June 27, 2025 • 34 mins
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BioNORTHERN KENTUCKY – Orchid in the Ivy, the hard-hitting alternative rock trio
fronted by Brett Scharf, is turning heads with the re-release of their fiery, pop-punk
rendition of “Beds Are Burning.” Originally recorded some time ago, the band recently
remixed and relaunched the track to pave the way for their upcoming five-song
EP—proving that rock is far from dead and Scharf’s creative fire is still blazing.
“We did a new mix,” says Scharf of the Midnight Oil classic. “We kinda did it a while
ago, and we basically did a whole remix... people will maybe recognize it a little bit and
then kinda get your feet wet again with it—and then go with the five song EP after that.”
The result? A faster, sharper, and more aggressive version of the politically charged
anthem—reborn through Orchid in the Ivy’s melodic punk-rock lens. “I always thought it
had a great groove to it,” Scharf explains. “I was messing around with it one day and
just thought, ‘God, if we sped this up, this would be more like almost a punk rock tune.’ I
don't think they realized how kind of heavy and punk rock that song could actually be.”
For Scharf, who once toured alongside now-household names like Fall Out Boy and
Motion City Soundtrack in his early band Spindle, Orchid in the Ivy represents a rebirth.
After years of navigating the ups and downs of multiple projects, including Rosemary
Device, Scharf stepped into the role of lead singer “more out of necessity than anything
else.” That unplanned shift uncovered a sound—and voice—that finally felt right.
“I put some vocals down on a couple songs and asked my drummer what he thought.
He liked it, and we just kept going forward that way,” says Scharf.
Since forming in 2013, Orchid in the Ivy has remained fiercely self-sufficient. The band
records everything at Scharf’s own studio, allowing them the space to experiment and
evolve. “We were trying to really find out our sound,” Scharf says. “I think in the last five
or six years, we really found our voice.”
That voice blends the emotional punch of Brand New’s The Devil and God Are Raging
Inside Me with the melodic grit of Alkaline Trio’s Crimson and the urgency of Rise
Against. The upcoming EP, while not including “Beds Are Burning,” follows hot on its
heels, with singles set to roll out every six to eight weeks.
“There’s a little more emotion involved in this one,” Scharf notes of the new material.
“The stuff I’ve been writing for this EP—and even the next one—is just a little more
personal. With everything going on in the world, it just seems like a chaotic time.”
Though Scharf’s journey has spanned decades and many stages, his passion has
never faded. “The older I got, the better the writing got,” he says. “There’s always been
that inspiration of finding new music, being creative. That’s always been a passion of
mine.”
And for fans of raw, heartfelt rock music, the message is clear. “Rock’s not dead,”
Scharf insists. “I hope we can burst through the scene and break some barriers again.
There’s still a huge audience out there—and just because major labels aren’t signing it,
doesn’t mean they’re not there. That’s what rock has always been about: breaking down
barriers.”
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
X
BioNORTHERN KENTUCKY – Orchid in the Ivy, the hard-hitting alternative rock trio
fronted by Brett Scharf, is turning heads with the re-release of their fiery, pop-punk
rendition of “Beds Are Burning.” Originally recorded some time ago, the band recently
remixed and relaunched the track to pave the way for their upcoming five-song
EP—proving that rock is far from dead and Scharf’s creative fire is still blazing.
“We did a new mix,” says Scharf of the Midnight Oil classic. “We kinda did it a while
ago, and we basically did a whole remix... people will maybe recognize it a little bit and
then kinda get your feet wet again with it—and then go with the five song EP after that.”
The result? A faster, sharper, and more aggressive version of the politically charged
anthem—reborn through Orchid in the Ivy’s melodic punk-rock lens. “I always thought it
had a great groove to it,” Scharf explains. “I was messing around with it one day and
just thought, ‘God, if we sped this up, this would be more like almost a punk rock tune.’ I
don't think they realized how kind of heavy and punk rock that song could actually be.”
For Scharf, who once toured alongside now-household names like Fall Out Boy and
Motion City Soundtrack in his early band Spindle, Orchid in the Ivy represents a rebirth.
After years of navigating the ups and downs of multiple projects, including Rosemary
Device, Scharf stepped into the role of lead singer “more out of necessity than anything
else.” That unplanned shift uncovered a sound—and voice—that finally felt right.
“I put some vocals down on a couple songs and asked my drummer what he thought.
He liked it, and we just kept going forward that way,” says Scharf.
Since forming in 2013, Orchid in the Ivy has remained fiercely self-sufficient. The band
records everything at Scharf’s own studio, allowing them the space to experiment and
evolve. “We were trying to really find out our sound,” Scharf says. “I think in the last five
or six years, we really found our voice.”
That voice blends the emotional punch of Brand New’s The Devil and God Are Raging
Inside Me with the melodic grit of Alkaline Trio’s Crimson and the urgency of Rise
Against. The upcoming EP, while not including “Beds Are Burning,” follows hot on its
heels, with singles set to roll out every six to eight weeks.
“There’s a little more emotion involved in this one,” Scharf notes of the new material.
“The stuff I’ve been writing for this EP—and even the next one—is just a little more
personal. With everything going on in the world, it just seems like a chaotic time.”
Though Scharf’s journey has spanned decades and many stages, his passion has
never faded. “The older I got, the better the writing got,” he says. “There’s always been
that inspiration of finding new music, being creative. That’s always been a passion of
mine.”
And for fans of raw, heartfelt rock music, the message is clear. “Rock’s not dead,”
Scharf insists. “I hope we can burst through the scene and break some barriers again.
There’s still a huge audience out there—and just because major labels aren’t signing it,
doesn’t mean they’re not there. That’s what rock has always been about: breaking down
barriers.”
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
If you love entertainment, current events, and Hollywood, don't miss
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Speaker 2 (00:34):
Hi, guys, welcome to another episode of Creators to Creators. Today,
today we have a special guest.
Speaker 3 (00:41):
Brought sure welcome.
Speaker 2 (00:42):
Thanks for having me, absolutely absolutely so. You know, I
love going back to the beginning. I always say, the
beginning charge our trajectory in life, our little habits we
pick up along the way, you know, follow us into
our adulthood. Tell me a little bit about you know,
your child, what was that like and has music always
(01:03):
been the direction for you? And when did you get
started and like take music seriously?
Speaker 4 (01:12):
Well, I mean when I was about six or seven
years old, my mother started getting into me into piano lessons.
But after about a year, year and a half a
piano lessons, it was kind of embarrassing, you know, because
we played outside a lot to tell your friends that
you had to go home and take piano lessons, which is.
Speaker 3 (01:30):
Kind of a shame.
Speaker 4 (01:31):
I wish I would have stuck with it, but I
guess when I was about twelve years old, there was
a guy who was up the street. We had like
a street yard sale, and I think her son had
left for the army or something, and she was going
to sell his drums. So I came home and asked
my dad she was selling the drums. I say, can
we get this drum set? And I've got four sisters
(01:53):
and he was like, no, we don't have the rooms
for to put a drum set in our house. We
lived in a very small house with the seven of
us total. So they got me an acoustic guitar that
year for Christmas, and I started playing guitar. So really,
how I learned to read, or how I learned to
(02:15):
play music was I would ride up to the grocery store,
which was probably, oh god, it was probably about four
to five miles away, and I would put a backpack
on with a notebook, and I couldn't afford the magazines,
and I would open up the magazines and I would
write down the tableture in my notebook, and then I
(02:35):
would take it home and learn it. And after a
while you started seeing a pattern on chords and stuff.
And I'd say within a couple of years, a year
and a half to two years, I was already able
to just about listen to almost anything, and I could
already play it by year, so that that didn't become
a problem, you know, very quickly.
Speaker 2 (02:56):
So that's incredible.
Speaker 4 (02:59):
So then I played for about nine years, and then
I went to college and decided the only thing I
really wanted to do was music, and they made take
a year's worth of lessons before I could declare as
a music major because I could not read music at
the time. And then I finished my degree and I
got I played classical guitar.
Speaker 3 (03:19):
Actually for almost five years.
Speaker 4 (03:22):
It took me two years to get ready for my
senior recital. I had to play in hours and fifteen
minutes worth of music memorized of classical guitar music. And
so then to graduate, you have to sit in the
middle of a room with three people sitting in that room,
and they asked you to play certain measures of these
(03:43):
certain pieces, and after about forty five minutes you walk
out of the room, which is very nerve wracking, and
then when you come back in they.
