May 7, 2024 • 25 mins
Fun to check in with Rich Horton to talk about the song "Dynamite" from his now defunct band, Tragic Hands. Be sure to look him and them up at the following:
https://tragichands.bandcamp.com/album/logic-saves
https://www.soundcloud.com/riftyrich
https://www.instagram.com/richhorton612/
Also, be sure to check out his coffee shop and restaurant:
https://www.thecoffeeshopne.com
https://www.instagram.com/thecoffeeshopnortheast/
https://www.relishmpls.com
https://www.instagram.com/relishmpls/
#TragicHands #Dynamite #RiftyRich #RelishMpls # TheCoffeeShopNE #brettjamesjohnson #threecrowsclub #musicpodcast #bsidebreakdown
https://tragichands.bandcamp.com/album/logic-saves
https://www.soundcloud.com/riftyrich
https://www.instagram.com/richhorton612/
Also, be sure to check out his coffee shop and restaurant:
https://www.thecoffeeshopne.com
https://www.instagram.com/thecoffeeshopnortheast/
https://www.relishmpls.com
https://www.instagram.com/relishmpls/
#TragicHands #Dynamite #RiftyRich #RelishMpls # TheCoffeeShopNE #brettjamesjohnson #threecrowsclub #musicpodcast #bsidebreakdown
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
Free Trost B Side Breakdown. Heyeveryone, welcome to the B Side Breakdown.
My name is Brett Johnson and Iam your host. This is episode
twenty one of a podcast where Italk with other artists, musicians and songwriters
about a song they've written that's meaningfulto them that they want to talk about
and ideally we have a chat andget deep into the why behind it.
(00:23):
Today, I'm gonna be talking withRich Horton from the band Tragic Hands about
their song Dynamite. So let's getinto it. Here is Dynamite by Tragic
Hands to the mess I can't remainself, set myself to bring its note
(01:11):
this. There's the back a lotof ways like I should, he said,
there's back a lot of way likeI should. He said, Padna
(01:38):
to kids a time, se grita job, tell yourself my soul distant
back a lot of way like Ishould, he said. Dynamite basal like
(02:00):
the show this by the Time,it's like as same seer with the by
(02:46):
side, set the time away likethe shows what time all right? And
(03:17):
that was Dynamite by Tragic Hands.We're gonna take a quick break and then
we'll be right back with Rich Hortonstay with us, all right, and
we're back. Let's bring in RichHorton to talk about the song Tragic Hands.
Hey, Rich, thanks for takingsome time to talk with me today
about the song. Thank you.Yeah, man. So I'm super interested
in hearing all about this because Imean, all right, so I'm gonna
(03:40):
divulge a little bit. I've knownyou and been familiar with you longer than
we've known each other, because Ibelieve you in the nineties were in a
band called Marcus Noise correct, right, and Marcus Noise, who you sat
next to in class and named yourband after, as a dude that I've
(04:00):
been in bands with for a millionyears. And that's how we got to
know each other way back when.But then I also know you had your
various bands that you were in.But then you did Rift magazine in the
Twin Cities area, and you've donejust so much cool stuff to support the
Twin Cities and that area's music scenethat well, first of all, just
formally, I want to say hatsoff to you for all the work that
you did. It's just so awesomethat there's supporters of local music and pushers
(04:25):
of local music like yourself out theredoing what you do. So thank you
for doing all of that throughout,you know, as long as I've known
of you and known you. ButI also wanted to get into Yeah,
tell me about Tragic Hands, tellme about Dynamite. Why did you want
to talk about this song today?Oh, I don't know. It seemed
like when towards the end of theband broke up back in I think it
(04:47):
was March or so or no,it was in February, and the song
had kind of gotten some traction,like we play playing it live and stuff
like that, and I was,I, this is the first band I
played bassin, so and I thebaseline that I came up with I thought
was pretty cool and people seem tolike it, so I just because it's
(05:09):
more present than other stuff. Andthen just kind of how the song became
kind of ironic after the fact iskind of what I want to talk about
a little bit too. So sure, for sure, So tell me about
that then one. Okay, soyou were the base player in the band.
