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where your place where and

1:31

metal voice can still

1:33

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heard. Unfiltered, uncensored, say whatever

1:37

you want, hit the record button, the

1:39

happen, you know? I know that ain't

1:41

nobody out there came to be you

1:43

know? I know that ain't nobody out

1:46

there came to be mellow say

1:48

that did you? Yeah,

5:32

I guess we're trying to make

5:34

up for all those COVID dates.

5:37

Yeah, how's everything been going? Oh,

5:39

real busy, real, you know, kind

5:41

of five shows in a row

5:43

kind of thing, but we're getting

5:45

it done and everyone's getting along

5:47

and the band sounds pretty good.

5:49

How do you hold up as

5:51

the lead singer in the band,

5:53

five shows in a row? Most

5:55

lead singer. especially you know once

5:57

they get a little older cannot

5:59

do that you're still you're still

6:01

you're still comfortable with that or

6:04

would it be your preference to

6:06

not do that? Well you know

6:08

I feel a little beat up

6:10

all the time and I'm so

6:12

important to like you know rest

6:14

your voice for a day every

6:16

now I'm at. But yeah I

6:18

mean it doesn't get any easier

6:20

Eddie. It's kind of just wake

6:22

up and do the grind and

6:24

do it again the next day

6:26

and the day after that. Well,

6:29

there's an economic aspect of that,

6:31

right? Like, when you're on the

6:33

road, and I hear this from

6:35

bands all the time, I mean,

6:37

stuff is so expensive right now,

6:39

that you got, you know, a

6:41

night off is no money coming

6:43

in and money going out. So

6:45

that's really the reason why. Especially

6:47

bands at the club and theater

6:49

level are out there playing at

6:51

least six nights a week because

6:53

you got offset the cost, right?

6:56

You are correct. Yep. Yeah, so

6:58

I mean, I know it can

7:00

be it can be a grind

7:02

after a while. How was the

7:04

shed tour this summer with STP

7:06

and Live? How did that go?

7:08

You've been getting a little more

7:10

of that kind of action lately

7:12

too. We played a short set

7:14

and we were out of there

7:16

pretty quickly. You know, and things

7:18

like, they got things like catering

7:20

and stuff like that. You know,

7:23

there's a few things that make

7:25

it easier. And the STP guys

7:27

are great, man. I love the

7:29

brothers, man. Yeah, no, I know

7:31

I love those guys as well,

7:33

but I talked to Robert. Actually,

7:35

just before that tour started and

7:37

he mentioned you guys were in

7:39

the third slot and I was

7:41

like, oh man, I love that

7:43

band, I love Dave and he

7:45

said, I go, but I got

7:48

a big problem with that and

7:50

he goes, what do you mean?

7:52

I go, what's the second to

7:54

be like 35 minutes? He goes,

7:56

yeah, probably somewhere around that and

7:58

I go, I didn't want to

8:00

see Soul Asylum that short. I'm

8:02

not coming. I need to see

8:04

at least an hour and a

8:06

half. So that, were there people

8:08

in there when you went on?

8:10

Were you able to get in front

8:12

of some people playing in that

8:15

slot? Yeah, people were surprisingly

8:17

early. I mean, you know, it wasn't

8:19

full, but there was a lot of

8:22

people there. Yeah, well, all right. Well,

8:24

that's good. So you felt it

8:26

was worthwhile then. I don't

8:28

know what's worthwhile and what isn't.

8:31

I'll never figure that up. You've

8:33

been doing this like 40 years,

8:35

you're still trying to figure that

8:37

out, right? It's true, man. Do you

8:39

feel like when you do something like

8:42

that you convert new soul asylum

8:44

fans or that you meet people who

8:46

may be, oh man, you know, because

8:48

there's a lot of people out of

8:51

touch that just go to a

8:53

shed tour in the summer? Did you

8:55

find that people like, oh man, you

8:57

know, you guys are still out there

9:00

doing it? And I remember that

9:02

song and all that. Did

9:04

you pick up on any of

9:07

that? Yeah, I mean, I think

9:09

that's part of the reason why

9:11

you do stuff like that

9:13

to get in front

9:16

of people that wouldn't

9:18

normally go out and see it.

9:20

So yeah, I mean, you know,

9:22

a lot of dudes. You're

9:24

on now a headlining run

9:26

playing smaller venues. How's that

9:29

been going? Good. I mean, you

9:31

know, it's brutal, but you try

9:33

to kind of get acclimated

9:36

to where you are. And a lot

9:38

of these kind of weird theater

9:40

places, they're very hard to

9:42

navigate. So, you know, you

9:44

spend your day trying to

9:47

find the door and trying

9:49

to figure out how to

9:51

figure out. eat some food and

9:53

hope for maybe a laundry

9:55

machine or something. But you

9:57

know, the shows have been

10:00

great and people seem to be

10:02

digging it. Yeah. When you say

10:04

hard to navigate you mean literally

10:06

like spinal tap moments where you

10:08

couldn't find the stage or find

10:11

your way in or out? Literally.

10:13

The place yesterday I was afraid

10:15

to go in and I was

10:17

I couldn't once I was in

10:20

there couldn't find my way out.

