July 19, 2024 • 36 mins
Johnny Stevens is the guitarist and lead vocalist for the rock band Highly Suspect. The band has a new album out “As Above, So Below” available for preorder now. We discuss the new album, touring with Muse, happiness, health/diet and more!
00:00 - Intro
00:14 - Zoom Meetings & Technical Issues
01:25 - New Album & Exploring New Genres
02:40 - Co-Producer Aleks Von Korff
05:40 - Hard Work in a Band
07:10 - How the Sound Has Evolved
09:55 - Playing the Songs Live & Tracks
12:30 - Being Happy & Admiration
14:50 - "Champagne Funeral" & Relationship
16:35 - "The 8th of October" & Near Death Experience
22:30 - Health Tips & Happiness
26:44 - New Album, Vinyl Print & Singles
29:55 - Playing Late Night Shows & Touring
32:50 - Learning from Muse
36:00 - Outro
Highly Suspect website:
https://www.highlysuspect.net/
Chuck Shute link tree:
https://linktr.ee/chuck_shute
Thanks for Listening & Shute for the Moon!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Chuck Shute (00:00):
Hey Johnny, what's happenin? Hear me and see me?
Johny Stevens (00:16):
I can about you.
Chuck Shute (00:18):
Yeah, awesome.
Great. I love the studio you gotis that I'm assuming that's part
of the studio are you it's
Johny Stevens (00:23):
just in my apartment. It's like my own
little creation room away fromthe rest of my apartment where I
stream and make music and shit.
Am I late? Because this zoomthing just said four o'clock,
but my email is 410 Oh, yeah,
Chuck Shute (00:36):
no, I for some reason, I don't think you can
set it to 410 it only gives you15 minute increments. So no, no,
you're fine.
Johny Stevens (00:43):
Okay, just making sure I didn't I didn't want to
be like, Oh, wow, that'sactually
Chuck Shute (00:47):
very considerate.
Yeah, most people don't like it.
No, show it all the time. And Idon't even get apologies. I'm
just like, Alright, I guessthat's the way it goes. Now
Johny Stevens (00:54):
that Ami I got no show today to So did
Chuck Shute (00:57):
you like an interview person didn't show
Yeah, yeah. Wow, was it was it abig outlet?
Johny Stevens (01:03):
Or? Yeah, a decent, but I though they'll
remake it? I guess their Wi Fiwent out or something? And then
yeah,
Chuck Shute (01:09):
that happens sometimes. Yeah. I've had to do
interviews like on my phonesometimes it just like, but now
I think I can use my phone aslike a hotspot and it actually
works. Okay, so it's like a goodemergency. Unless, like, Verizon
is down then I'm fucked. Yeah.
Oh, yeah. So new album. This isexciting. I if I got a copy,
advanced copy, so I hope we cantalk a little bit about it
without giving too much away.
(01:32):
Yeah. Yeah. So I mean, thelatest songs already out the
summertime voodoo, which isreally cool. Like, I like what
you guys are doing. You're kindof doing like different things
and exploring. And to me, I lovethat. I'm assuming that you love
that too. As an artist. Yeah.
Johny Stevens (01:47):
100%. I mean, it's not that I like technically
try to go out and explore onpurpose. But just do what feels
right in the moment. Like I tryto make things that are pleasing
to me at any given time.
Chuck Shute (02:00):
Right, but having that variety of different kinds
of music and genres, like Ialways use that example like
Guns and Roses. Like I loveappetite. That's a great album,
but they use your illusions are,they're really fun to me,
because it's all it's all overthe place. There's acoustic
stuff, and there's likeindustrial and, and I feel like
that's kind of what you guys dowith this album. It's like
they're exploring a lot ofdifferent genres.
Johny Stevens (02:20):
Sure, and yeah, I don't like I I'm not the best
person that breaking down whatexactly the music is, I'm just
better at making it. So, youknow, a lot of times people are
like, you know, well, what, whatdo you think this is? Or that
isn't like, I don't know, that'snot for me to decide, you know,
we just played what we thoughtwas fun and decent at the time,
you know? Well, who
Chuck Shute (02:39):
would who produced this? Did you guys produce it?
Or did you hire somebody toproduce it? No,
Johny Stevens (02:43):
we produced it.
And then about halfway throughthe process, we realized that
there was a shining talent inthe room, which was the
engineer, it was just us and oneengineer and we decided to keep
it no outside of songwriters.
No, just us in our fucking room,playing our instruments and
having some beers for 12 hours aday for three months, and really
(03:06):
locking in and we didn't wantany outside influence. But our
engineer who has become one ofmy best friends now he's such a
cool, dude. He was just sotalented. And we were like, Why
don't you co produce like,you've got so many great ideas.
You know, when we get stuck,you'd be like, Well, why don't
we try this? And I'm like,That's the definition of CO
producing this puts you in thecredits, you know. So now we
(03:28):
didn't like hire or outsourceany producers for this album.
It's just us just kind of likethe first albums were. But yeah,
CO produced by Alex von Korff,who was also worked with for
engineering for Muse and forLady Gaga. And for Coldplay and
shit like that. And obviously,this album does not sound like
muse, Lady Gaga, or Coldplay.
But, you know, he's anaccredited engineer, and we
(03:50):
said, what's up, fucking keepgiving us suggestions, and we'll
throw on his co producer. Sothat's how that worked.
Chuck Shute (03:57):
That's awesome. So what kind of suggestions? Is it
more like technical soundlevels? And things like that? Or
is it more like arrangingarranging the songs as well?
Johny Stevens (04:06):
It's both. I mean, he, the project again,
just as somebody who I thoughtinitially would press record,
and why are the mics, but thereare times when he would say, you
know, we would get stuck on likea snare sound. I mean, they're
just not quite right. And hewould bring out a different
snare and tune it differently.
Or there are times when we'd belike, Hmm, is this intro too
long or too short? Or, you know,so arrangement he would help
(04:28):
with to me was just like thefifth Beatle he became a part of
the project and a greatbackboard to bounce ideas off of
and, you know, not every idea hehad was amazing. There were some
times like, not that Nope, youknow, but then other times, he'd
have an idea. We'd be like, Oh,that fucking make sense. And
none of us thought of that. Solet's use it, you know? Yeah.
Chuck Shute (04:47):
Does he act as like the tiebreaker to like you guys
ever have disagreements and youfeel strongly about doing a song
one way and somebody else feelsa different way? And then he
comes in as kind of themediator. Yeah, yeah,
Johny Stevens (04:59):
almost every fucking In almost every measure
of a song, I mean, there's fiveof us. So usually we don't need
like a tie breaker necessarily,but there are times when he
becomes or became the voice ofreason, because we would get
emotional and you'd be like,Man, I guys relax, you know,
like, how about this? How aboutwe take a day off, watch a
fucking movie, we'll revisitthis with fresh ears. He's just
(05:20):
a very patient, human. Andbecause he's not like inside
inside the band. He's got areally cool outside perspective,
that is, you know, a fresh setof ears that maybe we wouldn't
have. But yeah, he's also sincelike I said, he's become one of
my greatest friends. Like a verydear friend. He's an awesome
human. That's awesome.
Chuck Shute (05:39):
Yeah. I love that love to hear that. It sounds
like you. You worked really hardon this. If you're doing 12 hour
days. In the studio, I thinkthat's the piece that people
don't see about being in a bandlike, oh, it just looks so fun.
Just go out and play music anddo it and party. And it's like,
no, I mean, 12 hour days in astudio. That's that's a lot of
work.
Johny Stevens (05:56):
Yeah, there's a lot of shit that people don't
see, they don't see that you'rerunning a business as well. And
you got to keep track of 30different employees and do all
the logistics for the road. Andthere's so many different
elements of running a successfulcareer that are beyond just
getting fucked up and playing onstage. But yeah, we we
definitely took this album veryseriously. We started it. I
(06:16):
mean, one of the songs on thereis technically 15 years old. You
know, the song Mexico was a riffthat we used to play in the bar
rooms, and I would kind offreestyle some lyrics over we
never finished it, it was justan idea that we had. And then
yeah, we really fleshed it outand fully realized that so I
guess you could say this albumis 15 years in the making, if
you think of it like that, butthe other songs, melatonin was
(06:40):
2020. I wrote that just on myacoustic guitar. And then
there's some ideas that startedpopping up in 2021 2022. So
there's, there's a largevariance, you know, with this
record from when the songs camefrom, and then the majority of
it was written from November oflast year. Now, I'm sorry,
(07:00):
November of 2022. Till the endof summer 2023. That's when the
most of it was written. Okay,
Chuck Shute (07:07):
so that Mexico song that is cool, like sipping a
mojito down in Mexico is did Ihear an Oregon on that song?
Johny Stevens (07:13):
Here's Oregon, all throughout this album. And I
think one of the really coolthings that separates a lot of
people are gonna say, Oh, yousound like, Mr. Cylon, where you
sound like boy who died, Wolf.
And it's like, yeah, I guess inthe sense that it's, you know,
you're not hearing Ableton beatsor anything like that, like,
it's all real instruments. Sothat would be the link. And the
fact that it's pretty blues,Rocky, that would be a link. But
I think that thing thatseparates it the most is, you
(07:36):
know, we're a five piece nowwe've got rhythm guitar, and
we've got Oregon and so we'reable to layer a much fuller
sound. And always since thebeginning of this band, I've
always just like craved having aconsistent organ in our
recordings, because I lovelistening to the doors and
Santana and you know, some ofthe classic rock bands from the
60s and 70s, that would alwayshave to be three. Nonetheless,
(07:56):
the going and now we've gotthat. And I think it just adds
such a cool texture to the albumthat most rock bands aren't
fucking with these days. So
Chuck Shute (08:08):
yeah, it's kind of like a like a classic vibe with
a modern twist. Like even thesingle you know, you got that?
