August 23, 2024 • 16 mins
Welcome to One Bad Podcast.
Join Kurt and Shane as they kick off 20 years worth of stories, memories and advice for up-and-coming Canadian rock and roll bands.
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Join Kurt and Shane as they kick off 20 years worth of stories, memories and advice for up-and-coming Canadian rock and roll bands.
You can watch One Bad Podcast on YouTube, here: https://youtu.be/DIn99sZPj6U
Checkout One Bad Son online: https://www.onebadson.com/
Shane Volk: https://www.shaneconneryvolk.com/
Kurt Dahl: https://lawyerdrummer.com/
If you are a content creator, new or experienced, join our team!
If you'd like to advertise with us, head to our website.
Join the movement here: https://www.dufferinave.com/
Socials:
https://www.instagram.com/onebadson
https://www.facebook.com/onebadson/
https://x.com/OneBadSon
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome. It's the One Bad Podcast. Here's your host, Kadi
and Shaner.
Speaker 2 (00:10):
All right, Katie, we were talking Black Buffalo and there's
a lot to say. It's funny, you know, as we
talk about this stuff, things just come up, you know,
and I'm getting more comfortable just like we go off
on some tangents because like, I didn't remember that Canora
trip right off the top of my head, and you
reminded me.
Speaker 3 (00:26):
And it's like that.
Speaker 2 (00:28):
I'm loving this about this podcast is it's you don't
really spend a lot of time sitting in this era again,
you know, and it's cool kind of walking through our
career because man, things are coming back to me that
I completely forgot about and this has just been it's
been the best. Man, it's just been great going back
over this and you've jogged my memory on a lot
(00:49):
of stuff, that's for sure.
Speaker 1 (00:50):
Yeah. Well it's interesting. It just the stuff just comes
like I'm like, I didn't think of that until you
brought it up, you know.
Speaker 3 (00:57):
Yeah.
Speaker 1 (00:58):
Well, one thing was to say about Black Buffalo the
record is I do think one you know, I'm proud
of us for not just like so many bands in
our shoes would have just tried to write just like
simple rock radio hits, you know what I mean. And
we we know bands like that, like they're just all
the all the right is rock stuff that sounds like
radio hits. And then the fans are like, it just
(01:20):
sounds formulaic, right, and there's it's just there's no there's
no sort of depth on a record, right. But like
you think about Black Buffalo, I think it's probably our
deepest in terms of songwriting. You know, Outlaw Josie Wales
was still one of my favorites. I think it's one
of your best. Land of the Saints I forgot about
I was gonna mention on the last chat, but that's
what you know. Dylan, Dylan Villain is always like that's
(01:41):
the favorite song, that's like probably my best if I
get ud be self aware, it's probably my best dropper,
my favorite, my favorite drumming. I mean, I love Red
Cloud two. It's got just that feel. But a lot
of the sayings is just you know, it's one of
those I was going straight soundguard Matt Cameron vibes.
Speaker 2 (01:55):
You know, dude, you've thrown a lot of props my way.
Thanks for saying that about Outlaw Josie. Well, also thanks
to you and Hicks and Granny for always being chill
when I'm like, hey, I got this thing. It's based
on Western from the sixties, and you guys are like, okay, correction,
that movie's from the seventies. But dude, Land of the
Saints like you and yeah, like this record, like you
(02:16):
killed it on that song and this record specifically, man,
you you dug into like your rock grooves, like the
bottom stuff, but that song's like you're pushing into almost
metal territory with some of that stuff, like and obviously
Matt Cameron and Soundgarden had a bit of that right
like they could. But you're doing it with one kick pedal,
which a lot of people probably don't realize. Like there's
(02:38):
so many times that you're playing and I'm like, how's
he doing it with one foot? It's crazy, man, Like
you're you're playing on that records insane.
Speaker 1 (02:44):
Well, thank you, buddy, and I feel like that was
I was chatting with actually my son Levon today and
talking about how like, you know, he's like, were you
were you really good at soccer when you were young?
And I was like, well, I probably was better then
because I played it more often, you know, And I
was like same with drumming, like like I still play
a lot, but I mean back like in this era.
(03:06):
Well I didn't say this to him, but like you know,
when you when you're playing it eight hours a day,
like that's when you become a pro, right, And that's
I think around that time is when I was We're
probably playing eight hours a day of drumming, like just
at home practicing and then rehearsing with you guys and
then playing live. It was like just non stop playing.
