvesand they're in industrial areas
, if they can be, so that youdon't have to worry about the
noise.
For us here in Carlisle we havea really lovely spot that is
done in an industrial area.
That's basically storage, butthe storage place has a separate
(31:29):
floor which is musician lockups, so we're able to go there and
rehearse and not really botheranyone, which is lovely.
So, yeah, we've been quitelucky about that one.
But I would say everywhere thatyou have the risk of too much
(31:50):
noise for the neighbors.
Rob (31:56):
Well, and climate control, to protect your instruments as
well, is an important factor.
Daz (32:02):
This is definitely true and a big risk here, a big
difficulty here.
So typically you end up withthis, which is you can control
it in your own house.
So your instruments come homeand your lockup is where you
leave the stuff that maybe is alittle bit more rugged.
Dana (32:21):
Yeah, we know that one.
So, speaking of rehearsals andpractices because of the theme
of our show people starting outand practices because of the
theme of our show peoplestarting out there's always that
inclusion in practices of drugs, sex and rock and roll.
I mean, that's what everybodythinks rock bands are about
right, but in reality, whenyou're trying to do a serious
(32:44):
project, how much give do youtake with other members of the
band as far as drinking anddrugs and stuff like that in
your practices?
I mean, where, where do youdraw the line?
Daz (32:57):
Good question.
That's a really really goodquestion, definitely, um, I will
also use the opportunity toplug my YouTube channel.
So loser band has its ownYouTube channel, which I think
you're going to link on yoursite.
Rob (33:10):
We'll link everything you have available.
Daz (33:13):
Love it On my YouTube channel.
I also do interviews.
So I've interviewed NigelSanders, author of a book about
Filthy Animal Taylor the first,you know, the drummer for the
first albums from Motorhead thatwere released Not the first
drummer of Motorhead, but thefirst one with the albums that
were released.
And recently I've published, orI'm in the middle of publishing
(33:37):
, a series of interviews withOpus Christian Lawrence and Dave
Sharp, and the two of them aretouring musicians with Cro-Mags
and I basically asked them thesame question.
So there's an exchange with thethree of us.
That's very much in this line.
(33:57):
But in general, if you're goingto be in a van with these folks
and get on the road and be outof the house overnight sleeping
somewhere, you want to get alongwith those people Exactly.
So remember when I was sayingsaying when you're starting up,
when you're establishing what itis that you want to do, it's
(34:18):
really important also to kind ofestablish how do you want to do
it right.
If there's someone in the bandwho is very anti-drink and
everyone else in the band drinksall the time, there's going to
be a problem down the road.
It's not guaranteed to happen,it's likely to happen right, and
when it does.
That's a personality conflictaround expectations.
(34:41):
So setting those expectationsearly is really, really
important.
And if you're willing to acceptokay, well, this person is into
imbibing too much of whateverit is, and that isn't a problem
for me, even though I don't thenthat's something you have to
(35:02):
take on yourself.
For you, you're the one whosaid no, but I can handle it.
I can deal with the fact thathe's going to turn up late, or
he's not going to be asmotivated as I am, or he's just.
You know that type of thing.
So it definitely comes down tocommunication and setting
expectations.
Rob (35:20):
Very good.
That's exactly what we'vediscussed with our bandmates and
and other interviews we've hadon the on the podcast.
So hey, got a question for you.
Have you ever been?
Daz (35:32):
to the Troubadour and sat where Lemmy sat.
No.
Rob (35:36):
I wish.
I heard that they erected astatue of him outside that club,
which is so cool because he wassuch a frequent visitor to the
Troubadour.
Daz (35:46):
Oh, I'm sorry You're thinking about the rainbow.
Rob (35:48):
Oh the rainbow.
Yes, I'm sorry, I thought itabout the rainbow.
Oh the rainbow, yes, I'm sorry.
I'm sorry, I thought it was acheaper name, los.
Daz (35:51):
Angeles, the rainbow.
I have, yes, the rainbow.
Rob (35:52):
Oh, you have Very cool, very cool.
Daz (35:54):
Yeah, so yeah, the rainbow.
I lived in Los Angeles forthree years in the early 90s and
I definitely went to therainbow.
Rob (36:07):
That was a good time to be there too.
Daz (36:08):
Yeah, it was, it was.
It was only just starting thedecline.
Let's go with that it was.
It was still decadent enough,all right.
Dana (36:21):
So what was your um?
Your biggest, your biggest orbest show that you've had to
date?
Daz (36:28):
Uh well, for for loser, which is only a year and a half,
this one's easy.
Our um locally we have a coupleof promoters who are really
great brian and scott devlin.
They call themselves the devbros, so the dev bros um have
been for about eight yearspromoting um locally.
They bring in tribute acts,they bring in original bands etc
(36:50):
.
And they put them on in our 300seat venue and they, at this
point, they have a real formulaand they never have a show
that's not sold out in a 300seat venue and they do a great
job.
They're really, reallywonderful and they did you know,
when I was telling you aboutJuly 5, and all the people that
I've interacted with and all thelocal musicians that I really
(37:10):
respect, they did a charity showon December 28th last year and
they ask it's modeled on a UK TVshow called Stars in their Eyes
and it's basically when peopleput on a wig and come out and
try to pretend to be a celebrityof some sort.
(37:30):
So the dev bros basically saidto local bands I know you do
original music, but would you doa set of a fake tribute?
Would you do a tribute towhoever and play it for 20
minutes?
It was 15 or 20 minutes.
All the proceeds went toMacmillan Cancer Support and to
(37:51):
Eden Minds, which is a localmental health charity, and they
posted the check.
You know how much went to eachone etc.
They made a ton of money for asmall venue.
They did a great job,completely sold out and they
asked us to play in headline.
So we were the last band onbecause we're, you know, one of
the local.
You know we're leaning into atribute, so we did the longest
(38:14):
that we did a half hour or so.
Really lovely night, fantasticshow, completely packed right to
the very last minute, peoplereally moving and dancing and
loving it.
But the other bands that hadplayed we had TBK played Creed,
so they all came out in whitebutton-up shirts and everyone
was Scott Stapp on stage.
(38:35):
And then we had Drollman playFaith no More.
Really lovely rendition of F&Msongs Sounded great.
We had Poseidon's Kiss openedit up, doing a Blink-182 set and
that was extremely wellreceived.
You've got to figure.
You know there's like seven,eight bands the whole entire
(38:56):
evening, right, and they reallywere well received.
First band on and theybasically said we love that so
much we're going to insert abunch of these songs into our
set because they're just a lotof fun.
So, yeah, that's the answer toyour what is our best show so
far?
December 28th, which was alsothe nine-year anniversary of
Losing Lemming.
Rob (39:18):
Okay, so in closing, can you tell us basically, can you
describe what your show entailsI mean including all the bands
what your fans can expect andfor our listeners what they can
expect, and any advice you havefor new musicians?
Daz (39:36):
Okay, all right.
