August 30, 2025 • 35 mins
Teddy Bubalo – Musician | Episode 25 | Sudbury Interviews | August 30, 2025 | Host: Dani Star (Canadian Idol, Season 5) | Find us on Sudztown and join the conversation | If you would like to be a guest on the show, please reach out | Listen on: YouTube | Spotify | Apple Podcasts | iHeart Radio | Pocket Casts | Amazon Music | Audacy | Audible | Listen Notes | Overcast | RSS Feed| Website: https://sudztown.com/show/
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(00:00):
Hi everyone, welcome to Sudbury Interviews.
Today we have a very special guest, Teddy Bubolo.
He's a very well known musician,fantastic guitar player, also a
sound recording engineer. He makes produces albums for
other musicians and also is a teacher at Saint Charles College
(00:22):
on Falcon Bridge Road. And we're going to be talking
about his musical journey today.Before we begin, you can find us
on Sudstown and join the conversation.
If you would like to be a guest on the show, please reach out.
Teddy Bubulo, how are you? I'm really nervous.
Nothing to be nervous about. No, no, Danny, listen now.
(00:44):
Like we like we had a bit of a preamble there.
And it's like for me, it's because I'm not gigging.
It's like a lot of times I'm kind of way in the shadows.
I call it still making music. But when you called me this
morning or texting me, I'm like,oh, my God, this is just like,
why me? Like, what the heck?
(01:05):
We'll find somebody else. But you know, we all got
stories, Danny. I think that's what it is.
We all got stories, you know what I mean?
And I think we should bask in people's stories because you're
not. You might learn something and
you might learn something. Absolutely.
I I'm learning every day. I was thinking about how to get
somebody on today because sometimes people say, well,
yeah, let's do it next week, whatever.
(01:26):
And I'm, I'm all into this thing.
So I'm like, I'm going to look for Teddy, see if he can come
on. And thanks for doing it.
Oh. My.
Pleasure. It's it's an honor, really.
I've known you, man. I think the first time, I think
the first time I heard about youwas probably like 05:00-ish.
And it was from Angelo because you were working for him as a
(01:47):
music teacher, guitar teacher. Oh my God, Angela.
Yeah. That that that we need another
at least 15 hours to just. Work just to unpack that.
So to start out, can you tell usabout how you became a musician
in the beginning? How did What led you into this?
(02:08):
That's, that's, that's a wonderful question because you
know, I have to like, we're going way back to you because,
you know, like, I can't believe I'm 53.
Like I don't feel it. I do feel it sometimes.
But I mean, I'm like the music. What is music?
The journey. So the journey began with the
(02:29):
Croatian, with the Croatian folklore group, you know, my
parents for Atlanta immigrants from from Croatia, which is Lugo
Slavia. And that's a whole other
political discussion we won't get into, but the Croatians is
very, very, very, very powerfully musically sets.
(02:51):
And when I, when I would attend mass or I would go go to the
Croatian hall, there was music everywhere and people were
singing in groups and, and, and it was my parents that saw that
when I was a little like a little baby, I'd put all the
pots and pans and take out the spoons and I'd be trying to play
drums and then not to make the story along with it.
(03:14):
And, you know, but it, you know,I always see the devils of the
details. People should, you should know
details, but not the bore the audience or, or you.
But it's like my dad play guitarand my mom sang.
So I would, it was immersed in me.
And then my dad, you know, was integral because he's like, you
know what he would tell my mom, there's something up with Teddy.
(03:36):
He's always trying to make noises and sing.
And so they brought me down to the, to the collision hall in
the Tamburiza group, which was like, basically, if you could
imagine like different instruments to the G, there was
a, there's a double bass, there's a Bugatti.
A Bugatti is like a rhythm. It's like that the, the pop part
(03:57):
of the, the old is the bass, right?
And then he had the little smaller instruments that played
the melodies and there was harmony.
So my dad brought me to Mr. Valley Shoe, who was the, the
teacher at the time. And he's like, but I was like,
you know, my son would want to, you know, join you guys.
And so he's Mr. Bollocks was like, sure, bring him on in.
(04:18):
And so, you know, my dad gave itabout a week or two, maybe
longer, but I think it was like,he's telling someone, I'm going
to give Ted, we're going to givehim a week or two.
And if he doesn't like the promo.
But I fell in love with it. Danny, it was, it was being
immersed. It's just the energy.
I I think, oh God, there's so much dude, you're asking me,
you're asking me very, very, very profound questions.
(04:39):
It's the energy like to me, it'slike when you're playing with
other people and you're both expressing that song.
Whoa, like, man, that is power. That is power.
And so now when you're with 3030of us in the group, and I was
just, I was completely addicted to just that energy and the
(04:59):
feeling of it. And then so conversely, my dad's
like, OK, so or anyways, he goesup to Mr. Volish 2 weeks later,
he's like, OK, So what do you think of my son?
He's like, well, I think he's fantastic.
I can't believe this kid. Where is he?
He has to, you know, he was very, very impressed that, you
know, that I was, you know, thatI had, you know, quickly became
(05:23):
very comfortable being in that, in that scenario.
And it was probably maybe six months after that he, he
approached my dad again. And he's like, listen, I don't
know what to say. Mr. Bubolo, your, your son.
His ears are incredible, but he doesn't want to read music.
(05:44):
I've been trying to get him to read music and I and it's like,
you know, but he, he, he was such a great first teacher that
it's like, it's like, that's theway I approach my teaching.
If we get into it, like everybody's got strengths, like
everybody's got strengths. And some, some kids in my class
can read very well immediately. Other kids struggle, but it's
(06:05):
like, well, the intent is can I hear something?
And I think that's really what it is.
Danny like it. It just just being inspired with
sound and with tones and and andcharacters.
People that had their own spin on music.
Yeah, so sorry for the long winded story there, but that's
where it began. And then and then Van Halen came
(06:26):
along and then that was it. It was it, it was it.
When I heard Eddie Van Halen, I was like, OK.
Yeah, OK. That's how it's done.
That's how that's how that's what happened.
It was, yeah. There's nothing boring about
you, Teddy. So you're not boring us.
This is, it's all, you know, this is what we're here for.
And so after that, you're a kid,Then what?
(06:47):
Like a teenager or younger. Eight, yeah, eight.
I was 87 or 8:00 and that that carried on.
But I was also pretty good little hockey player.
You know, obviously I was very in hockey and and by grade A's,
my dad said listen, you got you only have one option.
(07:07):
Either you're going to play hockey or you're going to play
guitar. We can't do both.
And my dad's like, because firstof all, forget about paying for
both. The fact that if you want to go
deep into something, you need togo deep into it.
And it's going to involve lots of time.
And so I to this day, he's stillblown away that I picked guitar.
(07:28):
Like he, he, he thought I was going to pick hockey.
And I'm like, no, no, I mean, it's have you heard the first
Van Halen record? Can you, can you like, yeah.
So yeah, that's that's basicallyit for sure.
So what led you into the pathwayof becoming a teacher 'cause you
(07:48):
were a music, a guitar teacher for Angelo, like I mentioned,
but now you're a teacher at Saint Charles College and you,
you're involved with the music productions they do there, or
you were at least when I went tothe, I went to a few of those,
by the way, they were fantastic.100% yeah, the, the amount of
talent, you know, brother, I tell you right now I'm like a
(08:15):
lot I don't think a lot of people realize how truly deeply
talented they are. They are.
