June 29, 2025 • 28 mins
Lawrence Gowan, Styx's keyboardist extraordinaire, returns to the podcast! We'll dive into the "Brotherhood of Rock Tour," their latest album "Circling From Above," and his experiences with the band. Join us for a lively discussion featuring great music, touring partners Don Felder and Kevin Cronin, eclectic Oregon lodging, Cleveland's WMMS, and much more!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome, welcome, welcome. Thank you so much for joining me
here in my little corner of the world. Over do you.
Thank you so much for tuning into this podcast, whether
you're watching me on YouTube or you're downloading this thing
on iHeartRadio, Spotify, Apple Podcasts, or wherever you get those
lovely podcasts. Thank you so much for joining me. Nice
(00:23):
hot summer as it always is here in the southeastern
United States and the atl metro region. We are just
jamming along here like we always do every single summer.
It's just hard to believe that we had cool temperatures
at one time. It's just really almost impossible to believe
that when we get into the thick of the summer
(00:45):
and these AC units are churning along and tons of
condensation is coming out of them like crazy, no matter
where you go. You know, you can walk around a
shopping center or something like that when you're getting like, well, like,
where's the rain coming from? No rain, it's the condensation
coming out of the AC units that are chugging along
trying to keep people somewhat cool as we are just
(01:08):
trying so hard to beat the heat. It's just really
really tough. But enough about the heat and the horrible
sun that really can practically almost kill us sometimes it's
just so intense down here. But anyway, I have a
great episode this week here at the end of June,
at twenty twenty five, I speak again with the keyboardists
(01:30):
from Styx, Lawrence Gowen, Goin Gowen and always want to
get those pronunciations right, goin', goin'. I think that's it. Yeah,
I never really mentioned their names when I speak with them,
but what a wonderful keyboardist and does so much for
the band's sticks. They are traveling across the Fruited Plain,
(01:51):
like so many other acts, hitting these outdoor amphitheaters across
really the eastern part. As we're heading into July, they
were out west as I was speaking with Lawrence who
was over there in Oregon, and they're just rocking it.
They have a great new album out there and is
just I highly recommend it. Go out there and get it,
(02:12):
go to their website or wherever you get your music.
Stix has another new album. They are still producing great
new stuff. Of course, you're going to get the hits
when you go to see them live and most shows
I believe it's Kevin Cronin from Ario Speedwagon who will
be joining them, And basically there's a music festivals with
(02:37):
all these guys. And Don Felder, who was in a
band called the Eagles, very instrumental in their classic Hotel
California phase there with that double neck guitar. The guy's amazing.
He had this great single out many moons ago called
heavy Metal. I'm sure he plays that as well. And
(02:57):
got to go out there and check them out, and
Deaths so much stuff. Does his own take on Hotel California.
Does an amazing job as always, he's just incredible talent.
But Sticks, Wow, I love talking with Lawrence. He is amazing,
just a really really great guy. And I did a
phoner conversation with him a while ago one of my
(03:20):
podcast if you want to check that out. But this
time we see him live on camera. Great guy. I
had a great time speaking with Lawrence. So when you
get a chance, go out there and see Sticks with
Kevin Cronin Arios, Kevin Cronin's Ario Speedwagon. You know how
it is with the whole legal crap. You know, these
(03:40):
people go on and on. Anyhow, enjoy Bob, good afternoon.
How you doing.
Speaker 2 (03:48):
I'm doing fantastic.
Speaker 1 (03:50):
How are you doing great? Great, little bit humid and
gross here as we call it here in the Atlanta
metro area. Well, yeah, right, nothing like what we grew
up with. I you know, we were talking a few
years ago. I grew up in Ohio and they could
briefly get like this. But I believe you're from Canada.
Speaker 2 (04:13):
Yeah, we're probably on the same parallel in Toronto.
Speaker 1 (04:18):
I grew up in Cleveland.
Speaker 2 (04:20):
Yeah, so we're just basically we're like this. Yeah.
Speaker 1 (04:23):
Yeah. I used to love going up to Toronto. It
was just so unusual, great sites, great food, what a
what a good city it is.
Speaker 2 (04:32):
Well, I love I love going to Cleveland, So that's
that's another great thing. Good.
Speaker 1 (04:36):
Yeah, yeah, and what a history Cleveland has. I just
remember growing up there and just you know, this love
of rock and roll and oh gosh, this guy named
kid Leo. I don't know if you were familiar with him.
Back at the old w MMSS it was a big
station there in Cleveland, many moons.
Speaker 3 (04:52):
I know WMS because I actually did their their lunchtime
concert once. They had these live concerts in the eighties.
In nineteen eighty five, it was like a one hour
live which is amazing.
Speaker 2 (05:07):
You go on there. I had I had a song
that although it was on.
Speaker 3 (05:10):
Import, it was got into the top twenty in Cleveland
and WM my Master was championing it. And yeah, I
got great memories there. I opened for Tears for Fears
and for Foreigner there on Foreigner four, that was the
album No No Asian Provocateur.
Speaker 1 (05:29):
I think it was after that with I Want to
Know What Love Is?
Speaker 3 (05:31):
Yeah, nineteen eighty yeah, yeah, yeah, that was a rich
Richfield Coliseum.
Speaker 1 (05:36):
Oh, the old Richfield Coliseum. Many memories there, Yes, saw
big bands there as well. Yeah, and you're off to
Blossom later this summer in Cuyahoga Falls, which is well
sort of south of Cleveland.
Speaker 2 (05:48):
But yeah, yeah, well.
Speaker 3 (05:49):
I'm well familiar with that venue because we've we did
a live record there, actually, the Contemporary Youth Orchestra in
two thousand and six, I believe it was, and Blossom
one of my that's one of my favorite amphitheaters because
it's you know, it's.
Speaker 1 (06:05):
Made out of wood, made for music. Finally, you know,
like you go to these arenas and yeah, absolutely great
memories there. And here in Atlanta we have a lot
of great amphitheaters like a Maris amphitheater. So I hope
to see you there this summer as well. But you
are in the midst of a tour and this is exciting.
(06:26):
Stix just keeps going. It's just amazing. You guys are
so creative, and you have a great newel album that's
coming out while you're touring.
Speaker 3 (06:35):
And the album is called Circaly From Above. We have
from the start of the tour, which started June when
you wanted no.
Speaker 1 (06:42):
Sorry, it's probably in May, I think was in.
Speaker 3 (06:46):
Come on, yeah, and we've made the album available at
the at the shows, Bob, I got to announce something.
Speaker 2 (06:54):
This is this is a very unusual hotel. I'm calling
you from today. This is a very rustic place. Look
at this, Look at this.