So we have Bay of Pigs, whichis only about three original
songs they're working on writingmore and then some anthrax
songs, some some, uh, metallicsongs and basically just doing
as much thrash as we can.
In fact, um, if you're reallynice, they play a thrash cover
(39:56):
of um smoky and the bandit song,what's the?
What's the one that he's boundand down?
He's bound and down, yeah, nicethrash version of eastbound.
Um, and then, uh, we have egotrip up.
Uh, four piece um grunge band.
Uh, just think, stone templepilots, you know that type of
thing.
Um, then the, the piece I wasmentioning earlier.
(40:20):
Um, the, the main support sothe main support are are from,
hopefully, somewhere local.
Um, they've been really greatbands that we haven't played
with before, and so we get up onstage, we share the stage with
them, and then Loser Play a widevariety of Motorhead material,
including a few surprises,intentional surprises, a little
(40:40):
visit to New York, good funstuff, and we invite the main
support to come up and join us.
Really.
Oh, very cool, that's awesome sotypically the the main support
sings one or two of the songswith us, um, and in fact in one
of the shows, often him got upand played bass along with me,
so we were doing a dual bass onthe closing songs.
(41:03):
So the the idea there is whatare we trying to achieve?
A completely, completely uniquenight.
That moment is never going tohappen again.
These two bands have notpracticed together.
We have not done anythingtogether.
We just said let's make somemusic together, got up on stage,
did something you're nevergoing to hear again.
That's what we're after aunique evening.
(41:23):
That makes the live experiencebetter than buying a CD.
Egotrip will have a seven-songalbum out very soon.
It's fully recorded, beingmixed and mastered now.
Bay of Pigs will startrecording.
Next.
They're going to do at least afour, probably seven-song album
and Loser, believe it or not,the tribute band is going to do
(41:45):
some original music in Motorheadstyle and release that next
year.
Dana (41:48):
Very cool.
Oh yeah, cool.
Well, every one of our shows,you know, we, we tend to put the
, the guests on on spot here and, you know, ask them a question
that, um, you know, kind ofloosen, loosen things up a
little bit and, uh, I'm gonnalet my brother actually say what
this is.
Usually it's me.
So what's this moment called?
Oh shit, this is, it's a momentwhere something's happened live
(42:12):
or you know, maybe even atpractice, something that you're
just like oh shit, I can'tbelieve that just fucking
happened.
And you know, and just whetherit's embarrassing or funny.
But lay us on one of thosemoments that happened to you a
very good question.
Daz (42:27):
I love your oh shit moment.
It's an easy one to answer.
Rob (42:31):
We've had a lot.
Daz (42:34):
I bet you've had.
Yeah, exactly, I was justtalking about Altanim, right?
So Altanim's bass player cameup and played with us and
something happened to my pedalboard and I didn't know what.
So we played two songs and thebeginning of the first song and
the end of the last song.
You can hear me All the wayfive, six minutes down the
(42:58):
middle.
I'm completely missing.
My pedal just went to volumezero and I'm strumming along and
nothing's going on and I've gotit recorded and I've got a
multitrack recorded and there'sjust a flat line is nothing
through there, right, um.
But luckily we had two basses onstage so he was filling out the
sound.
Um, and then you see me, Icouldn't figure out what had
(43:21):
gone on.
So I literally did the guitarnightmare, the sound, the sound
man's nightmare.
The guitarist touched his ampduring the song.
We got to the last refrain andI just got sick of it.
So I went to the master volumeand cranked it and all of a
sudden you hear me way too loud.
Yeah so yeah, that was anabsolute oh shit moment.
I was messing up the lyrics onthe two songs I mean, that is a
(43:44):
unique moment that will neverhappen with tons of mistakes.
I was so distracted, lookingaround trying to figure out what
had happened to my gear.
Rob (43:52):
Okay, advice for new musicians, especially in your
area.
Daz (43:59):
What would your advice be.
Boy, I think I've given lots ofgood tips throughout.
Honestly, I think I've givenlots of good tips throughout.
It has to be talk to each otherand know where you're going
with things.
Don't just go down the pathright.
Know what you're after and keepan open communication with each
other.
I mean, learn the fundamentalsas best you can.
(44:23):
I don't have them, so I have tofollow along and beg my
bandmates to teach the old mannew tricks and all that fun
stuff.
Uh, I think for younger folkwho are getting started would
shed it.
Get in there and reallyunderstand as much as you can.
Try to try to dig into themusic theory.
Try to um do your scales.
Uh, try to stay on top of yourinstrument as best you can,
(44:43):
because when you get on stage,you're the one responsible for
that right yeah, so true.
Dana (44:49):
I mean, you know back in the day, when you know when we
all started out, it's like youknow they didn't have no, all
the technology to look this shitup.
You know it's like you learn asong.
You play the tape over and overand over until you thought that
you got the right chords andnotes, only to find out, oh shit
, that tape's really old and itjust sounds like that's a
different note.
Because it's so fucking warm.
(45:09):
So so yeah, but yeah, nowadaysthere's no excuse for you know
musicians to not, you know, tonot know what's going on and not
do their homework.
That's, yeah, we've had someissues with that ourselves and
it's.
It gets frustrating.
But the very good advice, sir,I, I love that, um, and we were
even talking on one of our lastepisodes about you know, like
you, like you said, thecommunication and you know, as
(45:31):
far as you know, all the, allthe stuff that we used to do in
practices and you know nobodyever brought up, you know,
mental illness or family life orall the other shit that the
members had to deal with outsideof the band, that you know
affected everybody and it's just.
You know it was all done behindclosed doors and you know you
just go on stage, you know,maybe drink a little bit, do
(45:51):
this and pull through and gohome and face reality and it's,
you know it's a whole differentworld out there.
So good advice, we appreciateit thank you hey uh, there's
related to to the um, listening,listening.
Daz (46:05):
So one thing that messes with you when you're listening
is a lot of producers back inthe day would slow the tape down
, right, right.
So when you slow the tape down,you change the pitch, and so
what you're learning is not whatwas being played by the
musician and you can't figureout why it doesn't look quite
right.
Yes, but the other fun one isthere's actually a really
amusing Motorhead anecdote onthis one which is early on, when
(46:27):
they were recording um, they,they had written all of their
songs in e-standard and theyrecorded on a day when their
instruments had actually fallenout of whack.
They tuned them by ear and theytuned them a half step low.
So motorhead, all motorheadsongs are a half step off wow
but at that moment in time, whenthey went into record and
(46:48):
you're paying for the recordingand you tuned your guitar, your
instruments by ear, a half steplow, that's it.
That's what you do now.
Rob (46:58):
Hey.
Well, that has been an absolutepleasure talking to you and I
look forward to futureinterviews with you and, in
closing, what would you like tosay to your loyal listeners?
Daz (47:09):
In closing, what would you like to say to your loyal
listeners?
Thank you very much.
Thank you, Rob and Dana.
This has been an excellentdiscussion and for my loyal
listeners buy the tickets.
