Colie Brice Interview with Danny Coleman of ROCK ON RADIO

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:25):
Please welcome Coley Bryce to Rock on Radio.

Speaker 2 (00:29):
Finally, finally, it's probably twelve or fifteen years since you
invited me. I'm glad I could finally make it out
of the main Woods and stumble back to Jersey to
do this.

Speaker 1 (00:39):
Yeah, well I want to. I want to kind of,
I want to shed some light on on that. Like
you said, it's probably been about twelve or fifteen years,
and I've had When I first invited you, I had
hair that wasn't gray, and a lot more of it.
I was probably I don't know, three hundred and fifty
pounds later.

Speaker 2 (00:58):
I think you're playing drums for Joe Whimer.

Speaker 1 (01:01):
Yeah, well, there you go.

Speaker 2 (01:03):
That was so whatever. That was twenty eleven.

Speaker 1 (01:05):
That was two thousand, maybe even earlier than that, nine ten.

Speaker 2 (01:12):
That's a good little band you guys had going there.

Speaker 1 (01:14):
No, no, how to be No twenty eleven. You're right,
because I started the show in April of nine.

Speaker 2 (01:19):
So yeah, yep, yeah, I recall we shared the same
bill on a couple couple things.

Speaker 1 (01:24):
Yeah, I used to. I still sit in with Joe
every now and then, not on a kitch. She does
a lot more acoustic stuff these days. I sit in
with her every now and then. So you are here
for well, go ahead, Coley, tell us tell us all
about about you and what you have going on, your past,

(01:45):
what your involvement now at Asbury Media. We've got two
hours or nothing but cold and Bryce.

Speaker 2 (01:52):
We gotta start somewhere Fanoms Opera. All right, okay, So
so you're.

Speaker 1 (01:57):
A musician, let's start.

Speaker 2 (01:59):
Yes, I'm a I'm a singer songwriter. I'm a left
handed stratocaster abuser. I do a lot of solo acoustic
stuff now, play piano and self produced. I've self produced
over forty solo albums in my life and been on
a whole bunch of other records for other people. Some
you've heard, some you haven't. Yeah, I'm a life for
musician for sure. I mean I've also been deeply involved

(02:23):
in the industry business side of music as well, which
has h well, there's a oh god, I mean these
are broad subjects, but yeah, getting back to the Phantoms
Opera thing. So I graduated from Serville High School and
around that time there's another neighborhood band that was doing

(02:43):
really well called bon Jovi. I had just helped pick
out the songs on an album called slippery when wet.
There's a bunch of us teenage kids that were gathered
in a room at his parents' house and we listened
to these sixteen track demos that were recorded at Century
Sound on Washington Road in Seville, which is ironically where
my fiance lives, only a few blocks down on the

(03:06):
side note. So I was, you know, high school musician.
My first man was named Gemini, and because of the
impact of bon Jovi's like, it was really into there.
Obviously still a huge band, but at that time it
was like Serevil was Liverpool. There was Japanese fans that
were just making pilgrimages and just driving around the block

(03:28):
trying to capture any glimpse of him. It was and
it's I don't know, if you've ever been to Cerevil.
It's not a very flashy town. It's a working class,
industrial tinged kind of there's not much there, you know,
So it was kind of a surreal time to be
in that scene. I had just started my first band, Gemini,
and are we benefited from the success of bon Jovi

(03:51):
because there was just an increasing interest in all things
Serevil just by default. So where I was in this
embryonic young band as a teenager that you know. I
our first show we sold out this club called Mingles
on Route thirty five was like the big club at
the time. And our second show ever was opening up
for skid Row, who had just gotten off tour with

(04:13):
bon Jovi. So I'm like eighteen years old, and I'm like, yeah,
I like rock and roll, you know, like I had
a very distorted It was definitely too much too soon,
and we were more popular than we deserved. We won
like Uncle Floyd's Most Popular Band contest, and we were
just a lot of hype. We hadn't even really evolved.

(04:36):
We didn't have time to evolve. We hadn't even developed.
We were so embryonic in our talents and our sense.
I mean there was something there, I'd like to think,
but it was like it was a lot going on
real quick. And then went out relocated out to Denver,
Colorado because we were getting radio play out on like
huge radio stations out there, and we parlaid that into

(04:59):
Geffen Records, Uh coming out to see us, and basically
they and our guy told me, I think you're I
think you're gonna do it. I think you're a good singer.
I think you're a good songwriter. Your band's not ready yet.
I'd I'd like you to come out to LA and
I'll hook you up with some players that are ready.

(05:20):
And for me at that time, at my level of
emotional development, I couldn't leave my band because I had
grown up in a very turbulent I left home at
fifteen and my band was my blood. They were my family.
I'm like, well, I'm not leaving my brothers behind, you
know what. I yeah, now at fifty six, like damn
it to LA, But I did. I brought him back

(05:43):
and we played everywhere you could play. And if you
recall back then the East Coast Rocker and Aquery and
they were like the they were that Ei, their telephone
size thick with advertisements every in the late eighties, every
bar that could fit ten people. And we're putting in
stages and had showcase nights. I mean you, if you
wanted to play, you good blood, you weren't going to

(06:04):
get paid necessarily, or maybe the guy who feels sorry
for you at the end of the night and give
you fifty bucks in a case of Budweiser and send
you on your way. But we played and we played,
and we played, and we did a show at Murphy's
Law in a long Branch and I recorded it and
the band was as good as it was going to be.
I went into Traxi Studio on South River and the

(06:26):
producer there Pinky Gilio, who did a lot of work
with clemb Burtnick back in the day, very good talented
mixing engineer and producer. He's like, you know, it's a
good song, but this might be better if you did
this with me in the studio, And like, what do
you mean? Who was going to play drums? Like, well,
have you heard of MIDDI? He was like, no, what's that?

(06:48):
And then I learned about sequencing drums and keyboard parts
and stuff. And so we did the song called Can't
Stop Me Now in WPST here and was it Princeton
nice En point five was that really cool station at
the time. And I had to go to this guy
Bob Spiden and Piscataway to get one acetate cut so
I could play it on the radio because they'd only

(07:09):
play a record. This guy was a really cool dude
who had a twelve track studio that was all his
own electronics. He handbuilt stereo ribbon microphones, just one of
those guys that was like an engineer and his you know,
in his back garage. So I brought this song to PST.
It started playing, I started getting some better bookings and stuff,

(07:31):
and I just kind of realized I needed to reform
the band with players that were having the same mindset
as me and just kind of sharing my vision of
what we wanted to do musically, professionally, et cetera. So
it was heartbreaking, but I I recruited some of the
best musicians I knew at that time, this drummer Bob Nelson,

(07:54):
who was like he plays with Joe Banana and a
Godson's Souls to this day great drummer. I got Michael
Romeo from a band called Symphony X on lead guitar,
and he, I mean, this is a progressive rock band
that sells two hundred thousand copies of anything they released
to this day, kind of underground like dream theater kind
of thing. And I took my old league guitar player

(08:16):
Eric Wallace, put him on bass, and then we got
the original founding member of Phantom's Opera to play keyboards.
His name was Jack Young John Paul Younoso. His Christian name.
That band had started in nineteen sixty nine, and it
had had so many and I mean you probably heard
of it back in the day. It was a that

(08:37):
band in that logo went through many permutations, but it
had been around and there'd been a lot of different
interesting musicians had gone through the ranks of it, including
Alec and Tico from bon Jovi, who were stolen by
John to go into bon Jovi, and then Joe Navola
went in. But anyway, long story short, I had gone

(08:58):
into the studio owned by the guitar player with Gemini
and we recorded a single. Me and this guy, Jack,
the keyboard player, got along really well and he played
me some of his original writing and I thought I
could write a song a little bit, and then I
was just like, no, you haven't learned how to write
a song. This guy can write a freaking song. So
and maybe that's that'll be the first song we play

(09:20):
when I'm done talking about I'm So tired. And he
it was just an incredible songwriter, and so I tapped
him to join the band. He's also a great keyboard player,
played some gigs and I feel like with his influence
in this songwriting and also Michael Romeo's presence as this
ungodly virtue. The virtuosity out of this guy as a

(09:41):
guitar player to this day is unparalleled. He's truly god
given talent. So they didn't really like Gemini because Gemini
was like, we were kind of like more like poser
rock at the time, more like Poison, and these guys
were like serious musicians. So now I'm in a band
with serious musician. I gotta make some concessions, So I

(10:01):
agree to rename the band of Phantom's Opera and Jackets.
The surviving members of Phantom's Opera to agree because they
want to see something come from it, because they saw
their friends go off into this huge band and it
just kind of like everyone's just kind of like, well,
let's let's raise this banner and go to warr you know. Like,
so we released our first album as Phantom's Opera, and
we you know, we headline club in a lot. We

(10:24):
headlined Burchill Nightclub, We played the China Club in New
York City. We opened up for Southside Johnny at the
Garden State Arts Center, and we did our record release
party at the Pony. We kind of were like doing
everything you could do to get to the top of
the heap, and we were getting calls from major labels
like Jim Lewis, Mercury and r all kinds of people

(10:45):
were interested. And just as we were getting real close
to getting signed, that Nirvana album came out, and like
overnight we became the antithesis of anything that was even
like remotely cool, Like we were just like we just
we're just And then you know, I was like, I

(11:06):
don't know, twenty two and I felt like washed up.
It was over, like you know, it was so it's
like life wasn't gonna go on.

Speaker 1 (11:17):
You know. I've had a lot of people believe it
or not say that that when when Nirvana came out
with their first album, it just totally ruined it for
everybody else.

Speaker 2 (11:26):
Certainly everyone around in the Jersey rock and roll scene.

Speaker 1 (11:30):
Because it just took the sound of the entire music
industry in that direction.

