Bumblefoot Returns! | Ep. 503

Ron "Bumblefoot" Thal makes his long-awaited debut on the podcast. We chat all about his new album "Bumblefoot Returns!" Plus...our mutual love of cats, the space-time continuum, Baby Brownstone says "Bumblefoot," and much more!

More info:
https://bumblefoot.com/
https://bumblefoot.bandcamp.com/
https://www.instagram.com/bumblefoot

OUR WEBSITE: www.afdpod.com

Episode Transcript

Speaker 1 (00:00):
You know. This is Appetite for Distortion.

Speaker 2 (00:31):
Welcome to the podcast Appetite for Distortion, Episode number five
hundred and three. My name is Brando. Welcome to the podcast.
Mister Bumblefoot. How are you, sir?

Speaker 1 (00:44):
Good? Thank you for having me on. I appreciate it.

Speaker 2 (00:47):
I'm so happy to have you on. By the way,
before we go any further, because I would call you
bumble in the Instagram and my Instagram dms and now
I guess said bumblefoot, and obviously so I call you
Ron just run right, Okay, Yeah, I mean bumble Foot.

Speaker 1 (01:06):
That was the name of my band and it became
like a nickname.

Speaker 2 (01:12):
But yeah, Ron, Okay, I like that Ron. I have
a good association with Ron, Ron Burgundy Run, Ron Swanson.
If you're familiar. Well, I'm excited to talk to you today.
It's been a long time coming, and my listeners are
excited as well.

Speaker 1 (01:31):
You know.

Speaker 2 (01:32):
It's funny and we'll get to his It's a nice
little segue. I I know I've said this before in
the podcast, and I didn't realize how much I've said
it until Richard Fords brought it to my attention. Because
who's a listener of the podcast. You were my very
first interview ever in two thousand and seven and just

(01:54):
two years ago, so special, and I want to see
if we could do this really quick and if it
does work whatever, But I want to see because it's
only forty five seconds of what was a forty five
minute interview. We'll see if we can share screens so
I can, I could play it. So I'm going to
share this with you and you see that? Do you

(02:16):
see that? My god, so.

Speaker 1 (02:20):
So much less facial hair on both of us.

Speaker 2 (02:23):
I know. So if you're watching the screen, because I
overlaid this short audio over eighteen.

Speaker 1 (02:28):
Years ago, that could have been our kids.

Speaker 2 (02:31):
I know. This picture though, is from two thousand and
and six from Ottawa. This is your first tour with
Guns and Roses. And this is like a great segue
into talking about your your album because it's just a
long time comment in your SERI of your history of
just where you've been to where we're, where we're going.

(02:52):
But I was dating a Canadian. I know. It's always like,
oh I have a girlfriend in Canada. That's a fake story.
I did. You're actually had one, I know, George Glass,
I was kidding you. Yeah, good, good, good, hopefully some
other people do so. I I was big on obviously

(03:17):
well before the podcast Huge GNR NERD. I knew who
you were, following all the the personnel changes and everything.
I go up to Canada see her because that's how
we bonded over over gn R. And you were wearing
I don't know if you could really tell in this
photo if you're watching on zoom, but your Russian Winner outfit,

(03:37):
like the winner coat and the Russian hat, like the
one that George could stands at war and Seinfeld. I mean,
is that a good way to describe it? Okay, you
come out and this is before the show, after the
suicide girls, I believe because they were opening. You go
into a security guard and he asks, so anybody recognize

(04:01):
you tonight? And you smile and I go over to
you and I'm like, bumblefoot, You smile, We talk for
a little bit, you sign my ticket and that's where
you know. The Seed was planted to follow up with
you for like months on MySpace to get this interview.

(04:23):
I'm sure none of this rings a bell, but this
is like in my heart, this is you know, I'm
in this industry for over twenty years and this is
just something that's will always stick with me. So I'll
play this forty five second thing. It was forty five minutes.
This was the days before knowing how to save all
that stuff. This was something I had in my radio
demo for a long time. So you should hear the

(04:46):
sound and you might be able to tell some of
the topic of conversation. Then you don't have to comment
further on that topic. But here we go. You can't
hear it all.

Speaker 1 (04:55):
As long as other people can hear it, It's okay.
You can just tell me what I said.

Speaker 2 (05:00):
You know him as Ron Tall.

Speaker 3 (05:01):
The better of us know him as Bumblefoot's one of
the guitars from guns Roses.

Speaker 2 (05:04):
How you doing today?

Speaker 3 (05:06):
I have to ask the question about the album. Yes,
about the Chinese democracy.

Speaker 2 (05:12):
I know I.

Speaker 1 (05:13):
Didn't do all the dms. Hearing the word soon, yeah,
but you guys haven't heard that the album is done recorded?
All right?

Speaker 2 (05:22):
Excellent, There you have it. It is going to come
out once again soon, is the word.

Speaker 3 (05:27):
From what I've heard from the leaks and from what
i've heard live, it's going to be well worth the wait.
And Bumblefoot, I can't thank you enough for your time
and You're welcome back anytime, and if you want to
throw in some free backstakes passes.

Speaker 2 (05:39):
To me, I won't turn them away.

Speaker 1 (05:41):
Very cool.

Speaker 2 (05:42):
Basically, I was talking to you about Chinese Democracy that
hadn't come out yet, and you're just like damn joking
around talking to me about that album and it wouldn't
come to me. It couldn't come out for like another year.
So anyway, that's how long it's been since I've spoken
to you. That log setup was just to say, hey,
how are you. It's been a while. You don't know

(06:05):
what to say? Nothing such a long time ago, I
know it is. So maybe we should flash forward. I
don't know if because we could even go into another
time in radio when I was you were at visiting
at WPD that aired on Pixie one oh three Cape

(06:25):
Cod right, that was my first radio job. I'm in
our neck of the woods by now right by the way,
I'm into the Queens, uh Queens. I'm at Forest Hills.

Speaker 1 (06:36):
Yeah.

Speaker 2 (06:37):
Yeah, but this was a time where everyone's like shut up,
like bumble talk. We'll get to that.

Speaker 3 (06:43):
Uh.

Speaker 2 (06:45):
I was going to Poughkeepsie. I was doing radio and
Poughkeepsie and I heard you were on the air. I
was going to fill in for the midday shift, and
I got excited because I wanted to tell you about
my interview with you a few years ago. So and
they ended up getting a speeding ticket. Shit, yeah, I

(07:05):
think I ended up like just catching you, but I
ended up getting a speeding ticket. See what anyway, that sucks?
So no speeding ticket. We none of that today. So
I'm here at home.

Speaker 1 (07:17):
You did just remind me of when you said, did
anyone recognize you on the first tour because nobody knew
who I was, Well, they still don't know who I am.
They What I would do just to have fun with
that is, before the show, I would go out to
everyone waiting online to get their tickets and just do

(07:39):
funny things. Like one time I came out with a
bunch of cookies and baked goods and I just walked
out to the line and said free baked goods courtesy
of Guns n' Roses. And some people would take and
they had no idea who I was, and many were
smart not to trust a stranger approaches them with cookies,

(08:02):
and then you know, a few hours later, I'd be
on stage.

Speaker 2 (08:06):
Brilliant.

Speaker 1 (08:07):
So just little things like that, just just have fun
with the situation.

Speaker 2 (08:12):
Brilliant. No, I love that. And I didn't get any
cookies from you. Now I wish that I did. You
were cookie, Yes, yes, thank you, but no, I just
want to let you know that it just it meant
so much to me all these years later for you
to take some time aside, and then all these years.
So why did it take so long to get another
solo album out? I guess that's also a long winded question.

Speaker 1 (08:35):
Well, you know, my whole life has been putting out
solo music, and it slowed down as the touring took
over much of the time. Like I would put out
late nineties, early two thousands, that would be an album
a year I would get out, and then it became

(08:57):
every few years, and then it became ten year. So
I put out Little Brother Is Watching in twenty fifteen
and since then. Seeing my thing is that I always
put others before myself. So it's just my nature and

(09:18):
I can't fight it. So if I want to put
out my own album, but I'm working with bands, I'll
put my own thing aside to help the bands do
their things. So twenty fifteen got out the first part
of Anarchy album with Scott Wiland, and then started working

(09:40):
with Scott step on the second one and got that out,
and started with Sons of Apollo and got that out
and then touring with them, and I was doing a
lot more producing. There's one band called the Dodies Dodes,
phenomenal garage rock duo, such a fun, interesting musical band,

(10:04):
and I've recorded three of their albums. So just being
very busy with all of these bands, and for a
lot of these bands, I was handling production, all the
studio stuff, dealing with the record label for a lot
of it, and so that took up a lot of time.