I'm sure we all were on that same sort regimen.
So we were just a well oiled machine. Right. It's
(03:27):
that stuff you you don't have to you turn off
your brain and just play off instinct, you know. And
I mean those are like I say this to every musician.
It's like you go play your instrument eight hours a
day and then do that for a year and see
how see what happens? Right? Yeah, absolutely, yeah, I think
it's just I think it's a tight record. And we
got to talk about Rats as producer, which I think
(03:49):
was he was great for us. He pushed us. You know,
it's sort of a different direction, like different approach than
Danny Craig both, I mean, great producers, rats. I feel
like the Black Buffalo record was just overall like sounded
less produced maybe than than the Red album, like less polished,
I guess, you know, but in a good way.
Speaker 3 (04:10):
You know.
Speaker 1 (04:10):
We wanted that we'd we'd done like the sort of
the polished big rock record with the Red album, which
obviously still people love, but we wanted to have that
more that rawness of sort of like I remember us saying,
give us like that sound Garden sort of feel, you know,
And I think I think it worked. I mean, there's
as everything is, like it felt like that record was
(04:30):
kind of rushed in a way, like we recorded so quickly,
you know, if we had you know, sound Garden probably
takes several months to record that we had like a
week and a half or something, I think. But you know, again,
I'm proud of it. Like we tried to make records
that were like Foo, Fighters, Pearl Jam, Soundgarden, like on
those level of bands or Zeppelin, but all those bands
took months and months or years sometimes to make a
(04:52):
similar record because they had all the money in the world,
which we didn't. Right, So it's sort of like you're
trying to do like a Leads of Houses the Holy
Light because you don't have the budget. You don't like
a Yeah Pearl Jam ten Light because you don't have
the budget. But you know, I think I still listen
to that record and I'm still very proud of what
we did.
Speaker 3 (05:11):
You know, Yeah, me too, man.
Speaker 2 (05:13):
Honestly, again, it's it's one of it's got a lot
of my favorite stuff for obs records, it has it
has one of my biggest regrets totally, and it's uh, oh,
this is a yeah man.
Speaker 3 (05:27):
I I don't know if you remember.
Speaker 2 (05:29):
I don't even know if you were in the room
at this point, but we, uh, something started to happen
and I think this is when it started to happen
for me, was that, you know, now we start to
get a few more voices in the room and we
had a manager at the time. Yeah, what you're going
to say the Decades thing, and uh, you know, it
was the first time I didn't listen to my gut and.
Speaker 3 (05:52):
It just like, really, it's always stuck.
Speaker 2 (05:56):
It stuck with me after that because it was like,
what happened was the song Decades, which I love that song.
It's it's still one of my favorites that we've written.
And I had a lyric in there that was I
met a girl from Saskatoon was in it, and that
didn't actually refer to anybody specific, but it was kind
(06:17):
of like that.
Speaker 3 (06:18):
Song, you know, it was about home.
Speaker 2 (06:20):
It was kind of you had things to do with,
like not didn't have to specifically be our hometown. It
could be anybody's, but like that lyric just sang so
well and it was like just this nice little shout
out to our hometown. And you know, our manager came
in and he was like, you can't have that lyric.
You can't say Saskatoon because it's it's too specific. It'll
(06:42):
never be a hit if it becomes a single. Like,
you know, we start getting in this era now where
voices start to come in, and you know there is
starting now that we have the songs written and we're recording.
There starts to be this little like, wow, what if
this one's the single? And I just remember, like it's
not a huge regret because the song is still turned
(07:02):
out great, but you know, it didn't become a single
and it didn't fucking matter. But it was like I
just wish I'd said, look, man, you know what, you're
not a songwriter. You've never written a song, you know,
And you get that with a lot of managers in
that kind of thing where it's like you've never done this,
you don't. You know that lyric would not have made
(07:25):
or broke the song. We know that, Like we got again,
we got told with retribution blues, Well you can't have
a song with blues in the title.
Speaker 3 (07:32):
Well that was bullshit. Didn't matter.
Speaker 2 (07:34):
You know, if the song's great, a lyric's not going
to make or break it, you know what I mean.
But it's a regret, I think, because it was like
a stupid thing, really, but it was like I listened
to somebody on the outside, other than myself and other
than you guys, and it was like, you know, that
(07:56):
starts to creep in more and more as we go.
Speaker 3 (07:59):
But I think, like I just wish I had I.