Buy advance tickets.
Don't just buy on the night.
In order to guarantee that theshow happens, people need to buy
online in advance, so the venueowner knows there's going to be
(47:33):
enough people there to make itworthwhile to open the doors.
Rob (47:36):
Really.
Dana (47:37):
Well, thank you very much.
It's been a pleasure and we'llbe talking with you soon, for
sure, and we will include all ofyour socials and all your bio
and everything, and we'll letthe world know about you.
Daz (47:50):
Fantastic, it's really lovely to meet you both.
Rob (47:52):
I appreciate it you too.
Thank you, bye man, bye now.
Hi, welcome to Franklin's Garage to Stage podcast.
My name is Rob WardrumsFranklin and my co-host is Dana
Thunderbase Franklin.
Dana (00:12):
How you doing, man, I'm doing really good.
Well with us today.
We've got a special guest allthe way from the United Kingdom
Daz from the band Loser.
So how you doing, man?
Daz (00:24):
I'm great.
Thank you very much.
Good to meet you both.
Dana (00:26):
Good to meet you.
Yeah, it's a pleasure to haveyou on our show and for
everybody that's listening.
I was looking at a lot of yourstuff and it looks like most of
your stuff is a Motorheadtribute band.
Is that correct?
Daz (00:41):
Yeah, that's what we're going to focus on.
We've got Loser is aone-year-old,
one-and-a-half-year-oldMotorhead tribute.
I originally was trying tostick to calling it Motorhead
Covers Act, because I look andsound nothing like Lemmy and I'm
not trying to wear a wig oranything.
Rob (00:59):
I thought you sounded pretty spot on the shit I've
listened to.
Daz (01:06):
I mean I have fun with it's , that's what I'm really after,
right.
So I mean, um, you gotta leaninto it.
Motorhead tribute is what we'redoing all right, cool.
Rob (01:12):
Uh, my question for you is do you guys play in all four
countries of the uk or youpretty much just stick to, uh,
the england area?
Daz (01:20):
that's a great question.
That is a great question.
So northern ireland's outbecause it's a ferry ride or a
flight for us, so we're notgoing across there.
But yeah, the right now we'vestarted this year with England
across the kind of midsection,so just north of Manchester and
across.
We had a great show in Leeds,etc.
(01:42):
Across, we had a great show inleeds, etc.
Um, this weekend we've got twoshows, so saturday and sunday.
One of them is in wales, in atown that, let me, used to
actually live in, which I can'tpronounce, but I'm sure I'll
pronounce it a lot better when Iget back from there.
Um and uh, also in chester.
Chester is just on the edge ofwales, um, so it's, it's England
(02:04):
, but right on the border.
And Scotland we're doing inwinter.
We've got some dates inScotland we're going to end up
with at least six days up there,nice, awesome, awesome.
Dana (02:19):
So tell us a little bit about how you got into music to
start with, what age were youand what was your main influence
for getting involved in thiscrazy scene we call music?
Daz (02:27):
great questions.
Um and uh, rob on drums anddana on bass.
You certainly got an extensivebackground yourselves and it's
great, as siblings, to be ableto perform in the same band and
write music together.
It's really cool.
I had my brother pick up guitarwhen he was 16.
(02:48):
I was about 12, and I was thejealous younger brother, so I
did want to pick up a guitarbecause I knew he'd put me to
shame immediately.
So I picked up the bass and heput me to shame immediately and
I've been playing the bass sincethen.
Awesome.
Rob (03:10):
Can you tell us little bit about your shows, cause it looks
like you like incorporate othergenres with your band when
you're playing, which is reallycool it's it's kind of unknown
around here, so that's kind ofcool.
Daz (03:22):
I'm trying, I'm trying my best to first off a full evening
of entertainment right, notjust one act With a tribute band
.
Typically you see one tributethat's about it, or two that
maybe match together somewhat.
I'm trying to createopportunity and create some
unique elements to the evening.
So first off, I've got a youngup and coming standup comedian
(03:45):
who's from Scotland.
He's from Glasgow and he'sjoining us on the tour all year.
That's cool and he's openingthe show and then does kind of
like a crowd work in between theacts and just keeps a little
changes up the flavor of thenight.
Very first night we did it.
We weren't sure none of us weresure if it would work and we
(04:06):
all walked away with a giantsmile on our faces because what
had really happened is that thecrowd suddenly became more open
to us.
So when you get up and you'refacing that brick wall of an
audience and the comedian hasalready kind of knocked the wall
down a little bit, there's thisyou learn about them, you learn
about what they're doing,you've all laughed together.
(04:26):
And now you're up there andyou've got that banter between
songs where you can kind of leaninto yeah, we're all right.
So that's been good fun.
But I'll disclose at this pointthat my opening acts are
original music and there's theintent that uh, someone who
(04:47):
would be willing to pay money tosee songs they know live isn't
always someone willing to paymoney to see songs they don't
know live.
So if I can bring uh, so if Icould bring along musicians that
are writing their own materialto play to an audience who are
willing to hear live music butwon't necessarily take a bet on
(05:10):
their music, I think that makesthe tribute worthwhile.
I think that's why I can leaninto a tribute instead of the
covers band.
The karma balances.
I'm bringing along severalopening acts and I'm giving them
the opportunity to play to anaudience that wouldn't have
bought their ticket.
Dana (05:24):
Nice, cool, um.
So we're trying to maybe youcan describe the difference of
what you think is in the Britishscene over there as opposed to
the American scene here, cause Imean, over here we got, you
know, a lot of country and popand that seems to be the big and
rap.
Of course you know know, it'sjust so hard for rock and metal
(05:46):
bands to, you know, to breakinto anything anymore and it
seems like it's more open tothat over there in the uk.
How do you feel about that?
Daz (05:55):
well, first off, the other thing to lean into.
Just so you're aware, youprobably detect that this isn't
a british accent yeah, I wasgonna ask you about that
actually actually, yeah, I findit funny because my family back
in the northeast of the US theyalways say I sound British.
They say you sound American.
So I'm a man with no country atthe moment, but I've been
(06:17):
living here since 2010 and gotmy British citizenship in 2017.
And I just love it over here.
I absolutely love it over here,bar the fact that I citizenship
in 2017 and, uh, I just love itover here, absolutely love it
over here, but, um, bar the factthat I'm happy to be here and
it did attract me and I wantedto be here.
There is something to the oldadage that the grass is always
greener, that I think it is aglobal thing.
(06:39):
I think rock is struggling.
I think guitar music I would, Iwould phrase it as guitar music
, live music as we remember it,live music as we know it.
Right, the Jimi Hendrix moment,the live performance it doesn't
hold the weight and the valueit used to.
The talent that is required tomake that music on stage isn't
(07:01):
appreciated anymore, in myhumble opinion.
So the scene here is strugglingin the same way.
Right, guitar music is not assuccessful on a live venue and a
live environment as it once was.