How do you get that tone on theguitar with the Echo II, kind of
spacey blues tone? I mean, isthat hard to do? Or is that a
pretty simple way to do that?
Johny Stevens (08:22):
No. I mean, it's a probably one of my favorite
things to do is to work withecho and delay, because there's
no, there's no rules for that.
You know what I mean? Like, andthere is no, if you're using
analog equipment, which I do youlike it's never going to sound
the same twice. Do you know theband khruangbin? No, okay, check
them out, because they're reallygood at that. But we use things
like binson echorec, which arefrom the 60s, all the way up to
(08:45):
current pedals like the Strymon.
But all of it is tape echo andtape delay, so you're not using
like a computer program. Sotherefore, it's going to kind of
go off the beat a little bit.
And really, that's what's goingto bring you into that
psychedelic mood. Whereas if itwas just an anchor that's
perfectly on the beat every timewhat you can do with like, which
we do play with, sometimes withlike the vocal echoes, but for
the guitar echo and getting thatspacey sound, you want to kind
(09:08):
of have it falling off the beatever so slightly, so that you're
just kind of polyrhythmic in adifferent time signature while
you're in one time signature,and it just makes your head go
like what the fuck is happening.
And that shit will will sounddifferent every time because the
pedals I'm going to use live,you can't set them to like a
digital setting. It's they'rereal analog knobs. And so if
(09:31):
they move even eighth of anedge, or the electrons going
through the circuitry, or hotterone night, then it's going to be
a slightly different timepattern. If that makes sense.
Yeah, so
Chuck Shute (09:44):
what's that? Nerd alert? You're like, I don't
wanna get it breaking down thesongs but by the way, like, but
if you play that live is so it'sgonna sound different every
night. Yeah. Yeah, that'sactually cool though. That's the
whole point of live rock to meis like, it doesn't every show
is not the same. mean?
Johny Stevens (10:00):
Yeah, I think so.
I mean, it'll, it'll soundpretty close, you know? I mean,
obviously, like, we're not goingto be playing, playing it in the
key of poker, but, you know,yeah, the little effects like
that, like echoes, and everynight is going to be slightly
different. You know what I mean?
Which I think is right. Yeah,what's, what's that? That's the
(10:23):
way it always was. And no shakeon like the successful artists
of today. Obviously, you've gotyour Taylor Swift and really
successful and talented peopleout there that are crushing it,
but their sets are gonna soundso locked in every time. And
because we're just doing thiswith real instruments. And, you
know, our emotions are going tochange the way I set sound. So
it's always gonna be slightlydifferent every night, which I
(10:44):
think is pretty cool.
Chuck Shute (10:45):
Yeah, so because that is a big like debate right
now with rock, like, some bandsuse tape, some and then the
other ones are more just like,you know, pure and say only real
instruments. But I get if you'rein a band, like falling in
reverse, you have to use someelectronic components.
Johny Stevens (11:00):
I have respect for both. I mean, I've done
both. We have a few songs offsome of our other albums that
I've used tracks for. Andthey're just lightly though I
don't think we've ever gone intotrack world the way a lot of
bands do. Because I don't, Idon't love it. And plus, you're
relying on a computer. And ifthat computer crashes, like, can
(11:20):
you still play the song? Can youreplicate it? If you have too
many tracks that are relying ona laptop? Oh, man, when that
thing crashes, which isinevitable, you know what I
mean? These bands, I gotta havethree or four laptops backed up,
ready to go. If that happens midsong, it's kind of embarrassing.
It's like, Oh, can you keep thesong going? Is the song good
enough to stand alone? withoutall the extra tracks and shit?
(11:41):
Can you perform? Are youperformer? Where are you? You
know? So no, but no shade on it.
I've done it, I will probably doit again in the future, you
know, especially on certain,certain songs, they call for
that, you know what I mean? Thatare like, like our songs. 16
Natural Born Killers. These arelike, songs that kind of gotta
be locked in, right? And thenyou get your songs like
ceratonia It's like, I wouldnever put a track on that in my
life. You know what I mean? Soit's just each song is different
(12:03):
design. This album specificallythough, there will be no, no
tracks, everything you hear onthat album was recorded, live
together in a room with theexception of maybe a couple
overdubs where we'd go back inand like fix up a guitar solo or
do or do some vocal, tweaking,but for the most part, and more
so than we've ever done in ourlives. This miles will be alive
(12:25):
out. That's
Chuck Shute (12:29):
awesome. And you mentioned the song melatonin,
you said that it was written2020 That's like a really cool,
it's a darker kind of slower. Ithought it had kind of a 90s
Seattle vibe. Like Allisonchains, maybe but it was
interesting. I heard you talkingabout 2020 Like you do you don't
remember it. It's like almostlike just black that part of
your life? Who fucking does? I'm
Johny Stevens (12:48):
not the only person that has forgotten, like
2020
Chuck Shute (12:53):
really, because I don't I remember crazy shit
going on, like people willing tokill each other over roll toilet
paper. I don't think I'll everforget that shit.
Johny Stevens (13:01):
I remember certain things, but certainly
not all of it. I mean, it becamepretty blurry for me that time
period. And but I mean, that'spossibly because I was going
through, you know, shit that. Idon't want to remember at that
time that is separate of COVID.
You know, but I'm, the older Iget, the easier it is for me to
just let go. Let it go. Youknow, block? Yeah. Like, I'm
just happier and write thetrauma. Shit. I don't let it go.
Chuck Shute (13:27):
Yeah, I noticed the older I get, the less I care
what other people think aboutme. I think when you're young,
you realize especially ateenager, you're really trying
to impress everybody and fit inand be cool. And then the older
you get, you're like, I justwant to be happy. I don't give a
shit.
Johny Stevens (13:39):
Yep. 100%. I hated myself and everybody else
for a long time. And now I'mjust like, I don't know,
everything's good. At themoment. I'm sure it'll, you
know, I'm sure there'll be atime again in life where I hit a
low, but right now, feeling goodfeeling mentally in a good
place. And like, don't reallycare. I mean, obviously, it's
nice when people admire yourwork or admire who you are as a
(14:02):
person or say nice things toyou, but it doesn't fucking
matter. You know what I mean?
Nobody really cares. So it'slike, just set a place where as
long as I'm happy, then I'mhappy, if that makes sense.
Chuck Shute (14:15):
Right? Well, and you have such a built in fan
base of loyal fans that aregonna love everything you do.
Yeah, there's gonna be
Johny Stevens (14:22):
a built in fan base of haters, too. I've got
both things.
Chuck Shute (14:26):
Well, yeah, okay, there's that too. But like,
Yeah, I mean, if you're happyand then there is it's not like
you're just making music forlike three people. I mean, you
have hundreds of 1000s ofsubscribers and followers that
are following your music andcoming to your shows. So I mean,
it's not you have a sense ofpurpose, you know? Yeah. Yeah.
Well, the song champagne in ourfuneral is that one is that one
(14:47):
of the dark times two becausethat's a really interesting
song. It's in the vocals are sodifferent, like in the other
ones, like run, run for yourdeath. You're like screaming and
then a champion or a funeral.
It's almost like you're like asong. Speaking vocals at the
intro, and you could tell meyou're very clear what the words
are clearly about a badrelationship. I'm assuming it's
based on reality. It could befictional. I don't know. But
Johny Stevens (15:10):
I don't know how to write fiction. I mean, look,
I don't think it was based on abad relationship. I think it was
based on a relationship thatdidn't work out. And then having
certain feelings about it, whichrange in that song from? Fuck
you. But also like, Well,congratulations to us, because
we got past this. And it'sbetter for both of us that we're
not together. And there's tendermoments in that song where I'm
(15:32):
talking about very specific,isolated moments that are
beautiful and sweet. Like, gointo Coney Island and yeah,
prospect partnership, but also,like, you know, what, I'd also
argue is both things. There's aduality within that song. It's
not that the relationship wasbad, so to speak. It just wasn't
correct at the time. But yeah,it's a darker song. And yeah, I
definitely explore with myvocals. I don't want to ever
(15:54):
make an album that sounds thenhear the whole way through. Like
what the fuck is, you know,that's boring to me. I want to
make sure that I'm taking you ona journey and showing you with
my tool, which is my voice,right? Sir? A range of emotions
because that's what life is.
Chuck Shute (16:11):
Exactly. I love that. I love the journey. It's
like I said, use your illusions.
I mean, I love those kinds ofalbums that take you on a
journey. That's a perfectdescription. And yeah, this that
song the champagne or funeral? Imean, there aren't You're right.
Very specific. So ever. It'sabout like, she's gonna know
when she hears that. Yeah, andthen, I mean, the eighth of
October. That's another like,kind of a slower song that's
(16:32):
also seems kind of dark. Wasthat written during 2020 as
well? No,
Johny Stevens (16:40):
no, that was written in the studio this year.
And that one is probably themost, like, unique for me, I
guess. In a sense, it's almostgot a country flair to it, not
country but like, it's almostlike notes of modern country and
they're some of the like singer,songwriters, Zach Bryan's and
(17:00):
shit like that you can kind ofwhich I didn't, I had never
heard of him before. We wrotethat. But then I'm like, Ah,
that's a song he could havedone. And then at the end, of
course, you've got that sweetlittle Allman Brothers outro,
which brings kind of ahopefulness that so that sounds
about two different people.