Speaker 2 (11:36):
Yeah, And I mean I had friends that were like
growing out the hair, putting on flannel shirts and moving
to Portland or Seattle, and other guys getting mullets and
moving to Nashville, and like people were the ranks just
fell and like then there were some of us that
were like, no, we will die with our ship. We
will go, we will not bend the knee. And ultimately

(12:02):
that album came out a couple years later on a
German label and for whatever reason, it got to number
four on import charts in Japan, and we were, I
guess the grunge thing hadn't gotten as big in Europe
and Asian markets, so there was still some life left
in that genre and those genres in other markets. So

(12:23):
the next thing, we know, we we thought thought it
was all over, and a couple of years later, we're
getting back. Then there was faxes, there was no you know,
so we'd get faxes from the label and then like
we'd see like Queen Made in Heaven, bon Jovi, these Days,
Phantom's Opera, and we're like, we're back in the game.
Then a Japanese label wanted to sign us directly, and they,

(12:44):
you know, they were like, here, we'll give you one
hundred grand if you do a record like what you know,
Like we're like you used to that. We're you know,
we're still remembering the fifty dollars in the in the
case of Buttweiser, so we're like, you know, we're like whoa.
And it turns out that the first record was way
more successful than we even realized because there's a big
festival in Europe called the Midim Festival m id Em.

(13:07):
It's kind of like south By Southwest here, but over
in Europe. And our German label was drunk and bragging
about how much money they made off us and how
little they reported to us, you know, stuff like that.
But we didn't care. We're just lucky that we had
something to grease the wheels and afford production to go
back in. And I remained with that project through three
albums that were released like thirty six different countries, and

(13:30):
we had a nice little taste of it, you know,
it was it was pretty cool. It was a good experience.

Speaker 1 (13:35):
Oh nice. Well, if you're just tuning in, I'm here
at Coly Bryce on this week's Rock on Radio. Producer
Claire is here as well. Uh Sayerville, Syreville. I grew
up when I was in high school. Once I turned sixteen,
so sixteeneen and I grew out, but about up sixteen

(13:58):
seventeen and eight team. I had actually maybe even earlier fifteen,
sixteen seventeen and eighteen. Anyway, I had to get a
permit from the ABC because I would go out as
a helper on a liquor truck and that was the
route South Middlesex. Middlesex.

Speaker 2 (14:16):
Cool.

Speaker 1 (14:17):
Yeah, I knew every bar in Sayerville, South Amboy, perth Amboy.

Speaker 2 (14:22):
That's a lot. I mean South Amboy's in a Guinness
Book of Records. That's a lot of bars.

Speaker 1 (14:28):
Places that don't even exist. They might, I don't even
know if they do exist. Mike's three Ex Tavern.

Speaker 2 (14:33):
Oh my goodness, that was in Washington Road and set right,
so you know what I'm talking about. That's still there.
Moira and I Maura McCormack, daughter of the former Cerevil
Mayor John McCormack. When we walked to her parents for dinner,
we pick up a bott online and it's still there.

Speaker 1 (14:48):
Really yep.

Speaker 2 (14:49):
Wow, I think it's a different name, but it's that
that's still there.

Speaker 1 (14:53):
Our sponsor O'Connors Bar and Girl, the first bar. He
used to work at, the Sayreville Bar back in the day.

Speaker 2 (15:01):
Right, I remember, I remember the mayor family.

Speaker 1 (15:05):
Before that, that quadruple do decaplex movie theater was down
there by the water. It was just nothing but swamps
and dumping ground for everybody else. Sayer Bridge Liquors on
the other side, I mean, you.

Speaker 2 (15:18):
Know, okay, so you're talking to you got some street credit,
you're talking about the real deal style.

Speaker 1 (15:23):
Exactly, So I mean, I know, I mean I can
go on. I mean there was a place in.

Speaker 2 (15:27):
About Colonial Liquors per Damn Boy. Was that the one
by all? I go in there. You could be twelve
years old and they'd serve your not from experience, I
had heard.

Speaker 1 (15:38):
That my buddy lived on Florida Grove Road in perth
ham Boy, so we would He was a Rangers fan,
I was a Flyers fan, so we couldn't get tickets
to either. So we would go up to see the
Devils and we would leave South Brunswick because we worked
together at dal Jones. We would leave South Brunswick, drive
up to I Wan say Riffi's on on Woodbridge Avenue

(16:00):
near fords in Ford's. There we'd grab a pizza and
a six pack. We'd eat and drink leaf for the
metal Lands. Go up five minutes before game time and
they'd be like, up here you go, here's seats three
roads off field.

Speaker 2 (16:13):
Can tell me about the delivery jobs. So did you
get to go see bands underage by doing that.

Speaker 1 (16:17):
No, no, I didn't even have a driver's license. No,
but uh. And then eventually, actually, when I worked for
UPS back in ninety seven, we went on strike and
I went back to deliver and liquor for After the
first week, I was like, all right, I got a family,
I gotta do something.

Speaker 2 (16:33):
I worked for UPS for a while, did you UPS
is for real Woodbridge? Yeah, I think, yeah, yeah, that's
where I got hired. Yeah, I did the irregular unloads.

Speaker 1 (16:46):
Oh whoa, yeah, how'd that feel?

Speaker 2 (16:50):
Hurt?

Speaker 1 (16:51):
I would look at them things and.

Speaker 2 (16:52):
Go, oh, it's basically everything else. Yeah, that wouldn't that
that couldn't be automated, anything over eighty pounds. Put them
on the world inside.

Speaker 1 (17:02):
Now there's things drive themselves. They're automated. They get the loader,
puts them on the cart, and then the cart works
its way through the building on its own.

Speaker 2 (17:10):
Well, I remember UPS and I and I maintained my
respect for UPS workers.

Speaker 1 (17:16):
I delivered downtown Trenton for twenty years.

Speaker 2 (17:19):
So I'm not gonna make fun of you for having
a few beers. Now, yeah, that's right, you earned them.

Speaker 1 (17:26):
I oh, correct, that's that's why this this beer gut's
bought and paid for over the years. Uh So, being
so involved in music, Well, I'll tell you what. Before
we get into that, you had mentioned a song that
you asked.

Speaker 2 (17:43):
Oh yeah, let's play a phantoms opera song. This is
called this is one of this is you know every musician,
especially in New Jersey, you know, we I think there's
a lot of ego delusion that comes with that you
can fall into. Everyone thinks they should have been bigger,
done better, or whatever, and you know, some chips on
many shoulders, you know. Yeah, but this particular song that

(18:07):
Jack wrote and to me like at its best when
for at least when we're talking in terms of popular repertoire, right,
I think there's three elements that come together to make
something perfect, and one is the song itself, how it's written,
the melody, this chord structure. The other element is the sound.

(18:30):
Does the production environment like some of those old Motown records,
there's kind of a scunginess to those drum sounds, but
it's intrinsic to the flavor of the song. And then,
of course, the final element, the icing on the cake,
is the lead vocal. It's like the person that's inhabiting
the theatrical lyrical aspect of that repertoire. Can they merge

(18:54):
that with the song and the sound. So when the singer,
the song and the sound come together in the right balance,
I think that's where the magic happens. And I think
we came This is one song I wish more people
had heard because I think we came close.

Speaker 1 (19:10):
Okay, and this is cool.

Speaker 2 (19:12):
Waiting for Love Phantom's opera.

Speaker 3 (19:16):
Waiting for.

Speaker 4 (19:38):
I'm so tired.

Speaker 5 (19:41):
Waiting for love, so inspired ac calling to.

Speaker 6 (19:53):
I'm so tired of waiting for love so inspired, I'm
calling alove.

Speaker 7 (20:07):
She'll return an incline to remind you of the compliments.

Speaker 3 (20:12):
Such as what they are.

Speaker 4 (20:15):
Any day that you say I can find you.

Speaker 2 (20:18):
I said, a mins can travel that far.

Speaker 8 (20:23):
Anything that I reread A day you show.

Speaker 3 (20:26):
You what I'm calling before.

Speaker 9 (20:30):
Anyways, the day I can be you know that, I'm
just gonna be sure.

Speaker 7 (20:37):
Oh yeah, comest.

Speaker 4 (20:53):
So inspired. I'm going along.

Speaker 9 (21:00):
No, you do all the children, so that I know
what's become and to all the things that's shelding.

Speaker 3 (21:11):
It doesn't seem to matter.

Speaker 9 (21:12):
No, she really, and you can't tell you it's gonna be.

Speaker 8 (21:19):
The money you.

Speaker 9 (21:22):
Any pay the same to.

Speaker 5 (21:28):
You, down and down anywhere else, you say the woman,

(21:53):
I didn't know what I'll be.

Speaker 7 (21:55):
Hell anything anything I can do say the.

Speaker 5 (22:00):
World, just wait for your say the words.

Speaker 3 (22:09):
You get out.

Speaker 1 (22:16):
Just the way you say.

Speaker 8 (22:22):
Say show to think the.

Speaker 4 (22:36):
Zoo.

Speaker 8 (22:44):
So is mos go a Soo?

Speaker 4 (22:58):
So is.

Speaker 1 (23:24):
Phantom z Opera here on rock on Radio and we are
with the chief Phantom himself, Colely Bryce.

Speaker 10 (23:32):
Who is the Who's who was the singer?

Speaker 1 (23:34):
Me?

Speaker 10 (23:35):
Really?

Speaker 2 (23:36):
Yeah?

Speaker 10 (23:36):
Wow, awesome, I thought it was.

Speaker 11 (23:39):
I thought it was like a multiple like multiple singers.
I think it was you and other people.

Speaker 2 (23:43):
That's just you make s well. I was doing the
lead vocal. The harmonies were all of us. We would
we would sing the harmony part and then we would
triple track it sometimes quadruple track it to get that
queen effect.