10:25

Do you have a fan? What

10:27

is the most spinal tap, soul,

10:30

asylum moment, Dave, in your long

10:32

career? Do you have one or

10:34

two? Where's it in the whole

10:36

band? In the whole history. Yeah,

10:38

the entire thing. The first, the

10:41

first gig of this tour, the

10:43

bread was mismatched to the cheese,

10:45

and I couldn't not make a

10:47

joke. And we were just off

10:49

and running it at this point.

10:52

No pimento in the olive or

10:54

any of that stuff. You know

10:56

you've already got lost on the

10:58

stage Hey, um what about the

11:00

set list man? I know you

11:03

want to represent the new record

11:05

Obviously at this point you got

11:07

a huge catalog of songs to

11:09

pull from you've been changing it

11:12

up and changing it from show

11:14

to show or pretty much set

11:16

what you're doing We're

11:18

switching up a few sections of

11:21

it, but we've seen to sort

11:23

of found a set that is

11:25

working. So yeah, it varies, but

11:28

we're sort of sticking to, you

11:30

know, it's kind of an evolving

11:32

set list, I guess. How much

11:35

of the new album are you

11:37

doing? We're doing, I think, six,

11:39

six songs from the new record.

11:42

Oh, okay, so you really represent

11:44

representing the record Yeah, why not

11:46

man? Well, when I saw you

11:49

last when I saw you play

11:51

last day if it was in

11:54

Vegas and you were playing Fremont.

11:56

I guess it was I don't

11:58

know, last summer, whenever it was.

12:01

And I talked to, when we

12:03

talked for a little bit, and

12:05

you would mention that this record,

12:08

which is out now, slowly but

12:10

Shirley, was coming. And I'll never

12:12

forget what you said to me,

12:15

because we were in your little

12:17

backstage cubicle there, enjoying that high-end

12:20

catering. And you said to me,

12:22

you go, yeah, you got, we

12:24

got a new record coming, you're

12:27

going to be hearing it soon,

12:29

and you go, your words to

12:31

me where it's pretty aggressive. It's

12:34

pretty aggressive. And certain elements of

12:36

it are, tell me about this

12:38

record and working with Steve Jordan

12:41

again as a producer. Well, me

12:43

and Steve made a record in

12:45

1990 called The Horse They Road

12:48

In On, and I think I

12:50

pretty much learned his language as

12:53

a producer, and I think he

12:55

kind of learned my language as

12:57

a songwriter. So over the years,

13:00

you know, we dabbled in just

13:02

about every kind of recording technique

13:04

you can you can name or

13:07

find out there. And it just

13:09

kind of came as, you know,

13:11

it's time to put the band

13:14

in the studio and just play

13:16

and record the band and not

13:19

stick around with a bunch of

13:21

computer, pocus pocus. And I called

13:23

Nico Boles. studio engineer and archiver

13:26

and whatnot and Bentham a song,

13:28

Niko mixed the song and then

13:30

I got a call that Steve

13:33

wanted to produce the record so

13:35

Niko told Steve and then I

13:37

got to work with both of

13:40

them and it was like no

13:42

time had passed. I mean Steve

13:44

kind of knows what I'm capable

13:47

of and I kind of know

13:49

what. He demands from the band

13:52

and that's fully intent on giving

13:54

it to him. and it's just

13:56

a very organic kind of intuitive

13:59

way of doing things where he's

14:01

a player's producer and he's coming

14:03

from the he's coming from the

14:06

the player side of the glass

14:08

so it was really fun and

14:10

really you know painless we recorded

14:13

it in Minneapolis then I went

14:15

out to New York and did

14:18

the vocals and mixed at Electric

14:20

Lady. And yeah, we worked there

14:22

on the last, the last time

14:25

we went together, worked together. So

14:27

it's pretty, I'm pleased with it.

14:29

It's funny, you mentioned Electric Lady,

14:32

I didn't know that you did

14:34

the vocals there because I just

14:36

last week on the show had

14:39

Eddie Kramer on and talking about

14:41

a documentary that's out now on

14:43

Electric Lady Studios and I said

14:46

to Eddie, Is it how does

14:48

Electric Lady do now? Is it

14:51

still really active as a studio?

14:53

And he goes, oh my God,

14:55

yeah, he said it's super active.

14:58

He goes, it's even kind of

15:00

tough to get in there. And

15:02

it's cool to see that that

15:05

studio, with so many studios having

15:07

gone by the wayside with technology,

15:09

people making records in their houses,

15:12

is still in demand with all

15:14

its history. So that would be

15:17

cool to work there again. Yeah,

15:19

it would be cool to work

15:21

there again. the spirit of Hendricks

15:24

in there. I mean, I do

15:26

anyways. And that's kind of, you

15:28

know, it's pretty special. It's just,

15:31

you probably talk yourself into it,

15:33

but you do feel like here

15:35

in Jimmy's house and I got

15:38

played a solo through one of

15:40

his amps and well, and it's,

15:42

yeah, very active, very, you know,

15:45

when I was there 25 years

15:47

ago, it's not like it looks

15:50

Like it's aged a day. I

15:52

mean it's very well preserved and

15:54

very Very functional, very active, and

15:57

yeah, I don't know. Taylor Swift

15:59

came in when I was there.