Speaker 3 (03:51):
Tell you whether you graduated or not. So it was
very intense.
Speaker 2 (03:58):
Yeah, absolutely, absolutely so. I mean you just knew at
such a young age that music was that that's it,
You're not gonna do anything else. I love that. I
love that. I think a lot of people, you know,
it kind of struggle figuring out there. I guess, for
lack of a better word, purpose.
Speaker 4 (04:18):
Yeah, I guess music for me it always just I
don't know, it always spoke to me, and I think
I listened to it differently than other people. I think,
deep down I always wanted to be a drummer. But
so I kind of studied music and you know, chord
changes and drum patterns and beat patterns, and I was
I would really study the music, not just you know,
(04:41):
a lot of people like all the lyrics to songs,
and honestly, I didn't care that much for the lyrics.
Speaker 3 (04:46):
I really wanted to know what was happening in the
music for sure.
Speaker 2 (04:50):
What inspired you know you to reimagine beds are burning
through a punk rutlans And why did now feel like
the right time to release it?
Speaker 4 (05:01):
Well, you know, we actually with a song we had
played with about thirteen twelve, thirteen years ago, and my
mother is actually from Australia, and it kind of spoke
to me a little bit on that end because Midnight Oil,
who originally did Beds of Burning, is from Australia, so
so that actually it just kind of spoke to me
(05:22):
in that end. But I was listening to it. It
came on the radio or something one day and I
just thought, man, what a great groove, what a great baseline.
And I thought, man, if we just don't change the
structure and just really speed this thing up, you know,
it's a really it's about a five minute song. I
think we got it down to three minutes and ten seconds.
Speaker 3 (05:42):
Sorry to the car we started.
Speaker 4 (05:44):
But I think now with what's going on kind of
and because the song is about the Aboriginal Aborigines in
in Australia basically being kicked off their land because they
were gonna coal mine it and all that kind of stuff,
and that's kind of going on in the US where
people are you know, people are getting kicked off their
off land and it just kind of, you know, what
(06:06):
everything is kind of going on in the political world
right now.
Speaker 3 (06:08):
It just seemed like a good time to release it.
Speaker 2 (06:11):
Oh No, for sure, for sure, absolutely is an interesting
climate right now that we're all in and I have
definitely great for people. For sure.
Speaker 3 (06:20):
It's crazy time.
Speaker 2 (06:22):
Yeah, you mentioned your version is more like, you know,
it's like more hard hitting, more aggressive. You know, what
emotion or message were you trying to amplify through the
shift in tone? Like, you know, like I was like, oh,
this is like really heavy hitting. What made you go
with that direction? As far as like more aggressive version
(06:44):
of it?
Speaker 3 (06:45):
I guess it. That's kind of the way our band is.
Speaker 4 (06:48):
We're a little more aggressive, so you know, we we
have some harder hitting stuff. So I don't really like
to do cover songs very much, where this is really
the only cover we've ever done since we've been a band.
And one of the reasons is is I never I
don't like covers that are done the exact same way
they're already done.
Speaker 3 (07:08):
Why would you Why would you do it the exact
same way?
Speaker 4 (07:11):
Right, And there's there's a lot of covers like that,
and I thought this, if we sped this up and
really hit it hard.
Speaker 3 (07:17):
It doesn't even sound like the same song.
Speaker 4 (07:19):
You know it, just it gives it a completely different vibe,
which is something that really stoked us.
Speaker 2 (07:25):
Love that. How did touring with bands like Fallout Boys
and and Motion City Soundtrack influence your approach to music today?
Speaker 4 (07:37):
I think bands like Fallout Boy and we played with
you know a lot of bands zak Line Trio, thirty
seconds to Marsh Plain White Tea's, And I think even
people have to understand that, like even the simplest, simplest
of bands like Green Day back in the day three
chord songs, these bands are still out there, like, and
I feel bad because there's so many bands out there
(07:59):
now busting their butts, and you know, labels aren't really
signing bands. And I feel bad because there's so many
good bands out there.
Speaker 3 (08:07):
But even these bands, you know, they were playing three chords.
Speaker 4 (08:09):
I did it too. I mean we're back in the day,
we were living off of five dollars a day. I
mean we were I was eating two McChicken sandwiches and
a water for McDonald's twice a day to survive.
Speaker 3 (08:20):
You know.
Speaker 4 (08:21):
Wow, And then you get up on stage and they
realize that even though the three.
Speaker 3 (08:26):
Chords a lot, you know a lot of simple songs.
Speaker 4 (08:28):
They're very tight, they're very professional, they know exactly what
who they are, what they're doing, and they're working hard.
You know, there's a lot of back out there working
really hard, and I'd love to see more bands come
back around and make it because there are so many
good musicians that just aren't getting a good fair shake.
Speaker 2 (08:47):
That is so true. You're absolutely right about that, and
it's it's sad that that's happening. You're sad in the
music world. Do you think it's going to ever change
or do you think or do you think we're kind
of and why do you think it hasn't changed much?
Speaker 5 (09:02):
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Speaker 3 (09:37):
Is it the well, I know it hasn't changed.
Speaker 4 (09:40):
It hasn't changed right now because I think major labels
and stuff like that when I have complete control, because
I think the industry is kind of all over the place.
So they're signing single artists that they can control everything,
and you know that they're just not taking big chances.
And back in the music that I would have really
got into where they were signing pearl And and Smashing
(10:02):
Pumpkins and Soundguard and Nirvana and Alison Shane's and like
it just kept coming, and you know they were taking
risks on bands, but they also were helping bands develop
and they knew they were going to be something. And
now they just don't take that chance of development. It's
like if it's not a one time hit or they're
(10:22):
they're getting rid of it. And when they only when
they only hire a single artists, they have that control,
like this isn't working, get rid of it onto the
next one.
Speaker 3 (10:30):
And and that's a shame.
Speaker 2 (10:32):
That's that's so sad, you know, and it's it is
it is that I've heard this a lot with a
lot of artists. Is that that you know, it's great
that you know, you know, the independent world is open
up a lot of different avenues and different platforms and
doing it in yourself essentially. But you know, you are
competing against the big conglomerates, the big names, and and
(10:55):
it's like you know and getting the algorithm, and it's
kind of hard to you know, push yourself. But it
is crazy that they are. It is about control. It's
I see it all the time, and it's quite scary.
Speaker 4 (11:08):
I think it's harder than ever. People are like, well,
now you have all these Internet avenues, you can say that,
but now there's a sea of bands and the problem
is is there's a sea of mediocrity. You know, there's
people out there that are not learning instruments and people
I hear this sometimes and I know this is kind.
Speaker 3 (11:26):
Of off the map a little bit.
Speaker 4 (11:27):
But people say, like, why was eighties pop so much
catch here? And why are those songs still around compared
to today. It seems like the pop songs come out
and then they're just wiped.
Speaker 3 (11:37):
Away and they're kind of forgotten about it.
Speaker 4 (11:39):
It's like, well, even though you had these eighties pop songs,
the people that were playing these songs were really good musicians.
They were piano players and classically trained or you know,
they just they knew their instruments. Where now you've got
these kids, don't I hate to say kids. I know
this sounds like I'm old. They're not putting in the
time on their instruments, trying to do it with a
(12:00):
computer or whatever, and they're lacking that musical background.
Speaker 3 (12:04):
So then may be able to do one or two songs,
but to.
Speaker 4 (12:07):
Have a full body of work for year after year
after year is just not there.
Speaker 3 (12:11):
And then it's flooding the market. So you're flooding the market.
Speaker 4 (12:14):
With mediocrity and and and good bands and musicians.
Speaker 3 (12:18):
Are just getting swept away.
Speaker 2 (12:20):
Yeah, yeah, but yeah, I think.
Speaker 3 (12:24):
I think the best.
Speaker 2 (12:27):
No, no, I mean it's but it's real life though,
it's it's it's it's the honest truth that and and
that's what I love hearing is is like the honest
of honesty of of the industry because it's not always
roses and cakes. It's really hard. It's tough business to
you know, have longevity.
Speaker 3 (12:43):
In it is no doubt.
Speaker 2 (12:46):
But so so you became the lead singer, you know,
in this band, and and can you walk us through
the moment, you know that moment and how it felt
stepping into that role.
Speaker 4 (12:59):
Yeah, after I was in a touring band for four
or five years, then we started. I kind of started
another band called Rosemary Device with a singer guy who
he was from the area of where I was from,
and I always kept an eye on him that if
this or my band ever something happened, I would kind
of reach out to this guy. And I did that
and we were in Rosemary Device for We did one record,
then we start actually it started another record at the time.