Rob (07:18):
Okay, Are you self-promoted or do you guys work with a
management company?
Daz (07:24):
We are desperate to get some promotions going on, which?
Rob (07:27):
is why.
Daz (07:29):
I'm reaching out from across the pond.
Yeah, we definitely need someadditional help and support for
the reason we were just saying.
Right, it's a struggle.
And so we're fullyself-promoted.
We're booking directly with thevenues, which is a massive risk
factor.
I would much rather have alocal promoter who know the
scene, know the market, know thepeople who are going to come
(07:50):
out and can help fill thoseseats.
Everything that you do whenyou're booking is risk-reward
balance.
So I'm taking the greatest riskbecause I'm self-promoting.
I'm also potentially gettingthe greatest reward, but in this
market I'd much rather someoneelse was getting that reward if
they were able to successfullyput people into the venues.
(08:13):
I've just had to cancel oneshow from this weekend.
We were supposed to play onFriday.
We just didn't have thepre-sales.
It's unfortunate, right.
I mean, it's like we're justtalking about right.
And I've got another show, the11th of May.
That also was cancelled.
That one I can forgive a littlebit more, because that one is a
(08:35):
venue that doesn't normallyopen on a Sunday.
We had asked them to make anexception and open on a Sunday
for us.
So it's getting a bit tight,it's getting a bit close.
We're going to cancel that oneand postpone the Friday show.
So Friday would have beenanother show in Wales in excess,
Wrexham, and we're going topush that back about six months.
Rob (08:55):
How difficult is it to book venues there, and what size
venues do you kind of like aimfor?
Daz (09:03):
So good question, rob.
Um it's.
I find there are people whoreally struggle um to to to book
.
You don't normally get thecontact back, et cetera.
Um, I think again, this isuniversal.
You got to have the bestpossible press kit you can.
You've got to have a reallygood uh EPK.
You have to have somethingabout what you're offering that
(09:25):
people are going to take noticeof.
And even then you're notguaranteed to get a response
because there are 250 otherpeople in line all sending high
quality EPKs, who all want thatopportunity.
So one of the things that Ihave been really pushing my guys
.
By the way, I've renamed us fromthe UK's premier Motorhead Act
(09:49):
because there's a lot ofMotorhead Acts out here and
they're really really good.
I love them to death.
We hang out together.
They're all really good MotorHeadache's amazing Motor Beard's
great Motor Wreck playedBloodstock a bunch of times.
There's a bunch of bands hereand um, I don't, I don't want to
(10:09):
as the the newest ones on thescene.
I don't want to be throwingaround big words.
You know the, the marketingwords and that type of thing.
So I changed it to uh, the uk'syoungest motorhead act, because
I'm actually the old man in theband and all my others are
under 20.
So I thought that would bequite cute and it's nice.
(10:33):
In my opinion, you got thatmulti-generational thing on
stage as well in the audience.
Motorhead always drew amulti-generational audience and,
yeah, they love it.
They're absolutely enjoying it.
I got sidetracked and I need areminder of the question.
That's horrible.
Dana (10:49):
What was your question?
What?
Rob (10:52):
size venues do you try to book?
I mean, what's your optimalvenue size?
Daz (11:00):
So two 300s.
Which yeah, two, three hundredis what we are after.
It's larger than what we shouldbe hitting at our age.
Right A year and a half in.
We should be playing pubs, weshould be playing 50 venues with
50, et cetera.
But the problem with that isit's Motorhead and it can't
(11:20):
really turn down.
So in a club for 50, I'm I'mgonna hurt people you're gonna
be blasting yeah, and I reallydon't want to do that.
So, um, two, three hundred iswhat we've been hitting.
We've had some really nicenights, we've had some uh, good
turnouts and some really lovelyexperiences and we've had some
(11:40):
whiffs.
That's the industry, that'swhat happens.
But in a club that's two, threehundred, when you whip and
you've got 20 people in the door, it feels like you've got no
one and that drags the energydown for the musicians.
You know you want to keep thatenergy up.
You're touring, you're going tobe out there all year long, but
at the same time, the thing wealways remind ourselves of again
(12:02):
, my guys are young, right,they're getting this, this
experience.
The stage time is a big newthing for them and just trying
to remind them constantly, ifthere's one person in the
audience, you have to play theshow as if you were playing the
200 they paid they're in there.
Dana (12:16):
We've said, right, yes, so true, yeah, so, um, with your
band being so new, you know,like I said, a year, year and a
half old what was the processlike of getting these guys
together and auditioning andforming the banks.
You know our show is basicallycentered around, you know, new
musicians trying to form bandstogether and and go, you know,
from garage to stage.
So explain that process of whatit was like for you and how
(12:39):
many headaches they wereinvolved great question.
Daz (12:44):
Um, you know the, uh, the, the is.
We've had one massive lineupchange already.
It started off as a three-pieceand the drummer went to
university which is a fantasticthing, so good for him and the
guitar player had beenovercommitted.
You know, he was a guitarteacher.
(13:05):
He's in like four differentacts, he taking on another thing
, etc.
Um, it didn't quite feel rightand that's unfortunate, but you
walk away, you know, each sayingokay, good, good that you can
recognize that, um, the increating the second round of
them.
That's why I have young guys,right, what they want is they
(13:27):
want stage time.
What they want is they want toto get the experience.
So there's less pressure on me.
When I have someone my age who'sa music instructor and both
people who are in my band allthree of us, you know,
self-employed uh, falling on theself-employed side of things,
it's difficult to build a brandand get something from the
ground up.
When there's an expectationimmediately this needs to start
(13:51):
paying for me.
So, for something like atribute band, people assume oh,
tribute band, immediately youcan start charging money.
No, you're not.
You need to prove yourself.
You need to get out there andshow what you're capable of that
you actually can draw a crowd,that there is money in it for
the promoter, for the venue, etc.
So you still need to build thatbrand.
(14:12):
So bringing in the younger guysand having that upfront, honest,
earnest discussion.
You know, here's what I'mtrying to do.
Here's where I want to be ableto take this.
I'd love you to come along forit.
And what will you get out of it?
What would you like to get outof it?
It's difficult to do.
I think in the music industryeverybody thinks of themselves
(14:32):
as just being chummy and pals.
They're hanging around, they'rehaving a beer or whatever it is
they're doing, and when you'rein that situation where you're
being mates, you're hangingaround, just good buddies, the
kind of business side of itsideswipes you.
So in my humble opinion, it'svery important early to
(14:54):
establish what do you want fromthis.
What are you trying to achieve?
If it's original music, usuallyit's just I want to be artistic
and creative and we'll seewhere it goes and not having
that discussion up front meansyou're leaving yourself wide
open to get sideswiped right.
If it's something like atribute or playing cover music
or something that's maybe a bitless personally creative, then
(15:20):
it's a little easier to havethat discussion up front, right?
I want to do this because Iwant this type of return, and if
everyone's able to get thereturn that they're looking for,
you can keep it moving forward.