When did the band form? Weformed right kind of just as the
(05:30):
pandemic was kind of winding down andcould start getting back together again. So
we still did like six months inthe practice space with you know, masks
in the hallways and stuff like that. But I had started I kind of
decided to get a practice space duringthe pandemic to do some recording in and
I so I put moves my equipmentinto the air and stuff, and you
(05:54):
know, did some demos and stufflike that, and then had a drummer
come in to play with and thenit and eventually morphed into a band and
started taking my songs and ended upplaying bass because I found a guitar player
that I really liked and kind offit together and just started taking the songs
that I demoed and making them intosongs. And I think within a year
(06:16):
we recorded our first album. Werecorded that one, and then this was
a year later this we recorded thisDynamite again and we both we did both
in that terrium in Minneapolis here Nicewho engineered it. Jas Norris did cool,
cool, cool awesome. So whogot it? So was it all
(06:41):
kind of based around was all tragicHans music based around kind of songs that
you brought to it or did theother folks bring in tracks that they had
also been working on? And waskind of more collaborative in that way or
were you It was kind of moresort of your vision and they were filling
that out. Yeah, it endedup being they they added one song to
the last one that the guitar playerwrote. But otherwise, you know,
(07:04):
we tried to we tried to jamonce in a while and try to get
ideas. But basically I would takethe ideas from the jams and then I
would kind of work a song aroundit, bring it home and make it
into a demo and write lyrics forit, and then kind of send it
out to them and then we'd gettogether and then it would slowly take you
(07:25):
know, more shape as we went, you know, the you know,
a solo would be added, orwe'd page up a verse or something just
to make it work better and stuff. So and then backup vocals and stuff
like that. So got it?Got it? And how many piece band
was it? It was three pieceband? Yep, it was a three
piece okay, drums, guitar andbass and vocals. Yeah, So then
(07:46):
what happened, well, you justit's just one of those things where you
know, you know, that's somethinghappened that I was not didn't know about,
and it became all yeared after thatfact. Oh okay, I decided
to you know, kind of tokind of put it to bed at that
(08:07):
at that moment. So and youknow, kind of like any anything,
you know, you get a coupleof people and things change or whatever,
but it's kind of happened. You'veprobably been through enough of those. I'm
familiar with that. Yeah, sure, so, but I think like overall,
like I think we really were hittingour stride doing this last album we
(08:28):
did. So it was called LogicSaves and that had Dynamite on it,
and you know, kind of everythingwas just kind of fitting together. So
that was kind of cool. So, yeah, got it. And so
then just kind of echo back toyour your point earlier that there's a sense
of irony that you wanted to talkabout this song now even though this band
has broken up and specifically Dynamite.So help me make that connection. Oh
(08:50):
yeah, So because the chorus partkind of goes, you know, if
it now I can remember I shouldhave remembered what the lyrics were. But
you know that things get things thatyou leave you kind of run away from
things that get bad or blow itup, you know kind of thing.
And it's kind of two different waysto do it, and so I kind
of blew it up a little bitthen, so kind of kind of blew
(09:13):
it up with dynamite and then andsee you yeah, no, I get
it. I understand. No,I've I've been in that too, and
I've been on the recipient of thatend before and I've been the the lighter
of of the dynamite before as well. So I'm familiar with kind of that
all the way around. Got it? So then, so is that again,
(09:35):
what's the name of the record thatthe song comes from? That's all
Logic Saves is the name of theLogic Saves? And is that out on
band camp? Can people go thereto get it? Yeah? I didn't
get a band camp and it's it'sout on all the streaming services as well.
So cool, So Tragic can stopbandcamp dot com? Is that right?
Yep? Awesome? Awesome? Andthen is there a specific social for
Tragic Cans as well? Is itjust at Tragic Cans at Instagram or should
(09:58):
they follow you specifically? They couldif they go to my sound My SoundCloud
is fine for I'm just doing newdemos to you know, just try out
new songs and stuff. And thenthere's some older songs on there too as
well, but the tragic hand stuffkind of disappeared, so it was kind
of mix of both of us handlingand all. So it kind of left
this earth. Yeah, no,I get it. Yeah, I understand.
(10:20):
But like your SoundCloud handle of riftyRich, that's that's pretty slick,
you know, good, good onyou. The band camp thing is still
there and you know, like onthe streaming thing, so okay, awesome,
awesome. So then what else haveyou been doing since then with that
body of work? Have you repurposedany of it for other things? Or
(10:41):
I mean, I get it whenI know, like personally and bands I've
been in the past, there's songsthat I've had in one band that it
you know, the song never reallysaw the light of day, even though
we may have recorded it even andit might have been released, but it
just sort of nothing ever happened withit, and those songs have been repurposed.
There's you know, and this iskind of perfect that we and I
were talking about this because one ofthe songs is a band, a song
(11:01):
I wrote with Marcus Noise called Penny, and that song has been I've redone
it like six times over the pastthirty years, and it's just because it's
like I never quite got it theway I wanted it, you know.
It's just one of those things thatI felt like this treatment would be better
or different. But I'm just curious, are you doing anything with the kind
of the back catalog of Tragic Hands, like the work that you did,
(11:24):
or are you just you're just makingnew demos and just yeah, I'm making
new songs. But there was onethere's one song off the first album that
that I am I might do acoustically, but I haven't decided yet kind of
thing. I originally wrote an acousticand then brought to the band and that
we turned it into some you know, kind of a more of a baldy
(11:45):
type song. So there's possibly Icould do that because kind of like the
acoustic version of a lot. Butotherwise I just went on and started writing
new songs and stuff like that,so and got it. Hopefully we'll get
get into the Student in the nextmonth or two to record the tracks just
on my own. I've never reallydone it by myself, so I kind
(12:07):
of wanted to try something like that. So and say that part again,
you've never really done what like thelike yourself. Yeah, doing the whole
thing by myself. And I havesome songs that I just used drum tracks
for and then have a couple ofsongs that are just just acoustic and some
other instrumentation that I'm trying out andwith Jason add Theterrarium. I played them
(12:31):
some of the stuff that I had, and he said I could bring in
recordings I had and we can goin there and add and mix and that
way and you know, save alittle money and uh and uh work it
out that way. Seems like thehome recording stuff is a lot easier to
get a better sound on now thanit used to be as well. So
I'm not recording any real drums,so that seems to help out a bit.