(10:26):
So this album, it's one of those things where you're
just on the runaway hamster wheel and you're going and
going and going, and you're touring all over the place
and busting out albums with these other bands, and they're
touring and doing solo touring and just living out of
a suitcase for years, and then pandemic hits and we

(10:46):
are all given this gift of unexpected time. And all
the things that people would say to me, Hey, you
ever gonna do one of these again? Yeah, you're ever
going to do this again? Suddenly there's time to do
it all. First thing I did is I finished up
a song called Planetary Lockdown easy titled to Come Up
With and finished that and put that out just as

(11:10):
a DIGI single of guitar music. And then I did
two acoustic EPs that I just stuck on my band
camp and started writing with Derek my Sons of Apollo keyboardist.
We started writing what I thought could possibly be the
third Sons of Apollo album, but didn't work out that way,
and we formed another band called Whom God's Destroy with

(11:32):
Dino Jalusic on vocals and Bruno val Verdi from the
band Angra on drums and Yasna Mora, who's just an
incredible multi instrumentalist, super talented guy. And we put that out,
and the guys in Art of Anarchy like we got time,

(11:52):
let's make some more music. I was like, yeah, come
on over. So every Friday they would come over during
the pandemic and we would just make a song, record it,
have it done. Ended up with two albums worth of stuff,
and then Jeff Soto said, you know, you should have
had any singing on the Art of Anarchy stuff. I
would have saved a lot of headaches. It's like, all right,
go ahead, and so we made another Art of Anarchy

(12:16):
album now with Jeff Scott Soto on vocals, so producing bands, working,
building a new band whom God's Destroy, another Art of
Anarchy album, and doing that, I was thinking, you know,
I haven't done a fully instrumental album in such a

(12:37):
long time, and I already got a head start. I
put out that Planetary Lockdown song, and there was another
song the year before that I put out called Chintakoo,
which is Indonesian is a term of endearment means my
love Chintakou. Put that out and it's like, you know,
I already got those two songs going, and let me

(12:59):
start writing some stuff. So started writing and recording. And
my drummer, the incredible Kyle Hughes, who I met in
twenty fifteen when I was touring in the UK and
he had this band. He reached out and said, hey,
we're opening for you. How about we learn all your

(13:19):
stuff and be your backing band for that show as well.
I was like, sure, why not? And they were just
teenage kids and phenomena and the drummer, this kid, Kyle,
he stood out. He was just like sixteen years old.
But he was like a great showman. He nailed everything,
sang back in vocals, just a sweetheart of a kid.
His parents were wonderful. It's like, you know what, this

(13:41):
is the kind of person I want in my life.
And he became my drummer from that point on. So
he did all the crazy drumming on my album, and
some of it he would come out here for a
few days and just write in this room, have a
kid set up, and he would just record and record
and record. And sometimes when he was in la where

(14:02):
he lives now, he would just go to a local
studio and bang something out. And there was one other
the only song he didn't play on is a song
on the new album called Once in Forever, and that
one has my friend Jerry Gaskill from the band King's Ex,
and he's the old friend of mine, and every time

(14:25):
we're out in Red Bank having dinner, we would always say,
you know, we should do something together, Let's do something.
So I had this one song that I thought he
would be fitting for, and so he came in and
just laid his you know, with that bonamie pocket that
he has, and just yeah, both drummers are incredible and

(14:48):
made the album so so good because it starts with
the drums. The drums are the foundation. The drummer is
the boss. If the drums suck, the music sucks. You know,
you could play shitty guitar over great drum grooves and
it'll be okay. If you play kick ass guitar over
shitty drums, it sucks the drums. That's the most important thing.

(15:09):
If your drummer sucks, your band sucks. So that's and
I stand by that point. So back to my long
winded thing over.

Speaker 2 (15:19):
Here long anything about that.

Speaker 1 (15:26):
So working on the album, making the songs, and it
was done and mixed and finished by the summer of
twenty twenty three. The album could have come out that
summer my solo album. But right at that same point,
that is when Art of Anarchy and hum God's destroyed both.
At the same time, everything was coming together. We were

(15:49):
making the videos, we were shooting the photos, finishing the
mixing and everything of that, working out the deals with
the record labels, and I was doing the Doties third album, Dreamism,
which is out digitally now and toward the end of
May it'll be out in retail CDs and all so

(16:13):
it was a lot at once, and it was really
pushing the limits. So I had to just put my
thing aside. I had a lot of plans for what
I wanted to do for my album when I released it.
I didn't just want to throw it on shit if
I and leave it at that. No, So I put

(16:35):
mine aside so that I could take care of part
of anarchy. Get that launched it out, who casts destroy
the same thing, doties, Get that all done and good
to go. And then once that small cleared end of
twenty twenty four, it got back to work on my

(16:58):
album and I was making this anim made it music
video for the song Simon in Space. Simon is my
cat love it my best friend in the whole world.
He's my sidekick, And every time I walk out the door,
my heart gets ripped to shreds. It's like, no, I'm

(17:19):
believing God. What if he thinks I'm not coming back.
I miss him so much just to go and get
the mail. I am so bonded to this soul.

Speaker 2 (17:30):
Yeah, I'm a cat guy myself. Unfortunately, we lost both
of our senior guys, so we're in a period right
now with just a two year old boy you know,
a pet, my son. But yeah, but is he around you?
Because I actually I've been developing a theme of Todd

(17:51):
Kerns showed me his cat Eric Dover, Tracy Gunns. They're
all their cats. I don't know. Is Simon around you.

Speaker 1 (17:58):
He's back home, just here at the studio and.

Speaker 2 (18:02):
Yeah, I'm sorry that you're away from it.

Speaker 1 (18:04):
But he's I mean every night, and he has like
this perfect internal clock, Like at nine fifty he starts.
He just sits and just stares at us with that
look like, well, you're coming coming to beds bedtime, you know,
it's almost ten. And then I get in bed and

(18:27):
he just make sure I'm in the right position. If
I'm lying on my side, he'll tap me on my
leg and I have to lie on my back, open
my legs in like a little circle, just the right amount,
and it curls up in a ball and sleeps there
for hours. And then in the morning, it's like seven
thirty in the morning, and I take a shower and

(18:49):
he's waiting for me. And as soon as I get out,
we have that ritual of I have to take my
towel and fold it up and make like a little
thing and put it on the bed and he runs
up onto it. I have to brush with like a
million bristles and just start doing his face brushing and yeah,
and just go through the whole routine, just stretches out.

(19:10):
It's belly and and everything. And then he's just sitting
there just happy as can be. And and then.

Speaker 2 (19:18):
I it makes me really miss my guys, by the way,
I really missed them.

Speaker 1 (19:22):
Torture. It's absolute torture.

Speaker 2 (19:24):
When we're there forever, you know, over my left shoulder,
you know, the two brothers, Pig and Blackie, Blackie flawless
and then then giv But no, that's that's so. I
love that you play music for him as he is
her responsive.

Speaker 1 (19:42):
You know, I've tried. He just doesn't give a ship.
You know. I teach him to play guitar, like showed
them the strings you could pluck him and everything. Doesn't
care I played little songs for him. Does not care. Yeah,
he's not into music. That's not his thing. I think
just running around and chasing little furry balls and bringing

(20:04):
them back and just playing little hide and seek games
and stuff like that. That's Morris thing.

Speaker 2 (20:09):
It doesn't care that he has a lead track off
Bubblefoot returns doesn't care, he has no idea.

Speaker 1 (20:14):
That's actually him in the album, or hang up, let me.

Speaker 2 (20:16):
Get it okay. Oh yeah, no, I love that, man.
I know it's people are sick of be talking about
my cats, but see, everyone loved them. They're just special animals.

Speaker 1 (20:27):
Yeah. When I was making the album, when I was
making that, that first song, it was a riff that
sort of in the headspace of Room God's Destroyer, which
had a lot of heavy, low chromatic type of things,
and that just bled into whatever I was making for
the album. And got Simon in twenty twenty two and

(20:48):
or he got us, and so that was just whatever
was happening in life just becomes part of the music
you're making. So I was when I made that song,
and it just felt like as like whenever I'm making
instrumental music, I'm always picturing things like I'm scoring in
this imaginary movie that no one else sees, or just

(21:10):
something that happened, like a story you want to tell,
and it's like I'm making soundtracks to these things and
hopefully people get the same they see the same pictures.
So you don't really a lot of times know what
it's going to be how it's going to come out.
Sometimes you're just throwing paint at the canvas and then
halfway through it's like, all right, I see what it's becoming.

(21:33):
And that's what happened with that first song, Simon in Space.
I didn't have a name for it. I think what
did I call it? And there's always just like some
weird working title. I forget what it was. It was
probably something like seven, because the intro is this weird
rhythm of it's long three four, five seven, and if

(21:54):
you follow the hands of the drums, it's like one
two three, four, five six seven one two three four
five six seven one two and the serezon one two, three,
four five six seven, one two three, four, five six seven,
But the feet are dividing every beat into four little segments,

(22:18):
which we would call sixteenth notes, so it's like one
nd of three, end of three and the four and
of five. And what it's doing is it's playing a
shuffle where normally a shuffle is a group of six,
where if you slow it down, it's like it's going
one two three, four five six one two three four
five sis boom fom boom fi for foom phone one

(22:40):
to three four phone phone, but this is doing it
in seven. So instead of going one to three four
five sis one and three four five sis, it's going
one two, three, four five six seven one two three.
It's a seven shuffle, not a common thing. So it's
going and it's doing that while the hands are staying

(23:02):
on solid quarters, just the footstopping, so it forms this
weird kind of almost like a poly rhythm, and the
music is following, like the low stuff is following what
the low drums are doing, what the feat are doing.
So it's going boom ba ba bom bom bom boom
boom ba boom boom ba boom boom, doing this weird

(23:23):
shuffle that all comes together and finishes once you've done
two rounds of seven with the hands, and it's just
a very strange, chaotic thing. And then on top I
have almost like a theremine sounding guitar part. I should
really hang on one second, let's turn this on. I
don't know if you're gonna get good sound through zoom,

(23:45):
but let's see. Ha ha.

Speaker 2 (23:48):
We already tried my audio mishap, so we can we
can try another.

Speaker 1 (23:52):
Let's try. So I was making a lot of weird sounds.
Using the Line six healing pedal, which emulates every piece
of guitar gear. You can imagine it's like every amplifier,
every speaker cabinet, every setting on all those amps, down

(24:13):
to the bias of the tubes and the amount of
hum the amp gets. If it's like an old amp,
like all of that stuff. You could control the kind
of microphone that's in front of it, the distance, the angle, everything,
and it's just incredible. It completely just it's a complete

(24:33):
simulation of the guitar gear world all in one box,
and with it you can create routing that you can't
do in the real world. You can have an expression pedal,
just a pedal like a law pedal or a volume pedal,
but you can have it where it changes the eq
goes from one amp to another, makes reverb disappear, slows

(24:55):
down a delay like things that would take this room
need to be full of gear and you need ten
people turning knobs simultaneously with each other to make that happen. Like,
it's incredible what you're can to do. So with that,
you can get very creative sound wise tunes to this

(25:22):
tuns down to low the and it's trying to sell.
So for Whom God's Destroy, I have this particular sound

(25:44):
in mind where a lot of the bottom foundation would
be very offset and go into strange places, and guitars
would be following it doing this kind of guitar sound
where it's coon down plus a low, dirty octave on it.

