Musician Brayden Baird wants to know, “Lord, why do you do these things to me?”

Brayden Baird is a producer/studio genius who also creates his own albums. His latest is titled, “Lord, why do you do these things to me?” This talented Brooklyn-based artist joins me to talk about the new project, performing and unique stories about his childhood + especially, his dad.Stay tuned throughout our riveting chat!

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Episode Transcript

Speaker 1 (00:00):
Hey, thank you for joining me in my little corner
of the world. Over to you. I really appreciate it.
Thank you so much. Whether you are watching me on
YouTube or you are downloading me on something like Spotify
or even Amazon Music, thank you so much. This week
I am talking with a wonderful talent. This guy's amazing.

(00:23):
His name is Braden Bayard and he has a new
album out and it's just amazing. Like so many of
my guests here I have been doing, Braiden is really
into the technical aspects of sound recording and has done
a lot of producing, but he puts out his own
work as well, and he's got a nice little catalog.

(00:45):
His new album is called Lord, Why Do You Do
These Things to Me? And it's very autobiographical. We really
get into it. He's got a really interesting story about
his dad. Please listen to our episode and stay tuned.
He's got a great story about his father, and don't cheat.
Listen to our discussion. This is really awesome. We really

(01:07):
get into a lot of good stuff. He's had this
album out since mid June of this year of twenty
twenty five, as we record this, and this is just
a spectacular release. I really recommend it, really going over
a lot of the songs with him and how he
came up with the ideas and the sound quality of

(01:28):
it as well. He's a master in the studio and
a real gifted artist who has great stories to tell.
I think it is just a magnificent album. Get it
wherever you get it. Brandon Bayard B R A y
D N Bayard b A I R D. He's amazing.

(01:51):
Really check it out. And here is our lovely talk.
We talk about many many things. The great thing is
he's in New York, and in New York he is
in Brooklyn. It's kind of interesting. But let's see what
Brandon is up to here and joining me this morning.
Thank you so much for joining me. How are you doing,

(02:14):
what's going on?

Speaker 2 (02:16):
How's it going? How's it going to hear me? All right?

Speaker 1 (02:18):
Yeah, yeah, actually better than I would expect with most
of these kind of interviews done via the old zoom
or if you're on Cisco or anything like that. It's
it's interesting how that all comes about.

Speaker 2 (02:30):
So doing well, awesome, Yeah, doing very good, doing very good.
Sorry I missed that the last week. I'm glad that
we can make this work.

Speaker 1 (02:39):
Yeah, we were gonna hook up about a week ago,
and sometimes the alarm clocks don't come off. That's fine.
I've run into it. I've been doing this over five
years now, so.

Speaker 2 (02:51):
It's oh so it's nothing new to you, for sure.

Speaker 1 (02:53):
Yeah, you've run into all different types of situations no
matter what you're doing, no matter what kind of job
you're doing or anything. It's just always have to adapt.

Speaker 2 (03:02):
Of course. Of course. Yeah, I was doing with my friends.
We've been doing this thing where we've been trying to
get up and get to the studio before the sun
comes up.

Speaker 1 (03:12):
It's like a weird challenge.

Speaker 2 (03:14):
Yeah, it's been fun to try. Like last week we
did and I was operating off like two hours of
sleep and then I fell asleep in the studio and
then I woke up geeling terrible, and I was like,
get at all these text messages from different anyway, we're here.

Speaker 1 (03:28):
We're here now. When you're in the studio and you
fallen a sleeve and I mean, are they are they
charging you? Or is it just not that kind of
a thing right now?

Speaker 2 (03:38):
Where Oh well, this is my studio.

Speaker 1 (03:41):
Okay, that's good to have your own if you're using
somebody else's that's uh, yeah, they're billing you for it.

Speaker 2 (03:48):
Oh god, yeah, I would not be able to do that.

Speaker 1 (03:51):
What kind of studio setup do you have?

Speaker 2 (03:54):
You can kind of see it here. We just got
this one room. You know, I must work as a
music producer, so this is like the base of operations,
nice and producing all that stuff.

Speaker 1 (04:05):
Yeah, not to get to inside baseball and people stumble
on this kind of stuff. But you know, you can
get as niche as you want to because it's the
world wide Web. We can like have our own little
corner here where we're talking about equipment and things like
that and instruments and you know you can do a
deep dive there for sure. Yeah.

Speaker 2 (04:22):
Let me think that's see if we got our piano here.
That's one of my favorite things, the nice little sinball
for those piano geeks.

Speaker 1 (04:28):
What brand are you talking about there?

Speaker 2 (04:31):
Let's see. To be honest, someone lent it to us.

Speaker 1 (04:36):
I'm not.

Speaker 2 (04:37):
Let's see.

Speaker 1 (04:38):
That looks really nice if you're.

Speaker 2 (04:40):
Watching it on YouTube.

Speaker 1 (04:42):
Yeah, if you're watching on YouTube, you could see that
that upright behind you there. That's uh, that's interesting. Do
you have to have like a piano tech come in
there and keep tuning.

Speaker 2 (04:52):
That ideally obviously, you know, budgets are tight. But you know,
once a year someone will come in and tune it.
Right now, are one of the notes doesn't work? It
just so happens that it's like every time someone comes
in here, it's they wrote a song using that note primarily,
and it's like, all the notes, why did it have
to be the low B. I don't know that.

Speaker 1 (05:14):
I can't even imagine, you know, the pain of that.
But these days, yeah, you got keyboards and electric pianos.
I'm sure that you don't worry about those kind of things. Whatever,
we'll fix it in poe and fix it and posed
until we do it in video.

Speaker 2 (05:30):
Yeah, you got a.

Speaker 1 (05:32):
Great new album out. It's been out the summer as
we speak here in twenty twenty five, summer of twenty
twenty five, so as we're recording here in the summer
of twenty twenty five. How does this all come about?
What is the genesis of this album?

Speaker 2 (05:51):
Good question.

Speaker 1 (05:51):
Let's see, it seems very very personal. You have you're
really getting it out there, and a lot of stories
behind a lot of these tracks that I've listened to.
It's just very much from you know, gun instinct in
your personal experiences.

