November 26, 2025 • 50 mins
GREYSTONE CANYON are back!
Greystone Canyon pay tribute to the legendary Thin Lizzy with their new single “Suicide” Recorded live together in one room, the track captures the raw energy, warmth, and honesty of real rock’n’roll - no tricks, no clicks, just pure tone and feel.
Stream “Suicide” on all digital platforms! https://lnk.to/S1C1D3
Music video: https://youtu.be/VLNaHClXKc0?si=0-oU8X7h-vIfzSMS
Social media reels: https://f.io/XyQSIDhY https://f.io/c3dlsvcQ
Their new album “Something Borrowed…Something New” will be released worldwide on December 5th, 2025 via Rockshots Records! Following the acclaimed Iron & Oak (2024) the Australian rockers return with their most authentic and energetic record yet. Recorded 100% live in the studio, "Something Borrowed… Something New" blends brand-new Greystone Canyon originals with reimagined classics from Led Zeppelin, UFO, ZZ Top, Neil Young, and Thin Lizzy - a celebration of rock in its purest, rawest form.
Click Here to Subscribe to The Adventures of Pipeman for PERKS, BONUS Content & FREE GIVEWAYS!
Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes.”
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The following are the different podcasts to Follow, Listen, Download, Subscribe:
•The Adventures of Pipeman
•Pipeman Radio
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Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.
Greystone Canyon pay tribute to the legendary Thin Lizzy with their new single “Suicide” Recorded live together in one room, the track captures the raw energy, warmth, and honesty of real rock’n’roll - no tricks, no clicks, just pure tone and feel.
Stream “Suicide” on all digital platforms! https://lnk.to/S1C1D3
Music video: https://youtu.be/VLNaHClXKc0?si=0-oU8X7h-vIfzSMS
Social media reels: https://f.io/XyQSIDhY https://f.io/c3dlsvcQ
Their new album “Something Borrowed…Something New” will be released worldwide on December 5th, 2025 via Rockshots Records! Following the acclaimed Iron & Oak (2024) the Australian rockers return with their most authentic and energetic record yet. Recorded 100% live in the studio, "Something Borrowed… Something New" blends brand-new Greystone Canyon originals with reimagined classics from Led Zeppelin, UFO, ZZ Top, Neil Young, and Thin Lizzy - a celebration of rock in its purest, rawest form.
Click Here to Subscribe to The Adventures of Pipeman for PERKS, BONUS Content & FREE GIVEWAYS!
Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes.”
Positively Pipeman hosted by Dean K. Piper, CST features other international authors, speakers, trainers, advisors, coaches and other experts here to help you in business & personal life including Self-Help, Motivation, Business, Marketing, Empowerment, Spiritual, Inspiration, Health & Wellness, Relationships, Goal Setting, Belief Systems, Mindset, Sales, and so much more on your journey to Success, Freedom, and Happiness!
Would you like to be a sponsor of the show?
Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?
Would you like interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?
Would you like to host your own Radio Show, Streaming TV Show, or Podcast?
PipemanRadio Podcasts are heard on Pipeman Radio, Talk 4 Media, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcasts, and over 100 other podcast outlets where you listen to Podcasts.
The following are the different podcasts to Follow, Listen, Download, Subscribe:
•The Adventures of Pipeman
•Pipeman Radio
•Pipeman in the Pit – Music Interviews & Festivals
•Positively Pipeman – Empowerment, Inspiration, Motivation, Self-Help, Business, Spiritual & Health & Wellness.
Click Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!
Follow @pipemanradio on all socials & Pipeman Radio Requests & Info at www.linktr.ee/pipemanradio
Stream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV.
Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Hi, you love them too, dear censure, Wow, pray you
you don't do so? Here on the Avengers Fight n
(00:33):
W four c Y Radio. And I'm very excited. Why
because ray Stone Canyon they're back. They're back, and I
really dig what we're going to talk about. There's a
couple of new songs I really dig. But let's bring
on Darren onto the show. How are you? Thanks very
(00:54):
much for having me on very well.
Speaker 2 (00:56):
As we discussed before we just started, it's my birthday today.
Bet on it to be here on the show and
talking about something that I'm.
Speaker 1 (01:04):
Very passionate about, which is music. And I think I
have something here in my toolbox that is so you
just made me think that's so appropriate for a situation.
If I still have it, and I'm going to find
it at some point, I may play it if I
find it, but I'm gonna say happy birthday. And I
(01:28):
have to say, Okay, the newest single I know about
is the Thinzzi one, but I also went and listened
to another one that wasn't in what was sent to me,
and I thought that was badass too, because I absolutely
(01:48):
love UFO. Oh my god, that was so killer. The
UFO song Okay, so everybody knows you have a new
album come now. But there are some covers on there
that are really cold. There's original music too, but you know,
there's some cool covers. I can't wait to I didn't
(02:10):
get to hear it yet. I can't wait to hear
the Immigrant song. Oh yeah, that's one of my favorite
Zeppelin songs. But I do have to say the minute
I turned on Suicide, I was like, kinda hell, does
he sound so much like film?
Speaker 2 (02:29):
Oh well, that's a huge compliment that if I give
you a little backstory to this album, like this is
our third album. As you pointed out, there are cover
tunes and your original songs. Each of the band members
chose to cover song that we thought kind of fitted
the DNA of Greystone Canyon and that we could do
(02:50):
a reasonable job on the Other reason that we did
covers and originals is we wanted to try recording this
album live, so all into one room, no click tracks,
no studio trickery, just looking at one another, amps cranked
up real drums, and we weren't sure sonically how the
(03:10):
album would turn out, so rather than risk all of
our new original songs on something that could have gone
the other way, mix and covers up and it would
be maybe a low stakes affair, something like Metallica's Garage
Days or Van Halen's Diving Down.
Speaker 1 (03:26):
It's so funny you said that, because the minute you
started talking about on Lake thinking listen, Metallica still does covers.
Speaker 2 (03:34):
Yeah, and those cover albums that they do, you know,
I really enjoy those. It's kind of you can hear.
You can hear that the band's having fun, and that's
really we wanted. Like the previous two albums for us,
they've done well, they sound great, but the last one
it was such a laborious task to bring them together
(03:55):
and it wasn't you know, like the end result was great,
we're happy with, but it was exactly a walk in
the park to do it.
Speaker 3 (04:02):
So we thought we'd try and change it up, and
that's what.
Speaker 1 (04:05):
We've done here. And really, I know your listeners are
the ones.
Speaker 2 (04:09):
That will be the judge, but for us, it was
a blast and we think you can feel that when
you hear it, that we're having fun.
Speaker 1 (04:16):
See, that's so important in my opinion, because first of all,
if you're not having fun, how am I having fun? Okay?
Second all, like I'm just gonna be blunt. This industry sucks.
So like the most fun part is the making and
(04:38):
playing music. If that's not fun, it's the wrong industry
to be in.
Speaker 2 (04:44):
Yeah, you've and you know, music and business have always
been at odds with one another.
Speaker 3 (04:50):
They're strange bedfellows.
Speaker 1 (04:53):
So just take the business right out of it, make it.
Speaker 2 (04:57):
About music, have fun, and hopefully that comes across, you know, hopefully,
you know, like it's like when you're at a party,
if you're the guy that's smiling and laughing, like people
want to gravitate towards that.
Speaker 3 (05:09):
They're like, you know, I want to be a part
of that.
Speaker 2 (05:10):
If you're open in the corner and you know, people
are like, oh, I'm not going near that dude. He's
a Debbie Downer, no doubt. That's that's you know that
that's how we approach this. And you know, I think
even sonically it's turned out great. What what we may
not have in perfection and precision, we've made up within
(05:33):
passion and attitude.
Speaker 1 (05:34):
So like, you know, like that important.
Speaker 2 (05:38):
Yeah, like the seventies records, the seventies and eighties records
that we really love, That's how most of those records
were made, you know, just all the guys in the one.
Speaker 1 (05:48):
Room, playing off the floor, not using.
Speaker 2 (05:51):
Tons of overdubs, just just keep it natural and like
you know, a band having fun.
Speaker 1 (05:58):
Well that's fine because one of things I thought of
in my mind before doing an a in reviewer way
one to bring up whereas you mean, some humans are
in a room playing music together. What a concept? Who
thought of that?
Speaker 2 (06:19):
And it's so strange to me even when I'm saying
these things out aloud, as it's kind of everything that
we grew up on.
Speaker 3 (06:27):
That's how it was done.
Speaker 2 (06:28):
But a long yeah, everything changed, you know, and I
don't know, things definitely became more sterile.
Speaker 3 (06:39):
And also with no budgets to make.
Speaker 2 (06:42):
Music anymore, like you said, you know, the industry, it's
just it sucks. Well, you may as well not chase
that carrot because there is no budget to make Welcome
to My Nightmare or a Pink Floyd the Wall. There's
no budget to do that anymore. So you might as
well go the other route and kind of strip it
down and just make a really good organic record.
Speaker 1 (07:05):
And I think when you're all in a room, the
music sounds different because when you're doing different places you're
not connected to have that cohesive sound, you know, and
you're not feeding off putting chart And there's something to
be said about real like talk about Zeppelin, Like Achilles
Last Stand. Everybody thinks that was just a great robber
(07:26):
plant screaming voice, when really he was screaming agony and
pain from the car accident, you know, but it turns
out to be like one of the best screams ever.
Speaker 2 (07:37):
Yeah, what a fantastic song, you know, I mean right
if you or your listeners a you know, speaking of
Zeppelin and the way they made records, the Rick Biado,
who is just an endless knowledge of music production theory,
et cetera, et cetera. You know, he got all the
bottom tracks and like you can't quantize those drums, if if,
(07:58):
if you stop putting that kind of music to a click,
it takes the human feel out, it takes it takes the.
Speaker 1 (08:04):
Whole vibe and journey of these songs away.
Speaker 2 (08:08):
And nowadays people are making records and you know, the
drums aren't done on the same day as the guitar
or you know, everyone's done their own parts in a
home studio somewhere else, and they're not they're not even.
Speaker 1 (08:20):
Closely, And how are you getting into it? Like as
a musician, Like if you're playing by yourself, how are
you getting into it? Like, yes, it's still fun to play,
but there's something to be said. It's no different Dan.
If I listen to a song and and they cut
everything out except one instrument or just the vocals, it's
(08:41):
stunt the scene.
Speaker 2 (08:42):
Yeah, it it's it's definitely where we're in a time
now where everybody's got home recording equipment, uh and and
even the big studios, everybody's just doing everything digital and
editing it, but we're not really seeing, you know, the
results that are coming out.
Speaker 1 (09:04):
Where's the cut through?
Speaker 2 (09:05):
Where is the next where is the next ac DC?
Speaker 1 (09:08):
Where is the next Metallic?
Speaker 2 (09:09):
Where is the next Van Halen or Jimi Hendrix or
you know any of these guys.
Speaker 3 (09:14):
It's just it might be an easy way.
Speaker 2 (09:16):
To record in and a budget way to make music
and albums, but it's not adding to the depth of
music legacy that we already have.