(26:09):
So that's the sound I use for a lot of
the foundation guitar wise in Whom God's Destroy, and then
the higher stuff, the vocals, the what the hands are
doing on the drums was the more solid, steady stuff.
So there would be a song that went, let's say,
here's the beat. The hands are going boom boom, just

(26:36):
straight AC DC, but the feet are going like boom
boom boom boom boom boom boom, like all this off
feed stuff, and the guitars are following. The vocals are

(26:58):
just going ba, and it's this weird almost like an
upside down cake, where instead of the icing being the
the off stuff on top of a solid foundation, it's
flipped and the foundation is has all these off center

(27:19):
of things and the top is keeping it steady. So
that was this thing that I was doing for Whom
God's Destroy, and that bled into the song Simon in space.
So on the bottom you have this crazy stuff, and

(27:40):
then on top of it, I have almost like a
theoremone type sound of uh, let's see, let's see if
I could find there it is, so it would be
doing this thing where I'm hitting harmonic. Hit a note
go to half the distance of the vibrating length of string,

(28:04):
and if you touch it there, it gives you double
the frequency, which we call an octave out of that,
and then I have a reverb that opens up on
a delayed reaction to an even higher octave that I

(28:31):
have all set left and right so that they're slightly
out of pitch with each other, and they tense up
and it sounds almost like like they have that leimeny

(28:55):
sort of sound from like the Star Trek theme or
something like that, like all school retro space stuff. So
as the song was coming together and each part was
going into each other part, there's the main melody where
I'm playing everything with just one hand and just touching

(29:17):
harmonics over them, and I have the sound being chopped
up by an effect that just makes it sort of
just boo boo boo, and in the background a reverse
delay that repeats everything backwards a second later, often the distance,
so just really just fucking with sound. So that was
like this whole and then it went into another sound.

(29:53):
That was where I took two delays, where one repeats
quick repeat on a sixteenth note, so you hit a note,
you go the pop and it goes bub up just
once like that. And then after it, I take both
of those and have them go what we call a
dotted eighth note. It's like three quarters of a beat
and it repeats a few times, so you have buh.

(30:16):
And then following that is a filter that reacts to
the intensity of the note that makes us sort of
what like that? So with that you end up with

(30:42):
and then as that's fading off, you jump to just
a melody. So it's taking you to all these weird places.

(31:06):
And the first section just sounded like chaos, like you
just woke up in the middle of a tornado, or
what I really pictured was you just wake up in
a spaceship and you just there's like a million asteroids
that you're like, what the fuck, like just you're in chaos,
absolute chaos. And then it clears up and then that

(31:26):
part with the pretty melodies, like you're seeing just gorgeous colors,
just some incredible things, nebula everything, and then you get
the sense that that it's all about to get flucked
up again. And so let's see, I have my little

(31:58):
vacuum track things set up, so there's there's a lot
going on in the song, and it's like it just
it takes you on a journey. It does. It takes
you on a trip. And afterwards, after was done, I
was like, fuck, it feels like it just like a
weird space adventure, you know, just to be the little
kid in me. And then I thought about my cat, Simon,

(32:23):
who would always sit by the window in the circular
bed and uh, just stare out the window, and it
looked like he was just like in a spaceship. So
I made an Instagram account called Simon in Space. It
is all just pictures of him in space. And I
just put the two together and it was like, shit,

(32:44):
this song, this should be about Simon in space. And
and then I started being I started picturing an animated
music video. So I started making all of these elements.
What would he encounter in space that would that he
would take issue with alien mice and fish and robot

(33:06):
birds and asteroids made of cheese and all stuff like that.
So then that led to making this this music video.
And a good friend of mine out in Poland who
has a video game company, huge talent, and said, do
you want some help with the music video? I could
definitely make it better, and certainly could because I am

(33:29):
no expert at any of the things I do. So
he took it and took it to the He just
made it phenomenal and made it wonderful. And then from
all of that, that's what led to the album art,
the album cover and everything. And there's little Simon that's
really his face in there, that's it and all that.

(33:51):
So then it was like, all right, I want to
make really nice physical stuff, even if no one buys it.
I just want to want it to be Thankfully people did.
But what we love about this stuff is the artwork
everything that comes with it. So the vinyl I went
all out, so you have that, you have. Oh and

(34:13):
the other thing I should mention is I had the
idea for in the updated Okay, I gotta go back
now thirty years my very first album, The Adventures of
bumble Foot on Shrapnel Records, the guitar label the artwork
for it. It had this half be half foot creature

(34:34):
thing and all this chaos around and everything. So I
was thinking, all right, all these years later, what would
be sort of an updated version or just using the
same concept. So instead of having the b foot thing,
I was like, all right, double neck guitar as a spaceship.

(34:59):
And I tried to make the art and I was
just coming out like shit. So I found an artist
to do it, did a great version of it, and
then got someone who's good at like Blender software three
D rendering and made a three D model of it.
So this way it could be used in the videos,
it could be used in anything visual. It could be

(35:21):
used for album art where instead of having to redraw
it every time, you could just make a dozen angles
of it with different lighting and different perspectives, and you
just move the three D model and say, okay, render
a two D image, and.

Speaker 3 (35:36):
There it is.

Speaker 1 (35:37):
So that's for the cover. It's like that back cover,
the same leaving, and then inside more stuff and different
angles and lots more artwork, and then the amount of

(35:59):
music on there. If I squeezed it onto one disc,
there was the possibility that the sound quality would degrade
because it would be more than the twenty two minutes.
After that point on vinyl, you can start losing sound quality.
And if I stretched it onto four signs, the signs

(36:20):
might be too short where people just flip in two off.

Speaker 4 (36:22):
And so what I came up with is, well, first,
here's more artwork, here's maybe we can all serious and whatever, and.

Speaker 1 (36:35):
Another one of those with more artwork, different stuff. This is.

Speaker 2 (36:41):
Just beautiful. So you have just a three D printer
version of that. You don't have a practical version yet
of that guitar that you can play. No one has
made it.

Speaker 1 (36:51):
I don't have the actual guitar of it.

Speaker 2 (36:53):
Yeah, this.

Speaker 1 (36:55):
Design here, which is a just three D virtual model
using three D rendering.

Speaker 2 (37:02):
Software Millennium Falcon.

Speaker 1 (37:05):
What I did is it took the three sides of music,
and then the fourth side is a UV pressing that
has the just art on it. So there's no bodio.
There's three sides of music, and then the fourth side,
Oh I see has the spinning chips and stuff.

Speaker 2 (37:27):
Yeah that's cool, like to hang up. Yeah, absolutely, So that.

Speaker 1 (37:35):
Was the plan. You said to me.

Speaker 2 (37:40):
You said to me before when we were scheduling this,
that you've never been a part of something so involved
two which is leased. I mean, I gotta imagine this
is just part of it. How it involved with the
artworks alone.

Speaker 1 (37:55):
Yeah, making it took a year to finish that that
music video, and then making the two D and then
three D model and all the album art, and then
for the CD you have. You know, CD opens up
art art. You got the the disc art art, and

(38:18):
you got the booklet which opens up instead of it
being a staple booklet, it just opens up into like
a bigger thing.

Speaker 2 (38:26):
Yeah, just the old school what you appreciated about about
CDs and just the artwork and opening up. And my
college dorm was full of things like that, and the
things you would fold out and just put them on
the wall exactly.

Speaker 1 (38:40):
That's who we love that kind of stuff. So just
for the fuck of it, I also did it on cassette. Yes, yes,
for the few people that wanted on cassette, And you'd
be surprised, aren't people that still want cassette. So and
again it unfolds into a whole bunch of art. Nice

(39:01):
and you got the info there and more art. It's
all about art, and nothing compares to not seeing it
through a screen. And just holding it in front of
your face and it's no a tract, just such a
surreal thing. When I first got this, you get so

(39:21):
used to just looking at everything on the screen, and
then when it's just right in front of your eyes,
it's like, holy fuckgible, it's a different thing.

Speaker 2 (39:31):
Can you describe that feeling when you first had it
in your hand? Always? First did you first have the
Now I have to ask the vinyl, the CD or
at the cassette, like what did you first have in
your hand?

Speaker 1 (39:40):
The vinyl? And I was like, oh my god, it's
so clear and so just alive. It feels more like
art like that. It feels like there's so much more detail.
They're so just Yeah.

Speaker 2 (40:01):
It really is a lot of people, a lot of
old like these.

Speaker 1 (40:05):
It's like you took sunglasses off for the first time
and you're seeing everything in full color.

Speaker 2 (40:11):
I really, I congratulations. It's it's a lost art of
this kind of art. There's just been a lot of
lazy album covers now and making albums and just the
thought process that went into this, the time, the people,
I mean, it's this is a put together There's a
lot of.

Speaker 1 (40:32):
Stuff that goes along with making physical product that a
lot of bands just can't do. Number one, there's not
as many people buying it because it's not the only
choice you could easily listen. And even then, like a
lot of this, I consider merch items that embody playable music.
That's what a lot of it is. I don't know

(40:53):
how many people are going to actually pop this on
a cassette player these days, although I have a friend
that does have an old color with a cassette player
in it and he.

Speaker 2 (41:02):
Popped it on.

Speaker 1 (41:04):
But yeah, that's the thing, like that's currently that's where
things are. So a lot of bands, that's not a
wise investment for them to say, all right, I'm going
to spend fifteen thousand dollars to make a thousand vinyl.

Speaker 2 (41:20):
Yeah, they don't have that.