(13:22):
The bass player that was in our band was kind
of going through some drug problems, so we had to
we had to let him go. So it was just
kind of the three of us where our singer had
kind of checked out a little bit. To me and
my drummer. I had written twelve songs for this record,
and I put all these rough tracks down. My drummer
came over and we didn't really have a chance to rehearse.
(13:43):
We just we just laid the tracks down. He'd laid
all the drums downs for these twelve songs, and then
my singer came over and he sang them, and towards
the end, we were getting close to the end because
I had played the bass and guitars on them because
I'd written them all as well, and he got We
were about, you know, a couple of months away from
releasing it. We were trying to find a bass player
(14:05):
at the time, and he said, you know, guys, I
think my life is just changing. I just I don't
think I can be a part of this anymore. And
we were like, oh my god. You know, we had
this record finished. So I asked my drummer, I said,
what do you want to do and he said, I'm
not really sure. And then I said, well, why don't
I sing on one of these tracks and then we'll
see if we like it and we'll kind of go
from there.
Speaker 3 (14:25):
And he said, go for it. So I had.
Speaker 4 (14:27):
Actually then I took his vocals off and I had
sang on because I wrote them anyway. And then I
sang on the first song and I sent to my drummers,
so really it was just down to me and him
in the band, and he said, I love it, do
the other ones.
Speaker 3 (14:41):
Let's do a few more and we'll see how these
turn out and we'll go from there.
Speaker 4 (14:44):
So I continue to do more, and we liked it,
and then we found a bass player and really, and
then we released there's a three piece kind of we're
kind of a three piece like Nirvana sort of.
Speaker 3 (14:53):
We just that's how we go about now, just and
the more you can have.
Speaker 4 (15:00):
Well, we tried to mess with four players one time,
and even five and just getting four or five guys
on the same page and getting into too practice and everybody.
Speaker 3 (15:09):
It just it's a lot of work. People have lives,
you know.
Speaker 4 (15:13):
So we decided to remain as a three piece because honestly,
it was just easier and we felt like the band
sounded better as a three piece.
Speaker 3 (15:20):
So that's how the band came together.
Speaker 2 (15:24):
I love that. I love that, you know. I love
asking this question and there's no no wrong answer, But
I love asking this question to every guest. The three
levels of affluence, money, power, and respect, And if you
could choose only one of those things, which one would
you choose? And why.
Speaker 4 (15:44):
Respect not even close? I don't even I don't care
about the money. I've always wanted just people just to
hear our music, Like if they turn it down and
they're like, I don't like it, and we get rejected
because people hear it and they don't like it. Fine, Like,
but it's so hard to get your music out. There's
just to get people to hear it.
Speaker 3 (16:04):
So, you know. I the respect part, I just I
guess I when I.
Speaker 4 (16:10):
Became a musician, I never really A lot of people
would stand on we would have we played in bands
where the guitar player are still on the front and soloed,
and you know, it's kind of showing off, or you
go to bands and they're kind of showing off.
Speaker 3 (16:23):
I never cared for that. I just want to be
respected for as a good writer.
Speaker 4 (16:28):
I wanted people to say, you know, I think if
you can write a song that people can just sing
along to, you've done more than anybody who can just
stand at the end of the stage and shred their guitar.
Like I don't care about that stuff. I want people
to sing along. I want people.
Speaker 3 (16:44):
I want the respect of somebody saying, man, you even if.
Speaker 4 (16:47):
We doesn't get big, say even though you guys didn't
get big.
Speaker 3 (16:50):
You know you you were a really good writer and
you know and to me that that would be enough.
Speaker 2 (16:55):
I love that. A great answer. Love it.
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Speaker 2 (17:59):
I love that great answer.
Speaker 3 (18:01):
Love it?
Speaker 2 (18:02):
Uh. You said your writing has become more personal with
with with age. What kinds of themes are you exploring
in this new EP?
Speaker 4 (18:14):
I guess the older you get, you know, you have
more experiences, so it's easier to write about things you've
gone through. You know, and some of those are can
be a little bit political. Some of those are personal.
I think our first single we're going to release is
you know, I don't I don't want to mention their
name because I don't want to getting back to them.
(18:36):
But I grew up with somebody who was just very
negative in my life and very negative all the time.
And not that they're a bad person, it's just they
were always negative. And I remember one time my wife
had said to me, she goes, you know, sometimes you
sound like this person.
Speaker 3 (18:52):
I said, I do, and she.
Speaker 4 (18:55):
Said yeah, and I said, I said, well, I don't
want to sound like that. And I have a couple,
I have some kids, and I said, I don't want
my kids growing up to be negative. I want to
have I want to have a positive outlook on life
as they go through life. And I know our music
can be a little darker. It's just easier for me
to write in that sense. But I didn't want my
kids to grow up like that, and so I try
(19:18):
and be more positive, have a positive outcome on them
and not go through life like.
Speaker 3 (19:24):
Looking everything through a black cloud.
Speaker 4 (19:26):
So it's just something that you know, it's just life
experiences like that that are that are really coming in
across in this record.
Speaker 2 (19:33):
I love that. I love that, yeah, because I think
with time, right, you just have so many, like like
so many other things that you've lived life and you
have more to say versus you know, these young Tenderoni's,
these young guys coming out and they're talking about.
Speaker 4 (19:51):
Yes, I mean, there's nothing more that just experiences.
Speaker 2 (19:55):
Absolutely absolutely What does self producing in your studio allow
you to do that working with others might not.
Speaker 4 (20:06):
I think we get to be a lot more creative,
and it gives us more time to work out songs
and really make them exactly how we want them.
Speaker 3 (20:15):
And you know, I record other people as well.
Speaker 4 (20:17):
And the problem I always had going into studios was,
you know, we're charging one hundred bucks an hour, you know,
so you're only you're gonna get done what you get
done in this amount of time.
Speaker 3 (20:27):
And you know, I don't know how many times we
got done in the studio.
Speaker 4 (20:30):
And they were like, well, this isn't exactly how We're
not done yet, and we're like, well, you know, unless
you want to pay for more times, you get.
Speaker 3 (20:35):
What you get.
Speaker 4 (20:37):
And now I have a studio and I don't do that.
I actually charge per song because I want people to
walk out of the studio completely happy with what we
just put together. Because my name's on that too, you know,
so so it's it's representative of me just as much
as it is them. So I think for us, yeah,
(20:57):
I know, that's getting away from a little bit. For us,
it just gives us a chance to take our time
and get the sound of how, you know, what we
really want, what we want to sound like. We've gone back,
We recorded songs and then gone back and said, man,
this song means an ending, you know, like this this
is just missing right and going back, going back, going
(21:20):
back and ed a minute, minute and a half to
an end of a song to really make it smack.
Speaker 3 (21:24):
I love it.
Speaker 2 (21:25):
That's awesome. Yeah, I mean, do you feel like and
I'm just curious. You know, a lot of artists their
goal is to be mainstream, which I get why. You know,
you get more pull, you get more access and all
the things. What I mean, in your you know experience
(21:47):
as an artist, do you feel like being independent and
staying true to you know, what you want and your
creative process. It's better to go the independent route versus
mainstream route. And obviously it's harder, but do you feel like,
from your point of view, is it worth it?
Speaker 4 (22:08):
Absolutely, Like, I don't want to have anybody telling me
what I need to write or what I need to
go out on stage and sing. And honestly, I think,
fortunately or unfortunately, I think it's one of the things
that's held our back, held us back a little bit,
is just our We just stay true to who we are.
And you know, I'm not out here writing pop songs
(22:28):
so people will listen to them. We play what we
play because that's what we want to play. If you
don't like it, then hey, this is.
Speaker 3 (22:35):
What we do.
Speaker 4 (22:36):
And you know, I've asked so I had people ask me,
you know, because I do write a lot. They're like,
how come you don't try and write some songs and
then try and sell them, you know.
Speaker 3 (22:46):
Like some artists do and stuff like that.
Speaker 4 (22:47):
And it sounds absolutely terrible when I say this, but
I'm like, you know what, I put in a lot
of work as a musician and spend a lot of
time and I'm not just going to give my songs
over to somebody who hasn't put in the same amount
of time as me.
Speaker 3 (23:00):
And I know that sounds.
Speaker 4 (23:01):
Terrible, but I've worked really hard, and I had to
practice four to five hours a day on guitar to
get my degree, and I had to work really hard.