Speaker 1 (07:00):
Oh that is so cool.
Speaker 2 (07:01):
It is very cool. It's this whole rustic feeling.
Speaker 3 (07:04):
And I think this guy, that guy there, I think
I think he might have built this hotel. And they obviously,
you know, they saved a lot of electric light bulbs.
I'm actually calling you from from the year nineteen seventy
six right now. I traveled forward and I've just discovered
this amazing thing on a laptop computer and I'll talk
(07:25):
to you later.
Speaker 2 (07:26):
Mom.
Speaker 1 (07:28):
I know the old land lines, you know, that's how
I got my my professional job, and I moved here
to Atlanta. I started working with Turner Broadcasting Systems. But
I did my interview over the phone. People thought there
was nuts on a rotary.
Speaker 2 (07:42):
Yeah, yeah, exactly, Yeah, I know. I yeah.
Speaker 3 (07:46):
It's amazing when you when you look at an old
piece of technology.
Speaker 2 (07:49):
Well I think it's like a redone one. Yeah.
Speaker 3 (07:52):
Just the memories that suddenly evokes are just instantaneous. That
especially when it comes to something that is related to
your work.
Speaker 1 (08:01):
Oh yeah, absolutely. And then you know, as a recording artist,
you go back to those days of what four track,
eight track, it's like, you know, you like the analog
feel and the sound and the way that evolved the not.
Speaker 3 (08:13):
Just someone explained it recently. I've watched a little YouTube
clip that it goes beyond the sound. It's the actual
practice of how you interacted with these machines, you know,
because they're a electromagnetic I guess for the most part.
And how how that is so that contrast so dramatically,
(08:36):
so starkly with with what we interact with now in
the digital age. And you know, like us doing the
Zoom call. I never knew what this was until four years.
Speaker 1 (08:45):
Ago, exactly. I know this has revolutionized everything. I was
able to do this podcast because of the pandemic and
then zoom just blew up yep exactly. Yeah, yeah, that's
just I was on YouTube the other day this guy
named Dave Rosenthal. Are you familiar with Dave, who's Billy Joel's. Yeah,
(09:05):
he's Billy Joel's music director. And oh yes, of course,
of course that's on keyboard. And they got into the
nitty gritty because your keyboard artist, and they were just
showing his setup and I'm just like completely amazed at
all the stuff, the mood, and they're really really getting
into it. He did a tour with a guy from
Keyboard Magazine. It's just really incredible.
Speaker 2 (09:26):
Yeah, I've done a similar thing.
Speaker 3 (09:28):
I I use all the analog gear I've you know,
I have had to repurchase some of it that I
got rid of way back when. But when we're recording
for Sticks Records, I just I use all the old,
clunky analog stuff that I have ut at the studio
in Toronto. I don't take that stuff on the road
(09:50):
because it's so volatile, especially in the tuning department. That's
where the digital stuff has really been a great boon.
Speaker 2 (09:58):
Is that is that? You know? It's it's far more reliable.
Oh my god. Luckily there's lots of wood to touch
around this hotel.
Speaker 1 (10:05):
Yeah. Yeah, so you're up in is it Oregon?
Speaker 2 (10:08):
And yeah, we're in We're in Bend, Oregon. Yeah.
Speaker 1 (10:10):
Yeah, you gotta say Oregon just right. That's very Everybody's
got their own ways of pronouncing things.
Speaker 2 (10:16):
We stay Oregon in Canada.
Speaker 1 (10:19):
Yeah, and talk about wonderful weather and a great culture
up on the northwest coast over there.
Speaker 2 (10:26):
Yeah, it is. That's a This is one of the nicest.
Speaker 3 (10:30):
I mean, whenever I'm here, it's usually the sunshine, clear
skies and and but people here will generally tell you,
oh no, it rains like one hundred and fifty days
a year. I have a feeling they're just saying that
to kind of keep people away.
Speaker 1 (10:44):
Smart smart and like Atlanta, where like half the world
moved here. I've seen it over all these decades. It's
just oh my gosh, please, we don't have that much
water here.
Speaker 2 (10:56):
Except in the air.
Speaker 1 (10:59):
Yeah, to the humidity, it's just like yeah, and all
the condensation from the air conditioners that were constantly cranking here.
Speaker 3 (11:07):
Great musical center though, Atlanta, that's where our management is based.
Speaker 1 (11:10):
Yeah, yeah, a lot of great history here too. I
really liked talking with the guys from Collective Soul. They
played in Eris Bank Amphitheater here quite a bit. So yeah, yeah,
it's really good. But putting this album together, you're very
involved with writing. How's that coming along after so many years?
(11:30):
How does that process come together?
Speaker 3 (11:33):
Really, I'm going to say, completely unbiased opinion, it's coming
together really really well. Honestly, when I first joined Sticks
twenty six years ago, when we were doing our first
album we started recording in two thousand and two, we
all wrote the songs individually, and there weren't really there
might have been a couple of co writes on there
(11:54):
between Tommy and j Y as I recall, but we
wrote the songs individually, although we split the publishing equally
among the band back then. But when we took a
long hiatus from going to the recording studio and when
we came back again in twenty fourteen to begin working
on what eventually became The Mission that was released in
(12:15):
twenty seventeen. That's where we began to actively co write
because the new fellow that came into the picture then
Willy Vankovic, who was now a member of the band as.
Speaker 2 (12:27):
Our producer at that time.
Speaker 3 (12:29):
He was highly encouraging on the blending and mixing of
ideas within songs, and luckily I'd had a lot of
experience with that prior to my joining Sticks in the
nineteen nineties.
Speaker 2 (12:42):
I'd co written on my solo records with Eddie Schwartz.
Speaker 3 (12:47):
You know who wrote hit Me with Your Best Shot
for Past, Pat Benatar, Jim Vallence of course, who wrote
Tons with Brian Adams and a few others and anyway
and Aerosmith, and so I was. I was basically I
kind of pretty well versed in it, you know. But
(13:08):
when we discovered, you know, what the blending of musical ideas,
what the results could be from that, that really got
us leaning forward and leaning into it and realizing, these
are nice surprises that are coming up, and there's there's
a there's a hearkening back to the to the to
the classic rock days of Sticks in the seventies, And
(13:33):
at least that was from Tommy Shaw's perspective and then
we began to record as we've just previously previously been
discussing there with the old analog gear and all of
us in the studio together and going through the making
of a record as if it was nineteen as if
this phone was still in existence.
Speaker 1 (13:49):
Yeah, I exactly. Yeah, And you.
Speaker 3 (13:52):
Know, we decided that's how we're going to make records
if we ever get to make another one. So the
mission was successful enough that we began to work on
Crashing the Crown.