Speaker 3 (09:27):
And that's the shay.
Speaker 1 (09:28):
Yeah, totally. And you know, there's something be said about
the realness and the rawness of not overproducing everything and
mistakes happen like nobody's perfect. And you know you mentioned
Van Halen. One of my favorite memories ever, of like
(09:50):
thousands and thousands of gigs I've been to in my lifetime,
was at the nineteen eighty three US Festival heavy Metal Day,
which was weird because Triumph late on heavy Metal Day.
You can imagine if you had a heavy metal Day
today and that was the band. But Van Hallin was
the headliner of heavy Metal Day. And so they're starting
(10:15):
to play, ain't talking about love and Eddie is looking
over at Dave because he's not singing, and then Dave,
the consummate like one of the greatest frontmen ever in
my opinion, three hundred thousand people, and he just says
(10:35):
on the mic, I fucking forgot the words and they
all and they all and he was he wasn't even
joking either, but the whole place roared like the best
thing ever happened. Was that the biggest applause of the
whole day, you know, because he forgot the words and
that was even better typical Diamond Dave. There was one
(10:58):
person in the crowd that echoed them, and that what
can He turned to that one person and he pointing
at me he goes, I'm gonna fuck your girlfriend.
Speaker 2 (11:09):
Oh yeah, that's favorous, right, and how cool is that
compared to today Today? If the band fucks up, it's
usually because the band are trying to play along to
backing tracks, right that they missed the arrangement up and
now the vocals are out of sync with the music.
Speaker 3 (11:29):
You can't just pick that up.
Speaker 2 (11:31):
It's kind of like, you know, talk about a vibe killer,
like if a singer just forgets some words and you go, hey,
fuck it, you know, like, yeah, we're all in the
moment together, two three, four, we go again. But when
it's all sync the whole shows, you know, like backing
tracks and sink blights.
Speaker 3 (11:49):
Yeah, well, like Phil.
Speaker 1 (11:51):
At Field says that live shows, he goes, come on, guys,
sing it with me, talking to the irons, because sometimes
I forget the mers.
Speaker 2 (11:59):
You know, and you've got to give it to someone
like James, Like he's playing really long shows.
Speaker 3 (12:06):
They're they're touring. You know, the amount of dates that
a band like that does.
Speaker 2 (12:12):
When we talk about vocalists who you know, maybe need
need backing tapes to fulfill touring commitments, there's so many
shows and the voice just on only last so long.
That is a different discussion. But yeah, head off to James.
Speaker 1 (12:27):
So that that's that would be a herculean task, right,
And now you take the other side of that. There's
bands today that cancel shows because there are laptops were working. Yeah, yeah,
I remember that.
Speaker 2 (12:42):
Yeah, yeah, that's that's I mean, there's some really great
Instagram memes that go round of people that play with
setups like that, and they've all got the in ears.
So when someone comes to see their rehearsal, you can
only hear drums.
Speaker 3 (12:56):
There's not there's you know, everything else is just going
through in its.
Speaker 2 (13:00):
Man, you've you've just sucked the life out of everything here.
It's our motto was especially going into this album, was
everything needs to be moving here, you know. And at
the same time that the guitars, the bass, the drums,
the vocals, it's all got to be pushing air, real
(13:20):
air in the same room. Just put some microphones well
placed and capture the sound of this room.
Speaker 1 (13:29):
That's that's the way it should be, you know. It's
like even doing stuff like this, Okay, there are times
that I'll tell my engineer if he's adding an interview
or something like don't take the ums out because you know,
if it's too polish, it's not really interesting the people. Yeah,
(13:52):
it's been.
Speaker 3 (13:52):
Doctored and it's fake.
Speaker 2 (13:53):
And in a world full of fake shit, you we
wanted to believe that sports and music were some of
the last truly real anything can happen.
Speaker 3 (14:08):
But then you know, business starts to get their claws
into that.
Speaker 2 (14:13):
So maybe they want the band to do more dates
than they're capable of, so they've got to use backing
tracks for whatever reason, or just that they suck, I
don't know. And games in sports that corrupted to get
people to throw games. I mean, you know, we need
something real, right, We've got to have something that's just human.
Speaker 1 (14:33):
And here's what I love. Okay, do you know the
band Bad Flower? No? I don't, so check them out
because they're really good. But they do a lot of
festivals here in the US. And one of the festivals
one giant. The singer he had Laryn Jacob, so he
(14:55):
still came out and performed, and he plays guitar, so
he was playing guitar, but he told the audience, I
have Laren j Vis. I'm not allowed to sing. Can
all of you sing for me? And they did their
whole set, didn't cancel anything, and I think it was
one of the best gigs they ever had because the
whole place would sing in every song.
Speaker 3 (15:17):
It's a bad ass. And I mean that stuff happens
right like in in.
Speaker 2 (15:23):
Unlike unlike sports, where if it's a team sport, you
might have an injury and you can, you know, you
can bring in a replacement.
Speaker 1 (15:30):
Because it's part of the team.
Speaker 2 (15:32):
But music doesn't really have that, you know, like no,
it's even the theater, I guess as understudies for maybe
the main roles. But you know, in music, because you're
paying not just to hear the performance or as you'd
see a tribute bad you're paying to see the person. Yeah,
I thought, if you're going to see Wasp, will it
better be Blackie law Is singing. If you're going to
(15:54):
see Metallica, it better be James Hepfield singing. And I mean,
like you said, well if they're and they just fess
up and say hey, And I mean on that point
them we had that ere Slayer came out with Megadeath
some years ago and Tom.
Speaker 1 (16:09):
Had some horrendous ear infection.
Speaker 2 (16:11):
He could hardly stand up, but he had no voice,
they played, he didn't sing. Guys from the support bands
jumped up and all did a song each. Some people
from the audience got up and sne You know, the
band would have been like, well, we got through it.
Speaker 3 (16:27):
It's hardly going to be the crowning achievement.
Speaker 1 (16:30):
But the show goes on, right, That's what they say. Yeah,
the I time and bad situation would be is like say,
if Mustaine was his voice and they put Hatfield in
the thing for him, he may not be happy about that.
Speaker 2 (16:45):
Hey that's well, that'll get plenty of coverage. That will right,
He's getting enough coverage out of putting Ride the Lightning on.
Speaker 1 (16:52):
The new Oh. I can't wait to hear what that
sounds like, because I mean I was aving Theatallica's first
show ever, so I actually that Mustine in Metallica, and
I love Mustine. You know, I love Metallica too, but
I love Mustine and like he did partially wrte that song.
(17:13):
So I'm looking forward to hear it because even like
I loved the Four Horsemen, but the mechanics, like that's.
Speaker 2 (17:21):
That's the real thrash song is the mechanics, you know,
so you can't you can't imagine James Hetfield singing those
lyrics right, the mechanics lyrics.
Speaker 3 (17:31):
Like Mustane always had that he like loved you to death.
Speaker 2 (17:37):
He always he touched on those wake Up Dead, you know,
like the relationship type stuff and Metallica in.
Speaker 1 (17:44):
Those early abums.
Speaker 2 (17:45):
They they wouldn't touch that with it, you know, with
a yardstick. No, I'm a Mustane guy too. Then I
used to work for road Runner Records.
Speaker 1 (17:54):
And in Australia.
Speaker 3 (17:55):
Prior to that, Sanctuary Records in the UK.
Speaker 2 (17:58):
So I got to work with Dave on a few
albums just as a marketing guy.
Speaker 3 (18:03):
What what A what a hob work or what a
you know?
Speaker 1 (18:06):
Pitched so weird because you know the whole thing that
if there's like a spirit or something, you get chills.
I just got chills because you know about Michelle Kerr, right.
Speaker 3 (18:19):
Yes I do.
Speaker 2 (18:20):
Yeah, and obviously a US rep UK, she was UK,
but she passed away last year.
Speaker 1 (18:29):
I knew her pretty well and I got chills when
you were talking about road Runner because I was thinking
I thought about her. It was funny because that's one
of the festivals. I do media coverage for Bloodstock in
the UK, which she she was the pr person for that,
and so machine Head was playing and he did this
(18:55):
like whole tribute to her, like on stage at the
fest of all It was the most badass thing. I
walked up to him like a month later at another
festival in the US auns just like, what was it?
Ladder than Life? I think I just walked up film
I was like, hey, I just wanted to say that
(19:16):
was a pretty badass thing he did. Day came to
Michelle and shook his hand and walked away because it
was it was so cool, you know. So it's so funny.
It's like road Runner Records is everywhere.
Speaker 3 (19:32):
Yeah, Like I mean, weren't they just they.
Speaker 2 (19:35):
Were really the brand for metal music and they were
maybe the bigger of the independence. You know, if you
were on road Runner when they come out with Merciful Fate,
Annihilator and then that whole first wave of death metal.
I think the earlier Bitchery Records were road Runner and
(19:59):
then the whole ninety sing with Fear Factory.
Speaker 1 (20:01):
Machine Head sept to her, YadA YadA, YadA, whatnot.
Speaker 3 (20:06):
Yeah, Well that's yeah, that's another story.
Speaker 2 (20:10):
Ily met Michelle the once when she came out for
sound Wave out here in Australia and I was still
working for road Runner and she was out here looking
after Machinehead.
Speaker 1 (20:20):
Yeah, you know, it was funny. You'll love this. He
was saying that she was a bat. This is his
this is exact word, a badass bitch, and she could
drink any guy under the table. He said. There were
a few times I'm like, no, no, Michelle, I got
(20:41):
a cap out. I'm done. You got me.
Speaker 3 (20:45):
I look off.
Speaker 2 (20:46):
It's a tough industry to be in, full stop, but
it's a tougher.
Speaker 1 (20:49):
Industry for a woman, for sure, and for her to
make that mark on the world that she made, because
there isn't anybody you can talk to in this industry
that doesn't know her. It's kind. And she was like,
she was very helpful to me too, Like I came
over and I was covering Bloodstock and I'm there for
(21:10):
a first time a few years back, and she was
hooking me up with interviews with bands and stuff like
helping me out and like just amazing, you know, And
there's so many amazing people that were from Roadrunners. So
it's very cool to me to learn that you were
at Roadrunner too.
Speaker 2 (21:29):
Yeah, yeah, well that's that's six degrees of separation or
maybe in the music industry on the one degree line right.
Speaker 1 (21:36):
Right, totally. So, yeah, you have the new album, something Borrowed,
something new? Are we getting married?
Speaker 2 (21:45):
Uh?
Speaker 1 (21:47):
It's going to be released worldwide December fifth on rock
Shots Records. Who I guys say that record label. There's
so many bands I interviewed from that record label, So
who knows. Maybe they're this this decade version of Roadrunner.
Speaker 3 (22:09):
Roberta who runs Rockshots.
Speaker 1 (22:12):
You know he's.
Speaker 2 (22:16):
I think I think the Roadrunner business model is it
is something he looks up to, like from its heyday anyway.
And something that Roberto always says that's very different to
a lot of other labels is he's not interested in
signing a band that's been around for twenty five years.
On other labels, it's an easy sell. He wants to
(22:36):
find new bands.