I'm not going to give it to somebody who isn't
gonna put in the same amount of time that I
have and just let them take this song and get
popular with her or whatever. I mean, I don't care
about the money. I don't care if they give me
twenty thousand dollars for a song. You know they didn't
(23:23):
work hard like I did to get there, and I'm
not giving it away for nothing. I'm just not doing it.
Speaker 3 (23:29):
So I feel like it's my music, and you know,
as a band, I don't. I'm not that way in
my band.
Speaker 4 (23:36):
I'm very flexible, like my band members can say whatever
they want, Hey, I think we should do this, and great.
Speaker 3 (23:42):
I love all those suggestions. This is why we work together.
Speaker 4 (23:45):
I mean, there's nothing better than in the moment of
a band where you write a good song and you
say wow, you look at each other and you say, wow,
we really got something here.
Speaker 3 (23:53):
That is the best feeling in the world. Better than
standing on stage in front of thousands of people.
Speaker 4 (23:59):
It's just you know, playing with these guys and just
knowing when something comes together, it's just such a good feeling.
Speaker 2 (24:07):
Right, absolutely, absolutely. What's something about the Northern Kentucky music
scene that you think people outside the area overlook or misunderstand.
Speaker 3 (24:20):
Oh, people are gonna hate me for this, But.
Speaker 4 (24:23):
Northern Kentucky Cincinnati music scene, like some of the musicians
are and they say always say, it's like.
Speaker 3 (24:28):
Great, it's the worst. It's the worst.
Speaker 4 (24:30):
I have toured in about thirty five states, and it's
always been the hardest in Cincinnati. And people I handed
free CDs out after a show one time. They were
coming out of a popular band that I liked, and
our band kind of, you know, is relative to them.
And some guy goes, hey, where are you guys from?
Speaker 6 (24:51):
You know?
Speaker 3 (24:51):
And I said from here? And he handed me the
CD right back and walked away.
Speaker 1 (24:55):
Wow.
Speaker 3 (24:55):
I mean, that's what you deal with in Cincinnati.
Speaker 4 (24:58):
If they haven't heard you on the radio or you're big,
they just don't care. And it's it's frustrated so many
musicians in Cincinnati that they have just turned over to
cover bands. They're just playing covers and it's just killing
the music scene and it's killing clubs. There's not that
many places to play anymore. That's why it's even harder
(25:18):
for bands because the smaller clubs at hold three to
four to five hundred people, like they're just going, it's
just getting.
Speaker 3 (25:24):
Harder and harder. And that's why it's you.
Speaker 4 (25:27):
Know, you got these pop stars that are playing these
big places, and there's more and more of these in Cincinnati.
I mean now there's like six huge places to play
in Cincinnati. But it's like, you know, these bands have
to start from somewhere. I mean, you're these musicians have
to start from somewhere and there's nowhere left to play
and it's making it really, really really hard.
Speaker 2 (25:50):
Yeah. Wow, that's that's something. You know you mentioned rock
ability ability to breakdown barriers, right, What barriers do you
personally hope to break with this new EP, Like, you know,
things that you know you hope people will heal from.
Speaker 4 (26:11):
Or I would like to see I would like to
see hard working bands make it again. That's really my
goal because yeah, in rock, like you had the Beatles
and then then you kind of had led Zeppelin movement,
and then you had the early nineties where he had Nirvana,
and then in the two thousands you kind of had
(26:33):
emo bands kind of make it so it's like rock
kind of goes in cycles a little bit. Right this
time around, it feels a little bit different because the
industry has changed so much, they're not really giving them
a chance. But I'm really kind of hoping to make
that movement again where where labels and everything start to
take a chance on bands and good musicians, because I
(26:56):
think that's the future of music.
Speaker 3 (26:57):
We can't keep.
Speaker 4 (26:58):
Relying on ai as you know and one or you know,
one song artist TikTok. These you know, they write one
song on TikTok and they're big, and after that they're
they're just disappear because they have no musical background.
Speaker 3 (27:13):
I want to see more like.
Speaker 4 (27:15):
Who's going to replace the the the Bruce Springsteen's and
the Elton John's and the you know, who's going to
replace these guys? I mean, you know, they're they're getting
over and.
Speaker 3 (27:25):
The Rolling Stones, and you know, you you have to
have up and.
Speaker 4 (27:28):
Coming artists that are they're kind of lifers in the
business that continue to write songs and albums, good albums
year after year after year, and right now I just
don't see that.
Speaker 3 (27:37):
So I'm hoping that labels will start looking to the
future again.
Speaker 4 (27:42):
Yeah, put put a little put a little more investment
in their products.
Speaker 2 (27:46):
Absolutely. You do you ever have moments where or or
have you had moments like that when in the journey
of especially this music world is so up and down.
I think entertainment altogether can be. But have you had
moments of like uncertainty and and you wasn't sure if
you keep going and what brought you back to keep
(28:09):
pushing and persevering.
Speaker 3 (28:12):
Oh God, yeah, I think I have those moments every day.
Speaker 4 (28:19):
I mean, I don't think there's a musician that doesn't
have some type of self doubt at some point, you know,
I think it's only natural. I guess for me, I
really like playing with the band members that I'm playing with,
I think as always. And then my son, my young son,
he's getting into bass and he loves our band, and
(28:42):
you know, and I think it's just the little things
like that, you know, or some friends who just kind
of say, you know, god, man, you I don't know
how many times I've heard, why aren't you guys out.
Speaker 3 (28:54):
There touring full time? You know, like your band is
that good?
Speaker 4 (28:58):
But at the same time, it's like, well, Okay, I
don't have a booking agent.
Speaker 3 (29:02):
You know, I do have bills to pay, and so
we all have bills to pay.
Speaker 4 (29:05):
Like I can't go out there and play for the
cigarette machine and the pool table anymore.
Speaker 3 (29:10):
Like I have to have.
Speaker 4 (29:12):
A little bit of some type of backing, like you know, hey,
I don't know, like even a smaller label, like, hey,
we're gonna give you a little bit of backing here,
you know, Okay, we really think you got something in it,
and so we're kind of doing Starlight pr to kind
of help that a little bit, maybe try and get
something kick started.
Speaker 3 (29:33):
Id' you know, I don't know.
Speaker 4 (29:35):
I guess there's always the hope of the next thing.
But yeah, there's no doubt. There are days that go
by where.
Speaker 3 (29:42):
You're you're questioning why you're still trying to give it
a push. Yeah, no doubt.
Speaker 4 (29:49):
Yeah, But I just I just but I just love
music that much and I'd love to see where the
band goes, and I love writing songs.
Speaker 3 (29:56):
So it's it's almost like a drug addiction for me.
It's hard.
Speaker 2 (30:01):
I love that. I love that. What's one of the
songs that never made it onto an album but still
means a lot to you?
Speaker 3 (30:12):
Boy, Like one of our songs, you mean, yeah.
Speaker 2 (30:17):
Yeah, yeah, boy, that's that's a tough question.
Speaker 4 (30:27):
One of the songs actually that that didn't make it
on we just made it under our EP was about
my cousin she had, uh, she had died.
Speaker 3 (30:36):
She was only forty four years.
Speaker 4 (30:37):
Old and she had a heart aneurysm and just dropped
on the spot and you know, you never never got
never got to say goodbye or you know anything like that.
Speaker 3 (30:47):
That was a very that was a hard song to write.
That was that was a very personal song. Wow, I
guess yeah, that was.
Speaker 4 (30:56):
That was probably the hardest song to right, especially too
when her others and sisters they never really told me
because I never really told them the song was about her,
but they knew, and I think when they heard it,
you know, they kind of said thanks in their own way.
Speaker 3 (31:11):
But that was a tough song. That was definitely a
tough song to write.
Speaker 2 (31:15):
Wow, thank you for being so vulnerable. I mean, it
takes it to be that vulnerable right to share those
kind of things that you know, especially musically, it's a
hard place to go. But I'm sure very therapeutic in
a way as well.
Speaker 3 (31:29):
It is. You're exactly correct.
Speaker 2 (31:33):
What advice would you give to that young artist, that
young guy or young girl that you know wants to
get out there and start a band. What advice would
you give to them.
Speaker 3 (31:49):
I've actually been asked this question.
Speaker 4 (31:51):
Actually, I teach music, and I tell my kids because
I try and help them start bands. I try and
help the younger kids start bands. I think it's a
great thing. There's nothing better than getting together with your
buddies and playing some music.
Speaker 3 (32:02):
I mean, there's just there's just nothing like it.