Speaker 2 (14:01):
Crashing the Crown.
Speaker 3 (14:02):
Got to number one on the Billboard Rock Album chart,
so that immediately kind of meant that we were on
the right path and to some degree, and we started
working on Circling from Above, which is the new record
this year in twenty twenty five.
Speaker 1 (14:17):
Yeah, Circling from Above, And there's just so much inspiration
there and you lean into it. I feel like I'm
at times it's conjuring up memories of discovering. Yes, I
just feel so much of that in there.
Speaker 3 (14:30):
I'm so happy to hear you say that was a
great musical awakening for me. Back in nineteen seventy two,
one guy in my class kept insisting because I liked
Roundabout and I heard fragile, but this one guy in
my class was insisting that I did I get Close
to the Edge, and I remember I went and got
it and listened to it, and then I think I
(14:51):
listened to it every single day for at least the
next eighteen months.
Speaker 2 (14:57):
It had.
Speaker 3 (14:57):
Yeah, So if anyone says that the new Sticks record
that's surfing from evokes feelings of discovering Close to the Edge,
or any.
Speaker 2 (15:05):
Yes album for that matter, you put a big smile
on my face.
Speaker 1 (15:10):
Oh my gosh. Yeah. And it's a nice tribute, and
believe me, you do it in your own original way.
This isn't like, oh, somebody's trying to sing like John Anderson.
Speaker 2 (15:18):
Oh I know.
Speaker 3 (15:19):
I mean I had John Anderson's saying on one of
my solo records as well. So it's funny because it's
funny to say that because he actually commented back when
we did that.
Speaker 2 (15:30):
There's a song called Moonlight Desires He's saying on and
he said, Wow, our voices blend really well.
Speaker 3 (15:36):
And I said that's probably because I was singing along
with you in my in my bedroom at home, you know,
as a teenager and trying to harmonize. So there's probably
I probably got some practice in there. No, I think
what you're referring to there, Bob, especially is the fact
that we unabashedly draw from that that classic rock era,
(15:58):
particularly of the seventies, because we were such fans not
only of Stax music, but of you know, Queen and
Pink Floyd and Yes and Genesis for sure, Emersleg and Palmer,
these bands, Jeff Martel, these bands really informed us so
much and gave us the palette from which to draw.
Speaker 2 (16:18):
So, you know, periodically throughout you know.
Speaker 3 (16:21):
The making of this record and the last two, we
would you know, suddenly refer to, you know, a section
of something and say we want to let's go for
what they went for here. You know, eventually it doesn't
sound any anything like them really in reality, but the
instrumentation can be very similar because we're using the seventies
technology and the intent is sort of in line with
(16:46):
that with that era.
Speaker 1 (16:48):
Yeah, you could really feel it, and it's clear as
a track that really comes to mind. If anybody gets
to hear this new album, I really highly recommend getting
this album. But it's clear it's got your keyboard. It's
like very very very prominent in that what instrument is
starting that track off. And this is all obviously people
who were really listening to this. I listened to this,
(17:08):
and you know, you can't just listen to it once.
You gotta hit that button again.
Speaker 3 (17:13):
Yeah, I'm glad to hear you say that it is
a cohesive work. You know, some people think it's conceptual.
Speaker 2 (17:19):
It's not.
Speaker 3 (17:20):
Usually the concept arrived later in the listener's mind. But
it's a cohesive group of songs encircling from above. And
it's clear we have the little harpsichord figure.
Speaker 2 (17:33):
At the beginning. And then.
Speaker 3 (17:36):
It's funny because I got the chorus of the song first,
that's what I heard. I heard that Tommy and Will
cobbled that together, and I took the recording of that
and then thought, okay, this needs a really contrasting verse.
So I came up with the verses, and then your
fingers crossed all the time hoping that they're going to
like it and that it's going to.
Speaker 2 (17:57):
Fit in really well, which they did, you know.
Speaker 3 (18:00):
So it's very contrasting with the chorus, which is a
very explosive chorus and a very contemplative verse that they
kind of sets it up to my mind and I
used on there. I have an old I think it
was a CP seventy electric piano that and that's underlying
most of the most of the song there in the
(18:24):
verses particularly that's it. That's a piano that people would
know from the Genesis or Peter Gabriel days. Trying to
think Keen, the band Keen that came up two thousand,
they made heavy use of that of that electric piano,
the CP seventy it's called. So that's the main instrument
that I used on there, trying to think of what
where Then the bridge of course, that's got a whole
(18:46):
separate thing for the vocally appians to really take off.
Speaker 2 (18:50):
Uh oh.
Speaker 3 (18:52):
And a little bit of distorted whirlitzer, which is an
old keyboard that was originally used by Ray Charles the
first I'd ever heard is it, But Billy Preston played
a lot of roads there as well. So yeah, those
are the keyboards on It's clear and yeah, we actually
at the moment we're using it as our at the
(19:12):
finale of the shows.
Speaker 2 (19:13):
That we're doing this summer.
Speaker 3 (19:14):
That's kind of our our take the bow music that's
got that comes on after we finished with mister Roboto
and renegade.
Speaker 1 (19:22):
Yeah, how did the subtless come about? I mean, obviously
people are paying to hear the hits, but you want
to mix in some of the new stuff in there
in the recent new stuff, Yeah, you gotta do it.
Speaker 3 (19:31):
So this year, this for this summer, we well beginning
of what we do. We've been done a residency in
Las Vegas for the last seven years, I believe, and sorry,
I can't turn these new notifications off. Oh and we
we played The Grand Illusion in its entirety, which we've
done idea of that in twenty ten, and it just
(19:55):
it went over so well.
Speaker 2 (19:57):
When people, you know, when they hear.
Speaker 3 (19:58):
The album and it's entirety beginning to end, you've got
you know, you've won them by the time you've done
that first forty minutes. And we play it faithfully to
how the record the same order. We try to even
keep the spaces between songs as tight as possible, just
like you know, so it really works well. We don't
talk between the songs, and I think we play the
first forty minutes of the show just the Grand Lusion.
(20:21):
Then we do a collection of hits, which you know
we've been rock in the Paradise and Gewish Tie my hands, Lady.
Then we throw in the brand new son Build and Destroy,
which we've got great video content for it kind of
goes behind us on stage, so it's it's it's very intense,
and then we eventually lead up to the Best of Times,
(20:42):
Blue Color Man and the Encore as I just mentioned,
and that's I think this is the best set we've
ever put together, quite honestly, I really do.
Speaker 1 (20:53):
Yeah, and you're sharing the bill this summer too, so yeah,
we go out there.