Speaker 11 (23:54):
Right, okay, that's what would say. That seemed like a
lot of people in there, and I was just like.

Speaker 2 (23:58):
Oh yeah, no, that would ever be part of that
harmony was at least quadrupule tray.

Speaker 1 (24:04):
Have you seen or heard the movie The Jersey Sound?
Not yet? No? Okay, well, originally when it was conceived,
the gentleman who the two gentlemen who conceived it. We're
going to travel the entire state from Cape May Courthouse
all the way up to you know, Summit or whatever

(24:26):
that what is that up there?

Speaker 10 (24:28):
High point?

Speaker 1 (24:29):
Yeah, whatever, the highest every bit of this state to
see about a Jersey sound doesn't exist.

Speaker 2 (24:36):
Subjects and they well, yes and no, because you can't
listen make everyone happy.

Speaker 1 (24:42):
True, But listening to that and listening and recalling bomb
Jovie and recalling Southside, and there's definitely And then basically
Springsteen's the River every bit of Oregon on that is
the Jersey sound. I mean, that's what you hear when
you were along the Jersey Shore area. Absolutely, even today,

(25:06):
not so much as much because things have become kind
of borderline, Like there's a lot more angry guitar that's played,
I think today than there was when this was recorded, right,
But there's definitely a sound. So listening to that, just
the beginning reminded me of those early bon Jovie records

(25:31):
or Slippery when wet so to speak.

Speaker 2 (25:33):
Oh it's undeniaal. I mean John was a huge inspiration
and influence on me. I mean, if you're an aspiring
hard rock musician in Saraville in the mid eighties, and
this guy literally around the block is doing it. You know,
we all wanted to be here, you know, I mean
I found my own voice over time and kind of

(25:55):
turned into my own thing, for better or for worse.
But uh yeah, no it was. And he was influenced
dramatically by I mean we all beg borrow and steal
from each other.

Speaker 1 (26:06):
That's the truth. Yeah, especially, and I've often in the
past told the story about this program. I was driving
home one day listening to BB King's No Tom Petty
Radio and Tom Petty was telling the story about when
he first time he met BB King and he played

(26:30):
a riff and he said to BB King, see see this,
bb I borrowed that from you. And BB King looked
a him and said, borrowed son, you stole that. We
all steal from each other. And I get that in
a lot of especially rock and roll and blues, because
there's only so many chords that you utilize on a

(26:50):
regular basis.

Speaker 2 (26:52):
Well, I kind of look at it as like a
multi generational conversation. This one guy talks over here, and
a guy kind of absorbed it and then spits out
a permutation that resembles it but puts a different kind
of on it. Yeah. Right, you find that in literature too,
different eras and art. I mean they they all each other. Yeah,

(27:14):
I mean like the Impressionist paintings, like they all look
so distinctly different, but yet they all had a dependency
upon being inspired by each other.

Speaker 1 (27:22):
But now there's but there you go, you just hit it.
I think coally inspired, you could be inspired by a
certain musical artist, but it doesn't mean you have to.
Like what's a knock against Greta van Fleet right there
that they sound exactly like led Zeppelin? Who inspired them?

(27:44):
Led Zeppelin inspired?

Speaker 2 (27:45):
I think people have issue with them because they don't
acknowledge that inspiration.

Speaker 1 (27:48):
Well, and that may be, yeah.

Speaker 6 (27:50):
But.

Speaker 1 (27:52):
When you hear it, it's like, all right, look at it.
They're trying to imitate Zeppelin, you know. So now you
get there.

Speaker 2 (27:56):
They're not trying they do it well. I mean it's
quite spot.

Speaker 1 (28:00):
On, but you get the whole right there. Now you
got people saying, well, they're not very original, they're just
ripping off Zeppelin. And then there's this so you know,
when you get one of the things I often say
on this program, you know, be a musician myself is Look,
there are certain bands, certain players, certain people, and I'll
just off the top of my head because his name

(28:21):
popped into my mind. Dave Argo. Okay, if I hadn't
talked to Dave in years, which would probably make him
very happy. But if I hadn't talked to Dave in
years and I heard a song on the radio, I'd
be able to tell that was Dave Argo, not because
it sounded like everything he's ever done, but because he

(28:42):
had a style versus a or he had a sound
versus a certain style, you know what I mean. Like
The Stones. I could always tell when The Stones put
a new album out, because God, that sounds like the
Rolling Stones.

Speaker 2 (28:55):
Well, there are definitely artists I think that they find
what works for them and they they make that their
brand and they stick with it and they don't really
stray from the from the lines too much. And then
there's other artists that are just driven to keep messing
around with stuff and they have failures and they have successes,
but they don't let the successes chain them to their

(29:16):
existing success and they like after Fantom's Opera and the
whole end of our scene as we knew it with
the grunge movement. I wasn't really going to go into grunge,
but I am, well, it's kind of funny. I started
a job as a princess mastering engineer at PolyGram Studios,
which which was a company that owned a lot of

(29:39):
record companies like Mercury Island Records, motown A and m
def Jam, like Polydor's Deca, like so many, so many labels,
and at that time, CD reissue was a huge thing.
You know, Sam Good, Remember you'd go to them all

(29:59):
and on a CD. So that company owned like probably
three or four hundred thousand master assets, and they were
anxious to get as many CDs out to the reissue
market as possible because it's just found money, right. It
sounded better than LP's And all of a sudden, there

(30:19):
was all these improvements in digital technology and every six
months A to D converters were getting better. So it
was kind of a gold rush to get to recycle
like all this stuff. And for me it was that
was my education because you know, I had to go
in a vault and look for dusty old half inch
tape and go into a studio and clean the tape
and transfer it on a real, real machine into a

(30:42):
digital environment. And I mean I got to hear Baby
Love off the original mono the tape Yeah and Motown.
At one point to save money, they had a three
track recorder. They were mixing onto only one track of
the three track to save money, to save money on tape. Wow,
And that's what Baby Love is on. I remember when

(31:05):
PolyGram bought Island Records, right multimillion dollar deal at the
time Billboard top front page story. Well, if you think
about it, the only tangible asset a record company actually
has is the media itself, whether it's an analog tape
or digital recording whatever. That that's the only tangible asset.

(31:25):
They sent us all these tapes from Compass Point in
the Bahamas, that famous studio where so many greats recorded
at those owned by Chris Blackwells Island. It was sitting
in these crates, were sitting in a warehouse physical distribution
center for PolyGram for you know, bringing stuff out to
record stores in unbelievable heat. And I'm like thinking to myself,

(31:48):
who makes you? And I'm just a twenty three year
old kid at this point with a low level job.
But at the same time, if you think about it.
It's a very important job. You're this is the kid
who's getting the master asset of these major artists and
taking care of it. And the guys you know, with
the PolyGram had their main office in a two five
eighth Avenue, and I just remember being so stricten, even

(32:10):
as a kid, even as unevolved and immature as I
was at that time, like, shouldn't there be a little
more TLC? Shouldn't people you know?

Speaker 1 (32:19):
And you know you would think, right, yeah, no, we uh.

Speaker 2 (32:23):
But it was an amazing job and I got to
hear I got I had to listen to things I
would not have otherwise listened to as a young person,
Like I worked on the al of Fitzgerald Box that
I did all kinds of running around finding all the
tapes for all that stuff. I was just an assistant.
I wasn't any I was just an assistant engineer. I
was making coffee or sweeping the floor, and occasionally I

(32:46):
was being delegated with tasks they didn't want to deal with.
But I got to hear so many amazing recordings off
the original originals, so yeah, like Billie Holiday anything, all
the hit parade era stuff, old Country and all the
new stuff was coming in, you know, and I remember
like hearing YouTube Aktung Baby come in and like they

(33:07):
deliberately had distortion on the vocals, and it was like
it was kind of I was like, I don't know,
are we going in the right direction here, because like
there was that golden era of recording where you had
these beautifully acoustic designed rooms and live musicians and it
just uh, the digital revolution was great in one respect

(33:30):
because you know, if you get your parents to co
sign a major credit card and you can go get
a MACI eight bus and a and an a DAT
for two thousand dollars and for like five or six
thousand a couple of mics for five six thousand dollars,
you could set up a studio in your garage and
and it created an indie music revolution, which was great.

(33:52):
There's some music we would not have heard had not
had these tools not become more affordable. But I think
it was that an expe to fidelity, because there was
something about when there was less records made and you
had to be really good to get into a studio.
You had to practice, you had to be ready for it.
You remember how expensive the studios you weren't going to

(34:12):
go right in the studio.

Speaker 12 (34:15):
You're gonna write in the garage ready to go, or
you're not getting back in correct, And so I guess
I can see virtues and deficiencies of either mindset.

Speaker 2 (34:25):
But I do feel like though there was something good about,
something great about leveling the playing field. And I mean,
I've released forty solo albums. I would not have been
able to indulge myself if it weren't for the proliferation
of affordable production gear, you know, like I can set
up Apple pro Logic and get a couple decent mics

(34:46):
and get some toys, and I can make some pretty
compelling sounds on my own. On the other hand, would
I have released that much repertoire over the years if
I didn't have the cheap, inexpensive way to completely indulge
myself and think that every trivial little musical thought I
had was worth publishing. Like there's that too, Like I

(35:07):
don't know how many thousands of songs a day are
published on like Spotify. But it's like, now you've got
AI and looping and auto tuning, and there's people that
don't even know anything about music that are just like
telling their computer to make a song and they're publishing it.
It's like it's out of control. So I've gone full circle.
I now do solo acoustic gigs because there's no cheating.