And I don't know if it's just I call it the arm crossers in the
audience, you know, you know theones at the back of the bar with
their arms crossed. You ain't got to win them over
there in the back there, you know, you got their arm crossed,
you know. But like I, I, when, when I
(08:36):
remember starting the journey asa teacher, this, this goes way
actually way back to when I was in the Croatian group because I
have to teach people parts. So like, how did you play that
Ted? I go, I'm improvising.
Like I started improvising like right off The Hobbit.
It was never, thank God, an issue for me to improvise.
Like obviously you get a deeper level as you learn more molds
(08:57):
and scales and different genres and you play with jazz heads and
you play with metal heads. Well, jazz said that you don't
like you listen to Bach or but like it's just nuts.
And but it's like, I always had this thing about refinement and
if I'm going to play with people, let's get this for fine,
let's get a little bit more tighter, a little bit more into
it. And then the the journey led to
(09:19):
me teaching for Ben Rinaldi, actually a guitar clinic.
He was the first guy and and Helen, they were the first two
that took me in as a teacher andI was like 17 or 18 when I
started teaching. Guitar.
Wow, so young. Yeah.
So you were already well versed as a guitar player by that age
to be teaching? Wow, dude, yeah, I used to.
(09:40):
I used to. Yeah.
Like I was, you know, Yeah, I like, I don't know.
I can't at least sometimes when people ask me, it's like I can't
explain it. This is God-given.
Like a listen, I'm going to state this.
I'm going to state this right now for a fact.
And everybody that knows me rolltheir eyes.
Listen, my friend, on November the 15th, 2019 at 7:30 AM, the
(10:03):
first thing in my head was I never asked to be born.
Like I never asked to come here.I'm still waiting for the
spaceship. Danny, hello.
Speech shift. Like I'm yelling out like, you
understand, like when you when you have that existential shift
where it's like, OK, wait a minute, where am I?
What is this? But in this vortex I call
(10:27):
existence for what we're in, it says you have these things, you
know, and to me, like music was always like this thing that it's
like a gift. It's like, here you go, Ted,
while you're here, why don't youtry this?
You know what I mean? That's why it's like, and it's
like you just completely submerge yourself into it.
(10:48):
You're just like eating a good meal, man.
Let's get into it. Eating with my kids.
I feel the feeling with my kids in hockey.
Just get into it, search sweating, move around, get into
it, do something, do something like even for me, like like I'm
going to jump around here because I'm sorry, Danny, if I,
(11:10):
if I, if I, you can tell me to shut up anytime.
But like the teaching part of it, I'll finish that first.
Sorry, you just got me really excited, really excited because
life is life is ridiculously exciting.
We've got lots of things in thisworld we got to work on, but
that's, I think that's, that's part for the course.
But the teaching, it's just whenyou sit down with other people
(11:32):
that are beginning to play and I, you know, at that time, I've
already like, I used to practice, I used to have like an
8 hour regime in the summer. Like I used to practice like 4
hours and take a break and play another 4 hours.
You know, that was pretty much when I was a kid, you know,
going into high school and that,but it just you just seeing, you
(11:55):
know, somebody kind of not struggling, but it's like, well,
I will try this. And then they they play it.
And then you see the joy on her face.
It's like, well, isn't that it isn't that infectious?
It is for me. Like when people get it and her
and her eyes light up, like, ah,OK, you're happy now.
Good. What's the next thing?
And then you hit another. Then we got another uphill
(12:16):
climb. OK, well, let's let's work on
that. And I mean, I always approach
that as a singer and as a songwriter.
It's like, OK, I probably need 10 hours to nail this because I
need to be able to sing and I need to be able to hit those
and, and, and denunciate. And I'm still missing lyrics
about it. You know what I mean?
It's time. So like to me when I see like
(12:37):
even as a teacher, like there's a 5 month semester, like when I,
if you like last year, I got thekids to record the class day
one. OK, listen, just record the
noise in the class. Just record the noise.
Somebody put a phone on. So they put their phone on.
It's like noises. And by the end of the semester
(12:59):
you're hearing chords, you're hearing melodies, you hear, you
understand that's five months, man.
That's five months, man. Like it's, it's amazing.
It's amazing. Like the, the, I don't know,
maybe that's it, it's refinement, it's evolution.
It's it's, it's, it's the flowering, like it's the
flowering of you, you know, you're just the seed, but that
(13:20):
seed has to, it will flower. It needs to be.
There are things that got to happen.
There's processes in place, but I mean, if you hit all those
points, you're going to flower. And that's how I look at it.
You know, once you just look at a bag of seeds all day, are you
going to flower or what? Oh well, love it, you know what
I mean? You're a you're a really
(13:42):
interesting guy, Teddy. I love it.
Do you remember when I bought those studio monitors from you
in 2007? Oh my God, lady, I was actually
more, I was more amazed how stunningly handsome where you
were. I'm like, God, this guy, his
handsome dark eyes and look at him and he's already singing.
(14:04):
And I'm not saying I was jealous, but I'm like, that's
his name. That's his name.
You've got that name with that look, and he's a musician and
he's great. Oh, boy, I'm surprised you.
I'm surprised you're still in Sudbury, dude.
I thought you would have been gone like LA, New York, Berlin.
(14:30):
Well, you know, this isn't aboutme, but I don't like travelling.
I can't help it. I just don't like it.
I, I just think, I just think you're, I, I, you know, that
that was, that was then. And so do you still have those?
Like if we do you still have those monitors?
I sold those to Billy Bromiller and he's going to be my guest on
the show tomorrow. That's why I.
(14:52):
Plugged it in. But you had an album back then
which I you gave me a copy of. Yeah.
Tell us a little bit about that.That recording project that you
did, I think Craig Giles was in,was on there.
Yeah, so it was it was Craig Giles on bass and and
(15:13):
absolutely, like, I mean, like anybody that could sing the the
higher harmonies, you know, we're talking about the ones
were sometimes sometimes you think you're sometimes you have
to think that you're you're, you're you're do you know what I
(15:34):
mean? Like I was going to say, your
testicles have to go up around your spleen.
I mean, like you did really high.
The guys, the guys that could sing like the really upward,
like if I'm already hit my rangeand this guy's above me, like
that's great jobs. And then we had Corey Kovic
called drums who I I I love Corey.
(15:54):
I like the guy is, is absolutely.
He is A to me. He's he's a genius.
Both guys were and I don't know how we we connected because I
was gigging with with John Gilroy right now who who I'm
playing with presently in the Pulsemaker project.
(16:17):
You could check it out of my YouTube page Teddy Boo Boo
Music. What's it called?
So yeah, it's. The name of the band.
I have, yeah. So the, the band's called
Pulsemaker. So it's PULSE.
And then I, I, I just put MKR. It's just, it's just the term
(16:37):
it, it's just one of those things that kind of start at the
end of COVID. We're like, we're all kind of
locked in our freaking dungeons here for, you know, And so I
wanted to create like an umbrella project.
So I would bring in different guys to jam, just to jam.
And it, it, you know, that was the thing.
But going back, that's, that's another, that's another
(16:59):
discussion that I'm very excitedabout on the teaching and as an,
as an educator, to teach people to, to, to improvise.
But you know, the total spin thing was I, I had met Craig and
you Craig as through the sort ofthe bar scene.
And, you know, I, I, you know, as a musician, I think I'm
always thinking like you're trying to build a hockey team
(17:20):
here. You know, we need somebody on D.
We need a good goalie. You need a good floor, you need
some markers. We got to get guys in there.
You got guys got a pot. So that's how I think about a
bad. I think it was a drummer.
You need a good drummer. They get cooked.