Speaker 1 (41:22):
Yeah, so what do they do? They put it out
on Spotify and everything else, and they put that money
instead into trying to create awareness, to let people know
they exist, that the music exists, that it's out there.
That's the main battle now is just letting people know
that your music exists. So that is where a lot

(41:47):
of bands, a lot of artists, a lot of whatever
they need to put their focus on. So it's like
you know, barred people will let them know it's out there.
Hopefully amongst the thousands of things they're seeing every day,
they'll catch that and then you just easily go to
Spotify and you can hear it there. Is it the
best sound quality? No, does it matter that much to

(42:10):
most people. No, it's close enough. It's good enough. They
don't know what they're they're missing. You know, they're not
hearing it in incredible fidelity, they're just hearing it like this,
and it's a good enough representation of music. So that's
that's fine for people that are real audio files and

(42:31):
that they're going to go a different way. Yeah, so's
the whole thing is you want to have something for everybody, though.
You don't want to leave out these people, and you
don't want to leave out the people that want digital.
So it's on band camp, you can download it off
my site. It's on all the streaming sites, and it's

(42:53):
here physical. There's the music video and we made assignment
in space retro video game. There is a video game.
Go to my website, go to bumblefoot dot com, scroll
down and you'll see just a little blog post about it.
Or go to si s Simon and Space SI S
dot Gloomy Ware. That's the company that's my friend, Ride Kubinski,

(43:17):
the genius that made this thing. G l o O
M y w A r a dot com. And it's
a very simple game where it's just the spaceship and
just like the old Space Invaders type games, and you
just press down, push down whatever it is and move
it around and it's just rapid firing and all the

(43:40):
alien mice and this and that, and they start shooting
back at you and the music is playing in the background,
and it's just another way people can experience the music.
And what I want to do is just have the
record release, have all these things, just have it be fun.
If you want to stream it you can, If you
want to download it you can. If you want to

(44:01):
have something physical you can. If you want to play
a game while you're listening, you can. If you want
to watch a video you can. That was what it's
all about. So then there's making the new website, which
was fifteen years overdue, and having a nice store with
all kinds of things. You can get a Simon pet bowl,

(44:24):
you can get you know, the usual stuff.

Speaker 2 (44:27):
I was gonna ask if there's more assignmon March. That's
what I'm really here. Okay, good, Yes, I can get.

Speaker 1 (44:32):
Simon the astronaut shirt and all of that, and yeah
and but there's but wait, there's more. So what am
I even forgetting this so much stuff?

Speaker 4 (44:43):
Ah?

Speaker 1 (44:43):
So oh yeah. So all these guitar sounds, these weird
guitar sounds that I have, I made them all available
at line six dot com where you can get these
guitar sounds. So if you like them, or if you
want to make your own variation of them, or use
them as just a starting point and come up with
something weird. So all the guitar sounds for every song,

(45:06):
every sound on the whole album is available there for people.
And next month we are going to put out the
transcription book of the entire album, where it is not
just the tablature, but the music notation and every finger used,
the picking direction, if it's a pull off, if it's

(45:27):
a tap, like every single thing, for every single guitar track,
like a little background thing. It's in there, everything for
the entire album, every song, And when that comes out
I'll make back in track so once people learn the stuff,
they could play along.

Speaker 2 (45:44):
Yeah, you know, what I love that you've been able
because you're so well spoken about this and so learned,
because I want to ask you about being a teacher,
but you've answered so many of my questions just through
the conversation, you know, going back from the beginning of
just okay, what's what's Ron's path and talking about you
know why it took him minute to put this album out,

(46:07):
and you're helping other people. That's something you've always been Okay,
that's why you're in the back burner. So I mean
that was a question I had and you you answered
that organically and just to be able to just listening
to the way you were teaching. I have no musical ability,
That's why I'm in radio, but you teaching me guitar
or just teaching whoever's listening. And I kept thinking of

(46:28):
my interview with with d m C, with uh with Yeah,
with McDaniel, with Darren McDaniel from Run DMC, and just
he said the word he used that you were a genius,
a genius. I was telling my brother the other day
that the word is overused, But the way with you,
I don't think it is. Is that who taught you,

(46:51):
who taught you to be I know, I'm sure your math,
I don't know what your math is, but your musical
genius if you could say that, But I don't know
what your socials these skills are, you know that kind
of genius.

Speaker 1 (47:04):
But who I get progressively dumber?

Speaker 2 (47:07):
That's help? Did you have this like specific teachers that
helped you really grasp this and be able to convert
and converse it through because not everybody who's that has
the talent that you have could teach can explain it.

Speaker 1 (47:25):
You know?

Speaker 2 (47:25):
Is that something? Because you know, my son's going to
be two in like a week or so. He's too
young to learn a guitar. He does some music, all right,
So that's the question. I want to know what's a
great age to start because we want him to learn instruments.
I mean, we're not going to force him to do anything,
but just who are your teachers and and what's the
right age for me to try to make him to
the next rock star.

Speaker 1 (47:48):
When you have little kid toy drum sets and guitars
lying around and he starts playing around with him, usually
they start with drums. We have it out, yeah, yeah,
And every guitarist should be a drummer. They need to
have rhythm, they need to have pocket. They guitarists always

(48:10):
rush ahead of the bed. We're just have this frantic
energy and to be able to just keep it on
a good leash and let the drummer lead. I always
think of it like the drummer, like picture your hands
splashing in water. It's like smack. That is the drums,
and then the ripple should be you. That's what you

(48:31):
want to be. Is he here? He is?

Speaker 2 (48:33):
I'm trying to get him to say hello, Hello, Let's say,
don't freak out. He doesn't want to.

Speaker 1 (48:44):
He does.

Speaker 2 (48:47):
Well, you know what, I can turn the camera, try
not to lose your There he is?

Speaker 1 (48:53):
Can you say.

Speaker 2 (48:56):
Say bumble foot?

Speaker 1 (49:03):
I tried.

Speaker 2 (49:04):
He's He's just a funny guy. Right now, he's just
a funny guy. Here'll be two on the twenty sixth.
He's very attached to daddy. Thankfully I have one of
my brothers here to help me out this whole time.
But yeah, I've had him doing interviews with me since
like maybe a few weeks old with Tommy Stinton. He's
like lying on me and stuff. So he'll be my

(49:26):
co host at some point. So maybe next time we'll
have some questions for you, but I'm sure yes, to
bring back around your teachers who taught you. You know,
I can't teach him.

Speaker 1 (49:37):
It started when I grew up in the boroughs of
New York, So started off in Brooklyn, and then pretty young,
we moved to Staten Island. Moved to this neighborhood when
I was five years old where there were all these
kids my age, and they all had older brothers and
sisters that were at the album buying age, plus their parents.

(49:57):
So I would go for my neighbor's house. You know,
back then, you just walk over you and knock on
the door. It's like I want to play, and you
open the door and play with toys. And there would
always be just vinyl albums just lying all over the
floor everywhere throughout the house. So at five years old,
I started getting exposed to a lot of music, just

(50:19):
picking it up, like, oh, this is weird. It's like
some Elton John album with some weird creatury, funny, weird
cartoony stuff or everything like that. So we would just
go to the turntable and pop on an album and
just sit and stare at the speakers and just listen.
And it was September seventy five and I was about

(50:42):
to turn six years old, and I remember I picked
one up and it's like, what is this. It's like
these guys with these painted faces and looking It's like
this is weird. So we put it on and it
was kiss Alive And as soon as I heard it,
it was the strangest feeling for a five year old.

(51:04):
It was like being shown all of time at once
and saying this is like, this is your path, this
is what you're supposed to do. And it was like,
all right, this is what I need to do, this
is this is it? So I started a band at

(51:25):
six years old. My brother was on drums. I wanted
to beat the drummer, but he was two and a
half years older. He was yet much better motor skills,
I mean everything. Yeah, I mean this bottle has more
motor skills than me.

Speaker 2 (51:41):
But but I'm showing just because obviously with him, it's
obviously a topic of every day with him, with motor skills,
he could be great turning a corner and then the
next thing, you know, he just collapses on the grounds.
What's going on with you? So then that that's what
was your band name? With your brother.

Speaker 1 (52:00):
Oh, we went through so many let's see. So there
was my neighbor John, So he played guitar, My brother
played drums, and I didn't. I just wanted to be
in a band. All I knew from the Beatles and Kiss.
Those two those were my loves at that time. Those
are the ones that hit me. And all I knew

(52:21):
is that you knew these guys on a first name basis,
John Paul, George Ringo, Jean Paul, Peter Race. And that's
what I wanted to be. I wanted to be part
of a team that together we make something that makes
people feel as good as these bands are making me feel.
And growing up in the seventies where every week there's
some incredible new album coming out, Fleetwood, Mac, The Who, Pink, Floyd, Yes,

(52:46):
Queen Ac DC, everything like it was just phenomenal music constantly. Yeah,
so you couldn't avoid inspiration musical inspiration, even if you
tried so. Our first band, it was called Viper five,

(53:06):
and I took a big white sheet. Actually it was
you know, I thought it was big, but it's probably
like this big. It was like a window shade. It
must have been for a double window. I guess, but
it was a big white window shade and I took
it and I drew a snake in the shape of
a five, and that was our logo, Viper five, and
there was five of us love it and because watching party,

(53:32):
well no party family. One of the band members was
our manager, so he was like the Rubin Kincaid. So
there was the drummer, then Tommy he played the paper cups,
which is just paper cups that it turned upside down,
and that was percussion, so drums, percussion, two guitar players
and the manager. And then like as little kids, I

(53:57):
got an argument with the manager which it was very
foretelling about the music industry. So then we became a
three piece. Our bungo player Tommy with the paper cups,
retired from music and went on to other things. So
it was just the three of us. So we called
the band Target. And this is where things got serious.
We had our logo which looked like a target, and

(54:20):
I was hanging on the back wall and we started
doing shows and making demos and writing songs. I have
let me find.

Speaker 2 (54:29):
All right, Oh you still have that? Oh that's great.

Speaker 1 (54:34):
Everything. So from nineteen seventy seven, seven years old, and
we were just writing about things that little kids wrote about. Wait,
there was a band before that. It was just me
and my brother. And as you mentioned that, besides music,
my passion has always been astronomy and cosmology and even

(55:00):
more than that, really astrophysics and not unlike Brian May,
only he has a brain and he went on I
was helping with it, and me I just kind of
banged my head into a wall and say, the so.

Speaker 2 (55:12):
All of us compared to Brian May, is that but yeah,
I mean doctor Brian May.