(35:28):
It's you may or you may not like my voice,
but it's my voice and I'm really playing. And it's
it's because it's it's weird, because you know, we we're young.
You go anywhere, you go to your corner pub, and
there'd be somebody singing and playing. And now it's like,
wait a second, he's not using a harmonizer. There's like
even like these guys call themselves one man bands and

(35:50):
are playing to like KARAKEI tracks. I'm like, ah, killing
me man Or loops, well, looping, I think if I
use a looper, but I do it there on the spot,
I still have to jump off that building, right, So
I screw up sometimes what I what I I do
feel looping is fair game because it allows you to loop,

(36:12):
say the chord progression, and then you can play a
lead over the top of it. But you're really playing.
It's not like you yeah, it's just you.

Speaker 1 (36:22):
Yeah.

Speaker 2 (36:22):
I mean, you really do have to do the me.
You really do have to play it. It's that I
think is different than playing over a pre recorded backing
track to me, and I mean, we all have our
different sense of what's permissible or not, but for me,
that's a pet peeve.

Speaker 1 (36:35):
I you know what my pet peeve is about looping
is if I go out to see an act, whether
I see them intentionally or by accident, like oh, I
didn't know there was music tonight. By accident, I mean,
and I see a guitaristuff there with, you know, looping away.
Some of these guys will take five, six, seven minutes

(36:59):
to get their loop together, and I'm sitting there like
I want to hear music. I don't want to hear
you play three now, I know what you're talking about.

Speaker 2 (37:05):
They're like, here, I'm going to do the ten minutes.
Then I'm going to do the drums.

Speaker 1 (37:09):
No, no, no.

Speaker 2 (37:10):
So what I'll do if I'm like doing like I
play the shower a lot, and if I'm doing like
a restaurant gig or something, I'll just record it while
I'm performing the song, and then when I take a
break from performing the song, I'll play it back and
then I'll play a lead through that section, turn it off,
and then finish the song. I don't like expect you
to like wait twenty minutes for me to play.

Speaker 1 (37:30):
The actual song. Well, that's what I mean. Like some
guys take seven eight minutes to set up for two
minutes song and it's like, all right, yeah, no.

Speaker 2 (37:38):
It's stale. I agree with you. I don't care for
that approach either. I mean, if it's like some like
new age ambient thing and that's like and that's part
of their thing and they're doing this sound collage thing.
But if you're like going to hear a cover musician,
you don't want to wait twenty minutes to get to
the hook.

Speaker 10 (37:55):
You know, we did a really good mark Sacho. My
girlfriend and I went.

Speaker 1 (37:58):
Out Sacho loops all the time.

Speaker 10 (38:01):
Yeah, but he's solo.

Speaker 2 (38:03):
Drummer.

Speaker 10 (38:04):
Yeah, he's a drummer.

Speaker 2 (38:04):
But I went to Mercer County College with him. He's
a great drummer. He's cool.

Speaker 10 (38:08):
But he does give me the parrots and stuff. But
he did. But he did a solo gig at at
Kilarney's and he plays.

Speaker 1 (38:14):
My happy hours Collottingham Tavern for me.

Speaker 11 (38:17):
But he does it really well because you know, he
does everything and then he just and then he's sings,
so you know, it was just like seamless.

Speaker 10 (38:25):
It was like just part of it.

Speaker 2 (38:26):
I didn't know his other music abilities when I went
to college with him, but he was a great drummer. Yeah,
and he had that charisma. You know, you knew he
was gonna, you know, he's gonna have some successes in
the business and be a lifer better for worse.

Speaker 10 (38:39):
Yeah, yeah, yeah, yeah, yeah.

Speaker 1 (38:41):
He park plays all over the place.

Speaker 11 (38:45):
Actually, they go up a lot into Maine and stuff.
They do travel. They actually went out of Chicago Maine.
You don't say, yeah, I'm saying they festivals all over
the place.

Speaker 2 (38:56):
So no, I'm only saying that because I did. I
lived in Maine for.

Speaker 1 (38:59):
Two and.

Speaker 11 (39:01):
My nephew just got married in Maine, and my girls
and I went up there, and they want to move
up there.

Speaker 2 (39:07):
Now it is beautiful.

Speaker 10 (39:09):
We have to go back.

Speaker 11 (39:10):
But we were one of the first fingers as you
came up through Brunswick quick, hard right and on that peninsula. Okay,
so it wasn't too far in So.

Speaker 2 (39:22):
I was way up there, forty five degrees latitude, same
as same as Halifax, Nova Scotia. Place called Eastport. WOWI
hardy music scene though, really really yeah. When I got there,
it's like the Jersey Devil run them up on an
island in Maine. But it worked out. I performed more

(39:47):
live gigs there than I ever would have anticipated. And
there's one thing I really enjoyed about it because of
the access to like Nova Scotia, and there was a
tremendous amount of like Celtic sick and fiddle amazing fiddle players,
and I got to play with some of those people,

(40:07):
and it really informed me because I'm you know, I
was just a Asberry Park Alley cat like playing you know,
just you know, we we have a certain kind of
stray cat kind of strut to the way we play
up there. It's a little gentle and nice and lovely,
and you know, you're feeling all these good feelings. And
I was like, it was really cool. It was. It

(40:28):
was definitely enriching.

Speaker 1 (40:31):
Now, speaking of Jimmy and the Paris Right, which of
course is a Jimmy Buffett tribute.

Speaker 2 (40:38):
Band, that's a smart business move doing. Jimmy ain't gonna
do it.

Speaker 1 (40:44):
I'm gonna tell you a quick, a very quick anecdote here,
and it's that that happened to me just yesterday. A
couple of days a week, I work at a golf
course because I like to play golf for free. So
sore at this golf course. So a gentleman calls yesterday
and he says, uh. He says, you know, this is

(41:06):
Sergeant so and so of the Asbury Park Police Department.
I was like, okay, how can I help you? He says, well,
how are you today? I said, I don't know. Do
I have to tell me? I said, I don't know.
Do I have any warrants? And he started laughing and
he says, no, no, no, no. The last few years,
you guys have helped us out with a charity. We

(41:29):
have a they have some sort of cigar dinner benefit
thing and we've given donated a free foursome for their
door prices to come play golf it Cream Ridge Golf Course.
So I said, well, how much is this cigar dinner?
And he tells me the price and he says, and
that includes cigars of course, and all the beer and

(41:51):
wine you can drink, and you know, you get a
free dinner buffet and and I'm like, I'm sorry, is
it Jimmy right? He's like, I said a dinner. Yeah,
you get a dinner buffet. Then I'm like, gotcha. I'm
like Jimmy would be happy about that, I think.

Speaker 10 (42:10):
But so I consider my dad used to call him
Jimmy Buffet.

Speaker 1 (42:15):
Say that. There you go. I was cracking up about it.
But speaking of Jimmy Buffet, let's do some more music
and then we'll get into some other things. Okay, what
would you like us to play? How about you don't
have to like it?

Speaker 2 (42:34):
That was the song I recorded in Bradley Beach with
my band, the New Age Blues Experience, And that was
at the height of the of when I was playing
Asbury Park, like three or four nights a week back
in probably two thousand and ten or so.

Speaker 1 (42:49):
That was just where you were on the Grammy.

Speaker 2 (42:54):
No, that was that was my first so you want
to hear the Grammy sort sure, that was my first album.
So after the Phantom's Opera thing and the whole Rungs
thing kind of disinherited us and we were all sad
and all our mullets kind of floated away. My friend
Bob Nelson for joping on on godsens of soul, he

(43:15):
took me to a Grateful Dead show I never really
understood the dead I was as an aspiring hard rocker.
I just I didn't get it. It just sounded kind
of sweet and sour and a little sloppy and off key.
But I love the dead Heads. They were like when
I was in high school, the dead Heads were always
playing Hacky Sack. They were always happy smoking these weird cigarettes.

(43:37):
They were like always in a good mood. When someone
trashed my first car, my beloved seventy three Dodge Dart,
it was a Deadhead. It took me to the junkyard
to collect my drumsticks and my paraphernalia out of the car,
and I was like, Wow, this guy is so kind.
So I always found myself intrigued by the dead Heads,

(43:58):
but I didn't quite get the music. Anyway, Bob brings
me to I guess. It was a giant stadium they
were playing, and we pregamed in the parking lot. Just
a little wacky tobaccy, some Devil's lettuce and a few
a few beer, a few a few beers, but nothing

(44:18):
too crazy. But as and I'm not recommending this for
any of you kids listening at home. I'm just talking
about what happened to me. This guy we went to
school with, Doug Scoco, amazing keyboard player played just like
Raymond Zeric side note, comes up to us and basically
he gave me a hit of the LSD that the

(44:39):
band was had on tour from bear Ousley, like the
real deal San Francisco stuff, and I took it. And
I wouldn't recommend it for everyone, but it was just
as Jerry was tuning up, I was tuning in and
I had a transcendental psychedel experience. I mean, I know

(45:01):
that sounds generic, right, but I wasn't really looking for it,
and I kind of had almost like an empirical curiosity
that I approached it with. But it's hard to explain,
but it was the first time in my life that

(45:21):
I was able to observe myself outside of my own
ego perspective. And I think we get like a sense
of self from not just our victories, but our wounds
and our traumas and like our egos like I'm not
going to take that. We take our good things and
we take our bad things in life, and we kind

(45:42):
of cling to this ego shield, this this mask, the
social mask that we developed to protect ourselves and the
experience I had between the music and the LSD was
the complete this removal of the mask and just kind
of being in a non judgmental, observational state, and I

(46:03):
found it to be an incredibly healing experience. And that night,
there's a song called seventeen G That's where Are That night,
I vowed to myself that whatever music, because you know,
when you're like right now, toxic masculinity is a big buzzword,
you know, woke or whatever, but those wounds that you

(46:27):
take as a human being, they do like you want
to be cool as a young musician, you want to
do the stuff that's cool. You don't want you don't
necessarily want people to know you're tender or geeky or
experimental or avant garde side. You don't you don't necessarily
allow yourself the full spectrum of the artistic or human
experience because you're kind of locked into your self perception.