Speaker 3 (20:58):
Yeah, Tholls of ours that have been with us for
several years, Don Felder of the Eagles of course, so
you've got the night starts off and usually around seven
o'clock with Don playing the hits of the Eagles that
he was all involved in the Union, one of the
writers on Hotel California. And then we have a band
that has all the members of Ario Speedwagon except for
(21:20):
two that I always get to it with.
Speaker 2 (21:23):
It's called Kevin Crone and the Music of Ario Speedwagon.
Speaker 3 (21:25):
So it's funny because I look, you know, Kevin was
an Ario for well over half a century. David Motto
has been in there for I don't know forty years,
and Brian hit same thing. So it's funny that you
know they're going through their legal situation right now, but
it's called Kevin Cronin and the music of Ario Speedwagon
and they're playing high in fidelity in its entirety. So
(21:46):
it's quite a night of music. I mean, you know,
you've got four hours in total of songs that everyone
knows and hopefully they're getting to know building destroy as well.
Speaker 1 (21:56):
Oh, it's great to have somebody start off with the
Eagles classics and so part of that.
Speaker 2 (22:02):
That certainly sets that sets the tone for sure.
Speaker 1 (22:05):
Yeah, for those who followed the Eagles all those years.
The double neck guitar, he's the guy, he's just.
Speaker 2 (22:12):
And he brings that out. He brings that out for California,
the white double neck SG.
Speaker 1 (22:18):
Yeah, Yeah, absolutely incredible. It's just a great evening of
a lot of amazing music, classic rock, and you guys
are still doing it, making very good new albums. It's
got to and I love that. You know, you have
an actual LP that has got great artwork with it
as well. You have some real masters always did with
(22:39):
sticks and their logo and all the artwork that comes
with those packages.
Speaker 2 (22:44):
I'm really glad you point that out.
Speaker 3 (22:45):
That is one of the things that you know, when
I came into the band, that's one of the things
that I loved is that all their album covers had
a very distinctive look, artistically done and always a little
twist of whimsy in there.
Speaker 2 (22:59):
So we've tried to kind of, you know, whenever we're.
Speaker 3 (23:03):
The artists are coming up with the album cover, you
know that that's my little part that I that I
continue to kind of push forward, is something whimsical needs
to be in there as well. I love that with
The Grand Illusion, I obviously loved it with Pieces of Eight.
One of the most brilliant album covers I think was
Hypnosis was the company that did that, and and I
(23:24):
also say Paradise Theater and and kil Roy was here.
So the Mission had the coin floating, you know, and
out of space, you know, the Mission coin. The Crash
of the Crown had that incredible natural hole that had
been caused by some vortex in the snow and then
(23:45):
but that that broke through into it. There's a at
the very center of it. You can see if you
look closely, you'll see there's a woman lying on you know,
a floating mattress in the middle of a pool.
Speaker 2 (23:56):
So I love that.
Speaker 3 (23:57):
You know, you had to look closely to see what
was in the middle of this whole thing. And on
this album cover, of course the Starlings have formed one
giant Starling after they've devoured a the satellite dish. You know,
it's basically there's a lot of songs record that show
that nature ultimately will be the will be the victor.
As we all know, it's a foregone conclusion, but we
(24:18):
basically need to remind ourselves of that, and musically it's
it's a good theme to go after.
Speaker 1 (24:23):
Yeah, great band. You guys really get along very well.
It's like a great team. Got Tommy Shaw, James Young,
Just Ye new members as well, good Tommy.
Speaker 3 (24:34):
Shaw, James Young, Chuck Pinazzo, and then of course Todd
Sircerman has been with us since well, with Stix since
nineteen ninety six.
Speaker 2 (24:42):
I joined in ninety nine. Will came in.
Speaker 3 (24:46):
Will actually came in a long longer time ago than
people realized because of the production et cetera. He's actually
been around it for about fifteen years because it started
with he and Tommy working on a solo Tommy Shaw
record and then just continued forward and my brother Terry,
who joined the band just last year and has been
a tremendous edition, I have to say, but don't tell
(25:07):
them that.
Speaker 1 (25:09):
The upright bass. Hey, yeah, it's completely Oh.
Speaker 2 (25:12):
Yeah, yeah, you're right on.
Speaker 3 (25:14):
There's a song called Blue Eyed Raven on this record,
which a little bit it's more of a folksy type
of Tommy Shaw song akin to somewhat Boat on the River.
And Terry he played the upright bass on that one.
To see that big thing come out in the studio
in Nashville.
Speaker 2 (25:33):
And yeah, so.
Speaker 3 (25:36):
We do get along because we have We still play.
I think we're going to play ninety two shows this year.
I believe it is the number as close to one
hunter as possible. And we we end so many nights
of the year end with thousands of people on their
feet in front of us, with giant smiles in their faces,
and we're kind of linked hands, and it's it's hard
not to get along with people who are having that
(25:57):
shared experience in a musical of a great rock show.
Speaker 2 (26:02):
And we we do value it very highly.
Speaker 1 (26:06):
Yeah, you know you've done your job when people can
come and you know, get away from life's hassles and
go down memory Lane for four hours. That's amazing.
Speaker 3 (26:16):
It's that and it's also wonderful to see so many
people in absolute agreement.
Speaker 1 (26:22):
Yeah, yeah, you know, and music I just.
Speaker 2 (26:25):
Has that profound effect on everyone included.
Speaker 1 (26:28):
Yeah, it's an inspiring to see performers after all these decades,
still creating, still getting out there and doing what you
do best, and you never sounded better. It's just incredible
every day love. Yeah, absolutely, I really appreciate you stopping by.
It's always fun. Sticks on the road this summer of
twenty twenty five. Keep going. Yes, it's fantastic.
Speaker 3 (26:53):
Fifty three years into the band's existence and we're still
loving it.
Speaker 1 (26:57):
Thank you, absolutely, best to wish on the road. Everybody,
stay safe and thank you for joining me.
Speaker 2 (27:04):
Thank you, Bob, and thank.
Speaker 3 (27:06):
You to this man who obviously put this hotel together
for his uniform.
Speaker 1 (27:10):
Yeah, I'm going to just.
Speaker 3 (27:12):
One more time to show you just just how I antiquated.
This whole thing is great talking about.
Speaker 1 (27:18):
And it still works.
Speaker 2 (27:21):
Sweet, it's completely dead.
Speaker 1 (27:23):
Oh dah, that's a nice piece. Okay, man, have a
good one and take care to talk to you. Great
cheersvide wasn't that fun? I really had a good time.