Speaker 4 (32:06):
But I also tell them the hardest thing is is
don't be afraid to fire someone.
Speaker 3 (32:11):
And I know it, and I know it can get
very personal.
Speaker 4 (32:14):
But when you're playing with Johnny the drummer who shows
up twenty minutes late for every practice, or when he
comes over, I didn't he says, I didn't have. You know,
because a lot of bands start out playing some covers
just so they can get used to each other. And
you know, if you have a drummer that says, hey,
I didn't learn my parts, I'm going to learn him
right now, and that continues to happen, then he's not
as serious as you are. And I know it can
(32:35):
be personal, but you've got to find guys that are
on the same level as you that how what is
your goal? How serious are you ready to take it?
Are you wanting to be a great band? Are you
wanting to tour? You wanting to write great songs? If
you continue to keep guys around like that in your band,
it'll never happen.
Speaker 3 (32:52):
So make sure you find people that are taking it.
Speaker 4 (32:56):
Just as serious as you are, because once if you
reach a certain level and you play with guys who
are great at their instruments, that there's no going back.
Like you cannot play with a guitar player that can't
quite pull off that solo or a drummer that just
can't quite get the beats down just because they're not
that great.
Speaker 3 (33:15):
You have to play with people that are better than you.
Speaker 4 (33:17):
You have to have musicians that push you as a musician,
otherwise you'll always be stuck at the same level.
Speaker 2 (33:24):
Very true, very true. Yeah, it's like if you want
to get if you want to be great, right, It's
like what they say, It's like you are the people
that you hang out with, the five people that you
hang out with, So you know, make sure that there
is exactly if you want a company, you keep the
same thing as talent wise as well.
Speaker 3 (33:41):
No doubt you're exactly right.
Speaker 2 (33:44):
Yeah, that's great advice. Where can people find you, guys
on social media to find everything you got going on?
Speaker 4 (33:50):
We're pretty much everywhere TikTok, Instagram, Facebook, We have a
website www. Dot orchid intheiv dot com.
Speaker 3 (34:00):
Yeah, we're pretty much everywhere.
Speaker 2 (34:03):
Love that well, thank you so much for coming on.
It was a pleasure talking to you, and yeah, I
wish you guys all the best.
Speaker 3 (34:10):
Thank you so much for having me.
Speaker 2 (34:11):
Absolutely absolutely, and thank you all for listening and always
remember to live, love, laugh, ho see you guys next time.
Speaker 5 (34:20):
Goodbye,
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Speaker 2 (00:34):
Hi, guys, welcome to another episode of Creators to Creators. Today,
today we have a special guest.
Speaker 3 (00:41):
Brought sure welcome.
Speaker 2 (00:42):
Thanks for having me, absolutely absolutely so. You know, I
love going back to the beginning. I always say, the
beginning charge our trajectory in life, our little habits we
pick up along the way, you know, follow us into
our adulthood. Tell me a little bit about you know,
your child, what was that like and has music always
(01:03):
been the direction for you? And when did you get
started and like take music seriously?
Speaker 4 (01:12):
Well, I mean when I was about six or seven
years old, my mother started getting into me into piano lessons.
But after about a year, year and a half a
piano lessons, it was kind of embarrassing, you know, because
we played outside a lot to tell your friends that
you had to go home and take piano lessons, which is.
Speaker 3 (01:30):
Kind of a shame.
Speaker 4 (01:31):
I wish I would have stuck with it, but I
guess when I was about twelve years old, there was
a guy who was up the street. We had like
a street yard sale, and I think her son had
left for the army or something, and she was going
to sell his drums. So I came home and asked
my dad she was selling the drums. I say, can
we get this drum set? And I've got four sisters
(01:53):
and he was like, no, we don't have the rooms
for to put a drum set in our house. We
lived in a very small house with the seven of
us total. So they got me an acoustic guitar that
year for Christmas, and I started playing guitar. So really,
how I learned to read, or how I learned to
(02:15):
play music was I would ride up to the grocery store,
which was probably, oh god, it was probably about four
to five miles away, and I would put a backpack
on with a notebook, and I couldn't afford the magazines,
and I would open up the magazines and I would
write down the tableture in my notebook, and then I
(02:35):
would take it home and learn it. And after a
while you started seeing a pattern on chords and stuff.
And I'd say within a couple of years, a year
and a half to two years, I was already able
to just about listen to almost anything, and I could
already play it by year, so that that didn't become
a problem, you know, very quickly.
Speaker 2 (02:56):
So that's incredible.
Speaker 4 (02:59):
So then I played for about nine years, and then
I went to college and decided the only thing I
really wanted to do was music, and they made take
a year's worth of lessons before I could declare as
a music major because I could not read music at
the time. And then I finished my degree and I
got I played classical guitar.
Speaker 3 (03:19):
Actually for almost five years.
Speaker 4 (03:22):
It took me two years to get ready for my
senior recital. I had to play in hours and fifteen
minutes worth of music memorized of classical guitar music. And
so then to graduate, you have to sit in the
middle of a room with three people sitting in that room,
and they asked you to play certain measures of these
(03:43):
certain pieces, and after about forty five minutes you walk
out of the room, which is very nerve wracking, and
then when you come back in they.
Speaker 3 (03:51):
Tell you whether you graduated or not. So it was
very intense.
Speaker 2 (03:58):
Yeah, absolutely, absolutely so. I mean you just knew at
such a young age that music was that that's it,
You're not gonna do anything else. I love that. I
love that. I think a lot of people, you know,
it kind of struggle figuring out there. I guess, for
lack of a better word, purpose.
Speaker 4 (04:18):
Yeah, I guess music for me it always just I
don't know, it always spoke to me, and I think
I listened to it differently than other people. I think,
deep down I always wanted to be a drummer. But
so I kind of studied music and you know, chord
changes and drum patterns and beat patterns, and I was
I would really study the music, not just you know,
(04:41):
a lot of people like all the lyrics to songs,
and honestly, I didn't care that much for the lyrics.
Speaker 3 (04:46):
I really wanted to know what was happening in the
music for sure.
Speaker 2 (04:50):
What inspired you know you to reimagine beds are burning
through a punk rutlans And why did now feel like
the right time to release it?
Speaker 4 (05:01):
Well, you know, we actually with a song we had
played with about thirteen twelve, thirteen years ago, and my
mother is actually from Australia, and it kind of spoke
to me a little bit on that end because Midnight Oil,
who originally did Beds of Burning, is from Australia, so
so that actually it just kind of spoke to me
(05:22):
in that end. But I was listening to it. It
came on the radio or something one day and I
just thought, man, what a great groove, what a great baseline.
And I thought, man, if we just don't change the
structure and just really speed this thing up, you know,
it's a really it's about a five minute song. I
think we got it down to three minutes and ten seconds.
Speaker 3 (05:42):
Sorry to the car we started.
Speaker 4 (05:44):
But I think now with what's going on kind of
and because the song is about the Aboriginal Aborigines in
in Australia basically being kicked off their land because they
were gonna coal mine it and all that kind of stuff,
and that's kind of going on in the US where
people are you know, people are getting kicked off their
off land and it just kind of, you know, what
(06:06):
everything is kind of going on in the political world
right now.
Speaker 3 (06:08):
It just seemed like a good time to release it.
Speaker 2 (06:11):
Oh No, for sure, for sure, absolutely is an interesting
climate right now that we're all in and I have
definitely great for people. For sure.
Speaker 3 (06:20):
It's crazy time.
Speaker 2 (06:22):
Yeah, you mentioned your version is more like, you know,
it's like more hard hitting, more aggressive. You know, what
emotion or message were you trying to amplify through the
shift in tone? Like, you know, like I was like, oh,
this is like really heavy hitting. What made you go
with that direction? As far as like more aggressive version
(06:44):
of it?
Speaker 3 (06:45):
I guess it. That's kind of the way our band is.
Speaker 4 (06:48):
We're a little more aggressive, so you know, we we
have some harder hitting stuff. So I don't really like
to do cover songs very much, where this is really
the only cover we've ever done since we've been a band.
And one of the reasons is is I never I
don't like covers that are done the exact same way
they're already done.
Speaker 3 (07:08):
Why would you Why would you do it the exact
same way?
Speaker 4 (07:11):
Right, And there's there's a lot of covers like that,
and I thought this, if we sped this up and
really hit it hard.
Speaker 3 (07:17):
It doesn't even sound like the same song.
Speaker 4 (07:19):
You know it, just it gives it a completely different vibe,
which is something that really stoked us.