If you don't have a good drummer, I don't know what you
just thought. You know people, people feel
that first. It's like the first thing I know
I look at when I see a bad is like, I got to check out the
(17:43):
drummer, see how this drummer isgoing to keep me engaged with
Corey. Was that guy like he, he had,
you know, great shops, but it was his arrangement mind right.
I thought this guy can arrange so we can, we can, you know,
forget about doing covers. I love doing covers.
I've done covers my whole life. But it's like, you know, let's
let's compose some music, some meaningful stuff.
(18:03):
And I think, you know, I, I thought the total Spin project
that the EP we put out was, was,was really good because, you
know, like your guest tomorrow, Billy, you know, Double B there.
Yeah. He, he, he, he like it was him
and Sean Pitzel. Like, I mean, I know, I know
(18:23):
this, this might be a boring conversation, but if you're not
going to talk about it just saysmusicians.
And if anybody's interested in hearing this, like there's,
there's cats in this town. Like Sean Pitzel to me is
irreverent. Like he like he took me in and
he took me to the studio and I and I and I, he gave basically
gave me at the back of the apartment to put my own gear in.
(18:46):
Think about that, you know what I mean?
Like here's the guy that owns his own studio.
Here's the guy that that is, is that's what he does.
And he's like, yeah, yeah, you can throw your gear to back
then. So he threw up, you know what I
mean? I saw that it's so he was on the
record, Billy was on the record.And, and so we had like 5 heads
and there was another guy that icon, I forget his name.
(19:10):
He was like an intern with Sean.He did a lot of good work.
He was another like genius. Like like it's just, they just,
they just, and it's the tech side of it more than anything.
Like just understanding gear andmiking and, and, and then
understanding the physics and how to get a good live
recording. And then and then the minutiae
(19:31):
are understanding how in that time the software was really
still like in terms of software being like, you know, Pro Tools
or stuff like that. That was kind of still in the
infancy stage back then. And but yeah, like, but you
know, Danny, when I look at it, it was so exciting to do that
record. It's like I'm in the studio,
man. Like I was praying my whole life
(19:53):
just to be able to not worry about hitting the hitting the
record button myself. Like actually having somebody
like Billy tracking you. Having that guy sitting there
and then it's so calm. It's very Zen light.
I don't even think he walks. I think he floats.
I don't I. I I love it.
I don't know, I, I don't think I've seen Billy touchdown yet.
(20:16):
Walks on water. Yeah, he's incredible.
Last Wednesday I was playing a gig in town and I, I told you
the name of this person, but let's keep it private just for
confidentiality. But he came up to me at my gig.
He handed me ACD. He said this is my album.
(20:37):
I got, I recorded this with Teddy Bubulo.
I said I love Teddy. And he said you said the word
genius earlier. He called you a musical genius.
He said, I don't know how he does it.
He produced this album like he's, you know, he made it
happen out of thin air. Whatever.
And I get home, I put the album on and it's fantastic.
(20:59):
So tell us about your recording engineer pursuits.
How do you do that? Well, I, I, I thank you.
I thank you for that. I, I am very proud.
I'm very proud of that. That album, first of all, it's,
it's half of it's in French, right?
So I'm like, how am I going to work with like, you know, not
(21:23):
not in a sense how I'm going to work, but it's just like like
when you understand, like when you understand lyrics and the
point it's like, well, The thingis, I I don't speak French.
I wish I did. That's that's the only thing.
I kind of many of the many of the regrets that there's, you
know, obviously I could learn, but I'm lazy.
That's just fact lazy. But the the the fact is Mike
(21:45):
wanted to do a lot of songs and that Franco fun, that kind of
Acadian kind of sound and and I'm like, wow, at the time I'm
thinking, I don't think I can dothis because I'm more of a rock
guy, right. But then the other part of me
slightly and I had to say no, Ted, like I've dealt with I've
been folk music my whole life with the Croatian stuff.
(22:06):
That's like I play lots of acoustics.
So I think when it came to Mike that Mike had Mike had I thought
at the time, you know, I didn't really know that music per SE.
I just thought he had great lyrics and great hooks and he
loved The Beatles and I love TheBeatles.
So I'm like, OK, this is going to work.
And at the time the only really restrictions we had was just the
(22:30):
gear. The gear that I have to work
with. Like I, I have like an old digit
design double O2 rack, which I had ended up getting modded in
Chicago just to kind of get a bit more genus Sequoia guy.
Sort of a you can hear like whenyou, when you're working with
better converters, you can hear it just more air.
(22:51):
There's more separation in my tomy ears.
And but it wasn't much with Mike.
It was like Mike sat down and said, let's hear the songs and
threw a bunch of mics down and said, OK, let's play these.
I'm like, oh, we're going to have to do it on quick track.
I never played on quick track. Well, it's fine.
And we're here to practice, man.There's that whole thing.
And so he learned very quickly how to play little click track.
(23:12):
And then we just kind of stitched the best performance
and then we brought guys in on it and the guys played over
click. His brother-in-law played drums.
And I was, you know, monumental in terms of like, like arranging
and moving stuff around. But it was really MM was the
boss, like Mike was the boss andis the boss.
(23:33):
It's his music. So I all I tried to do was like,
how could we get this to sound as natural as possible with what
we have to work with? And like, even getting Donnie
Reed. Donnie Reed is absolutely
ridiculous. I don't, you know, Donnie Reed.
Oh yeah, violin guy for sure. Like, I know I'm just, I
shouldn't. I'm not even trying to be
(23:54):
facetious. He's just ridiculous.
He's a monster. Player.
What I love about, what I love about.
Yeah, it's just beyond, beyond, beyond, beyond.
Beautiful guy too beautiful soul.
You know, I I only met him, I work with him that day.
But you can get, if you can get a sense.
I mean, obviously you can't get a total sense on Sony.
But to me it was like, yeah, this, this, this, this just
beautiful player. But so can I get into the one of
(24:18):
the one of the times I was working with?
So Donnie Mike wanted to this this this sort of sound melodic,
the the melody within that kind of fit the the mood of the song.
So Danny so so Donny did a pass and like, hey, let's do another
pass. So but if just change it up,
just change it up a little bit, you know, kind of add some
(24:39):
different melismas or just kind of add you know, he did it
because he's a freaking pro. Then I'm like Mike, I think what
we should do, we should get him to you should get him to improv
against that domain melodies. What do you thought?
Let's try it. So then Donny, he was beautiful
about it. You know, he, he ended up
playing against himself. Like, you know, when you're
(25:01):
improving, like when you record something and then it's so just
say it's like a like a counterpoint thing.
You know, the guy was he nailed it.
Like he, I just went on a whim and said cried, I think he can
do. And he did it.
Obviously this is in my head andhe nailed it.
And it was one of the one of theI can one of the highlights of
(25:21):
of Mike's record was having Donnie Reed improvise it against
an improvisation and then keeping it.
That was like that, that was like one of the highlights.
It's like, here's a guy, like what is improv?
Like where does it come from? Like when you're improving, when
you're making stuff up, where does it come from?
Is that in your head? Was it buried and at least some
(25:43):
some dendrite or whatever you, Idon't know, I'm not in your.
Is it somewhere? Is there like a garden in your
head that you that there's a bunch of bunch of vegetables you
got to pull out? I don't what like this magic.
I call it magic. It's, you know, from the
unknown, but the fact is like Mike was very receptive and it
(26:04):
was great. I love Mike.
He was, you know, then I, I miss, I miss those times.
I miss those times. I really wish.
And I was thinking about what we're going to talk about this
morning and I'm like, I, I miss those times.