Speaker 1 (22:37):
So and is I think our his.
Speaker 2 (22:41):
Label only started maybe eight years ago, and our new
album is going to be the two hundred and thirty
sixth release or something like that.
Speaker 1 (22:50):
I only know that because of the catalog.
Speaker 2 (22:53):
DD two three six, But I mean, so that's how
many That's how many albums he's been putting out, and
he just he's just passionate.
Speaker 1 (23:03):
About the music.
Speaker 2 (23:04):
You know, it's not about oh, this band's already sold
this many on this label, or this band's got one
hundred thousand followers on their Facebook page.
Speaker 1 (23:15):
Heat's just looking for music. And that's that's pretty refreshing
in this day and age. Oh I love that because
I was managing an artist a while back and I
had a connection with Sonny Records, and their first question
wasn't you know seventy to music? It was how many
(23:35):
Instagram followers does she out? Yeah, they didn't even know
what she sounded like yet. Yeah, that's so ridiculous to me. Yeah,
I'm sorry, but I.
Speaker 2 (23:44):
Mean that that is that is the business side over
the music side, because they're just looking for an easy sell.
Speaker 3 (23:52):
If you know, an artist.
Speaker 2 (23:53):
Already has cultivated one hundred thousand fans or fifty thousand fans,
whatever the case might be, an audience there for them
to sell to. They don't have to they don't have
to go out there and market hard to win over everything.
Speaker 3 (24:07):
And really that's that's the art side, you know, that's
the music side of businesses.
Speaker 2 (24:15):
That creating the art that's going to resonate with people.
Speaker 3 (24:18):
So yeah, you know, Rockshots have been great to us.
Speaker 2 (24:22):
This is this is album number three, Nice Something Borrowed,
something New, Like you said that that we thought that
fitted well with its part covers, it's part originals, the Something.
Speaker 1 (24:33):
I love it. It's such a brilliant name, and that.
Speaker 2 (24:38):
The album cover has a small boy sitting with some
big old headphones on in front of a stereo with
a stack of vinyl, you know, And that's that's that's
how I grew up, when you weren't tied to a computer,
you were just you know, in the moment, losing yourself
in the music. So we tried to everything about this record,
(24:58):
the way we recorded it, the format with the covers
and the originals, the outlook.
Speaker 3 (25:03):
We just tried to tie the whole thing together into this.
Speaker 2 (25:07):
Very honest, very honest vision of where we're at right now.
Speaker 1 (25:13):
I love it because you know, I do see the
picture of the cover which is behind me here, and
I remember like I would. Okay, So I lived in
La during the eighties scene. Okay, I grew up in
Jersey and my dad moved me to LA in nineteen
(25:33):
nine eighty. What a time to move La. So I
was like the start of it all, Okay, I was
you mentioned Blackie? Like I remember so clearly going to
a show on Halloween in uh Bec. It was eighty
one or eighty two and it was Wasp, Armored Saint,
and this band Headshaker, who they never survived, but like,
(25:57):
I'm still close friends with Armored Saint to this day.
I used to be good friends with Chris Holmes from Waston.
We used to go to the mall together. And you know,
I used to go to this record store in the
valley called OZ Records. I told this story quite often
nowadays because it seems to come up and this is
(26:20):
appropriate with what you're saying is and I had a
friend that was a record store clerk there, and me
and my friends we would go there and he would
show us these albums of bands, and that's how I
discovered most of the bands. Like he would just say, here,
you need to listen to this, and I like today
where you couldn't listen to it first, you had to
(26:41):
buy it, spend your hard earned money buying it, and
you listened to it over and over again, no matter what,
and you sat I used to sit on the balcony
with my headphones on look at all the artwork, read
the lyrics, all that stuff, and you know, it makes
a difference in like that show I was talking out
with was I saw a picture of them an armored
(27:03):
Saint in the magazine where and I'm like, oh that
show because of the way they looked, you know. Well
that record store clerk also turned out he had a
record label, so a lot of bands that he was
showing us were bands he was handling. That was Brian Slagel. Oh, Brian, Okay, Yeah,
(27:29):
Like several years back, I saw him at some event
that we were both going around, like, you know, you
were actually pretty brilliant back then, what a brilliant marketing plan.
Speaker 2 (27:41):
And he's so humble, he's like, he goes.
Speaker 1 (27:45):
I was just a record store clerk, you know, And
that's really what it was. It was just like the scene.
I think that's what kids are missing today, Like we
were like this community and like tape trading, you.
Speaker 2 (27:58):
Know, and I think guys like Brian and Johnny Z
from Mega Force, like they were just guys that were
so passionate about music and there weren't labels, Like there
weren't outlets or vehicles for that type of music to
travel through and they became those vehicles.
Speaker 1 (28:18):
You know.
Speaker 3 (28:18):
They were like, well.
Speaker 2 (28:19):
If I can't if I can't help this band get signed,
you know, to Geffen or polygor or whatever music for Nations,
well I'll start my own bootique label and put stuff out.
And you know, yeah, God bless them, like it's amazing.
Speaker 1 (28:36):
If it weren't for those two people you just mentioned,
there might not be metal today, and there may not yet,
and there definitely wouldn't be metallica today because.
Speaker 2 (28:46):
It would it would definitely be a lot different that
the metal landscape would be very different without guys such
as those two. Yeah, for sure, no doubt, no doubt so.
Speaker 1 (28:55):
And I look at rock Records that's today.
Speaker 2 (29:00):
You can put Monty Connor into that list as well,
because I mean the guy that started road Runner, it
was a Dutch guy and it was never intended to
be a heavy metal label. They just hired this young
guy that was written in a radio show, Monty Connor,
and he was getting all these demos. He signed Merciful Fate,
(29:22):
he signed the side, he signed Fear Factory.
Speaker 1 (29:25):
You know, they're all his signings.
Speaker 2 (29:28):
I mean he you know, Roadrunner doesn't even have a
metal it's not like Metal Blade Records. Roadrunner Records could
have been a dance Labe, could have been.
Speaker 3 (29:39):
Monty Connor.
Speaker 2 (29:40):
He was the A and R guy and he came
up with that roster and then all of a sudden,
by default he's branded it.
Speaker 3 (29:47):
It's like, well, this is a home of heavy.
Speaker 1 (29:49):
Metal, right It's wild how it worked out, But now
we are. That has all led to today and this
new music that you have that everybody has to listen to.
Maybe if it weren't for a road Runner, we wouldn't
be talking today and you wouldn't have a new album
right now. That's well, there you go, And so tell
(30:12):
everybody how they can reach out to you guys on socials,
on the web, how they can get the new album,
went drops, buy merch all that good stuff.
Speaker 2 (30:21):
You can follow us on Facebook, Greystone Canyon on Instagram.
The album's available everywhere, whether it's a streaming platform that's
you're preferred, or you want the physical copies. They're available
on Amazon in the States through MVD. I mean, you
only have to google Graystone Canyon and click shopping and
(30:43):
there'll be a whatever you're preferred, whatever your preferred way
of purchasing is or listening.
Speaker 3 (30:50):
You know, it's all out there. We have a current single, which,
as you mentioned.
Speaker 2 (30:55):
Dan, is the cover of Thin Lizzie's Suicide. It's racked
up eighty thousand views in its first way to please
tell on YouTube and check that out. We have a
second single dropping this week, which is an original song
called Stealing Our Freedom and I do believe Dan, We'll
(31:16):
be doing a video for immigrant song The Lad's.
Speaker 1 (31:19):
Up Nice and you know what I love too, Okay.
I think this is the difference between metal from our
day and metal now. If you asked Tom of Slayer
who his influences were, he didn't even know what metal
was till Slayer, Okay, like one of the most profound
(31:42):
voices in metal. Like he wasn't a metal head at all,
you know, And there's so many that were like that,
and we all came from the same thing. Like, Okay,
we talked about Zeppelin, we talked about UFO, then Lizzie.
But then you're also doing a cover of a Neil
Young song. I mean that's freaking amazing because I love
(32:04):
nil Ya that that.
Speaker 3 (32:06):
Was really broad about, Like it was really broad about.
Speaker 2 (32:10):
By the lyrics of that song, that the whole the
whole meaning of this album, Like I said, the organic
way that we approached it, the cover, the combining covers
with original songs to.
Speaker 1 (32:22):
See how they sit side by side.
Speaker 2 (32:24):
The lyrics to Neil Young's Hey, Hey, My My, into
the Black, So we've done an acoustic version of that
and it's it's darker.
Speaker 3 (32:34):
It's nice, but you know that was that was a
lot of fun to do. And there is an.
Speaker 2 (32:40):
Animated video coming out for that one, so yeah, watch.
Speaker 3 (32:45):
Out for that.
Speaker 2 (32:46):
It is. It's an interesting listen for sure, the new album,
So I hope people could check it out and you know,
enjoy our reinterpretations of these covers and some new Graystone
Canyon original songs.
Speaker 1 (33:01):
Well, and that's I like the way you put the
reinterpretation because I think that, like even with Mantawka, there's
so many covers that they do that nobody knows it's
a cover because they make it their own and a
lot of dance. But it's like I always laugh because
people always come to me and tell me that Nine
(33:24):
Inch Nails covered this song by Johnny Cash called Hurt. Yeah,
it's the other way around, yeah, exactly, But that that
says so much though, because it says that, you know,
Johnny made his own interpretation to where he you would
think it's an original, you would think it's a Johnny
(33:45):
Cash song when he does it, it doesn't sound like
a nine inch nail song.
Speaker 2 (33:49):
No, that was such a clever movement. I think that
was Rick Rubens doing. Yeah, that is a great example.
And I mean, you know, that could be said about
maybe Marilyn Manson's version of Sweet Dreams.
Speaker 3 (34:06):
That's it. You know, they took a pop song that
was played on the radio and turned it.
Speaker 2 (34:10):
Into this really dark, industrial, you know, kind of chaotic.
Speaker 1 (34:16):
Morbid song.
Speaker 2 (34:18):
I would say that covers that we have done, they've
remained faithful for the most part.
Speaker 1 (34:25):
We didn't want to change them too much.
Speaker 2 (34:27):
And the Neil Young one is probably the one that's well,
it's definitely the one that's.
Speaker 1 (34:31):
The most different to the original. Well, and like I said,
you did sound you know, just like Phil So I mean,
and that just that brought me right in right there,
because that's the other tough thing when you're doing covers
is you know, it's tough to try to sound like
(34:52):
them and do it better because they're original, or to
even do it the same. Have mad respect for bands
like yours that can take a song like that and
you still have the familiarity of the song itself. Yeah,
the people that played.
Speaker 3 (35:12):
It thank you very much.
Speaker 2 (35:13):
I think most of the time with the vocal, you know,
especially when you're doing different covers, it's it's pointless to
try and impersonate people. But you need to put yourself
into it and it needs to sound. It needs to
sit well and it needs to sound genuine. Yeah, you
can get those two things, you know, like pretty much
(35:34):
on point, the song will come across. And you know,
we keep referencing Metallica doing covers, look at all the
different bands from Nick cave To.