Speaker 2 (08:02):
Just wish I had recorded that lyric because it would
sing so nice anytime we play it at home.
Speaker 1 (08:06):
You know, I love that. It's a great lyric and
you sing it that way live now, you sing it
the right way live right well, and I love it,
and I think it's you know, and I think it
maybe it's because it's symbolic. Perhaps that's why I sort
of rubs you the wrong way, is that it was
symbolic of like you said, other outside voices start creeping in.
And again it happens just like with the success thing
(08:27):
with your first singles, like all of a sudden, outside
sources start coming in, right, And that's happens to every band, right,
And it's tough. I think that, you know, I haven't
read enough rock and roll documentaries that you see that
some of these outside voices or tear bands apart, right, Yeah,
like the Clash for example, like this outside manager start
started planting a seed and sort of putting a wedge
(08:49):
in and the Clash it ruined them, in know, one
of the greatest bands ever. And but yeah, I think
for us it's like, yeah, our manager basically just suggesting like,
let's make change there. It can make it more mass
appealing because no one knows the saastoon is. And I'm like,
you know, in hindsight, we should have been like have
you ever listened to Bob Cagean? Yeah, yeah, that's like
(09:10):
a smaller town right.
Speaker 2 (09:11):
Yeah, no, absolutely, man, But you know it's a yeah, again,
I don't have a ton of regrets from all those years,
but there's like these like specific things where you realize
that kind of turned into something later on. Uh, And
we'll get into that with Made in the Name of
Rock and Roll, but we should talk about the first well,
the first single was vinyl spin Burner, another suggestion by
(09:34):
said manager that we were like, I don't know, it
wasn't written for the radio. It was written as a
leadoff track. You know, I'm screaming at the top of
my lungs. It was a like you know, I remember
we talked about the leadoff track is like OBS is back,
you know, boom in your face, your crazy rock song,
big riff, you know, crazy drums. It was like, it
wasn't meant to be a single. I got pushed as
(09:56):
the single. It absolutely bombed.
Speaker 1 (09:59):
I think it got to like number sixty seven or something.
It was like it was it was brutal. Yeah, it
didn't even didn't even register right.
Speaker 2 (10:07):
Like it No, I think, like, you know, we have
some great friends at radio that played it because they
love us, and it was like, you know, so we
found ourselves in another situation after that with Black Buffalo,
very similar to the Red album, when we put out
Russ Bucket and then the label was like, oh, well,
I guess maybe you guys are done.
Speaker 3 (10:25):
We got the same we got the same bullshit.
Speaker 1 (10:29):
You know, it's so funny. It's like how many times
we have to It's like the same old movie. But
we had to just prove that we can do it.
And yeah, and that was it, Vinyl Sprember. That was
a good learning moment for us because we realized that
rock radio they're not taking risks. It's not a place
for risk, right. They want the safest song. That's why
(10:50):
Food Fighters And this is no slight to Food Fighters
that Gary is a big fan, but you know, like
they're just safe rock and roll and even though girls
screams sometimes and that's what Gary likes, but you know
it's wait, it's food Fighters is so much safer than
like Nirvana, right, Like Nirvana totally if they came around now,
it'd be like, whoa, he's he's screaming at us.
Speaker 2 (11:10):
You know, there's a reason you don't hear Scentless Apprentice
on the radio, you know what I mean, Like it's
too much.
Speaker 1 (11:14):
It's like I was just listening to that nice reference.
Speaker 3 (11:17):
I love that love that track.
Speaker 1 (11:18):
But yeah, we thought we thought we were just maybe
we're just naive and self confident in a good way.
But like, let's just put on the song. They're gonna
blow it, just blow the doors off mainstream radio, and like, no,
we were wrong. So then we opted for satellite Hotel.
Speaker 2 (11:33):
Right, satellite hotel, which, man, I'll tell you that song.
I'm glad I get to finally tell this story because
we labored over that song. Like you said at Canora,
you you started to say this, and we knew that
like that Riff Hicks had, the verses were awesome. We
had even like I had lyrics, melodies. It was just like,
(11:53):
this is such a cool tune and we couldn't finish it.
Every course we wrote was garbage. And we'd had this
happen before.
Speaker 3 (12:00):
With songs we really loved.
Speaker 2 (12:01):
And we had a song called My Name Is Nobody
that I remember the same deal.
Speaker 3 (12:05):
We were like it just it's such a great track.