Right? It starts off about thisone relationship that was, you
know, great, but didn't workout. And then halfway through
(17:23):
the song, I start speaking toanother person who was my new
relationship. And I learned overthis past year how to fall in
love again, and I didn't think Iwas going to be able to so that
time period between October 8,and August 17 was one of the
darkest periods of my entirelife, especially most recently,
and I was living like kind ofout of control. And during that
time, is when a lot of the othersongs like suicide machine, they
(17:45):
were all born from that periodof darkness. And then, you know,
I had this one near deathexperience. And shortly after
that met the new love of mylife. And so I sang the second
half of that song to her, shekind of pulled me out of a
terrible place and helped mepull myself I should say, out of
a terrible place I don't like Ihad to help myself as well. And
(18:06):
I think that, you know, I likethe placement of that song on
the album, because at the veryend of it, we're now talking
about actually being able tolove again, and then that that
instrumental part at the end ofit is just so upbeat, and so
hopeful, and it kind of flips itaround, it goes from being this
dark thing to like, not gonnafuck it up this time. And we go
(18:27):
into a fucking Allman Brothersgym, you know. And I think that
that's kind of like a sweetnote. To end the album on. There
is one song after that. But thatone kind of ends that story,
that sub story within the wow,
Chuck Shute (18:41):
that's really cool.
Well, so was the near deathexperience that changed your
perspective on life because mydad actually wrote a book about
near death experiences and allthat stuff. And I find the topic
so fascinating, did it Did yousee the white light and all that
stuff? What What was yourexperience? Like?
Johny Stevens (18:57):
Yeah, not a white light so much. But I guess I
found my own version of God.
It's not religious. I'm not likeI don't subscribe to any one
religion, nor do I care ifanybody else does, you know what
I mean? I'm not pro or antireligion, but like, I have my
own divine moment, whatever thatis. And, you know, look, I've
had near death experiencesbefore. I've had a lot of
traumatic things happen. Butthis one in particularly, in
particular, like, really woke meup. And I kind of realized,
(19:20):
like, Oh, that was close, bro,and you're not being healthy and
you're, you've gained 65 poundsand you're just living
recklessly and you're not takingcare of yourself and your mental
health and your emotional healthand your physical health. And
simultaneously, you have thisopportunity to work in music
studio and make a new album andthere's people out there that
(19:40):
want to hear you keep going andbeyond that. I was like, wait a
minute, I want to keep going.
There's so I don't know I don'tI can't tell you why, but like
literally had a moment that justchanged my life and for the
better and like renewed my senseof wanting to live not that I
(20:01):
wanted to die. I just didn'tcare. I didn't care. You know
what I mean? I was like, fuck,it doesn't matter. And now I'm
like, no, wait a minute, I'mgoing to die someday, and that
will be out of my control. Sowhile I'm here, I need to, like,
appreciate and be grateful ofall the things that are in front
of me and just have fun if mymindset is, fuck it, nothing
(20:22):
matters. Well, then my mindshould be fucking nothing
matters, gentlemen. You justfucking flip that narrative a
little bit. And you got a wholenew outlook. And, yeah, that's
what happened to me. Wow,
Chuck Shute (20:32):
that's amazing.
That's great advice. I mean, youjust feel like that's good
advice for other people tostruggling or going through a
dark place. Because I mean, it'svery common, especially after
the pandemic, a lot of peoplethere was a lot of darkness. So
that is that you feel likethat's for a lot of people need
to do that, maybe start takingbetter care of themselves and
live life to be happy.
Johny Stevens (20:50):
I mean, for sure.
I don't want to like, pretendthat I'm a great therapist for
anybody, you know. Andeverybody's different. But I
think certainly, if you can workon loving yourself and forgiving
yourself, and just trying tofind the beauty in the little
things like touching a flowerand sounds sounds stupid. You
know what I mean? But um, yeah.
(21:13):
Well, once you get to the pointwhere you're, oh, nothing
matters, this is all pointless,then you, you can have the same
thought. You can have the samethought nothing matters. It's
pointless. And you're right. Butnow say that with a smile a few
times in the mirror, and like,lighten up and like, wow, I'm
having the same thought. None ofthis fucking matters. It doesn't
fucking matter. But that is sofree. If nothing matters, then.
(21:38):
God damn, my whole brain isunlocked. Now, I want to try
everything I possibly can.
Because nothing matters. Youknow, I mean, so yeah, I guess
that'd be my advice. Try tolighten up. So yeah, that it has
to be so easier said than done.
You don't have to be firingwell, and I do think that that
is part of taking care ofyourself again, I, I put on a
(21:59):
lot of weight, because I justwasn't living, right. And then,
you know, I've managed to lose35 of that since that day. And I
have another 30 to go. But I'mfeeling great. I'm on my path
towards like, reclaiming controlof my own body. And so that I
think is also helpful. You know,I think that the physical and
the mental are tightly related.
Definitely.
Chuck Shute (22:17):
Yeah. I mean, it's all that's all psychology is
thoughts, feelings andbehaviors. It's really hard to
control your feelings and belike, okay, don't be sad. But
you can control your behaviorsand change things that you're
doing. How did you lose the 35pounds? Like, if you don't mind
me asking, like what techniquesworked for you, because I know
different things work fordifferent people. But
Johny Stevens (22:36):
yeah, so a lot of it was cutting out. Like cutting
out carbs, cutting out sugars,cutting out alcohol in the form
of like beers and shit likethat, like carbohydrates type
shit, and then just keeping yourbody moving all the time. And I
definitely fucked around withsemaglutide. A little bit not to
like an extreme, but it was agood way to curb the appetite.
(22:58):
You know, the fat, the richpeople fat drugs, you can find
them from compoundingpharmacies, where they add like
a B 12 in there. And thensuddenly, it doesn't cost $1,000
A month type of thing. So Ithink that the pre diabetic
medicine ozempic will go theManjaro I think are the names of
the brand things. Those can bereally helpful. Like, my family
has a history of diabetes andshit like that. And I am not,
(23:21):
but I don't want to ever getthere. So yeah, between that and
just like literally putting inthe hard work and going to the
gym and walking the dog longerand food food is is such an
important part of it. If I ameating cheese, it's every night
at three in the morning.
Nothing's going to happen, butinstead I'm working on
vegetables and whole foods isboring. Is that is it. Wow, it
(23:45):
changes your body compositiondrastically. And then yeah, if
I'm drinking a lot of peoplehave this fanfic like, oh, he
must have gone so relevant andconfirmed or sober but like I'm
not going to have 12 beers eachnight. You know what I mean? I'm
going to have like a Topo Chicowith 70 calories and maybe a
couple shots of something clear.
Boom. Now I haven't you know,added 2000 calories into the
(24:07):
daily machine.
Chuck Shute (24:08):
Yeah, do you try because I use that like My
Fitness Pal. I track all mycalories. My trainers, I can't
do
Johny Stevens (24:13):
it. Really? I can't do it. Because if I start
looking at numbers too much if Istart to compulsively look at a
scale or anything like that,then like I if I have a day
where the scale goes back up apound or two you know how that
happens. Like oh yeah, waterweight or fucking salt. Or if I
look at my steps, and I've onlyhit 12,000 instead of 14,000
from the day before and I justhave no more I'm gonna get
(24:35):
depressed I'm beating up onmyself. Good for you that you
can do that. I can't do it. Iget to like obsessed with it and
mad at myself. So yeah, no,
Chuck Shute (24:44):
I think I get obsessed too but I don't I get I
do and I do get mad at myselfbut I just want to get in shape
so bad that I'm like, cut outwhy did they do that? You know,
and I try to just try every Ijust keep trying. I think the
thing is, it's okay to
Johny Stevens (24:56):
fail. Yeah, it's okay to fail and it's good to be
mad at yourself. Sometimes youcan use that motivation I found
personally for me andeverybody's different, right?
That I'll just obsess. So I tryto, like, go off of feel.
Instead of counting, you knowwhat I mean? Like, I know at
this point whether or not I'vehad too much for the day, right?
I don't need to like obsess overthe package, because then then
(25:17):
life becomes too miserable forme. For me. Yeah.
Chuck Shute (25:20):
Well, then if it's working and you lost 35 pounds,
that's awesome. Thank you. Yeah.
And you sounds like you soundhappier, and you're in a better
place. I mean, that's all thatstuff is great.
Johny Stevens (25:29):
Yeah, I'm totally. I know that. Man. I've
been happy and sad. So manytimes in my life. I know that
like, at some point, I will besad again, something that will
fucking bring me down. And so inthis current moment, the fact
that I'm happy, I'm loving everysecond of that, you know what I
mean? And just kind of I think,I don't know how old you I'm 30
(25:49):
years old. I'm headed towards myback half. And I'm starting to
realize like, damn, there's onlyso many days left. So many.
Yeah, I can choose to behappier, sad. And so again, just
going back to her sayingearlier, it's like, lightening
up. And I've managed to find away to do that. Yeah, yeah.
Yeah, I'm
Chuck Shute (26:08):
46. So I'll tell you, to me, it's like, I love
it. I love the older I got, likemy 20s suck. It was all over the
place. And it was the samething. It's like happy, sad. It
was like, what's going on? Andthen I think you just get better
at dealing with it. And then youjust yeah, you realize you're
like, oh, none of this shitmatters. Like, I don't care what
other people think about me. Idon't care if I screwed up like
it's okay to fail all the otherstuff that seemed like we were
(26:29):
raised to try to be perfect inmy at least in my generation.