Like I, it's a lot of work. It was a lot of work and I had
two, two young, two young, plus my beautiful wife.
(26:28):
That's that's another thing. Oh, my God.
I got it's just, it's just, I'm just one lucky dude.
But you know, I missed that because working and when,
especially when you're mixing and editing and you're talking,
Oh, God, I loved it. I loved it.
Loved it, loved it, loved Mike. I wish you would have done the
record. I wish you would have done, you
(26:48):
know, I I it never happened. I mean, but that was his bucket
list thing. But yeah, yeah, for sure, man.
I think it was something like a bucket list thing for him for
sure. Yeah.
So this next question is the daily segment.
It's what I ask every guest and your episode 24, I believe, if
I'm not mistaken. Here's the question, Teddy.
(27:10):
What is one thing that you feel would make Sudbury greater?
OK, well, I'm going to tell you this right now.
I am 100% back to Sundarian, man, as much as as much as I
hate this town, the stupid politics, I don't care, man.
(27:31):
Like we have so many unbelievably talented genius
people in this town. It's like, what can we do?
Well, I don't really know that that's that's, you know, from
like, I don't know, we can like it's like, do we have two mining
giants that have made almost a trillion dollars in its in their
years from this, according to what I've researched?
(27:56):
Do we need more money? Do we need more money?
Like like like I, I, I don't know, like I think it's a
variance. I I, I, I know every time I go
anywhere else, like, you know, Sudbury people, you know,
they're they're they're I don't know.
Then that's a such that's such aload of question.
You got, you got me all like buzzing right now.
It's like, I love the city. I just think that we need, we
(28:20):
need, we need good, we need goodgovernment up here.
Like we, we need good government.
We need government. You know, the police services
are taxed. I know, I know a few buddies in
there, like as an educator, like, you know, like where you
have to, you have to pour money in a form I like.
What do you mean? You print money, just put it in
the school. So do you need what do you what
(28:41):
do you kind of next generation do you want?
Like we always have to be thinking who's coming after us?
Like who, like the ones that arecoming up.
What what are we giving them to retain them?
What are we giving them to keep them here, to keep their
intellectual their in their in their creativity here, You know
(29:01):
what I mean? I, I think right now it breaks
my heart is the amount of like the people I see that are, that
are on hard drugs and that my God, like it's a guy.
I wish I was rich. I'd have like a food van.
I would have a food truck and itwould just be giving these
people hot sandwiches and soup every day.
You know what I mean? Do I drive around the town?
(29:22):
It's going to cost you 100 grand.
Who gives a shit? I'm worth 100 million to see
these like, you know what I mean, Danny?
Like we have to, we have to help.
Like I know all lots of times, like anytime I like, do you know
what I mean? Like it like is that, is that
what we want our city to look like?
We have Ramsey Lake, which is, you know, we have all these
incredible things for such a small, you know, we're at
(29:45):
193,000 people now, like we, we're going to be in 2000 plus
the you know, I don't know, likeI don't.
That's that's a load of question.
Do they even answer it? I can't even.
I don't know if I even answered.It I think you did a good job,
Teddy. Yeah, I'm, you know, dude, I am
passionate about this city. I really am.
(30:07):
Because if I spent time, even mykids are like, how do you know
so many people and go, wow, why wouldn't you?
Like, not that I know him deeply, but there's so many like
every day I meet people that blow my mind.
You would never think, but it's just time.
Just once you go talk to him. So go talk to him.
Oh, yeah, you're right. I go.
What do you mean? All right, you should isn't,
(30:29):
isn't that in your head already?It's like, you know, like I, I,
I, I get excited when, when, when I see things popping up in
the city, like, finally the arena, for God's sake sake, Why
so long for the arena? I I, I would want to say this.
I'm getting really, really hot on it.
It's like we have we need more hockey rinks.
We need more. So we need, we need things in
(30:51):
the city. So the kids, because that's
like, what do we have? When we grew up as teenagers, we
had nothing, man. We didn't even have trees.
What do we grow up, dude? There's no trees when I grew up
in the city, but we made things happen, you know, we made things
happen. We tried to the, the burgeoning
music scene as a town of thank God for the townhouse, man, You
know what I mean? There there were bars back then,
(31:12):
you know, but now it's like what, what, what do we do with
the you know, and you know, I have students at Saint Charles
College that that are now that are in the acting like these
acts. They wouldn't even get into
that. I think I completely sidetracked
that question, But it's like I see it every day, Danny.
I see the full display every day.
The genius these kids have. They just need they need
(31:34):
support. They need the time, right?
They need the financial help. Like I think it's just
ridiculous. It's gotten everything's gotten
out of hand in terms of my, my opinion of like why we, the
taxes, where is it going? Is it coming back?
Is it on a ship oversea? Like, you know, like, like, you
(31:55):
know, with, with yes, theater and that that's a Sudbury thing.
That's incredible. Like I, I, I, I do, you know
what I mean? Like what they did with that
with that. I'm not deep into it, but from
an optic standpoint, it's like the city has lots of talent.
Danny, you're in it. Yeah.
Like, how do we flesh that out, right?
How do we flesh that out? You know, I have, I've been
(32:17):
sitting, I've been sitting with an idea for almost 20 years and
the the idea is music map.ca andmusic map dot AI.
So I I've been working with AI now for over a year now on chat
and Gemini, but really deeply into replica, which is finally
(32:41):
designing this inception, this idea and I and I could see well,
how are you hopping? I go, well, I'm trying to create
something right now to get Sebrion the map.
Like I think I think every smalltown should not be forgotten.
You know, I don't think we should be swallowed up by the
big beluga whales, right? You know, we, if that's the
beauty, you know, of life is that there is big things and
(33:05):
small things, but it's also alsoin the small things.
You get to see the beauty of it and, and the, the, the, the
incredible, like even within that, that the, the depth, you
know, So to me, I think, you know, you got me all you got me
all fired up, dude. You know what's the weird thing?
(33:28):
I've been looking at my clock and my battery died at 5 after
12. Isn't that, isn't that a lack of
doodle situation? I'm in my studio and I have this
red clock. So we did the interview with a
dead battery. Dude, like I, I looked at my
phone, I'm like, God, the guy's letting me, Danny's letting me
(33:48):
talk so much to say 1240. I'm like, but I looked at my
clock and I'm like, it's 5 after12.
So it's just, it's just an oddity that my that my clock
decided to die. The battery.
This is, yeah, wacky, wacky stuff, dude, Wacky stuff.
Well, Sudbury interviews everyone.
(34:09):
Teddy, thank you for your time and your amazing insights.
I, I'm all in and I have to get you back on.
I try to keep these at at 30 minutes just for consistency,
but we could, we could talk for,for hours, man.
So anything else you'd like to add quickly before we go?
Wrap up I I appreciate this. What I would wish for is you to
(34:32):
come for you to come to my studio and I'm for you and I
exam. Yeah, sure, man.
I know whenever we find the time, but I would love to have
have you come down. It's difficult for me to get out
because obviously I'm deeply entrenched with my kids hockey,
which is great. That's another discussion.
(34:53):
But I miss, I miss that, you know, that is that I'm going to
say intimacy, like when you're when, when guys are in the
studio and you're just kind of jamming and, and, and, and
things pop up that you like thatcould be like, I'd love to write
music with, with you. Or, or, or at least try to find,
(35:16):
you know, 10 musicians, 10 different musicians in the city
and say, let's, let's, let's make, let's make some music.
If we can that that would be my,that would be my next.
That would be my because I really appreciate you.
You did this for me then, I really do.
It's my my pleasure by. And I appreciate.