Speaker 1 (55:16):
Jeez, exactly, sir, doctor Brian May. So ah, so the
first man we have is called smoke in space, but
it was like smoking smoking space and uh yeah, so
even still, you know, it's my love.

Speaker 2 (55:35):
Good and I love how you.

Speaker 1 (55:37):
And part of the reason is because it's everything. It's
everything we are, it's everything that exists. We are cosmic dust,
you know, we are you know, crashed asteroids and just
the right timing and the right heat and a whole
lot of time to develop. And this right here, what's

(56:00):
happening right now, every single thing, Like if I get
started on this, this is gonna go on for hours.
We're talking about how time doesn't exist for photons, and
we're going to get to that.

Speaker 2 (56:13):
We're gonna get the photons of the conversation.

Speaker 1 (56:19):
Hello, Hi, where.

Speaker 2 (56:29):
Can you say? Bumble say bumblefoot? I do you hear
I'm saying mm hmm say bumblefoot. I'm trying to get.

Speaker 1 (56:45):
Show you where's the look?

Speaker 2 (56:46):
Look, Harrison, look at bumblefoot. See my fingers his fingers.

Speaker 1 (56:54):
Finger report. I can take my fingers off.

Speaker 2 (56:56):
He does the thumb trick. I love the bubble foot's
uh doing finger tricks. I mean you could do a
guitar trick. But I guess he's not ready for this.
You want to go to No, you want to sit here? See,
I don't know if he's gonna give us hours ron
to talk. You know, he's just we're on his time. No, No,

(57:17):
what do you want?

Speaker 1 (57:18):
Well? I love it?

Speaker 2 (57:19):
You know what I need to get? You want to
go down? Yeah, alright, let's go down?

Speaker 1 (57:26):
All right? So we want more milk.

Speaker 2 (57:30):
More So he's gonna give us a little bit more time.
When my brother fills up his we got to get
him to actually eat food instead of just having milk
all the time. You have I mean you had kids, right,
I mean it's been a while that I know I
never had you never have kids. I don't know why. Okay,
well maybe that's why you're a big kid.

Speaker 1 (57:51):
Pretty much. I love other people's kids.

Speaker 2 (57:56):
Well if you do, if you do shows around here,
I'll bring them.

Speaker 1 (58:00):
Yes, dude, definitely, I'm going to give him a first
guitar lesson.

Speaker 2 (58:04):
I love that because I was That's what I wanted
to one of the things I was going to ask,
I mean, are you going to tour off this record?
I know you have some guests up here, you know,
stars out there that may not make it, But how you'm.

Speaker 1 (58:15):
Doing I'm doing a lot of just like one off
festival type stuff and then a lot of rock and
roll fantasy camps and teaching things. But as far as
like going on a tour, I'm not planning to do that.
But you never know what's gonna happen. Plans change. But
right now I'm enjoying much more being a coach and

(58:38):
helping other people get on the field. I'm working with
a lot of bands. As a band down in Baltimore
called Shavrock. Their last name is Shavrick and they are
Orthodox Jews and they kick ass. And their rabbi said
you should call your band Shavrock, and they write the
greatest songs, like all the lyrics are just about goodness
and good storytelling, and the core of it is acoustic,

(59:02):
almost like folk, but they break into almost like two
thousands radio rock like Creed and things like that, Like
just a lot of good rock. And the guitar player
is very like slashy, melodic, bluesy, great stuff. So we're
finishing up their album and that'll come out soon. So
they would come here on weekends, like after Shabbat on

(59:27):
Saturday night, they would come up and we would work
till two in the morning. They would hit a hotel
and sleep, and then we would start early in the morning,
work all Sunday all Monday and get a couple of
songs done and it's fantastic. It's great, great stuff. So
that's an example of like bands like the Dodies and
Shavrock and just helping people launch.

Speaker 2 (59:49):
Is there as of bands that you've worked with are
currently working with that we can also find in addition
to your stuff, Like we can go on your website
and be like, oh, Bumble's working on this with this
can we get like any.

Speaker 1 (01:00:04):
When I redid my website I spent a couple of
weeks making the discography section where there's a guest appearances
section where any song I played a guest guitar solo on,
I have all the information on it and a link
so that you can listen to their song. A producing
section where people that are produced you can there's links

(01:00:25):
and you can check out all the stuff for comps
and tributes and bands and solo stuff and everything. So
there's all of that on there. If you go to
the discography section, definitely check out Chevrock. They only have
two things out so far, actually three, they just put
on another. Yeah, and the Doties they have three albums out.

(01:00:48):
Definitely suggest checking them out. They sound like a mixture
of Weezer, Radiohead and Nirvana, okay, and it goes to
musical places you wouldn't expect in a good way, like
it works really interesting, and the singer has this wide
range of people compare him to Justin from the Darkness.

(01:01:10):
He gets that a lot because he has the range,
but he not like he overuses it and does like
a bunch of kind of thing. It's like, no, it's
just like his melodies are very they span a wired
musical range, so okay. The first song I ever wrote
was called Jupiter Is Nice in the band Smoke in Space,
before Viper five and before Targeting, So that one because

(01:01:35):
I had nothing to draw from yet, because really, when
you're writing songs, it's just you're just compiling all the
building blocks that you've amassed just from everything you've heard
and everything you've experienced. You don't really make up things
out of nowhere. There's the music that influenced you and

(01:01:55):
inspired you, and that becomes part of how you make
your own music, and just the feelings you have and
everything and that all comes together. But at six years old,
I didn't have much, so I just wrote about what
was interesting to me, which Jupiter is Nice. And I

(01:02:17):
stole the melody and the music from someone that was
on the radio at the time, Fox on the Run
from Sweep. So it was just Jupiters, nice mind vines,

(01:02:38):
I Scared on the Ice Jupiter, and then it would
just go on and describe Jupiter the clouds of gases
that are poisonous and then go back to the chorus.

Speaker 2 (01:02:50):
And so I love that.

Speaker 1 (01:02:51):
So then we had target the three piece and.

Speaker 2 (01:02:56):
Let's see it your parents was to add a ball.

Speaker 1 (01:02:59):
Like they did until I got until we got noisier
and noisier, and you know, the drums got bigger, they
amps got louder, and the school grades got lower and
all of that stuff.

Speaker 2 (01:03:13):
Okay, okay.

Speaker 1 (01:03:32):
In that band, we just wrote about like speeding, So
we had a song speeding on the highwayman. Uh, let's
see stuntman again. We can't make much out of it.

(01:04:01):
These are very old. So we started figuring out that, like,
have the drums like ten feet back, our little acoustic
guitars right up to the cassette recorder. That's how we
record the music. And then we would have a second
cassette recorder. We would play our music back record on
this one and sing along, and that's how we would

(01:04:21):
overdub vocals smart, So we started figuring out multi tracking.
When we would do shows, we would make up little
tickets on post it notes and hand them out to
the neighbors. And I would make cups of confetti that
I would cut up hand ma confetti that for the
last show, I would give them out to the audience
and they would throw confetti in the air for the
final song.

Speaker 2 (01:04:40):
That's brilliant and over time, yeah.

Speaker 1 (01:04:43):
The stuff got better. Yes, yeah, like the gear got better,
the recordings got better for me, the songs got worse.

Speaker 2 (01:04:54):
But yeah, so no, I love that, man, I mean
I hope. I mean, we're I'm gonna have recordings of
my son, you know, interviewing people. But just to have
that at that to still have that at that day
and age is pretty cool and pretty special. So now
it's cool that you have it. I mean, were you
ever inspired by a six year old Ronnie to write

(01:05:17):
a current song?

Speaker 1 (01:05:18):
Will?

Speaker 2 (01:05:18):
Did you ever get to hear something when you were
like a kid you're like and all of a sudden
it gets sparked an idea for something more modern? Or
is it just you leave it? Then it's just more
for fun and you know, just to enjoyment.

Speaker 1 (01:05:30):
Go back to my six year old songs.

Speaker 2 (01:05:32):
I'm just curious. You never know, you never know where
inspiration comes from.

Speaker 1 (01:05:36):
Right, Maybe you're actually I did that years ago when
I was a teenager. But now it's like you want
just keep moving forward?

Speaker 2 (01:05:45):
Okay, you know is nice? Sorry, let me it is.

Speaker 1 (01:05:52):
It's like songs are like a photograph. Yeah, and it's
a photograph of a time and place that you more
and it's like you just want to keep it.

Speaker 2 (01:06:06):
Sure, I don't want to.

Speaker 1 (01:06:09):
Maybe you could retake the photo, you know, go back
to the same place and and do something like that,
but but I prefer to just come up with new
photos right on.

Speaker 2 (01:06:21):
Yeah, I'd rather, you know, I'd rather you get an
album inspired by your cat than versus adolescents adolescent Ron.
But I got a question.

Speaker 3 (01:06:32):
Uh.

Speaker 2 (01:06:33):
This is from Richard Fortis before we we wrap up
about the new album. H He wants to know why
sax didn't play on the album. He was surprised, as
they know they are close that Saxiani actually suggested you
to Guns and Roses. But he's got Y Guthrie and
Brian freakin' May. That record is great, my favorite thing

(01:06:54):
Ron has done. So that's again from from Richard.

Speaker 1 (01:06:58):
Nice, thank you, thank you Richard. Oh well, I didn't
want it to be I didn't want to have too
many guests. If I do another one, I would absolutely
ask Sach. I would ask Steve Moore, Steve Loogan that
it as like a million people. I could ask Zach
as like so many people that I would love to
do something with. At first, I didn't even want to

(01:07:23):
have guests. I just wanted to do it, but then
as each song would come together, I would just hear
a specific person and I view it like they are
the final puzzle piece to complete that picture, and I
am not that piece. They are like I could do,

(01:07:45):
I could try to channel them, but I wanted the
songs to have the real thing. Like as I was
making that song Once and Forever and gets into that section,
all I could hear is that Brian may sound didn't
feel and soul, that spirit, that entity, and I could

(01:08:06):
have imitated and said, well, this is what I think
he might do. No, No, I wanted to have the
real thing for the song Monstruo. So I imagined after
the breakdown part where it goes back into this solo,
that should sound like an alien like guess not from
this world. And yeah, I could make some weird sounds,

(01:08:30):
but the best person that can capture that and make
a guitar sound like it's really an alien speaking to
you is Steve Vai. So I asked him, we do
you throw down a solo? And then Guthrie. That was
the first song when I started writing with the intent
of making an album, and I took an old riff

(01:08:53):
that I had from when I was nineteen that I
just never did anything with, and it was just sitting
collecting dust in my brain for decades, just this thing
that just went I was like, you know what, let
me just dust that off and finally do something with that.
So I took that and it just song starts with that.