Like, don't make a mistake. Yougot to be perfect. And then the
older you get, you're like, oh,no, this shit matters. This is
fun.
Johny Stevens (26:38):
Exactly. Exactly.
Yeah, awesome. Well, this
Chuck Shute (26:41):
new album, when does not know if I got the date?
When does it come out? So
Johny Stevens (26:46):
as above or below comes out July 19. Worldwide, we
have four different vinyloptions. And I'm really excited
about that. No, kind of a fan oflike the physical and the
tangible. I'm also from ageneration where you remember,
like how important so yeah,we're releasing it on CD as
well, which a lot of bandsaren't doing these days. The
(27:06):
physical portion of it is veryimportant to us. We the artists
that did the work was named asMr. Babies, you can find them on
Instagram, shout out Mr. Babies.
And I think that the wholespread when you open up it's two
different vinyls because there'seven though there's only 11
songs, the album is an hourlong. And if you try to put all
of that into one vinyl, thequality is going to be worse. So
(27:28):
we swallowed the cost, we hatethe cost, you lose a few bucks
per print, but like whatever I'drather have the fidelity come
through snob nerd alert, I'drather have that come through on
a heavy weighted vinyl than tocheap out in that area. Because
people are paying good money forsomething physical and tangible
that the vinyl market has kindof researched and shit like
that. So we made them reallynice and really decent and give
(27:50):
people a bunch of differentcolorway options to choose from.
As far as streaming, it's onevery platform worldwide, July
19. And then next Tuesday, Ibelieve on the 18th of this
month, we're going to put outour second single, none of the
songs are singles in the senseof like, they're a radio single.
We have a couple that didn'tmake the album because they
(28:13):
didn't fit the story. And wemight put those out after the
album but we wanted the album tobe you know a certain a certain
thing. So as we really singlesbefore the album comes out
because we're gonna put out onemaybe two more just no they're
not like this is their singlethat they're going to try to
push it radio to charge it's notlike that we're just giving out
a couple songs for people tokind of get a taste before the
(28:36):
album drops is suicide machinethe next single I can't tell you
what the next thing is that's
Chuck Shute (28:43):
that's that's one of my favorite also Mexico and
then yeah the melatonin like Isaid that was the I mean they're
all great. Like it just depends.
Johny Stevens (28:50):
Yeah, so I'll tell you the next thing was
going to be the blue eyed deviland I can tell you that because
people have already figured itout from my teaser and then
suicide machine that's a songthat I think radio might enjoy
like honestly I think yeah, itdo well there and so I think
that we're gonna you know getkind of a reading back once we
put the album out and see whatsong people or what songs people
(29:12):
are really fucking with heavilyoverall and kind of get some
analytics back before choosingto put like a hard push and
campaign behind any individualsong because we've done that in
the past and you're likealright, this should be the one
this is the one we're gonnareally hype up and then you're
wrong. You know what I mean?
Like Lydia was never supposed tobe that fucking blew my mind the
fact that that did well at Radioblew my mind and it blew all of
(29:35):
our minds we didn't so we don'tknow we don't know what's going
to be the one you can you canthink what you think and then
the audience will tell youdifferently so we're just going
to play it by ear see what songspeople are really fucking with
and then give those some speciallove when it comes to playing
them on late night shows ordoing things to help promote
them to reach a higher height.
Chuck Shute (29:56):
You have those kinds of gigs you're doing late
night shows are you doing likeEddie trunk all that The bigger
shows and stuff. Yeah,
Johny Stevens (30:02):
we're definitely going to be doing some late
night shows and all the all thewonderful things that give me so
much anxiety we'll be doing.
Chuck Shute (30:10):
Oh shit, really, I thought it'd be fun.
Johny Stevens (30:13):
It's it's difficult, you know, obviously
grateful for the opportunity andthe ability to do it. But those
studios are not designed forfans. They're designed for
television. So the audience islike 50 feet away from the stage
because you've got cameras oncranes. And then you don't have
your whole dialed in PA soundsystem, you don't have your
(30:35):
monitor mix, it's you know,somebody is upgrading the board
that does make sense for TV. Andwhat they're used to working on
is like microphones, that clipto your shirt and stuff like
that. So it's fun, but it's justkind of a little bit impersonal,
because you don't see theaudience. And not only that,
that audience is not there foryou. They're just people that
were on the street that got thefree ticket to go see, you know,
(30:55):
calling in or whatever, whoeverit is. To do something for the
day, like if you've been tolike, Times Square or whatever,
and they're just handing outtickets, hey, come in to the to
the things and I'd be a freeaudience member. So nobody
really is there to see you. Butit's super beneficial, right?
Because then your music goes out2 million people or whatever,
instantly. But it's nervewracking to do it for sure.
Chuck Shute (31:15):
Yeah, no, that is it's different. So what you'll
do, obviously, you're gonna dolive shows, too. Do you have a
tour lined up? Or
Johny Stevens (31:21):
can you announce that one yet, we just sold out
our Summer Tour, which we'rejust doing, for the first time
ever an album from top tobottom. We've never done that.
So that'll be exciting. And thenwe might encore a few. The few
of the hits are the classicsafterwards. But it's the main
show is specifically for thisalbum. And we let everybody know
that before we sold the ticketsthat we nobody's like
(31:43):
disappointed if they show up andthey're not seeing a classic
show. So that's just a smalltour. But that sold out
relatively quickly. And thensoon I can I honestly can't get
in trouble. But I can't drop thedates for the next tour. But
there will be a false run UnitedStates can tell you that. We
will be headed to the UK we willbe headed to New Zealand. We
will be headed to Australia, wewill be headed to Europe. We'll
(32:04):
be doing festivals, next summer,all the things. It's gonna be a
wild ride, you know?
Chuck Shute (32:09):
Can you say? Are you a headlining act? Is that a
co headlining? Are you openingfor someone?
Johny Stevens (32:14):
No, we're gonna headline and I think next year,
I would love to, you know, openfor someone like I'll open for
anybody. I think when we startedthis, I was like, I gotta be
careful who I open for because Idon't want to be associated with
this that the other interview,you got to open for muse. That's
Chuck Shute (32:30):
fucking badass.
Johny Stevens (32:32):
That was amazing.
But now I'll open for anybody. Idon't give a fuck, I will come
and take your fans, you knowwhat I mean? Like, I don't care
who it is, I'm not snug. I enjoyit. And I really enjoy going out
with bigger bands and moresuccessful bands, not for
necessarily the exposure, butmore so like to learn how
they're, you know, like, howthey're what does it takes to
(32:52):
get to that arena levelproduction and that stadium
level thing? And what are yourwhat is your crew like? And how
are you doing this on such adifferent level than like a club
band? You know, I'm hoping whatdid you
Chuck Shute (33:05):
learn from us then?
Because I mean, that was thatmust have been?
Johny Stevens (33:09):
Yeah, special effects and stuff. And yeah, I
learned that. What I need to donext time, is have a bunch of
hits in the early 2000s whenrock and roll is extremely
important. And obvious that Ilearned to find a time machine
go back to 2000. No,
Chuck Shute (33:27):
because I love the new stuff they're putting out I
love that song psycho. And Ithink that was not the early
2000s. I was like the mid. I waslike 10 years ago. That sounds
fun.
Johny Stevens (33:36):
All right, yeah.
But they built such a great fanbase early on. But I think we're
on the right track. We're doingjust that we're building our
core slow and steady. I mean, Ilook at bands that go like this.
And what does the rocket shipdo? It gets to the top and then
the boosters fall off and itmight explode. And then it comes
down just as fast. What if
Chuck Shute (33:53):
you just had one really big hit, but then that's
all people know you for? I feellike that's way worse. Yeah,
Johny Stevens (33:59):
that'd be maddening. And I have a lot of
friends that are in bands thatare like that. And we came real
fucking close to being that bandas well, too. And I think that
we're lucky that our trajectoryhas just been kind of a slow and
steady little dip here. Littleup here. And you know, more of a
long. I want to do this for manydecades to come. I enjoy what I
do. A lot. So good at it.
Chuck Shute (34:21):
Yeah, you guys kick out.
Johny Stevens (34:23):
Thank you. But um, yeah. So I think that, um,
what have I learned from you isI don't know what I didn't learn
from you. I definitely learnedthat fucking production is half
the show. Like, I love that wehaven't relied on it. You know,
we don't have all theinflatables and all the things
that they incorporate into thisshow. But it's so cool that
(34:44):
theatrics they bring into it andso that's what I want to work
towards. I can't afford whatthey're doing right now. But I
think that if I get creativewith the budget I do have and
what we're going to try to dothis fall is bring a show like
we've never brought before and Idon't mean relying on laser
lights. But like taking verysimple key elements and props
and set design and blockingthings out and, and making it
(35:07):
more of a theatrical play thathas music in it versus just,
hey, here's a couple of dudes ina ballroom I think that'll
really be fun to try out. Youknow what I mean? Whether or not
that works for us. I don't know.
But that's what I'm going to tryis bring some new elements to
the show. Visually. Awesome.
Chuck Shute (35:24):
I look forward to it. If you come to Phoenix or
anywhere nearby, I'll definitelycome see you. I've never seen
you guys live I think it'd beamazing.
Johny Stevens (35:31):
I You gotta come out. It's a whole different game
for real. Yeah, reallydifferent,
Chuck Shute (35:34):
hopefully. And it's like, well, it was different
because I had like, I wasworking like a nine to five. And
so you guys would do a show onlike a Tuesday. I'm like,
dammit, I gotta work. Now. Icreate my own schedule. So if
you do a Tuesday on there, Idon't care. Oh, yeah. Awesome.