16:01

For real? I guess it's still

16:04

cool. Did you meet her? No,

16:06

I did not. You could have

16:08

gotten some tickets off of or

16:11

you could have scalped those things,

16:13

Dave, you would have been set

16:16

for life. Yeah. Yeah. I probably

16:18

should have worked on it a

16:20

little harder. You should have, man.

16:23

I know a guy who just

16:25

spent thousands on tickets to go

16:27

to see one of her shows.

16:30

He could have worked that. Could

16:32

have just like, could have been

16:34

like when coaches in the Super

16:37

Bowl scalp their tickets and nobody

16:39

knows and put a little extra

16:41

money in this way you could

16:44

add better catering backstage for a

16:46

slow asylum. You know, that's right,

16:49

man. See, you're thinking. For people

16:51

that don't know, the Steve Jordan

16:53

were talking about who produced this

16:56

record. is the legendary drummer who

16:58

of course these days is playing

17:00

in the stones. When you when

17:03

you recorded the the tracks you

17:05

mentioned you wanted to do it

17:07

very live. Did you actually track

17:10

the record live and then just

17:12

do the vocals like was everything

17:15

cut live as far as what

17:17

you did with Steve? Yep. Yeah.

17:19

I mean that's kind of what

17:22

I wanted and that's kind of.

17:24

What we got and I mean,

17:26

you know that anything is interesting.

17:29

It's that nowadays it takes us

17:31

a Fraction of the amount of

17:33

takes that it took the last

17:36

time we were in the studio

17:38

Steve. So you're trying to kind

17:40

of capture some spontaneity and if

17:43

you play something 30 times you

17:45

might beat it to death. So

17:48

yeah, you know Yep,

17:50

no, not a lot of

17:52

the overdubs or anything yet.

17:54

And what about the material?

17:56

When did you write these

17:58

songs or these? pretty newly

18:01

written did you sit down

18:03

and had you been working

18:05

on the songs for a

18:07

while is it a combination

18:09

of things I had I

18:11

take a list of songs

18:14

I was like 30 or

18:16

four probably 40 songs and

18:18

those are the ones that

18:20

the band was honing for

18:22

lack of a better expression

18:24

and I kind of, I

18:26

said to him to Steve

18:29

and I kind of said,

18:31

well, you pick him. So,

18:33

there was like, there was

18:35

a couple songs, like we

18:37

had a conference call and

18:39

he said, well, what's the

18:42

song that you guys have

18:44

played live before that fans

18:46

seem to like and everybody

18:48

said the same song. So,

18:50

that, yeah, it was pretty

18:52

effortless, you know. There's a

18:55

couple of things I've been

18:57

working on for years that

18:59

I kind of sent him

19:01

What I had as a

19:03

demo and they kind of

19:05

surprised me and picked a

19:08

couple of Men of songs

19:10

that Were more challenging and

19:12

things Well that would explain

19:14

to me the fact that

19:16

there's a song on this

19:18

new record called freak accident

19:20

and the minute I heard

19:23

it I was like, I

19:25

know this song, I've heard

19:27

this song a bunch of

19:29

times. So you guys were

19:31

playing that live, you had

19:33

never recorded that before? Well,

19:36

that is in fact the

19:38

song I was talking about

19:40

and I think we tried

19:42

to record it and it

19:44

just didn't work, it didn't

19:46

sound right. And we changed

19:49

a couple parts. We

19:51

changed the middle A and

19:53

we changed the intro and

19:56

we sped it up and

19:58

the other thing about this

20:00

record is that... Steve was

20:02

like, just play electric guitar

20:04

Dave, which is great for

20:06

me. Because we had been

20:09

sort of, freak accident was

20:11

more acoustic oriented. And I

20:13

did not play much acoustic

20:15

guitar on this record relatively.

20:17

So there, you know. There's

20:19

that it's more fun to

20:22

play the electric guitar. I

20:24

mean some people might disagree

20:26

with me, but it just

20:28

is One other thing one

20:30

yeah one other thing on

20:32

the record the title of

20:35

the record slowly but surely

20:37

is a reference to Shirley

20:39

Maldowni who was the Drag

20:41

racer tell me about the

20:43

significance of that and why

20:45

you called the record that

20:48

and why it was kind

20:50

of a nod to her.