(46:48):
And that night, the hingees just got blown off from me,
and I made a personal commitment that no matter what
musical inspiration came to me, I would treat it like
an equal child. And that's why I've done forty solo
albums because every time one of those little weird things
has come to me, like, all right, I'm gonna I
made a deal with the universe that I was going

(47:09):
to indulge all this. So I did, and it's been interesting.
But that night, that night, that's when I started, I think,
finding my own voice, as I still kept elements of
what initially inspired me, and I'll always hold those things dear,
but I don't know. I just took off the training
wheels and then I just started kind of indulging all

(47:31):
kinds of different musical ideas. And one of the things
on that album, it was a self I had bought
into the early music revolution. I got myself a little
a Trak analog machine and I tied it into a
MIDI system, and I had a pretty pretty hardy like
self contained studio at the time, and I recorded this
song called seventeen G. Seventeen G was the parking lot

(47:55):
space where we're at. While I was walking around the
parking lot coming down from the experience, and I'm like,
oh my god, where's Bob, where's the van man, where's
the vin and something to like seventeen G. So I
recorded that as kind of a tribute to Garcia. Mind
you I'm still working at PolyGram during the day, and
now I've moved up. I've gone from being assistant engineer

(48:19):
to I'm now the chief archivist for the label, and
I'm running that whole show. I had a meeting with
the National Academy Recording Arts and Sciences and member Michael
Green was a president of that organization. He got on
TV years ago and he was bemoaning Napster and all
that stuff.

Speaker 1 (48:35):
Oh yeah, yeah, that guy.

Speaker 2 (48:37):
Anyway, I spoke in the meaning about how I think,
you know, labels aren't really respecting the cultural legacy they
have with the ownership of these master assets, and we
need to have stronger programs for backing all this stuff
up and so that we can preserve this music for
future generations. And he was impressed with how I rep

(49:00):
presented myself that day, and it was like all suits
and I was just there with like a collared shirt.
I thought I was dressed up. I still like a
kid with my mullet. He's like, would you like to
be on the Preservation and Technology Committee for the National
Academy of Recording Arts and Science. It's kind of like yeah,
so you know, I whaseled my way onto that and

(49:21):
what I as a full fledged member of nares Well,
one of the magical powers you have is you can
nominate things for Grammys. So I'm like working at PolyGram,
I have access to the FedEx account. I sent a
copy of my first CD to like every person in
the in the whole thing, and they put me on

(49:41):
the entry list.

Speaker 10 (49:44):
Nice.

Speaker 2 (49:44):
I rigged the system. I played the game like Linda Chorney.
I did that, but.

Speaker 1 (49:49):
I didn't brag about it or make a movie.

Speaker 2 (49:53):
Well, because I realized, on one hand, there was this
ego stroke of getting the fortieth annual Ammy nomination entry
list and being invited to the museum, the Museum of
Modern Art for a reception dinner and seeing your name
and I nominated myself in like fifteen categories. My name
was all over Producer of the Year, Record of the Year,

(50:13):
like I mean I was. It was over the top.

Speaker 13 (50:18):
And then I was sitting I was seated next to
Bo Diddley, no kid, Yeah, And I felt so fraudulent,
right because Kelsey Grammar comes up to my table, how
you doing?

Speaker 2 (50:30):
Like he just assumes everyone there is meant to be there.
No one knows that I gained the system. So everyone's like, oh,
who's this young artist on the rise, and it's like
just someone who figured something out the back door approach
to doing this, and bo Didler's woll congratulations, what do
you hear from?

Speaker 1 (50:44):
Like, well, I didn't.

Speaker 2 (50:46):
Even have the heart to tell him. I was like, oh, oh,
just you know of best instrumental blah blah blah blah blah.
It's like, no, you know, I don't even deserve to
be here, and I didn't. He's like, boy, you gotta
have back for yourself. And I like looked away because
I was embarrassing, and he gives me a tap on it.
She's like when Bo did Live talking to you, most

(51:08):
people listen. It's like, you gotta believe in yourself. I'm like,
thank you so much, Broke, You're absolutely you're right. But
I was like realizing, this whole thing is as much
as it was an ego stroke to see my name
in that Booklet I realize this doesn't represent the will
of the people. This isn't because like when you're growing

(51:29):
up watching the graham Is, you're thinking that this is
reflective of what people really think. But no, it's only
like a few hundred people that decide what that is,
and the rest of us is this consumerist heard that's
just like, oh well, it's record of the year. Got
to run on down the sam good to you and
buy it. And it was so disenchanting to me about

(51:50):
the industry because I was like, on one hand, I
was like I could use this and exploit it, but
I never did because it was well, like you know,
when Linda did that, I honestly I didn't find it
in particularly good taste, Like she's not I didn't think
she was particularly Americana. I just I get it. I
know what she did. Know she figured out the back door.

(52:12):
But it's like I snuck in the back door. I
stole a couple of beers, but I didn't like rad
I didn't take the whiskey, you know what I mean?
Like I really, I was just like, I don't know anyway,
that's the Grammy story.

Speaker 10 (52:24):
It seems good.

Speaker 2 (52:24):
That's the truth.

Speaker 1 (52:27):
This song is called seventeen G.

Speaker 2 (52:30):
No oh if sounds Spotify, I could not find so
tell me Colely Bryce. It's literally seventeen. The number seventeen
and G Now mind you, So you just heard the
Fantoms Opera track, which sounded like Jersey Heartland, rock pop whatever.

Speaker 10 (52:44):
Right to Jerry, I got it?

Speaker 2 (52:46):
Yeah, Now wait, do you hear this after the acid experience?
You wouldn't believe it's the same artist, all right, And
you don't have to play the whole thing. Meander's on this.
By the way, I nominated for Instances of the Year.
I like Jeff Beck was on it. Joe Satriani and
I had the audacity to put this on there too.

(53:08):
But we don't have to listen to the whole thing
unless you want to kill time.

Speaker 3 (54:00):
The no.

Speaker 1 (55:29):
That was that.

Speaker 2 (55:30):
The next we were chipping out, man, I'm sorry, we
just went somewhere.

Speaker 1 (55:34):
We were having deep in studios, suggestions about baseball, all
back to the planet. I got some editing to do.
Chachi is tele.

Speaker 11 (55:45):
No once at an hour and twenty minutes. You could
just take off the end of that song, so I
just went into the next song that.

Speaker 1 (55:52):
Would come under the category of editing.

Speaker 2 (55:54):
You think I would think, So, okay?

Speaker 10 (55:56):
Are you okay with that? Though?

Speaker 2 (55:57):
That's our karma for putting down AI. I would have
edited that properly already. That mistake would not have been made.

Speaker 10 (56:03):
You know the thing about AI?

Speaker 11 (56:05):
Just to continue our conversation on the air. People can't
go into interviews now. Young people cannot be interviewed. They
have no answers unless they're looking at what the answers
should be on their phone. I've heard I've heard horror
stories because I'm in HR people who are going in

(56:26):
for interviews can hold a conversation with somebody tell me
about your you know, greatest success, and they're like, uh,
I don't know.

Speaker 2 (56:36):
They just have no A lot of young people have
difficulty utilizing real computers too. They've grown up texting, which
they can do. I mean, it's a massacre when I text.
But sometimes the newer generation when they try to utilize
the regular keyboard, they they don't know how to do it.

Speaker 8 (56:56):
You know.

Speaker 10 (56:56):
So I do a lot of things now.

Speaker 1 (57:00):
So how did they operate over at Asbury Media?

Speaker 13 (57:03):
Oh?

Speaker 2 (57:03):
Our ai staff? Well tell us.

Speaker 1 (57:07):
About Asbury Media? You like how I see you?

Speaker 2 (57:13):
Yes, it's not the segue you ride either. No, it's
Asbury Media. I've been working there for eighteen years. Tom
Ruff is the owner who I met at PolyGram, who
legitimately won three Grammys. He didn't game the system, he

(57:34):
really he won them. Historical issues. Tom Ruff a mastering engineer. Yeah,
and well what we're doing now what we recently invested
in a Dolby Atmos studio that enables mixing and mastering
for Dolby Atmos. Dolby Atmost is an immersive sound format

(57:56):
that basically you're not just hearing left and right. You're
hearing left right, up, down behind you. It's a completely
three dimensional immersive audio experience like a surround sound yes okay,
but not just surround, going up too and go like
it's another dimension to surround. It's an evolution of surround sound,

(58:22):
and it really lends its I don't think anyone's made
the Sergeant Pepper of this format yet. I think what
most people are doing so far are just kind of
like mixing stuff and adding a couple of cool things
here and there. But if you really think about it,
you know musical and theatrical applications where you could imagine

(58:43):
listening to a record that's recorded live, but it's not
just the music that's live. What if you actually wrote
a screenplay too, so that when you're up front, you
hear the music like you're walking up to the stage,
but if you go towards the back of the room.
You can hear a conversation the bartenders having with one
of the people hanging out there, or you could move

(59:03):
to the other side of the room and sit down
in a seat, and here here a husband and wife
arguing about something like It's got some really amazing potential,
and I don't think people have really embraced the possibilities
that could be realized with his format yet. So it's
been very frustrating because I'm trying to evangelize it while
I'm trying to understand it myself. It's pretty new, and

(59:27):
the labels haven't done a particularly great job with it
because they're just trying to get another money grab reissuing
content or whatever. So what's happening is producers are handing
in records and they're not getting control of the Dolby
utmost mix, so they've got like, you know, kids with
headphones just kind of running it through some effects or
whatever to call it spatial. And it's unfortunate because I

(59:51):
don't think enough consumers are really getting to experience the
potential of it. And I fear for it's I fear
it's not going to reach it's potential because because of stuff,
because of you know, the greed. It's you know, the
music industry like like any other business. You know, like
you have to wait for your tomatoes to turn red

(01:00:12):
before you make the sauce. Like and a lot of
people don't want to be you know, cultivating a business
that's sustainable. You gotta be patient. You gotta wait, you
gotta It's like gardening, you gotta you gotta take your
time with it, and then there is a harvest season,
but you have to wait for it. And I feel
like some of the spatial adio formats are are having

(01:00:34):
an uphill climb because of corporate greed, unfortunately. But there's
amazing stuff happening, and the you know, it's always, you know,
the vanguard is always the people that are doing it
in a basement somewhere and like just putting stuff together
and improvising so it'll it'll happen. But but the technology itself,
it's it's amazing. I wish I could describe it verbally adequately,

(01:00:58):
but I'd love for you to come down to the
studio sometime and experience it in a real seven point
one setup. It's it's really it's and like listening to
like orchestral recordings, that are recorded in like real like
you can get all the detail of an acoustic hall.
Have you ever been somewhere and heard an acoustic music
experience in a in a hall and then you listen

(01:01:20):
to a CD and you're like, it's good, but it's
just not that right. Well, we've gotten a lot closer.