That. I'm sure I speak on behalf of
(35:37):
all of the listeners that this was a very, very interesting and
exciting interview. Man, have a great day.
Good, good talking. Thank.
You brother, have a wonderful day.
God bless. You too.
Bye. OK, bye.
Hi everyone, welcome to Sudbury Interviews.
Today we have a very special guest, Teddy Bubolo.
He's a very well known musician,fantastic guitar player, also a
sound recording engineer. He makes produces albums for
other musicians and also is a teacher at Saint Charles College
(00:22):
on Falcon Bridge Road. And we're going to be talking
about his musical journey today.Before we begin, you can find us
on Sudstown and join the conversation.
If you would like to be a guest on the show, please reach out.
Teddy Bubulo, how are you? I'm really nervous.
Nothing to be nervous about. No, no, Danny, listen now.
(00:44):
Like we like we had a bit of a preamble there.
And it's like for me, it's because I'm not gigging.
It's like a lot of times I'm kind of way in the shadows.
I call it still making music. But when you called me this
morning or texting me, I'm like,oh, my God, this is just like,
why me? Like, what the heck?
(01:05):
We'll find somebody else. But you know, we all got
stories, Danny. I think that's what it is.
We all got stories, you know what I mean?
And I think we should bask in people's stories because you're
not. You might learn something and
you might learn something. Absolutely.
I I'm learning every day. I was thinking about how to get
somebody on today because sometimes people say, well,
yeah, let's do it next week, whatever.
(01:26):
And I'm, I'm all into this thing.
So I'm like, I'm going to look for Teddy, see if he can come
on. And thanks for doing it.
Oh. My.
Pleasure. It's it's an honor, really.
I've known you, man. I think the first time, I think
the first time I heard about youwas probably like 05:00-ish.
And it was from Angelo because you were working for him as a
(01:47):
music teacher, guitar teacher. Oh my God, Angela.
Yeah. That that that we need another
at least 15 hours to just. Work just to unpack that.
So to start out, can you tell usabout how you became a musician
in the beginning? How did What led you into this?
(02:08):
That's, that's, that's a wonderful question because you
know, I have to like, we're going way back to you because,
you know, like, I can't believe I'm 53.
Like I don't feel it. I do feel it sometimes.
But I mean, I'm like the music. What is music?
The journey. So the journey began with the
(02:29):
Croatian, with the Croatian folklore group, you know, my
parents for Atlanta immigrants from from Croatia, which is Lugo
Slavia. And that's a whole other
political discussion we won't get into, but the Croatians is
very, very, very, very powerfully musically sets.
(02:51):
And when I, when I would attend mass or I would go go to the
Croatian hall, there was music everywhere and people were
singing in groups and, and, and it was my parents that saw that
when I was a little like a little baby, I'd put all the
pots and pans and take out the spoons and I'd be trying to play
drums and then not to make the story along with it.
(03:14):
And, you know, but it, you know,I always see the devils of the
details. People should, you should know
details, but not the bore the audience or, or you.
But it's like my dad play guitarand my mom sang.
So I would, it was immersed in me.
And then my dad, you know, was integral because he's like, you
know what he would tell my mom, there's something up with Teddy.
(03:36):
He's always trying to make noises and sing.
And so they brought me down to the, to the collision hall in
the Tamburiza group, which was like, basically, if you could
imagine like different instruments to the G, there was
a, there's a double bass, there's a Bugatti.
A Bugatti is like a rhythm. It's like that the, the pop part
(03:57):
of the, the old is the bass, right?
And then he had the little smaller instruments that played
the melodies and there was harmony.
So my dad brought me to Mr. Valley Shoe, who was the, the
teacher at the time. And he's like, but I was like,
you know, my son would want to, you know, join you guys.
And so he's Mr. Bollocks was like, sure, bring him on in.
(04:18):
And so, you know, my dad gave itabout a week or two, maybe
longer, but I think it was like,he's telling someone, I'm going
to give Ted, we're going to givehim a week or two.
And if he doesn't like the promo.
But I fell in love with it. Danny, it was, it was being
immersed. It's just the energy.
I I think, oh God, there's so much dude, you're asking me,
you're asking me very, very, very profound questions.
(04:39):
It's the energy like to me, it'slike when you're playing with
other people and you're both expressing that song.
Whoa, like, man, that is power. That is power.
And so now when you're with 3030of us in the group, and I was
just, I was completely addicted to just that energy and the
(04:59):
feeling of it. And then so conversely, my dad's
like, OK, so or anyways, he goesup to Mr. Volish 2 weeks later,
he's like, OK, So what do you think of my son?
He's like, well, I think he's fantastic.
I can't believe this kid. Where is he?
He has to, you know, he was very, very impressed that, you
know, that I was, you know, thatI had, you know, quickly became
(05:23):
very comfortable being in that, in that scenario.
And it was probably maybe six months after that he, he
approached my dad again. And he's like, listen, I don't
know what to say. Mr. Bubolo, your, your son.
His ears are incredible, but he doesn't want to read music.
(05:44):
I've been trying to get him to read music and I and it's like,
you know, but he, he, he was such a great first teacher that
it's like, it's like, that's theway I approach my teaching.
If we get into it, like everybody's got strengths, like
everybody's got strengths. And some, some kids in my class
can read very well immediately. Other kids struggle, but it's
(06:05):
like, well, the intent is can I hear something?
And I think that's really what it is.
Danny like it. It just just being inspired with
sound and with tones and and andcharacters.
People that had their own spin on music.
Yeah, so sorry for the long winded story there, but that's
where it began. And then and then Van Halen came
(06:26):
along and then that was it. It was it, it was it.
When I heard Eddie Van Halen, I was like, OK.
Yeah, OK. That's how it's done.
That's how that's how that's what happened.
It was, yeah. There's nothing boring about
you, Teddy. So you're not boring us.
This is, it's all, you know, this is what we're here for.
And so after that, you're a kid,Then what?
(06:47):
Like a teenager or younger. Eight, yeah, eight.
I was 87 or 8:00 and that that carried on.
But I was also pretty good little hockey player.
You know, obviously I was very in hockey and and by grade A's,
my dad said listen, you got you only have one option.
(07:07):
Either you're going to play hockey or you're going to play
guitar. We can't do both.
And my dad's like, because firstof all, forget about paying for
both. The fact that if you want to go
deep into something, you need togo deep into it.
And it's going to involve lots of time.
And so I to this day, he's stillblown away that I picked guitar.
(07:28):
Like he, he, he thought I was going to pick hockey.
And I'm like, no, no, I mean, it's have you heard the first
Van Halen record? Can you, can you like, yeah.
So yeah, that's that's basicallyit for sure.
So what led you into the pathwayof becoming a teacher 'cause you
(07:48):
were a music, a guitar teacher for Angelo, like I mentioned,
but now you're a teacher at Saint Charles College and you,
you're involved with the music productions they do there, or
you were at least when I went tothe, I went to a few of those,
by the way, they were fantastic.100% yeah, the, the amount of
talent, you know, brother, I tell you right now I'm like a
(08:15):
lot I don't think a lot of people realize how truly deeply
talented they are. They are.
And I don't know if it's just I call it the arm crossers in the
audience, you know, you know theones at the back of the bar with
their arms crossed. You ain't got to win them over
there in the back there, you know, you got their arm crossed,
you know. But like I, I, when, when I
(08:36):
remember starting the journey asa teacher, this, this goes way
actually way back to when I was in the Croatian group because I
have to teach people parts. So like, how did you play that
Ted? I go, I'm improvising.
