August 25, 2025 • 40 mins
In this exclusive interview, host Adam Richmond sits down with legendary rocker Sebastian Bach. The two discuss a range of topics, including:
Become a supporter of this podcast: https://www.spreaker.com/podcast/surviving-rocklahoma--4196214/support.
- The overwhelming reception to Sebastian's new album, Child Within the Man.
- His strong stance against the use of AI in music.
- The challenges and rewards of a life on the road, from his early career to his current tours with his son.
- The unique bond with his fans at festivals like Rocklahoma.
- Adam shares his personal journey with hearing loss and the inspiration behind the podcast.
Become a supporter of this podcast: https://www.spreaker.com/podcast/surviving-rocklahoma--4196214/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:18):
I am your host with the Locks that Rocks, the
host of the official podcast of Rocklahoma, Surviving Rocklahoma. And
as we wind down the main stretch of the Road
to Rocklahoma, I am joined by one of the legends
that you will see this weekend, the man the myth Legend,
(00:38):
Sebastian Bach.
Speaker 2 (00:42):
All Right, what a cool show this is.
Speaker 1 (00:46):
I appreciate it.
Speaker 3 (00:47):
Man.
Speaker 1 (00:48):
You know you've you've played Roklahoma several times actually, and uh,
I was just kind of curious before we get into things,
do you do you have any like favorite moments or
faith favorite trips to prime.
Speaker 2 (01:02):
I have lots of memories. I believe the twenty twenty
five will be the I think the fourth time I've
played Rockahoma, maybe the third. I mean, I don't know, man,
it's been going on so long Rockklahoma, so the third
of the fourth time. And Oklahoma was one of the
(01:25):
first festivals, if not the first, to combine artists of
all eras like seventies, eighties, nineties till now all on
one festival, because a lot of the times they put
like each genre in its own festival. But Oklahoma was
(01:51):
the first one in America that I can think of
that would put a band like me with five finger
death Punch. It's rare for a band from who started
when I started to be on these festivals like The
Dandy Women Presents, and it's just kind of starting to happen.
But Rockklahoma was doing that thirty twenty years ago from
(02:15):
the get go, and they're still doing it. So credit
where credits do for Rockklahoma being the first festival in
America to combine all the genres together. And I can't
wait to do it again this Thursday. We're playing the
headline show with lead of Ford playing with us, and
(02:40):
I'm sure a bunch of other cool bands, but I'm
really looking forward to it. I love playing there. I
hope it's not going to rain, and I hope my
microphones turned on when I run out there, and if
you know, you know.
Speaker 1 (02:57):
I know it was in the audience.
Speaker 2 (03:00):
Yah Okay, Well you can ask me about that when
you want. Well, And that's definitely that's definitely a memory
from from Rockaholma. I think you me, here's me, here's
a here's a coffee cup of me that that second
when I rean out there the picture me.
Speaker 1 (03:25):
Yeah you know you uh, you were talking a bit
about you know, they've been doing this forever and uh,
you're absolutely right. And this year they're celebrating the community
as they are now self produced through prior Creek Music
Festivals and they are independent doing everything themselves, and this
year they are proclaiming this is our rock Lahoma and
(03:48):
uh uh, this is something that we love to do
and we love to celebrate artists of all genres and
hopefully everybody is exposed to a variet ideo sound and
a variety of incarnations of rock music. Can you tell
me a little bit about how playing with these other
(04:09):
artists have changed your sound over the years.
Speaker 2 (04:12):
Well, that that doesn't change my sound. I you know,
it's like ac DC said, They're like, oh, people accuse
you of doing the same song over and over a
million times, and Angus Young goes, oh, they're wrong, it's
a million and one. I love, I love. All I
(04:33):
try to do is make albums that fit into my
catalog like Rush. Well even Rush would throw keyboards in there,
which is crazy. But I my new record, Child Is
in the Man is so well received by everybody that's
(04:54):
heard it. I didn't I've never heard one bad thing
about my new record. It's all this is the best
thing I've ever heard by him, And like when I
get ready for a show like rock Lahoma, I make
a set list on my digital music player, which is
a pono Neil Young thing that he invented. I don't
(05:15):
listen to MP three's or I listen to high reds
music files or Vinyl, So I make a set list
of the set, playlist of the set, and then I
sing the whole thing. And so I'm getting songs from
the first skid Row album, Slave to the Grind, all
the way up to Child Within the Man, and the
(05:37):
production and the sound of my new record without being
disparaging to anything else I've done, but the sound of
the new album crushes what I've done in the past,
and so that inspires me to keep making more new music.
And this song, particularly what Do I Got to Lose,
(05:59):
is the closest thing that I've had to a hit
on the radio in thirty five years. So I didn't
even know that it was possible for a guy from
my era to get a song on the radio in
twenty twenty four, but I did. It was the number
(06:20):
one most added song on FM radio in America the
week it came out, and I was like, what, Wow,
I wasn't expecting that. And the video is almost two
million plays now on YouTube and in my day that
was called double platinum. So I'm very happy to have
(06:45):
two million plays on that radio. You can't argue with those.
Speaker 1 (06:52):
Kind of numbers, No, you can't. And that's a I mean,
that's a testament. You know that rock and roll is
you know, eternal, man, It just it never fades, never dies.
I'm glad you brought up your new album, Child within
the Man. It's a huge deal. What does it feel
like to have this album out, especially with the success
(07:15):
of a song like what do I get to lose?
Like you've been mentioning.
Speaker 2 (07:20):
Well, it just inspires me to keep going forward and
keep creating. I have an incredible record label. People who
are like, you don't need a record label. Yes you do. Actually,
if you want to do it in your basement on
a fax machine, that's one thing. But if you want
to make like an impact around the world globally, you
(07:42):
do need a team of people to help you. And
I have a great record company rating Phoenix Music, and
my management is incredible. They keep me, they keep me
so busy that it's hard for me to keep up
with what I'm doing every day. So I'm very busy,
(08:05):
and in my business that's a very good thing. So
what does it feel like? Just makes me want to
make more music? And I gotta address this. Especially in
the last like three months or so, we're entering this
(08:25):
AI world where musicians are getting very scared, because now
it seems like anybody can just say into an AI prompt,
(08:46):
give me a seventies rock song about partying and chicks,
and there you go. You get one. But all I
can tell you is this, You've known me for almost
forty years, and I'm just giving you my guarantee and
my word that I'll never do that. I will never
(09:07):
give you any AI, and I won't I won't even
give you I and I certainly won't give you a
you know, well, when I'm KNA, i'd rather have a
real human mistake than a perfect artificial intelligence. Fuck artificial
(09:30):
number one, how about real? That's what you're gonna get
from me till the day that I stopped doing this.
And I don't know how to use that stuff, and
I won't work with any producers that use that. You're
just gonna get some knucklehead musicians in the studio making music,
and that's what you're gonna get from me, like Neil
(09:53):
Young or Willie Nelson or Greg Allman. That's what you're
gonna get from me till the day I stopped doing this.