Speaker 1 (35:46):
About the Beatles, Yeah, that the whole beginning of the
Beatles was covers pretty much sure, and people think that
was their songs. There's so many Beatles songs that people
think it was their song. I mean, cover or original.
Speaker 2 (36:04):
The publishing matters, that matters, but I mean to the listener,
it doesn't really matter as long as it's still a
good song.
Speaker 3 (36:14):
Yeah, if you take if you.
Speaker 2 (36:15):
Take someone else's song, I'm not saying you taking it
making it better, but if a good song is a
good song, and if you do it justice it will
still be a good song.
Speaker 1 (36:24):
There it is.
Speaker 2 (36:25):
You know, there's a million variables to that, but I think,
in a nutshell.
Speaker 1 (36:30):
There it is. So I guess one of my final
questions is how do you keep doing this? Like I
always wonder that with artists, like after you've been doing
it for so long, can you keep coming up with
new material and original music. It's like I think about that,
and I'm just in awe of artists that can do that.
Speaker 2 (36:52):
It's it's just total inspiration, you know, And and inspiration.
Speaker 1 (36:56):
Is all around us all the time.
Speaker 2 (36:58):
I guess the great thing about music now, even though
we're saying, you know, the music industry sucks, but we're
not looking for the next trend now. Most of the
time we're looking backwards and digging into catalogs.
Speaker 1 (37:12):
So you're just.
Speaker 2 (37:12):
Endlessly inspired by maybe something that's been around for fifty
years but you haven't heard it before.
Speaker 1 (37:19):
So it's just that endless inspiration.
Speaker 2 (37:24):
It's also for me personally a little bit about the
continued musical growth. Like I had some music theory lessons
a few years ago. I knew music theory, but I
wanted to know more, and that creeps into your playing
and you're writing and you just start or you just
(37:44):
keep expanding, you know.
Speaker 1 (37:45):
That's how it is. That's how it is for me.
Speaker 2 (37:50):
It doesn't mean everything. You're right, it's going to be
better than the last. But you know, it's like cooking.
You might keep reinventing your dish, but your wife might say, hey,
it's not as good as last night's dish.
Speaker 3 (38:02):
But it doesn't doesn't mean you don't stop trying. Just
take right.
Speaker 1 (38:06):
And I think it gets harder and harder, doesn't it.
Like so I think as you get more and more
into you know, into your calog like it, it has
to get harder to try to outdo yourself. And not
because of any other reason, but like if you got
ten albums as an example, to try to outdo all
(38:30):
ten of those albums opposed to trying to outdo the
first album and with the second one, man, it's gonna
be tough. Yeah, I mean, I think it depends what
you mean by outdo.
Speaker 2 (38:45):
I think when people get really caught up in the
music business, outdo means.
Speaker 1 (38:49):
Out sell, you know, and I don't think of it
that way, but yeah, I.
Speaker 2 (38:53):
See that, Well, that's out That's how libels would be
looking at it. You know, you creatively, you might feel
that you've surpassed everything that you've ever done. But if
it isn't embraced by critics and fans, it's deemed as well, you.
Speaker 1 (39:08):
Know, it's an underachiever.
Speaker 2 (39:11):
Yeah. So, and a lot of the times when you
say out do, if outdo does mean popularity in sales,
you might have to dumb something right down, so you're
really not out doing it, you're underdoing it.
Speaker 1 (39:26):
And to me, the how and to me, the outdoing
as any artists or like what I do or anything
is like you're always trying. You're in competition with yourself.
It has nothing to do with anything else. And because
we are our own worst critics. Like you know, I
can't tell you how many times I've gotten off an
(39:46):
air review and the artist was like, man, I was
like the best interview I've ever had, and I'm thinking,
my head, really that kind of sucked. I kind of sucked,
you know.
Speaker 2 (40:01):
But where you know, we're doing this out of a passion, right, yeah,
And I think that's where you can separate yourself from
that trying to outdo anything, because if you're passionate about it,
you know the paths that you're going down chasing that
passion might change and you can't.
Speaker 1 (40:23):
Compare the two.
Speaker 2 (40:24):
It's just it's it's another interview or another song, and
you know, if we've enjoyed it, fantastic, it's.
Speaker 1 (40:34):
Yeah, no doubt. And yeah, as you you know, get
more experience at the craft, get better at the craft.
You know, I think as an artist, you know, you
do go down different paths, Like you're not going to
write the same stuff you did when you were fifteen
because different experiences and outlooks and perceptions and all that gain.
Speaker 3 (41:00):
We're going back to that. You know.
Speaker 2 (41:03):
Maybe the industry sucks, but I keep using that as
a juxtaposition for a positive. Is whilst all of these
little independent labels like the one I'm with getting our
music out to people, they're not controlling us.
Speaker 1 (41:17):
You know, I love it.
Speaker 2 (41:19):
You can put out anything you want that no one's
saying the song's got to be three minutes, the song's
got to be one hundred and ten bpm, the song's
can't have an intro that goes longer than fifty You
can do whatever.
Speaker 1 (41:31):
Like so if we choose to try and write, you know.
Speaker 2 (41:35):
One song that's maybe a bit instant and a bit
of a toe tabot could be a you know, it
could be an instant.
Speaker 3 (41:42):
Hits or favorite songs, or you.
Speaker 2 (41:44):
Want to write a twelve minute epic or a whole
album of twelve minute epics.
Speaker 3 (41:48):
No one's telling you you can't wear I love that biz.
Speaker 2 (41:52):
It's controlled. You know, if someone's pouring loads of money
I eat a label into a producer to make this record,
well they're going to want to oversee it.
Speaker 3 (42:03):
That may be.
Speaker 2 (42:04):
That may be difficult for a creative person. I wouldn't
know about that because we're just kind of we're just
you know, we're independent band.
Speaker 3 (42:13):
We can just do whatever we want.
Speaker 1 (42:15):
I remember in the eighties on the Sunset Strip sitting
backstage with some of those bands and watching the record
labels telling them how their music had to be from
now on, how they had the dress from now on,
and I was like, this is bullshit. I actually left
the whole scene because of that, because I was like,
I don't want to eat part of this. So I
love hearing about today artists like you and talking about
(42:37):
having the freedom because my whole viewpoint is let the
business people do their business stuff and let the artists
do the creative stuff.
Speaker 3 (42:46):
Absolutely, And look, I'll be honest.
Speaker 2 (42:49):
In our league, the stakes are fairly low, you know.
Like I mean, if on this album we sell a
few thousand copies and and the videos get half a
million views or something, that's a big win for us.
Speaker 1 (43:05):
But in the grand scheme of things, that's it's just
it's small.
Speaker 2 (43:09):
But it's important to us to to create the best
music we can and their role in it, i either labels,
is to get it to as many people as they can,
and if we both do our job, it's a win.
Speaker 3 (43:21):
You know. We don't have to be on top of
the world or on top of the mountain. We're just
here doing what we love and that's working.
Speaker 1 (43:28):
That's the key right there, because at the end of
the day, that is the true key to life is
just being happy and passionate about what you do. Because
if you spend your whole life hating your job or
what you do, what good is it? What good is
(43:49):
the money?
Speaker 3 (43:50):
What goodness?
Speaker 1 (43:51):
The success? It's a waste.
Speaker 2 (43:54):
It's you know, Yeah, there's no read through on this thing.
We're just here on the journey and you better make
every moment count.
Speaker 3 (44:03):
I was fortunate enough.
Speaker 1 (44:04):
I'll give you a little story.
Speaker 2 (44:06):
I was fortunate enough to play guitar on the last
Paul Deiano tour, who as you knows, Wow.
Speaker 1 (44:12):
I'm tall all on Team Giano. Killers is one of
my favorite album.
Speaker 3 (44:18):
I got to do this the last Australian tour with
Paul Deano.
Speaker 2 (44:22):
We're playing Killers and I made him self titled in
its entirety. Man Ever since he was out of Iron Maiden,
which is like nineteen eighty one, he never really made
any money, but he never stopped being passionate about music.
You know, like he's passed away now, God rest his soul.
(44:42):
But it just goes to show even decades since he'd
had the success going out and playing club shows to
people sing it along to Running Free and fanom of
the Opera and Rothschild, and he had the biggest grin
on his face and he was in a wheelchair and
you know, inconsiderable pain most of the time. But his
(45:04):
spirit for doing it was was just it wasn't I
love it?
Speaker 1 (45:11):
Oh, I love it. It's like Ozzie too. Like I
knew Ozzie was going to go out after that, because,
like I said, for years when they Sharon was talking
about him retiring and I'm like, if he stops performing live,
he will die because he lives for that. Like he
(45:34):
just lived for it. And all he had to do
is see the look on his face at that back
to the beginning, and he went out on his own
terms for sure, because that was like probably one of
the best trimes with his life that night.
Speaker 3 (45:51):
That that is so amazing.
Speaker 2 (45:53):
It got to happen too, because I mean, imagine if
that had been a couple of weeks later, it wouldn't
have happened.
Speaker 1 (46:00):
I think I think he purposely stayed alive. He was like,
screw you, I'm not going till I do this show.
Speaker 3 (46:09):
I believe that too.
Speaker 2 (46:10):
And you know, watching the watching the footage of him
desperately trying to get up out of that chip, because.
Speaker 1 (46:16):
Oh my god, oh my god, that was getting to
me right there, because I've seen Ozzy every year since
nineteen eighty. I saw Ozzie with Randy Rhodes and like,
I was there he did. There was this festival called
Moonstock several years back, like right before the pandemic, where
(46:37):
we had that total eclipse throughout the whole world. It
was like one of the biggest ones and it was
at the epicenter of it, and he was performing Bark
at the Moon during the solar eclipse, and I got
to shoot it, Like I'm not normally a photographer, but
they give me a photo pass and I was standing
(46:58):
right under him shooting him. I have the pictures like that.
They're amazing that it looked like it was dark out
when it was daytime because the soar eclipse, and just
an amazing experience. And like you think about all the
things that he's done in all these years, and how
(47:19):
amazing is it too that he got kicked out of Sabbath,
thought it was the end of the world, and he
ended up bigger than he ever would have been in Sabbath.
Speaker 2 (47:31):
It's such a triumph on so many levels, Like Sharon
Ossie as attained, Yeah, against the odds, that first lineup
that he had in those first two records, Like how
special they were in not only for his career, but
the evolution of hard rock and heavy metal and just guitar,
(47:54):
and then that every guitarist.
Speaker 3 (47:57):
That they managed to find was just this like it's like, how.
Speaker 2 (48:01):
Can you you know you think all there's only one
Eddie van Haylend, and you know, of course there is
only one Eddie van Halend, but you go for Randy
Rhodes to Jakie Lee to Zach Wilde.
Speaker 1 (48:13):
It's like, what's like, well, not only that, okay, think
about in one year. In one year I saw Ozzie
play with Randy Rhodes and then he had for a
short stint filling in Pat Travers after Benny Rhodsi and
then Brad Gillith Gillis like, like how many musicians this
(48:36):
man has collected through the years, and then the final
album all the people he was singing songs with like
Elton John and like just amazing.