Does that make any sense?
Rob (15:30):
Yeah, makes perfect sense.
Are you involved in any otherside projects?
Are you strictly involved withthe band Loser?
Daz (15:40):
So maybe you've been reading.
Rob (15:43):
A little bit.
Daz (15:46):
Yeah.
So Ego Trip, who I hope you'llhave an opportunity to talk to
as a unit they are a couple of.
There are three young lads.
These three young lads didn'thave a bass player for the
longest time.
At one point they had a bassplayer for a couple of months
(16:06):
and they got a bass player for acouple of months and they got a
phone call they would getoffered some pretty nice gigs
because what they're doing isreally quite nice.
It's a real throwback to 90sgrunge, it's very interesting
music and they're getting somegood attention in the local area
.
And they got a phone call toplay last August at a place
called Kendall Calling, afestival in Penrith up here in
(16:30):
the north of England.
And Kendall Calling last yearsold 45,000 tickets.
So these guys, these young kids, were asked can you come play
one of the stages?
You know, not the big stage,noel.
Gallagher was the next night onthe big stage.
But, um, you know, they, they,they had this opportunity.
It was great.
Uh, and they called me, theyknew me and they basically said
(16:51):
we've been told we can play thisshow, but only if we have a
bass player.
So can you play bass?
And I thought I'll help myfriends out.
These, these guys, you knowthey're, they're um, they've
been nothing but good to me,they're nice and I like what
(17:12):
they do.
So we had two rehearsals andthen we went up, embarrassed
ourselves in front of a tentfull of people and had a good
time.
We just enjoyed ourselves.
And um, they basically said,can you stick around?
And I said I'll be yourpermanent temporary bass player.
So when we tour um ego trip,play, usually play, usually
second support.
So we tried to bring a localact as main support because we
want to.
If we're touring around, youput the band before the
(17:35):
headliner.
That is local, that's going todraw a local crowd.
That's what you're trying toachieve.
Rob (17:39):
I saw that and I really appreciate that you guys are
doing that.
That's very cool.
Daz (17:44):
And they've been.
The folks we have played withso far have simply been amazing.
They're appreciative for theopportunity, their music is
great, they've got the rightattitude and they have the best
time slot of the night.
So it's been really lovely andthat gives each night a unique
flavor which, if you remind meof that, I'll come back to
(18:04):
unique flavor.
But Ego Trip play before themand I get up and I play bass
with Ego Trip and we do somegrunge tune.
They have a seven-song albumcoming out.
It's all recorded with my basson it and we do two or three
Alice in Chains-style covers.
And also there's another bandwhich happens to be Losers'
(18:25):
guitar player and drummer, andthey already had a band called
Bay of Pigs, so I offered toplay bass on that as well.
So basically every evening I'mplaying three or four hours of
music, nice Along with.
Rob (18:36):
That's awesome.
That shows your versatility.
That's killer.
Daz (18:41):
Oh yeah, it's a good point.
Bay of Pigs is thrash.
So you start with a thrash bandthat's doing like you know,
just just creeping Metallica orAnthrax songs, and then you know
some originals, and then grunge, and then whatever our local is
, which is typically a rockoriented metal, you know metal
(19:03):
band, and then straight intoMotorhead, which is, depending
on the curfew, we'll play fortwo hours, so an hour to two
hours.
Dana (19:11):
That's a long night for you.
That's awesome.
So when you do these shows, doyou have a dedicated sound guy
and a light guy?
Or is that per venue or are youjust kind?
Rob (19:22):
of crossing your fingers every show.
Daz (19:25):
Yeah, definitely garage the stage there.
You know there is a veryimportant member of a band that
not every band gets right.
None of my three have gotten itright.
The very important fifth silentmember is the sound man.
Dana (19:38):
Oh, hell yeah.
Rob (19:39):
Yes, yes.
Daz (19:41):
If you can get it, if you can do that, if you can have a
sound man who travels with you,wow, wow, you will have some
amazing evenings.
We haven't gotten that lucky.
We haven't managed to make itwork.
There's a financial pressure,obviously, as I discussed right,
I mean we have only so manyseats in the van and we you know
(20:02):
there's various parts of it,but we would love to do that,
that sometimes with a spare seat.
I mean we've got, obviously,the comedian who comes along,
but we have exactly one spareseat.
So sometimes we bring aphotographer and he comes with
us and that's great because hegets to take photos of the band
that he's never met before andthey usually end up using his
(20:25):
photos as their promo material.
From that point forward, we'retrying to just give back and do
as much as we can with the wholething.
I bring along our in-earmonitor system, which happens to
be a mobile recording studio.
So I bring my own mics and Iset the whole back line up.
So we bring the back line andall of our mics.
We multi-track record the wholeentire evening, which means
(20:46):
that I can offer the mainsupport band a recorded version
of their live set.
Rob (20:50):
Oh, very cool Okay.
Daz (20:53):
Yeah, so yeah, we don't bring them along.
It's usually depending upon thehouse.
Sunday we're playing this weirdplace, this kind of a wedding
venue.
It's an events venue and theydon't have their own PA, so
we've had to rent a PA and thesound man that is bad, that's a
financial thing, yeah, yeah.
Rob (21:13):
Well, I see an extensive collection of bases back there.
What is your, what is yourfavorite base and basically your
equipment that you typicallyplay with live?
Daz (21:25):
Oh, um, so, uh, I, I would.
I would give two answers andeverything behind me here is
based on those answers.
These are my versions of, uh,my answer.
Um, so hold on, let me go overhere.
Nice, so from a motorheadperspective, it has to be a Rick
(21:47):
.
Dana (21:47):
There you go, there you go .
I saw that in the videos and Iwas jealous.
Daz (21:51):
Yeah, I mean that would be the real deal, Um, but because I
uh like custom things I don'tand I don't typically take the
real deal with me, Um, this is,uh, UK made knockoff, so that is
made by a luthier in the UK.
It weighs about half as much asthe rick itself, Neck through
(22:16):
and customized with my initials,and it really plays beautifully
, absolutely beautifully.
So I love that one and thenthis one.
This took me four years to makeand involved people from about
three different continents tomake happen.
I had a factory in China thatdoes these CNC bits, so I
(22:45):
ordered just the wood.
And then I had a Luther here inthe UK take the wooden body and
finish it off.
So he ripped off the fretboardthat had come with it, put a
fretboard on, put my own custominlays into it, finished the
body.
This is a Seymour Duncan customshop pickup, Lemmy signature.
(23:07):
And at NAMM when they announcedthese, they pointed out that
Lemmy loved to hack around withhis bases and the one that they
had taken the pickups apart inorder to figure out exactly how
it was getting the growl it got.
He had cut the bridge pickupout.
He had cut the bridge pickupout.
So even though the bass hadneck and bridge pickups, the
(23:30):
bridge pickup was never wired in.
He had literally disconnectedthe wiring for it.