Lawrence is just a fantastic artist, good guy. Best wishes
on that tour as they chug along through here in
twenty twenty five, and I'll see you all soon. Have
(27:47):
a good one. Thanks for tuning in, and thanks for
downloading this thing or watching me on YouTube. Give me
all the stars you can give me. I guess on
Apple podcasts. I haven't really ever looked into that too much,
but have a good one. Take care,
Welcome, welcome, welcome. Thank you so much for joining me
here in my little corner of the world. Over do you.
Thank you so much for tuning into this podcast, whether
you're watching me on YouTube or you're downloading this thing
on iHeartRadio, Spotify, Apple Podcasts, or wherever you get those
lovely podcasts. Thank you so much for joining me. Nice
(00:23):
hot summer as it always is here in the southeastern
United States and the atl metro region. We are just
jamming along here like we always do every single summer.
It's just hard to believe that we had cool temperatures
at one time. It's just really almost impossible to believe
that when we get into the thick of the summer
(00:45):
and these AC units are churning along and tons of
condensation is coming out of them like crazy, no matter
where you go. You know, you can walk around a
shopping center or something like that when you're getting like, well, like,
where's the rain coming from? No rain, it's the condensation
coming out of the AC units that are chugging along
trying to keep people somewhat cool as we are just
(01:08):
trying so hard to beat the heat. It's just really
really tough. But enough about the heat and the horrible
sun that really can practically almost kill us sometimes it's
just so intense down here. But anyway, I have a
great episode this week here at the end of June,
at twenty twenty five, I speak again with the keyboardists
(01:30):
from Styx, Lawrence Gowen, Goin Gowen and always want to
get those pronunciations right, goin', goin'. I think that's it. Yeah,
I never really mentioned their names when I speak with them,
but what a wonderful keyboardist and does so much for
the band's sticks. They are traveling across the Fruited Plain,
(01:51):
like so many other acts, hitting these outdoor amphitheaters across
really the eastern part. As we're heading into July, they
were out west as I was speaking with Lawrence who
was over there in Oregon, and they're just rocking it.
They have a great new album out there and is
just I highly recommend it. Go out there and get it,
(02:12):
go to their website or wherever you get your music.
Stix has another new album. They are still producing great
new stuff. Of course, you're going to get the hits
when you go to see them live and most shows
I believe it's Kevin Cronin from Ario Speedwagon who will
be joining them, And basically there's a music festivals with
(02:37):
all these guys. And Don Felder, who was in a
band called the Eagles, very instrumental in their classic Hotel
California phase there with that double neck guitar. The guy's amazing.
He had this great single out many moons ago called
heavy Metal. I'm sure he plays that as well. And
(02:57):
got to go out there and check them out, and
Deaths so much stuff. Does his own take on Hotel California.
Does an amazing job as always, he's just incredible talent.
But Sticks, Wow, I love talking with Lawrence. He is amazing,
just a really really great guy. And I did a
phoner conversation with him a while ago one of my
(03:20):
podcast if you want to check that out. But this
time we see him live on camera. Great guy. I
had a great time speaking with Lawrence. So when you
get a chance, go out there and see Sticks with
Kevin Cronin Arios, Kevin Cronin's Ario Speedwagon. You know how
it is with the whole legal crap. You know, these
(03:40):
people go on and on. Anyhow, enjoy Bob, good afternoon.
How you doing.
Speaker 2 (03:48):
I'm doing fantastic.
Speaker 1 (03:50):
How are you doing great? Great, little bit humid and
gross here as we call it here in the Atlanta
metro area. Well, yeah, right, nothing like what we grew
up with. I you know, we were talking a few
years ago. I grew up in Ohio and they could
briefly get like this. But I believe you're from Canada.
Speaker 2 (04:13):
Yeah, we're probably on the same parallel in Toronto.
Speaker 1 (04:18):
I grew up in Cleveland.
Speaker 2 (04:20):
Yeah, so we're just basically we're like this. Yeah.
Speaker 1 (04:23):
Yeah. I used to love going up to Toronto. It
was just so unusual, great sites, great food, what a
what a good city it is.
Speaker 2 (04:32):
Well, I love I love going to Cleveland, So that's
that's another great thing. Good.
Speaker 1 (04:36):
Yeah, yeah, and what a history Cleveland has. I just
remember growing up there and just you know, this love
of rock and roll and oh gosh, this guy named
kid Leo. I don't know if you were familiar with him.
Back at the old w MMSS it was a big
station there in Cleveland, many moons.
Speaker 3 (04:52):
I know WMS because I actually did their their lunchtime
concert once. They had these live concerts in the eighties.
In nineteen eighty five, it was like a one hour
live which is amazing.
Speaker 2 (05:07):
You go on there. I had I had a song
that although it was on.
Speaker 3 (05:10):
Import, it was got into the top twenty in Cleveland
and WM my Master was championing it. And yeah, I
got great memories there. I opened for Tears for Fears
and for Foreigner there on Foreigner four, that was the
album No No Asian Provocateur.
Speaker 1 (05:29):
I think it was after that with I Want to
Know What Love Is?
Speaker 3 (05:31):
Yeah, nineteen eighty yeah, yeah, yeah, that was a rich
Richfield Coliseum.
Speaker 1 (05:36):
Oh, the old Richfield Coliseum. Many memories there, Yes, saw
big bands there as well. Yeah, and you're off to
Blossom later this summer in Cuyahoga Falls, which is well
sort of south of Cleveland.
Speaker 2 (05:48):
But yeah, yeah, well.
Speaker 3 (05:49):
I'm well familiar with that venue because we've we did
a live record there, actually, the Contemporary Youth Orchestra in
two thousand and six, I believe it was, and Blossom
one of my that's one of my favorite amphitheaters because
it's you know, it's.
Speaker 1 (06:05):
Made out of wood, made for music. Finally, you know,
like you go to these arenas and yeah, absolutely great
memories there. And here in Atlanta we have a lot
of great amphitheaters like a Maris amphitheater. So I hope
to see you there this summer as well. But you
are in the midst of a tour and this is exciting.
(06:26):
Stix just keeps going. It's just amazing. You guys are
so creative, and you have a great newel album that's
coming out while you're touring.
Speaker 3 (06:35):
And the album is called Circaly From Above. We have
from the start of the tour, which started June when
you wanted no.
Speaker 1 (06:42):
Sorry, it's probably in May, I think was in.
Speaker 3 (06:46):
Come on, yeah, and we've made the album available at
the at the shows, Bob, I got to announce something.
Speaker 2 (06:54):
This is this is a very unusual hotel. I'm calling
you from today. This is a very rustic place. Look
at this, Look at this.
Speaker 1 (07:00):
Oh that is so cool.
Speaker 2 (07:01):
It is very cool. It's this whole rustic feeling.