Speaker 2 (06:09):
Right, So I guess I mean, you know, I've made
albums for like ten years now, and I've always done
it myself, usually like at home on the computer with
a couple of friends at most, And I guess what,
twenty twenty one, I had written a batch of songs
which are this record, and I was kind of sick
of the whole studio way of making songs. As you

(06:30):
go in and then you do the drums, and then
you you time aligne the drums, and then you get
the perfect bass and you audit to all that stuff
that like is kind of standard, and I guess it
just became very grading, and so I tried to imagine
a more fun, classic way of doing a record, where
it's like people in a room interacting off of each other,
you know. So I essentially assembled this a piece band.

(06:56):
I think it's eight of like kind of my favorite
players for each instrument that I wanted. So you know,
I got like my favorite piano players. This artist Clovis Gainer.
You know, uh, this my oldest friend Nick Morelli, got
him to play bass, and we can't go. You know.
The whole track was is online, but basically I put

(07:17):
together this band and just wanted to make a record
in one day where we just like we all lent
and felt the songs. We didn't worry about wrong notes,
we didn't worry about you know, if the tempo shifted,
and yeah, just tried to capture something something that felt
real and authentic to the way I was feeling. And yeah,
and like you said, it's very personal. I felt like

(07:40):
with every song I wanted to say something that I
would be like embarrassed to show my mom or something.

Speaker 1 (07:45):
Yeah.

Speaker 2 (07:46):
Yeah, And so that's that is ultimately what happened.

Speaker 1 (07:50):
It called Lord, why do you do these things to me?
I think a lot of us could feel that way. So,
I mean, I think that's there's a connection there where
it's like I just want to get this out here
and let the world know how I'm feeling. And these
things that happen all of us we all process them differently.
And I think you know, the angle that you're getting
here is that you're really showing that, yeah, really really

(08:14):
talking about your life and the struggles because we all
go through it.

Speaker 2 (08:19):
Mm hmm.

Speaker 1 (08:20):
How does that feel getting that on record? Yeah? And
do you have any trepidation about doing it or it's
like I'm just gonna go for it.

Speaker 2 (08:30):
I mean, I was really nervous about it going into it,
for sure, but obviously, like you know, even and it's
like this, when you have a conversation with somebody, that's hard.
It's like starting the conversation is really hard. But once
you're doing it, it just feels so cathartic and I
guess it's like a release, you know. So it's like
once I was in the moment we were really playing

(08:51):
the songs, it was like it was the best day ever.
Even though the songs are so they can some of
them are kind of so heavy or angry or sad.
It was just like it was like therapy, really, except
all my friends were there.

Speaker 1 (09:07):
Yeah, therapy. I mean music is therapy no matter what.
There's always art therapy and that kind of thing that
people just work through it and you're just recording it
and organizing it and releasing it and you know that
that's the human connection there. Now, where are you actually
recording from today? What's your home base?

Speaker 2 (09:27):
Some in Brooklyn. My studio is in a neighborhood that
they call East Williamsburg. Just like yeah, it's kind of
like a new neighborhood that they've made up to raise
the rent. But it's it's basically between Bushwick and Williamsburg,
like an industrial area.

Speaker 1 (09:46):
Got the classic brown Stones there, It's got very unique architecture.
Are not too far to the Zoo. I've heard it's
pretty legendary.

Speaker 2 (09:54):
Oh the Bronx. So yeah, i'd say im about like
an hour away from the zoo if I took the tray. Yeah,
oh via the train, yeah yeah, if I have on
the train for sure, But yeah, it's nice. You know,
this this area is kind of interesting. There's like a
bunch of graffiti and they're always doing like graffiti tours,
so like it kind of feels like like, you know,
I'm in a grimy New York neighborhood, like, but then

(10:17):
you go inside and you know, it's nice. It's kind
of d I didn't know that.

Speaker 1 (10:22):
Yeah, I had been there, and it's been a while
since I've been up that way. But yeah, as opposed
to the very sanitized Times Square and how all that
change became so touristic, so you get the really New
York grittiness if you just stay on the train and
go over to Brooklyn. I think I got close, but

(10:42):
does it take a while, because I remember getting off
at a stop and they said it would take a
bit to get over to Brooklyn.

Speaker 2 (10:50):
Yeah, if I was to go from Times Square to here,
it would be like a forty five minute train ride. Yeah,
so it's kind of fun. But yeah, you know, it's grimy,
it stinks. There's like a ramen factory right outside. Oh
but it doesn't sound bad. But when it's like reason,
it's the air's thick with ramen smell, it's like it
gets to be a lot. But you know, it's part

(11:10):
of the fun.

Speaker 1 (11:12):
And you kind of refer to as now you have
a track called Light in the Tunnel, kind of chronicling
your New York experience there for sure.

Speaker 2 (11:20):
Yeah, that was I think I wrote that in the
first year I was here, just about you know, walking
like yeah, going outside, walking to the train. I think
I lived about a fifteen minute walk from the train,
so it'd be that that walk to the train is
where I originally came up with the song in my head.
You know, we're literally walking to the train alone. It's
very literal.

Speaker 1 (11:42):
Where did you come from? You say you were in
New York a certain amount of time?

Speaker 2 (11:46):
Now, Yeah, so I've been New York since twenty twenty one,
but I moved here from Burlington, Vermont. Yeah, you familiar
with Vermonodol.

Speaker 1 (11:55):
I've heard of it, Yes, I've heard. I've come close.
I was in Quebec City. Yeah, it's probably as close
as I got to that part of Vermont.

Speaker 2 (12:04):
Sure, Yeah, that's similar. It's like Randon. I think it's
about a couple hours drive from there to Burlington.

Speaker 1 (12:10):
Yeah. Yeah, it looks beautiful up that way. And I'm
always I keep saying, I'm always jealous as I'm recording
here in the summer because it's just I'm in the
Atlanta metro area and it's just oh, the heat and
the humidity this time of the year, it's just oppressive.
So I think about places like Vermont try to cool off.

Speaker 2 (12:29):
Oh, if you ever get a chance to go to
Vermont in the summertime, you really should. It's like the
Garden of Eden. But if you go in the winter,
I would prepare yourself.

Speaker 1 (12:38):
Yeah probably dank. Yeah, you pay your dues in the
winter to have nice summers.

Speaker 2 (12:44):
And the winter's nine months long, so it's like, oh,
it's a lot. I think there's a certain like attitude
in Burlington that I think is probably heavily due to
that's that grit. Like real Vermonters, you know, are like tough,
like deep Vermonters, they like you know, they lived through
their farming and they're outside of negative thirty degrees weather

(13:04):
in a flannel and it's a total it's a totally
different world.