And so I don't have to worry about AI because
if you believe what I'm telling you, then then what
you're going to get from me is just me, like
love it or leave it.
Speaker 1 (10:13):
You know, I'm actually glad you brought that up. And
you know I've in podcasting. I am part of another evolution.
So like you know, radio came out and then MTV
killed radio, and then podcasts are coming out and it's
a new form of radio. So as an artist that
(10:34):
it was came back in, you know, back in your day,
and it's changed so much, do you do you feel
like like music is going away or a threat of
losing it?
Speaker 2 (10:48):
So no, I mean, I can only speak for myself.
And I did ninety one cities last year, ninety one,
so with travel days and days off, that's like two
hundred and twenty five days that I'm gone playing rock
and roll. So I get more than enough rock in
(11:11):
my life. So I can only speak for me, I
have such a schedule of concerts coming up that I
am overwhelmed, and so I don't know how to answer
that other than I'm going to be playing all over America,
We're going to Australia. We've got gigs booked into twenty
(11:32):
twenty six already, so it just keeps rolling. And I really,
I really, I got to answer this by when we
lose a guy like Ozzy Osbourne and so many of
our heroes are leaving us. I mean I look around
and there's not many guys that do what I do.
(11:56):
There's not there's not. I mean you can count them.
There's not many guys that are running out there with
their microphone turned offs.
Speaker 1 (12:12):
Do you feel like I do you think about it?
Do you feel like, did they have it easier today
than you did?
Speaker 3 (12:20):
Well?
Speaker 2 (12:20):
Yeah, I mean one of the reasons I remember when
Neil Pear of Rush passed on. It really hit me
so hard and I was like why, Well, I knew
because I am a Rush fanatic and I always have it.
I'm Canadian number one, so it's part of my DNA.
But really what it came down to, I think why
(12:42):
I was so sad was because I don't think we're
ever gonna see a drummer on that level ever again,
because none of them are going to put in the
time to practice that much as Neil Peart did, because
he didn't have the benefit or the crutch of technology
(13:05):
to rely upon, which all these kids are having click
tracks and all this stuff in their head. And I
don't think we're going to see a drummer the level
of Neil Pearreic from Rush ever again. Maybe we will,
but he didn't have any other choice in the seventies
(13:27):
other than to lock himself in a room and pound
the fuck out of those fucking drums. And he was
the best, you know. So that's why I think, like
a lot of me says to me, why did we
as humans, why did we invent this AI shit that
has the potential to take us out? Why invent that? Like,
(13:51):
I mean, I guess it's good for medical purposes, maybe
you know, carrying cancer or something, But we don't need
them to write songs for us or like that's stupid.
We don't need to have a meme of Michael Jackson
and Ozzy and Dine back Daryl in Heaven having a drink.
(14:14):
We fuck all that weird shit that just gives me
the creeps when I see that, it's like, get that
off the screen. It's like from hell or something.
Speaker 1 (14:24):
I've often wondered how folks that have will just say
the musical class that you guys had, and now that
you're seeing some of those go away, how the remainders
feel about things like that being shared on the internet.
Not to get down that rabbit hole, but I got
(14:45):
to admit that there's a part of it. It's like, man,
that's kind of sacrilegious.
Speaker 2 (14:49):
It is. It's really creepy and really weird, and I
don't understand the point of it that you just hit
it on the head sacrilegious. Like there's a saying in
peace like don't rest with memes being made of you.
But that's the way, Like, you know, I don't know.
I'm just being honest with the stuff I see going on. Sure,
(15:14):
and we're playing Rockklahoma, and thank the Lord that we're
playing Rockklahoma, which is just the audience and the bands
and hopefully not the rain. But this is what music
is all about. And that's the one thing that computers
cannot do. They can't replace setting up a tent in
(15:40):
prior Oklahoma and hoping it doesn't great and going out
and seeing in your favorite bands and having a beer
with your friends and your family and you know, singing
music together with people you don't even know, and having
that feeling of community. That that's one thing that no
(16:02):
computer will ever be able to replicate. And that goes
back to the days of being a caveman when when
we would huddle around the fire with a drum and
a drumstick made out of an animal's bone, and we'd
be like, goom go and go dun dun, dun, dun duh.
(16:22):
That's what I wo be doing on Thursday night in Oklahoma,
only only with amplification, right.
Speaker 1 (16:31):
Well, And I think that's a that's a great pace
to leave that topic actually, And you know, I've I
love that you bring up the Rockaholma in the community
and stuff. That's something that I've personally come from. And
it's just a supportive group of people that if you
put your heart into it and you do things for
(16:52):
the right reasons and you're you know, you're being a
good person to the community, they will support you and
lift you up. And did you run into very many
communities like that over the years as you were coming
up and getting established initially versus like now where you're
(17:12):
touring and headlining.
Speaker 2 (17:15):
Well, as far as communities go, before the Internet, each
city had its own rock community. So I started out
in Toronto, which was a very incredible rock scene. I
played in bars before I was of age to be
in a bar. I was making money playing bars when
(17:38):
I was fourteen fifteen, and I was six foot four
with my hair all teased up and all this makeup on,
and nobody knew how old I was. So, you know,
the one thing that anybody will tell you is that
(17:58):
the one thing that the Internet did was homogenized the
whole world. So like when we started in skin Row,
we were lucky enough in eighty nine to play like Russia,
you know, every country in Europe obviously, like Italy. We
went to Australia, Brazil, all.
Speaker 4 (18:19):
Like in the year eighty nine, in ninety and let
me tell you, Japan in eighty nine was different than
Japan in twenty twenty five.
Speaker 2 (18:31):
It was really Japan like Australia was Australia, it wasn't.
I can't describe as Italy was Italy like I can't.
I always think about this being in Italy in some
(18:53):
rural town. We opened up the whole Motley Crew Doctor
Feel Good tour in eighty nine, all every show in Europe.
And I remember eighty nine we played the Palachusardi in
Milan with Motley Crue and it was a bicycle track
(19:13):
and me I was in Vince Neil's dressing room and
we heard these girls like talking, but there was no
girls in the room. And where you look around, go,
where the fuck is that sound coming from? And these
chicks had crawled through the walls and were in the
(19:35):
walls like behind the drywall, yes, and Vince's dressing trying
to get here. Like that's how crazy it was. And
I remember being in my hotel room and it was
a day off in some very remote rural Italian city
(19:58):
and I just woke and my hotel room was so
different than anything I had experienced, like ornate, just everything
was beautiful. And I opened up the window and I
looked out and it was all these restaurants with all
these families and music happening. And I went down into
the street and all these families were at the restaurants
(20:21):
with their dogs and stuff, and the food was just crazy,
nobody's looking at their phone, everybody's talking to each other.
I just have these memories. I'm trying to describe it
in my brain. But the feeling back then was that
each city and each country even had its own rock community.