We just couldn't finish it.
Speaker 2 (12:09):
But I remember that song I personally took I like
I took it upon myself to not let it die.
Speaker 3 (12:16):
I just remember I came back to the jam.
Speaker 2 (12:19):
Space, like it felt like weeks and I was like, boys,
I'm gonna go home. I'm gonna work on a course.
I'll get something, and I bring it in and it's like,
this sucks. You know, we all hated it. Go home,
rewrite it, and finally I stumbled across those chords that
become the chorus and we finally were like, hey, there's
something here, and then the four of us sat down
and wrote that that course in its entirety.
Speaker 3 (12:40):
But I just remember that song. I feel a lot
of pride in.
Speaker 2 (12:43):
That song because it was like I was like, yeah,
I was like, this one can't die, Like it's too good,
Like there was just there was something in those verses.
It was just way too good. So luckily we got
that chorus. And we're coming up to time here, but
we have to tell the story of how this got
picked as a single, and that was on you and
we were playing a show at Isle Lacrosse and we
(13:05):
weren't going to release a different song for our make
or break single, and I actually I don't remember what
song it was. And this is such a great memory
for me because we were at Ile Lacrosse, which community.
Speaker 1 (13:21):
Yeah, for the listeners out there who don't know, I mean,
it's a tiny isolated community up in northern SaaS, Like
what a ten hour drive from SaaS, Toun or whatever.
Speaker 3 (13:30):
Oh yeah, it's way up north.
Speaker 1 (13:31):
Yeah, yea yeah.
Speaker 2 (13:33):
We actually we did a festival with Sawyer Brown at
that I think it was Sawyer Brown. But the cool
thing is I had this memory of the show we
played up there was in their arena, and their arena
was like a classic Saskatchewan hockey rink from you know,
built in the fifties, and it had the tiny little
dressing rooms. Like if anybody, if anybody listening, has ever
(13:55):
been to one of those rinks.
Speaker 3 (13:56):
It was like, man, a blast from the past.
Speaker 2 (13:59):
But I remember it's such a cool moment. It was
the four of us before the show. We're sitting in
this tiny little hockey dressing room and.
Speaker 3 (14:07):
You were like you just came out with it.
Speaker 2 (14:10):
You were like, I just I gotta say, like I
you know, I think Satellite hotels the single.
Speaker 3 (14:18):
I don't know if you remember that.
Speaker 2 (14:19):
And then we really started yeah, we really started talking
about Okay, well yeah is it? You know, But that
was you that pushed that, you know, because it it
did feel because you said, let's go with our guts.
Speaker 1 (14:33):
Yeah, that's so I forgot about the memory until you
said it now. But yeah, because I remember it because
those kind of speeches, I probably would have liked, belabored
a lot in my head over you know, I would
have thought about it a lot before I brought it
to you guys, you know, and I think it probably
just on my mind every minute of the day that day.
And then I was like, right before you go on stage,
intended to with a pep talk. I'm like, we got
(14:55):
together and said, like, have a good show. I'm like,
Satellite's the next single. I feel it my gut. But
that's so cool, that's fight, that's awesome. You remember that.
I totally forgot about that.
Speaker 2 (15:06):
Well, dude, and you were right because we went to
the label and did the same exact thing we had
to do a Scarecrows, which was they were like, oh no, no,
like that song, like it's never gonna happen. I don't
even know what they were against, to be honest, but
to quote my dad, it was on and it was
a hit, so yeah.
Speaker 3 (15:28):
Which you know that that was another thing.
Speaker 2 (15:31):
It was another one of those moments where we were like,
kind of it, what could have been the end of
a really good run because it was like Vinyl tanked.
Speaker 3 (15:41):
The label was like, we don't know why you were successful.
Speaker 2 (15:44):
You're obviously not going to be successful anymore, so we're
contractually obligated to give.
Speaker 3 (15:49):
You another single, so go ahead.
Speaker 2 (15:52):
They put Satellite out, one of my favorite videos, honestly,
I really we filmed that in Toronto. Sorry, and I
love the video for Satellite.
Speaker 3 (16:00):
That was super cool. And then boom, it's our next
top five.
Speaker 1 (16:04):
And as you've seen, as we've seen time and time again,
it's like when you have success, that's when everyone on
your team takes credit for it, you know, you know, label, whatever,
manager like all that. So yes, well let's wrap there.