Speaker 2 (48:47):
Yeah, absolutely, what a fantastic career, what a huge life,
Like that's a life well and never to be replaced,
never to be forgotten. I mean it's it's fairy tale stuff,
you know, no doubt. Yeah, huge, huge influence and huge
(49:13):
part of my life too, Like, yeah, amazing.
Speaker 1 (49:17):
And this new album that's very tale stuff too. Everybody's
got to buy it. You're your new album. You know,
they can't borrow it either, they gotta get it new.
Speaker 2 (49:31):
Yeah, well, I mean honestly, like, listen to it, let
contact us, let us know what you think, share it
around and yeah, dang, that's that's the best mate.
Speaker 3 (49:43):
That's a that's a nice plug there. Thank you very much,
you got it.
Speaker 2 (49:47):
Yeah.
Speaker 1 (49:47):
They final words for our listeners.
Speaker 2 (49:50):
No, I really appreciate the opportunity you're talking to me
in sunny Melbourne, Australia, gray Stone Canyon. We're all just
about honesty and integra and tipping your hat to the
legacy of everything that's hard rocking heavy metal and just
just be safe and you know, keep.
Speaker 3 (50:08):
Love in life.
Speaker 1 (50:10):
Love it you guys rock. I love what I've heard
off the new album. I can't wait till the rest
of it comes out. And thanks for being on the
Adventures of paint Man.
Speaker 2 (50:20):
Hey, this is Darren Cherry from Graystone Canyon on the
Adventures of the Pipe Man.
Speaker 1 (50:26):
Thank you very much for having me and God.
Speaker 3 (50:28):
Bless you all.
Speaker 1 (50:29):
Thank you for listening to the Adventures of pate Man.
I'm w for CUI Radio.
Hi, you love them too, dear censure, Wow, pray you
you don't do so? Here on the Avengers Fight n
(00:33):
W four c Y Radio. And I'm very excited. Why
because ray Stone Canyon they're back. They're back, and I
really dig what we're going to talk about. There's a
couple of new songs I really dig. But let's bring
on Darren onto the show. How are you? Thanks very
(00:54):
much for having me on very well.
Speaker 2 (00:56):
As we discussed before we just started, it's my birthday today.
Bet on it to be here on the show and
talking about something that I'm.
Speaker 1 (01:04):
Very passionate about, which is music. And I think I
have something here in my toolbox that is so you
just made me think that's so appropriate for a situation.
If I still have it, and I'm going to find
it at some point, I may play it if I
find it, but I'm gonna say happy birthday. And I
(01:28):
have to say, Okay, the newest single I know about
is the Thinzzi one, but I also went and listened
to another one that wasn't in what was sent to me,
and I thought that was badass too, because I absolutely
(01:48):
love UFO. Oh my god, that was so killer. The
UFO song Okay, so everybody knows you have a new
album come now. But there are some covers on there
that are really cold. There's original music too, but you know,
there's some cool covers. I can't wait to I didn't
(02:10):
get to hear it yet. I can't wait to hear
the Immigrant song. Oh yeah, that's one of my favorite
Zeppelin songs. But I do have to say the minute
I turned on Suicide, I was like, kinda hell, does
he sound so much like film?
Speaker 2 (02:29):
Oh well, that's a huge compliment that if I give
you a little backstory to this album, like this is
our third album. As you pointed out, there are cover
tunes and your original songs. Each of the band members
chose to cover song that we thought kind of fitted
the DNA of Greystone Canyon and that we could do
(02:50):
a reasonable job on the Other reason that we did
covers and originals is we wanted to try recording this
album live, so all into one room, no click tracks,
no studio trickery, just looking at one another, amps cranked
up real drums, and we weren't sure sonically how the
(03:10):
album would turn out, so rather than risk all of
our new original songs on something that could have gone
the other way, mix and covers up and it would
be maybe a low stakes affair, something like Metallica's Garage
Days or Van Halen's Diving Down.
Speaker 1 (03:26):
It's so funny you said that, because the minute you
started talking about on Lake thinking listen, Metallica still does covers.
Speaker 2 (03:34):
Yeah, and those cover albums that they do, you know,
I really enjoy those. It's kind of you can hear.
You can hear that the band's having fun, and that's
really we wanted. Like the previous two albums for us,
they've done well, they sound great, but the last one
it was such a laborious task to bring them together
(03:55):
and it wasn't you know, like the end result was great,
we're happy with, but it was exactly a walk in
the park to do it.
Speaker 3 (04:02):
So we thought we'd try and change it up, and
that's what.
Speaker 1 (04:05):
We've done here. And really, I know your listeners are
the ones.
Speaker 2 (04:09):
That will be the judge, but for us, it was
a blast and we think you can feel that when
you hear it, that we're having fun.
Speaker 1 (04:16):
See, that's so important in my opinion, because first of all,
if you're not having fun, how am I having fun? Okay?
Second all, like I'm just gonna be blunt. This industry sucks.
So like the most fun part is the making and
(04:38):
playing music. If that's not fun, it's the wrong industry
to be in.
Speaker 2 (04:44):
Yeah, you've and you know, music and business have always
been at odds with one another.
Speaker 3 (04:50):
They're strange bedfellows.
Speaker 1 (04:53):
So just take the business right out of it, make it.
Speaker 2 (04:57):
About music, have fun, and hopefully that comes across, you know, hopefully,
you know, like it's like when you're at a party,
if you're the guy that's smiling and laughing, like people
want to gravitate towards that.
Speaker 3 (05:09):
They're like, you know, I want to be a part
of that.
Speaker 2 (05:10):
If you're open in the corner and you know, people
are like, oh, I'm not going near that dude. He's
a Debbie Downer, no doubt. That's that's you know that
that's how we approach this. And you know, I think
even sonically it's turned out great. What what we may
not have in perfection and precision, we've made up within
(05:33):
passion and attitude.
Speaker 1 (05:34):
So like, you know, like that important.
Speaker 2 (05:38):
Yeah, like the seventies records, the seventies and eighties records
that we really love, That's how most of those records
were made, you know, just all the guys in the one.
Speaker 1 (05:48):
Room, playing off the floor, not using.
Speaker 2 (05:51):
Tons of overdubs, just just keep it natural and like
you know, a band having fun.
Speaker 1 (05:58):
Well that's fine because one of things I thought of
in my mind before doing an a in reviewer way
one to bring up whereas you mean, some humans are
in a room playing music together. What a concept? Who
thought of that?
Speaker 2 (06:19):
And it's so strange to me even when I'm saying
these things out aloud, as it's kind of everything that
we grew up on.
Speaker 3 (06:27):
That's how it was done.
Speaker 2 (06:28):
But a long yeah, everything changed, you know, and I
don't know, things definitely became more sterile.
Speaker 3 (06:39):
And also with no budgets to make.
Speaker 2 (06:42):
Music anymore, like you said, you know, the industry, it's
just it sucks. Well, you may as well not chase
that carrot because there is no budget to make Welcome
to My Nightmare or a Pink Floyd the Wall. There's
no budget to do that anymore. So you might as
well go the other route and kind of strip it
down and just make a really good organic record.
Speaker 1 (07:05):
And I think when you're all in a room, the
music sounds different because when you're doing different places you're
not connected to have that cohesive sound, you know, and
you're not feeding off putting chart And there's something to
be said about real like talk about Zeppelin, Like Achilles
Last Stand. Everybody thinks that was just a great robber
(07:26):
plant screaming voice, when really he was screaming agony and
pain from the car accident, you know, but it turns
out to be like one of the best screams ever.
Speaker 2 (07:37):
Yeah, what a fantastic song, you know, I mean right
if you or your listeners a you know, speaking of
Zeppelin and the way they made records, the Rick Biado,
who is just an endless knowledge of music production theory,
et cetera, et cetera. You know, he got all the
bottom tracks and like you can't quantize those drums, if if,
(07:58):
if you stop putting that kind of music to a click,
it takes the human feel out, it takes it takes the.
Speaker 1 (08:04):
Whole vibe and journey of these songs away.
Speaker 2 (08:08):
And nowadays people are making records and you know, the
drums aren't done on the same day as the guitar
or you know, everyone's done their own parts in a
home studio somewhere else, and they're not they're not even.
Speaker 1 (08:20):
Closely, And how are you getting into it? Like as
a musician, Like if you're playing by yourself, how are
you getting into it? Like, yes, it's still fun to play,
but there's something to be said. It's no different Dan.
If I listen to a song and and they cut
everything out except one instrument or just the vocals, it's
(08:41):
stunt the scene.
Speaker 2 (08:42):
Yeah, it it's it's definitely where we're in a time
now where everybody's got home recording equipment, uh and and
even the big studios, everybody's just doing everything digital and
editing it, but we're not really seeing, you know, the
results that are coming out.
Speaker 1 (09:04):
Where's the cut through?
Speaker 2 (09:05):
Where is the next where is the next ac DC?
Speaker 1 (09:08):
Where is the next Metallic?
Speaker 2 (09:09):
Where is the next Van Halen or Jimi Hendrix or
you know any of these guys.
Speaker 3 (09:14):
It's just it might be an easy way.
Speaker 2 (09:16):
To record in and a budget way to make music
and albums, but it's not adding to the depth of
music legacy that we already have.
Speaker 3 (09:27):
And that's the shay.
Speaker 1 (09:28):
Yeah, totally. And you know, there's something be said about
the realness and the rawness of not overproducing everything and
mistakes happen like nobody's perfect. And you know you mentioned
Van Halen. One of my favorite memories ever, of like
(09:50):
thousands and thousands of gigs I've been to in my lifetime,
was at the nineteen eighty three US Festival heavy Metal Day,
which was weird because Triumph late on heavy Metal Day.
You can imagine if you had a heavy metal Day
today and that was the band. But Van Hallin was
the headliner of heavy Metal Day. And so they're starting
(10:15):
to play, ain't talking about love and Eddie is looking
over at Dave because he's not singing, and then Dave,
the consummate like one of the greatest frontmen ever in
my opinion, three hundred thousand people, and he just says
(10:35):
on the mic, I fucking forgot the words and they
all and they all and he was he wasn't even
joking either, but the whole place roared like the best
thing ever happened. Was that the biggest applause of the
whole day, you know, because he forgot the words and
that was even better typical Diamond Dave. There was one
(10:58):
person in the crowd that echoed them, and that what
can He turned to that one person and he pointing
at me he goes, I'm gonna fuck your girlfriend.
Speaker 2 (11:09):
Oh yeah, that's favorous, right, and how cool is that
compared to today Today? If the band fucks up, it's
usually because the band are trying to play along to
backing tracks, right that they missed the arrangement up and
now the vocals are out of sync with the music.
Speaker 3 (11:29):
You can't just pick that up.
Speaker 2 (11:31):
It's kind of like, you know, talk about a vibe killer,
like if a singer just forgets some words and you go, hey,
fuck it, you know, like, yeah, we're all in the
moment together, two three, four, we go again. But when
it's all sync the whole shows, you know, like backing
tracks and sink blights.