(20:47):
I had a Van Halen bootleg from the first tour
from Oklahoma. What's the name of it? Do you know
what I'm talking about? I got it somewhere first off
that one, but it's right over here. This is not it.
(21:07):
This is live at Wichita, Kansas. What is going on
with this?
Speaker 1 (21:14):
It's your I think it's your background and keepe uh yeah,
we get flashes of it.
Speaker 2 (21:22):
Whatever. Anyway, my point, my point is is that each
city had its own community, and especially like Los Angeles obviously,
and New Jersey had its own thing going on. New
York City had its own thing going on, obviously, London
(21:43):
and the UK so like, each city had its own vibe,
its own radio stations, its own DJs. It wasn't like
one thing across the nation. But I will say now,
like serious XM is incredible for a guy like me,
Like the fact that there's a national radio service that
(22:06):
everybody has in their car that you can hear me
sing on there five times a day if you want
like or more like, I'm on there all the time.
So to me, that's mind blowing. Getting in the car
and twenty twenty five and putting on Sirius and the
new album cover comes up on the display and the
(22:28):
song blasts through the speakers, and I thank you, thank
you serious ExM for existing. It's pretty good.
Speaker 1 (22:37):
I love that you still get that thrill that I'm
glad that I never get.
Speaker 2 (22:42):
I never get overhearing myself on the radio. There's a
certain thrill. You look around at the cars and go,
I wonder how many other cars are listening to this
right now?
Speaker 1 (22:55):
Do you know the red light?
Speaker 2 (22:57):
That's right?
Speaker 1 (23:01):
You know you've You've talked about a bit about your
child within the Man, the new album, and you also
mentioned working with some other artists, one of which we'll
be playing this weekend, o'ryanthy John five has played in
the past. I see you also worked with Steve v
What was what was it like.
Speaker 2 (23:22):
Bringing to Steve Stevens. Steve Stevens what Steve Stevens.
Speaker 1 (23:27):
Oh, I'm sorry, Steve Stevens, my bad, but uh, what
what was it like? You know, combined do.
Speaker 2 (23:35):
You talk about Orianthe, I think it's pronounced Orianthi. And
we did a song called Future of Youth, which is
so badass that I love the song. It started when
my wife, Suzanne and was friends with Orianthi, and she said,
Sebastian's putting together some new demos, do you have any riffs?
(24:00):
And ORIANTHI just sent this rift and Dan think, Aron,
I go, that's all I need. That's all I need
is a riff. All I need is a riff and
a cow bell, and I'm good to go.
Speaker 1 (24:16):
More cow bell always.
Speaker 2 (24:17):
There's a lot of cow bell on my new album.
If you're in tons of it, something that's right. And
then we shot an incredible video with Jim Muveau and
that video is almost a million plays right now as well,
so and I got to say Orianthe's lead section in
(24:39):
the song Future Youth is so badass, that's the word.
It is such a vibe and so cool. And we
do this song at every show we do it. It's
a great song. And I have a bass player named
Fede Delfino, who's the only guy I've ever been in
a bandwidth that can sing Sebastian Bach. He's very talented.
(25:06):
My point being is that you'll see at Rockklahoma that
me and Feede have an incredible vocal thing happening where
he's able to sing in my range which allows me
to take a breath once in a while. Wow. What
a concept. So when I when he helps me out singing,
(25:30):
I have more power for all those screams that everybody
is like, is he gonna is he gonna do that?
Is he gonna hit that?
Speaker 1 (25:36):
I don't know that I'll hit that little hold on,
let me turn the mic on. Okay, you're good.
Speaker 2 (25:47):
I mean, I know, I know people come to see
me perform to see if I'm gonna hit the note
at the end of I Remember You the Child, Blue Child, Away,
fingers to the bone. There's these certain notes that I
hit that are like stumps. Damn well and I and
(26:14):
you know, Thank the Lord. We don't tune our guitars down.
We don't have zero backing tapes, we don't have a
click track, which is four guys. And I don't know
if you know this, but my drummer is my son,
Paris Bach. My son plays the drums. And you know
(26:36):
we talked before about Neil Peart and how I felt like,
we're not going to see another drummer like that. Well,
when we were all locked down in the pandemic, I
built a drum hut on my property because drums are loud,
and my son was playing all the time. And so
(27:00):
I listened to my son play the drums every day
in that pandemic, for like eight hours a day, to
the point of like, dude. So at the same time,
wolf Wolfgang van Halen came out, and you know, Eddie
(27:22):
put Wolfgang in van Halen and then Wolfgang's own solo
career is so remarkable and incredible, and so and I'm
listening to my son play all day. And see, here's
the thing. You can't teach a musician how to rehearse.
(27:42):
They either do it or they don't. And they that
either comes from within or they just they're They're like,
I don't need to rehearse. Well, maybe you don't need
to rehearse, but I I do. What has happened?
Speaker 1 (28:02):
God, batteries?
Speaker 2 (28:04):
Oh yeah, hang on, hang on, God damn it. Okay,
that's way too bright.
Speaker 1 (28:13):
All right, Okay, I've got one of those two.
Speaker 2 (28:16):
This is a different light, but the one I was using. Yes,
the batteries went out.
Speaker 1 (28:20):
Oh that one works good?
Speaker 2 (28:22):
Is this all right?
Speaker 1 (28:23):
Yeah? That looks good.
Speaker 2 (28:24):
Okay, thank you. You look good too, well, thank you, sir.
Speaker 1 (28:30):
It's all the alcohol, it helps.
Speaker 2 (28:32):
All right. Hey, that's how you're drinking. I'm drinking coffee.
Speaker 1 (28:40):
You know, you were talking a bit about your son
playing for you. Can you tell me a little bit
about how that isn't as an experience for you as
now you've got your your kid behind you as you're
often you're doing the crazy tour life and you're doing
all of these gigs and such, and he's along in
(29:04):
a passenger seat for the ride.
Speaker 2 (29:07):
Well, you know I mentioned before that last year I
did in ninety one cities. And when you're gone from
home that long, there's a price to pay. You miss
out on events like birthdays, graduations. I was not at
(29:29):
my son's graduation way back in two thousand and six
or something, and so I was at my daughter's graduation
this year, because you only have so many kids and
you only have so many graduations. So out of all
events and times I've missed with my own son. Now
(29:51):
we're in a band together, so we're always together on
the road, which is great. So I'm kind of making
up for lost time. And the thing is, if he
screws up this next song after the show, I'm gonna
go make him mow the lawn.
Speaker 1 (30:11):
The punishment just I got so many new ways.
Speaker 2 (30:16):
If he messes up this show, he's going to be
sent to the tour bus with no dinner. What do
you think of that kind of parenting?
Speaker 1 (30:25):
All right, son, no groupies for you tonight.
Speaker 2 (30:28):
No grippie son, you were you were laid on that
drum pill. Sweet little sister, you know.