20:52

What was the importance of

20:54

her to you? Well when

20:56

I was a kid I

20:59

collected the drag race drag

21:01

racing cards like they're like

21:03

baseball cards only they have

21:05

cars on them and I

21:07

was into Don Big Daddy

21:09

Don Garlets and Don Snake

21:12

Pidome and all these guys

21:14

and then Shirley Modani came

21:16

along and maybe it's timing

21:18

maybe it's coincidence I don't

21:20

really know but I had

21:22

seen a thing there's a

21:25

stationary store next door to

21:27

Electric Lady and there was

21:29

like a placard it was

21:31

actually an album-sized placard kind

21:33

of silk screen thing that

21:35

said slowly but Shirley S-S-U-R-E-L-Y

21:38

and I went Oh yeah,

21:40

that'd be funny to change

21:42

it. And then I thought

21:44

a Shirley Temple and then

21:46

I went nope. And then

21:48

I thought a Shirley Muldowney

21:51

and I went yep. And

21:53

just that she was kind

21:55

of in a boys club

21:57

and took on all that

21:59

adversity, I mean, it's... It

22:02

reminds me of somebody who's

22:04

running for president a little

22:06

bit and it just kind

22:08

of seems like she was

22:10

a real hero in a

22:12

way that she probably had

22:15

a tough time dealing with

22:17

people telling her that wasn't

22:19

for women, you know, or

22:21

whatever. But to that effect,

22:23

I love her. She's a

22:25

rebel and she's been very,

22:28

very cool about like letting

22:30

us use her. image and

22:32

she's been very sweet as

22:34

far as working with her

22:36

and yeah you know her

22:38

the whole kind of you

22:41

know her know her huh

22:43

you so you don't know

22:45

her but you she's aware

22:47

of this obviously yeah yeah

22:49

my manager has spoken to

22:52

her in a couple of

22:54

occasions and yeah hopefully I'll

22:56

get to meet her. has

22:58

been really cool about it.

23:00

She used a couple clips

23:02

of me. Or they used,

23:05

she's still involved in racing.

23:07

So she does events, but

23:09

she doesn't drive anymore. So

23:11

they were doing some sort

23:13

of a tribute thing to

23:15

her and I spoke about

23:18

her and they put me

23:20

in there and whatever. And

23:22

you know, and then you

23:24

got the whole kind of

23:26

airplane joke, you know, Shirley,

23:28

don't call me Shirley kind

23:31

of. It's pretty versatile. Were,

23:33

were, are you still into

23:35

drag racing? Do you still

23:37

follow it or no? No,

23:39

I mean, as a kid,

23:41

I was really in the

23:44

hot rods and stuff, but

23:46

I've never, you know, I

23:48

don't, I don't like to

23:50

drive because I like to

23:52

go fast. So I kind

23:55

of have that hang up.

23:57

But I've never been very

23:59

active as far as wanting

24:01

I would really like to

24:03

take my Toyota Camry out

24:05

to the racetrack and see

24:08

how fast it goes, but

24:10

outside of that I didn't

24:12

have been. You see

24:14

that involved with racing

24:16

other than just kind

24:19

of being a fan? I

24:21

went to the Inside 100

24:23

this year though, that was

24:26

weird. Oh you did? Yeah.

24:28

I went to F1 last year in

24:30

Vegas, which I had never gone to

24:32

before, and that's quite a scene too.

24:35

But I don't know, at least that,

24:37

all I did was watch like,

24:39

you know, people just go, you

24:41

know, I mean, it was like,

24:43

I couldn't make sense anything beyond

24:46

that. But to me, it looked like

24:48

a big excuse to have a

24:50

big expensive party. That's right.

24:52

You have dates that the tour

24:55

now currently runs through... The

24:57

middle of November, we should mention

24:59

we have listeners in Canada as

25:01

well, you've got Montreal on Ottawa

25:04

coming up, other cities coming

25:06

up, including New York, Philadelphia, Portland,

25:08

Maine, all the dates again at

25:10

Soul asylum.com. Then you got a

25:13

hometown show between Christmas and New

25:15

Year's at First Avenue, legendary venue,

25:18

Minneapolis, that's on the 28th. Have

25:20

you started looking at or do you

25:22

know what's in store for next year?

25:24

You're going to do more shows? Yeah,

25:26

we're going to go to

25:29

Europe and, you know, places

25:31

like that. We're talking

25:33

about Australia. There's

25:36

a lot on the docket

25:38

and we'll see how

25:40

it develops. So we're going

25:43

to a couple places

25:45

like Prague and Poland

25:47

that I have not been

25:50

to before. So that's

25:52

always kind of a notch

25:54

on my belt. at some point

25:57

or another when you're when you're

25:59

young. At least for

26:01

me anyways, I was like,

26:03

oh, I'm going to see

26:05

how far this band will

26:07

physically take me. So it's

26:09

all it's cool to go

26:11

someplace that we haven't been

26:13

before. Well, yeah, especially when

26:15

you've been doing it as

26:18

long as you have to

26:20

go to some uncharted territory.

26:22

That's pretty cool. I just

26:24

went to Japan for the

26:26

first time. Have you been

26:28

over there? Yeah. Well,

26:30

I loved it. Yeah, when's the

26:32

last time you went? I'm going

26:35

to say it was about three

26:37

years ago, I think. Oh, okay.

26:39

The soul of the song would

26:42

do well there? Yeah, as a

26:44

matter of fact, yes, we do.

26:46

Yeah, it's good for us. Yeah,

26:49

the fans there as you know

26:51

then are super super passionate and

26:53

yeah, I went over I toured

26:56

there with Sammy Hagar a couple

26:58

Three three four weeks ago. He

27:00

took me on his tour Suffice

27:03

it to say Dave on that

27:05

the hotels and the catering was

27:07

pretty darn good. So I got

27:09

no complaints You get a small

27:12

enough room and a small enough

27:14

bed. No, I had a giant

27:16

room. We were staying at like

27:19

Ritz Carleton's man. It was crazy

27:21

Got to come with me Dave,

27:23

I'll take you. We'll do it

27:26

the right way. That's right, man.