(12:52):
Got it? And when you recordedthe Tragic Hans tracks, that's those
are actual drums, not programmed drumsindustry, actual drums. Yeah, we
wrote it, okay, got it. We basically recorded everything live in the
studio. And Okay, I knowI'd heard that. I had listened to
the one of your other podcasts wherefrom Houston where they were recording, you
know, like recording stuff at homeand then sending to each other. Yeah,
(13:15):
so I'm not good. I'm notgood. I'm a musician to do
that, I think so especially itwas drums, but you know, like
but otherwise, like we just webasically record the basic tracks live and then
did the overdubs and then went fromthere. So that's cool, got it,
got it? Yeah, I've thefile share recording thing can be challenging,
for sure. It's you know,it's kind of an exhaustive process.
(13:39):
I was in a before I movedto South Carolina from Minneapolis. I was
in a band called Three Crows anda Cardinal that kind of came together with
me and Carrie Bosel from Red OverLunar and Adam Koolong from the Wild Colonial
Boys and Jason Phillips on bass anduh and we you know, right when
the pandemic happened, you know,we stopped getting together in the practice space
(14:01):
just because we were all you know, had our concerns with not wanting to
get COVID and everybody had some sortof family member situation where it'd be really
really bad if somebody got COVID andbrought it home, right, So it
was one of those where we sortof stopped getting together. And then I
ended up moving away, but wecontinued to work on an EP, you
know, and just recording it overfile sharing. But man, that's it
(14:24):
was time consuming and it's challenging toget like here, okay, here's a
scratch guitar. Okay, now youmight have to line it up to a
click because even though I played itto a click, I might have played
it, you know, crappy.So now you have to kind of re
line it up and then Carrie tryto write drums to that, and then
okay, and then we'll send itback and forth a million times and see
what happens, you know, Butit was ultimately turned out okay. But
(14:45):
I hear what you're saying. Imean, if if you have the opportunity
to go in the studio and doit all yourself, that's really cool.
I know. I had also talkedpreviously about it might have been even on
a Houston episode where when I livedin California for a bit, I had
a practice space where I was tryingto record in demo, like you know,
three songs where I'm playing all theinstruments analog, right, and it
(15:07):
was just it was a massive undertaking. It was really hard, and I'm
nowhere near the drummer I need tobe to do it. So it's just
one of those Yeah, we'll trythat different. So I hear echo what
you're saying now about how home recordinghas gotten so much better and so much
easier just to get at least getreally good ideas down and out, like
exactly, Yeah, that's that's ableto be done. And if I need
(15:28):
to get some drummer to come inand play on it, you know,
please, like, I'll go findyou and hire you to do it if
I have to, you know whatI mean, just to have that analog
sound. But even still, likea lot of program drums sound great,
so yeah, yeah, a lotof new stuff sounds a lot better.
And even when I played it forJason at the Terrarium that he I mean,
he he goes, this sounds toogood. He was kind of almost
mad that it sounded good. SoI hear you. It's kind of one
(15:52):
of those things. But I'm nota clicka click track player at all,
so I'm sure I'm not that disciplinedto do that. So got it?
Got it cool? Well? Isthere anything else about specifically the song Dynamite?
You want to talk about our adto No. I just I was
just excited to come up with acool, cool bassline. And yeah,
(16:14):
since I do the vocals, Itend to have to kind of make the
lines where I'm singing kind of simpleso I don't screw it up. And
sure, I'm nice to have somea break and have a nice, cool
part and then you know, goback into the boring parts. But it
was, it was it was afun sound of makeing. We had fun.
It was really fun to play live, and it seemed like it had
(16:36):
a lot of a lot of attention. People seem to like it a lot,
so it's cool. Yeah, no, that is it's and it's a
really interesting I mean, for me, it was just a really interesting track
to listen to. There's so muchthere's kind of like this angular thing going
on it where it's it's jarring andit kind of reminds me of like there's
all these sort of things that youknow, it nods to and it doesn't
(16:59):
specifically sound anything to me at thesame time, which I really liked.
I mean, I like that,yeah, man, this is like this
you know, original effort, andI really dig it from that end,
and it's cool that Yeah, Ican hear probably maybe some influences in it,
but you know, nothing specific whereI could say, oh, this
sounds like you know, because itjust doesn't, which I thought was really
really great. I love the tonesin it, and the octave doubling of
(17:22):
vocals was really cool. Yeah,I mean, there's so much going on
in there that I thought was reallycool. So great job on it.