Speaker 3 (07:04):
And I think this guy, that guy there, I think
I think he might have built this hotel. And they obviously,
you know, they saved a lot of electric light bulbs.
I'm actually calling you from from the year nineteen seventy
six right now. I traveled forward and I've just discovered
this amazing thing on a laptop computer and I'll talk
(07:25):
to you later.
Speaker 2 (07:26):
Mom.
Speaker 1 (07:28):
I know the old land lines, you know, that's how
I got my my professional job, and I moved here
to Atlanta. I started working with Turner Broadcasting Systems. But
I did my interview over the phone. People thought there
was nuts on a rotary.
Speaker 2 (07:42):
Yeah, yeah, exactly, Yeah, I know. I yeah.
Speaker 3 (07:46):
It's amazing when you when you look at an old
piece of technology.
Speaker 2 (07:49):
Well I think it's like a redone one. Yeah.
Speaker 3 (07:52):
Just the memories that suddenly evokes are just instantaneous. That
especially when it comes to something that is related to
your work.
Speaker 1 (08:01):
Oh yeah, absolutely. And then you know, as a recording artist,
you go back to those days of what four track,
eight track, it's like, you know, you like the analog
feel and the sound and the way that evolved the not.
Speaker 3 (08:13):
Just someone explained it recently. I've watched a little YouTube
clip that it goes beyond the sound. It's the actual
practice of how you interacted with these machines, you know,
because they're a electromagnetic I guess for the most part.
And how how that is so that contrast so dramatically,
(08:36):
so starkly with with what we interact with now in
the digital age. And you know, like us doing the
Zoom call. I never knew what this was until four years.
Speaker 1 (08:45):
Ago, exactly. I know this has revolutionized everything. I was
able to do this podcast because of the pandemic and
then zoom just blew up yep exactly. Yeah, yeah, that's
just I was on YouTube the other day this guy
named Dave Rosenthal. Are you familiar with Dave, who's Billy Joel's. Yeah,
(09:05):
he's Billy Joel's music director. And oh yes, of course,
of course that's on keyboard. And they got into the
nitty gritty because your keyboard artist, and they were just
showing his setup and I'm just like completely amazed at
all the stuff, the mood, and they're really really getting
into it. He did a tour with a guy from
Keyboard Magazine. It's just really incredible.
Speaker 2 (09:26):
Yeah, I've done a similar thing.
Speaker 3 (09:28):
I I use all the analog gear I've you know,
I have had to repurchase some of it that I
got rid of way back when. But when we're recording
for Sticks Records, I just I use all the old,
clunky analog stuff that I have ut at the studio
in Toronto. I don't take that stuff on the road
(09:50):
because it's so volatile, especially in the tuning department. That's
where the digital stuff has really been a great boon.
Speaker 2 (09:58):
Is that is that? You know? It's it's far more reliable.
Oh my god. Luckily there's lots of wood to touch
around this hotel.
Speaker 1 (10:05):
Yeah. Yeah, so you're up in is it Oregon?
Speaker 2 (10:08):
And yeah, we're in We're in Bend, Oregon. Yeah.
Speaker 1 (10:10):
Yeah, you gotta say Oregon just right. That's very Everybody's
got their own ways of pronouncing things.
Speaker 2 (10:16):
We stay Oregon in Canada.
Speaker 1 (10:19):
Yeah, and talk about wonderful weather and a great culture
up on the northwest coast over there.
Speaker 2 (10:26):
Yeah, it is. That's a This is one of the nicest.
Speaker 3 (10:30):
I mean, whenever I'm here, it's usually the sunshine, clear
skies and and but people here will generally tell you,
oh no, it rains like one hundred and fifty days
a year. I have a feeling they're just saying that
to kind of keep people away.
Speaker 1 (10:44):
Smart smart and like Atlanta, where like half the world
moved here. I've seen it over all these decades. It's
just oh my gosh, please, we don't have that much
water here.
Speaker 2 (10:56):
Except in the air.
Speaker 1 (10:59):
Yeah, to the humidity, it's just like yeah, and all
the condensation from the air conditioners that were constantly cranking here.
Speaker 3 (11:07):
Great musical center though, Atlanta, that's where our management is based.
Speaker 1 (11:10):
Yeah, yeah, a lot of great history here too. I
really liked talking with the guys from Collective Soul. They
played in Eris Bank Amphitheater here quite a bit. So yeah, yeah,
it's really good. But putting this album together, you're very
involved with writing. How's that coming along after so many years?
(11:30):
How does that process come together?
Speaker 3 (11:33):
Really, I'm going to say, completely unbiased opinion, it's coming
together really really well. Honestly, when I first joined Sticks
twenty six years ago, when we were doing our first
album we started recording in two thousand and two, we
all wrote the songs individually, and there weren't really there
might have been a couple of co writes on there
(11:54):
between Tommy and j Y as I recall, but we
wrote the songs individually, although we split the publishing equally
among the band back then. But when we took a
long hiatus from going to the recording studio and when
we came back again in twenty fourteen to begin working
on what eventually became The Mission that was released in
(12:15):
twenty seventeen. That's where we began to actively co write
because the new fellow that came into the picture then
Willy Vankovic, who was now a member of the band as.
Speaker 2 (12:27):
Our producer at that time.
Speaker 3 (12:29):
He was highly encouraging on the blending and mixing of
ideas within songs, and luckily I'd had a lot of
experience with that prior to my joining Sticks in the
nineteen nineties.
Speaker 2 (12:42):
I'd co written on my solo records with Eddie Schwartz.
Speaker 3 (12:47):
You know who wrote hit Me with Your Best Shot
for Past, Pat Benatar, Jim Vallence of course, who wrote
Tons with Brian Adams and a few others and anyway
and Aerosmith, and so I was. I was basically I
kind of pretty well versed in it, you know. But
(13:08):
when we discovered, you know, what the blending of musical ideas,
what the results could be from that, that really got
us leaning forward and leaning into it and realizing, these
are nice surprises that are coming up, and there's there's
a there's a hearkening back to the to the to
the classic rock days of Sticks in the seventies, And
(13:33):
at least that was from Tommy Shaw's perspective and then
we began to record as we've just previously previously been
discussing there with the old analog gear and all of
us in the studio together and going through the making
of a record as if it was nineteen as if
this phone was still in existence.
Speaker 1 (13:49):
Yeah, I exactly. Yeah, And you.
Speaker 3 (13:52):
Know, we decided that's how we're going to make records
if we ever get to make another one. So the
mission was successful enough that we began to work on
Crashing the Crown.
Speaker 2 (14:01):
Crashing the Crown.
Speaker 3 (14:02):
Got to number one on the Billboard Rock Album chart,
so that immediately kind of meant that we were on
the right path and to some degree, and we started
working on Circling from Above, which is the new record
this year in twenty twenty five.