But like when you when you fail in the music biz,
it's on you. When you succeed, it's on your team.
You know, the team takes credit for it. That's that
(16:24):
seems to be the rule. But at the end of day,
all we have is just our gut instinct, right, any musicians,
all you have is your gut, right, That's that's your
that's your major major gift.
Speaker 3 (16:36):
You know, it's all you got. Buddy.
Speaker 1 (16:39):
Okay, thanks for listening to One Bad Podcast.
Welcome. It's the One Bad Podcast. Here's your host, Kadi
and Shaner.
Speaker 2 (00:10):
All right, Katie, we were talking Black Buffalo and there's
a lot to say. It's funny, you know, as we
talk about this stuff, things just come up, you know,
and I'm getting more comfortable just like we go off
on some tangents because like, I didn't remember that Canora
trip right off the top of my head, and you
reminded me.
Speaker 3 (00:26):
And it's like that.
Speaker 2 (00:28):
I'm loving this about this podcast is it's you don't
really spend a lot of time sitting in this era again,
you know, and it's cool kind of walking through our
career because man, things are coming back to me that
I completely forgot about and this has just been it's
been the best. Man, it's just been great going back
over this and you've jogged my memory on a lot
(00:49):
of stuff, that's for sure.
Speaker 1 (00:50):
Yeah. Well it's interesting. It just the stuff just comes
like I'm like, I didn't think of that until you
brought it up, you know.
Speaker 3 (00:57):
Yeah.
Speaker 1 (00:58):
Well, one thing was to say about Black Buffalo the
record is I do think one you know, I'm proud
of us for not just like so many bands in
our shoes would have just tried to write just like
simple rock radio hits, you know what I mean. And
we we know bands like that, like they're just all
the all the right is rock stuff that sounds like
radio hits. And then the fans are like, it just
(01:20):
sounds formulaic, right, and there's it's just there's no there's
no sort of depth on a record, right. But like
you think about Black Buffalo, I think it's probably our
deepest in terms of songwriting. You know, Outlaw Josie Wales
was still one of my favorites. I think it's one
of your best. Land of the Saints I forgot about
I was gonna mention on the last chat, but that's
what you know. Dylan, Dylan Villain is always like that's
(01:41):
the favorite song, that's like probably my best if I
get ud be self aware, it's probably my best dropper,
my favorite, my favorite drumming. I mean, I love Red
Cloud two. It's got just that feel. But a lot
of the sayings is just you know, it's one of
those I was going straight soundguard Matt Cameron vibes.
Speaker 2 (01:55):
You know, dude, you've thrown a lot of props my way.
Thanks for saying that about Outlaw Josie. Well, also thanks
to you and Hicks and Granny for always being chill
when I'm like, hey, I got this thing. It's based
on Western from the sixties, and you guys are like, okay, correction,
that movie's from the seventies. But dude, Land of the
Saints like you and yeah, like this record, like you
(02:16):
killed it on that song and this record specifically, man,
you you dug into like your rock grooves, like the
bottom stuff, but that song's like you're pushing into almost
metal territory with some of that stuff, like and obviously
Matt Cameron and Soundgarden had a bit of that right
like they could. But you're doing it with one kick pedal,
which a lot of people probably don't realize. Like there's
(02:38):
so many times that you're playing and I'm like, how's
he doing it with one foot? It's crazy, man, Like
you're you're playing on that records insane.
Speaker 1 (02:44):
Well, thank you, buddy, and I feel like that was
I was chatting with actually my son Levon today and
talking about how like, you know, he's like, were you
were you really good at soccer when you were young?
And I was like, well, I probably was better then
because I played it more often, you know, And I
was like same with drumming, like like I still play
a lot, but I mean back like in this era.
(03:06):
Well I didn't say this to him, but like you know,
when you when you're playing it eight hours a day,
like that's when you become a pro, right, And that's
I think around that time is when I was We're
probably playing eight hours a day of drumming, like just
at home practicing and then rehearsing with you guys and
then playing live. It was like just non stop playing.
I'm sure we all were on that same sort regimen.
So we were just a well oiled machine. Right. It's
(03:27):
that stuff you you don't have to you turn off
your brain and just play off instinct, you know. And
I mean those are like I say this to every musician.