(01:09:15):
This is the very first thing I did when I said, okay,
I'm making an album, and then I added I pictured
drums and a bass, adding the next layers to it,
and then a melody on top, which actually is kind
of a Saturanni type inspired and a lot of times

(01:09:35):
the melody would just either be a spontaneous thing or
something that I'm just not near a guitar and just
thinking and I just hummet, yeah it's so then from there,
like okay, there's the melody. What happened twice? And then
build up and now let's make a variation of that
that melody all right, let me get a better guitar

(01:09:56):
sound for that. Okay, so we had it doesn't work
from there, then you want to take a melody and
just give it a slight variation so it doesn't start
getting redundant. And if you change the foundation the chords

(01:10:21):
that the melody is part of because a note can
be part of a lot of different things. It could
be the root of it, could be the fifth of it,
could be a third and the note gives you a

(01:10:45):
different feeling, same note, but different feeling because it's the
combination of things that gives us feeling any kind of
emotional content. So I had as the root, and then
suddenly it has just a different meaning to it, a

(01:11:10):
different emotional depth. So I went to that, and then
I just pictured a breakdown where there could be like
a long solo, and then I thought this would be
a good place to trade off with someone. And now
this is a riff I had from when I was nineteen.

Speaker 2 (01:11:28):
It was nineteen eighty nine, right, So he took something
when you were nineteen, now when you were six, and it.

Speaker 1 (01:11:34):
Was something that I just never used. It was just
a riff I had that I never turned into a
song for that long, and I just wanted to get
it out of my head finally, And when I was nineteen,
that's when things really started. I got a write up
in Guitar Player magazine, and from that people were reaching

(01:11:56):
out saying, Hey, I would love to hear your demo. Actually,
I shouldn't go like this because that didn't exist yet.
It was all handwritten and it was handwritten letters. So
I had my address, my home address in there, and
people would send letters. So I got a letter from
this kid from England said, Hi, I would love to
hear your demo. My name is Guthrie. I'm a guitar

(01:12:19):
player from the UK. And we became pen pals and
we would write each other handwritten letters and cassettes of
our demos and handwritten transcription saying here's what I did
on this rift. It's kind of weird. I think you'll
dig it. And we were these guitar pen pals as teenagers.
So I've known Guthrie since then. So when he was

(01:12:39):
doing his first album, Erotic Cakes. When he was making
that album, he asked me if I would lay a
guest solo on this song he had go over Rhode
Island Shred. So I did this solo on the fretless
in the middle of it, and then added a harmony

(01:12:59):
on top bit and that. So I was like, you
know what, it all just kind of fits the timeline
of where the song came from. It's when things began,
it's when this album is beginning. It's from a riff
from that time, and I should ask my friend from
that time that reached out if you would play on it.

(01:13:22):
So he did and we did a little trade back
and forth. So that's how that one happened.

Speaker 2 (01:13:28):
Very cool.

Speaker 1 (01:13:29):
The song Funeral March, that was something for piano that
I came up with, and it was just, you know,
missed the pandemic and relatives and friends and friends of
relatives and relatives of friends all disappearing and and just
felt like you're it just felt so the only way

(01:13:53):
to describe it is just staring like blindly, like almost
like the void in front of you, and just walking
aimlessly down this long path, just like what the fuck
did I just experience kind of thing. And it reminds
me of a Twilight Zone episode where people were walking

(01:14:14):
down this road and there was this woman just waiting
for a husband to come back from the Civil War,
and all these soldiers just kept walking down this road
and they role just almost like zombies. It's just you know,
and some would stop and talk and I don't want
to give it away, but it reminded me of that,
and so I started making the song. I made it

(01:14:37):
for guitar to start with, and then just kept going
around with different layers of instrumentation and just got the
sound of marching on gravel. Put that in there, and
Kyle did like a marching snare in there, and I

(01:14:58):
pictured almost like a Louisiana funeral type thing with this
this bell in this timpany boom boom boom, and just
picturing all of that again, like I'm picturing something and
I don't soundtracked. Yeah, And I realized it needed it,
just like a crying violin. So I went to my
favorite band, Thank You Scientist, and I asked Bend, the violinist,

(01:15:23):
if he would lay something down, and he did and
it was perfect. It was beautiful. Yeah, So that's kind
of how everything would happen. As far as guests on there.

Speaker 2 (01:15:36):
Well, that's cool, and you certainly you're mentioning just a
few like is it going to be the same amount
of time before we see umble Foot returns again? Or
you're not even thinking about that yet. You're just enjoying this.

Speaker 1 (01:15:47):
I'm still like knee deep in this. I still have
to make a hot sauce and some almost moonshine. Who nanny,
that's the song? It was. I was watching this documentary
on all his old blues dudes from like a hundred
years ago, and I remember Lennie Johnson was just playing
this kind of rhythm. I was like, I like that,
and I just grabbed my guitar and just busted out

(01:16:09):
this this thing. And then I thought the movie Raising Arizona,
remember the soundtrack, and I pictured just a voice doing
some kind of thing like that, but it with guitar.

Speaker 2 (01:16:27):
So it was just like.

Speaker 1 (01:16:35):
And I just pictured a voice doing that in the background,
and then just built a song from there. Everything stops
and there's some kind of guitar riff, then back to
the main thing, and then some other guitar riff, and
then changed the card and then just built it into
the main theme and it just goes from there, and

(01:16:55):
just the song saw us to build itself. Snowball.

Speaker 2 (01:16:57):
Is that something you want to do, perhaps like score
a movie or a cartoon or a show or video games.
I mean you obviously have the division. Yeah, that's what
we want.

Speaker 1 (01:17:09):
You want tons of that. That's like, keep doing that, right.
The nineties and two thousands is when I did it
the most. But yeah, I did the soundtrack to one
of the first video games that had sixteen bit actual
sound on it, like recorded CD audio. It was a

(01:17:29):
saga game, this weird game called wild Woodie, really weird game.
And did the whole soundtrack, twenty eight songs, levels and everything.
And I did for pretty much every MTV show that
you can imagine, like back around the early two thousands,

(01:17:50):
you could think of every single one had my music
on it. The Osbourne's Hogan Knows Best, Clone High pinned
my ride, like with all of them. Yeah, So I
did background music for those and then from there started
doing more stuff. So my music has been on So
You Think you Can Dance? It has been on Oprah Winfrey,

(01:18:11):
Tom brokaw, w w E, RAW, NHL. The two thousand
and eight to nine promos for that season was my music.
There was a show on Spike TV called m XC.

Speaker 2 (01:18:29):
Yeah, yeah, Most Extreme Challenge right.

Speaker 1 (01:18:32):
Yeah, the theme song is mine.

Speaker 2 (01:18:34):
I didn't I know that, okay.

Speaker 1 (01:18:38):
Show? Yeah, you mentioned Eddie Trump before his on VH one. Yeah, yeah, theme.

Speaker 2 (01:18:46):
Song It's mine that I knew that I knew that
I remember.

Speaker 1 (01:18:50):
And then there's a lot of different you know, volleyball,
this and this and that, like different video games that
I've had music on some like little indie horror movie. Yeah. Always,
and it doesn't stop. Every time. I'm getting like a
list of you know, like you get your royalties and
the breakdown of stuff, and or someone just sends me

(01:19:13):
a video of something like like a few months ago,
like something on NASCAR was using my music. Before that,
it was McDonald's commercial in Finland was using some of
my music and of all things like a crazy guitar
solo from one of my solo albums they were using
on a McDonald's commercial in Finland. Yeah, so that is
a big part of what I do. So I do

(01:19:36):
all of that stuff. So here's for everyone that doesn't
know beyond playing in a certain band and framed on
your wall there. Okay, So teaching started teaching at thirteen
years old. At that point I knew all the academics
and music theory and everything in jazz and classical. So
I started teaching. That went on to become there's a

(01:20:01):
thing called the sam Ash Music Institute. So I was
a teacher there and then I started teaching. I actually
developed the whole entaime music program for a private school
in Central Jersey. They didn't have a music program, so
put together a whole music program for them. And then
after that I started teaching at Sony Purchased College as

(01:20:21):
an adjunct professor, teaching music and music production and with
the studio stuff. And I always had my own studio
and do lots of things producing bands and from that
also making music for the TV shows and all that.
So then in twenty thirteen I started working with the
State Department where I go to all these different countries

(01:20:42):
and do these music programs with local musicians. So we
do all kinds of things, like special things for Earth
Day in the Philippines, class for the grandkids of the
royal family in Brunei, like all kinds of wacky stuff. Yeah,
just playing all over the world, you know, courtesy of

(01:21:05):
the different embassies and consulates and just doing these things
to strengthen ties with people that maybe don't know much
about America other than politics. And what they would always
say to me is you know, they said this to me.
They said, politics divides people. Music brings people together. That's
why we're bringing you out here. And sure enough, did

(01:21:27):
lots of wonderful things with that. What else, the hot
sauce they I've always been into spicy food. So I
started a hot sauce company since twenty thirteen, and for
this album, I have to make a hot sauce to
go along with it. With that song, I was just
playing moonshine hooting ninety, so I got to make a

(01:21:48):
Louisiana style with boiled down whiskey moonshine or something in it. Yeah,
so I got to do that as well. I got
a lot of plans things based around this album that
still are yet to be done. This it's not just
putting the music out and moving on. I wanted to
be a whole experience with a lot involved. As an

(01:22:10):
album release should be. It should feel like an event
with a lot to it. Make it something special the
way it was back in the day.