Speaker 1 (13:10):
I would imagine. It makes you very hardy those people
in the northeast. I grew up in Cleveland, Ohio, so
I mean we was sure kind of a taste of that,
but like there, you know, we were under a lot
of snow from being on the lake. So it's just like,
you know, if you got more and more south of Cleveland,
you get towards Columbus, it's not nearly as as bad
or as hardy. So yeah, I could understand that feeling

(13:33):
of being in an area like that. Ah shoveling snow,
I cannot miss it.

Speaker 2 (13:39):
But you were living on the lake in Cleveland.

Speaker 1 (13:42):
Yeah, We're went you far to the lake lake are.

Speaker 2 (13:44):
Yeah, that's kind of similar to Burlington, and it's Burlington's
also on the lake, so you get that wind chill.

Speaker 1 (13:49):
Oh yeah, yeah, I did. I did internships in downtown Cleveland,
and the second internship I did was in the winter.
It was like a six week inner internship called a practicum.
And I remember walking because the station was downtown, right
on the lake, and I had a park. I didn't

(14:09):
have parking. I had a park off site and walked
to the studio every day and the winds would just
whip at you, whip at you. I can understand how
the people feel in Chicago. It's just bam, it's this
real cold wind. It's something I haven't experienced in decades.
It's different world. Yeah, don't miss that at all. But yeah,

(14:32):
not as bad in New York. I mean, you get
your Nor'easter as that kind of affect it. But yeah,
New York doesn't get it like Cleveland does.

Speaker 2 (14:39):
There's no way, There's no way.

Speaker 1 (14:41):
Yeah.

Speaker 2 (14:42):
I mean the winter surprised me because when I first
moved here, I thought, you know, maybe I should have
moved somewhere like Atlanta because I wanted to get away
from the cold. But then I realized New York is
like this. It's like a bubble, like for some reason,
it's really warm, like even the winter, it rarely gets
below freezing. And I didn't know that at least that's
the thing.

Speaker 1 (15:00):
But and part of it could be is that it's
a heat island. You have so many people packed into
a very tight area there, right, I would always get
a little claustrophobic being in Manhattan. It's just like, you know,
I remember being there. I went there when I was
about seventeen and many decades ago. I remember it's like,
after two or three days, I was I can't see out.
It's just building, building, building, building.

Speaker 2 (15:22):
Yeah, I don't love going there myself. I mean, Brooklyn's
a nice like in between, like there's little spots that
are busy. But even last night I was in Manhattan
to go to like this uh there, took this this
world building class or something, this free class, and just
being in the city. I'm rarely there, and just the
amount of people, I was overwhelmed. So it's like, yeah,

(15:43):
it's not it's too busy up there.

Speaker 1 (15:47):
Yeah, I bet it is. You just packed in like rats.
It It is a serious rat race, and they have
actual rats there. That's been a big problem lately up
in New York. So yeah, they.

Speaker 2 (16:01):
That ratzar to kill. There was this whole thing where
they someone's whole job was to find the way to
kill the most rats. Oh my gosh, weird part of
the last couple of years.

Speaker 1 (16:10):
But yeah, there's either a song or a movie in that,
the rat Hunter or something.

Speaker 2 (16:15):
They called them the rat Czar.

Speaker 1 (16:20):
Yeah, it's become a big, big thing. So in this
new project, you did get somebody from Vermont to help produce.
Dan Rome, Uh, somebody who you had known for many
years now.

Speaker 2 (16:32):
Yeah, I mean I knew of him from being in
Burlington because he was, you know, involved in the scene
out there, and he had built out this studio with
my other good friend Mark Balderston. And yeah, Mark Balderston
was working at the studio with Dan. I was in
New York and I sent my project to Mark and
then he connected me with Dan and brought us all

(16:55):
in and we spent you know, a week there like
kind of all hanging out before the tracking. And yeah,
it was great working with them, you know, Like I I,
since I usually do a lot of like recording people's
my job, it's nice to have someone else be the
one to record. I didn't want to think about computers
and microphones and stuff that those days.

Speaker 1 (17:16):
Yeah, you could totally concentrate on being the performer, not
sitting there worrying about all the technical Leave that up
to somebody else to beyond the knobs. So who do
you record for? That's I guess that's what you would
call your day gag.

Speaker 2 (17:30):
It's a lot of like, you know, I work with, like,
on average, somewhere around like thirty different artists, mostly producing.

Speaker 1 (17:37):
Uh.

Speaker 2 (17:38):
You know, like I said this, this piano player Clovis Scanner,
He's got a great project. I work on a lot.
I work with this artist Luxtrous. You know, she does
like this kind of like freaky pop. And then you know,
I've worked with some people who do more like country.
But yeah, when I first came to New York, it

(17:59):
was pure all drill rap, which is really interesting.

Speaker 1 (18:03):
I haven't heard of that something now.

Speaker 2 (18:06):
It's like, uh, it's it's kind of like a regional
rap one that was really popular during the pandemic and
like the few years after. It's just like, uh, it
was interesting. I just got a job in a studio
and I didn't really know anything about the you know,
the culture, like the the music at all, and like
was just thrown into this world of eight hours a

(18:27):
day working with all these different drill rappers and it
was really amazing, honestly, and uh, the there's so many
incredible unknown artists everywhere. That's what I learned from working
in there. It was like just some person would come
in out the street and they would you know, come
in and run out the studio for three hours and
it would be like some of the best lyrics I'd

(18:48):
ever heard, and then it would just the song would
never even come out, and it was like this crazy perspective.
But yeah, so that was what I did for a
long time. But now it's a lot of you know,
indie pop. I try to work with artists who want
to do something weird and try to lean most of

(19:10):
my artists like, you know, if they want to do
a pop song, it's like okay, but what if you
use more bad words, or like.

Speaker 1 (19:17):
What if challenging on the edge.

Speaker 2 (19:21):
You know, It's always fun to try to find what
someone is afraid to do and be like, let's do
that actually instead of like let's just make another pop song.

Speaker 1 (19:30):
Interesting. Yeah, pushing the envelope and experimenting. That's got to
be great to be able to do that.

Speaker 2 (19:37):
Right, And uh, I mean it was fun to do
with my project, with my project, where like I didn't
have to work with anyone else's insecurities, like just my own.
So you know, a lot of people don't want to
put out songs where the vocals are out of tune,
and like they don't want to put out songs where
like the timing shifts, or maybe they wouldn't want to
say certain things because they're worried like their boss will
hear it, and so like, yeah, it was fun. I

(20:00):
do like doing my own music for that reason when
I can, because yeah, it's just fun. It's fun to
not be constrained by whatever we think people want, you.