Speaker 1 (01:01:27):
It's now where where is Asbery Media located?

Speaker 2 (01:01:30):
Bond Street? We're Fortune on Bond right. In fact, just
last week we're across we're not too far from the
Bond Street bar, who you remember, the Saint of course. Well,
the Bond Street has a club that they're now calling
the Basement and they've been letting us record some original

(01:01:51):
music shows. You just did, Matt, Yeah, yeah, he delivered
a stunning performance last Thursday, and we we not only
caught studio you know, we had studio microphones overall all
the equipment everything else, but we also had ambient microphones
all over the place to pick up the actual room itself.

(01:02:11):
So it'll lend itself towards that Dolby utmost capability that
we're talking about. So what we've done basically, I used
to run a label called Area Records in Asbury and
we recently resurrected that. So instead of waiting for someone
to come, we're like, well, we're going to have to
just start doing stuff so people can stop whining about
the potential and start exhibiting the potential.

Speaker 1 (01:02:33):
Right.

Speaker 2 (01:02:34):
So the first release we did was Billy Hector of
longtime Blue Ificionado and back in twenty eighteen he had
recorded a show at the Saint with a full horn
section and just a slam and band. So we recently
remixed that and that was the first thing unrevived Area

(01:02:55):
Records and Dolby utmost release and hopefully unless Matt has
another label do it, which is fine, but I will
extend the same offer to him. So we want to
just start cataloging great live recordings and releasing them on
this format and hopes to inspire people to get more

(01:03:17):
familiar with it and eventually, you know, get more business
doing that. We still do regular audio mastering too, and
we're happy to do it, but we're just so enthusiastic
about this format where just like trying to lead by example,
I guess is the best thing I could say?

Speaker 1 (01:03:34):
How many? How many are involved in this other than
you and Tom? Is there a big staff at Asbury
media or well.

Speaker 2 (01:03:42):
Tom is the owner. He doesn't do as much engineering
as he used to do. He's kind of like more
of the mentor and the sage and the guy we
try to keep happy, the guy that's kind of moving
and shake and trying to get clients through the door.
And then we for the Dolby Atmost stuff we have.

(01:04:03):
We're working with an amazing young engineer twenty four years old.
He wrote his thesis on immersive audio and he's, uh,
he's just an old school audio geek. His kid's twenty four,
but he's got the soul of a curmudgeon. I don't know, he's.

Speaker 14 (01:04:19):
Uh, he just he's just totally dedicated to music and recording,
and he's young, and he's got those fresh ears that
just pick up everything right.

Speaker 2 (01:04:32):
So he's our he's our Dolby autmost wizard in training.
Andy Bova from a studio called Simple Sound and a drummer,
plays with Rick Barry and is in a band with
John Stewart. He does some audio mastering for us. Jim Panella,
who used to work at lake House Music. He does
so yeah, I know I know that name. Yeah, he

(01:04:53):
does some mastering for us, and we have some other
projects that we do involving software testing and technical support
for a major label, which we can't talk about because
we have a non disclosure agreement with them because we
do deal with proprietary systems to them. But that project

(01:05:19):
just wrapped up after seventeen and a half years. Really yeah,
it was started with a six month contract and they
we're kind of like, so we got this contract to
do this work and it was it was tedious, somewhat simple,
and I I Tom needed some workers quick. I had

(01:05:41):
just left Mobile Fidelity Sound Lab. I was you know that,
you know that when you used to go to Sam
Goodie and there was the gold CITs it said Original
Master Recording. Right, Well, part of my life. I was
out in California. I was there vice president of marketing
and communications for a while. I left there. Well, this
is actually a really good story, right. So this guy

(01:06:03):
bought this label, Jim Davis, as a company in Chicago
called Music Direct. He bought all the intellectual property rights
associated with Mobile Fidelity, bought their studio out in Sebasta, California,
resurrected the label. I was working at a rival label
in Hollywood called Classic Records that was reissuing the led
Zeppem catalog on vinyl one hundred and eighty grand pressings

(01:06:25):
mastered by Bernie Grumman. They hired me away from him.
At the time, I was like, this is cool. I'm
going up to wine country, you know. And it was cool,
it was great. I was still drinking at the time,
so it was I was well lubricated, but it was

(01:06:47):
I just I just lost my train of thought.

Speaker 1 (01:06:49):
I feel your pain.

Speaker 2 (01:06:53):
Oh so yes, all right. So the thing is this
guy is this guy from Chicago. He was a if
you're an entrepreneur, he still is. And he tended to
hire other alpha dogs. So we had a hard time
getting anything done because everyone was fighting for leadership and

(01:07:13):
trying to push things in a particular direction. But but
I could tell I could fill a whole episode, uh
with stories about my experience there. But finally I was
and i'd, you know, I'd cold call people like, hey,
you want to put out one hundred and eighty grand vinyl?
Hey you want to put out say CD like I
I was the cold caller guy that tried to talk
to artists and artists managers to anyway. One day I

(01:07:36):
called Jeff Jampell, who was the manager of the doors
and in charge of all the doors remaining a state
and they.

Speaker 1 (01:07:43):
Were on Polydor, wouldn't they.

Speaker 2 (01:07:47):
Okay, they were on Elektra. Anyway, this guy took my call.
He invited me out to they had They had some
doors thing going on out there, the Rainbow Room. They're
having a party. Flow out to this thing. We shook
hands on the deal to release the doors. Catalog I'm

(01:08:08):
vinyl and surround sound SACD doors pretty psychedelic. Imagine them
trailing around, right. So this was a big deal. So
I tried to leverage this deal with I was like, listen, Jim,
if I reel this in, you gotta let me lead
the company because we're going in so many different directions

(01:08:29):
and I want to have more. Just let me do.
Let me do what you hired me to do. He's like,
if you land this, you're moving back to California, like
whatever you want. And I'm like, I was out there looking.
I'm like looking at apartments, you know, I'm like, I'm
going back. I'm getting back to Hollywood. Anyway, a lot
of hype, a lot of hoop liveryone's excited gonna have
a press release at on the floor of the CES

(01:08:51):
Convention in Las Vegas.

Speaker 8 (01:08:54):
And.

Speaker 2 (01:08:55):
I'm likeright. Finally, Warner Brother served an injunction on us.
Electra still had the contractual rights, and the deal just
blew up in my face. And I get back to
Jersey and my boss calls me on Valentine's Day. It's like,
I know this isn't romantic, but I'm gonna have to

(01:09:17):
kiss you goodbye because I couldn't go back into the
environment where I'd kind of gotten my peakcock feathers all wound.

Speaker 1 (01:09:26):
Up, and I was like, we're going to do this,
We're gonna do that.

Speaker 2 (01:09:27):
I just I was not going to be able to
be accepted back into the Lord of the Flies business ecosystem.
I had just turned down a job from Tom Ruff
who asked me to be to lead this metadata validation
project for this major label. It was a major label
that bought another major label, and they had a legacy

(01:09:49):
database system that had to play nice with a newer
server based database system and then they had to all join.
So we needed a team of people that would physically
look at all these different data entry records and try
and reconcile what was a perfect match. And it wasn't hard.
It was hard because it's so tedious that it was

(01:10:10):
difficult to maintain your focus on it. It was supposed
to be a six month contract and he's and he's like,
who do you know anyone who needs a job for
six months. I'm like, yeah, we're Nesberry Park, every every musician.
So I got like Rick Barry and Brian Amsterdam, and
I just got the bad news bears basically kids people

(01:10:31):
have never.

Speaker 1 (01:10:31):
Had a real job.

Speaker 2 (01:10:32):
And I'm like, hey man, this is a computer And somehow,
not only did we get through that project, but they
gave us more projects. Our team gained proficiency and yeah,
we ended up dealing with you know, eight different internal
systems they had and we're it was it was a

(01:10:53):
long ride.

Speaker 1 (01:10:54):
Whatever happened to Rick.

Speaker 2 (01:10:55):
Berry, well, I know he's not with Aspberry Media anymore
because that project is going to another company, but he was.
He's been with us this whole time, and he's continued
to write and record. I mean, he's played Carnegie Hall.
He's Wow, he's done some cool stuff.

Speaker 1 (01:11:12):
I hadn't heard anything about him until you just mentioned
him in years about that.