Speaker 3 (11:49):
Yeah, well, like Phil.
Speaker 1 (11:51):
At Field says that live shows, he goes, come on, guys,
sing it with me, talking to the irons, because sometimes
I forget the mers.
Speaker 2 (11:59):
You know, and you've got to give it to someone
like James, Like he's playing really long shows.
Speaker 3 (12:06):
They're they're touring. You know, the amount of dates that
a band like that does.
Speaker 2 (12:12):
When we talk about vocalists who you know, maybe need
need backing tapes to fulfill touring commitments, there's so many
shows and the voice just on only last so long.
That is a different discussion. But yeah, head off to James.
Speaker 1 (12:27):
So that that's that would be a herculean task, right,
And now you take the other side of that. There's
bands today that cancel shows because there are laptops were working. Yeah, yeah,
I remember that.
Speaker 2 (12:42):
Yeah, yeah, that's that's I mean, there's some really great
Instagram memes that go round of people that play with
setups like that, and they've all got the in ears.
So when someone comes to see their rehearsal, you can
only hear drums.
Speaker 3 (12:56):
There's not there's you know, everything else is just going
through in its.
Speaker 2 (13:00):
Man, you've you've just sucked the life out of everything here.
It's our motto was especially going into this album, was
everything needs to be moving here, you know. And at
the same time that the guitars, the bass, the drums,
the vocals, it's all got to be pushing air, real
(13:20):
air in the same room. Just put some microphones well
placed and capture the sound of this room.
Speaker 1 (13:29):
That's that's the way it should be, you know. It's
like even doing stuff like this, Okay, there are times
that I'll tell my engineer if he's adding an interview
or something like don't take the ums out because you know,
if it's too polish, it's not really interesting the people. Yeah,
(13:52):
it's been.
Speaker 3 (13:52):
Doctored and it's fake.
Speaker 2 (13:53):
And in a world full of fake shit, you we
wanted to believe that sports and music were some of
the last truly real anything can happen.
Speaker 3 (14:08):
But then you know, business starts to get their claws
into that.
Speaker 2 (14:13):
So maybe they want the band to do more dates
than they're capable of, so they've got to use backing
tracks for whatever reason, or just that they suck, I
don't know. And games in sports that corrupted to get
people to throw games. I mean, you know, we need
something real, right, We've got to have something that's just human.
Speaker 1 (14:33):
And here's what I love. Okay, do you know the
band Bad Flower? No? I don't, so check them out
because they're really good. But they do a lot of
festivals here in the US. And one of the festivals
one giant. The singer he had Laryn Jacob, so he
(14:55):
still came out and performed, and he plays guitar, so
he was playing guitar, but he told the audience, I
have Laren j Vis. I'm not allowed to sing. Can
all of you sing for me? And they did their
whole set, didn't cancel anything, and I think it was
one of the best gigs they ever had because the
whole place would sing in every song.
Speaker 3 (15:17):
It's a bad ass. And I mean that stuff happens
right like in in.
Speaker 2 (15:23):
Unlike unlike sports, where if it's a team sport, you
might have an injury and you can, you know, you
can bring in a replacement.
Speaker 1 (15:30):
Because it's part of the team.
Speaker 2 (15:32):
But music doesn't really have that, you know, like no,
it's even the theater, I guess as understudies for maybe
the main roles. But you know, in music, because you're
paying not just to hear the performance or as you'd
see a tribute bad you're paying to see the person. Yeah,
I thought, if you're going to see Wasp, will it
better be Blackie law Is singing. If you're going to
(15:54):
see Metallica, it better be James Hepfield singing. And I mean,
like you said, well if they're and they just fess
up and say hey, And I mean on that point
them we had that ere Slayer came out with Megadeath
some years ago and Tom.
Speaker 1 (16:09):
Had some horrendous ear infection.
Speaker 2 (16:11):
He could hardly stand up, but he had no voice,
they played, he didn't sing. Guys from the support bands
jumped up and all did a song each. Some people
from the audience got up and sne You know, the
band would have been like, well, we got through it.
Speaker 3 (16:27):
It's hardly going to be the crowning achievement.
Speaker 1 (16:30):
But the show goes on, right, That's what they say. Yeah,
the I time and bad situation would be is like say,
if Mustaine was his voice and they put Hatfield in
the thing for him, he may not be happy about that.
Speaker 2 (16:45):
Hey that's well, that'll get plenty of coverage. That will right,
He's getting enough coverage out of putting Ride the Lightning on.
Speaker 1 (16:52):
The new Oh. I can't wait to hear what that
sounds like, because I mean I was aving Theatallica's first
show ever, so I actually that Mustine in Metallica, and
I love Mustine. You know, I love Metallica too, but
I love Mustine and like he did partially wrte that song.
(17:13):
So I'm looking forward to hear it because even like
I loved the Four Horsemen, but the mechanics, like that's.
Speaker 2 (17:21):
That's the real thrash song is the mechanics, you know,
so you can't you can't imagine James Hetfield singing those
lyrics right, the mechanics lyrics.
Speaker 3 (17:31):
Like Mustane always had that he like loved you to death.
Speaker 2 (17:37):
He always he touched on those wake Up Dead, you know,
like the relationship type stuff and Metallica in.
Speaker 1 (17:44):
Those early abums.
Speaker 2 (17:45):
They they wouldn't touch that with it, you know, with
a yardstick. No, I'm a Mustane guy too. Then I
used to work for road Runner Records.
Speaker 1 (17:54):
And in Australia.
Speaker 3 (17:55):
Prior to that, Sanctuary Records in the UK.
Speaker 2 (17:58):
So I got to work with Dave on a few
albums just as a marketing guy.
Speaker 3 (18:03):
What what A what a hob work or what a
you know?
Speaker 1 (18:06):
Pitched so weird because you know the whole thing that
if there's like a spirit or something, you get chills.
I just got chills because you know about Michelle Kerr, right.
Speaker 3 (18:19):
Yes I do.
Speaker 2 (18:20):
Yeah, and obviously a US rep UK, she was UK,
but she passed away last year.
Speaker 1 (18:29):
I knew her pretty well and I got chills when
you were talking about road Runner because I was thinking
I thought about her. It was funny because that's one
of the festivals. I do media coverage for Bloodstock in
the UK, which she she was the pr person for that,
and so machine Head was playing and he did this
(18:55):
like whole tribute to her, like on stage at the
fest of all It was the most badass thing. I
walked up to him like a month later at another
festival in the US auns just like, what was it?
Ladder than Life? I think I just walked up film
I was like, hey, I just wanted to say that
(19:16):
was a pretty badass thing he did. Day came to
Michelle and shook his hand and walked away because it
was it was so cool, you know. So it's so funny.
It's like road Runner Records is everywhere.
Speaker 3 (19:32):
Yeah, Like I mean, weren't they just they.
Speaker 2 (19:35):
Were really the brand for metal music and they were
maybe the bigger of the independence. You know, if you
were on road Runner when they come out with Merciful Fate,
Annihilator and then that whole first wave of death metal.
I think the earlier Bitchery Records were road Runner and
(19:59):
then the whole ninety sing with Fear Factory.
Speaker 1 (20:01):
Machine Head sept to her, YadA YadA, YadA, whatnot.
Speaker 3 (20:06):
Yeah, Well that's yeah, that's another story.
Speaker 2 (20:10):
Ily met Michelle the once when she came out for
sound Wave out here in Australia and I was still
working for road Runner and she was out here looking
after Machinehead.
Speaker 1 (20:20):
Yeah, you know, it was funny. You'll love this. He
was saying that she was a bat. This is his
this is exact word, a badass bitch, and she could
drink any guy under the table. He said. There were
a few times I'm like, no, no, Michelle, I got
(20:41):
a cap out. I'm done. You got me.
Speaker 3 (20:45):
I look off.
Speaker 2 (20:46):
It's a tough industry to be in, full stop, but
it's a tougher.
Speaker 1 (20:49):
Industry for a woman, for sure, and for her to
make that mark on the world that she made, because
there isn't anybody you can talk to in this industry
that doesn't know her. It's kind. And she was like,
she was very helpful to me too, Like I came
over and I was covering Bloodstock and I'm there for
(21:10):
a first time a few years back, and she was
hooking me up with interviews with bands and stuff like
helping me out and like just amazing, you know, And
there's so many amazing people that were from Roadrunners. So
it's very cool to me to learn that you were
at Roadrunner too.
Speaker 2 (21:29):
Yeah, yeah, well that's that's six degrees of separation or
maybe in the music industry on the one degree line right.
Speaker 1 (21:36):
Right, totally. So, yeah, you have the new album, something Borrowed,
something new? Are we getting married?
Speaker 2 (21:45):
Uh?
Speaker 1 (21:47):
It's going to be released worldwide December fifth on rock
Shots Records. Who I guys say that record label. There's
so many bands I interviewed from that record label, So
who knows. Maybe they're this this decade version of Roadrunner.
Speaker 3 (22:09):
Roberta who runs Rockshots.
Speaker 1 (22:12):
You know he's.
Speaker 2 (22:16):
I think I think the Roadrunner business model is it
is something he looks up to, like from its heyday anyway.
And something that Roberto always says that's very different to
a lot of other labels is he's not interested in
signing a band that's been around for twenty five years.
On other labels, it's an easy sell. He wants to
(22:36):
find new bands.
Speaker 1 (22:37):
So and is I think our his.
Speaker 2 (22:41):
Label only started maybe eight years ago, and our new
album is going to be the two hundred and thirty
sixth release or something like that.
Speaker 1 (22:50):
I only know that because of the catalog.
Speaker 2 (22:53):
DD two three six, But I mean, so that's how
many That's how many albums he's been putting out, and
he just he's just passionate.
Speaker 1 (23:03):
About the music.
Speaker 2 (23:04):
You know, it's not about oh, this band's already sold
this many on this label, or this band's got one
hundred thousand followers on their Facebook page.
Speaker 1 (23:15):
Heat's just looking for music. And that's that's pretty refreshing
in this day and age. Oh I love that because
I was managing an artist a while back and I
had a connection with Sonny Records, and their first question
wasn't you know seventy to music? It was how many
(23:35):
Instagram followers does she out? Yeah, they didn't even know
what she sounded like yet. Yeah, that's so ridiculous to me. Yeah,
I'm sorry, but I.
Speaker 2 (23:44):
Mean that that is that is the business side over
the music side, because they're just looking for an easy sell.
Speaker 3 (23:52):
If you know, an artist.
Speaker 2 (23:53):
Already has cultivated one hundred thousand fans or fifty thousand fans,
whatever the case might be, an audience there for them
to sell to. They don't have to they don't have
to go out there and market hard to win over everything.
Speaker 3 (24:07):
And really that's that's the art side, you know, that's
the music side of businesses.
Speaker 2 (24:15):
That creating the art that's going to resonate with people.
Speaker 3 (24:18):
So yeah, you know, Rockshots have been great to us.
Speaker 2 (24:22):
This is this is album number three, Nice Something Borrowed,
something New, Like you said that that we thought that
fitted well with its part covers, it's part originals, the Something.