Speaker 1 (20:09):
Know, Yeah, that is it's very freeing to be able
to do that. I do that, you know, because I'm
doing this podcast. It's like, you know, this is a
form of expression. I'm able to do this on my own.
Nobody's dictating to me how to do it. So it's
it's kind of fun to be able to have that
freedom for sure. And then you've had a lot of
freedom to be able to explore a lot of issues

(20:33):
like you have on this new release. You're able to
really get incredibly personal, like it kills me to see
you so sick, kills me to see you sick is
very much, you know, exploring what you have gone through
and seeing somebody with their health challenges and really getting

(20:56):
autobiographical in that track.

Speaker 2 (20:59):
M Yeah, it was. It felt good. It felt good
to express like the angry side of being sad, you know,
or like pain, because I feel like it's one thing
to be like, oh I'm so sad, the world is
trying to defeat me, I'm so broken, I'm so whatever.

(21:21):
But it felt good to kind of explore that pain
from like a place of power, you know, like obviously, yeah,
being I wish you'd all die instead of her was
kind of hard to say at first, but it was
the way I felt, you know.

Speaker 1 (21:35):
Yeah. Yeah, when you seeing a family member, especially with cancer,
it's it's really really rough, and then you kind of
you have to get mad at the medical community, who's
on one hand trying to say, hey, they're helping you
and trying to give you all this hope, but at
the end it's terminal and it's not all vigue. It's like,
wait a minute, you know you're you're supposed to heal,

(21:57):
I mean, and you promise me that, right, yeah.

Speaker 2 (22:02):
Yeah, And there's still many fortune off of our pain,
which it is hard to wrap your head around.

Speaker 1 (22:08):
I know, and then there's always that cynical part. And
I've helped out with medical news quite a bit over
the years too, and I remember we were doing an
interview with somebody who had a double mass dect tom.
I mean, this sister had a double mess deact tomy.
I think her sister was very far along. I don't
know if she was terminal, but she made a point like,
why would they develop a cure for cancer? I mean

(22:32):
their profits were dry up. It's just so me. I
mean you could feel, in one hand, yeah, that's being cynical.
On the other hand, no, there are people just like us.
You know, they got to make a living, but it
seems like they make obscene profits from certain drugs and
things like that. And it's just what a mess healthcare is.

Speaker 2 (22:53):
It's just it is a mess. But you're right, it's
interesting because it's it's hard to see any one persons
evil because it's like everybody is just doing, you know,
either what they can and I do believe like most
doctors probably do just want to save lives. And it's
just like system that exists, it like forces this evil
thing to happen where they're just profiting off death and sickness,

(23:17):
and yeah, it's it's it's hard to see to be honest, Yeah,
have with it makes my stomach hurt.

Speaker 1 (23:24):
It's it's hard to reconcile that too. And I understand
people on all sides with the vaccines and things like that.
It's like, oh, yeah, but they make obscene profits the pharmaceuticals.
But at the same time they were able to knock
down the COVID numbers. So where is you know, maybe
it's somewhere in the truth is somewhere in between. I
don't know. It's just it's really rough.

Speaker 2 (23:46):
Yeah it is rough, and yeah it is. It's it's
interesting why I guess we're going to this, But it
is interesting watching the way, you know, they they continue
to try to push it and make more and more money.
And I don't know, it is it is hard to
see it as a good thing.

Speaker 1 (24:03):
But whatever it is, you're getting into, like pharmaceuticals they
advertise which was never happening many decades ago. There was
a green light for them to go do that. It's like,
oh my gosh, this and it's whole thing with ozembic
and all these other drugs. It's just h it's unbelievable.

Speaker 2 (24:20):
Mm hmm. True. Yeah, yeah, it's really bleak. It is hard.
I've been on this kick recently where I've been Yeah,
I've always been angry at the system, but like recently,
like you know, like when you're thirteen and you're like,
I hate the school system, and then you got a
little older and I was like, oh, that's kind of immature,

(24:41):
like you know, we're all doing our thing, and like
now that I'm getting near thirty again, I'm right back
to hating the system. Like actually, no, I was right
when I was thirteen. The system is missed up and
I don't want to be a part of it.

Speaker 1 (24:53):
Yeah. I try to be empathetic. I always did, even
when I was younger, Like oh, well yeah, but these
teachers got to make a living. I mean they got
a put bread on the table too, just like the
rest of us. But yeah there's SOPs like yeah, it's
like disciplining they So what kind of music were you
into growing up?

Speaker 2 (25:12):
Oh? Yeah, I used I loved I mean when I
was really I didn't even really care about music until honestly,
I was like twelve years old in six or seventh grade,
and then I got really I found out about Guns
and Roses, and I like fell in love with Untain
Roses and Aerosmith and like, yeah, obsessed with them. And

(25:33):
then maybe a year later when I was thirteen, it
was Green Day. Okay, it was like everything to me
in middle school. I just wanted to be just like
Billy Joe Armstrong and sing about it. Yeah, just I
loved it. Just just like play the CDs front to
back and just like sing along. And I guess punk
punk was always big to me when I was a kid,

(25:53):
for sure.

Speaker 1 (25:54):
Yeah, and we could hear it in this release as well.
But yeah, Green Day, when American had it came out,
I was like, yeah, I mean, now that edge is back,
I would think. You know, back in the eighties, things
were so sanitized overall. I mean there was an underground movement.
We had violent fems, which I see that is a
pretty big influence on you. But yeah, when we got

(26:18):
into the nineties, and I was so happy when grunge
came in and kind of put an ends to the
whole plastic e eighties and the hair bands and all that.
It kind of shoved that to the side, not to
knock them, and there were people who were into that,
but I wasn't. But I loved the grunge stuff in
the way that came in because it felt so real.
And then Green Day comes out in the early aughts

(26:40):
with the American Idiot and yeah, and just a very
thematic album and the way that that played in just
the angst and everything that was going on at that
time we were in and you know, an unnecessary war,
and it's kind of funny how history has just changed
so much.

Speaker 3 (26:59):
People way right out of Cetter, Oh yeah, they thought
the Iraq War was this complete total boondoggle and but
not at the time.