Speaker 2 (01:11:17):
I you know, Area put out his record Declarations of
Codependence and he had a song called Courage for a
Rainy Day that was really amazing song. All the songs
it was. He came to me when I started Area.
Area had a distribution deal with Universal for pressing and distribution,

(01:11:42):
but we're basically left to ourselves for everything else. Basically,
the major labels were trying to figure out how they're
going to stay alive because file sharing, Lime Wire, Napster,
all these things were just decimating sales. So basically the distributors,

(01:12:02):
the big ones like Warner Brothers in Universal, they were
signing a lot of indie labels just to see what
would stick, just to see if they could find another
Subpop or another Stacks or another So I had you know,
I've always been good to come up with some jive talking.
Remember I got myself into the Grammys, which we'll now
call the Scammies. So I like, I made a pitch
to like, hey, Asbury Park deserves a farm team label.

(01:12:28):
You know, we're you know this, it's like a miniature
Austin here. There's all no matter what's been going on
in Asbury Park. And I mean the first time I
played Asbury Park, I played a stone Poni as a
teenager like nineteen eighty seven, and I kid you not.
After we got off stage, we warmed ourselves in a
fifty five gallon trash barrel fire on the boardwalk. The

(01:12:52):
cops came up to us, warmed their hands, said you
guys all right. I'm like, yeah, okay, see you later.
Try doing that now.

Speaker 7 (01:13:01):
You know.

Speaker 2 (01:13:03):
My point is that even in its hardest times, there
the spark in Asbury Park. There's always been that Jersey
sound I called the Jersey Shore sound, but yeah, I
don't know why, but there's always been something about it
that even in the most dire times, the music was
still there. There used to be a club called The

(01:13:25):
Moon Rock on Cookman Avenue. It was we're talking nineteen
ninety nine plywood. Most of the windows on Cookman Avenue
were like plywood.

Speaker 1 (01:13:33):
Right.

Speaker 2 (01:13:34):
I used to drive my band and I would show
up in my seventy two v W Bus and we
would pray it didn't break down on the way home
from playing the Moon Rock. But it was the coolest place.
You'd see like surfboards, fishing poles, you'd see some motorcycles,
you'd see some jeloppies. It was just bohemian vibe. For

(01:13:56):
a while where people were just coming to hear hear
the music, and it was gritty, really gritty, I mean
really really really really really gritty. But there was also
an authenticity in that grit that that it's no longer
I don't know, I don't know if it can ever

(01:14:17):
truly go away, because it's so resilient that music spirit
in Hasbury Park, but it's it's not as prevalent as
it once was. The gentrification has kind of relegated music
as a supporting role rather than being you know what
I mean, it's just it's just not quite the same
and that could just be me just get off my lawn,

(01:14:38):
you know, I don't know.

Speaker 1 (01:14:39):
No, No, it's true because what you just spoke of
was about five years before my time. Yeah, I didn't
start going to Asbury and playing My very first gig
ever in Asbury was a Labor Day weekend at the Wonderbar.
Uh myself. There was another band called Agency Agency.

Speaker 2 (01:15:00):
He was on Area Records.

Speaker 1 (01:15:01):
Were they yeah Agency?

Speaker 2 (01:15:02):
Yeah?

Speaker 1 (01:15:04):
Well the Bait their bass player.

Speaker 2 (01:15:05):
Well, the band that is talking about Agency was Brian
Saint on lead vocals. Right, Okay, Well the band that
played at the Moon Rock that was just talking about
was me and Brian Saint in a bit. It was
called Brian Saint in the Sinners.

Speaker 1 (01:15:22):
That's nice.

Speaker 2 (01:15:24):
Brian and Joe Savio on drums. Who's in my band
the New Age Blues Experience Now, oh is he?

Speaker 1 (01:15:31):
Yeah, you gotta tell him that, you got to say
hello to them. I haven't talked to sav In. It's
gotta be years. Uh, it's probably since Agency broke up.

Speaker 2 (01:15:41):
He runs a company called Modern Material. Now, okay, he's
a gun manufacturer. Oh no, kid like a or fifteens
and stuff with military grade stuff. Sells it to a
lot of the police forces in the state.

Speaker 1 (01:15:55):
There were quite a few gigs where sav and I
shared a drum kit even over the year because I
was in a band with Mike Mentaiano and this like
Bob Ferda and Mike O'Grady were called w C. Soulshine.
So we were the opening act. The Agency went on second.
Then Status Green was the was the headliner. That was

(01:16:18):
my first exposure to Asbury Cool.

Speaker 2 (01:16:20):
Well, that's that was my That was a classic bill
that back then.

Speaker 1 (01:16:23):
But it was that that though, was kind of at
the on the downslope because shortly after that I got
into Joe Weimer's band, and everything was like singer songwriter
at that point. You know, you had the Twisted Tree
on Cookman Avenue and you had all these little They

(01:16:46):
hadn't even.

Speaker 2 (01:16:46):
Beg gone terrorizing gig of my life ever. And I've
played thousands at this point in all kinds of different capacities.
But I opened for George Worth at the Twisted Tree.

Speaker 1 (01:17:01):
Let me tell you something, as a as a rock
man can write songs.

Speaker 2 (01:17:06):
Oh my god, talk about getting it handed to you.

Speaker 1 (01:17:14):
Frightening last kiss. Tell me why that didn't get a
Grammy nomination.

Speaker 2 (01:17:18):
Because he should have talked to me. I was avaluated,
called Linda Shorney. I don't know, Claire, how much time.

Speaker 1 (01:17:26):
We have left?

Speaker 10 (01:17:27):
We have sixteen minutes?

Speaker 1 (01:17:29):
Okay, we got time for another two? Yes, what would
you like us to play there?

Speaker 2 (01:17:34):
But were left?

Speaker 10 (01:17:35):
We have You don't have to like it, Okay.

Speaker 2 (01:17:38):
Well, this is Savvio on Trump's Jay Walker who was
in Gina and Dragster on bass. This was around that
time period, So that's a good little oral snapshot of
the time. It's funny. Now this is a straight up
blues tune and that year Scott Stamper and all his
Remember all the controversy around the Asberry Music Awards. It
was very, very heated. Anyway, this song god Us nominated

(01:18:03):
for Top avant Garde. Tell me what's avant garde about this?

Speaker 1 (01:18:08):
You know? I am the Susan Lucci of the Isburg Musical.
I've been nominated like eight times. I hear you. Stampa
always sticks me in the category with like all the
big names from the Rat and Brookdale and and all
that stuff. At least you're on and I'm there at
the bottom, like they're like, who's this guy? But what's

(01:18:31):
the name it is?

Speaker 2 (01:18:32):
You don't have to like it?

Speaker 1 (01:18:34):
There you go.

Speaker 3 (01:19:01):
You know I have to know it, know, I know.

Speaker 8 (01:19:11):
You know.

Speaker 3 (01:19:14):
Well you say something you say you mean this pleases
the real mess?

Speaker 8 (01:19:31):
You know, Look, Lolly, why not.

Speaker 3 (01:20:02):
You not you.

Speaker 8 (01:20:58):
Tell him that.

Speaker 1 (01:21:00):
Lay in?

Speaker 3 (01:21:01):
Donny?

Speaker 8 (01:21:07):
Don't you have some child?

Speaker 3 (01:21:10):
You don't have, lady, But.

Speaker 7 (01:21:16):
You don't have to fuck it.

Speaker 8 (01:21:20):
You don't have to know.

Speaker 10 (01:21:23):
You don't have to knock.

Speaker 3 (01:21:27):
You don't know.

Speaker 8 (01:21:30):
You don't like my do?

Speaker 1 (01:22:03):
There we go?

Speaker 2 (01:22:07):
Yeah? I had to get a little nice nice that
by a little way of telling Scott, dude, did you
listen funk cards?

Speaker 1 (01:22:18):
Oh? Gosh, uh, is there a website? I mean we
can find everything that you're into or what do we
have here?

Speaker 2 (01:22:24):
Yeah? Well, we got colibrace dot com where I post
links to my releases and my gig schedule, which is
thankfully I'm booked through Christmas. I play the shore a
lot because I live in Lavallette. I'm playing this Sunday.
Oh when will this air?

Speaker 1 (01:22:43):
Sunday seven pm?

Speaker 2 (01:22:44):
I'm in I am on this. I'm in two places once.
I'm playing on stage right now at Point Lobster Bar
Girl on Normald Avenue, a point plus Beach from four
to seven pm. Coliberce dot com. Uh to find out
to listen to Billy Hector's new release on records, it's
a E R I A Records dot com and UH

(01:23:05):
as Berry Media. If you want to know about Dolby
Atmost Mastering and you want to come listen to some
stuff and let me talk you into utilizing our absolutely
incredible services, it's as Berrymedia dot Com. I also am
doing a podcast now. I just so yeah, tell us
about that's okay? So like, so we like we did
the Atmost record with Billy Hector and then we really

(01:23:27):
sit on the label and then we realized we got
to promote the thing, and I'm like, yeah, I used
I was podcasting way back in the day, and I
was like, all right, well, just remember how to do
an RSS feed and all that stuff. So I brushed
up on my podcast etiquette and figured out what to do,
and we started with the Billy Hector interview just which
was amazing. By the way, Billy Hector is an interesting,

(01:23:50):
uh guest, you should really bring him on here. We
conducted the interview in his home studio or it's more
like a pirate's den. I can even explain, uh, the
patina of rock and roll paraphernalia coming out of this place.
He he lives at the Jersey Shore and he's got
this split level house with like a semi circle driveway,

(01:24:12):
perfect for a musician, so you can just load in
and load out as easy as possible. Not much for landscaping.
He kind of lives in a bamboo forest that he
didn't plant. No, well, no, he loves it. It's just yeah,
you can't see it. You can't see it. It's just
like he's got a only thing missing is a panda
bear munching on this stuff. It's a it's a layer.