27:28

Listen man, it's always good to

27:30

talk to you. Congrats on the

27:33

record. Slowly but surely is out

27:35

now. Go to Soul asylum.com. Find

27:37

the remaining dates. Always an amazing

27:40

fun live show if there's one

27:42

coming near you. I can't recommend

27:44

it more highly. And I'm going

27:47

to try to get out there

27:49

and catch you at one of

27:51

these before you wrap it up

27:54

in the next few weeks. I

27:56

will indeed always pleasure Eddie. Thanks

27:58

for your time. You got it

28:01

Dave. Talk to you soon, man.

28:03

All right, take care. How about?

28:05

There he goes. Is there anybody

28:08

better than that guy?

28:10

Joe, you probably

28:12

could make five

28:15

promos out of

28:17

that 20-minute interview.

28:28

It don't get more real than

28:30

Purner. Yeah, it's kind of a

28:32

grind. Got lost trying to get

28:34

in, these weird little clubs, these

28:36

weird little theaters. Oh God, the

28:39

ultimate pitchman. He is totally, and

28:41

I love him. And I love

28:43

him. And I love him. And

28:45

I love him. And I love

28:47

him. And I love him. And

28:49

I love him. And I love

28:51

him. And I love him. And

28:53

I love him. And I love

28:55

him. And I love him. And

28:57

I love him. I am not

28:59

goofing on him. I love him.

29:01

He's as real as it gets

29:03

and he's brilliant. He's a brilliant

29:05

writer. But he is the best

29:07

pitch man. He's not the best

29:09

pitch man. What was the line

29:11

in the last interview? Somebody called

29:13

in and talked about it. Oh,

29:15

and he was in studio and

29:17

he was on one of these

29:19

package tours and he goes, I

29:21

don't really know what we're doing

29:23

on this. We don't even fit.

29:27

He said something else like,

29:29

oh God. Well, always fun

29:31

to talk to Dave Perner.

29:33

After that interview was over,

29:35

the publicist texted me and

29:37

said, thanks for working with

29:39

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32:19

up, a band that is always

32:21

on tour, maybe the most consistently

32:23

touring band in the last 20

32:25

years that I've seen, that band

32:27

is Buck Cherry. their album 15

32:29

their third album with crazy bitch

32:31

and sorry and all those big

32:33

songs recently or this year is

32:35

celebrating 20 years it's hard to

32:37

believe because That band used to

32:39

send me their guitar player at

32:41

the time Keith Nelson the other

32:43

original member who's no longer in

32:46

the band He used to send

32:48

me songs to play they couldn't even

32:50

get a record deal And then the

32:52

record just took on this whole life

32:54

of its own and this whole arc

32:56

of tremendous success and it stands as

32:58

their biggest record to date we talk

33:00

a little bit about that with Josh

33:02

that and more including a little tip

33:05

off on the next Buck Cherry record

33:07

in this interview check it out absolutely

33:09

blows my mind when I saw the

33:11

other day that the third album from

33:13

Buckcherry the album called 15 which

33:16

was very much a comeback and at

33:18

the same time breakthrough album for that

33:20

band is 20 years old it

33:22

completely floored me because I'm very

33:25

proud to have a golden platinum record

33:27

on my wall that I'm looking

33:29

at right now from that album

33:31

and a note from at the

33:33

time the band's guitarist Keith Nelson.

33:35

thanking me for believing in it

33:37

because I was playing demos from it

33:39

as they were making it in the

33:41

studio and then it was so great to

33:43

see how it just took off from there

33:45

and all the steps that it went through

33:48

and what a big record it became and

33:50

have been a part of it is

33:52

really special to me but it just

33:54

floors me that that was 20 years

33:56

ago because it feels like yesterday and

33:58

to join us to Talk a little

34:01

bit about that and Buck Cherry

34:03

in general is the band's lead singer,

34:05

Josh Todd joining us live right

34:07

now. JT what's going on man? What's

34:09

up? 20 years man, how the hell

34:12

did that happen? You know, time flies,

34:14

you know. We started a big

34:16

wave, a big movement with that one

34:18

and we just kept riding that wave,

34:21

you know, and here we all.