It's like you go play your instrument eight hours a
day and then do that for a year and see
how see what happens? Right? Yeah, absolutely, yeah, I think
it's just I think it's a tight record. And we
got to talk about Rats as producer, which I think
(03:49):
was he was great for us. He pushed us. You know,
it's sort of a different direction, like different approach than
Danny Craig both, I mean, great producers, rats. I feel
like the Black Buffalo record was just overall like sounded
less produced maybe than than the Red album, like less polished,
I guess, you know, but in a good way.
Speaker 3 (04:10):
You know.
Speaker 1 (04:10):
We wanted that we'd we'd done like the sort of
the polished big rock record with the Red album, which
obviously still people love, but we wanted to have that
more that rawness of sort of like I remember us saying,
give us like that sound Garden sort of feel, you know,
And I think I think it worked. I mean, there's
as everything is, like it felt like that record was
(04:30):
kind of rushed in a way, like we recorded so quickly,
you know, if we had you know, sound Garden probably
takes several months to record that we had like a
week and a half or something, I think. But you know, again,
I'm proud of it. Like we tried to make records
that were like Foo, Fighters, Pearl Jam, Soundgarden, like on
those level of bands or Zeppelin, but all those bands
took months and months or years sometimes to make a
(04:52):
similar record because they had all the money in the world,
which we didn't. Right, So it's sort of like you're
trying to do like a Leads of Houses the Holy
Light because you don't have the budget. You don't like
a Yeah Pearl Jam ten Light because you don't have
the budget. But you know, I think I still listen
to that record and I'm still very proud of what
we did.
Speaker 3 (05:11):
You know, Yeah, me too, man.
Speaker 2 (05:13):
Honestly, again, it's it's one of it's got a lot
of my favorite stuff for obs records, it has it
has one of my biggest regrets totally, and it's uh, oh,
this is a yeah man.
Speaker 3 (05:27):
I I don't know if you remember.
Speaker 2 (05:29):
I don't even know if you were in the room
at this point, but we, uh, something started to happen
and I think this is when it started to happen
for me, was that, you know, now we start to
get a few more voices in the room and we
had a manager at the time. Yeah, what you're going
to say the Decades thing, and uh, you know, it
was the first time I didn't listen to my gut and.
Speaker 3 (05:52):
It just like, really, it's always stuck.
Speaker 2 (05:56):
It stuck with me after that because it was like,
what happened was the song Decades, which I love that song.
It's it's still one of my favorites that we've written.
And I had a lyric in there that was I
met a girl from Saskatoon was in it, and that
didn't actually refer to anybody specific, but it was kind
(06:17):
of like that.
Speaker 3 (06:18):
Song, you know, it was about home.
Speaker 2 (06:20):
It was kind of you had things to do with,
like not didn't have to specifically be our hometown. It
could be anybody's, but like that lyric just sang so
well and it was like just this nice little shout
out to our hometown. And you know, our manager came
in and he was like, you can't have that lyric.
You can't say Saskatoon because it's it's too specific. It'll
(06:42):
never be a hit if it becomes a single. Like,
you know, we start getting in this era now where
voices start to come in, and you know there is
starting now that we have the songs written and we're recording.
There starts to be this little like, wow, what if
this one's the single? And I just remember, like it's
not a huge regret because the song is still turned
(07:02):
out great, but you know, it didn't become a single
and it didn't fucking matter. But it was like I
just wish I'd said, look, man, you know what, you're
not a songwriter. You've never written a song, you know,
And you get that with a lot of managers in
that kind of thing where it's like you've never done this,
you don't. You know that lyric would not have made
(07:25):
or broke the song. We know that, Like we got again,
we got told with retribution blues, Well you can't have
a song with blues in the title.
Speaker 3 (07:32):
Well that was bullshit. Didn't matter.
Speaker 2 (07:34):
You know, if the song's great, a lyric's not going
to make or break it, you know what I mean.
But it's a regret, I think, because it was like
a stupid thing, really, but it was like I listened
to somebody on the outside, other than myself and other
than you guys, and it was like, you know, that
(07:56):
starts to creep in more and more as we go.
Speaker 3 (07:59):
But I think, like I just wish I had I.
Speaker 2 (08:02):
Just wish I had recorded that lyric because it would
sing so nice anytime we play it at home.
Speaker 1 (08:06):
You know, I love that. It's a great lyric and
you sing it that way live now, you sing it
the right way live right well, and I love it,
and I think it's you know, and I think it
maybe it's because it's symbolic. Perhaps that's why I sort
of rubs you the wrong way, is that it was
symbolic of like you said, other outside voices start creeping in.