Like I started improvising like right off The Hobbit.
It was never, thank God, an issue for me to improvise.
Like obviously you get a deeper level as you learn more molds
(08:57):
and scales and different genres and you play with jazz heads and
you play with metal heads. Well, jazz said that you don't
like you listen to Bach or but like it's just nuts.
And but it's like, I always had this thing about refinement and
if I'm going to play with people, let's get this for fine,
let's get a little bit more tighter, a little bit more into
it. And then the the journey led to
(09:19):
me teaching for Ben Rinaldi, actually a guitar clinic.
He was the first guy and and Helen, they were the first two
that took me in as a teacher andI was like 17 or 18 when I
started teaching. Guitar.
Wow, so young. Yeah.
So you were already well versed as a guitar player by that age
to be teaching? Wow, dude, yeah, I used to.
(09:40):
I used to. Yeah.
Like I was, you know, Yeah, I like, I don't know.
I can't at least sometimes when people ask me, it's like I can't
explain it. This is God-given.
Like a listen, I'm going to state this.
I'm going to state this right now for a fact.
And everybody that knows me rolltheir eyes.
Listen, my friend, on November the 15th, 2019 at 7:30 AM, the
(10:03):
first thing in my head was I never asked to be born.
Like I never asked to come here.I'm still waiting for the
spaceship. Danny, hello.
Speech shift. Like I'm yelling out like, you
understand, like when you when you have that existential shift
where it's like, OK, wait a minute, where am I?
What is this? But in this vortex I call
(10:27):
existence for what we're in, it says you have these things, you
know, and to me, like music was always like this thing that it's
like a gift. It's like, here you go, Ted,
while you're here, why don't youtry this?
You know what I mean? That's why it's like, and it's
like you just completely submerge yourself into it.
(10:48):
You're just like eating a good meal, man.
Let's get into it. Eating with my kids.
I feel the feeling with my kids in hockey.
Just get into it, search sweating, move around, get into
it, do something, do something like even for me, like like I'm
going to jump around here because I'm sorry, Danny, if I,
(11:10):
if I, if I, you can tell me to shut up anytime.
But like the teaching part of it, I'll finish that first.
Sorry, you just got me really excited, really excited because
life is life is ridiculously exciting.
We've got lots of things in thisworld we got to work on, but
that's, I think that's, that's part for the course.
But the teaching, it's just whenyou sit down with other people
(11:32):
that are beginning to play and I, you know, at that time, I've
already like, I used to practice, I used to have like an
8 hour regime in the summer. Like I used to practice like 4
hours and take a break and play another 4 hours.
You know, that was pretty much when I was a kid, you know,
going into high school and that,but it just you just seeing, you
(11:55):
know, somebody kind of not struggling, but it's like, well,
I will try this. And then they they play it.
And then you see the joy on her face.
It's like, well, isn't that it isn't that infectious?
It is for me. Like when people get it and her
and her eyes light up, like, ah,OK, you're happy now.
Good. What's the next thing?
And then you hit another. Then we got another uphill
(12:16):
climb. OK, well, let's let's work on
that. And I mean, I always approach
that as a singer and as a songwriter.
It's like, OK, I probably need 10 hours to nail this because I
need to be able to sing and I need to be able to hit those
and, and, and denunciate. And I'm still missing lyrics
about it. You know what I mean?
It's time. So like to me when I see like
(12:37):
even as a teacher, like there's a 5 month semester, like when I,
if you like last year, I got thekids to record the class day
one. OK, listen, just record the
noise in the class. Just record the noise.
Somebody put a phone on. So they put their phone on.
It's like noises. And by the end of the semester
(12:59):
you're hearing chords, you're hearing melodies, you hear, you
understand that's five months, man.
That's five months, man. Like it's, it's amazing.
It's amazing. Like the, the, I don't know,
maybe that's it, it's refinement, it's evolution.
It's it's, it's, it's the flowering, like it's the
flowering of you, you know, you're just the seed, but that
(13:20):
seed has to, it will flower. It needs to be.
There are things that got to happen.
There's processes in place, but I mean, if you hit all those
points, you're going to flower. And that's how I look at it.
You know, once you just look at a bag of seeds all day, are you
going to flower or what? Oh well, love it, you know what
I mean? You're a you're a really
(13:42):
interesting guy, Teddy. I love it.
Do you remember when I bought those studio monitors from you
in 2007? Oh my God, lady, I was actually
more, I was more amazed how stunningly handsome where you
were. I'm like, God, this guy, his
handsome dark eyes and look at him and he's already singing.
(14:04):
And I'm not saying I was jealous, but I'm like, that's
his name. That's his name.
You've got that name with that look, and he's a musician and
he's great. Oh, boy, I'm surprised you.
I'm surprised you're still in Sudbury, dude.
I thought you would have been gone like LA, New York, Berlin.
(14:30):
Well, you know, this isn't aboutme, but I don't like travelling.
I can't help it. I just don't like it.
I, I just think, I just think you're, I, I, you know, that
that was, that was then. And so do you still have those?
Like if we do you still have those monitors?
I sold those to Billy Bromiller and he's going to be my guest on
the show tomorrow. That's why I.
(14:52):
Plugged it in. But you had an album back then
which I you gave me a copy of. Yeah.
Tell us a little bit about that.That recording project that you
did, I think Craig Giles was in,was on there.
Yeah, so it was it was Craig Giles on bass and and
(15:13):
absolutely, like, I mean, like anybody that could sing the the
higher harmonies, you know, we're talking about the ones
were sometimes sometimes you think you're sometimes you have
to think that you're you're, you're you're do you know what I
(15:34):
mean? Like I was going to say, your
testicles have to go up around your spleen.
I mean, like you did really high.
The guys, the guys that could sing like the really upward,
like if I'm already hit my rangeand this guy's above me, like
that's great jobs. And then we had Corey Kovic
called drums who I I I love Corey.
(15:54):
I like the guy is, is absolutely.
He is A to me. He's he's a genius.
Both guys were and I don't know how we we connected because I
was gigging with with John Gilroy right now who who I'm
playing with presently in the Pulsemaker project.
(16:17):
You could check it out of my YouTube page Teddy Boo Boo
Music. What's it called?
So yeah, it's. The name of the band.
I have, yeah. So the, the band's called
Pulsemaker. So it's PULSE.
And then I, I, I just put MKR. It's just, it's just the term
(16:37):
it, it's just one of those things that kind of start at the
end of COVID. We're like, we're all kind of
locked in our freaking dungeons here for, you know, And so I
wanted to create like an umbrella project.
So I would bring in different guys to jam, just to jam.
And it, it, you know, that was the thing.
But going back, that's, that's another, that's another
(16:59):
discussion that I'm very excitedabout on the teaching and as an,
as an educator, to teach people to, to, to improvise.
But you know, the total spin thing was I, I had met Craig and
you Craig as through the sort ofthe bar scene.
And, you know, I, I, you know, as a musician, I think I'm
always thinking like you're trying to build a hockey team
(17:20):
here. You know, we need somebody on D.
We need a good goalie. You need a good floor, you need
some markers. We got to get guys in there.
You got guys got a pot. So that's how I think about a
bad. I think it was a drummer.
You need a good drummer. They get cooked.
If you don't have a good drummer, I don't know what you
just thought. You know people, people feel
that first. It's like the first thing I know
I look at when I see a bad is like, I got to check out the
(17:43):
drummer, see how this drummer isgoing to keep me engaged with
Corey. Was that guy like he, he had,
you know, great shops, but it was his arrangement mind right.