I thought it was great. Yeah, it's kind of It's kind of a
thing too, where you kind ofrealized, like I was listening to a
I think it was that Rick Rubinpodcast or whatever, and I can't remember
the name of it, but theywere talking about songs and about how many
songs go to Spotify every day orsomething like that, the millions of songs
(17:45):
that go to Spotify, and realizethat your chances of people actually hearing your
music is gets slimmer and slimmer asyou go along, so you have to
kind of make something that really reallygets attention, you know, kind of
thing. But it's really difficult toput these days. It seems like,
yeah, no, that's a wholeseparate right. I'm with you, and
(18:06):
you know, part of me wishesthat I would have got, you know,
an iPhone with social media applications.When I was thirteen, just a
little bit, I mean, justfrom the I would have adopted the technology
so much quicker and learned how todo all of this successfully way earlier and
when I was younger rather than now. It's just more of a pain in
(18:27):
the ass, and I don't wantto deal with it. It's just like
this sucks. I don't want todo it. But at the same time,
it's like, no, I getit, and I'm becoming more and
more I mean, I don't know, I feel better about it, like
it's I get it. No,it's a cool way to communicate information other
people, of course, but atthe same time, it's just being dependent
on it going correctly, and sothe algorithms pick it up right and do
(18:48):
the right thing. Just even toyour point of yeah, millions of new
songs every day on Spotify, you'renever gonna get heard, like, no,
one's just gonna randomly find you,you know, and it's just like,
yeah, so unless you're driving themto that, you know, that's
really challenging. But all right,so let's do this. We're gonna take
a quick break and we'll be rightback with more with Rich Horton, please
stay with us, all right,and we're back with Rich Horton. He
(19:11):
put forth the song Dynamite from hisband Tragic Hands that is now defunct.
But let's find out more about whatRich is working on now. So Rich,
you say it earlier in our lastsegment. You're talking about your recording
stuff on acoustic or you're writing stuffan acoustic and you're going into the studio
to work out some of those thingsand get that done. Are you doing
(19:33):
solo performances as well? Or whatelse are you working on? Is there
any other kind of creative avenues you'regoing with this? So well, I
think I'm just gonna like just putout songs as I go and then yeah,
I haven't decided I'm playing live ornot. But I did tell somebody
I would play at a friend ofmine has a party every year that in
(19:56):
his basement, that I would playa couple songs. So I might do
that June, so I got plentyof time to practice for it. But
otherwise I've also me and the meand my family own a coffee shop in
northeast Minneapolis, and last year aroundMay we opened uh, a restaurant bar
as well, so I've been kindof busy with that as well. So
(20:18):
the music thing is kind of,you know, less less of a percentages
of a time than it used tobe. So I've been working on the
restaurant. I have a day jobas well, so it's kind of our
our new project that we're working onis the restaurant. And it's a little
easier to get people to go toa restaurant you open then get to come
to see your see your band.But uh, it's true. Well it's
(20:42):
still hard. That's I mean,I'm saying that's true, Like I know
what I'm talking about because I've neveropened a restaurant, but I just can
only imagine that, right, It'sit's impossible to get people to come see
you perform. Yeah, it's that'sthat's incredible. Well good for you all
of that. Man. So,what what's the name of your coffee shop?
I had no idea you owned one. We owned the coffee shop.
(21:03):
It's called the Coffee Shop Northeast.It's in Northeast Minneapolis. It's on twenty
eighth in Johnson Street. Yeah,yeah, yeah. And then we just
opened, uh place called Relish,which is a kind of a coffee breakfast,
and we have brunch on the weekends, like right now, that should
be pretty busy there with brunch andthen has a full bar and uh,
(21:23):
you know lunch, lunch and dinnerand that kind of stuff. So wow,
man, it's that's the new project. So and it's a little a
little harder than just running a simplecoffee shop. It seems to be so
far. Anyway, I can onlyimagine. Yeah, there's my brain is
just from my old days in theserving industry. I'm thinking of Wow,
like how did you get a liquorlicense? Like there's all these things that
(21:45):
I'm just thinking about, Like,man, I can't even imagine the logistics
behind all that and trying to putall that together. Good for you and
you and you have a day job, that's exact. Yeah, you're you're
a busy dude, so a familycoffee shop restaurant day job. And I'm
this prolific song right who keeps puttingout new music like good for you,
man, that's it's awesome. Wellgreat, h So one performance coming up
(22:10):
potentially in June, but otherwise it'sjust going to be You're releasing songs as
you get them done, right,So you're it's not like you're waiting for
some record compiled and then putting thatout as a formal album. It's just
individual tracks. And I think so. The place I work for my day
job is called the ads Group andit's part of Copycats Media. Oh sure,
sure, okay, And I dowork in a graphics department setting up
(22:32):
files for CDs and DVDs and nowvinyl because they did put some some vinyl
presses in there. I'd like todo. I'd like to put together a
collection of songs to put on vinyl, But I'm just it's kind of it's
kind of spendys still, you know, it's and vinyl isn't cheap, yeah,
cheap, but maybe down the line. So if I get enough collection
(22:53):
of a good enough songs, I'lldo that and stuff. So well,
that's awesome man. Well look forwardto keeping eye up with all your new
songs as they come out at yourSoundCloud address and uh and keep tracking you
on Instagram as well as whoever elseI can get a hold of it.
But thanks again for taking the timeto talk with me today about Dynamite and
telling me what you're up to.It's really really good to hear that you're
(23:15):
you're active in doing so well anddoing all the things that you're doing in
so many kind of different ways.I mean, it's just really inspiring to
hear. So good for you,man. Oh thanks three Cross Breakdown.
(23:48):
All right, and that wraps anotherepisode of the B Side Breakdown. I
want to thank Rich Horton for comingalong to talk about his song Dynamite from
the band Tragic Hands. I alsowant to thank Adam Coolong and Carry Bosel
for helping me put together the jingleyou hear at the beginning and the end
of this episode. In the background, you're listening to the Blue Towel Lounge
at track by the amb team fromthe legendary Scape video search for Animal Chin.