Speaker 1 (27:11):
In four it was let's rush to war. And we
had Green Day, who was one of the few voices
that were protesting, and along with the you know, on
the countryside was Dixie.

Speaker 2 (27:21):
Chicks of course.

Speaker 1 (27:23):
Uh so, yeah, that that's interesting. Great band to get
into when you're going through school, I'm.

Speaker 2 (27:29):
Sure, yeah, And you know, of course, like they're kind
of like the gateway to all the other real punk
you know, like Ramone, Black Flag or you know, even
gg Allen. Weirdly, I love gg Allen. He's kind of
a lot of people are like not a lot of
some people wouldn't be happy if you said you liked him,
But it's hard for me to not look past the

(27:51):
person and just enjoy like the whole chaos of it.
But yeah, it's funny you mentioned this thing about the
eighties because it's something I feel like I've been no
is saying the way history repeats. Yeah, I kind of
like the last ten or so years, we've been in
that kind of like Eighties everything is you know, super
auto tune, everything's all effects and electronic, and all the

(28:15):
songs are about like, oh I'm in love and the
world is beautiful, And we've been in kind of that
that washed eighties false reality. But I do think I've
noticed in the last couple of years that more and
more people are looking for something that's like, I don't
know where it's not. They're not trying to tell you something,
They're trying to just say this is you know, this

(28:36):
is how it is. Yeah.

Speaker 1 (28:38):
Yeah, and we do. We see the huge mainstream max
now even these uber performers who have like, you know,
ten producers on one track, r you know, fifteen writers.
It's just unbelievable. But yeah, and they make lots of
money and really fill up the stadiums and then we
have this other side, and it's good to have the

(28:59):
variety if you if you're into that, something to pick
from a smrgars bort of things like that. So yeah,
it's it's good to have that. And but it seems like, yeah,
it's really uh, the punk thing has really tapped into you.
I remember the Ramones up your Way in New York.
There was a guy named Uncle Floyd. It's the first

(29:21):
time I ever saw them at Ramones. I don't know
if it was when Rock and Roll High School came
out or it was no on on TV. The first
time I ever saw them was on the show called
Uncle Floyd, which I think was out of New Jersey
over there, maybe the Secaucca station wor and I was like,
what is this? Yeah, I think it was the early eighties.

(29:41):
It was because they syndicated Uncle Floyd for during the
summer of eighty two, and I remember stumbling on them.
I was like, what is this all about? I want
to get I want to be sedated, like yeah, And
then I did see Rock and Roll High School on
cable when cable started rising, so it was it really
opened my eyes up to a lot of things. I

(30:02):
was like, yeah, these guys are fast and the songs
are short, and it's like, what's up with the Ramones?
So it's it is. I could see that that attraction
to it.

Speaker 2 (30:11):
Yes, yeah, I mean yeah, it meant a lot to me.
I think the first time I heard them, because like,
you know, I was just like some kid. And you know,
at that point, I lived in Vermont, like really deep
in the way. It's like there was really a thousand
people in our town. Yeah, there was maybe less than
one hundred people in the school. Tell you it was
very small community. And yeah, you know, I just I

(30:33):
never thought that I could do music because it was like, oh,
I wasn't you know, I couldn't take lessons, We couldn't
afford it. Like I was never going to be any good,
you know, I wasn't going to go to all states
or whatever. And then you hear the I heard the Ramones,
and I was like, wait, I could do this today.
I'm thirteen.

Speaker 1 (30:49):
It's fun to hear that. And you know a lot
of people, you know, the Boomers, where I was like, oh,
the Beatles, you know, I remember when they came on
Ed Sullivan in nineteen sixty four. Oh, that changed my
life so many from that generation who I've oken with
in the music business was like, that was it. You
didn't have much choice back then. It was only like
they only had three broadcast channels to view back then.

(31:09):
It's just a way different world now. But to hear
how the ramones like say, yeah, those guys, I could
do this, you know. But then you're from Burlington, So
how did people feel about you going into music? There
was like, oh, come on kid, this is a fantasy.

Speaker 2 (31:25):
Oh of course. Yeah. When I I mean when I
was in middle school. Actually, sorry, one second, let me
send this back. Still an interview. Although sorry, that's client.
That's a little early.

Speaker 1 (31:37):
That's fine. Yeah, that happens with our I always keep
the phones on and people want instant communication. If they don't,
you get this anxiety. It's like I don't oh.

Speaker 2 (31:51):
And having to be the one that takes all the
calls or else I don't eat, you know, it's like
I kinda but yeah, so yeah, I mean when I
was in school, well I'll never forget. Yeah, people were
like other kids and teachers would directly say to me,
it's crazy for your dream be a musician. You'll never
be a musician. You can't sing, you don't look good

(32:12):
enough if you were, you know, I mean even when
I was like sixteen, it's people would be like, oh well,
if you're not already on your way, like you'll never
be there, Like you know, Lord was famous since she
was fourteen or whatever. And it's like there's everyone's always
trying to stop you from thinking outside the box.

Speaker 1 (32:28):
You know, I know, you do feel like the world's
against you. It's like, you know, hell with you. I mean,
I'm going to do this. You know, it's you got
to find you gotta find your supporters because it's not
even going to be family and friends. It's like, come on,
what are you talking about?

Speaker 2 (32:43):
Mm hmm. Yeah. And you know, I mean with a
lot of people. I mean a lot of people. I know,
even their families tried to start, like didn't want them
to do it. And like some of the adults I
work with now who are coming back to music, it's
like so many of them have these stories of you know,
their parents said they had to go to law school.
They just they haven't played guitar in ten years or
like you know, you really see it. I mean, and

(33:06):
it's one of those things like if you want to
be an artist, you have, you have to be the
one to decide, and like people are always not going
to want you to do it. It's just like for some
reason the way it is. But and in some ways
maybe it's a good thing because it's like, if you're
not going to fight for, what's even the point. So
like it makes sense to have these barriers.

Speaker 1 (33:27):
But yeah, yeah, you can't be discouraged. You've got to
really believe in yourself and just keep soldiering on. It's
got to be like a true dedication, not just being
on the side. I see a lot of this. Of
course I'm in the Burbs and everything, so I see
a lot of dad bands and things like that. It's
like these people it's just funny. There's something else for
a movie maybe.