Speaker 2 (07:25):
Love that. How did touring with bands like Fallout Boys
and and Motion City Soundtrack influence your approach to music today?
Speaker 4 (07:37):
I think bands like Fallout Boy and we played with
you know a lot of bands zak Line Trio, thirty
seconds to Marsh Plain White Tea's, And I think even
people have to understand that, like even the simplest, simplest
of bands like Green Day back in the day three
chord songs, these bands are still out there, like, and
I feel bad because there's so many bands out there
(07:59):
now busting their butts, and you know, labels aren't really
signing bands. And I feel bad because there's so many
good bands out there.
Speaker 3 (08:07):
But even these bands, you know, they were playing three chords.
Speaker 4 (08:09):
I did it too. I mean we're back in the day,
we were living off of five dollars a day. I
mean we were I was eating two McChicken sandwiches and
a water for McDonald's twice a day to survive.
Speaker 3 (08:20):
You know.
Speaker 4 (08:21):
Wow, And then you get up on stage and they
realize that even though the three.
Speaker 3 (08:26):
Chords a lot, you know a lot of simple songs.
Speaker 4 (08:28):
They're very tight, they're very professional, they know exactly what
who they are, what they're doing, and they're working hard.
You know, there's a lot of back out there working
really hard, and I'd love to see more bands come
back around and make it because there are so many
good musicians that just aren't getting a good fair shake.
Speaker 2 (08:47):
That is so true. You're absolutely right about that, and
it's it's sad that that's happening. You're sad in the
music world. Do you think it's going to ever change
or do you think or do you think we're kind
of and why do you think it hasn't changed much?
Speaker 5 (09:02):
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Speaker 3 (09:37):
Is it the well, I know it hasn't changed.
Speaker 4 (09:40):
It hasn't changed right now because I think major labels
and stuff like that when I have complete control, because
I think the industry is kind of all over the place.
So they're signing single artists that they can control everything,
and you know that they're just not taking big chances.
And back in the music that I would have really
got into where they were signing pearl And and Smashing
(10:02):
Pumpkins and Soundguard and Nirvana and Alison Shane's and like
it just kept coming, and you know they were taking
risks on bands, but they also were helping bands develop
and they knew they were going to be something. And
now they just don't take that chance of development. It's
like if it's not a one time hit or they're
(10:22):
they're getting rid of it. And when they only when
they only hire a single artists, they have that control,
like this isn't working, get rid of it onto the
next one.
Speaker 3 (10:30):
And and that's a shame.
Speaker 2 (10:32):
That's that's so sad, you know, and it's it is
it is that I've heard this a lot with a
lot of artists. Is that that you know, it's great
that you know, you know, the independent world is open
up a lot of different avenues and different platforms and
doing it in yourself essentially. But you know, you are
competing against the big conglomerates, the big names, and and
(10:55):
it's like you know and getting the algorithm, and it's
kind of hard to you know, push yourself. But it
is crazy that they are. It is about control. It's
I see it all the time, and it's quite scary.
Speaker 4 (11:08):
I think it's harder than ever. People are like, well,
now you have all these Internet avenues, you can say that,
but now there's a sea of bands and the problem
is is there's a sea of mediocrity. You know, there's
people out there that are not learning instruments and people
I hear this sometimes and I know this is kind.
Speaker 3 (11:26):
Of off the map a little bit.
Speaker 4 (11:27):
But people say, like, why was eighties pop so much
catch here? And why are those songs still around compared
to today. It seems like the pop songs come out
and then they're just wiped.
Speaker 3 (11:37):
Away and they're kind of forgotten about it.
Speaker 4 (11:39):
It's like, well, even though you had these eighties pop songs,
the people that were playing these songs were really good musicians.
They were piano players and classically trained or you know,
they just they knew their instruments. Where now you've got
these kids, don't I hate to say kids. I know
this sounds like I'm old. They're not putting in the
time on their instruments, trying to do it with a
(12:00):
computer or whatever, and they're lacking that musical background.
Speaker 3 (12:04):
So then may be able to do one or two songs,
but to.
Speaker 4 (12:07):
Have a full body of work for year after year
after year is just not there.
Speaker 3 (12:11):
And then it's flooding the market. So you're flooding the market.
Speaker 4 (12:14):
With mediocrity and and and good bands and musicians.
Speaker 3 (12:18):
Are just getting swept away.
Speaker 2 (12:20):
Yeah, yeah, but yeah, I think.
Speaker 3 (12:24):
I think the best.
Speaker 2 (12:27):
No, no, I mean it's but it's real life though,
it's it's it's it's the honest truth that and and
that's what I love hearing is is like the honest
of honesty of of the industry because it's not always
roses and cakes. It's really hard. It's tough business to
you know, have longevity.
Speaker 3 (12:43):
In it is no doubt.
Speaker 2 (12:46):
But so so you became the lead singer, you know,
in this band, and and can you walk us through
the moment, you know that moment and how it felt
stepping into that role.
Speaker 4 (12:59):
Yeah, after I was in a touring band for four
or five years, then we started. I kind of started
another band called Rosemary Device with a singer guy who
he was from the area of where I was from,
and I always kept an eye on him that if
this or my band ever something happened, I would kind
of reach out to this guy. And I did that
and we were in Rosemary Device for We did one record,
then we start actually it started another record at the time.
(13:22):
The bass player that was in our band was kind
of going through some drug problems, so we had to
we had to let him go. So it was just
kind of the three of us where our singer had
kind of checked out a little bit. To me and
my drummer. I had written twelve songs for this record,
and I put all these rough tracks down. My drummer
came over and we didn't really have a chance to rehearse.
(13:43):
We just we just laid the tracks down. He'd laid
all the drums downs for these twelve songs, and then
my singer came over and he sang them, and towards
the end, we were getting close to the end because
I had played the bass and guitars on them because
I'd written them all as well, and he got We
were about, you know, a couple of months away from
releasing it. We were trying to find a bass player
(14:05):
at the time, and he said, you know, guys, I
think my life is just changing. I just I don't
think I can be a part of this anymore. And
we were like, oh my god. You know, we had
this record finished. So I asked my drummer, I said,
what do you want to do and he said, I'm
not really sure. And then I said, well, why don't
I sing on one of these tracks and then we'll
see if we like it and we'll kind of go
from there.
Speaker 3 (14:25):
And he said, go for it. So I had.
Speaker 4 (14:27):
Actually then I took his vocals off and I had
sang on because I wrote them anyway. And then I
sang on the first song and I sent to my drummers,
so really it was just down to me and him
in the band, and he said, I love it, do
the other ones.
Speaker 3 (14:41):
Let's do a few more and we'll see how these
turn out and we'll go from there.
Speaker 4 (14:44):
So I continue to do more, and we liked it,
and then we found a bass player and really, and
then we released there's a three piece kind of we're
kind of a three piece like Nirvana sort of.
Speaker 3 (14:53):
We just that's how we go about now, just and
the more you can have.
Speaker 4 (15:00):
Well, we tried to mess with four players one time,
and even five and just getting four or five guys
on the same page and getting into too practice and everybody.
Speaker 3 (15:09):
It just it's a lot of work. People have lives,
you know.
Speaker 4 (15:13):
So we decided to remain as a three piece because honestly,
it was just easier and we felt like the band
sounded better as a three piece.
Speaker 3 (15:20):
So that's how the band came together.
Speaker 2 (15:24):
I love that. I love that, you know. I love
asking this question and there's no no wrong answer, But
I love asking this question to every guest. The three
levels of affluence, money, power, and respect, And if you
could choose only one of those things, which one would
you choose? And why.
Speaker 4 (15:44):
Respect not even close? I don't even I don't care
about the money. I've always wanted just people just to
hear our music, Like if they turn it down and
they're like, I don't like it, and we get rejected
because people hear it and they don't like it. Fine, Like,
but it's so hard to get your music out. There's
just to get people to hear it.
Speaker 3 (16:04):
So, you know. I the respect part, I just I
guess I when I.
Speaker 4 (16:10):
Became a musician, I never really A lot of people
would stand on we would have we played in bands
where the guitar player are still on the front and soloed,
and you know, it's kind of showing off, or you
go to bands and they're kind of showing off.
Speaker 3 (16:23):
I never cared for that. I just want to be
respected for as a good writer.
Speaker 4 (16:28):
I wanted people to say, you know, I think if
you can write a song that people can just sing
along to, you've done more than anybody who can just
stand at the end of the stage and shred their guitar.