34:23

all these years later, you know, it's

34:25

pretty cool. Well, from that period of

34:27

the band, it's you and Stevie,

34:29

of course, you know, steering the ship

34:32

these days. You're the two guys that

34:34

were part of 15 that are still

34:36

in the band and still doing

34:38

it. But you know, I don't know,

34:41

Josh, if people realize the, you know,

34:43

where Buck Cherry was at when

34:45

you guys made 15. I do because

34:47

like I said back then, you know,

34:50

while you guys were doing it, Keith

34:52

was sending me demos, you had

34:54

no record deal, you had nothing, the

34:56

band had been broken up. So take

34:59

everybody through what that whole thing

35:01

was like for you, how, because the

35:03

band had broken up after Time Bomb,

35:05

which I think is a great

35:07

record, I love Time Bomb, but then

35:10

you guys were apart and then you

35:12

come back together and you rebuild the

35:14

band, talk a little bit about

35:16

the process of how it all came

35:19

together. Not that

35:21

we like consciously broke up. There

35:23

just wasn't no band like there

35:25

was a Three of the band

35:27

members like eventually quit like Devon

35:29

and JB and yogi and so

35:31

it's just me and Keith kind

35:33

of holding down the fort. We

35:35

were still signed to Dreamworks of

35:37

that time and we were just

35:39

We're just writing songs, you know,

35:41

and and you know, that's that's

35:43

along the same time when we

35:45

did the most few shows that

35:47

one show actually with Matt Matt

35:49

Duffin slash you know for Randy

35:51

Castillo benefit at the Key Club

35:54

it was called like Cherry Roses

35:56

we did a bunch of and

35:58

we had a lot of fun

36:00

doing that. I just remember Keith

36:02

and I talking like that was,

36:04

that was like buck cherry with

36:06

like really great, really great players,

36:08

you know. And we kind of

36:10

really wanted something to work out

36:12

with that, you know, and it

36:14

just kind of fizzled out. But,

36:16

and then it was just too

36:18

much nonsense, you know, we just,

36:20

we just went our separate ways.

36:22

There was no like really falling

36:24

out, but we just had to

36:26

kind of get on with. life,

36:28

you know, because there was no

36:30

ban. We were auditioning people, but

36:32

we can never get like really

36:34

good players. Everybody wanted money. We

36:36

didn't have money, you know, a

36:38

lot of that kind of stuff.

36:40

So, yeah, it was just kind

36:42

of a thorn in our side

36:44

for those, that time on hiatus.

36:46

And then we finally talked about,

36:49

you know, talked after like, I

36:51

don't know, a year or so.

36:53

And we were ready to kind

36:55

of you know, make another push

36:57

and we got the right guys,

36:59

you know, as band members, that

37:01

was really important. And then we

37:03

didn't look back, you know. Yeah,

37:05

I mean, you, but you did,

37:07

when you, first of all, the

37:09

thing that you did when it

37:11

was slash and Matt Sorum and

37:13

Duff, that was basically going to

37:15

be, that's what Velvet Revolver became,

37:17

right? Like you and Keith at

37:19

that time, where, would have potentially

37:21

been a part of what would

37:23

have been Velvet revolver, is that

37:25

correct? Yeah, there was

37:27

no talk of Velvet Revolver or anything,

37:30

you know, it was just, we did

37:32

a show and everybody liked the show,

37:34

you know, we did like some G&R

37:36

songs and some Buck Cherry songs, some

37:39

Aerosmith songs, and there was just like

37:41

a buzz around LA around it, you

37:43

know, and so we just, you know,

37:46

we reached out to those guys and

37:48

said, hey, you know, that felt good,

37:50

you guys want to want to do

37:52

something, and they weren't doing G&R at

37:55

the time, so. You know they felt

37:57

the same way and we became a

37:59

band for about a month You know

38:01

I've talked about this many times. It

38:04

was like a month my life. There

38:06

was no, there was no talk of

38:08

velvet revolver. And then after our portion

38:11

of that, after we left that situation,

38:13

it was like, you know, later on,

38:15

you know, I don't know how long

38:17

it was before velvet revolver eventually became

38:20

something. But yeah, it was, we were

38:22

way before all that. Did you have

38:24

songs that ended up on 15 that

38:27

you had brought to those guys at

38:29

that time? with the idea if it

38:31

was going to be a band? Was

38:33

there stuff that ended up on 15

38:36

that was written then? Nothing that only

38:38

the songs that Keith and I wrote,

38:40

you know, they had no involvement in

38:42

any of those songs. Right, but I'm

38:45

saying you had some of this stuff

38:47

that ended up on 15 that you

38:49

and Keith did at that time? Like,

38:52

did you ever jammed it with them?

38:54

No, we didn't jam it. I think

38:56

we played it for... a producer that

38:58

we were kind of looking at at

39:01

at the time and yeah he I

39:03

think we played a crazy bitch demo

39:05

for a producer I won't name his

39:08

name but he just said oh it's

39:10

a good song but you got to

39:12

change the lyrics and you know if

39:14

you ever wanted to get on the

39:17

radio and I'm like you can't change

39:19

the lyrics I mean that's like that's

39:21

what's fun about the song you know

39:23

so we just left that alone and

39:26

and that was it we just we

39:28

we were trying to write songs together

39:30

you know but it was really hard

39:33

to get things going in that you

39:35

know writing songs well i mean i

39:37

remember at that time too i mean

39:39

that that buck cherry and i mean

39:42

i just know from being in the

39:44

business at that time the buck cherry

39:46

was like kind of the idea of

39:49

doing buck cherry again industry wise because

39:51

the second record you know Which again,

39:53

I still stand behind as a great

39:55

record, but it was not commercially successful.