(01:24:37):
So I started the podcast for that, and it kind
of very quickly is growing its own legs and it's
now on Apple Music, it's on Spotify, it's on Amazon,
it's on iHeartRadio, it's on Speaker in Germany, it's on Deezer.
I guess because of all the catalog of all the
music releases, I was in some tier of distribution that

(01:24:57):
helped me get it out to wider to distribution outlets.
And so a friend of mine who runs a label
called Metallic Blue Records, it's like, hey, I really enjoyed
your interview with Billy Hector. Would you be interested in
interviewing Terry Luttrell, who was the first lead singer for
Rio Speedwagon and then went on to start a band

(01:25:18):
called Star Castle. And I guess the podcast kind of
took off a little bit because he is in a
there's a conflict I guess where the old bass player
got thrown out of the band after back surgery and
all the fans are mad at Kevin Cronin. The guys
keep on that guy. Well, he threw his bass player

(01:25:40):
out after like forty years of service and people weren't
cool with it. I got the original singer talking about it.
So there's all kinds of internet, you know, when stuff
gets flamed on the web. So this guy gave me
a tell all interview on Monday and he talked about
I mean, he he parted with Hugh Hefner and Walter

(01:26:04):
Cronkite and Rod Serling and Eddie Van Halen. He toured
with Rush Kansas, Boston, Fleetwood, Mac Gentle Giant just and
then he lost it all and was driving a FedEx
truck like he guys had an incredible journey. So yeah,

(01:26:24):
that's open mic with Colely Bryce And that's on any
podcasting any.

Speaker 1 (01:26:29):
How often do you do new episodes?

Speaker 2 (01:26:31):
I don't know. I just started for the Billy Hector
thing and now I'm in the podcast business. Wait, what
are you doing later?

Speaker 8 (01:26:36):
You want to do it?

Speaker 2 (01:26:37):
You want to be on my show next?

Speaker 1 (01:26:40):
I actually probably about seven eight years ago now, maybe
ten at the most years ago. Now, no, it would
have been yeah maybe I actually had Billy Hector on
this program and he brought his nephew with him. Oh cool,
who at the time was only like ten or twelve
years old. Uh, but the kid was incredible, all bad.

(01:27:03):
That's like wow, Billy's always an interesting character.

Speaker 2 (01:27:07):
As for sure, he's inimitable, but I'll tell you what,
he can still bust up a strat like nobody's business.

Speaker 1 (01:27:14):
He's Joe. Weimer was just telling me, Uh, did you
you knew Alvis? Right? Yes?

Speaker 2 (01:27:19):
Yeah, I I well, I knew him, but I was
acquainted with him. I wasn't friends with him. I didn't
suffer the loss that so many people did. He was
very beloved character.

Speaker 1 (01:27:28):
Al and I were in about a half a dozen
bands together, and he was you. You're right, he was
a character. He really was quirky, but he would play
with anybody nobody was. You know, even if even if
he knew you were not that much of a talent,
he would treat you like you were the greatest talent
on the planet. Yeah, he's just that kind of person.

(01:27:49):
So uh, Alvis Uh. I interviewed Wimer for an Alvis
tribute I did a couple of weeks ago in here,
and Wimer was saying how she was never really taken
seriously by the Asbury Park community as far as if

(01:28:10):
she tried to do anything other than blues music. So
she's like, I thought, well, I'm going to learn how
to play guitar, and I'm going to learn from the best.
So she went to like Sonny Ken, there you go,
and she went to Billy Hector and she went, I
can't remember who the third guy was that she went to,
but she said Billy Hector was the only one that

(01:28:31):
threw her out. Billy Hector said to her, you don't
need you don't need to learn how to play guitar.
You need to learn how to practice. Get out of
here until you can practice at least a half hour
day and then come back and see me. I bet
she said, yeah, yep, And then she started taking lessons
I think with Sonny Ken after that, and you know,

(01:28:52):
now she can play you know, leads and everything else.

Speaker 2 (01:28:56):
Yeah, and she's got definitely correct.

Speaker 1 (01:29:01):
So out of everything you've done, and anybody who's listening
to this can can tell you've done a lot, is
there something an area of it that you found to
really be your sweet spot, your favorite, your niche I mean,

(01:29:22):
you're a musician, so you're still doing that. You did
the whole you know, the engineering thing and the archiving
and and you know, I mean, what is it for
Colely Brice.

Speaker 2 (01:29:34):
That how much time we got left.

Speaker 1 (01:29:36):
Yeah, she just gave me the five fingers.

Speaker 2 (01:29:39):
Play that last song. When I sit down with an
acoustic guitar and I sing, I've learned to just love
the simplicity of a good song and singing again. And
it's a good way to close. This is just me
singing onto my iPhone. I do a lot of cover
gigs now, and I really love falling in love with
music again. And I'll like kind of just poke round

(01:29:59):
for songs and I'll find the lead sheet online and
then I'll kind of do a rough version on my
phone sitting up in my I live in a coop
and I can see the bay in the ocean in
a family home that my grandfather built many years ago
in La Vollette, and I'll just look at the waves
and just kind of nibble on tunes. This is when
I just recently added to my cover repertoire. It's a

(01:30:22):
beachy song, tell us somebout it, And this one's going
out that this one's going out to my fiance Maura McCormack.

Speaker 1 (01:30:31):
Lindya here, this.

Speaker 4 (01:30:47):
Show only.

Speaker 2 (01:31:00):
Loved be.

Speaker 3 (01:31:03):
To love with you.

Speaker 4 (01:31:07):
Live, and that's away. Everybody says, too.

Speaker 2 (01:31:21):
Little thing, what does bring?

Speaker 4 (01:31:31):
They've only got you ain't got.

Speaker 13 (01:31:42):
You know.

Speaker 4 (01:31:45):
What it is like like, babe, you don't know what
is live.

Speaker 15 (01:31:54):
To love somebody, to love somebody?

Speaker 8 (01:32:01):
We're lovely.

Speaker 4 (01:32:20):
In my brain. See your face.

Speaker 15 (01:32:25):
Again, you know my frame of mind. You gotta be supplied.

Speaker 13 (01:32:40):
And I'm loved.

Speaker 8 (01:32:43):
So severe.

Speaker 10 (01:32:47):
I'm a maid.

Speaker 4 (01:32:50):
Get to see that.

Speaker 9 (01:32:52):
I am.

Speaker 4 (01:32:55):
A little breathe for you. What good does it do.

Speaker 8 (01:33:06):
Any who.

Speaker 4 (01:33:09):
Ain't got s big?

Speaker 3 (01:33:17):
You don't know.

Speaker 8 (01:33:19):
What is I had?

Speaker 16 (01:33:23):
Maybe you don't know what to fly to love somebody,
love somebody?

Speaker 8 (01:33:35):
We all love.

Speaker 3 (01:33:43):
You don't know.

Speaker 4 (01:33:46):
Butterfly, babe, you don't know what it is a live
to love somebody lovesod We love you.

Speaker 8 (01:34:08):
You don't know what was loud leave.

Speaker 15 (01:34:15):
You don't know what is live.

Speaker 4 (01:34:21):
Love somebody love somebody.

Speaker 1 (01:34:31):
Well that's such a classic tune.

Speaker 2 (01:34:46):
Yeah, no, I think I saw a YouTube clip or something.
I was like, damn, I forgot about that. That's what
I like to do. I like when I'm like Cruiser
looking for new tunes to sing at bar gigs and stuff,
just like find that old Dopamine hit and see if
I can find myself in that song. And uh, yeah,
it was a recent one. I decided to add to
the setlist.

Speaker 1 (01:35:06):
I remember one night I was a new parent so
to speak. My son was almost three and my daughter
was just born, and she was fussing, and it was
the weekend, so it was my turn to get up
with the kids. And we used to keep a radio

(01:35:28):
one O two nine out of Philly before it became classic.

Speaker 2 (01:35:31):
Rock, was smooth jazz, okay, and we used to keep
that on.

Speaker 1 (01:35:38):
Well they were, they went through this transition phase between
classic rock and smooth jazz where they were like yacht rock,
the type of deal. And so I recall, you know,
we would keep that on to kind of just help
her get to sleep. And I recall going in and

(01:35:59):
just staring at her, thinking, my god, I got a
little girl, now, you know, my son and now I
got a little girl. And that song came on the radio.
Oh cool, and here I am whatever the heck. I
was thirty two years old at the time, you know,
to love somebody the way I love you, And I'm
staring at this little bundle of heaven, you know, and

(01:36:21):
I guess what, No, never one anyway, And here I am,
And now I got two years streaming down my face
because I'm like, you know, wow, you.

Speaker 2 (01:36:31):
Know which only makes sense because we're literally in heaven,
because this is where Angel rehearses.

Speaker 1 (01:36:37):
Correct, correct, that's right here, that Charlie, that's right.

Speaker 2 (01:36:42):
I often wonder what the world would have been like
if of the two bands signed to Castle Blanka by
Neil Bogert Kiss An Angel. Would it be like a
nicer world if they're the ones that got that bag right?

Speaker 3 (01:36:55):
Like?

Speaker 2 (01:36:56):
Could things be different? I don't know things I think
about At three a m.

Speaker 1 (01:37:00):
There you go, well, Coy, thanks so much man for
making a trip.

Speaker 2 (01:37:04):
Thank you. I I was so grateful to be able
to share a part of my story and see you
again and to meet you.

Speaker 1 (01:37:09):
And it's been a long time since.

Speaker 2 (01:37:13):
Hopefully it'll be sooner, I hope, so fantastic. Come back
anytime man.

Speaker 1 (01:37:18):
Next week. I think we have Alexander Simone. Yeah, I
guess it's week coming back in so and who that.
I don't know if he's got who that or not.
This might be a solo thing. I'm not sure.

Speaker 2 (01:37:30):
We'll have to We'll have to get on that Coy again.
Thank you man, Thank you, honor privilege. So anyone's got
Coleman and their name is all right, man, that's right?

Speaker 1 (01:37:42):
Until next week

Speaker 2 (01:37:45):
ROP

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