And again it happens just like with the success thing
(08:27):
with your first singles, like all of a sudden, outside
sources start coming in, right, And that's happens to every band, right,
And it's tough. I think that, you know, I haven't
read enough rock and roll documentaries that you see that
some of these outside voices or tear bands apart, right, Yeah,
like the Clash for example, like this outside manager start
started planting a seed and sort of putting a wedge
(08:49):
in and the Clash it ruined them, in know, one
of the greatest bands ever. And but yeah, I think
for us it's like, yeah, our manager basically just suggesting like,
let's make change there. It can make it more mass
appealing because no one knows the saastoon is. And I'm like,
you know, in hindsight, we should have been like have
you ever listened to Bob Cagean? Yeah, yeah, that's like
(09:10):
a smaller town right.
Speaker 2 (09:11):
Yeah, no, absolutely, man, But you know it's a yeah, again,
I don't have a ton of regrets from all those years,
but there's like these like specific things where you realize
that kind of turned into something later on. Uh, And
we'll get into that with Made in the Name of
Rock and Roll, but we should talk about the first well,
the first single was vinyl spin Burner, another suggestion by
(09:34):
said manager that we were like, I don't know, it
wasn't written for the radio. It was written as a
leadoff track. You know, I'm screaming at the top of
my lungs. It was a like you know, I remember
we talked about the leadoff track is like OBS is back,
you know, boom in your face, your crazy rock song,
big riff, you know, crazy drums. It was like, it
wasn't meant to be a single. I got pushed as
(09:56):
the single. It absolutely bombed.
Speaker 1 (09:59):
I think it got to like number sixty seven or something.
It was like it was it was brutal. Yeah, it
didn't even didn't even register right.
Speaker 2 (10:07):
Like it No, I think, like, you know, we have
some great friends at radio that played it because they
love us, and it was like, you know, so we
found ourselves in another situation after that with Black Buffalo,
very similar to the Red album, when we put out
Russ Bucket and then the label was like, oh, well,
I guess maybe you guys are done.
Speaker 3 (10:25):
We got the same we got the same bullshit.
Speaker 1 (10:29):
You know, it's so funny. It's like how many times
we have to It's like the same old movie. But
we had to just prove that we can do it.
And yeah, and that was it, Vinyl Sprember. That was
a good learning moment for us because we realized that
rock radio they're not taking risks. It's not a place
for risk, right. They want the safest song. That's why
(10:50):
Food Fighters And this is no slight to Food Fighters
that Gary is a big fan, but you know, like
they're just safe rock and roll and even though girls
screams sometimes and that's what Gary likes, but you know
it's wait, it's food Fighters is so much safer than
like Nirvana, right, Like Nirvana totally if they came around now,
it'd be like, whoa, he's he's screaming at us.
Speaker 2 (11:10):
You know, there's a reason you don't hear Scentless Apprentice
on the radio, you know what I mean, Like it's
too much.
Speaker 1 (11:14):
It's like I was just listening to that nice reference.
Speaker 3 (11:17):
I love that love that track.
Speaker 1 (11:18):
But yeah, we thought we thought we were just maybe
we're just naive and self confident in a good way.
But like, let's just put on the song. They're gonna
blow it, just blow the doors off mainstream radio, and like, no,
we were wrong. So then we opted for satellite Hotel.
Speaker 2 (11:33):
Right, satellite hotel, which, man, I'll tell you that song.
I'm glad I get to finally tell this story because
we labored over that song. Like you said at Canora,
you you started to say this, and we knew that
like that Riff Hicks had, the verses were awesome. We
had even like I had lyrics, melodies. It was just like,
(11:53):
this is such a cool tune and we couldn't finish it.
Every course we wrote was garbage. And we'd had this
happen before.
Speaker 3 (12:00):
With songs we really loved.
Speaker 2 (12:01):
And we had a song called My Name Is Nobody
that I remember the same deal.
Speaker 3 (12:05):
We were like it just it's such a great track.
We just couldn't finish it.
Speaker 2 (12:09):
But I remember that song I personally took I like
I took it upon myself to not let it die.
Speaker 3 (12:16):
I just remember I came back to the jam.
Speaker 2 (12:19):
Space, like it felt like weeks and I was like, boys,
I'm gonna go home. I'm gonna work on a course.