Well, thank you so much. I keptyou over. I apologize. And
Johny Stevens (35:50):
I appreciate you taking the time to speak with
me. Honestly, grateful for it.
And I hope to see you inPhoenix. Yeah,
Chuck Shute (35:56):
I thank you for doing this interview. I
appreciate it. Have a good one.
You too. All right. Bye bye.
Hey Johnny, what's happenin? Hear me and see me?
Johny Stevens (00:16):
I can about you.
Chuck Shute (00:18):
Yeah, awesome.
Great. I love the studio you gotis that I'm assuming that's part
of the studio are you it's
Johny Stevens (00:23):
just in my apartment. It's like my own
little creation room away fromthe rest of my apartment where I
stream and make music and shit.
Am I late? Because this zoomthing just said four o'clock,
but my email is 410 Oh, yeah,
Chuck Shute (00:36):
no, I for some reason, I don't think you can
set it to 410 it only gives you15 minute increments. So no, no,
you're fine.
Johny Stevens (00:43):
Okay, just making sure I didn't I didn't want to
be like, Oh, wow, that'sactually
Chuck Shute (00:47):
very considerate.
Yeah, most people don't like it.
No, show it all the time. And Idon't even get apologies. I'm
just like, Alright, I guessthat's the way it goes. Now
Johny Stevens (00:54):
that Ami I got no show today to So did
Chuck Shute (00:57):
you like an interview person didn't show
Yeah, yeah. Wow, was it was it abig outlet?
Johny Stevens (01:03):
Or? Yeah, a decent, but I though they'll
remake it? I guess their Wi Fiwent out or something? And then
yeah,
Chuck Shute (01:09):
that happens sometimes. Yeah. I've had to do
interviews like on my phonesometimes it just like, but now
I think I can use my phone aslike a hotspot and it actually
works. Okay, so it's like a goodemergency. Unless, like, Verizon
is down then I'm fucked. Yeah.
Oh, yeah. So new album. This isexciting. I if I got a copy,
advanced copy, so I hope we cantalk a little bit about it
without giving too much away.
(01:32):
Yeah. Yeah. So I mean, thelatest songs already out the
summertime voodoo, which isreally cool. Like, I like what
you guys are doing. You're kindof doing like different things
and exploring. And to me, I lovethat. I'm assuming that you love
that too. As an artist. Yeah.
Johny Stevens (01:47):
100%. I mean, it's not that I like technically
try to go out and explore onpurpose. But just do what feels
right in the moment. Like I tryto make things that are pleasing
to me at any given time.
Chuck Shute (02:00):
Right, but having that variety of different kinds
of music and genres, like Ialways use that example like
Guns and Roses. Like I loveappetite. That's a great album,
but they use your illusions are,they're really fun to me,
because it's all it's all overthe place. There's acoustic
stuff, and there's likeindustrial and, and I feel like
that's kind of what you guys dowith this album. It's like
they're exploring a lot ofdifferent genres.
Johny Stevens (02:20):
Sure, and yeah, I don't like I I'm not the best
person that breaking down whatexactly the music is, I'm just
better at making it. So, youknow, a lot of times people are
like, you know, well, what, whatdo you think this is? Or that
isn't like, I don't know, that'snot for me to decide, you know,
we just played what we thoughtwas fun and decent at the time,
you know? Well, who
Chuck Shute (02:39):
would who produced this? Did you guys produce it?
Or did you hire somebody toproduce it? No,
Johny Stevens (02:43):
we produced it.
And then about halfway throughthe process, we realized that
there was a shining talent inthe room, which was the
engineer, it was just us and oneengineer and we decided to keep
it no outside of songwriters.
No, just us in our fucking room,playing our instruments and
having some beers for 12 hours aday for three months, and really
(03:06):
locking in and we didn't wantany outside influence. But our
engineer who has become one ofmy best friends now he's such a
cool, dude. He was just sotalented. And we were like, Why
don't you co produce like,you've got so many great ideas.
You know, when we get stuck,you'd be like, Well, why don't
we try this? And I'm like,That's the definition of CO
producing this puts you in thecredits, you know. So now we
(03:28):
didn't like hire or outsourceany producers for this album.
It's just us just kind of likethe first albums were. But yeah,
CO produced by Alex von Korff,who was also worked with for
engineering for Muse and forLady Gaga. And for Coldplay and
shit like that. And obviously,this album does not sound like
muse, Lady Gaga, or Coldplay.
But, you know, he's anaccredited engineer, and we
(03:50):
said, what's up, fucking keepgiving us suggestions, and we'll
throw on his co producer. Sothat's how that worked.
Chuck Shute (03:57):
That's awesome. So what kind of suggestions? Is it
more like technical soundlevels? And things like that? Or
is it more like arrangingarranging the songs as well?
Johny Stevens (04:06):
It's both. I mean, he, the project again,
just as somebody who I thoughtinitially would press record,
and why are the mics, but thereare times when he would say, you
know, we would get stuck on likea snare sound. I mean, they're
just not quite right. And hewould bring out a different
snare and tune it differently.
Or there are times when we'd belike, Hmm, is this intro too
long or too short? Or, you know,so arrangement he would help
(04:28):
with to me was just like thefifth Beatle he became a part of
the project and a greatbackboard to bounce ideas off of
and, you know, not every idea hehad was amazing. There were some
times like, not that Nope, youknow, but then other times, he'd
have an idea. We'd be like, Oh,that fucking make sense. And
none of us thought of that. Solet's use it, you know? Yeah.
Chuck Shute (04:47):
Does he act as like the tiebreaker to like you guys
ever have disagreements and youfeel strongly about doing a song
one way and somebody else feelsa different way? And then he
comes in as kind of themediator. Yeah, yeah,
Johny Stevens (04:59):
almost every fucking In almost every measure
of a song, I mean, there's fiveof us. So usually we don't need
like a tie breaker necessarily,but there are times when he
becomes or became the voice ofreason, because we would get
emotional and you'd be like,Man, I guys relax, you know,
like, how about this? How aboutwe take a day off, watch a
fucking movie, we'll revisitthis with fresh ears. He's just
(05:20):
a very patient, human. Andbecause he's not like inside
inside the band. He's got areally cool outside perspective,
that is, you know, a fresh setof ears that maybe we wouldn't
have. But yeah, he's also sincelike I said, he's become one of
my greatest friends. Like a verydear friend. He's an awesome
human. That's awesome.
Chuck Shute (05:39):
Yeah. I love that love to hear that. It sounds
like you. You worked really hardon this. If you're doing 12 hour
days. In the studio, I thinkthat's the piece that people
don't see about being in a bandlike, oh, it just looks so fun.
Just go out and play music anddo it and party. And it's like,
no, I mean, 12 hour days in astudio. That's that's a lot of
work.
Johny Stevens (05:56):
Yeah, there's a lot of shit that people don't
see, they don't see that you'rerunning a business as well. And
you got to keep track of 30different employees and do all
the logistics for the road. Andthere's so many different
elements of running a successfulcareer that are beyond just
getting fucked up and playing onstage. But yeah, we we
definitely took this album veryseriously. We started it. I
(06:16):
mean, one of the songs on thereis technically 15 years old. You
know, the song Mexico was a riffthat we used to play in the bar
rooms, and I would kind offreestyle some lyrics over we
never finished it, it was justan idea that we had. And then
yeah, we really fleshed it outand fully realized that so I
guess you could say this albumis 15 years in the making, if
you think of it like that, butthe other songs, melatonin was
(06:40):
2020. I wrote that just on myacoustic guitar. And then
there's some ideas that startedpopping up in 2021 2022. So
there's, there's a largevariance, you know, with this
record from when the songs camefrom, and then the majority of
it was written from November oflast year. Now, I'm sorry,
(07:00):
November of 2022. Till the endof summer 2023. That's when the
most of it was written. Okay,
Chuck Shute (07:07):
so that Mexico song that is cool, like sipping a
mojito down in Mexico is did Ihear an Oregon on that song?
Johny Stevens (07:13):
Here's Oregon, all throughout this album. And I
think one of the really coolthings that separates a lot of
people are gonna say, Oh, yousound like, Mr. Cylon, where you
sound like boy who died, Wolf.
And it's like, yeah, I guess inthe sense that it's, you know,
you're not hearing Ableton beatsor anything like that, like,
it's all real instruments. Sothat would be the link. And the
fact that it's pretty blues,Rocky, that would be a link. But
I think that thing thatseparates it the most is, you
(07:36):
know, we're a five piece nowwe've got rhythm guitar, and
we've got Oregon and so we'reable to layer a much fuller
sound. And always since thebeginning of this band, I've
always just like craved having aconsistent organ in our
recordings, because I lovelistening to the doors and
Santana and you know, some ofthe classic rock bands from the
60s and 70s, that would alwayshave to be three. Nonetheless,
(07:56):
the going and now we've gotthat. And I think it just adds
such a cool texture to the albumthat most rock bands aren't
fucking with these days. So
Chuck Shute (08:08):
yeah, it's kind of like a like a classic vibe with
a modern twist. Like even thesingle you know, you got that?
How do you get that tone on theguitar with the Echo II, kind of
spacey blues tone? I mean, isthat hard to do? Or is that a
pretty simple way to do that?
Johny Stevens (08:22):
No. I mean, it's a probably one of my favorite
things to do is to work withecho and delay, because there's
no, there's no rules for that.