39:58

It was a huge drop-off from the

40:00

first record. in the industry eyes and

40:02

you know as well as I do

40:04

the industries like you know you're as

40:07

hot as what you did lately so

40:09

you know it was it was a

40:11

climb for you guys to be able

40:14

to pull this back together again and

40:16

to be able to get anything happening

40:18

so you basically the record started out

40:20

very DIY I mean it was just

40:23

just you guys going in and doing

40:25

it on a shoestring right there was

40:27

no deal or anything that's exactly right

40:30

I mean no one cared about book

40:32

sharing at that point, like you're saying,

40:34

you know, and to me, Time Bomb

40:36

is like a really great book cherry

40:39

record, you know, it's a hidden gem

40:41

if you're a book cherry fan, you

40:43

should you should kind of dig and

40:45

go check that one out. But yeah,

40:48

so no one cared, no one would

40:50

sign, we had the demos to 15

40:52

together and we couldn't get a record

40:55

deal in the United States, it's funny.

40:57

We got a small deal in Japan,

40:59

Sony Japan gave us a small deal,

41:01

very small advance. That's why we called

41:04

the record 15 because we recorded it

41:06

in 15 days, you know, and And

41:08

our manager at the time was like

41:10

well, fuck this. I'll just start my

41:13

own label. And that's how 11-7 got

41:15

started. Alan Kovac started that and to

41:17

put out 15 and he's like and

41:20

we'll just put it out on on

41:22

my label And then we got an

41:24

upstreaming clause with Atlantic Records and, you

41:26

know, to distribute it and if they

41:29

wanted to, you know, take it on

41:31

eventually they could, but they weren't Biden

41:33

at that time. And then, you know,

41:36

a long story short, I mean, everything,

41:38

you know, every way you looked at

41:40

it, it just looked like it was

41:42

going to fail in every way, you

41:45

know, but that's right when MySpace was

41:47

kind of a big thing. And so

41:49

we had a my space page for

41:51

Buckcherry and we were about to do

41:54

a video for next to you as

41:56

far as the first. single and all

41:58

of a sudden just thousands and thousands

42:01

and thousands of lessons of crazy bits

42:03

started happening and we were like oh

42:05

my god this song is like taken

42:07

off on my space and then there

42:10

was like a million streams and then

42:12

we got word that like radio stations

42:14

were doing their own edits and playing

42:17

it without us even asking them and

42:19

so we're like we gotta fucking We

42:21

got a move on this we got

42:23

a jump ship on next to you

42:26

and go to crazy bitch and and

42:28

then you know what happened it just

42:30

fucking was just phenomenal it just took

42:32

off and and then everybody want to

42:35

be our friend again. Funny how that

42:37

works and I mean I remember I

42:39

remember it all. clearly because like I

42:42

said I mean I don't I would

42:44

never say this lightly if it wasn't

42:46

the case but I was there I

42:48

mean I I have a handwritten note

42:51

from Keith on my wall saying thank

42:53

you for being there first and believing

42:55

because he was saying I heard that

42:58

I don't even know if you know

43:00

this but I mean he was sending

43:02

me demo he was sending me the

43:04

stuff from the studio and I was

43:07

putting it on the radio and I

43:09

don't know what we're gonna do with

43:11

it I don't know what's gonna happen

43:13

I just followed the whole to have

43:16

the Japanese release and then it went

43:18

to 11-7 and then it eventually like

43:20

you said upstreamed to Atlantic and things

43:23

really started to take off and I

43:25

tell you I mean it was just

43:27

for you guys to just hang in

43:29

there and to keep working it and

43:32

to watch it grow from nothing to

43:34

what it became into a double platinum

43:36

record is just I mean it's rewarding

43:38

as hell for me and I just

43:41

helped out you know getting getting it

43:43

out there a little bit. for you

43:45

guys in how to feel like tremendous

43:48

vindication because like you said earlier i

43:50

mean but cherry was considered like old

43:52

news and damaged goods after two records

43:54

yeah it was a great lesson in

43:57

faith really for us you know because

43:59

we just uh... We stayed out of

44:01

the results, stayed focused on, you know,

44:03

our outcome, which is riding the best

44:05

songs we could, you know, ride at

44:08

the time and just being the best

44:10

of who we were, you know, and

44:12

listen, you know, this band has been

44:14

the black sheep of rock music

44:16

from the beginning, from the first

44:18

record, you know, and we've never

44:21

fit into any kind of genre

44:23

of rock because everybody kind of

44:25

lumps us in with like 80s rock

44:28

bands and it's like we were... We

44:30

dropped our record at the end of

44:32

the 90s, you know, so our first

44:34

record, you know, so it's like, we

44:36

came out when there was rap

44:38

rock and shoe gazer, nerd rock,

44:41

like I called it, you know,

44:43

the guys wearing the Buddy Holly

44:45

glasses and looking down at their

44:47

shoes, playing rock, you know, and

44:49

that's when we came out. So no

44:52

one, you know, we were like on

44:54

our own little island, you know, because,

44:56

and I think that was like... that's

44:58

why people like this you know and

45:00

then we brought it live and and

45:02

that was like a huge part of our

45:05

our whole thing was to be great live

45:07

and and um and that's it and

45:09

we worked really hard on the road

45:11

you know still to this day so

45:13

you know that was really we

45:15

laid the foundation so you know

45:17

even when industry people were like

45:19

you know disenchanted with like you

45:21

know getting into business with us

45:23

it didn't we we We didn't

45:25

worry about that because we already

45:27

knew what we had created. We

45:29

already knew what we were capable

45:31

of. We'd already been to Woodstock

45:33

99. We'd been all around the

45:35

world. We'd had a hit song. We had

45:38

a couple hit songs before, you know, 15.