Like I don't care about that stuff. I want people
to sing along. I want people.
Speaker 3 (16:44):
I want the respect of somebody saying, man, you even if.
Speaker 4 (16:47):
We doesn't get big, say even though you guys didn't
get big.
Speaker 3 (16:50):
You know you you were a really good writer and
you know and to me that that would be enough.
Speaker 2 (16:55):
I love that. A great answer. Love it.
Speaker 6 (16:59):
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Speaker 2 (17:59):
I love that great answer.
Speaker 3 (18:01):
Love it?
Speaker 2 (18:02):
Uh. You said your writing has become more personal with
with with age. What kinds of themes are you exploring
in this new EP?
Speaker 4 (18:14):
I guess the older you get, you know, you have
more experiences, so it's easier to write about things you've
gone through. You know, and some of those are can
be a little bit political. Some of those are personal.
I think our first single we're going to release is
you know, I don't I don't want to mention their
name because I don't want to getting back to them.
(18:36):
But I grew up with somebody who was just very
negative in my life and very negative all the time.
And not that they're a bad person, it's just they
were always negative. And I remember one time my wife
had said to me, she goes, you know, sometimes you
sound like this person.
Speaker 3 (18:52):
I said, I do, and she.
Speaker 4 (18:55):
Said yeah, and I said, I said, well, I don't
want to sound like that. And I have a couple,
I have some kids, and I said, I don't want
my kids growing up to be negative. I want to
have I want to have a positive outlook on life
as they go through life. And I know our music
can be a little darker. It's just easier for me
to write in that sense. But I didn't want my
kids to grow up like that, and so I try
(19:18):
and be more positive, have a positive outcome on them
and not go through life like.
Speaker 3 (19:24):
Looking everything through a black cloud.
Speaker 4 (19:26):
So it's just something that you know, it's just life
experiences like that that are that are really coming in
across in this record.
Speaker 2 (19:33):
I love that. I love that, yeah, because I think
with time, right, you just have so many, like like
so many other things that you've lived life and you
have more to say versus you know, these young Tenderoni's,
these young guys coming out and they're talking about.
Speaker 4 (19:51):
Yes, I mean, there's nothing more that just experiences.
Speaker 2 (19:55):
Absolutely absolutely What does self producing in your studio allow
you to do that working with others might not.
Speaker 4 (20:06):
I think we get to be a lot more creative,
and it gives us more time to work out songs
and really make them exactly how we want them.
Speaker 3 (20:15):
And you know, I record other people as well.
Speaker 4 (20:17):
And the problem I always had going into studios was,
you know, we're charging one hundred bucks an hour, you know,
so you're only you're gonna get done what you get
done in this amount of time.
Speaker 3 (20:27):
And you know, I don't know how many times we
got done in the studio.
Speaker 4 (20:30):
And they were like, well, this isn't exactly how We're
not done yet, and we're like, well, you know, unless
you want to pay for more times, you get.
Speaker 3 (20:35):
What you get.
Speaker 4 (20:37):
And now I have a studio and I don't do that.
I actually charge per song because I want people to
walk out of the studio completely happy with what we
just put together. Because my name's on that too, you know,
so so it's it's representative of me just as much
as it is them. So I think for us, yeah,
(20:57):
I know, that's getting away from a little bit. For us,
it just gives us a chance to take our time
and get the sound of how, you know, what we
really want, what we want to sound like. We've gone back,
We recorded songs and then gone back and said, man,
this song means an ending, you know, like this this
is just missing right and going back, going back, going
(21:20):
back and ed a minute, minute and a half to
an end of a song to really make it smack.
Speaker 3 (21:24):
I love it.
Speaker 2 (21:25):
That's awesome. Yeah, I mean, do you feel like and
I'm just curious. You know, a lot of artists their
goal is to be mainstream, which I get why. You know,
you get more pull, you get more access and all
the things. What I mean, in your you know experience
(21:47):
as an artist, do you feel like being independent and
staying true to you know, what you want and your
creative process. It's better to go the independent route versus
mainstream route. And obviously it's harder, but do you feel like,
from your point of view, is it worth it?
Speaker 4 (22:08):
Absolutely, Like, I don't want to have anybody telling me
what I need to write or what I need to
go out on stage and sing. And honestly, I think,
fortunately or unfortunately, I think it's one of the things
that's held our back, held us back a little bit,
is just our We just stay true to who we are.
And you know, I'm not out here writing pop songs
(22:28):
so people will listen to them. We play what we
play because that's what we want to play. If you
don't like it, then hey, this is.
Speaker 3 (22:35):
What we do.
Speaker 4 (22:36):
And you know, I've asked so I had people ask me,
you know, because I do write a lot. They're like,
how come you don't try and write some songs and
then try and sell them, you know.
Speaker 3 (22:46):
Like some artists do and stuff like that.
Speaker 4 (22:47):
And it sounds absolutely terrible when I say this, but
I'm like, you know what, I put in a lot
of work as a musician and spend a lot of
time and I'm not just going to give my songs
over to somebody who hasn't put in the same amount
of time as me.
Speaker 3 (23:00):
And I know that sounds.
Speaker 4 (23:01):
Terrible, but I've worked really hard, and I had to
practice four to five hours a day on guitar to
get my degree, and I had to work really hard.
I'm not going to give it to somebody who isn't
gonna put in the same amount of time that I
have and just let them take this song and get
popular with her or whatever. I mean, I don't care
about the money. I don't care if they give me
twenty thousand dollars for a song. You know they didn't
(23:23):
work hard like I did to get there, and I'm
not giving it away for nothing. I'm just not doing it.
Speaker 3 (23:29):
So I feel like it's my music, and you know,
as a band, I don't. I'm not that way in
my band.
Speaker 4 (23:36):
I'm very flexible, like my band members can say whatever
they want, Hey, I think we should do this, and great.
Speaker 3 (23:42):
I love all those suggestions. This is why we work together.
Speaker 4 (23:45):
I mean, there's nothing better than in the moment of
a band where you write a good song and you
say wow, you look at each other and you say, wow,
we really got something here.
Speaker 3 (23:53):
That is the best feeling in the world. Better than
standing on stage in front of thousands of people.
Speaker 4 (23:59):
It's just you know, playing with these guys and just
knowing when something comes together, it's just such a good feeling.
Speaker 2 (24:07):
Right, absolutely, absolutely. What's something about the Northern Kentucky music
scene that you think people outside the area overlook or misunderstand.
Speaker 3 (24:20):
Oh, people are gonna hate me for this, But.
Speaker 4 (24:23):
Northern Kentucky Cincinnati music scene, like some of the musicians
are and they say always say, it's like.
Speaker 3 (24:28):
Great, it's the worst. It's the worst.
Speaker 4 (24:30):
I have toured in about thirty five states, and it's
always been the hardest in Cincinnati. And people I handed
free CDs out after a show one time. They were
coming out of a popular band that I liked, and
our band kind of, you know, is relative to them.
And some guy goes, hey, where are you guys from?
Speaker 6 (24:51):
You know?
Speaker 3 (24:51):
And I said from here? And he handed me the
CD right back and walked away.
Speaker 1 (24:55):
Wow.
Speaker 3 (24:55):
I mean, that's what you deal with in Cincinnati.
Speaker 4 (24:58):
If they haven't heard you on the radio or you're big,
they just don't care. And it's it's frustrated so many
musicians in Cincinnati that they have just turned over to
cover bands. They're just playing covers and it's just killing
the music scene and it's killing clubs. There's not that
many places to play anymore. That's why it's even harder
(25:18):
for bands because the smaller clubs at hold three to
four to five hundred people, like they're just going, it's
just getting.
Speaker 3 (25:24):
Harder and harder. And that's why it's you.
Speaker 4 (25:27):
Know, you got these pop stars that are playing these
big places, and there's more and more of these in Cincinnati.
I mean now there's like six huge places to play
in Cincinnati. But it's like, you know, these bands have
to start from somewhere. I mean, you're these musicians have
to start from somewhere and there's nowhere left to play
and it's making it really, really really hard.
Speaker 2 (25:50):
Yeah. Wow, that's that's something. You know you mentioned rock
ability ability to breakdown barriers, right, What barriers do you
personally hope to break with this new EP, Like, you know,
things that you know you hope people will heal from.