Thank you Paul Pralta for giving mepermission to play this on this episode.
(24:11):
Up next, I have a chatwith any in the Bang Bang about
their song win Phone. I'm gonnagive you a sample of that song in
a minute. Please subscribe to thispodcast wherever you get your podcasts. Stay
safe and we'll see you in thenext one. Thanks Time Speak day U
(24:44):
still Majes shop off to us.She found g Sharpha pos As do some
bad you can go into the lightand see why you should, and see
(25:14):
the mournful light dog on wed
Free Trost B Side Breakdown. Heyeveryone, welcome to the B Side Breakdown.
My name is Brett Johnson and Iam your host. This is episode
twenty one of a podcast where Italk with other artists, musicians and songwriters
about a song they've written that's meaningfulto them that they want to talk about
and ideally we have a chat andget deep into the why behind it.
(00:23):
Today, I'm gonna be talking withRich Horton from the band Tragic Hands about
their song Dynamite. So let's getinto it. Here is Dynamite by Tragic
Hands to the mess I can't remainself, set myself to bring its note
(01:11):
this. There's the back a lotof ways like I should, he said,
there's back a lot of way likeI should. He said, Padna
(01:38):
to kids a time, se grita job, tell yourself my soul distant
back a lot of way like Ishould, he said. Dynamite basal like
(02:00):
the show this by the Time,it's like as same seer with the by
(02:46):
side, set the time away likethe shows what time all right? And
(03:17):
that was Dynamite by Tragic Hands.We're gonna take a quick break and then
we'll be right back with Rich Hortonstay with us, all right, and
we're back. Let's bring in RichHorton to talk about the song Tragic Hands.
Hey, Rich, thanks for takingsome time to talk with me today
about the song. Thank you.Yeah, man. So I'm super interested
in hearing all about this because Imean, all right, so I'm gonna
(03:40):
divulge a little bit. I've knownyou and been familiar with you longer than
we've known each other, because Ibelieve you in the nineties were in a
band called Marcus Noise correct, right, and Marcus Noise, who you sat
next to in class and named yourband after, as a dude that I've
(04:00):
been in bands with for a millionyears. And that's how we got to
know each other way back when.But then I also know you had your
various bands that you were in.But then you did Rift magazine in the
Twin Cities area, and you've donejust so much cool stuff to support the
Twin Cities and that area's music scenethat well, first of all, just
formally, I want to say hatsoff to you for all the work that
you did. It's just so awesomethat there's supporters of local music and pushers
(04:25):
of local music like yourself out theredoing what you do. So thank you
for doing all of that throughout,you know, as long as I've known
of you and known you. ButI also wanted to get into Yeah,
tell me about Tragic Hands, tellme about Dynamite. Why did you want
to talk about this song today?Oh, I don't know. It seemed
like when towards the end of theband broke up back in I think it
(04:47):
was March or so or no,it was in February, and the song
had kind of gotten some traction,like we play playing it live and stuff
like that, and I was,I, this is the first band I
played bassin, so and I thebaseline that I came up with I thought
was pretty cool and people seem tolike it, so I just because it's
(05:09):
more present than other stuff. Andthen just kind of how the song became
kind of ironic after the fact iskind of what I want to talk about
a little bit too. So sure, for sure, So tell me about
that then one. Okay, soyou were the base player in the band.
When did the band form? Weformed right kind of just as the
(05:30):
pandemic was kind of winding down andcould start getting back together again. So
we still did like six months inthe practice space with you know, masks
in the hallways and stuff like that. But I had started I kind of
decided to get a practice space duringthe pandemic to do some recording in and
I so I put moves my equipmentinto the air and stuff, and you
(05:54):
know, did some demos and stufflike that, and then had a drummer
come in to play with and thenit and eventually morphed into a band and
started taking my songs and ended upplaying bass because I found a guitar player
that I really liked and kind offit together and just started taking the songs
that I demoed and making them intosongs. And I think within a year
(06:16):
we recorded our first album. Werecorded that one, and then this was
a year later this we recorded thisDynamite again and we both we did both
in that terrium in Minneapolis here Nicewho engineered it. Jas Norris did cool,
cool, cool awesome. So whogot it? So was it all
(06:41):
kind of based around was all tragicHans music based around kind of songs that
you brought to it or did theother folks bring in tracks that they had
also been working on? And waskind of more collaborative in that way or
were you It was kind of moresort of your vision and they were filling
that out. Yeah, it endedup being they they added one song to
the last one that the guitar playerwrote. But otherwise, you know,
(07:04):
we tried to we tried to jamonce in a while and try to get
ideas. But basically I would takethe ideas from the jams and then I
would kind of work a song aroundit, bring it home and make it
into a demo and write lyrics forit, and then kind of send it
out to them and then we'd gettogether and then it would slowly take you
(07:25):
know, more shape as we went, you know, the you know,
a solo would be added, orwe'd page up a verse or something just
to make it work better and stuff. So and then backup vocals and stuff
like that. So got it?Got it? And how many piece band
was it? It was three pieceband? Yep, it was a three
piece okay, drums, guitar andbass and vocals. Yeah, So then
(07:46):
what happened, well, you justit's just one of those things where you
know, you know, that's somethinghappened that I was not didn't know about,
and it became all yeared after thatfact. Oh okay, I decided
to you know, kind of tokind of put it to bed at that
(08:07):
at that moment. So and youknow, kind of like any anything,
you know, you get a coupleof people and things change or whatever,
but it's kind of happened. You'veprobably been through enough of those. I'm
familiar with that. Yeah, sure, so, but I think like overall,
like I think we really were hittingour stride doing this last album we
(08:28):
did. So it was called LogicSaves and that had Dynamite on it,
and you know, kind of everythingwas just kind of fitting together. So
that was kind of cool. So, yeah, got it. And so
then just kind of echo back toyour your point earlier that there's a sense
of irony that you wanted to talkabout this song now even though this band
has broken up and specifically Dynamite.So help me make that connection. Oh
(08:50):
yeah, So because the chorus partkind of goes, you know, if
it now I can remember I shouldhave remembered what the lyrics were. But
you know that things get things thatyou leave you kind of run away from
things that get bad or blow itup, you know kind of thing.