Speaker 1 (24:33):
I love it. It's such a brilliant name, and that.
Speaker 2 (24:38):
The album cover has a small boy sitting with some
big old headphones on in front of a stereo with
a stack of vinyl, you know, And that's that's that's
how I grew up, when you weren't tied to a computer,
you were just you know, in the moment, losing yourself
in the music. So we tried to everything about this record,
(24:58):
the way we recorded it, the format with the covers
and the originals, the outlook.
Speaker 3 (25:03):
We just tried to tie the whole thing together into this.
Speaker 2 (25:07):
Very honest, very honest vision of where we're at right now.
Speaker 1 (25:13):
I love it because you know, I do see the
picture of the cover which is behind me here, and
I remember like I would. Okay, So I lived in
La during the eighties scene. Okay, I grew up in
Jersey and my dad moved me to LA in nineteen
(25:33):
nine eighty. What a time to move La. So I
was like the start of it all, Okay, I was
you mentioned Blackie? Like I remember so clearly going to
a show on Halloween in uh Bec. It was eighty
one or eighty two and it was Wasp, Armored Saint,
and this band Headshaker, who they never survived, but like,
(25:57):
I'm still close friends with Armored Saint to this day.
I used to be good friends with Chris Holmes from Waston.
We used to go to the mall together. And you know,
I used to go to this record store in the
valley called OZ Records. I told this story quite often
nowadays because it seems to come up and this is
(26:20):
appropriate with what you're saying is and I had a
friend that was a record store clerk there, and me
and my friends we would go there and he would
show us these albums of bands, and that's how I
discovered most of the bands. Like he would just say, here,
you need to listen to this, and I like today
where you couldn't listen to it first, you had to
(26:41):
buy it, spend your hard earned money buying it, and
you listened to it over and over again, no matter what,
and you sat I used to sit on the balcony
with my headphones on look at all the artwork, read
the lyrics, all that stuff, and you know, it makes
a difference in like that show I was talking out
with was I saw a picture of them an armored
(27:03):
Saint in the magazine where and I'm like, oh that
show because of the way they looked, you know. Well
that record store clerk also turned out he had a
record label, so a lot of bands that he was
showing us were bands he was handling. That was Brian Slagel. Oh, Brian, Okay, Yeah,
(27:29):
Like several years back, I saw him at some event
that we were both going around, like, you know, you
were actually pretty brilliant back then, what a brilliant marketing plan.
Speaker 2 (27:41):
And he's so humble, he's like, he goes.
Speaker 1 (27:45):
I was just a record store clerk, you know, And
that's really what it was. It was just like the scene.
I think that's what kids are missing today, Like we
were like this community and like tape trading, you.
Speaker 2 (27:58):
Know, and I think guys like Brian and Johnny Z
from Mega Force, like they were just guys that were
so passionate about music and there weren't labels, Like there
weren't outlets or vehicles for that type of music to
travel through and they became those vehicles.
Speaker 1 (28:18):
You know.
Speaker 3 (28:18):
They were like, well.
Speaker 2 (28:19):
If I can't if I can't help this band get signed,
you know, to Geffen or polygor or whatever music for Nations,
well I'll start my own bootique label and put stuff out.
And you know, yeah, God bless them, like it's amazing.
Speaker 1 (28:36):
If it weren't for those two people you just mentioned,
there might not be metal today, and there may not yet,
and there definitely wouldn't be metallica today because.
Speaker 2 (28:46):
It would it would definitely be a lot different that
the metal landscape would be very different without guys such
as those two. Yeah, for sure, no doubt, no doubt so.
Speaker 1 (28:55):
And I look at rock Records that's today.
Speaker 2 (29:00):
You can put Monty Connor into that list as well,
because I mean the guy that started road Runner, it
was a Dutch guy and it was never intended to
be a heavy metal label. They just hired this young
guy that was written in a radio show, Monty Connor,
and he was getting all these demos. He signed Merciful Fate,
(29:22):
he signed the side, he signed Fear Factory.
Speaker 1 (29:25):
You know, they're all his signings.
Speaker 2 (29:28):
I mean he you know, Roadrunner doesn't even have a
metal it's not like Metal Blade Records. Roadrunner Records could
have been a dance Labe, could have been.
Speaker 3 (29:39):
Monty Connor.
Speaker 2 (29:40):
He was the A and R guy and he came
up with that roster and then all of a sudden,
by default he's branded it.
Speaker 3 (29:47):
It's like, well, this is a home of heavy.
Speaker 1 (29:49):
Metal, right It's wild how it worked out, But now
we are. That has all led to today and this
new music that you have that everybody has to listen to.
Maybe if it weren't for a road Runner, we wouldn't
be talking today and you wouldn't have a new album
right now. That's well, there you go, And so tell
(30:12):
everybody how they can reach out to you guys on socials,
on the web, how they can get the new album,
went drops, buy merch all that good stuff.
Speaker 2 (30:21):
You can follow us on Facebook, Greystone Canyon on Instagram.
The album's available everywhere, whether it's a streaming platform that's
you're preferred, or you want the physical copies. They're available
on Amazon in the States through MVD. I mean, you
only have to google Graystone Canyon and click shopping and
(30:43):
there'll be a whatever you're preferred, whatever your preferred way
of purchasing is or listening.
Speaker 3 (30:50):
You know, it's all out there. We have a current single, which,
as you mentioned.
Speaker 2 (30:55):
Dan, is the cover of Thin Lizzie's Suicide. It's racked
up eighty thousand views in its first way to please
tell on YouTube and check that out. We have a
second single dropping this week, which is an original song
called Stealing Our Freedom and I do believe Dan, We'll
(31:16):
be doing a video for immigrant song The Lad's.
Speaker 1 (31:19):
Up Nice and you know what I love too, Okay.
I think this is the difference between metal from our
day and metal now. If you asked Tom of Slayer
who his influences were, he didn't even know what metal
was till Slayer, Okay, like one of the most profound
(31:42):
voices in metal. Like he wasn't a metal head at all,
you know, And there's so many that were like that,
and we all came from the same thing. Like, Okay,
we talked about Zeppelin, we talked about UFO, then Lizzie.
But then you're also doing a cover of a Neil
Young song. I mean that's freaking amazing because I love
(32:04):
nil Ya that that.
Speaker 3 (32:06):
Was really broad about, Like it was really broad about.
Speaker 2 (32:10):
By the lyrics of that song, that the whole the
whole meaning of this album, Like I said, the organic
way that we approached it, the cover, the combining covers
with original songs to.
Speaker 1 (32:22):
See how they sit side by side.
Speaker 2 (32:24):
The lyrics to Neil Young's Hey, Hey, My My, into
the Black, So we've done an acoustic version of that
and it's it's darker.
Speaker 3 (32:34):
It's nice, but you know that was that was a
lot of fun to do. And there is an.
Speaker 2 (32:40):
Animated video coming out for that one, so yeah, watch.
Speaker 3 (32:45):
Out for that.
Speaker 2 (32:46):
It is. It's an interesting listen for sure, the new album,
So I hope people could check it out and you know,
enjoy our reinterpretations of these covers and some new Graystone
Canyon original songs.
Speaker 1 (33:01):
Well, and that's I like the way you put the
reinterpretation because I think that, like even with Mantawka, there's
so many covers that they do that nobody knows it's
a cover because they make it their own and a
lot of dance. But it's like I always laugh because
people always come to me and tell me that Nine
(33:24):
Inch Nails covered this song by Johnny Cash called Hurt. Yeah,
it's the other way around, yeah, exactly, But that that
says so much though, because it says that, you know,
Johnny made his own interpretation to where he you would
think it's an original, you would think it's a Johnny
(33:45):
Cash song when he does it, it doesn't sound like
a nine inch nail song.
Speaker 2 (33:49):
No, that was such a clever movement. I think that
was Rick Rubens doing. Yeah, that is a great example.
And I mean, you know, that could be said about
maybe Marilyn Manson's version of Sweet Dreams.
Speaker 3 (34:06):
That's it. You know, they took a pop song that
was played on the radio and turned it.
Speaker 2 (34:10):
Into this really dark, industrial, you know, kind of chaotic.
Speaker 1 (34:16):
Morbid song.
Speaker 2 (34:18):
I would say that covers that we have done, they've
remained faithful for the most part.
Speaker 1 (34:25):
We didn't want to change them too much.
Speaker 2 (34:27):
And the Neil Young one is probably the one that's well,
it's definitely the one that's.
Speaker 1 (34:31):
The most different to the original. Well, and like I said,
you did sound you know, just like Phil So I mean,
and that just that brought me right in right there,
because that's the other tough thing when you're doing covers
is you know, it's tough to try to sound like
(34:52):
them and do it better because they're original, or to
even do it the same. Have mad respect for bands
like yours that can take a song like that and
you still have the familiarity of the song itself. Yeah,
the people that played.
Speaker 3 (35:12):
It thank you very much.
Speaker 2 (35:13):
I think most of the time with the vocal, you know,
especially when you're doing different covers, it's it's pointless to
try and impersonate people. But you need to put yourself
into it and it needs to sound. It needs to
sit well and it needs to sound genuine. Yeah, you
can get those two things, you know, like pretty much
(35:34):
on point, the song will come across. And you know,
we keep referencing Metallica doing covers, look at all the
different bands from Nick cave To.
Speaker 1 (35:46):
About the Beatles, Yeah, that the whole beginning of the
Beatles was covers pretty much sure, and people think that
was their songs. There's so many Beatles songs that people
think it was their song. I mean, cover or original.
Speaker 2 (36:04):
The publishing matters, that matters, but I mean to the listener,
it doesn't really matter as long as it's still a
good song.
Speaker 3 (36:14):
Yeah, if you take if you.
Speaker 2 (36:15):
Take someone else's song, I'm not saying you taking it
making it better, but if a good song is a
good song, and if you do it justice it will
still be a good song.
Speaker 1 (36:24):
There it is.
Speaker 2 (36:25):
You know, there's a million variables to that, but I think,
in a nutshell.
Speaker 1 (36:30):
There it is. So I guess one of my final
questions is how do you keep doing this? Like I
always wonder that with artists, like after you've been doing
it for so long, can you keep coming up with
new material and original music. It's like I think about that,
and I'm just in awe of artists that can do that.
Speaker 2 (36:52):
It's it's just total inspiration, you know, And and inspiration.
Speaker 1 (36:56):
Is all around us all the time.
Speaker 2 (36:58):
I guess the great thing about music now, even though
we're saying, you know, the music industry sucks, but we're
not looking for the next trend now. Most of the
time we're looking backwards and digging into catalogs.
Speaker 1 (37:12):
So you're just.
Speaker 2 (37:12):
Endlessly inspired by maybe something that's been around for fifty
years but you haven't heard it before.
Speaker 1 (37:19):
So it's just that endless inspiration.
Speaker 2 (37:24):
It's also for me personally a little bit about the
continued musical growth. Like I had some music theory lessons
a few years ago. I knew music theory, but I
wanted to know more, and that creeps into your playing
and you're writing and you just start or you just
(37:44):
keep expanding, you know.