Speaker 1 (30:37):
And as a proud father myself, my daughter's going into
the same career I left when I retired, And it
is so crazy now seeing her coming up and learning
things and the new conversations we have now that you
can understand it, but once you're doing it, it's there's
(30:58):
a whole other level of connection. Do you find that
you run into that?
Speaker 2 (31:03):
Well, I didn't know if my son could handle the road,
because the road is very challenging mentally and physically. Like extremely,
I never knew when I was a kid, well, I'm
going to be at a band. I didn't realize when
I was a kid that being in a band is
being an athlete. It's if you're out of shape, or
(31:28):
you're back is messed up, or you're sore, it's you're
not going to want to be running around the stage
or getting on a plane for ten hours, or you
have to be ready physically and mentally to go on
the road. So the first tour I did with my son,
(31:48):
I had him come out for a couple of weeks,
and then I would get another guy, and then he
would come out again, and then he proved that he
could handle it. And I didn't want to buy all
those plane tickets, so I said, the parish you're in.
And you know there's a John Lennon song called a
(32:14):
Beautiful Boy, Well, my son beautiful boy, and it goes
life is what happens to you while you're busy making
other plans. And there's a lot of drummers that I
want to play with. My drummer, Bobby jar Zombek, is
now the drummer for George Straight, so he plays stadiums
(32:39):
with Willie Nelson and Carrie Underwood opening up for him,
which is mind blowing. Plus Bobby's from Texas, So when
you're a musician that is from Texas and you're George
strait's drummer. That's like being Ringo star in Liverpool. Like
he's like, you know, the top the top of his profession.
(33:05):
And I talked to Bobby all the time and he's like, yeah,
i'll play gigs with you, but he's always busy and
Paris is always here for me. So let's hear from Paris.
Speaker 1 (33:17):
Yes, you know what, I've got a studio audience. We're
going to use.
Speaker 2 (33:21):
Them day all right.
Speaker 1 (33:26):
You know that's that's super awesome, dude. I could I
could go off on this for hours. I know you've
got limited time, So let's talk just a little bit
more about Rock Oklahoma. You're you said you're going to
be headlining on Thursday. This is going to be on
the d EB concert stage inside of the Roadhouse.
Speaker 2 (33:47):
Can I hang on? I believe that stands for Doug Burgess, right,
and thank you Doug Burgess for making this show happen
on Thursday night with me and Leada Ford. Who else
is playing?
Speaker 1 (34:00):
We've also got some locals that are going to be
playing that one. I should have the lineup up and memorized,
but you know, this is what you get what you
pay for, and I do this. I can pull that
up but yeah, we are so excited to see you
(34:24):
this coming Thursday. And you know a lot of us,
we we always go hard the first night.
Speaker 2 (34:31):
Yeah, so yes, the first night.
Speaker 1 (34:33):
Right it is you guys are going to be kicking
off and then once we're done and hungover and waking
up and trying to figure out where we're at, and
we were okay, now for day one.
Speaker 2 (34:45):
There you go, Well, don't party too.
Speaker 1 (34:47):
Hard, yes, sir. So you know, I like to wrap
up any interview that I do by connecting the fan
fans with the storytellers, and so Sebastian, if you would,
I'd like to give you a couple of minutes just
(35:08):
to look directly at the camera and you know, talk
to your fans, the people who are going to be
watching you this Thursday at Rockklahoma, and the people who's
been following you all these years.
Speaker 2 (35:20):
I'd like to think everybody coming to Rockklahoma this Thursday
for thirty six years, thirty six years of rock and roll.
First album came out in eighty nine, it's now twenty
twenty five. I'm really good at math, and you know, jeez,
(35:43):
I would just say that we're very lucky to be here. Man.
When I look at Ozzy Osbourne and his last ever
show that he ever did, and then a week later
he was no longer with us. That's how quick life
can pass you by. That's how precious that concert was.
(36:03):
That I was still recuperating from that concert when Ozzy
left the building. And we have a chance at Rock
Oklahoma to have our own concert together and be together
with our friends and have a great time the end
of summer. And so I would say, we're very lucky,
(36:26):
all of us to be together, rocking together when so
many of us are checking out or can't make it
because of their health or their situation or you know.
I'm just saying I don't take anything for granted anymore.
After being locked up for all those years and wondering
(36:48):
if we'd ever get to do this again, now we're
doing it. We're doing it this weekend Rock Oklahoma. This
is our rock Lahoma, and I can't wait to come
rock with you guys.
Speaker 1 (37:02):
Beautiful man, I well said. I think that's the best
place that we could possibly end it. I want to
thank you again for your time, and we are so
excited to see you here in a couple of days.
We appreciate you.
Speaker 3 (37:16):
Brother, Thank you, Adam, absolutely, And if you never told
me at the beginning of this interview that you were deaf,
I would never have known that at all.
Speaker 2 (37:26):
So I don't know what you're doing with your speak.
You don't. I would never have ever guessed that in
a million years. There's nothing different about the way you
talk or anything. You sound great. It was great talking
to you.
Speaker 1 (37:41):
Oh my gosh, thank you so much. It was very
recent and I was going to share the story once
we cut off the air, but I'll go ahead and
share it for everybody in the interview as well. Most
of my fans know that I've I've been dealing with
the Minyar's disease for about twenty years. It took my
(38:02):
hearing in two thousand and fifteen in my ride ear
and when I found out and they said, yes, you
will be losing your hearing. My wife I think, I'm
sure she probably regrets it now, but suggested, hey, you
ought to go to rocklaholmme, you know, get some bands
in because I've always been a concert and junkie, and
(38:25):
so my goal was going in and seeing as many
getting exposed to as many bands as fast as I could.
Before you know, eight took hold and so I launched
this podcast in twenty fifteen, got media grown it. We're
now the official podcast of the festival. This year, we'll
be making our debut on Radio Row. And two years
(38:49):
ago I lost my hearing in my left ear, and
so from doing the podcast my career in it, I've
just adapted. I've got a transfer griber here, so that's
how I'm reading everything you've said to me. So it's
when you love doing something, you adapt. And I mean
(39:09):
the drummer for def Leppard's got one.
Speaker 2 (39:11):
Arm right there you go, there you go.
Speaker 1 (39:16):
What you've said is really connected. And that's why I
was originally going to share that story with you, because
I agree with pretty much everything you said to the leg.
Speaker 2 (39:26):
Well, we're lucky to be here, man, We're lucky to
be here. We're lucky. That's all I can say. I'm lucky.
We're all lucky to be here. I mean, think of
think of Brent, the guitar player from Mastadon. I mean,
you would like to be at Roklahoma like but you know,
I mean, it's it's unbelievable how quick things can change.
(39:48):
You know, I'm sure Brent Hines did not see that coming.
Well I know he didn't, so I mean, we're all
lucky to be here. Man. Let's rock, let's have a
good time.