And it's kind of two different waysto do it, and so I kind
of blew it up a little bitthen, so kind of kind of blew
(09:13):
it up with dynamite and then andsee you yeah, no, I get
it. I understand. No,I've I've been in that too, and
I've been on the recipient of thatend before and I've been the the lighter
of of the dynamite before as well. So I'm familiar with kind of that
all the way around. Got it? So then, so is that again,
(09:35):
what's the name of the record thatthe song comes from? That's all
Logic Saves is the name of theLogic Saves? And is that out on
band camp? Can people go thereto get it? Yeah? I didn't
get a band camp and it's it'sout on all the streaming services as well.
So cool, So Tragic can stopbandcamp dot com? Is that right?
Yep? Awesome? Awesome? Andthen is there a specific social for
Tragic Cans as well? Is itjust at Tragic Cans at Instagram or should
(09:58):
they follow you specifically? They couldif they go to my sound My SoundCloud
is fine for I'm just doing newdemos to you know, just try out
new songs and stuff. And thenthere's some older songs on there too as
well, but the tragic hand stuffkind of disappeared, so it was kind
of mix of both of us handlingand all. So it kind of left
this earth. Yeah, no,I get it. Yeah, I understand.
(10:20):
But like your SoundCloud handle of riftyRich, that's that's pretty slick,
you know, good, good onyou. The band camp thing is still
there and you know, like onthe streaming thing, so okay, awesome,
awesome. So then what else haveyou been doing since then with that
body of work? Have you repurposedany of it for other things? Or
(10:41):
I mean, I get it whenI know, like personally and bands I've
been in the past, there's songsthat I've had in one band that it
you know, the song never reallysaw the light of day, even though
we may have recorded it even andit might have been released, but it
just sort of nothing ever happened withit, and those songs have been repurposed.
There's you know, and this iskind of perfect that we and I
were talking about this because one ofthe songs is a band, a song
(11:01):
I wrote with Marcus Noise called Penny, and that song has been I've redone
it like six times over the pastthirty years, and it's just because it's
like I never quite got it theway I wanted it, you know.
It's just one of those things thatI felt like this treatment would be better
or different. But I'm just curious, are you doing anything with the kind
of the back catalog of Tragic Hands, like the work that you did,
(11:24):
or are you just you're just makingnew demos and just yeah, I'm making
new songs. But there was onethere's one song off the first album that
that I am I might do acoustically, but I haven't decided yet kind of
thing. I originally wrote an acousticand then brought to the band and that
we turned it into some you know, kind of a more of a baldy
(11:45):
type song. So there's possibly Icould do that because kind of like the
acoustic version of a lot. Butotherwise I just went on and started writing
new songs and stuff like that,so and got it. Hopefully we'll get
get into the Student in the nextmonth or two to record the tracks just
on my own. I've never reallydone it by myself, so I kind
(12:07):
of wanted to try something like that. So and say that part again,
you've never really done what like thelike yourself. Yeah, doing the whole
thing by myself. And I havesome songs that I just used drum tracks
for and then have a couple ofsongs that are just just acoustic and some
other instrumentation that I'm trying out andwith Jason add Theterrarium. I played them
(12:31):
some of the stuff that I had, and he said I could bring in
recordings I had and we can goin there and add and mix and that
way and you know, save alittle money and uh and uh work it
out that way. Seems like thehome recording stuff is a lot easier to
get a better sound on now thanit used to be as well. So
I'm not recording any real drums,so that seems to help out a bit.
(12:52):
Got it? And when you recordedthe Tragic Hans tracks, that's those
are actual drums, not programmed drumsindustry, actual drums. Yeah, we
wrote it, okay, got it. We basically recorded everything live in the
studio. And Okay, I knowI'd heard that. I had listened to
the one of your other podcasts wherefrom Houston where they were recording, you
know, like recording stuff at homeand then sending to each other. Yeah,
(13:15):
so I'm not good. I'm notgood. I'm a musician to do
that, I think so especially itwas drums, but you know, like
but otherwise, like we just webasically record the basic tracks live and then
did the overdubs and then went fromthere. So that's cool, got it,
got it? Yeah, I've thefile share recording thing can be challenging,
for sure. It's you know,it's kind of an exhaustive process.