Speaker 1 (37:45):
That's how it is. That's how it is for me.
Speaker 2 (37:50):
It doesn't mean everything. You're right, it's going to be
better than the last. But you know, it's like cooking.
You might keep reinventing your dish, but your wife might say, hey,
it's not as good as last night's dish.
Speaker 3 (38:02):
But it doesn't doesn't mean you don't stop trying. Just
take right.
Speaker 1 (38:06):
And I think it gets harder and harder, doesn't it.
Like so I think as you get more and more
into you know, into your calog like it, it has
to get harder to try to outdo yourself. And not
because of any other reason, but like if you got
ten albums as an example, to try to outdo all
(38:30):
ten of those albums opposed to trying to outdo the
first album and with the second one, man, it's gonna
be tough. Yeah, I mean, I think it depends what
you mean by outdo.
Speaker 2 (38:45):
I think when people get really caught up in the
music business, outdo means.
Speaker 1 (38:49):
Out sell, you know, and I don't think of it
that way, but yeah, I.
Speaker 2 (38:53):
See that, Well, that's out That's how libels would be
looking at it. You know, you creatively, you might feel
that you've surpassed everything that you've ever done. But if
it isn't embraced by critics and fans, it's deemed as well, you.
Speaker 1 (39:08):
Know, it's an underachiever.
Speaker 2 (39:11):
Yeah. So, and a lot of the times when you
say out do, if outdo does mean popularity in sales,
you might have to dumb something right down, so you're
really not out doing it, you're underdoing it.
Speaker 1 (39:26):
And to me, the how and to me, the outdoing
as any artists or like what I do or anything
is like you're always trying. You're in competition with yourself.
It has nothing to do with anything else. And because
we are our own worst critics. Like you know, I
can't tell you how many times I've gotten off an
(39:46):
air review and the artist was like, man, I was
like the best interview I've ever had, and I'm thinking,
my head, really that kind of sucked. I kind of sucked,
you know.
Speaker 2 (40:01):
But where you know, we're doing this out of a passion, right, yeah,
And I think that's where you can separate yourself from
that trying to outdo anything, because if you're passionate about it,
you know the paths that you're going down chasing that
passion might change and you can't.
Speaker 1 (40:23):
Compare the two.
Speaker 2 (40:24):
It's just it's it's another interview or another song, and
you know, if we've enjoyed it, fantastic, it's.
Speaker 1 (40:34):
Yeah, no doubt. And yeah, as you you know, get
more experience at the craft, get better at the craft.
You know, I think as an artist, you know, you
do go down different paths, Like you're not going to
write the same stuff you did when you were fifteen
because different experiences and outlooks and perceptions and all that gain.
Speaker 3 (41:00):
We're going back to that. You know.
Speaker 2 (41:03):
Maybe the industry sucks, but I keep using that as
a juxtaposition for a positive. Is whilst all of these
little independent labels like the one I'm with getting our
music out to people, they're not controlling us.
Speaker 1 (41:17):
You know, I love it.
Speaker 2 (41:19):
You can put out anything you want that no one's
saying the song's got to be three minutes, the song's
got to be one hundred and ten bpm, the song's
can't have an intro that goes longer than fifty You
can do whatever.
Speaker 1 (41:31):
Like so if we choose to try and write, you know.
Speaker 2 (41:35):
One song that's maybe a bit instant and a bit
of a toe tabot could be a you know, it
could be an instant.
Speaker 3 (41:42):
Hits or favorite songs, or you.
Speaker 2 (41:44):
Want to write a twelve minute epic or a whole
album of twelve minute epics.
Speaker 3 (41:48):
No one's telling you you can't wear I love that biz.
Speaker 2 (41:52):
It's controlled. You know, if someone's pouring loads of money
I eat a label into a producer to make this record,
well they're going to want to oversee it.
Speaker 3 (42:03):
That may be.
Speaker 2 (42:04):
That may be difficult for a creative person. I wouldn't
know about that because we're just kind of we're just
you know, we're independent band.
Speaker 3 (42:13):
We can just do whatever we want.
Speaker 1 (42:15):
I remember in the eighties on the Sunset Strip sitting
backstage with some of those bands and watching the record
labels telling them how their music had to be from
now on, how they had the dress from now on,
and I was like, this is bullshit. I actually left
the whole scene because of that, because I was like,
I don't want to eat part of this. So I
love hearing about today artists like you and talking about
(42:37):
having the freedom because my whole viewpoint is let the
business people do their business stuff and let the artists
do the creative stuff.
Speaker 3 (42:46):
Absolutely, And look, I'll be honest.
Speaker 2 (42:49):
In our league, the stakes are fairly low, you know.
Like I mean, if on this album we sell a
few thousand copies and and the videos get half a
million views or something, that's a big win for us.
Speaker 1 (43:05):
But in the grand scheme of things, that's it's just
it's small.
Speaker 2 (43:09):
But it's important to us to to create the best
music we can and their role in it, i either labels,
is to get it to as many people as they can,
and if we both do our job, it's a win.
Speaker 3 (43:21):
You know. We don't have to be on top of
the world or on top of the mountain. We're just
here doing what we love and that's working.
Speaker 1 (43:28):
That's the key right there, because at the end of
the day, that is the true key to life is
just being happy and passionate about what you do. Because
if you spend your whole life hating your job or
what you do, what good is it? What good is
(43:49):
the money?
Speaker 3 (43:50):
What goodness?
Speaker 1 (43:51):
The success? It's a waste.
Speaker 2 (43:54):
It's you know, Yeah, there's no read through on this thing.
We're just here on the journey and you better make
every moment count.
Speaker 3 (44:03):
I was fortunate enough.
Speaker 1 (44:04):
I'll give you a little story.
Speaker 2 (44:06):
I was fortunate enough to play guitar on the last
Paul Deiano tour, who as you knows, Wow.
Speaker 1 (44:12):
I'm tall all on Team Giano. Killers is one of
my favorite album.
Speaker 3 (44:18):
I got to do this the last Australian tour with
Paul Deano.
Speaker 2 (44:22):
We're playing Killers and I made him self titled in
its entirety. Man Ever since he was out of Iron Maiden,
which is like nineteen eighty one, he never really made
any money, but he never stopped being passionate about music.
You know, like he's passed away now, God rest his soul.
(44:42):
But it just goes to show even decades since he'd
had the success going out and playing club shows to
people sing it along to Running Free and fanom of
the Opera and Rothschild, and he had the biggest grin
on his face and he was in a wheelchair and
you know, inconsiderable pain most of the time. But his
(45:04):
spirit for doing it was was just it wasn't I
love it?
Speaker 1 (45:11):
Oh, I love it. It's like Ozzie too. Like I
knew Ozzie was going to go out after that, because,
like I said, for years when they Sharon was talking
about him retiring and I'm like, if he stops performing live,
he will die because he lives for that. Like he
(45:34):
just lived for it. And all he had to do
is see the look on his face at that back
to the beginning, and he went out on his own
terms for sure, because that was like probably one of
the best trimes with his life that night.
Speaker 3 (45:51):
That that is so amazing.
Speaker 2 (45:53):
It got to happen too, because I mean, imagine if
that had been a couple of weeks later, it wouldn't
have happened.
Speaker 1 (46:00):
I think I think he purposely stayed alive. He was like,
screw you, I'm not going till I do this show.
Speaker 3 (46:09):
I believe that too.
Speaker 2 (46:10):
And you know, watching the watching the footage of him
desperately trying to get up out of that chip, because.
Speaker 1 (46:16):
Oh my god, oh my god, that was getting to
me right there, because I've seen Ozzy every year since
nineteen eighty. I saw Ozzie with Randy Rhodes and like,
I was there he did. There was this festival called
Moonstock several years back, like right before the pandemic, where
(46:37):
we had that total eclipse throughout the whole world. It
was like one of the biggest ones and it was
at the epicenter of it, and he was performing Bark
at the Moon during the solar eclipse, and I got
to shoot it, Like I'm not normally a photographer, but
they give me a photo pass and I was standing
(46:58):
right under him shooting him. I have the pictures like that.
They're amazing that it looked like it was dark out
when it was daytime because the soar eclipse, and just
an amazing experience. And like you think about all the
things that he's done in all these years, and how
(47:19):
amazing is it too that he got kicked out of Sabbath,
thought it was the end of the world, and he
ended up bigger than he ever would have been in Sabbath.
Speaker 2 (47:31):
It's such a triumph on so many levels, Like Sharon
Ossie as attained, Yeah, against the odds, that first lineup
that he had in those first two records, Like how
special they were in not only for his career, but
the evolution of hard rock and heavy metal and just guitar,
(47:54):
and then that every guitarist.
Speaker 3 (47:57):
That they managed to find was just this like it's like, how.
Speaker 2 (48:01):
Can you you know you think all there's only one
Eddie van Haylend, and you know, of course there is
only one Eddie van Halend, but you go for Randy
Rhodes to Jakie Lee to Zach Wilde.
Speaker 1 (48:13):
It's like, what's like, well, not only that, okay, think
about in one year. In one year I saw Ozzie
play with Randy Rhodes and then he had for a
short stint filling in Pat Travers after Benny Rhodsi and
then Brad Gillith Gillis like, like how many musicians this
(48:36):
man has collected through the years, and then the final
album all the people he was singing songs with like
Elton John and like just amazing.
Speaker 2 (48:47):
Yeah, absolutely, what a fantastic career, what a huge life,
Like that's a life well and never to be replaced,
never to be forgotten. I mean it's it's fairy tale stuff,
you know, no doubt. Yeah, huge, huge influence and huge
(49:13):
part of my life too, Like, yeah, amazing.
Speaker 1 (49:17):
And this new album that's very tale stuff too. Everybody's
got to buy it. You're your new album. You know,
they can't borrow it either, they gotta get it new.
Speaker 2 (49:31):
Yeah, well, I mean honestly, like, listen to it, let
contact us, let us know what you think, share it
around and yeah, dang, that's that's the best mate.
Speaker 3 (49:43):
That's a that's a nice plug there. Thank you very much,
you got it.
Speaker 2 (49:47):
Yeah.
Speaker 1 (49:47):
They final words for our listeners.
Speaker 2 (49:50):
No, I really appreciate the opportunity you're talking to me
in sunny Melbourne, Australia, gray Stone Canyon. We're all just
about honesty and integra and tipping your hat to the
legacy of everything that's hard rocking heavy metal and just
just be safe and you know, keep.
Speaker 3 (50:08):
Love in life.
Speaker 1 (50:10):
Love it you guys rock. I love what I've heard
off the new album. I can't wait till the rest
of it comes out. And thanks for being on the
Adventures of paint Man.
Speaker 2 (50:20):
Hey, this is Darren Cherry from Graystone Canyon on the
Adventures of the Pipe Man.
Speaker 1 (50:26):
Thank you very much for having me and God.
Speaker 3 (50:28):
Bless you all.
Speaker 1 (50:29):
Thank you for listening to the Adventures of pate Man.
I'm w for CUI Radio.
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