So I bought just the neckpickup and I had it put in the
neck position in order to createsomething that is intentionally
unique, and I want someonelooking at that and saying, oh,
he's trying to pass it off as aRickenbacker.
It looks a little bit like aRickenbacker, but there's no way
(23:52):
someone's going to look at thisbeast and think, oh yeah,
that's actually a Rick.
Right, that's clearly aknockoff.
That's clearly my thing.
That's not attempting to looklike it came out of a factory
and has some problems.
It's a lot of fun.
It's a lot of fun and I had myown little custom strap Nice.
(24:18):
And then excuse me, I'm sorry,I'm going to have to cough,
that's all right.
It's terrible On the other sideof the fence for the other
bands of the evening.
My preference is um pluswhatever you decide fender pj.
So that's a jazz bass specialright.
Um, this is the duff mckaganversion, um, the duff mckagan
(24:43):
signature, which has thebeautiful hip shot.
Love gear, absolutely love gear, anyway.
So that is my preference.
And then, because I love themso much, because everything has
to be custom, I had these madeby the same luthier who fixed
the non-rick, the wooden thing,right.
So that is made by John Shuker,and again it has my initials on
(25:11):
the inlay and the head.
Very nice, very nice, and it'salso got a hip shot.
But this is strung bead, sothat allows me to drop A instead
of drop D.
Nice, good fun.
Oh yeah, thanks for thequestions.
It's Good fun.
Oh yeah, thanks for thequestions.
It's always fun just talkingabout that.
Rob (25:31):
Thanks for showing us your accent.
Dana (25:32):
Oh yeah, that's a beautiful instrument.
I'm severely jealous just bylooking in the background there.
So I mean we can't talk to you.
Know a UK band without talkingabout you?
Know the version of the Britishinvasion?
I mean, you know, I don't knowwhere your influences came from,
but mine and I'm sure Rob's tosome sense, is mostly the late
(25:55):
70s, early 80s, of course,starting with Led Zeppelin, but
you've got the Black Sabbath,iron Maiden and of course
Motorhead and then even earlierbands like the Beatles and the
Kinks and Zombies and some ofthem.
But how do you, do you have anyinfluence from?
I mean, I guess because youactually just moved there.
Well, not not just move there,but you've been a part of the
(26:16):
States also.
What kind of influence did youget from that or from the from
the US side of it?
Daz (26:24):
That's great, and I guess that's why the evening works so
well for me in being uh kind ofmixed up right, because the the
younger folks who are bringingtheir original music are
influenced by things that cameout of the us.
but those things that came outof the us were influenced by the
new wave of freedom exactlyeverything's kind of circular,
yeah and and there's definitelyan attraction to being in the UK
(26:49):
where so much great music camefrom right, and you can feel it
right and you go into some ofthe clubs that you play and you
realize you know this club.
Iron Maiden played on theirfirst tour or you know Motorhead
were here in this space in 1983or whatever it is.
You just have that lovely sense.
You feel it in the States too,right, when you're traveling
(27:11):
around, when you're touring inthe States, when you're in
different venues and there areBritish fans who've come through
, who've played that venue.
That's quite inspiring as well,because it was good enough for
them to book on a tour whenthey're outside of their country
and making their way around.
So yeah, heavily influenced byeverything you're talking about
(27:34):
Definitely Iron Maiden, blackSabbath, etc.
Our intent is to do July 5th,which is a Saturday, in all-day
streaming.
If you don't mind, I'll kind ofgo on another little rant, of
course.
We're in Carlisle.
Carlisle is a city in the north.
(27:54):
It's a rather large city in thenorth.
There's over 150,000inhabitants.
Our next motorway exit north isScotland.
So we're on the Scottish-Englishborder and here in the city
there's quite a lot of wonderfultalent.
There's a lot of folk who aredoing great stuff and I'm a
transplant, so I'm here and Isee it happening and I'm
(28:17):
becoming a part of that musicscene and I really want to help
celebrate it, because all thesegreat folks around me who are
doing these amazing things butthey don't tend to get out of
the city as much.
So running a tour like this andbringing that original music
with me is my way of giving backto the area I've adopted and
I've moved into.
I'm bringing that music that Ihear here a lot and taking it
out and sharing it with othersdown the road.
(28:39):
So in the same sense, I want toshare it even wider.
So on July 5th we're going to doa streaming, an all-day
streaming session, and theCarlyle bands that I've
participated with, that I'veinteracted with, that I rehearse
across the hall from, etc.
We're all going to do ahalf-hour set and because July
(29:03):
5th is also Black Sabbath's lastshow, that only a handful of
people will get to go to.
We're going to make sure we doone Black Sabbath song, so every
single band that plays will doa Black Sabbath song all night.
Rob (29:16):
Have you decided on which one yet?
Daz (29:19):
So I've got a list.
I've started to make a list.
I don't.
So basically, the two openingacts for my tour, they've chosen
a song which I know I need tolearn and for the Motorhead act
I haven't chosen a song.
I'm holding back because I wantto allow everybody else to
choose and then take one ratherthan try to get in early.
(29:40):
But there has been a little bitof infighting.
Several of the bands havewanted the same song and.
I won't let it happen.
So yeah, it should be good fun.
Keep an eye out for it.
Rob (29:53):
So you brought up something I actually want to ask you
about rehearsal spots.
What is it like there findingrehearsal spots, and is it I
mean cost effective, I mean forstarting bands?
Daz (30:06):
So it depends where you are , and I think it's the same
there, right?
So it depends where you are andI think it's the same there,
right?
Rob (30:17):
So if I was in New York trying, to find a rehearsal spot
, versus if I was in, say, thegreat state of Maine.
Daz (30:23):
It's free in your garage in Maine because, you've got a big
enough house because everyonelives in a house, because
there's a million inhabitants ina state the size of the rest of
New England, whereas whenyou're in Manhattan and real
estate is at a premium and noiselevels are a really big deal,
(30:44):
you struggle.
So, like in London, forget it.
You have to find a studio.
You have to rent space in astudio, and you have to find a
studio.
You have to rent space in astudio and there are some really
nice lockups.
There are some really greatplaces around the UK where you
can rent at a reasonable fee.
Most of them are kind of eithera digital code or a combo, so
(31:08):
you just kind of get the comboon the way into the building and
then you get a combo to thedoor that you have for a period
of time and then get kicked out.
But they kind of run themselvesand they're in industrial areas
, if they can be, so that youdon't have to worry about the
noise.
For us here in Carlisle we havea really lovely spot that is
done in an industrial area.
That's basically storage, butthe storage place has a separate
(31:29):
floor which is musician lockups, so we're able to go there and
rehearse and not really botheranyone, which is lovely.
So, yeah, we've been quitelucky about that one.
But I would say everywhere thatyou have the risk of too much
(31:50):
noise for the neighbors.
Rob (31:56):
Well, and climate control, to protect your instruments as
well, is an important factor.
Daz (32:02):
This is definitely true and a big risk here, a big
difficulty here.