Speaker 1 (14:17):
Yeah, Circling from Above, And there's just so much inspiration
there and you lean into it. I feel like I'm
at times it's conjuring up memories of discovering. Yes, I
just feel so much of that in there.
Speaker 3 (14:30):
I'm so happy to hear you say that was a
great musical awakening for me. Back in nineteen seventy two,
one guy in my class kept insisting because I liked
Roundabout and I heard fragile, but this one guy in
my class was insisting that I did I get Close
to the Edge, and I remember I went and got
it and listened to it, and then I think I
(14:51):
listened to it every single day for at least the
next eighteen months.
Speaker 2 (14:57):
It had.
Speaker 3 (14:57):
Yeah, So if anyone says that the new Sticks record
that's surfing from evokes feelings of discovering Close to the Edge,
or any.
Speaker 2 (15:05):
Yes album for that matter, you put a big smile
on my face.
Speaker 1 (15:10):
Oh my gosh. Yeah. And it's a nice tribute, and
believe me, you do it in your own original way.
This isn't like, oh, somebody's trying to sing like John Anderson.
Speaker 2 (15:18):
Oh I know.
Speaker 3 (15:19):
I mean I had John Anderson's saying on one of
my solo records as well. So it's funny because it's
funny to say that because he actually commented back when
we did that.
Speaker 2 (15:30):
There's a song called Moonlight Desires He's saying on and
he said, Wow, our voices blend really well.
Speaker 3 (15:36):
And I said that's probably because I was singing along
with you in my in my bedroom at home, you know,
as a teenager and trying to harmonize. So there's probably
I probably got some practice in there. No, I think
what you're referring to there, Bob, especially is the fact
that we unabashedly draw from that that classic rock era,
(15:58):
particularly of the seventies, because we were such fans not
only of Stax music, but of you know, Queen and
Pink Floyd and Yes and Genesis for sure, Emersleg and Palmer,
these bands, Jeff Martel, these bands really informed us so
much and gave us the palette from which to draw.
Speaker 2 (16:18):
So, you know, periodically throughout you know.
Speaker 3 (16:21):
The making of this record and the last two, we
would you know, suddenly refer to, you know, a section
of something and say we want to let's go for
what they went for here. You know, eventually it doesn't
sound any anything like them really in reality, but the
instrumentation can be very similar because we're using the seventies
technology and the intent is sort of in line with
(16:46):
that with that era.
Speaker 1 (16:48):
Yeah, you could really feel it, and it's clear as
a track that really comes to mind. If anybody gets
to hear this new album, I really highly recommend getting
this album. But it's clear it's got your keyboard. It's
like very very very prominent in that what instrument is
starting that track off. And this is all obviously people
who were really listening to this. I listened to this,
(17:08):
and you know, you can't just listen to it once.
You gotta hit that button again.
Speaker 3 (17:13):
Yeah, I'm glad to hear you say that it is
a cohesive work. You know, some people think it's conceptual.
Speaker 2 (17:19):
It's not.
Speaker 3 (17:20):
Usually the concept arrived later in the listener's mind. But
it's a cohesive group of songs encircling from above. And
it's clear we have the little harpsichord figure.
Speaker 2 (17:33):
At the beginning. And then.
Speaker 3 (17:36):
It's funny because I got the chorus of the song first,
that's what I heard. I heard that Tommy and Will
cobbled that together, and I took the recording of that
and then thought, okay, this needs a really contrasting verse.
So I came up with the verses, and then your
fingers crossed all the time hoping that they're going to
like it and that it's going to.
Speaker 2 (17:57):
Fit in really well, which they did, you know.
Speaker 3 (18:00):
So it's very contrasting with the chorus, which is a
very explosive chorus and a very contemplative verse that they
kind of sets it up to my mind and I
used on there. I have an old I think it
was a CP seventy electric piano that and that's underlying
most of the most of the song there in the
(18:24):
verses particularly that's it. That's a piano that people would
know from the Genesis or Peter Gabriel days. Trying to
think Keen, the band Keen that came up two thousand,
they made heavy use of that of that electric piano,
the CP seventy it's called. So that's the main instrument
that I used on there, trying to think of what
where Then the bridge of course, that's got a whole
(18:46):
separate thing for the vocally appians to really take off.
Speaker 2 (18:50):
Uh oh.
Speaker 3 (18:52):
And a little bit of distorted whirlitzer, which is an
old keyboard that was originally used by Ray Charles the
first I'd ever heard is it, But Billy Preston played
a lot of roads there as well. So yeah, those
are the keyboards on It's clear and yeah, we actually
at the moment we're using it as our at the
(19:12):
finale of the shows.
Speaker 2 (19:13):
That we're doing this summer.
Speaker 3 (19:14):
That's kind of our our take the bow music that's
got that comes on after we finished with mister Roboto
and renegade.
Speaker 1 (19:22):
Yeah, how did the subtless come about? I mean, obviously
people are paying to hear the hits, but you want
to mix in some of the new stuff in there
in the recent new stuff, Yeah, you gotta do it.
Speaker 3 (19:31):
So this year, this for this summer, we well beginning
of what we do. We've been done a residency in
Las Vegas for the last seven years, I believe, and sorry,
I can't turn these new notifications off. Oh and we
we played The Grand Illusion in its entirety, which we've
done idea of that in twenty ten, and it just
(19:55):
it went over so well.
Speaker 2 (19:57):
When people, you know, when they hear.
Speaker 3 (19:58):
The album and it's entirety beginning to end, you've got
you know, you've won them by the time you've done
that first forty minutes. And we play it faithfully to
how the record the same order. We try to even
keep the spaces between songs as tight as possible, just
like you know, so it really works well. We don't
talk between the songs, and I think we play the
first forty minutes of the show just the Grand Lusion.
(20:21):
Then we do a collection of hits, which you know
we've been rock in the Paradise and Gewish Tie my hands, Lady.
Then we throw in the brand new son Build and Destroy,
which we've got great video content for it kind of
goes behind us on stage, so it's it's it's very intense,
and then we eventually lead up to the Best of Times,
(20:42):
Blue Color Man and the Encore as I just mentioned,
and that's I think this is the best set we've
ever put together, quite honestly, I really do.
Speaker 1 (20:53):
Yeah, and you're sharing the bill this summer too, so yeah,
we go out there.
Speaker 3 (20:58):
Yeah, Tholls of ours that have been with us for
several years, Don Felder of the Eagles of course, so
you've got the night starts off and usually around seven
o'clock with Don playing the hits of the Eagles that
he was all involved in the Union, one of the
writers on Hotel California. And then we have a band
that has all the members of Ario Speedwagon except for
(21:20):
two that I always get to it with.