Speaker 1 (40:00):
Yes, sir, you're talking.
Speaker 2 (40:01):
To you, Adam hope to see you on Thursday.
Speaker 1 (40:05):
Yes, sir, and for Sebastian back, Hi, Madam Richmond. This
is the official podcast of Rockklahoma, Surviving Oklahoma and until
next time, rock
Speaker 2 (40:16):
On all right,
I am your host with the Locks that Rocks, the
host of the official podcast of Rocklahoma, Surviving Rocklahoma. And
as we wind down the main stretch of the Road
to Rocklahoma, I am joined by one of the legends
that you will see this weekend, the man the myth Legend,
(00:38):
Sebastian Bach.
Speaker 2 (00:42):
All Right, what a cool show this is.
Speaker 1 (00:46):
I appreciate it.
Speaker 3 (00:47):
Man.
Speaker 1 (00:48):
You know you've you've played Roklahoma several times actually, and uh,
I was just kind of curious before we get into things,
do you do you have any like favorite moments or
faith favorite trips to prime.
Speaker 2 (01:02):
I have lots of memories. I believe the twenty twenty
five will be the I think the fourth time I've
played Rockahoma, maybe the third. I mean, I don't know, man,
it's been going on so long Rockklahoma, so the third
of the fourth time. And Oklahoma was one of the
(01:25):
first festivals, if not the first, to combine artists of
all eras like seventies, eighties, nineties till now all on
one festival, because a lot of the times they put
like each genre in its own festival. But Oklahoma was
(01:51):
the first one in America that I can think of
that would put a band like me with five finger
death Punch. It's rare for a band from who started
when I started to be on these festivals like The
Dandy Women Presents, and it's just kind of starting to happen.
But Rockklahoma was doing that thirty twenty years ago from
(02:15):
the get go, and they're still doing it. So credit
where credits do for Rockklahoma being the first festival in
America to combine all the genres together. And I can't
wait to do it again this Thursday. We're playing the
headline show with lead of Ford playing with us, and
(02:40):
I'm sure a bunch of other cool bands, but I'm
really looking forward to it. I love playing there. I
hope it's not going to rain, and I hope my
microphones turned on when I run out there, and if
you know, you know.
Speaker 1 (02:57):
I know it was in the audience.
Speaker 2 (03:00):
Yah Okay, Well you can ask me about that when
you want. Well, And that's definitely that's definitely a memory
from from Rockaholma. I think you me, here's me, here's
a here's a coffee cup of me that that second
when I rean out there the picture me.
Speaker 1 (03:25):
Yeah you know you uh, you were talking a bit
about you know, they've been doing this forever and uh,
you're absolutely right. And this year they're celebrating the community
as they are now self produced through prior Creek Music
Festivals and they are independent doing everything themselves, and this
year they are proclaiming this is our rock Lahoma and
(03:48):
uh uh, this is something that we love to do
and we love to celebrate artists of all genres and
hopefully everybody is exposed to a variet ideo sound and
a variety of incarnations of rock music. Can you tell
me a little bit about how playing with these other
(04:09):
artists have changed your sound over the years.
Speaker 2 (04:12):
Well, that that doesn't change my sound. I you know,
it's like ac DC said, They're like, oh, people accuse
you of doing the same song over and over a
million times, and Angus Young goes, oh, they're wrong, it's
a million and one. I love, I love. All I
(04:33):
try to do is make albums that fit into my
catalog like Rush. Well even Rush would throw keyboards in there,
which is crazy. But I my new record, Child Is
in the Man is so well received by everybody that's
(04:54):
heard it. I didn't I've never heard one bad thing
about my new record. It's all this is the best
thing I've ever heard by him, And like when I
get ready for a show like rock Lahoma, I make
a set list on my digital music player, which is
a pono Neil Young thing that he invented. I don't
(05:15):
listen to MP three's or I listen to high reds
music files or Vinyl, So I make a set list
of the set, playlist of the set, and then I
sing the whole thing. And so I'm getting songs from
the first skid Row album, Slave to the Grind, all
the way up to Child Within the Man, and the
(05:37):
production and the sound of my new record without being
disparaging to anything else I've done, but the sound of
the new album crushes what I've done in the past,
and so that inspires me to keep making more new music.
And this song, particularly what Do I Got to Lose,
(05:59):
is the closest thing that I've had to a hit
on the radio in thirty five years. So I didn't
even know that it was possible for a guy from
my era to get a song on the radio in
twenty twenty four, but I did. It was the number
(06:20):
one most added song on FM radio in America the
week it came out, and I was like, what, Wow,
I wasn't expecting that. And the video is almost two
million plays now on YouTube and in my day that
was called double platinum. So I'm very happy to have
(06:45):
two million plays on that radio. You can't argue with those.
Speaker 1 (06:52):
Kind of numbers, No, you can't. And that's a I mean,
that's a testament. You know that rock and roll is
you know, eternal, man, It just it never fades, never dies.
I'm glad you brought up your new album, Child within
the Man. It's a huge deal. What does it feel
like to have this album out, especially with the success
(07:15):
of a song like what do I get to lose?
Like you've been mentioning.
Speaker 2 (07:20):
Well, it just inspires me to keep going forward and
keep creating. I have an incredible record label. People who
are like, you don't need a record label. Yes you do. Actually,
if you want to do it in your basement on
a fax machine, that's one thing. But if you want
to make like an impact around the world globally, you
(07:42):
do need a team of people to help you. And
I have a great record company rating Phoenix Music, and
my management is incredible. They keep me, they keep me
so busy that it's hard for me to keep up
with what I'm doing every day. So I'm very busy,
(08:05):
and in my business that's a very good thing. So
what does it feel like? Just makes me want to
make more music? And I gotta address this. Especially in
the last like three months or so, we're entering this
(08:25):
AI world where musicians are getting very scared, because now
it seems like anybody can just say into an AI prompt,
(08:46):
give me a seventies rock song about partying and chicks,
and there you go. You get one. But all I
can tell you is this, You've known me for almost
forty years, and I'm just giving you my guarantee and
my word that I'll never do that. I will never
(09:07):
give you any AI, and I won't I won't even
give you I and I certainly won't give you a
you know, well, when I'm KNA, i'd rather have a
real human mistake than a perfect artificial intelligence. Fuck artificial
(09:30):
number one, how about real? That's what you're gonna get
from me till the day that I stopped doing this.
And I don't know how to use that stuff, and
I won't work with any producers that use that. You're
just gonna get some knucklehead musicians in the studio making music,
and that's what you're gonna get from me, like Neil
(09:53):
Young or Willie Nelson or Greg Allman. That's what you're
gonna get from me till the day I stopped doing this.
And so I don't have to worry about AI because
if you believe what I'm telling you, then then what
you're going to get from me is just me, like
love it or leave it.
Speaker 1 (10:13):
You know, I'm actually glad you brought that up. And
you know I've in podcasting. I am part of another evolution.