So typically you end up withthis, which is you can control
it in your own house.
So your instruments come homeand your lockup is where you
leave the stuff that maybe is alittle bit more rugged.
Dana (32:21):
Yeah, we know that one.
So, speaking of rehearsals andpractices because of the theme
of our show people starting outand practices because of the
theme of our show peoplestarting out there's always that
inclusion in practices of drugs, sex and rock and roll.
I mean, that's what everybodythinks rock bands are about
right, but in reality, whenyou're trying to do a serious
(32:44):
project, how much give do youtake with other members of the
band as far as drinking anddrugs and stuff like that in
your practices?
I mean, where, where do youdraw the line?
Daz (32:57):
Good question.
That's a really really goodquestion, definitely, um, I will
also use the opportunity toplug my YouTube channel.
So loser band has its ownYouTube channel, which I think
you're going to link on yoursite.
Rob (33:10):
We'll link everything you have available.
Daz (33:13):
Love it On my YouTube channel.
I also do interviews.
So I've interviewed NigelSanders, author of a book about
Filthy Animal Taylor the first,you know, the drummer for the
first albums from Motorhead thatwere released Not the first
drummer of Motorhead, but thefirst one with the albums that
were released.
And recently I've published, orI'm in the middle of publishing
(33:37):
, a series of interviews withOpus Christian Lawrence and Dave
Sharp, and the two of them aretouring musicians with Cro-Mags
and I basically asked them thesame question.
So there's an exchange with thethree of us.
That's very much in this line.
(33:57):
But in general, if you're goingto be in a van with these folks
and get on the road and be outof the house overnight sleeping
somewhere, you want to get alongwith those people Exactly.
So remember when I was sayingsaying when you're starting up,
when you're establishing what itis that you want to do, it's
(34:18):
really important also to kind ofestablish how do you want to do
it right.
If there's someone in the bandwho is very anti-drink and
everyone else in the band drinksall the time, there's going to
be a problem down the road.
It's not guaranteed to happen,it's likely to happen right, and
when it does.
That's a personality conflictaround expectations.
(34:41):
So setting those expectationsearly is really, really
important.
And if you're willing to acceptokay, well, this person is into
imbibing too much of whateverit is, and that isn't a problem
for me, even though I don't thenthat's something you have to
(35:02):
take on yourself.
For you, you're the one whosaid no, but I can handle it.
I can deal with the fact thathe's going to turn up late, or
he's not going to be asmotivated as I am, or he's just.
You know that type of thing.
So it definitely comes down tocommunication and setting
expectations.
Rob (35:20):
Very good.
That's exactly what we'vediscussed with our bandmates and
and other interviews we've hadon the on the podcast.
So hey, got a question for you.
Have you ever been?
Daz (35:32):
to the Troubadour and sat where Lemmy sat.
No.
Rob (35:36):
I wish.
I heard that they erected astatue of him outside that club,
which is so cool because he wassuch a frequent visitor to the
Troubadour.
Daz (35:46):
Oh, I'm sorry You're thinking about the rainbow.
Rob (35:48):
Oh the rainbow.
Yes, I'm sorry, I thought itabout the rainbow.
Oh the rainbow, yes, I'm sorry.
I'm sorry, I thought it was acheaper name, los.
Daz (35:51):
Angeles, the rainbow.
I have, yes, the rainbow.
Rob (35:52):
Oh, you have Very cool, very cool.
Daz (35:54):
Yeah, so yeah, the rainbow.
I lived in Los Angeles forthree years in the early 90s and
I definitely went to therainbow.
Rob (36:07):
That was a good time to be there too.
Daz (36:08):
Yeah, it was, it was.
It was only just starting thedecline.
Let's go with that it was.
It was still decadent enough,all right.
Dana (36:21):
So what was your um?
Your biggest, your biggest orbest show that you've had to
date?
Daz (36:28):
Uh well, for for loser, which is only a year and a half,
this one's easy.
Our um locally we have a coupleof promoters who are really
great brian and scott devlin.
They call themselves the devbros, so the dev bros um have
been for about eight yearspromoting um locally.
They bring in tribute acts,they bring in original bands etc
(36:50):
.
And they put them on in our 300seat venue and they, at this
point, they have a real formulaand they never have a show
that's not sold out in a 300seat venue and they do a great
job.
They're really, reallywonderful and they did you know,
when I was telling you aboutJuly 5, and all the people that
I've interacted with and all thelocal musicians that I really
(37:10):
respect, they did a charity showon December 28th last year and
they ask it's modeled on a UK TVshow called Stars in their Eyes
and it's basically when peopleput on a wig and come out and
try to pretend to be a celebrityof some sort.
(37:30):
So the dev bros basically saidto local bands I know you do
original music, but would you doa set of a fake tribute?
Would you do a tribute towhoever and play it for 20
minutes?
It was 15 or 20 minutes.
All the proceeds went toMacmillan Cancer Support and to
(37:51):
Eden Minds, which is a localmental health charity, and they
posted the check.
You know how much went to eachone etc.
They made a ton of money for asmall venue.
They did a great job,completely sold out and they
asked us to play in headline.
So we were the last band onbecause we're, you know, one of
the local.
You know we're leaning into atribute, so we did the longest
(38:14):
that we did a half hour or so.
Really lovely night, fantasticshow, completely packed right to
the very last minute, peoplereally moving and dancing and
loving it.
But the other bands that hadplayed we had TBK played Creed,
so they all came out in whitebutton-up shirts and everyone
was Scott Stapp on stage.
(38:35):
And then we had Drollman playFaith no More.
Really lovely rendition of F&Msongs Sounded great.
We had Poseidon's Kiss openedit up, doing a Blink-182 set and
that was extremely wellreceived.
You've got to figure.
You know there's like seven,eight bands the whole entire
(38:56):
evening, right, and they reallywere well received.
First band on and theybasically said we love that so
much we're going to insert abunch of these songs into our
set because they're just a lotof fun.
So, yeah, that's the answer toyour what is our best show so
far?
December 28th, which was alsothe nine-year anniversary of
Losing Lemming.
Rob (39:18):
Okay, so in closing, can you tell us basically, can you
describe what your show entailsI mean including all the bands
what your fans can expect andfor our listeners what they can
expect, and any advice you havefor new musicians?
Daz (39:36):
Okay, all right.
So we have Bay of Pigs, whichis only about three original
songs they're working on writingmore and then some anthrax
songs, some some, uh, metallicsongs and basically just doing
as much thrash as we can.
In fact, um, if you're reallynice, they play a thrash cover
(39:56):
of um smoky and the bandit song,what's the?
What's the one that he's boundand down?
He's bound and down, yeah, nicethrash version of eastbound.
Um, and then, uh, we have egotrip up.
Uh, four piece um grunge band.
Uh, just think, stone templepilots, you know that type of
thing.
Um, then the, the piece I wasmentioning earlier.
(40:20):
Um, the, the main support sothe main support are are from,
hopefully, somewhere local.