Speaker 2 (33:51):
Yeah, I mean, yeah, it's it's interesting stuff. I mean.
And the thing is like, especially now more than ever,
if you want to be a musician, it's like your
goal really can't be to be famous because like we've
had the same pop stars for fifteen years at this point,
it's got to be like for you. Yeah, I think

(34:12):
that's another thing people struggle with, is like, oh, but
you know, I'm not No one goes to my shows.
I'm not famous, so no one listened to my song,
and it's like, no one listens to my songs really,
Like I mean, it's nice that I'm on this interview,
but like in general, it's like I've never I've never
had anything even close to what you would call success.
But like you just part of the journey is I

(34:32):
think you just have to really do it for you
and it's for any other reason. It's like you're not
gonna you're probably not gonna get what you're looking for.

Speaker 1 (34:42):
Yeah, just believe in yourself. You build your own catalog.
If people stumble on it, that's great, and just youve
got to find your voice. And this is one way
of doing it. And the nice thing is, and I
keep saying it, is like everybody can get their hands
on this equipment. And that's also the bad thing too,
because lot of content out there. But yeah, I have

(35:03):
a lot of these interviews and stuff like that, and
I talk mainly it is people who are off that radar.
It's not I'm not talking to mainstream people. I have,
like you know, maybe two or three degrees of separation
to some people in the mainstream. I've talked to people
who are in Billy Joel's band. You know, people like that,

(35:23):
but not like the performer himself. How many interviews has
that guy done for me?

Speaker 2 (35:28):
You know?

Speaker 1 (35:29):
It's like man ge same stories as new documentaries out
this summer, which I'm excited about. It looks from yeah,
it's coming out tonight, that part one and then the
part two comes out of the week after. I know,
probably in New York you'd probably get a heavy dose
of Billy. But I've done a lot of stuff.

Speaker 2 (35:48):
Thought about him in a while. But the last last
three days someone has brought up Billy Joel and it's
like I almost never even think about the guy, but
he just keeps coming up. It's so funny.

Speaker 1 (35:57):
It's a New York institution, you know. Yeah that's true,
just like yeah, I always have this. In fact, I
saw him backstage. I interviewed his lead guitarist about eight
years ago when he came here and looks like any
other guy. He wants to really just blend into the room.
He's just sitting there smoking, looking off into the distance.
It's just a normal guy really, but you know makes

(36:20):
you know, thirty million a year or whatever.

Speaker 2 (36:22):
Just yeah, right, I saw like he might I think
he makes a million dollars or something every time he
plays MSG yeah, which like I think he did it
once a month for at least ten years, right, yeah, yeah, yeah.

Speaker 1 (36:35):
Just just one night million bucks. Wow, it's great. He
takes care of the Yeah, it does. That is I mean,
legacy performers love him and all. I mean he packed
the dear r in all the time. But yeah, these
legacy performers keep going on and it doesn't really uh
usher in a lot of the newer talent.

Speaker 2 (36:51):
Yeah, it's true, and it is complicated how I feel
about it, because obviously Billy Joel deserves whatever he gets,
you know, incredible songs. But it is a good point.
Like I mean, if you look at the pop world,
it's like, if you really look at the top ten,
the amount of artists that are new even in the
last five years, it's like less it's got to be
less than a dozen. Yeah, I mean, like it's almost

(37:12):
all artists who've been famous already for fifteen twenty years,
which is it's very bizarre and uh, you know, being
on being in the producing side of the industry, you
kind of like, I definitely see labels don't want new
X like they're just not interested. And if and if
they are interested, they kind of want to grab somebody
that's hot and then like milk it and then drop them.

(37:33):
You know what I mean.

Speaker 1 (37:35):
It's cruel business.

Speaker 2 (37:36):
Cruel business.

Speaker 1 (37:37):
I've seen it for years. Yeah, you know a lot
of one hit wanders and people who maybe had a
very short catalog, and these record companies, including Billy Joelds,
they were ready to drop him before The Stranger came
out in nineteen seventy seven, so it was you know,
even back then it was just maybe a different business.
But yeah, if you weren't hit and you know, they
dropped you.

Speaker 2 (37:59):
Really yeah bad. Yeah. But I have been thinking that
there's a there's an interesting revolution with music going on,
Like you were saying, anybody can do it now. Yeah,
so it's sort of taken. It's taken. Uh, it's taken
the power away from you know, the the labels that
you know, I used to decide everything that would be released.

(38:20):
And there's and obviously there's a lot of there's a
lot of trash, but like it's it's a big revolution.
And I kind of hope, my hope is that the
whole music industry falls apart and there's no money anymore,
so that everything becomes localized and special again instead of like,
you know, I just don't understand why every single person

(38:43):
who puts out a song wants to be like wants
to be a star all over the world, Like what
about your what about your community? Like whatever happened to
when musicians used to like entertain the people around them
and be a part of their community. Like this mass
like everyone wants to be for everybody, which it just
kind of I think that's why everything has become so sterilized.

(39:05):
To be honest with you, it.

Speaker 1 (39:06):
Really is its legacy media that really promotes that makes
it look glamorous. I mean, you're a big star like Taylor Swift.
I mean you're filling stadiums and she's on TMZ almost
like every other night, and it's like so glamorous, and
you know, like we got to care about the boyfriend
and it's like, oh my gosh, you know, and people
look at that. I think, you know, young girls especially

(39:28):
who want to do that probably that's so glamorous. I'm
gonna really I'm gonna be the next tailor, and it's
so glamorous and you know who, you know, I want
that life, but you know, they glamorize that kind of stuff,
and you know, the more real kind of people just
you know, they're not the squeaky wheels. They're not getting
that attention of course.

Speaker 2 (39:49):
Yeah. And and even with Taylor Swift, and you know,
I'm sure I'm overlooking. I'm sure I'm making assumptions, but
I do wonder how great it really is to be
one of those people where you've lost control over your
image totally. And you know, I know Taylor Swift is
like at her roots, just like an amazing songwriter who

(40:11):
just probably loves music, and you know, like now she's
get she gets worked like a dog kind of by
the industry, and like you see, I mean I think
that would like artists like Lana del Ray too, who
is just like a songwriter and an artist, but because
of the nature of the business has to be like
the symbol and has to be like you know, they
have to be right all the time. They have to

(40:31):
say the right thing, where the right thing. And I
don't know, I wonder, I wonder if it's worth it.
I'll have to if I ever get a chance to
ask them, I guess I will.

Speaker 1 (40:39):
Yeah, Yeah, that is interesting. That I'm warning how it
is on the other side and to live that kind
of a life. Although yeah, it might look great from
the outside and you have all your resources at your disposal. Yeah,
their struggles are far different than most of us. Yeah, right,
that's definitely.