Speaker 2 (01:22:17):
You know, you truly are a renaissance man, Ron. You
really just so much and it seems like it's all
DIY do it yourself. It's not like you have a
bumble foot, you know. Now you have like a bunch
of employees underneath you. Right, you might have some he
being there and there is there anyone you want?

Speaker 1 (01:22:37):
I am getting help, Okay. For example, Deco Records, I've
done a lot of like one of guest guitar solos
for artists that have released on Deco Records. So the
very first big concert I saw was Kiss at Madison
Square Garden in nineteen seventy nine the Dynasty tour. The

(01:22:58):
band that opened for them was this band called New
England and they were phenomenal and I immediately went out
and got their album and just love this band so much.
Eventually became friends with Hirsch Gardner, the drummer, vocals, songwriter,

(01:23:18):
wonderful guy. So I do on his solo albums, I'll
do guest solos and things. So he just put out
his album Third Time as a Charm on Deco Records.
So I was talking to them and I have somebody
been up to I told him about the album. They're like,
you want to you want some helpful retail. I was
like sure, And now through Deco Records, it's available in

(01:23:41):
stores and through them on Amazon, so in record stores,
and they're teamed up with Cargo Records in the UK,
so now in the UK and exported to Europe. My
album is also in stores out there. And they are
such a great They're just great dudes. They just happen

(01:24:05):
to live like forty minutes away. From me, so I'll
go out there and we'll have cappuccinos and hang out
and just listen to music and just talk business. And
now also they offer to me that bands I produce
can get distribution through them, sort of like on like
a record label under their umbrella. So all the bands

(01:24:25):
that I'm working with now they have if they wanted
retail distribution through Deco. They're a great label, just really
good dudes. They just when you get to our age
in the fifties, when this thing turns white, you're not
trying to amass things and build an an empire and

(01:24:46):
all that. If anything, you want to get rid of shit,
and it's more about just what good can I do
before I'm out, you know right? It comes more about that.
It's like, Okay, my life has become what it has become.
It's not over, but that fight to feel like you
need to conquer and all that bullshit. No, you feel like,

(01:25:08):
you know what, I know who I am. I don't
have to prove anything. I just I am at peace
with the universe for the most part. I mean, traffic
still sucks, But that was more about with who I've become,
what do I have to offer what can I do?
So that's why I love teaching and producing and all

(01:25:31):
of that. Yeah, because that is my way to I guess,
pay it forward or to just be of use to mankind.
And the best way I can doing for myself feels
like it doesn't serve much of a purpose at this point.
It's not about me, and I don't think it ever was.
That's the thing. So really it's just about Okay, think

(01:25:55):
with this way. What makes a great melody on guitar
by itself, it doesn't mean shit. It has to connect
to the music. And if you look at the skeleton
the DNA of what makes the music, let's say the
chords are if you take every time the chord changes,

(01:26:22):
that's a moment that can have impact to the listener. Now,
if you do a phrase that leads up to something
that connects to each of those moments, bomb guy, it

(01:26:45):
makes a pattern that you know it's gonna go bomb
bomb bomb, boom boom. The brain knows it's coming, and
when it hits it's like, ah. So when it does
that with the music, when you're using knows that a

(01:27:05):
part of the music and you're amplifying what the music
is doing. That is what makes a great melody, that's
what makes good icing the good cherry on top. It
is about serving the music. So what you want to
be is the human version of that. It's like for
me to be a worthwhile human being that I could

(01:27:30):
feel good about being. Is really it's about serving the foundation,
serving the music, being part of it in a good way,
and that's what we want to do.

Speaker 2 (01:27:42):
So you're doing it.

Speaker 1 (01:27:44):
That's at this point what I try to do.

Speaker 2 (01:27:46):
Yeah, I mean, you're doing it, and it's so cool
because it's again you're you're not just serving yourself and selfishly.
As fans, we're happy you are because now we have
this great album and just serving all these other and
showcasing these bands that perhaps you wouldn't get to hear
of if it wasn't without you. Yeah, you're you're really

(01:28:08):
giving back, and I think just to give your time
to teaching, to doing creative things like games and coffee,
it's you have a lot left to give ron but
it's definitely a life well lived so far, and that's
what you want.

Speaker 1 (01:28:24):
That's what you want in life. You want struggles so
that you can get stronger from them and find a
way through those storms. You want the good times as well.
You want a life well lived. You want a real
good ride that you were on in the end.

Speaker 2 (01:28:44):
That's what someone told me when I was younger. Once
when I because I still am a bit of a
as I'm sure you know, I'm a Jew from Brooklyn.
I'm very neurotic and just like nervous about that. This
is like early on my radio days, and it was
like for another job that I had to support myself.
Is like, just enjoy the ride, kid, enjoy the ride.
And I really understand that now. I tell that to

(01:29:06):
my younger brothers. I'm gonna tell that to my son.
Just you got to it's a ride and up ups
and downs and h yeah, just to have a control,
yeah yeah, try.

Speaker 1 (01:29:16):
And control of that which you can't. You know. I
always equate it to water. You know. It's like just
your water in the river. You know. Don't try and
go the opposite direction, don't try and just flow with
it and see where it takes you and navigate around
the rocks and the obstacles and odds are wherever it
takes you. You'll figure it out, you'll be okay, and

(01:29:38):
you just make it work.

Speaker 2 (01:29:41):
I didn't expect this, uh you know, this river to
have me do over five hundred episodes of this Guns
N' Roses themed podcast. I didn't expect that, you know,
being in the industry for over twenty plus years and
getting to talk to you, you know, all the again
all these years later. I mean, this is a this
is about sure. I really appreciate your time today kind

(01:30:02):
of like almost a mini concert at times. So with
the you know you play and I was wondering because
I've seen other interviews where you've done that, and I'm like, oh,
like the fanboy and me, I'm like, I hope he
played guitar for me.

Speaker 1 (01:30:13):
And you.

Speaker 2 (01:30:15):
Did, so I appreciate it. Uh, you don't have to
share the story if you don't want you because because
he was brought up by Richard, can you maybe talk
about how Sach suggested you to gn R Like that's.

Speaker 1 (01:30:26):
Oh, just send an email. I just jammed with him.
He brought me on stage to as a guest at
PMC the arena out here in Jersey and we jammed
and and then he just sent me an email said
they were looking for someone, so just you know, I
recommended you. So if they reach out, you know, it's
not fake or anything. That's it.

Speaker 2 (01:30:48):
Okay, it's just so funny how all takes is sometimes
an email. But again, yeah, it's all that simple.

Speaker 1 (01:30:55):
Life is very much about personal stuff. It's just about
people connecting with each other. That's it.

Speaker 2 (01:31:03):
That's every time and again I still have that connection,
very vivid in my memory. I wish I had because
you think I'm long winded, now, you know, I really
had no I do. I had no idea how to
conduct an interview back then when we first spoke at
two thousand and seven. So I still remember. I'm like,

(01:31:23):
how long does an interview need to be? Now? I mean,
thank you for going over time. I did not expect
to talk to you, but this long, because yeah, I'm
appreciative of it.

Speaker 1 (01:31:31):
I could go for hours more. There's so much that
we can talk about.

Speaker 2 (01:31:37):
Thank you. I want to because I'm very lucky that
he's been a good boy so far. I don't want
him now he's playing with his toys. It's not always
the case because he again, he's been very It's so funny.
I have my brother pour him milk. He comes. I
don't know if he saw in the corner. He comes
over to give it to me just to give to
him because he had to get it from me. So

(01:31:57):
I you know, I know I'm jinxing it. But yet
the fact that he hasn't bothered me really in an
hour and a half is uh, is incredible, And he'll
have more words. The fact he said bumblefoot. That's the
That's the two things I wanted from this interview was
either for you to play guitar and for him to
say bumblefoot on the ground, and both of those things happened,
so uh, very very cool. And yeah, just to have

(01:32:17):
this look and that's what I always I said to
you at the beginning. I'm like, we can just talk
about being for Brooklyn, being you know, the same sense
that you were, you know, jew.

Speaker 1 (01:32:28):
Ellen B's Ellen B's Pizza.

Speaker 2 (01:32:30):
Where where I know he said, you moved to Staten Island.
But where in Brooklyn did you were you born?

Speaker 1 (01:32:36):
Right?

Speaker 2 (01:32:36):
You were born?

Speaker 1 (01:32:37):
He was right below Prospect Parker was like Avenue in Flatbush, Okay,
right over there, and the neighborhood was getting pretty rough.
We needs to get out of there.

Speaker 2 (01:32:45):
Yeah, that's why my parents left. We were in Mill Basin,
but my dad was from East Flatbush and my mom's
from mail Base, and we moved to Long Island when
I was going and a half. But I like saying
I'm a Brooklyn Jew rather than a Long Island Jew.
I feel like there's more toughness.

Speaker 1 (01:32:58):
Well, Brooklyn just sounds there's more credit, just yeah. So
then he went to a stand island around there. Then
I had a studio back in Brooklyn, yeah, and then
eventually Central Jersey. So right now I'm in the north
end of Princeton. I got this place, god, maybe almost
twenty five years ago, just a second house that I

(01:33:20):
gutted and turned into a place to make noise. And
thankfully I got really cool neighbors. Yeah, the guy next
door Eric, he's great, comes over with his guitar once
in a while.

Speaker 2 (01:33:31):
And then I got bubble Foot be in your neighbor.
I love that.

Speaker 1 (01:33:36):
Yeah.

Speaker 2 (01:33:36):
Well, I'm gonna take your advice. Right now. We have
to switch toys with him so he doesn't get sick
of them. We put we put the drums away because
he kept losing the chops of the chopsticks the drumsticks
or like putting him in his mouth. So I got
to train him. Like you said, guitarist should be a
drummer first.

Speaker 1 (01:33:52):
And that guitar. Don't give him a pick.

Speaker 2 (01:33:56):
Oh he's not ready. He's not ready.

Speaker 1 (01:33:58):
No, I mean, I'm going to tell no right now.