So like you know, radio came out and then MTV
killed radio, and then podcasts are coming out and it's
a new form of radio. So as an artist that
(10:34):
it was came back in, you know, back in your day,
and it's changed so much, do you do you feel
like like music is going away or a threat of
losing it?
Speaker 2 (10:48):
So no, I mean, I can only speak for myself.
And I did ninety one cities last year, ninety one,
so with travel days and days off, that's like two
hundred and twenty five days that I'm gone playing rock
and roll. So I get more than enough rock in
(11:11):
my life. So I can only speak for me, I
have such a schedule of concerts coming up that I
am overwhelmed, and so I don't know how to answer
that other than I'm going to be playing all over America,
We're going to Australia. We've got gigs booked into twenty
(11:32):
twenty six already, so it just keeps rolling. And I really,
I really, I got to answer this by when we
lose a guy like Ozzy Osbourne and so many of
our heroes are leaving us. I mean I look around
and there's not many guys that do what I do.
(11:56):
There's not there's not. I mean you can count them.
There's not many guys that are running out there with
their microphone turned offs.
Speaker 1 (12:12):
Do you feel like I do you think about it?
Do you feel like, did they have it easier today
than you did?
Speaker 3 (12:20):
Well?
Speaker 2 (12:20):
Yeah, I mean one of the reasons I remember when
Neil Pear of Rush passed on. It really hit me
so hard and I was like why, Well, I knew
because I am a Rush fanatic and I always have it.
I'm Canadian number one, so it's part of my DNA.
But really what it came down to, I think why
(12:42):
I was so sad was because I don't think we're
ever gonna see a drummer on that level ever again,
because none of them are going to put in the
time to practice that much as Neil Peart did, because
he didn't have the benefit or the crutch of technology
(13:05):
to rely upon, which all these kids are having click
tracks and all this stuff in their head. And I
don't think we're going to see a drummer the level
of Neil Pearreic from Rush ever again. Maybe we will,
but he didn't have any other choice in the seventies
(13:27):
other than to lock himself in a room and pound
the fuck out of those fucking drums. And he was
the best, you know. So that's why I think, like
a lot of me says to me, why did we
as humans, why did we invent this AI shit that
has the potential to take us out? Why invent that? Like,
(13:51):
I mean, I guess it's good for medical purposes, maybe
you know, carrying cancer or something, But we don't need
them to write songs for us or like that's stupid.
We don't need to have a meme of Michael Jackson
and Ozzy and Dine back Daryl in Heaven having a drink.
(14:14):
We fuck all that weird shit that just gives me
the creeps when I see that, it's like, get that
off the screen. It's like from hell or something.
Speaker 1 (14:24):
I've often wondered how folks that have will just say
the musical class that you guys had, and now that
you're seeing some of those go away, how the remainders
feel about things like that being shared on the internet.
Not to get down that rabbit hole, but I got
(14:45):
to admit that there's a part of it. It's like, man,
that's kind of sacrilegious.
Speaker 2 (14:49):
It is. It's really creepy and really weird, and I
don't understand the point of it that you just hit
it on the head sacrilegious. Like there's a saying in
peace like don't rest with memes being made of you.
But that's the way, Like, you know, I don't know.
I'm just being honest with the stuff I see going on. Sure,
(15:14):
and we're playing Rockklahoma, and thank the Lord that we're
playing Rockklahoma, which is just the audience and the bands
and hopefully not the rain. But this is what music
is all about. And that's the one thing that computers
cannot do. They can't replace setting up a tent in
(15:40):
prior Oklahoma and hoping it doesn't great and going out
and seeing in your favorite bands and having a beer
with your friends and your family and you know, singing
music together with people you don't even know, and having
that feeling of community. That that's one thing that no
(16:02):
computer will ever be able to replicate. And that goes
back to the days of being a caveman when when
we would huddle around the fire with a drum and
a drumstick made out of an animal's bone, and we'd
be like, goom go and go dun dun, dun, dun duh.
(16:22):
That's what I wo be doing on Thursday night in Oklahoma,
only only with amplification, right.
Speaker 1 (16:31):
Well, And I think that's a that's a great pace
to leave that topic actually, And you know, I've I
love that you bring up the Rockaholma in the community
and stuff. That's something that I've personally come from. And
it's just a supportive group of people that if you
put your heart into it and you do things for
(16:52):
the right reasons and you're you know, you're being a
good person to the community, they will support you and
lift you up. And did you run into very many
communities like that over the years as you were coming
up and getting established initially versus like now where you're
(17:12):
touring and headlining.
Speaker 2 (17:15):
Well, as far as communities go, before the Internet, each
city had its own rock community. So I started out
in Toronto, which was a very incredible rock scene. I
played in bars before I was of age to be
in a bar. I was making money playing bars when
(17:38):
I was fourteen fifteen, and I was six foot four
with my hair all teased up and all this makeup on,
and nobody knew how old I was. So, you know,
the one thing that anybody will tell you is that
(17:58):
the one thing that the Internet did was homogenized the
whole world. So like when we started in skin Row,
we were lucky enough in eighty nine to play like Russia,
you know, every country in Europe obviously, like Italy. We
went to Australia, Brazil, all.
Speaker 4 (18:19):
Like in the year eighty nine, in ninety and let
me tell you, Japan in eighty nine was different than
Japan in twenty twenty five.
Speaker 2 (18:31):
It was really Japan like Australia was Australia, it wasn't.
I can't describe as Italy was Italy like I can't.
I always think about this being in Italy in some
(18:53):
rural town. We opened up the whole Motley Crew Doctor
Feel Good tour in eighty nine, all every show in Europe.
And I remember eighty nine we played the Palachusardi in
Milan with Motley Crue and it was a bicycle track
(19:13):
and me I was in Vince Neil's dressing room and
we heard these girls like talking, but there was no
girls in the room. And where you look around, go,
where the fuck is that sound coming from? And these
chicks had crawled through the walls and were in the
(19:35):
walls like behind the drywall, yes, and Vince's dressing trying
to get here. Like that's how crazy it was. And
I remember being in my hotel room and it was
a day off in some very remote rural Italian city
(19:58):
and I just woke and my hotel room was so
different than anything I had experienced, like ornate, just everything
was beautiful. And I opened up the window and I
looked out and it was all these restaurants with all
these families and music happening. And I went down into
the street and all these families were at the restaurants
(20:21):
with their dogs and stuff, and the food was just crazy,
nobody's looking at their phone, everybody's talking to each other.
I just have these memories. I'm trying to describe it
in my brain. But the feeling back then was that
each city and each country even had its own rock community.
(20:47):
I had a Van Halen bootleg from the first tour
from Oklahoma. What's the name of it? Do you know
what I'm talking about? I got it somewhere first off
that one, but it's right over here. This is not it.
(21:07):
This is live at Wichita, Kansas. What is going on
with this?