Speaker 2 (40:59):
Obviously, like they're right, So like, yeah, I'm sure it's
not all the problem, but you know, life's not all
about money.

Speaker 1 (41:05):
No, it really isn't. A lot of us just can't
understand that. We would love to have those problems. But
then again, what is it What is it like to
have those problems? That's a whole other animal exactly. And
they can't even really express that because they have their
guards up too. They have to have their sense of
privacy as well. So, yeah, where did you come up

(41:28):
with the Once in a Lifetime band?

Speaker 2 (41:32):
Hmm?

Speaker 1 (41:33):
That name.

Speaker 2 (41:35):
I'm trying to think of where I came up with it.
I think I think it really all came from me,
just like walking around and like I just had that
idea all. Yeah, because I have this thing with my
live shows where I never like having the same band
or doing the same set or doing the songs the
same way. The concept of like every show will be

(41:57):
once in a lifetime. Like, you know, even there's eight
people there, they're the only eight people that will ever
see that show. So that's essentially where the idea comes from.
And I still keep that going. I don't I don't
perform a time, but I want to do something different
every single time, so that, like, you know, something is sacred.
Maybe the moment.

Speaker 1 (42:16):
You have over twenty five albums under various names, Yeah,
for sure, I don't know how big I think god,
But yeah, that's cool. So what kind of venues do
you play? Up that way?

Speaker 2 (42:29):
Let's see where do I play? You know, I've played
like some of the ones that maybe would know, like
you know, I've done shows at the Bowery Electric and
maybe Mercury Lounge pianos. But usually I'll play these small
venues because you know, again, like my audience is very niche,
So if the room can fit thirty people, like that's

(42:51):
probably enough. So I like a play place is Like
there's this venue called Bar Frida, which is like the
basement of this bar, this rungy basement in Ridgewood, New
York and Queens and uh, you know, I played there.
It's like the sounds awful, It's not comfortable. But like,
you know, it's that's where we can play, and they

(43:12):
don't charge us to play there, which a lot of
venues do. But there's also this great venue it's called
the rabbit Hole, and it's like it's d i y,
like truly, and you can kind of charge whatever you
want for tickets, and it's like it feels really industrial
and grimy and concretey, and the sound actually is good.

(43:34):
And I love the rabbit Hole. That's probably my favorite venue.
And you can you can smoke in there, which is
kind of fun, kind of unique.

Speaker 1 (43:42):
You can do that now wow.

Speaker 2 (43:44):
Yeah, which you know it's not it's maybe bad, but
it also is kind of makes it feel grimy or
which is fun.

Speaker 1 (43:50):
Yeah. When I first came here to the Atlanta area,
it was like the tail end of where you could
really smoke inside. Actually, I'm home smelling. I used to
go to this tavern in Decatur, Georgia called track Side Tavern,
which's right near the railroad over there. I'd come back
smelling there was so much smoke. I was like, gosh,

(44:12):
you just soak in it. So one of my favorite
tracks is that I Can't bring my Blue haired Partner
home for Christmas that I like the little humor in there,
and you have a lovely guitar solo in there as well.
That's a great track.

Speaker 2 (44:25):
Well, thank you so much. Yeah, that's a fun that's
a fun one. I think that's a song I wrote
and I was like, I will never get away with this,
it's like too stupid or something. But weirdly enough, weirdly enough,
that's a song that, more more than almost any other song,
people will come up to me afterwards and be emotional about,

(44:46):
you know, I want One time, I had this woman
who was like sobbing so hard about the song that
I didn't even It took me a while to understand
what she was saying, and like, you know, it's it's
funny that it is a joke. But I think a
lot of people I'll go with the fact that their
parents don't accept them as they are for whatever reason,
and yeah, that I have fun with that one.

Speaker 1 (45:10):
Yeah, yeah, it's interesting. Mm hmm.

Speaker 2 (45:15):
This guy I'll be in de Fredis was the lead
guitar player. He was kind of like he doesn't really
play in bands, but he's like obsessed with the guitar.
He's like a virtuoso, but like nobody knows who he is,
but my friend and probably my biggest guitar inspiration, and
he's just like some guy. But I was really grateful

(45:37):
to have him on the on the song. He's got
that good country kind of like guitar thing down.

Speaker 1 (45:43):
Yeah. Yeah, that's perfect, it really is. But you know,
you're bringing home somebody, you know, for the family to mate. Yeah,
that's it puts you in a weird place if you
feel like this person is like an alien to them
and accepted.

Speaker 2 (46:00):
Sure, yeah, I mean I definitely, yeah, it's it's it's
mostly true, mostly true song, mostly one hundred percent true.
But uh, you know, yeah I experienced it, but it
wasn't the end of the world. I was talking to
another friend about that song the other day and they
were like, they're like, oh, you know this song, this song,

(46:23):
you're so pure of heart whatever for loving these people.
But then it's like, that's not really true because they
were these people I liked, but I chose, I really
did choose not to pursue a relationship with different people
because I thought that they would affect like my parents
wouldn't like them. And so it's like it's actually like
kind of a song of it's almost like embarrassing because

(46:45):
it's like true, like I really did like shirk off
people that you know, maybe maybe you know, I would
have been close to them, but it was just I
didn't want to deal with the uh not, what's the word.
I just didn't one the disappointment that I imagined Ei there,
you know.

Speaker 1 (47:05):
Yeah, yeah, I think a lot of us could relate
to that. And when you were castrated, this kind of
has some of the father issues in there as well. Yeah,
and a lot of us we have these, you know,
from from a lot of our times, these more macho type,
strong father figures in our lives, and then you know,

(47:25):
when they get older, they really mellow out. And you know,
I've definitely seen that with my dad, and you just
you see that vulnerable side. It's like wow, you know
there were times, Yeah, he was a lot more emotional
than I ever thought he was, even though he put
up this you know, real powerful masculine front.

Speaker 2 (47:44):
Mm hmm for sure. Yeah, I mean it was a
crazy difference with my dad. I mean truly like a
powerful man who I'd be afraid to like sneeze wrong
around or something, and like you know, in his old age,
it was almost like he was pathetic, you know what
I mean, It's like the level difference was so extreme

(48:06):
and it was like yeah, and it was hard to see.
I mean obviously you think that you know also somebody
that'll be me, but like, yeah, it's weird the way
that age and sys will it just takes you down
to your core.