(13:39):
I was in a before I movedto South Carolina from Minneapolis. I was
in a band called Three Crows anda Cardinal that kind of came together with
me and Carrie Bosel from Red OverLunar and Adam Koolong from the Wild Colonial
Boys and Jason Phillips on bass anduh and we you know, right when
the pandemic happened, you know,we stopped getting together in the practice space
(14:01):
just because we were all you know, had our concerns with not wanting to
get COVID and everybody had some sortof family member situation where it'd be really
really bad if somebody got COVID andbrought it home, right, So it
was one of those where we sortof stopped getting together. And then I
ended up moving away, but wecontinued to work on an EP, you
know, and just recording it overfile sharing. But man, that's it
(14:24):
was time consuming and it's challenging toget like here, okay, here's a
scratch guitar. Okay, now youmight have to line it up to a
click because even though I played itto a click, I might have played
it, you know, crappy.So now you have to kind of re
line it up and then Carrie tryto write drums to that, and then
okay, and then we'll send itback and forth a million times and see
what happens, you know, Butit was ultimately turned out okay. But
(14:45):
I hear what you're saying. Imean, if if you have the opportunity
to go in the studio and doit all yourself, that's really cool.
I know. I had also talkedpreviously about it might have been even on
a Houston episode where when I livedin California for a bit, I had
a practice space where I was tryingto record in demo, like you know,
three songs where I'm playing all theinstruments analog, right, and it
(15:07):
was just it was a massive undertaking. It was really hard, and I'm
nowhere near the drummer I need tobe to do it. So it's just
one of those Yeah, we'll trythat different. So I hear echo what
you're saying now about how home recordinghas gotten so much better and so much
easier just to get at least getreally good ideas down and out, like
exactly, Yeah, that's that's ableto be done. And if I need
(15:28):
to get some drummer to come inand play on it, you know,
please, like, I'll go findyou and hire you to do it if
I have to, you know whatI mean, just to have that analog
sound. But even still, likea lot of program drums sound great,
so yeah, yeah, a lotof new stuff sounds a lot better.
And even when I played it forJason at the Terrarium that he I mean,
he he goes, this sounds toogood. He was kind of almost
mad that it sounded good. SoI hear you. It's kind of one
(15:52):
of those things. But I'm nota clicka click track player at all,
so I'm sure I'm not that disciplinedto do that. So got it?
Got it cool? Well? Isthere anything else about specifically the song Dynamite?
You want to talk about our adto No. I just I was
just excited to come up with acool, cool bassline. And yeah,
(16:14):
since I do the vocals, Itend to have to kind of make the
lines where I'm singing kind of simpleso I don't screw it up. And
sure, I'm nice to have somea break and have a nice, cool
part and then you know, goback into the boring parts. But it
was, it was it was afun sound of makeing. We had fun.
It was really fun to play live, and it seemed like it had
(16:36):
a lot of a lot of attention. People seem to like it a lot,
so it's cool. Yeah, no, that is it's and it's a
really interesting I mean, for me, it was just a really interesting track
to listen to. There's so muchthere's kind of like this angular thing going
on it where it's it's jarring andit kind of reminds me of like there's
all these sort of things that youknow, it nods to and it doesn't
(16:59):
specifically sound anything to me at thesame time, which I really liked.
I mean, I like that,yeah, man, this is like this
you know, original effort, andI really dig it from that end,
and it's cool that Yeah, Ican hear probably maybe some influences in it,
but you know, nothing specific whereI could say, oh, this
sounds like you know, because itjust doesn't, which I thought was really
really great. I love the tonesin it, and the octave doubling of
(17:22):
vocals was really cool. Yeah,I mean, there's so much going on
in there that I thought was reallycool. So great job on it.
I thought it was great. Yeah, it's kind of It's kind of a
thing too, where you kind ofrealized, like I was listening to a
I think it was that Rick Rubinpodcast or whatever, and I can't remember
the name of it, but theywere talking about songs and about how many
songs go to Spotify every day orsomething like that, the millions of songs
(17:45):
that go to Spotify, and realizethat your chances of people actually hearing your
music is gets slimmer and slimmer asyou go along, so you have to
kind of make something that really reallygets attention, you know, kind of
thing. But it's really difficult toput these days. It seems like,
yeah, no, that's a wholeseparate right. I'm with you, and
(18:06):
you know, part of me wishesthat I would have got, you know,
an iPhone with social media applications.When I was thirteen, just a
little bit, I mean, justfrom the I would have adopted the technology
so much quicker and learned how todo all of this successfully way earlier and
when I was younger rather than now. It's just more of a pain in
(18:27):
the ass, and I don't wantto deal with it. It's just like
this sucks. I don't want todo it. But at the same time,
it's like, no, I getit, and I'm becoming more and
more I mean, I don't know, I feel better about it, like
it's I get it. No,it's a cool way to communicate information other
people, of course, but atthe same time, it's just being dependent
on it going correctly, and sothe algorithms pick it up right and do
(18:48):
the right thing. Just even toyour point of yeah, millions of new
songs every day on Spotify, you'renever gonna get heard, like, no,
one's just gonna randomly find you,you know, and it's just like,
yeah, so unless you're driving themto that, you know, that's
really challenging. But all right,so let's do this. We're gonna take
a quick break and we'll be rightback with more with Rich Horton, please
stay with us, all right,and we're back with Rich Horton. He
(19:11):
put forth the song Dynamite from hisband Tragic Hands that is now defunct.