I'll get something, and I bring it in and it's like,
this sucks. You know, we all hated it. Go home,
rewrite it, and finally I stumbled across those chords that
become the chorus and we finally were like, hey, there's
something here, and then the four of us sat down
and wrote that that course in its entirety.
Speaker 3 (12:40):
But I just remember that song. I feel a lot
of pride in.
Speaker 2 (12:43):
That song because it was like I was like, yeah,
I was like, this one can't die, Like it's too good,
Like there was just there was something in those verses.
It was just way too good. So luckily we got
that chorus. And we're coming up to time here, but
we have to tell the story of how this got
picked as a single, and that was on you and
we were playing a show at Isle Lacrosse and we
(13:05):
weren't going to release a different song for our make
or break single, and I actually I don't remember what
song it was. And this is such a great memory
for me because we were at Ile Lacrosse, which community.
Speaker 1 (13:21):
Yeah, for the listeners out there who don't know, I mean,
it's a tiny isolated community up in northern SaaS, Like
what a ten hour drive from SaaS, Toun or whatever.
Speaker 3 (13:30):
Oh yeah, it's way up north.
Speaker 1 (13:31):
Yeah, yea yeah.
Speaker 2 (13:33):
We actually we did a festival with Sawyer Brown at
that I think it was Sawyer Brown. But the cool
thing is I had this memory of the show we
played up there was in their arena, and their arena
was like a classic Saskatchewan hockey rink from you know,
built in the fifties, and it had the tiny little
dressing rooms. Like if anybody, if anybody listening, has ever
(13:55):
been to one of those rinks.
Speaker 3 (13:56):
It was like, man, a blast from the past.
Speaker 2 (13:59):
But I remember it's such a cool moment. It was
the four of us before the show. We're sitting in
this tiny little hockey dressing room and.
Speaker 3 (14:07):
You were like you just came out with it.
Speaker 2 (14:10):
You were like, I just I gotta say, like I
you know, I think Satellite hotels the single.
Speaker 3 (14:18):
I don't know if you remember that.
Speaker 2 (14:19):
And then we really started yeah, we really started talking
about Okay, well yeah is it? You know, But that
was you that pushed that, you know, because it it
did feel because you said, let's go with our guts.
Speaker 1 (14:33):
Yeah, that's so I forgot about the memory until you
said it now. But yeah, because I remember it because
those kind of speeches, I probably would have liked, belabored
a lot in my head over you know, I would
have thought about it a lot before I brought it
to you guys, you know, and I think it probably
just on my mind every minute of the day that day.
And then I was like, right before you go on stage,
intended to with a pep talk. I'm like, we got
(14:55):
together and said, like, have a good show. I'm like,
Satellite's the next single. I feel it my gut. But
that's so cool, that's fight, that's awesome. You remember that.
I totally forgot about that.
Speaker 2 (15:06):
Well, dude, and you were right because we went to
the label and did the same exact thing we had
to do a Scarecrows, which was they were like, oh no, no,
like that song, like it's never gonna happen. I don't
even know what they were against, to be honest, but
to quote my dad, it was on and it was
a hit, so yeah.
Speaker 3 (15:28):
Which you know that that was another thing.
Speaker 2 (15:31):
It was another one of those moments where we were like,
kind of it, what could have been the end of
a really good run because it was like Vinyl tanked.
Speaker 3 (15:41):
The label was like, we don't know why you were successful.
Speaker 2 (15:44):
You're obviously not going to be successful anymore, so we're
contractually obligated to give.
Speaker 3 (15:49):
You another single, so go ahead.
Speaker 2 (15:52):
They put Satellite out, one of my favorite videos, honestly,
I really we filmed that in Toronto. Sorry, and I
love the video for Satellite.
Speaker 3 (16:00):
That was super cool. And then boom, it's our next
top five.
Speaker 1 (16:04):
And as you've seen, as we've seen time and time again,
it's like when you have success, that's when everyone on
your team takes credit for it, you know, you know, label, whatever,
manager like all that. So yes, well let's wrap there.
But like when you when you fail in the music biz,
it's on you. When you succeed, it's on your team.
You know, the team takes credit for it. That's that
(16:24):
seems to be the rule. But at the end of day,
all we have is just our gut instinct, right, any musicians,
all you have is your gut, right, That's that's your
that's your major major gift.
Speaker 3 (16:36):
You know, it's all you got. Buddy.
Speaker 1 (16:39):
Okay, thanks for listening to One Bad Podcast.
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