Speaker 1 (48:20):
Maybe yeah. And if they're older and probably older than
my generation baby boomering up, you know, they were raised
in that in a different culture in that sense too,
where you had to put on that whole image and
then yeah, when you get older, it's like you so
beyond mellow out and he's totally not the same thing.

(48:41):
And it's a weird thing to try to reconcile over time.

Speaker 2 (48:46):
For sure. For sure, I can imagine. Yeah, I mean yeah,
I mean he it was like he was, yeah, he
was a criminal, right, so oh my gosh, it was
like he was a con man and did.

Speaker 1 (49:01):
You like run Ponzi schemes or things like that?

Speaker 2 (49:03):
Yeah, yes, I mean I really got to know him
in prison, like you know, it's like seven foot tall prisoner,
you know, and then it is just such a dramatic change,
such a dramatic change.

Speaker 1 (49:19):
How long did he go.

Speaker 2 (49:22):
And for three or four years. Yeah, it was, Uh,
it was. It was kind of a big scam. Supposedly
it was the biggest scam in Washington state history. So
it was like kind of nuts crazy.

Speaker 1 (49:36):
That really is just like you hear about like these
Bernie Madoff characters and these guys. It's just like, yeah,
I think, and that's probably something to explore too. It's like,
try to get into their heads. How do they reconcile
running something like that. Obviously they do you. I would
think you just lie to yourself quite a bit, like, hey,

(49:58):
I'm doing the right thing here is anyway, And I'm
sure they probably think, you know, I'm fine. I mean,
I didn't do anything wrong. I think you got to
really lie to yourself.

Speaker 2 (50:09):
Yeah, and he did. You know. I never heard him
once admit that he had even actually done it. It
was always like they framed me or like or I
took the fall for somebody else or like but at
the same time, like you're saying, he was also like
a really amazing person, kind loving person at the same time,

(50:30):
like at one point in his life he was a
pastor and then another time in his life he's you know,
running Ponzi schemes. It's like, but the two codes did
so closely, like he was it, but I you know,
and they maybe they worked together because he was such
a loving, kind person that it was easy to trust him.
But he truly was a great person and also a

(50:51):
bad person at the same time, you know, and I
kind of wanted to That's kind of what Castrated explores
as well.

Speaker 1 (51:00):
For sure, I think people we had somebody, I think
he was here in Georgia, a Christian guy who ran
a Ponzi scheme. You know, it was like it was
a very faith based effect. Some right wing radio hosts
like promoted him and stuff like that, and it's just
to see that dichotomy take place is interesting. And I
think it's this idea of trying to be uber successful,

(51:23):
have as much money as possible in your pocket, and
you think you're doing the right thing. That's the only
thing I could think of how they could really defend
that in their mind. And they believe that they want
to be powerful and that is getting as much money
as possible and you think you're doing right by your clients.
And the scheme here was they were trying to trying

(51:48):
to like get investors to pay back, and you couldn't
really get them to pay back. They didn't. They would say, Okay,
you'll get your money when my people pay me back.
It's crazy and it never comes through. And sure changing
your clients and disappointing them that it turns into a
whole racket.

Speaker 2 (52:05):
Right exactly. I mean, you know I can. It makes
sense to me, like it'd be so easy to be
like I'm doing it for my kids or something. I'm
doing it. I'm doing it for my family. I'm doing
it for to give them a better life. And in
that way, like I understand, I understand, and I think
about like like those he was just a dream chaser, right,

(52:27):
so he like his mind. You know, next week he
was going to be a millionaire and we were gonna
have on a mansion if you just have the thing going.
And I understand because you know, I mean, I'm really
the same way in that like, uh, you know, if
you were to ask me right now, if you're like
my friend, I'd be like, oh, you don't don't worry.
Next week, I had this client and we're going to

(52:49):
make this song and you know we're all going to
be famous. But it's like this mindset of like always chasing, chasing, chasing, chasing, chasing,
and eventually, I do think if it can lead. If
your only goes money and you're chasing money and chasing money,
eventually you're gonna do illegal things. I mean it's just
to make money.

Speaker 1 (53:07):
Really hmmmm. It's true. It's true you want to just
do best by yourself. But the huge lesson is a
crime never pays, and to be sent away like that
has just got to be soul crushing. It's terrifying. I
can't even imagine spend the moneme behind bars.

Speaker 2 (53:27):
He told me that one of his favorite things to
do when he was there was him and his friends
would all sit in a circle out in the yard
and they would describe their the meal they were gonna
eat when they got home. They would each take turns
describing an exquisite detail each piece of the meal, and
they would go, yeah, you know, like the we're gonna

(53:47):
have mass potatoes and that they'll be buttered just the
right way with a sprinkle of salt on top, and
like he would walk me through the whole thing, and
it's like that's still that's how much they'd take away
from you, that the thought of a meal is like
the best part of your day, and so it's pretty
bleak to see.

Speaker 1 (54:02):
Oh my gosh, yeah, yeah, to have your freedom taken away,
it's just horrible, horrible it's to a human, but necessary
to punish as well.

Speaker 2 (54:14):
Oh god, I mean you can't. You can't necessarily let
people just do whatever they want or right, you know nature.

Speaker 1 (54:24):
Great, well, thanks for stopping by. I really enjoyed it.
And your new release. Where can we find all this
great music that you've produced?

Speaker 2 (54:34):
So it's everywhere, So you can go on Spotify if
you just look at Braid and Bird and the Once
in a Lifetime band. But if you're cool and you
don't want to use Spotify, it's on band camp under
the same name. There's a service called Nina Protocol, which
is an interesting news software I mean title, Apple Music, Amazon, YouTube.

(54:55):
You can find anywhere if you just google it.

Speaker 1 (54:58):
Yeah, yeah, and you're all over the web. That's fantastic,
good deal. Good to hear, and good to hear from you,
and thanks for stopping by.

Speaker 2 (55:08):
Great to talk to you.

Speaker 1 (55:10):
Take care, bye bye. How about that song called I
Can't Bring my Blue Haired Partner home for Christmas? He's
got a good sense of humor there, but you have
to after, you know, hearing what he has gone through
and all the stuff that he has experienced, it's just
really amazing. Good guy, Brandon Bayard. Check it out wherever

(55:32):
you can. Until next time, Thank you so much for
taking the time to watch this or download me. Thank
you so much. Take care,