Speaker 1 (21:14):
It's your I think it's your background and keepe uh yeah,
we get flashes of it.
Speaker 2 (21:22):
Whatever. Anyway, my point, my point is is that each
city had its own community, and especially like Los Angeles obviously,
and New Jersey had its own thing going on. New
York City had its own thing going on, obviously, London
(21:43):
and the UK so like, each city had its own vibe,
its own radio stations, its own DJs. It wasn't like
one thing across the nation. But I will say now,
like serious XM is incredible for a guy like me,
Like the fact that there's a national radio service that
(22:06):
everybody has in their car that you can hear me
sing on there five times a day if you want
like or more like, I'm on there all the time.
So to me, that's mind blowing. Getting in the car
and twenty twenty five and putting on Sirius and the
new album cover comes up on the display and the
(22:28):
song blasts through the speakers, and I thank you, thank
you serious ExM for existing. It's pretty good.
Speaker 1 (22:37):
I love that you still get that thrill that I'm
glad that I never get.
Speaker 2 (22:42):
I never get overhearing myself on the radio. There's a
certain thrill. You look around at the cars and go,
I wonder how many other cars are listening to this
right now?
Speaker 1 (22:55):
Do you know the red light?
Speaker 2 (22:57):
That's right?
Speaker 1 (23:01):
You know you've You've talked about a bit about your
child within the Man, the new album, and you also
mentioned working with some other artists, one of which we'll
be playing this weekend, o'ryanthy John five has played in
the past. I see you also worked with Steve v
What was what was it like.
Speaker 2 (23:22):
Bringing to Steve Stevens. Steve Stevens what Steve Stevens.
Speaker 1 (23:27):
Oh, I'm sorry, Steve Stevens, my bad, but uh, what
what was it like? You know, combined do.
Speaker 2 (23:35):
You talk about Orianthe, I think it's pronounced Orianthi. And
we did a song called Future of Youth, which is
so badass that I love the song. It started when
my wife, Suzanne and was friends with Orianthi, and she said,
Sebastian's putting together some new demos, do you have any riffs?
(24:00):
And ORIANTHI just sent this rift and Dan think, Aron,
I go, that's all I need. That's all I need
is a riff. All I need is a riff and
a cow bell, and I'm good to go.
Speaker 1 (24:16):
More cow bell always.
Speaker 2 (24:17):
There's a lot of cow bell on my new album.
If you're in tons of it, something that's right. And
then we shot an incredible video with Jim Muveau and
that video is almost a million plays right now as well,
so and I got to say Orianthe's lead section in
(24:39):
the song Future Youth is so badass, that's the word.
It is such a vibe and so cool. And we
do this song at every show we do it. It's
a great song. And I have a bass player named
Fede Delfino, who's the only guy I've ever been in
a bandwidth that can sing Sebastian Bach. He's very talented.
(25:06):
My point being is that you'll see at Rockklahoma that
me and Feede have an incredible vocal thing happening where
he's able to sing in my range which allows me
to take a breath once in a while. Wow. What
a concept. So when I when he helps me out singing,
(25:30):
I have more power for all those screams that everybody
is like, is he gonna is he gonna do that?
Is he gonna hit that?
Speaker 1 (25:36):
I don't know that I'll hit that little hold on,
let me turn the mic on. Okay, you're good.
Speaker 2 (25:47):
I mean, I know, I know people come to see
me perform to see if I'm gonna hit the note
at the end of I Remember You the Child, Blue Child, Away,
fingers to the bone. There's these certain notes that I
hit that are like stumps. Damn well and I and
(26:14):
you know, Thank the Lord. We don't tune our guitars down.
We don't have zero backing tapes, we don't have a
click track, which is four guys. And I don't know
if you know this, but my drummer is my son,
Paris Bach. My son plays the drums. And you know
(26:36):
we talked before about Neil Peart and how I felt like,
we're not going to see another drummer like that. Well,
when we were all locked down in the pandemic, I
built a drum hut on my property because drums are loud,
and my son was playing all the time. And so
(27:00):
I listened to my son play the drums every day
in that pandemic, for like eight hours a day, to
the point of like, dude. So at the same time,
wolf Wolfgang van Halen came out, and you know, Eddie
(27:22):
put Wolfgang in van Halen and then Wolfgang's own solo
career is so remarkable and incredible, and so and I'm
listening to my son play all day. And see, here's
the thing. You can't teach a musician how to rehearse.
(27:42):
They either do it or they don't. And they that
either comes from within or they just they're They're like,
I don't need to rehearse. Well, maybe you don't need
to rehearse, but I I do. What has happened?
Speaker 1 (28:02):
God, batteries?
Speaker 2 (28:04):
Oh yeah, hang on, hang on, God damn it. Okay,
that's way too bright.
Speaker 1 (28:13):
All right, Okay, I've got one of those two.
Speaker 2 (28:16):
This is a different light, but the one I was using. Yes,
the batteries went out.
Speaker 1 (28:20):
Oh that one works good?
Speaker 2 (28:22):
Is this all right?
Speaker 1 (28:23):
Yeah? That looks good.
Speaker 2 (28:24):
Okay, thank you. You look good too, well, thank you, sir.
Speaker 1 (28:30):
It's all the alcohol, it helps.
Speaker 2 (28:32):
All right. Hey, that's how you're drinking. I'm drinking coffee.
Speaker 1 (28:40):
You know, you were talking a bit about your son
playing for you. Can you tell me a little bit
about how that isn't as an experience for you as
now you've got your your kid behind you as you're
often you're doing the crazy tour life and you're doing
all of these gigs and such, and he's along in
(29:04):
a passenger seat for the ride.
Speaker 2 (29:07):
Well, you know I mentioned before that last year I
did in ninety one cities. And when you're gone from
home that long, there's a price to pay. You miss
out on events like birthdays, graduations. I was not at
(29:29):
my son's graduation way back in two thousand and six
or something, and so I was at my daughter's graduation
this year, because you only have so many kids and
you only have so many graduations. So out of all
events and times I've missed with my own son. Now
(29:51):
we're in a band together, so we're always together on
the road, which is great. So I'm kind of making
up for lost time. And the thing is, if he
screws up this next song after the show, I'm gonna
go make him mow the lawn.
Speaker 1 (30:11):
The punishment just I got so many new ways.
Speaker 2 (30:16):
If he messes up this show, he's going to be
sent to the tour bus with no dinner. What do
you think of that kind of parenting?
Speaker 1 (30:25):
All right, son, no groupies for you tonight.
Speaker 2 (30:28):
No grippie son, you were you were laid on that
drum pill. Sweet little sister, you know.
Speaker 1 (30:37):
And as a proud father myself, my daughter's going into
the same career I left when I retired, And it
is so crazy now seeing her coming up and learning
things and the new conversations we have now that you
can understand it, but once you're doing it, it's there's
(30:58):
a whole other level of connection. Do you find that
you run into that?