I thought this guy can arrange so we can, we can, you know,
forget about doing covers. I love doing covers.
I've done covers my whole life. But it's like, you know, let's
let's compose some music, some meaningful stuff.
(18:03):
And I think, you know, I, I thought the total Spin project
that the EP we put out was, was,was really good because, you
know, like your guest tomorrow, Billy, you know, Double B there.
Yeah. He, he, he, he like it was him
and Sean Pitzel. Like, I mean, I know, I know
(18:23):
this, this might be a boring conversation, but if you're not
going to talk about it just saysmusicians.
And if anybody's interested in hearing this, like there's,
there's cats in this town. Like Sean Pitzel to me is
irreverent. Like he like he took me in and
he took me to the studio and I and I and I, he gave basically
gave me at the back of the apartment to put my own gear in.
(18:46):
Think about that, you know what I mean?
Like here's the guy that owns his own studio.
Here's the guy that that is, is that's what he does.
And he's like, yeah, yeah, you can throw your gear to back
then. So he threw up, you know what I
mean? I saw that it's so he was on the
record, Billy was on the record.And, and so we had like 5 heads
and there was another guy that icon, I forget his name.
(19:10):
He was like an intern with Sean.He did a lot of good work.
He was another like genius. Like like it's just, they just,
they just, and it's the tech side of it more than anything.
Like just understanding gear andmiking and, and, and then
understanding the physics and how to get a good live
recording. And then and then the minutiae
(19:31):
are understanding how in that time the software was really
still like in terms of software being like, you know, Pro Tools
or stuff like that. That was kind of still in the
infancy stage back then. And but yeah, like, but you
know, Danny, when I look at it, it was so exciting to do that
record. It's like I'm in the studio,
man. Like I was praying my whole life
(19:53):
just to be able to not worry about hitting the hitting the
record button myself. Like actually having somebody
like Billy tracking you. Having that guy sitting there
and then it's so calm. It's very Zen light.
I don't even think he walks. I think he floats.
I don't I. I I love it.
I don't know, I, I don't think I've seen Billy touchdown yet.
(20:16):
Walks on water. Yeah, he's incredible.
Last Wednesday I was playing a gig in town and I, I told you
the name of this person, but let's keep it private just for
confidentiality. But he came up to me at my gig.
He handed me ACD. He said this is my album.
(20:37):
I got, I recorded this with Teddy Bubulo.
I said I love Teddy. And he said you said the word
genius earlier. He called you a musical genius.
He said, I don't know how he does it.
He produced this album like he's, you know, he made it
happen out of thin air. Whatever.
And I get home, I put the album on and it's fantastic.
(20:59):
So tell us about your recording engineer pursuits.
How do you do that? Well, I, I, I thank you.
I thank you for that. I, I am very proud.
I'm very proud of that. That album, first of all, it's,
it's half of it's in French, right?
So I'm like, how am I going to work with like, you know, not
(21:23):
not in a sense how I'm going to work, but it's just like like
when you understand, like when you understand lyrics and the
point it's like, well, The thingis, I I don't speak French.
I wish I did. That's that's the only thing.
I kind of many of the many of the regrets that there's, you
know, obviously I could learn, but I'm lazy.
That's just fact lazy. But the the the fact is Mike
(21:45):
wanted to do a lot of songs and that Franco fun, that kind of
Acadian kind of sound and and I'm like, wow, at the time I'm
thinking, I don't think I can dothis because I'm more of a rock
guy, right. But then the other part of me
slightly and I had to say no, Ted, like I've dealt with I've
been folk music my whole life with the Croatian stuff.
(22:06):
That's like I play lots of acoustics.
So I think when it came to Mike that Mike had Mike had I thought
at the time, you know, I didn't really know that music per SE.
I just thought he had great lyrics and great hooks and he
loved The Beatles and I love TheBeatles.
So I'm like, OK, this is going to work.
And at the time the only really restrictions we had was just the
(22:30):
gear. The gear that I have to work
with. Like I, I have like an old digit
design double O2 rack, which I had ended up getting modded in
Chicago just to kind of get a bit more genus Sequoia guy.
Sort of a you can hear like whenyou, when you're working with
better converters, you can hear it just more air.
(22:51):
There's more separation in my tomy ears.
And but it wasn't much with Mike.
It was like Mike sat down and said, let's hear the songs and
threw a bunch of mics down and said, OK, let's play these.
I'm like, oh, we're going to have to do it on quick track.
I never played on quick track. Well, it's fine.
And we're here to practice, man.There's that whole thing.
And so he learned very quickly how to play little click track.
(23:12):
And then we just kind of stitched the best performance
and then we brought guys in on it and the guys played over
click. His brother-in-law played drums.
And I was, you know, monumental in terms of like, like arranging
and moving stuff around. But it was really MM was the
boss, like Mike was the boss andis the boss.
(23:33):
It's his music. So I all I tried to do was like,
how could we get this to sound as natural as possible with what
we have to work with? And like, even getting Donnie
Reed. Donnie Reed is absolutely
ridiculous. I don't, you know, Donnie Reed.
Oh yeah, violin guy for sure. Like, I know I'm just, I
shouldn't. I'm not even trying to be
(23:54):
facetious. He's just ridiculous.
He's a monster. Player.
What I love about, what I love about.
Yeah, it's just beyond, beyond, beyond, beyond.
Beautiful guy too beautiful soul.
You know, I I only met him, I work with him that day.
But you can get, if you can get a sense.
I mean, obviously you can't get a total sense on Sony.
But to me it was like, yeah, this, this, this, this just
beautiful player. But so can I get into the one of
(24:18):
the one of the times I was working with?
So Donnie Mike wanted to this this this sort of sound melodic,
the the melody within that kind of fit the the mood of the song.
So Danny so so Donny did a pass and like, hey, let's do another
pass. So but if just change it up,
just change it up a little bit, you know, kind of add some
(24:39):
different melismas or just kind of add you know, he did it
because he's a freaking pro. Then I'm like Mike, I think what
we should do, we should get him to you should get him to improv
against that domain melodies. What do you thought?
Let's try it. So then Donny, he was beautiful
about it. You know, he, he ended up
playing against himself. Like, you know, when you're
(25:01):
improving, like when you record something and then it's so just
say it's like a like a counterpoint thing.
You know, the guy was he nailed it.
Like he, I just went on a whim and said cried, I think he can
do. And he did it.
Obviously this is in my head andhe nailed it.
And it was one of the one of theI can one of the highlights of
(25:21):
of Mike's record was having Donnie Reed improvise it against
an improvisation and then keeping it.
That was like that, that was like one of the highlights.
It's like, here's a guy, like what is improv?
Like where does it come from? Like when you're improving, when
you're making stuff up, where does it come from?
Is that in your head? Was it buried and at least some
(25:43):
some dendrite or whatever you, Idon't know, I'm not in your.
Is it somewhere? Is there like a garden in your
head that you that there's a bunch of bunch of vegetables you
got to pull out? I don't what like this magic.
I call it magic. It's, you know, from the
unknown, but the fact is like Mike was very receptive and it
(26:04):
was great. I love Mike.
He was, you know, then I, I miss, I miss those times.
I miss those times. I really wish.
And I was thinking about what we're going to talk about this
morning and I'm like, I, I miss those times.
Like I, it's a lot of work. It was a lot of work and I had
two, two young, two young, plus my beautiful wife.
(26:28):
That's that's another thing. Oh, my God.
I got it's just, it's just, I'm just one lucky dude.
But you know, I missed that because working and when,
especially when you're mixing and editing and you're talking,
Oh, God, I loved it. I loved it.