You know what I mean? Like, andthere is no, if you're using
analog equipment, which I do youlike it's never going to sound
the same twice. Do you know theband khruangbin? No, okay, check
them out, because they're reallygood at that. But we use things
like binson echorec, which arefrom the 60s, all the way up to
(08:45):
current pedals like the Strymon.
But all of it is tape echo andtape delay, so you're not using
like a computer program. Sotherefore, it's going to kind of
go off the beat a little bit.
And really, that's what's goingto bring you into that
psychedelic mood. Whereas if itwas just an anchor that's
perfectly on the beat every timewhat you can do with like, which
we do play with, sometimes withlike the vocal echoes, but for
the guitar echo and getting thatspacey sound, you want to kind
(09:08):
of have it falling off the beatever so slightly, so that you're
just kind of polyrhythmic in adifferent time signature while
you're in one time signature,and it just makes your head go
like what the fuck is happening.
And that shit will will sounddifferent every time because the
pedals I'm going to use live,you can't set them to like a
digital setting. It's they'rereal analog knobs. And so if
(09:31):
they move even eighth of anedge, or the electrons going
through the circuitry, or hotterone night, then it's going to be
a slightly different timepattern. If that makes sense.
Yeah, so
Chuck Shute (09:44):
what's that? Nerd alert? You're like, I don't
wanna get it breaking down thesongs but by the way, like, but
if you play that live is so it'sgonna sound different every
night. Yeah. Yeah, that'sactually cool though. That's the
whole point of live rock to meis like, it doesn't every show
is not the same. mean?
Johny Stevens (10:00):
Yeah, I think so.
I mean, it'll, it'll soundpretty close, you know? I mean,
obviously, like, we're not goingto be playing, playing it in the
key of poker, but, you know,yeah, the little effects like
that, like echoes, and everynight is going to be slightly
different. You know what I mean?
Which I think is right. Yeah,what's, what's that? That's the
(10:23):
way it always was. And no shakeon like the successful artists
of today. Obviously, you've gotyour Taylor Swift and really
successful and talented peopleout there that are crushing it,
but their sets are gonna soundso locked in every time. And
because we're just doing thiswith real instruments. And, you
know, our emotions are going tochange the way I set sound. So
it's always gonna be slightlydifferent every night, which I
(10:44):
think is pretty cool.
Chuck Shute (10:45):
Yeah, so because that is a big like debate right
now with rock, like, some bandsuse tape, some and then the
other ones are more just like,you know, pure and say only real
instruments. But I get if you'rein a band, like falling in
reverse, you have to use someelectronic components.
Johny Stevens (11:00):
I have respect for both. I mean, I've done
both. We have a few songs offsome of our other albums that
I've used tracks for. Andthey're just lightly though I
don't think we've ever gone intotrack world the way a lot of
bands do. Because I don't, Idon't love it. And plus, you're
relying on a computer. And ifthat computer crashes, like, can
(11:20):
you still play the song? Can youreplicate it? If you have too
many tracks that are relying ona laptop? Oh, man, when that
thing crashes, which isinevitable, you know what I
mean? These bands, I gotta havethree or four laptops backed up,
ready to go. If that happens midsong, it's kind of embarrassing.
It's like, Oh, can you keep thesong going? Is the song good
enough to stand alone? withoutall the extra tracks and shit?
(11:41):
Can you perform? Are youperformer? Where are you? You
know? So no, but no shade on it.
I've done it, I will probably doit again in the future, you
know, especially on certain,certain songs, they call for
that, you know what I mean? Thatare like, like our songs. 16
Natural Born Killers. These arelike, songs that kind of gotta
be locked in, right? And thenyou get your songs like
ceratonia It's like, I wouldnever put a track on that in my
life. You know what I mean? Soit's just each song is different
(12:03):
design. This album specificallythough, there will be no, no
tracks, everything you hear onthat album was recorded, live
together in a room with theexception of maybe a couple
overdubs where we'd go back inand like fix up a guitar solo or
do or do some vocal, tweaking,but for the most part, and more
so than we've ever done in ourlives. This miles will be alive
(12:25):
out. That's
Chuck Shute (12:29):
awesome. And you mentioned the song melatonin,
you said that it was written2020 That's like a really cool,
it's a darker kind of slower. Ithought it had kind of a 90s
Seattle vibe. Like Allisonchains, maybe but it was
interesting. I heard you talkingabout 2020 Like you do you don't
remember it. It's like almostlike just black that part of
your life? Who fucking does? I'm
Johny Stevens (12:48):
not the only person that has forgotten, like
2020
Chuck Shute (12:53):
really, because I don't I remember crazy shit
going on, like people willing tokill each other over roll toilet
paper. I don't think I'll everforget that shit.
Johny Stevens (13:01):
I remember certain things, but certainly
not all of it. I mean, it becamepretty blurry for me that time
period. And but I mean, that'spossibly because I was going
through, you know, shit that. Idon't want to remember at that
time that is separate of COVID.
You know, but I'm, the older Iget, the easier it is for me to
just let go. Let it go. Youknow, block? Yeah. Like, I'm
just happier and write thetrauma. Shit. I don't let it go.
Chuck Shute (13:27):
Yeah, I noticed the older I get, the less I care
what other people think aboutme. I think when you're young,
you realize especially ateenager, you're really trying
to impress everybody and fit inand be cool. And then the older
you get, you're like, I justwant to be happy. I don't give a
shit.
Johny Stevens (13:39):
Yep. 100%. I hated myself and everybody else
for a long time. And now I'mjust like, I don't know,
everything's good. At themoment. I'm sure it'll, you
know, I'm sure there'll be atime again in life where I hit a
low, but right now, feeling goodfeeling mentally in a good
place. And like, don't reallycare. I mean, obviously, it's
nice when people admire yourwork or admire who you are as a
(14:02):
person or say nice things toyou, but it doesn't fucking
matter. You know what I mean?
Nobody really cares. So it'slike, just set a place where as
long as I'm happy, then I'mhappy, if that makes sense.
Chuck Shute (14:15):
Right? Well, and you have such a built in fan
base of loyal fans that aregonna love everything you do.
Yeah, there's gonna be
Johny Stevens (14:22):
a built in fan base of haters, too. I've got
both things.
Chuck Shute (14:26):
Well, yeah, okay, there's that too. But like,
Yeah, I mean, if you're happyand then there is it's not like
you're just making music forlike three people. I mean, you
have hundreds of 1000s ofsubscribers and followers that
are following your music andcoming to your shows. So I mean,
it's not you have a sense ofpurpose, you know? Yeah. Yeah.
Well, the song champagne in ourfuneral is that one is that one
(14:47):
of the dark times two becausethat's a really interesting
song. It's in the vocals are sodifferent, like in the other
ones, like run, run for yourdeath. You're like screaming and
then a champion or a funeral.
It's almost like you're like asong. Speaking vocals at the
intro, and you could tell meyou're very clear what the words
are clearly about a badrelationship. I'm assuming it's
based on reality. It could befictional. I don't know. But
Johny Stevens (15:10):
I don't know how to write fiction. I mean, look,
I don't think it was based on abad relationship. I think it was
based on a relationship thatdidn't work out. And then having
certain feelings about it, whichrange in that song from? Fuck
you. But also like, Well,congratulations to us, because
we got past this. And it'sbetter for both of us that we're
not together. And there's tendermoments in that song where I'm
(15:32):
talking about very specific,isolated moments that are
beautiful and sweet. Like, gointo Coney Island and yeah,
prospect partnership, but also,like, you know, what, I'd also
argue is both things. There's aduality within that song. It's
not that the relationship wasbad, so to speak. It just wasn't
correct at the time. But yeah,it's a darker song. And yeah, I
definitely explore with myvocals. I don't want to ever
(15:54):
make an album that sounds thenhear the whole way through. Like
what the fuck is, you know,that's boring to me. I want to
make sure that I'm taking you ona journey and showing you with
my tool, which is my voice,right? Sir? A range of emotions
because that's what life is.
Chuck Shute (16:11):
Exactly. I love that. I love the journey. It's
like I said, use your illusions.
I mean, I love those kinds ofalbums that take you on a
journey. That's a perfectdescription. And yeah, this that
song the champagne or funeral? Imean, there aren't You're right.
Very specific. So ever. It'sabout like, she's gonna know
when she hears that. Yeah, andthen, I mean, the eighth of
October. That's another like,kind of a slower song that's
(16:32):
also seems kind of dark. Wasthat written during 2020 as
well? No,
Johny Stevens (16:40):
no, that was written in the studio this year.
And that one is probably themost, like, unique for me, I
guess. In a sense, it's almostgot a country flair to it, not
country but like, it's almostlike notes of modern country and
they're some of the like singer,songwriters, Zach Bryan's and
(17:00):
shit like that you can kind ofwhich I didn't, I had never
heard of him before. We wrotethat. But then I'm like, Ah,
that's a song he could havedone. And then at the end, of
course, you've got that sweetlittle Allman Brothers outro,
which brings kind of ahopefulness that so that sounds
about two different people.