Speaker 2 (31:03):
Well, I didn't know if my son could handle the road,
because the road is very challenging mentally and physically. Like extremely,
I never knew when I was a kid, well, I'm
going to be at a band. I didn't realize when
I was a kid that being in a band is
being an athlete. It's if you're out of shape, or
(31:28):
you're back is messed up, or you're sore, it's you're
not going to want to be running around the stage
or getting on a plane for ten hours, or you
have to be ready physically and mentally to go on
the road. So the first tour I did with my son,
(31:48):
I had him come out for a couple of weeks,
and then I would get another guy, and then he
would come out again, and then he proved that he
could handle it. And I didn't want to buy all
those plane tickets, so I said, the parish you're in.
And you know there's a John Lennon song called a
(32:14):
Beautiful Boy, Well, my son beautiful boy, and it goes
life is what happens to you while you're busy making
other plans. And there's a lot of drummers that I
want to play with. My drummer, Bobby jar Zombek, is
now the drummer for George Straight, so he plays stadiums
(32:39):
with Willie Nelson and Carrie Underwood opening up for him,
which is mind blowing. Plus Bobby's from Texas, So when
you're a musician that is from Texas and you're George
strait's drummer. That's like being Ringo star in Liverpool. Like
he's like, you know, the top the top of his profession.
(33:05):
And I talked to Bobby all the time and he's like, yeah,
i'll play gigs with you, but he's always busy and
Paris is always here for me. So let's hear from Paris.
Speaker 1 (33:17):
Yes, you know what, I've got a studio audience. We're
going to use.
Speaker 2 (33:21):
Them day all right.
Speaker 1 (33:26):
You know that's that's super awesome, dude. I could I
could go off on this for hours. I know you've
got limited time, So let's talk just a little bit
more about Rock Oklahoma. You're you said you're going to
be headlining on Thursday. This is going to be on
the d EB concert stage inside of the Roadhouse.
Speaker 2 (33:47):
Can I hang on? I believe that stands for Doug Burgess, right,
and thank you Doug Burgess for making this show happen
on Thursday night with me and Leada Ford. Who else
is playing?
Speaker 1 (34:00):
We've also got some locals that are going to be
playing that one. I should have the lineup up and memorized,
but you know, this is what you get what you
pay for, and I do this. I can pull that
up but yeah, we are so excited to see you
(34:24):
this coming Thursday. And you know a lot of us,
we we always go hard the first night.
Speaker 2 (34:31):
Yeah, so yes, the first night.
Speaker 1 (34:33):
Right it is you guys are going to be kicking
off and then once we're done and hungover and waking
up and trying to figure out where we're at, and
we were okay, now for day one.
Speaker 2 (34:45):
There you go, Well, don't party too.
Speaker 1 (34:47):
Hard, yes, sir. So you know, I like to wrap
up any interview that I do by connecting the fan
fans with the storytellers, and so Sebastian, if you would,
I'd like to give you a couple of minutes just
(35:08):
to look directly at the camera and you know, talk
to your fans, the people who are going to be
watching you this Thursday at Rockklahoma, and the people who's
been following you all these years.
Speaker 2 (35:20):
I'd like to think everybody coming to Rockklahoma this Thursday
for thirty six years, thirty six years of rock and roll.
First album came out in eighty nine, it's now twenty
twenty five. I'm really good at math, and you know, jeez,
(35:43):
I would just say that we're very lucky to be here. Man.
When I look at Ozzy Osbourne and his last ever
show that he ever did, and then a week later
he was no longer with us. That's how quick life
can pass you by. That's how precious that concert was.
(36:03):
That I was still recuperating from that concert when Ozzy
left the building. And we have a chance at Rock
Oklahoma to have our own concert together and be together
with our friends and have a great time the end
of summer. And so I would say, we're very lucky,
(36:26):
all of us to be together, rocking together when so
many of us are checking out or can't make it
because of their health or their situation or you know.
I'm just saying I don't take anything for granted anymore.
After being locked up for all those years and wondering
(36:48):
if we'd ever get to do this again, now we're
doing it. We're doing it this weekend Rock Oklahoma. This
is our rock Lahoma, and I can't wait to come
rock with you guys.
Speaker 1 (37:02):
Beautiful man, I well said. I think that's the best
place that we could possibly end it. I want to
thank you again for your time, and we are so
excited to see you here in a couple of days.
We appreciate you.
Speaker 3 (37:16):
Brother, Thank you, Adam, absolutely, And if you never told
me at the beginning of this interview that you were deaf,
I would never have known that at all.
Speaker 2 (37:26):
So I don't know what you're doing with your speak.
You don't. I would never have ever guessed that in
a million years. There's nothing different about the way you
talk or anything. You sound great. It was great talking
to you.
Speaker 1 (37:41):
Oh my gosh, thank you so much. It was very
recent and I was going to share the story once
we cut off the air, but I'll go ahead and
share it for everybody in the interview as well. Most
of my fans know that I've I've been dealing with
the Minyar's disease for about twenty years. It took my
(38:02):
hearing in two thousand and fifteen in my ride ear
and when I found out and they said, yes, you
will be losing your hearing. My wife I think, I'm
sure she probably regrets it now, but suggested, hey, you
ought to go to rocklaholmme, you know, get some bands
in because I've always been a concert and junkie, and
(38:25):
so my goal was going in and seeing as many
getting exposed to as many bands as fast as I could.
Before you know, eight took hold and so I launched
this podcast in twenty fifteen, got media grown it. We're
now the official podcast of the festival. This year, we'll
be making our debut on Radio Row. And two years
(38:49):
ago I lost my hearing in my left ear, and
so from doing the podcast my career in it, I've
just adapted. I've got a transfer griber here, so that's
how I'm reading everything you've said to me. So it's
when you love doing something, you adapt. And I mean
(39:09):
the drummer for def Leppard's got one.
Speaker 2 (39:11):
Arm right there you go, there you go.
Speaker 1 (39:16):
What you've said is really connected. And that's why I
was originally going to share that story with you, because
I agree with pretty much everything you said to the leg.
Speaker 2 (39:26):
Well, we're lucky to be here, man, We're lucky to
be here. We're lucky. That's all I can say. I'm lucky.
We're all lucky to be here. I mean, think of
think of Brent, the guitar player from Mastadon. I mean,
you would like to be at Roklahoma like but you know,
I mean, it's it's unbelievable how quick things can change.
(39:48):
You know, I'm sure Brent Hines did not see that coming.
Well I know he didn't, so I mean, we're all
lucky to be here. Man. Let's rock, let's have a
good time.
Speaker 1 (40:00):
Yes, sir, you're talking.
Speaker 2 (40:01):
To you, Adam hope to see you on Thursday.
Speaker 1 (40:05):
Yes, sir, and for Sebastian back, Hi, Madam Richmond. This
is the official podcast of Rockklahoma, Surviving Oklahoma and until
next time, rock
Speaker 2 (40:16):
On all right,
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