Loved it, loved it, loved Mike. I wish you would have done the
record. I wish you would have done, you
(26:48):
know, I I it never happened. I mean, but that was his bucket
list thing. But yeah, yeah, for sure, man.
I think it was something like a bucket list thing for him for
sure. Yeah.
So this next question is the daily segment.
It's what I ask every guest and your episode 24, I believe, if
I'm not mistaken. Here's the question, Teddy.
(27:10):
What is one thing that you feel would make Sudbury greater?
OK, well, I'm going to tell you this right now.
I am 100% back to Sundarian, man, as much as as much as I
hate this town, the stupid politics, I don't care, man.
(27:31):
Like we have so many unbelievably talented genius
people in this town. It's like, what can we do?
Well, I don't really know that that's that's, you know, from
like, I don't know, we can like it's like, do we have two mining
giants that have made almost a trillion dollars in its in their
years from this, according to what I've researched?
(27:56):
Do we need more money? Do we need more money?
Like like like I, I, I don't know, like I think it's a
variance. I I, I, I know every time I go
anywhere else, like, you know, Sudbury people, you know,
they're they're they're I don't know.
Then that's a such that's such aload of question.
You got, you got me all like buzzing right now.
It's like, I love the city. I just think that we need, we
(28:20):
need, we need good, we need goodgovernment up here.
Like we, we need good government.
We need government. You know, the police services
are taxed. I know, I know a few buddies in
there, like as an educator, like, you know, like where you
have to, you have to pour money in a form I like.
What do you mean? You print money, just put it in
the school. So do you need what do you what
(28:41):
do you kind of next generation do you want?
Like we always have to be thinking who's coming after us?
Like who, like the ones that arecoming up.
What what are we giving them to retain them?
What are we giving them to keep them here, to keep their
intellectual their in their in their creativity here, You know
(29:01):
what I mean? I, I think right now it breaks
my heart is the amount of like the people I see that are, that
are on hard drugs and that my God, like it's a guy.
I wish I was rich. I'd have like a food van.
I would have a food truck and itwould just be giving these
people hot sandwiches and soup every day.
You know what I mean? Do I drive around the town?
(29:22):
It's going to cost you 100 grand.
Who gives a shit? I'm worth 100 million to see
these like, you know what I mean, Danny?
Like we have to, we have to help.
Like I know all lots of times, like anytime I like, do you know
what I mean? Like it like is that, is that
what we want our city to look like?
We have Ramsey Lake, which is, you know, we have all these
incredible things for such a small, you know, we're at
(29:45):
193,000 people now, like we, we're going to be in 2000 plus
the you know, I don't know, likeI don't.
That's that's a load of question.
Do they even answer it? I can't even.
I don't know if I even answered.It I think you did a good job,
Teddy. Yeah, I'm, you know, dude, I am
passionate about this city. I really am.
(30:07):
Because if I spent time, even mykids are like, how do you know
so many people and go, wow, why wouldn't you?
Like, not that I know him deeply, but there's so many like
every day I meet people that blow my mind.
You would never think, but it's just time.
Just once you go talk to him. So go talk to him.
Oh, yeah, you're right. I go.
What do you mean? All right, you should isn't,
(30:29):
isn't that in your head already?It's like, you know, like I, I,
I, I get excited when, when, when I see things popping up in
the city, like, finally the arena, for God's sake sake, Why
so long for the arena? I I, I would want to say this.
I'm getting really, really hot on it.
It's like we have we need more hockey rinks.
We need more. So we need, we need things in
(30:51):
the city. So the kids, because that's
like, what do we have? When we grew up as teenagers, we
had nothing, man. We didn't even have trees.
What do we grow up, dude? There's no trees when I grew up
in the city, but we made things happen, you know, we made things
happen. We tried to the, the burgeoning
music scene as a town of thank God for the townhouse, man, You
know what I mean? There there were bars back then,
(31:12):
you know, but now it's like what, what, what do we do with
the you know, and you know, I have students at Saint Charles
College that that are now that are in the acting like these
acts. They wouldn't even get into
that. I think I completely sidetracked
that question, But it's like I see it every day, Danny.
I see the full display every day.
The genius these kids have. They just need they need
(31:34):
support. They need the time, right?
They need the financial help. Like I think it's just
ridiculous. It's gotten everything's gotten
out of hand in terms of my, my opinion of like why we, the
taxes, where is it going? Is it coming back?
Is it on a ship oversea? Like, you know, like, like, you
(31:55):
know, with, with yes, theater and that that's a Sudbury thing.
That's incredible. Like I, I, I, I do, you know
what I mean? Like what they did with that
with that. I'm not deep into it, but from
an optic standpoint, it's like the city has lots of talent.
Danny, you're in it. Yeah.
Like, how do we flesh that out, right?
How do we flesh that out? You know, I have, I've been
(32:17):
sitting, I've been sitting with an idea for almost 20 years and
the the idea is music map.ca andmusic map dot AI.
So I I've been working with AI now for over a year now on chat
and Gemini, but really deeply into replica, which is finally
(32:41):
designing this inception, this idea and I and I could see well,
how are you hopping? I go, well, I'm trying to create
something right now to get Sebrion the map.
Like I think I think every smalltown should not be forgotten.
You know, I don't think we should be swallowed up by the
big beluga whales, right? You know, we, if that's the
beauty, you know, of life is that there is big things and
(33:05):
small things, but it's also alsoin the small things.
You get to see the beauty of it and, and the, the, the, the
incredible, like even within that, that the, the depth, you
know, So to me, I think, you know, you got me all you got me
all fired up, dude. You know what's the weird thing?
(33:28):
I've been looking at my clock and my battery died at 5 after
12. Isn't that, isn't that a lack of
doodle situation? I'm in my studio and I have this
red clock. So we did the interview with a
dead battery. Dude, like I, I looked at my
phone, I'm like, God, the guy's letting me, Danny's letting me
(33:48):
talk so much to say 1240. I'm like, but I looked at my
clock and I'm like, it's 5 after12.
So it's just, it's just an oddity that my that my clock
decided to die. The battery.
This is, yeah, wacky, wacky stuff, dude, Wacky stuff.
Well, Sudbury interviews everyone.
(34:09):
Teddy, thank you for your time and your amazing insights.
I, I'm all in and I have to get you back on.
I try to keep these at at 30 minutes just for consistency,
but we could, we could talk for,for hours, man.
So anything else you'd like to add quickly before we go?
Wrap up I I appreciate this. What I would wish for is you to
(34:32):
come for you to come to my studio and I'm for you and I
exam. Yeah, sure, man.
I know whenever we find the time, but I would love to have
have you come down. It's difficult for me to get out
because obviously I'm deeply entrenched with my kids hockey,
which is great. That's another discussion.
(34:53):
But I miss, I miss that, you know, that is that I'm going to
say intimacy, like when you're when, when guys are in the
studio and you're just kind of jamming and, and, and, and
things pop up that you like thatcould be like, I'd love to write
music with, with you. Or, or, or at least try to find,
(35:16):
you know, 10 musicians, 10 different musicians in the city
and say, let's, let's, let's make, let's make some music.
If we can that that would be my,that would be my next.
That would be my because I really appreciate you.
You did this for me then, I really do.
It's my my pleasure by. And I appreciate.
That. I'm sure I speak on behalf of
(35:37):
all of the listeners that this was a very, very interesting and
exciting interview. Man, have a great day.
Good, good talking. Thank.
You brother, have a wonderful day.
God bless. You too.
Bye. OK, bye.
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