Right? It starts off about thisone relationship that was, you
know, great, but didn't workout. And then halfway through
(17:23):
the song, I start speaking toanother person who was my new
relationship. And I learned overthis past year how to fall in
love again, and I didn't think Iwas going to be able to so that
time period between October 8,and August 17 was one of the
darkest periods of my entirelife, especially most recently,
and I was living like kind ofout of control. And during that
time, is when a lot of the othersongs like suicide machine, they
(17:45):
were all born from that periodof darkness. And then, you know,
I had this one near deathexperience. And shortly after
that met the new love of mylife. And so I sang the second
half of that song to her, shekind of pulled me out of a
terrible place and helped mepull myself I should say, out of
a terrible place I don't like Ihad to help myself as well. And
(18:06):
I think that, you know, I likethe placement of that song on
the album, because at the veryend of it, we're now talking
about actually being able tolove again, and then that that
instrumental part at the end ofit is just so upbeat, and so
hopeful, and it kind of flips itaround, it goes from being this
dark thing to like, not gonnafuck it up this time. And we go
(18:27):
into a fucking Allman Brothersgym, you know. And I think that
that's kind of like a sweetnote. To end the album on. There
is one song after that. But thatone kind of ends that story,
that sub story within the wow,
Chuck Shute (18:41):
that's really cool.
Well, so was the near deathexperience that changed your
perspective on life because mydad actually wrote a book about
near death experiences and allthat stuff. And I find the topic
so fascinating, did it Did yousee the white light and all that
stuff? What What was yourexperience? Like?
Johny Stevens (18:57):
Yeah, not a white light so much. But I guess I
found my own version of God.
It's not religious. I'm not likeI don't subscribe to any one
religion, nor do I care ifanybody else does, you know what
I mean? I'm not pro or antireligion, but like, I have my
own divine moment, whatever thatis. And, you know, look, I've
had near death experiencesbefore. I've had a lot of
traumatic things happen. Butthis one in particularly, in
particular, like, really woke meup. And I kind of realized,
(19:20):
like, Oh, that was close, bro,and you're not being healthy and
you're, you've gained 65 poundsand you're just living
recklessly and you're not takingcare of yourself and your mental
health and your emotional healthand your physical health. And
simultaneously, you have thisopportunity to work in music
studio and make a new album andthere's people out there that
(19:40):
want to hear you keep going andbeyond that. I was like, wait a
minute, I want to keep going.
There's so I don't know I don'tI can't tell you why, but like
literally had a moment that justchanged my life and for the
better and like renewed my senseof wanting to live not that I
(20:01):
wanted to die. I just didn'tcare. I didn't care. You know
what I mean? I was like, fuck,it doesn't matter. And now I'm
like, no, wait a minute, I'mgoing to die someday, and that
will be out of my control. Sowhile I'm here, I need to, like,
appreciate and be grateful ofall the things that are in front
of me and just have fun if mymindset is, fuck it, nothing
(20:22):
matters. Well, then my mindshould be fucking nothing
matters, gentlemen. You justfucking flip that narrative a
little bit. And you got a wholenew outlook. And, yeah, that's
what happened to me. Wow,
Chuck Shute (20:32):
that's amazing.
That's great advice. I mean, youjust feel like that's good
advice for other people tostruggling or going through a
dark place. Because I mean, it'svery common, especially after
the pandemic, a lot of peoplethere was a lot of darkness. So
that is that you feel likethat's for a lot of people need
to do that, maybe start takingbetter care of themselves and
live life to be happy.
Johny Stevens (20:50):
I mean, for sure.
I don't want to like, pretendthat I'm a great therapist for
anybody, you know. Andeverybody's different. But I
think certainly, if you can workon loving yourself and forgiving
yourself, and just trying tofind the beauty in the little
things like touching a flowerand sounds sounds stupid. You
know what I mean? But um, yeah.
(21:13):
Well, once you get to the pointwhere you're, oh, nothing
matters, this is all pointless,then you, you can have the same
thought. You can have the samethought nothing matters. It's
pointless. And you're right. Butnow say that with a smile a few
times in the mirror, and like,lighten up and like, wow, I'm
having the same thought. None ofthis fucking matters. It doesn't
fucking matter. But that is sofree. If nothing matters, then.
(21:38):
God damn, my whole brain isunlocked. Now, I want to try
everything I possibly can.
Because nothing matters. Youknow, I mean, so yeah, I guess
that'd be my advice. Try tolighten up. So yeah, that it has
to be so easier said than done.
You don't have to be firingwell, and I do think that that
is part of taking care ofyourself again, I, I put on a
(21:59):
lot of weight, because I justwasn't living, right. And then,
you know, I've managed to lose35 of that since that day. And I
have another 30 to go. But I'mfeeling great. I'm on my path
towards like, reclaiming controlof my own body. And so that I
think is also helpful. You know,I think that the physical and
the mental are tightly related.
Definitely.
Chuck Shute (22:17):
Yeah. I mean, it's all that's all psychology is
thoughts, feelings andbehaviors. It's really hard to
control your feelings and belike, okay, don't be sad. But
you can control your behaviorsand change things that you're
doing. How did you lose the 35pounds? Like, if you don't mind
me asking, like what techniquesworked for you, because I know
different things work fordifferent people. But
Johny Stevens (22:36):
yeah, so a lot of it was cutting out. Like cutting
out carbs, cutting out sugars,cutting out alcohol in the form
of like beers and shit likethat, like carbohydrates type
shit, and then just keeping yourbody moving all the time. And I
definitely fucked around withsemaglutide. A little bit not to
like an extreme, but it was agood way to curb the appetite.
(22:58):
You know, the fat, the richpeople fat drugs, you can find
them from compoundingpharmacies, where they add like
a B 12 in there. And thensuddenly, it doesn't cost $1,000
A month type of thing. So Ithink that the pre diabetic
medicine ozempic will go theManjaro I think are the names of
the brand things. Those can bereally helpful. Like, my family
has a history of diabetes andshit like that. And I am not,
(23:21):
but I don't want to ever getthere. So yeah, between that and
just like literally putting inthe hard work and going to the
gym and walking the dog longerand food food is is such an
important part of it. If I ameating cheese, it's every night
at three in the morning.
Nothing's going to happen, butinstead I'm working on
vegetables and whole foods isboring. Is that is it. Wow, it
(23:45):
changes your body compositiondrastically. And then yeah, if
I'm drinking a lot of peoplehave this fanfic like, oh, he
must have gone so relevant andconfirmed or sober but like I'm
not going to have 12 beers eachnight. You know what I mean? I'm
going to have like a Topo Chicowith 70 calories and maybe a
couple shots of something clear.
Boom. Now I haven't you know,added 2000 calories into the
(24:07):
daily machine.
Chuck Shute (24:08):
Yeah, do you try because I use that like My
Fitness Pal. I track all mycalories. My trainers, I can't
do
Johny Stevens (24:13):
it. Really? I can't do it. Because if I start
looking at numbers too much if Istart to compulsively look at a
scale or anything like that,then like I if I have a day
where the scale goes back up apound or two you know how that
happens. Like oh yeah, waterweight or fucking salt. Or if I
look at my steps, and I've onlyhit 12,000 instead of 14,000
from the day before and I justhave no more I'm gonna get
(24:35):
depressed I'm beating up onmyself. Good for you that you
can do that. I can't do it. Iget to like obsessed with it and
mad at myself. So yeah, no,
Chuck Shute (24:44):
I think I get obsessed too but I don't I get I
do and I do get mad at myselfbut I just want to get in shape
so bad that I'm like, cut outwhy did they do that? You know,
and I try to just try every Ijust keep trying. I think the
thing is, it's okay to
Johny Stevens (24:56):
fail. Yeah, it's okay to fail and it's good to be
mad at yourself. Sometimes youcan use that motivation I found
personally for me andeverybody's different, right?
That I'll just obsess. So I tryto, like, go off of feel.
Instead of counting, you knowwhat I mean? Like, I know at
this point whether or not I'vehad too much for the day, right?
I don't need to like obsess overthe package, because then then
(25:17):
life becomes too miserable forme. For me. Yeah.
Chuck Shute (25:20):
Well, then if it's working and you lost 35 pounds,
that's awesome. Thank you. Yeah.
And you sounds like you soundhappier, and you're in a better
place. I mean, that's all thatstuff is great.
Johny Stevens (25:29):
Yeah, I'm totally. I know that. Man. I've
been happy and sad. So manytimes in my life. I know that
like, at some point, I will besad again, something that will
fucking bring me down. And so inthis current moment, the fact
that I'm happy, I'm loving everysecond of that, you know what I
mean? And just kind of I think,I don't know how old you I'm 30
(25:49):
years old. I'm headed towards myback half. And I'm starting to
realize like, damn, there's onlyso many days left. So many.
Yeah, I can choose to behappier, sad. And so again, just
going back to her sayingearlier, it's like, lightening
up. And I've managed to find away to do that. Yeah, yeah.
Yeah, I'm
Chuck Shute (26:08):
46. So I'll tell you, to me, it's like, I love
it. I love the older I got, likemy 20s suck. It was all over the
place. And it was the samething. It's like happy, sad. It
was like, what's going on? Andthen I think you just get better
at dealing with it. And then youjust yeah, you realize you're
like, oh, none of this shitmatters. Like, I don't care what
other people think about me. Idon't care if I screwed up like
it's okay to fail all the otherstuff that seemed like we were
(26:29):
raised to try to be perfect inmy at least in my generation.
Like, don't make a mistake. Yougot to be perfect. And then the
older you get, you're like, oh,no, this shit matters. This is
fun.
Johny Stevens (26:38):
Exactly. Exactly.
Yeah, awesome. Well, this
Chuck Shute (26:41):
new album, when does not know if I got the date?