But let's find out more about whatRich is working on now. So Rich,
you say it earlier in our lastsegment. You're talking about your recording
stuff on acoustic or you're writing stuffan acoustic and you're going into the studio
to work out some of those thingsand get that done. Are you doing
(19:33):
solo performances as well? Or whatelse are you working on? Is there
any other kind of creative avenues you'regoing with this? So well, I
think I'm just gonna like just putout songs as I go and then yeah,
I haven't decided I'm playing live ornot. But I did tell somebody
I would play at a friend ofmine has a party every year that in
(19:56):
his basement, that I would playa couple songs. So I might do
that June, so I got plentyof time to practice for it. But
otherwise I've also me and the meand my family own a coffee shop in
northeast Minneapolis, and last year aroundMay we opened uh, a restaurant bar
as well, so I've been kindof busy with that as well. So
(20:18):
the music thing is kind of,you know, less less of a percentages
of a time than it used tobe. So I've been working on the
restaurant. I have a day jobas well, so it's kind of our
our new project that we're working onis the restaurant. And it's a little
easier to get people to go toa restaurant you open then get to come
to see your see your band.But uh, it's true. Well it's
(20:42):
still hard. That's I mean,I'm saying that's true, Like I know
what I'm talking about because I've neveropened a restaurant, but I just can
only imagine that, right, It'sit's impossible to get people to come see
you perform. Yeah, it's that'sthat's incredible. Well good for you all
of that. Man. So,what what's the name of your coffee shop?
I had no idea you owned one. We owned the coffee shop.
(21:03):
It's called the Coffee Shop Northeast.It's in Northeast Minneapolis. It's on twenty
eighth in Johnson Street. Yeah,yeah, yeah. And then we just
opened, uh place called Relish,which is a kind of a coffee breakfast,
and we have brunch on the weekends, like right now, that should
be pretty busy there with brunch andthen has a full bar and uh,
(21:23):
you know lunch, lunch and dinnerand that kind of stuff. So wow,
man, it's that's the new project. So and it's a little a
little harder than just running a simplecoffee shop. It seems to be so
far. Anyway, I can onlyimagine. Yeah, there's my brain is
just from my old days in theserving industry. I'm thinking of Wow,
like how did you get a liquorlicense? Like there's all these things that
(21:45):
I'm just thinking about, Like,man, I can't even imagine the logistics
behind all that and trying to putall that together. Good for you and
you and you have a day job, that's exact. Yeah, you're you're
a busy dude, so a familycoffee shop restaurant day job. And I'm
this prolific song right who keeps puttingout new music like good for you,
man, that's it's awesome. Wellgreat, h So one performance coming up
(22:10):
potentially in June, but otherwise it'sjust going to be You're releasing songs as
you get them done, right,So you're it's not like you're waiting for
some record compiled and then putting thatout as a formal album. It's just
individual tracks. And I think so. The place I work for my day
job is called the ads Group andit's part of Copycats Media. Oh sure,
sure, okay, And I dowork in a graphics department setting up
(22:32):
files for CDs and DVDs and nowvinyl because they did put some some vinyl
presses in there. I'd like todo. I'd like to put together a
collection of songs to put on vinyl, But I'm just it's kind of it's
kind of spendys still, you know, it's and vinyl isn't cheap, yeah,
cheap, but maybe down the line. So if I get enough collection
(22:53):
of a good enough songs, I'lldo that and stuff. So well,
that's awesome man. Well look forwardto keeping eye up with all your new
songs as they come out at yourSoundCloud address and uh and keep tracking you
on Instagram as well as whoever elseI can get a hold of it.
But thanks again for taking the timeto talk with me today about Dynamite and
telling me what you're up to.It's really really good to hear that you're
(23:15):
you're active in doing so well anddoing all the things that you're doing in
so many kind of different ways.I mean, it's just really inspiring to
hear. So good for you,man. Oh thanks three Cross Breakdown.
(23:48):
All right, and that wraps anotherepisode of the B Side Breakdown. I
want to thank Rich Horton for comingalong to talk about his song Dynamite from
the band Tragic Hands. I alsowant to thank Adam Coolong and Carry Bosel
for helping me put together the jingleyou hear at the beginning and the end
of this episode. In the background, you're listening to the Blue Towel Lounge
at track by the amb team fromthe legendary Scape video search for Animal Chin.
Thank you Paul Pralta for giving mepermission to play this on this episode.
(24:11):
Up next, I have a chatwith any in the Bang Bang about
their song win Phone. I'm gonnagive you a sample of that song in
a minute. Please subscribe to thispodcast wherever you get your podcasts. Stay
safe and we'll see you in thenext one. Thanks Time Speak day U
(24:44):
still Majes shop off to us.She found g Sharpha pos As do some
bad you can go into the lightand see why you should, and see
(25:14):
the mournful light dog on wed
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