Speaker 2 (21:23):
It's called Kevin Crone and the Music of Ario Speedwagon.
Speaker 3 (21:25):
So it's funny because I look, you know, Kevin was
an Ario for well over half a century. David Motto
has been in there for I don't know forty years,
and Brian hit same thing. So it's funny that you
know they're going through their legal situation right now, but
it's called Kevin Cronin and the music of Ario Speedwagon
and they're playing high in fidelity in its entirety. So
(21:46):
it's quite a night of music. I mean, you know,
you've got four hours in total of songs that everyone
knows and hopefully they're getting to know building destroy as well.
Speaker 1 (21:56):
Oh, it's great to have somebody start off with the
Eagles classics and so part of that.
Speaker 2 (22:02):
That certainly sets that sets the tone for sure.
Speaker 1 (22:05):
Yeah, for those who followed the Eagles all those years.
The double neck guitar, he's the guy, he's just.
Speaker 2 (22:12):
And he brings that out. He brings that out for California,
the white double neck SG.
Speaker 1 (22:18):
Yeah, Yeah, absolutely incredible. It's just a great evening of
a lot of amazing music, classic rock, and you guys
are still doing it, making very good new albums. It's
got to and I love that. You know, you have
an actual LP that has got great artwork with it
as well. You have some real masters always did with
(22:39):
sticks and their logo and all the artwork that comes
with those packages.
Speaker 2 (22:44):
I'm really glad you point that out.
Speaker 3 (22:45):
That is one of the things that you know, when
I came into the band, that's one of the things
that I loved is that all their album covers had
a very distinctive look, artistically done and always a little
twist of whimsy in there.
Speaker 2 (22:59):
So we've tried to kind of, you know, whenever we're.
Speaker 3 (23:03):
The artists are coming up with the album cover, you
know that that's my little part that I that I
continue to kind of push forward, is something whimsical needs
to be in there as well. I love that with
The Grand Illusion, I obviously loved it with Pieces of Eight.
One of the most brilliant album covers I think was
Hypnosis was the company that did that, and and I
(23:24):
also say Paradise Theater and and kil Roy was here.
So the Mission had the coin floating, you know, and
out of space, you know, the Mission coin. The Crash
of the Crown had that incredible natural hole that had
been caused by some vortex in the snow and then
(23:45):
but that that broke through into it. There's a at
the very center of it. You can see if you
look closely, you'll see there's a woman lying on you know,
a floating mattress in the middle of a pool.
Speaker 2 (23:56):
So I love that.
Speaker 3 (23:57):
You know, you had to look closely to see what
was in the middle of this whole thing. And on
this album cover, of course the Starlings have formed one
giant Starling after they've devoured a the satellite dish. You know,
it's basically there's a lot of songs record that show
that nature ultimately will be the will be the victor.
As we all know, it's a foregone conclusion, but we
(24:18):
basically need to remind ourselves of that, and musically it's
it's a good theme to go after.
Speaker 1 (24:23):
Yeah, great band. You guys really get along very well.
It's like a great team. Got Tommy Shaw, James Young,
Just Ye new members as well, good Tommy.
Speaker 3 (24:34):
Shaw, James Young, Chuck Pinazzo, and then of course Todd
Sircerman has been with us since well, with Stix since
nineteen ninety six.
Speaker 2 (24:42):
I joined in ninety nine. Will came in.
Speaker 3 (24:46):
Will actually came in a long longer time ago than
people realized because of the production et cetera. He's actually
been around it for about fifteen years because it started
with he and Tommy working on a solo Tommy Shaw
record and then just continued forward and my brother Terry,
who joined the band just last year and has been
a tremendous edition, I have to say, but don't tell
(25:07):
them that.
Speaker 1 (25:09):
The upright bass. Hey, yeah, it's completely Oh.
Speaker 2 (25:12):
Yeah, yeah, you're right on.
Speaker 3 (25:14):
There's a song called Blue Eyed Raven on this record,
which a little bit it's more of a folksy type
of Tommy Shaw song akin to somewhat Boat on the River.
And Terry he played the upright bass on that one.
To see that big thing come out in the studio
in Nashville.
Speaker 2 (25:33):
And yeah, so.
Speaker 3 (25:36):
We do get along because we have We still play.
I think we're going to play ninety two shows this year.
I believe it is the number as close to one
hunter as possible. And we we end so many nights
of the year end with thousands of people on their
feet in front of us, with giant smiles in their faces,
and we're kind of linked hands, and it's it's hard
not to get along with people who are having that
(25:57):
shared experience in a musical of a great rock show.
Speaker 2 (26:02):
And we we do value it very highly.
Speaker 1 (26:06):
Yeah, you know you've done your job when people can
come and you know, get away from life's hassles and
go down memory Lane for four hours. That's amazing.
Speaker 3 (26:16):
It's that and it's also wonderful to see so many
people in absolute agreement.
Speaker 1 (26:22):
Yeah, yeah, you know, and music I just.
Speaker 2 (26:25):
Has that profound effect on everyone included.
Speaker 1 (26:28):
Yeah, it's an inspiring to see performers after all these decades,
still creating, still getting out there and doing what you
do best, and you never sounded better. It's just incredible
every day love. Yeah, absolutely, I really appreciate you stopping by.
It's always fun. Sticks on the road this summer of
twenty twenty five. Keep going. Yes, it's fantastic.
Speaker 3 (26:53):
Fifty three years into the band's existence and we're still
loving it.
Speaker 1 (26:57):
Thank you, absolutely, best to wish on the road. Everybody,
stay safe and thank you for joining me.
Speaker 2 (27:04):
Thank you, Bob, and thank.
Speaker 3 (27:06):
You to this man who obviously put this hotel together
for his uniform.
Speaker 1 (27:10):
Yeah, I'm going to just.
Speaker 3 (27:12):
One more time to show you just just how I antiquated.
This whole thing is great talking about.
Speaker 1 (27:18):
And it still works.
Speaker 2 (27:21):
Sweet, it's completely dead.
Speaker 1 (27:23):
Oh dah, that's a nice piece. Okay, man, have a
good one and take care to talk to you. Great
cheersvide wasn't that fun? I really had a good time.
Lawrence is just a fantastic artist, good guy. Best wishes
on that tour as they chug along through here in
twenty twenty five, and I'll see you all soon. Have
(27:47):
a good one. Thanks for tuning in, and thanks for
downloading this thing or watching me on YouTube. Give me
all the stars you can give me. I guess on
Apple podcasts. I haven't really ever looked into that too much,
but have a good one. Take care,
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