Speaker 2 (01:34:02):
He he does things for fun, thankfully, he's good with
that without like putting things in his mouth. But he'll
put like it's something he can't swallow. I look at it.
It blocks, I blocks and toy cubes on my desk.
He'll put this in his mouth and just.

Speaker 1 (01:34:15):
Wait for me. It looks like it would taste good.

Speaker 2 (01:34:18):
It does. It's just it's it's meant for like a
real ice cube. But he's just like cube cube peep,
and he just looks at me within his mouth and
he just wants he waits for me to say take
it out, take it out. So he's he's at that
phase where he's just like he knows he's doing something
wrong and he just waits for me to say something.
So uh so, yeah, it's a it's a fun time.
Oh and his nickname, by the way, he's on your nickname,

(01:34:41):
you'll appreciate Baby Brownstone real Dave Harrison Rex named after
the Beatle. So I couldn't name him Axel or Slash.
I wasn't gonna do that or anything. So just after
George Harrison, because my wife and I are big Beatles fans,
so we we figured do that, do that, and so bubble, Uh,

(01:35:04):
what are you doing next? What am I doing next?

Speaker 1 (01:35:07):
What's your next interview? I have?

Speaker 2 (01:35:10):
I don't have, you know, what I can say. He's
coming up in the summer, Martin pop Off. He's he
wrote this book Guns and Roses forty. So yeah, I'm
gonna get him and him soon. I don't think I
have anyone yet because I was waiting on you because
next week, actually i'll say it because I'm gonna put

(01:35:30):
it out the week that I'll be away in Chicago.
Uh so I'm going to Chicago as my wife's dad
passed away. So yeah, it's been a rough year with
their cats and then like my you know, my father
in law. So it's fitting in these interviews the kind
of you know, in between then they kind of it's
been my you know, guitar makes you happy. This makes

(01:35:52):
me happy. Being with my son getting to do that
now makes me happy. So uh, I don't know. If
I'm gonna do an interview on the road, I won't
have like my microphone or anything. But I'll keep trying
to You know, I never thought, I mean, I could say,
oh I got bumble foot. That's it. I finally got him.
I'm done, But I want to talk to you again.
I want to see who else is out there with

(01:36:14):
the six degrees of that's what I call it, six
degrees of GNR Bacon. As you could tell, it's not
like I'm talking guns and roses on here all the time.
Everyone and their mother is a podcast or a rock podcast.
Gotta make mine a little different with that connection. So
obviously you have that connection, but we don't need to
talk about that about it so much. It's just it's

(01:36:37):
it's funny because again it's not just it's not just you,
it's other guests. I've had people from an Iron Maiden
on I talked about it. I had Bruce Dickinson and
then after, hey, can you talk take that part about
guns and roses out. That's gonna end up being clickbait. Okay, sure, sure.
So I'm always fighting the battles to be the good

(01:36:57):
interviewer and just have fun with my guests. And I
hope you had you had fun today because you're a
busy dude. The fact that You've taken an hour and
a half to be with me today.

Speaker 1 (01:37:07):
Is a lot to catch up on.

Speaker 2 (01:37:10):
I know I was nervous and I was excited. I
always admit when I'm nervous. I'm like, I'm kind of
nervous because like it's it's been a bit. But I
know he's he's cool, like so I just it took
a minute to get through my I'm like Chris Farley,
you know, remember when stupid?

Speaker 1 (01:37:29):
That's me. So in a week or is it two weeks? Now,
we're gonna have I'm going to the Canary Islands, gonna play.
There's this festival Starmus and Brian may Is. I keep
bringing up his name. It's like I feel like a
fucking name dropper. But it's relevant, it's and he's out

(01:37:50):
of everything, so to be you can.

Speaker 2 (01:37:54):
Be my co host, get him to be on my podcast.
And you want to be a producer, you want to
add that to your your resume radio podcast producer.

Speaker 1 (01:38:01):
I'm trying to do less things you want.

Speaker 2 (01:38:06):
He wants me to read the book.

Speaker 1 (01:38:08):
Read the book.

Speaker 2 (01:38:09):
Yes, yeah, we're gonna read the Guns and Roses book
finished up.

Speaker 1 (01:38:13):
We're going to do so this festival Starms and I
started doing it a couple of years ago, and Brian
May is the co founder of it. It is a
combination of astrophysics and music. So during the day you
have people like Kip Thorne and all these uh astrophysicist,
theoretical physicist, David Eisher who's been running Astronomy magazine for

(01:38:34):
forty years, and and all these incredible minds giving lectures,
and then the musicians. We put on shows and concerts
and everything, and then afterwards we just hang out at
the rooftop talking about all kinds of wild.

Speaker 2 (01:38:48):
Stuff, cool man.

Speaker 1 (01:38:50):
And that kind of feels like I've completed the circle
of everything. Yes, So like when I think about when
I was six years old and I loved like space
and music, and now I am doing festivals, I combine

(01:39:11):
space and music, and I feel like the only way
to is like if I die tomorrow, I feel like
I finished what I needed to do for myself, like
like it's complete, like I had.

Speaker 2 (01:39:28):
Well, I'm happy to hear that it's not. You're not
going tomorrow, But that's that's so cool and.

Speaker 1 (01:39:33):
You never know. And then again, it's all one big
imprinted thing time that we just we are incapable of grasping,
and we see it in a linear way. But then again,
everything that is everything at once is linear in every
way at once as well. Now we're getting into theoretical physics.
But yes, so if I die tomorrow, it I'm still today,

(01:40:02):
still exists and that never disappears. And it's okay because
I feel like I completed what I wanted to do.
Nothing feels unfinished. Getting to play this festival, getting to
have dinner with the greatest minds in the world and
to chat about things about developments and fission. Seeing the

(01:40:24):
Dart program they're showing me on their phone, like the
final frames that the rockets saw before it impacted with
the asteroid to divert it, and like the final just
like one third of a frame and then it didn't
go all the way because it blew up. Things like that,

(01:40:46):
Like just that is so fucking exciting.

Speaker 2 (01:40:50):
To me, That really is. I wish I had the
mental capacity because I find that stuff interesting. I love
listening to Neil de grasse Heisen talk and just all
that the space, because you're right, we really don't know,
and I mean we only know this bumble foot exists.
We don't know about other timelines.

Speaker 1 (01:41:08):
Here's the thing, like, there's there's some new ideas due
to some new uh developments there there's a lot of
people tossing around the idea that this whole observable universe
maybe inside a black hole. So the question is what
is outside of that black hole? I mean, easily you

(01:41:30):
could just say unobservable universe filled with more black holes
that have universe inside. And maybe when things pass event
horizon and they you know, just stripped down and you
have a complete gravity that just pulsing into this, uh,
maybe it still exists in its current form like this.

(01:41:52):
The same way if you take a photon that goes
the speed of light, where time slows down to nothing,
it experiences all time at once. There is faster or slower.
It all just is. So if that's the case, if
time can be that way, can space be that way?
Can space all exist in one tiny little dot and

(01:42:15):
all things at once? So is the universe inside a
black hole which is inside that same universe and it's
all like a like a tesseract inside itself. This is
what we need to discuss in a week and a half,

(01:42:36):
because if time can exist all at once, when you
slow down speed. Can space exists all at once when
you remove all time in addition to gravity gravity because
gravity bends space and time like they're intertwined. But it's

(01:42:59):
almost like that's what's spaghetification, is like gravity pulling so
hard that it's pulling the fabric. And but it's also
like this will be another hour, so I should stop here.
But here's the thing, like I think about it.

Speaker 2 (01:43:13):
One suggestion though, are you going to be the first
person to send the guitar solo into a black hole?
You got to find a way to do it. Play it.
I got some sort of mini disc and just send
it out out of space and that's the music of
the universe. Baby, it's a way to communicate.

Speaker 1 (01:43:30):
Just played like a there's a whole space expo at
the at the Kennedy Center in DC, and just played
it last week and afterwards, you know, talking with everyone,
and uh met some on NASA astronauts and we were

(01:43:51):
talking and I asked him, was like, has anyone played
guitar in orbit yet? And he did a horn instrument
and a guitar. Because the thing we also have to
remember is that waves move, at least when we hear sound.
You know, it all gets back to the observer in

(01:44:13):
context to everything and sound waves, like think of the
Doppler effect. You know, it's the speed of the wave.
It's a higher note until it passes you because you
are actually speeding up the sound waves. You're moving toward
them as they're hitting you. So in that case, it's

(01:44:35):
like they're faster, and when you go away from them,
it's like they're slowing down because it takes longer to
reach you. And that's why when a color passes you,
like as it's going towards you and away from you.
So it all depends. I have to stop because we're

(01:44:55):
going to go on for hours about things that that. Again,
people turn off your your podcast, So let me just
shut up and we'll get back to this another time.

Speaker 2 (01:45:09):
Can you say theoretical physics? He said Chicky? So now
he wants to watch Chicky, which is just this little
animated chicken who gets hurt all the time. Yeah, so
I know, I'm fascinated by this, So yeah we can.

(01:45:31):
Ron just thank you so much for your time, the
fact that we can talk about so many different things.
In addition, Tom.

Speaker 1 (01:45:38):
Started, but we gotta stop.

Speaker 2 (01:45:39):
I know, I know, I know he's uh, he started
to freak out chicky time. I got to go be
a parent. I guess, I guess, so yeah it was.
And again I hope, I hope we get to do this.
Bumblefoot Returns is the album. I suggest buying it because
the artwork is phenomen Sorry, if you're listening to this

(01:46:01):
on a Just the Audio podcast, look at the look
at Simon, look into Simon's eyes, Simon the cat, and
just have him put him up something somewhere in your home.
I gotta go look at your merch. I want to
go play that video game to Simon in space. I
can't wait a minute. So that doesn't for this episode
of appetite for this stortion. When will you see the

(01:46:23):
next one? In the words of Axel Rose concerning Chinese democracy,
I don't know as soon as the word, but you'll
see it.

Speaker 1 (01:46:37):
Thanks to the lame ass security. I'm going home.