Um, they've been really greatbands that we haven't played
with before, and so we get up onstage, we share the stage with
them, and then Loser Play a widevariety of Motorhead material,
including a few surprises,intentional surprises, a little
(40:40):
visit to New York, good funstuff, and we invite the main
support to come up and join us.
Really.
Oh, very cool, that's awesome sotypically the the main support
sings one or two of the songswith us, um, and in fact in one
of the shows, often him got upand played bass along with me,
so we were doing a dual bass onthe closing songs.
(41:03):
So the the idea there is whatare we trying to achieve?
A completely, completely uniquenight.
That moment is never going tohappen again.
These two bands have notpracticed together.
We have not done anythingtogether.
We just said let's make somemusic together, got up on stage,
did something you're nevergoing to hear again.
That's what we're after aunique evening.
(41:23):
That makes the live experiencebetter than buying a CD.
Egotrip will have a seven-songalbum out very soon.
It's fully recorded, beingmixed and mastered now.
Bay of Pigs will startrecording.
Next.
They're going to do at least afour, probably seven-song album
and Loser, believe it or not,the tribute band is going to do
(41:45):
some original music in Motorheadstyle and release that next
year.
Dana (41:48):
Very cool.
Oh yeah, cool.
Well, every one of our shows,you know, we, we tend to put the
, the guests on on spot here and, you know, ask them a question
that, um, you know, kind ofloosen, loosen things up a
little bit and, uh, I'm gonnalet my brother actually say what
this is.
Usually it's me.
So what's this moment called?
Oh shit, this is, it's a momentwhere something's happened live
(42:12):
or you know, maybe even atpractice, something that you're
just like oh shit, I can'tbelieve that just fucking
happened.
And you know, and just whetherit's embarrassing or funny.
But lay us on one of thosemoments that happened to you a
very good question.
Daz (42:27):
I love your oh shit moment.
It's an easy one to answer.
Rob (42:31):
We've had a lot.
Daz (42:34):
I bet you've had.
Yeah, exactly, I was justtalking about Altanim, right?
So Altanim's bass player cameup and played with us and
something happened to my pedalboard and I didn't know what.
So we played two songs and thebeginning of the first song and
the end of the last song.
You can hear me All the wayfive, six minutes down the
(42:58):
middle.
I'm completely missing.
My pedal just went to volumezero and I'm strumming along and
nothing's going on and I've gotit recorded and I've got a
multitrack recorded and there'sjust a flat line is nothing
through there, right, um.
But luckily we had two basses onstage so he was filling out the
sound.
Um, and then you see me, Icouldn't figure out what had
(43:21):
gone on.
So I literally did the guitarnightmare, the sound, the sound
man's nightmare.
The guitarist touched his ampduring the song.
We got to the last refrain andI just got sick of it.
So I went to the master volumeand cranked it and all of a
sudden you hear me way too loud.
Yeah so yeah, that was anabsolute oh shit moment.
I was messing up the lyrics onthe two songs I mean, that is a
(43:44):
unique moment that will neverhappen with tons of mistakes.
I was so distracted, lookingaround trying to figure out what
had happened to my gear.
Rob (43:52):
Okay, advice for new musicians, especially in your
area.
Daz (43:59):
What would your advice be.
Boy, I think I've given lots ofgood tips throughout.
Honestly, I think I've givenlots of good tips throughout.
It has to be talk to each otherand know where you're going
with things.
Don't just go down the pathright.
Know what you're after and keepan open communication with each
other.
I mean, learn the fundamentalsas best you can.
(44:23):
I don't have them, so I have tofollow along and beg my
bandmates to teach the old mannew tricks and all that fun
stuff.
Uh, I think for younger folkwho are getting started would
shed it.
Get in there and reallyunderstand as much as you can.
Try to try to dig into themusic theory.
Try to um do your scales.
Uh, try to stay on top of yourinstrument as best you can,
(44:43):
because when you get on stage,you're the one responsible for
that right yeah, so true.
Dana (44:49):
I mean, you know back in the day, when you know when we
all started out, it's like youknow they didn't have no, all
the technology to look this shitup.
You know it's like you learn asong.
You play the tape over and overand over until you thought that
you got the right chords andnotes, only to find out, oh shit
, that tape's really old and itjust sounds like that's a
different note.
Because it's so fucking warm.
(45:09):
So so yeah, but yeah, nowadaysthere's no excuse for you know
musicians to not, you know, tonot know what's going on and not
do their homework.
That's, yeah, we've had someissues with that ourselves and
it's.
It gets frustrating.
But the very good advice, sir,I, I love that, um, and we were
even talking on one of our lastepisodes about you know, like
you, like you said, thecommunication and you know, as
(45:31):
far as you know, all the, allthe stuff that we used to do in
practices and you know nobodyever brought up, you know,
mental illness or family life orall the other shit that the
members had to deal with outsideof the band, that you know
affected everybody and it's just.
You know it was all done behindclosed doors and you know you
just go on stage, you know,maybe drink a little bit, do
(45:51):
this and pull through and gohome and face reality and it's,
you know it's a whole differentworld out there.
So good advice, we appreciateit thank you hey uh, there's
related to to the um, listening,listening.
Daz (46:05):
So one thing that messes with you when you're listening
is a lot of producers back inthe day would slow the tape down
, right, right.
So when you slow the tape down,you change the pitch, and so
what you're learning is not whatwas being played by the
musician and you can't figureout why it doesn't look quite
right.
Yes, but the other fun one isthere's actually a really
amusing Motorhead anecdote onthis one which is early on, when
(46:27):
they were recording um, they,they had written all of their
songs in e-standard and theyrecorded on a day when their
instruments had actually fallenout of whack.
They tuned them by ear and theytuned them a half step low.
So motorhead, all motorheadsongs are a half step off wow
but at that moment in time, whenthey went into record and
(46:48):
you're paying for the recordingand you tuned your guitar, your
instruments by ear, a half steplow, that's it.
That's what you do now.
Rob (46:58):
Hey.
Well, that has been an absolutepleasure talking to you and I
look forward to futureinterviews with you and, in
closing, what would you like tosay to your loyal listeners?
Daz (47:09):
In closing, what would you like to say to your loyal
listeners?
Thank you very much.
Thank you, Rob and Dana.
This has been an excellentdiscussion and for my loyal
listeners buy the tickets.
Buy advance tickets.
Don't just buy on the night.
In order to guarantee that theshow happens, people need to buy
online in advance, so the venueowner knows there's going to be
(47:33):
enough people there to make itworthwhile to open the doors.
Rob (47:36):
Really.
Dana (47:37):
Well, thank you very much.
It's been a pleasure and we'llbe talking with you soon, for
sure, and we will include all ofyour socials and all your bio
and everything, and we'll letthe world know about you.
Daz (47:50):
Fantastic, it's really lovely to meet you both.
Rob (47:52):
I appreciate it you too.
Thank you, bye man, bye now.
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