When does it come out? So
Johny Stevens (26:46):
as above or below comes out July 19. Worldwide, we
have four different vinyloptions. And I'm really excited
about that. No, kind of a fan oflike the physical and the
tangible. I'm also from ageneration where you remember,
like how important so yeah,we're releasing it on CD as
well, which a lot of bandsaren't doing these days. The
(27:06):
physical portion of it is veryimportant to us. We the artists
that did the work was named asMr. Babies, you can find them on
Instagram, shout out Mr. Babies.
And I think that the wholespread when you open up it's two
different vinyls because there'seven though there's only 11
songs, the album is an hourlong. And if you try to put all
of that into one vinyl, thequality is going to be worse. So
(27:28):
we swallowed the cost, we hatethe cost, you lose a few bucks
per print, but like whatever I'drather have the fidelity come
through snob nerd alert, I'drather have that come through on
a heavy weighted vinyl than tocheap out in that area. Because
people are paying good money forsomething physical and tangible
that the vinyl market has kindof researched and shit like
that. So we made them reallynice and really decent and give
(27:50):
people a bunch of differentcolorway options to choose from.
As far as streaming, it's onevery platform worldwide, July
19. And then next Tuesday, Ibelieve on the 18th of this
month, we're going to put outour second single, none of the
songs are singles in the senseof like, they're a radio single.
We have a couple that didn'tmake the album because they
(28:13):
didn't fit the story. And wemight put those out after the
album but we wanted the album tobe you know a certain a certain
thing. So as we really singlesbefore the album comes out
because we're gonna put out onemaybe two more just no they're
not like this is their singlethat they're going to try to
push it radio to charge it's notlike that we're just giving out
a couple songs for people tokind of get a taste before the
(28:36):
album drops is suicide machinethe next single I can't tell you
what the next thing is that's
Chuck Shute (28:43):
that's that's one of my favorite also Mexico and
then yeah the melatonin like Isaid that was the I mean they're
all great. Like it just depends.
Johny Stevens (28:50):
Yeah, so I'll tell you the next thing was
going to be the blue eyed deviland I can tell you that because
people have already figured itout from my teaser and then
suicide machine that's a songthat I think radio might enjoy
like honestly I think yeah, itdo well there and so I think
that we're gonna you know getkind of a reading back once we
put the album out and see whatsong people or what songs people
(29:12):
are really fucking with heavilyoverall and kind of get some
analytics back before choosingto put like a hard push and
campaign behind any individualsong because we've done that in
the past and you're likealright, this should be the one
this is the one we're gonnareally hype up and then you're
wrong. You know what I mean?
Like Lydia was never supposed tobe that fucking blew my mind the
fact that that did well at Radioblew my mind and it blew all of
(29:35):
our minds we didn't so we don'tknow we don't know what's going
to be the one you can you canthink what you think and then
the audience will tell youdifferently so we're just going
to play it by ear see what songspeople are really fucking with
and then give those some speciallove when it comes to playing
them on late night shows ordoing things to help promote
them to reach a higher height.
Chuck Shute (29:56):
You have those kinds of gigs you're doing late
night shows are you doing likeEddie trunk all that The bigger
shows and stuff. Yeah,
Johny Stevens (30:02):
we're definitely going to be doing some late
night shows and all the all thewonderful things that give me so
much anxiety we'll be doing.
Chuck Shute (30:10):
Oh shit, really, I thought it'd be fun.
Johny Stevens (30:13):
It's it's difficult, you know, obviously
grateful for the opportunity andthe ability to do it. But those
studios are not designed forfans. They're designed for
television. So the audience islike 50 feet away from the stage
because you've got cameras oncranes. And then you don't have
your whole dialed in PA soundsystem, you don't have your
(30:35):
monitor mix, it's you know,somebody is upgrading the board
that does make sense for TV. Andwhat they're used to working on
is like microphones, that clipto your shirt and stuff like
that. So it's fun, but it's justkind of a little bit impersonal,
because you don't see theaudience. And not only that,
that audience is not there foryou. They're just people that
were on the street that got thefree ticket to go see, you know,
(30:55):
calling in or whatever, whoeverit is. To do something for the
day, like if you've been tolike, Times Square or whatever,
and they're just handing outtickets, hey, come in to the to
the things and I'd be a freeaudience member. So nobody
really is there to see you. Butit's super beneficial, right?
Because then your music goes out2 million people or whatever,
instantly. But it's nervewracking to do it for sure.
Chuck Shute (31:15):
Yeah, no, that is it's different. So what you'll
do, obviously, you're gonna dolive shows, too. Do you have a
tour lined up? Or
Johny Stevens (31:21):
can you announce that one yet, we just sold out
our Summer Tour, which we'rejust doing, for the first time
ever an album from top tobottom. We've never done that.
So that'll be exciting. And thenwe might encore a few. The few
of the hits are the classicsafterwards. But it's the main
show is specifically for thisalbum. And we let everybody know
that before we sold the ticketsthat we nobody's like
(31:43):
disappointed if they show up andthey're not seeing a classic
show. So that's just a smalltour. But that sold out
relatively quickly. And thensoon I can I honestly can't get
in trouble. But I can't drop thedates for the next tour. But
there will be a false run UnitedStates can tell you that. We
will be headed to the UK we willbe headed to New Zealand. We
will be headed to Australia, wewill be headed to Europe. We'll
(32:04):
be doing festivals, next summer,all the things. It's gonna be a
wild ride, you know?
Chuck Shute (32:09):
Can you say? Are you a headlining act? Is that a
co headlining? Are you openingfor someone?
Johny Stevens (32:14):
No, we're gonna headline and I think next year,
I would love to, you know, openfor someone like I'll open for
anybody. I think when we startedthis, I was like, I gotta be
careful who I open for because Idon't want to be associated with
this that the other interview,you got to open for muse. That's
Chuck Shute (32:30):
fucking badass.
Johny Stevens (32:32):
That was amazing.
But now I'll open for anybody. Idon't give a fuck, I will come
and take your fans, you knowwhat I mean? Like, I don't care
who it is, I'm not snug. I enjoyit. And I really enjoy going out
with bigger bands and moresuccessful bands, not for
necessarily the exposure, butmore so like to learn how
they're, you know, like, howthey're what does it takes to
(32:52):
get to that arena levelproduction and that stadium
level thing? And what are yourwhat is your crew like? And how
are you doing this on such adifferent level than like a club
band? You know, I'm hoping whatdid you
Chuck Shute (33:05):
learn from us then?
Because I mean, that was thatmust have been?
Johny Stevens (33:09):
Yeah, special effects and stuff. And yeah, I
learned that. What I need to donext time, is have a bunch of
hits in the early 2000s whenrock and roll is extremely
important. And obvious that Ilearned to find a time machine
go back to 2000. No,
Chuck Shute (33:27):
because I love the new stuff they're putting out I
love that song psycho. And Ithink that was not the early
2000s. I was like the mid. I waslike 10 years ago. That sounds
fun.
Johny Stevens (33:36):
All right, yeah.
But they built such a great fanbase early on. But I think we're
on the right track. We're doingjust that we're building our
core slow and steady. I mean, Ilook at bands that go like this.
And what does the rocket shipdo? It gets to the top and then
the boosters fall off and itmight explode. And then it comes
down just as fast. What if
Chuck Shute (33:53):
you just had one really big hit, but then that's
all people know you for? I feellike that's way worse. Yeah,
Johny Stevens (33:59):
that'd be maddening. And I have a lot of
friends that are in bands thatare like that. And we came real
fucking close to being that bandas well, too. And I think that
we're lucky that our trajectoryhas just been kind of a slow and
steady little dip here. Littleup here. And you know, more of a
long. I want to do this for manydecades to come. I enjoy what I
do. A lot. So good at it.
Chuck Shute (34:21):
Yeah, you guys kick out.
Johny Stevens (34:23):
Thank you. But um, yeah. So I think that, um,
what have I learned from you isI don't know what I didn't learn
from you. I definitely learnedthat fucking production is half
the show. Like, I love that wehaven't relied on it. You know,
we don't have all theinflatables and all the things
that they incorporate into thisshow. But it's so cool that
(34:44):
theatrics they bring into it andso that's what I want to work
towards. I can't afford whatthey're doing right now. But I
think that if I get creativewith the budget I do have and
what we're going to try to dothis fall is bring a show like
we've never brought before and Idon't mean relying on laser
lights. But like taking verysimple key elements and props
and set design and blockingthings out and, and making it
(35:07):
more of a theatrical play thathas music in it versus just,
hey, here's a couple of dudes ina ballroom I think that'll
really be fun to try out. Youknow what I mean? Whether or not
that works for us. I don't know.
But that's what I'm going to tryis bring some new elements to
the show. Visually. Awesome.
Chuck Shute (35:24):
I look forward to it. If you come to Phoenix or
anywhere nearby, I'll definitelycome see you. I've never seen
you guys live I think it'd beamazing.
Johny Stevens (35:31):
I You gotta come out. It's a whole different game
for real. Yeah, reallydifferent,
Chuck Shute (35:34):
hopefully. And it's like, well, it was different
because I had like, I wasworking like a nine to five. And
so you guys would do a show onlike a Tuesday. I'm like,
dammit, I gotta work. Now. Icreate my own schedule. So if
you do a Tuesday on there, Idon't care. Oh, yeah. Awesome.
Well, thank you so much. I keptyou over. I apologize. And
Johny Stevens (35:50):
I appreciate you taking the time to speak with
me. Honestly, grateful for it.
And I hope to see you inPhoenix. Yeah,
Chuck Shute (35:56):
I thank you for doing this interview. I
appreciate it. Have a good one.
You too. All right. Bye bye.
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