Speaker 4 (26:11):
Or I would like to see I would like to
see hard working bands make it again. That's really my
goal because yeah, in rock, like you had the Beatles
and then then you kind of had led Zeppelin movement,
and then you had the early nineties where he had Nirvana,
and then in the two thousands you kind of had
(26:33):
emo bands kind of make it so it's like rock
kind of goes in cycles a little bit. Right this
time around, it feels a little bit different because the
industry has changed so much, they're not really giving them
a chance. But I'm really kind of hoping to make
that movement again where where labels and everything start to
take a chance on bands and good musicians, because I
(26:56):
think that's the future of music.
Speaker 3 (26:57):
We can't keep.
Speaker 4 (26:58):
Relying on ai as you know and one or you know,
one song artist TikTok. These you know, they write one
song on TikTok and they're big, and after that they're
they're just disappear because they have no musical background.
Speaker 3 (27:13):
I want to see more like.
Speaker 4 (27:15):
Who's going to replace the the the Bruce Springsteen's and
the Elton John's and the you know, who's going to
replace these guys? I mean, you know, they're they're getting
over and.
Speaker 3 (27:25):
The Rolling Stones, and you know, you you have to
have up and.
Speaker 4 (27:28):
Coming artists that are they're kind of lifers in the
business that continue to write songs and albums, good albums
year after year after year, and right now I just
don't see that.
Speaker 3 (27:37):
So I'm hoping that labels will start looking to the
future again.
Speaker 4 (27:42):
Yeah, put put a little put a little more investment
in their products.
Speaker 2 (27:46):
Absolutely. You do you ever have moments where or or
have you had moments like that when in the journey
of especially this music world is so up and down.
I think entertainment altogether can be. But have you had
moments of like uncertainty and and you wasn't sure if
you keep going and what brought you back to keep
(28:09):
pushing and persevering.
Speaker 3 (28:12):
Oh God, yeah, I think I have those moments every day.
Speaker 4 (28:19):
I mean, I don't think there's a musician that doesn't
have some type of self doubt at some point, you know,
I think it's only natural. I guess for me, I
really like playing with the band members that I'm playing with,
I think as always. And then my son, my young son,
he's getting into bass and he loves our band, and
(28:42):
you know, and I think it's just the little things
like that, you know, or some friends who just kind
of say, you know, god, man, you I don't know
how many times I've heard, why aren't you guys out.
Speaker 3 (28:54):
There touring full time? You know, like your band is
that good?
Speaker 4 (28:58):
But at the same time, it's like, well, Okay, I
don't have a booking agent.
Speaker 3 (29:02):
You know, I do have bills to pay, and so
we all have bills to pay.
Speaker 4 (29:05):
Like I can't go out there and play for the
cigarette machine and the pool table anymore.
Speaker 3 (29:10):
Like I have to have.
Speaker 4 (29:12):
A little bit of some type of backing, like you know, hey,
I don't know, like even a smaller label, like, hey,
we're gonna give you a little bit of backing here,
you know, Okay, we really think you got something in it,
and so we're kind of doing Starlight pr to kind
of help that a little bit, maybe try and get
something kick started.
Speaker 3 (29:33):
Id' you know, I don't know.
Speaker 4 (29:35):
I guess there's always the hope of the next thing.
But yeah, there's no doubt. There are days that go
by where.
Speaker 3 (29:42):
You're you're questioning why you're still trying to give it
a push. Yeah, no doubt.
Speaker 4 (29:49):
Yeah, But I just I just but I just love
music that much and I'd love to see where the
band goes, and I love writing songs.
Speaker 3 (29:56):
So it's it's almost like a drug addiction for me.
It's hard.
Speaker 2 (30:01):
I love that. I love that. What's one of the
songs that never made it onto an album but still
means a lot to you?
Speaker 3 (30:12):
Boy, Like one of our songs, you mean, yeah.
Speaker 2 (30:17):
Yeah, yeah, boy, that's that's a tough question.
Speaker 4 (30:27):
One of the songs actually that that didn't make it
on we just made it under our EP was about
my cousin she had, uh, she had died.
Speaker 3 (30:36):
She was only forty four years.
Speaker 4 (30:37):
Old and she had a heart aneurysm and just dropped
on the spot and you know, you never never got
never got to say goodbye or you know anything like that.
Speaker 3 (30:47):
That was a very that was a hard song to write.
That was that was a very personal song. Wow, I
guess yeah, that was.
Speaker 4 (30:56):
That was probably the hardest song to right, especially too
when her others and sisters they never really told me
because I never really told them the song was about her,
but they knew, and I think when they heard it,
you know, they kind of said thanks in their own way.
Speaker 3 (31:11):
But that was a tough song. That was definitely a
tough song to write.
Speaker 2 (31:15):
Wow, thank you for being so vulnerable. I mean, it
takes it to be that vulnerable right to share those
kind of things that you know, especially musically, it's a
hard place to go. But I'm sure very therapeutic in
a way as well.
Speaker 3 (31:29):
It is. You're exactly correct.
Speaker 2 (31:33):
What advice would you give to that young artist, that
young guy or young girl that you know wants to
get out there and start a band. What advice would
you give to them.
Speaker 3 (31:49):
I've actually been asked this question.
Speaker 4 (31:51):
Actually, I teach music, and I tell my kids because
I try and help them start bands. I try and
help the younger kids start bands. I think it's a
great thing. There's nothing better than getting together with your
buddies and playing some music.
Speaker 3 (32:02):
I mean, there's just there's just nothing like it.
Speaker 4 (32:06):
But I also tell them the hardest thing is is
don't be afraid to fire someone.
Speaker 3 (32:11):
And I know it, and I know it can get
very personal.
Speaker 4 (32:14):
But when you're playing with Johnny the drummer who shows
up twenty minutes late for every practice, or when he
comes over, I didn't he says, I didn't have. You know,
because a lot of bands start out playing some covers
just so they can get used to each other. And
you know, if you have a drummer that says, hey,
I didn't learn my parts, I'm going to learn him
right now, and that continues to happen, then he's not
as serious as you are. And I know it can
(32:35):
be personal, but you've got to find guys that are
on the same level as you that how what is
your goal? How serious are you ready to take it?
Are you wanting to be a great band? Are you
wanting to tour? You wanting to write great songs? If
you continue to keep guys around like that in your band,
it'll never happen.
Speaker 3 (32:52):
So make sure you find people that are taking it.
Speaker 4 (32:56):
Just as serious as you are, because once if you
reach a certain level and you play with guys who
are great at their instruments, that there's no going back.
Like you cannot play with a guitar player that can't
quite pull off that solo or a drummer that just
can't quite get the beats down just because they're not
that great.
Speaker 3 (33:15):
You have to play with people that are better than you.
Speaker 4 (33:17):
You have to have musicians that push you as a musician,
otherwise you'll always be stuck at the same level.
Speaker 2 (33:24):
Very true, very true. Yeah, it's like if you want
to get if you want to be great, right, It's
like what they say, It's like you are the people
that you hang out with, the five people that you
hang out with, So you know, make sure that there
is exactly if you want a company, you keep the
same thing as talent wise as well.
Speaker 3 (33:41):
No doubt you're exactly right.
Speaker 2 (33:44):
Yeah, that's great advice. Where can people find you, guys
on social media to find everything you got going on?
Speaker 4 (33:50):
We're pretty much everywhere TikTok, Instagram, Facebook, We have a
website www. Dot orchid intheiv dot com.
Speaker 3 (34:00):
Yeah, we're pretty much everywhere.
Speaker 2 (34:03):
Love that well, thank you so much for coming on.
It was a pleasure talking to you, and yeah, I
wish you guys all the best.
Speaker 3 (34:10):
Thank you so much for having me.
Speaker 2 (34:11):
Absolutely absolutely, and thank you all for listening and always
remember to live, love, laugh, ho see you guys next time.
Speaker 5 (34:20):
Goodbye,
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Cardiac Cowboys
The heart was always off-limits to surgeons. Cutting into it spelled instant death for the patient. That is, until a ragtag group of doctors scattered across the Midwest and Texas decided to throw out the rule book. Working in makeshift laboratories and home garages, using medical devices made from scavenged machine parts and beer tubes, these men and women invented the field of open heart surgery. Odds are, someone you know is alive because of them. So why has history left them behind? Presented by Chris Pine, CARDIAC COWBOYS tells the gripping true story behind the birth of heart surgery, and the young, Greatest Generation doctors who made it happen. For years, they competed and feuded, racing to be the first, the best, and the most prolific. Some appeared on the cover of Time Magazine, operated on kings and advised presidents. Others ended up disgraced, penniless, and convicted of felonies. Together, they ignited a revolution in medicine, and changed the world.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.