45:40

So, like, you know, if we didn't worry

45:42

about it, we knew that all we need

45:44

to do is just get it out there and

45:46

start getting on the road and

45:49

things that start happening. Yeah, man,

45:51

and you bring up a great point about how you

45:53

guys came onto the scene because that's what attracted to

45:55

me to the band so much right out of the

45:57

gate was the fact that here was a band that

46:00

that was coming out and just bringing

46:02

it real raw live, no freaking tracks,

46:04

laptops, no bullshit, you just plugging in

46:06

and playing. and I mean that first

46:08

record is a killer record too and

46:10

it was just like for me you

46:12

know at that point I'm already in

46:14

the industry almost 20 years but I

46:17

was kind of disillusioned with some of

46:19

the rock music going on and when

46:21

I heard that first record and I

46:23

was like you know hearing stuff like

46:25

crushed and lit up and all the

46:27

and you know for the movies and

46:29

all this stuff I was like whoa

46:32

this is this is how it's done

46:34

like this is a new band bringing

46:36

it like this so you know I

46:38

was all in from the get-go-go- what

46:40

you guys were doing was kind of

46:42

like a throwback to what you know

46:44

real rock and roll supposed to be

46:46

like that's why i was so floored

46:49

like you i'm sure that that time

46:51

bomb didn't happen because you know you

46:53

could say well you guys followed up

46:55

with a dud but you followed up

46:57

with an equally if not even better

46:59

record and uh... you know i never

47:01

forget i came to see guys on

47:04

that tort Irving Plaza i remember you

47:06

played Irving Plaza on the time bomb

47:08

tour in New York and i remember

47:10

coming to see you guys and uh...

47:12

I was just astonished that it wasn't,

47:14

you know, that record didn't connect and

47:16

then the band kind of dissolved a

47:18

little bit, like you said. So 15

47:21

is just, it's surreal to look at

47:23

and see what it's become and what

47:25

it's done. And you know, you mentioned

47:27

Crazy Bitch, which is obviously a huge

47:29

song for you guys. I remember when

47:31

you went to 11-7, you were working

47:33

with, a woman was working the record

47:36

by the name of Katie McNeil. And

47:38

she sent me the song and she

47:40

said, we think we're going to go

47:42

with this. And I got to tell

47:44

you, bro, because I'm just honest, I

47:46

was like, what? Who's going to play

47:48

that? I'm like, how is that going

47:51

to get on the radio? Like, what

47:53

are you going to do with that?

47:55

And then, you know, shows how much

47:57

I know that it became this, you

47:59

know, massive song and still is to

48:01

this day. They had to edit the

48:03

shit out of it out of it

48:05

for FM. you should put everything out

48:08

or put next to you out or

48:10

something like that. Did it surprise you

48:12

that crazy bitch has become what it's

48:14

become like did you know it out

48:16

of the gate or were you shocked

48:18

at the success of it? Did not

48:20

know it out the gate. I just

48:23

thought it'd be a great like song

48:25

for our core fan base, you know,

48:27

live, it would be fun and people

48:29

would, you know, enjoy it when people

48:31

who got the record, you know, didn't

48:33

think it was. are going to be

48:35

what it became, you know, and that's

48:37

usually always the case with really big

48:40

hit songs, you know, you just don't

48:42

know, you know, it's always at the

48:44

end of the day, you can think

48:46

you've got a great song, but the

48:48

public really decides, you know, at the

48:50

end of the day, and, and that's

48:52

what they decided, that's what they wanted,

48:55

you know, and what you're saying is,

48:57

you know, mute the bad words and

48:59

people knew what it was and they're

49:01

just into it. You know, now I,

49:03

there's no way a song like Crazy

49:05

Bitch could, you know, have any kind

49:07

of legs. I don't, I don't believe,

49:09

you know, in this day and age

49:12

for a rock band, but if it

49:14

was like, you know, broken down in

49:16

a hip hop format, it would do

49:18

great. Why do you think

49:20

this song connected so much Josh do

49:23

you think it's because everybody knows a

49:25

crazy bitch at one point in their

49:27

life and been through that? I mean,

49:29

why do you think it touched a

49:32

nerve and so many people connected with

49:34

it? The thing that's funny about the

49:36

song is that a lot of women

49:38

love it, you know, like saying crazy

49:41

bitch is Not good for a woman,

49:43

but like I think to see the

49:45

the naughtiness in it and it's fun

49:47

and I think every girl wants to,

49:50

there's a crazy bitch in every girl

49:52

and it's just a girl like kind

49:54

of just being let out of her

49:57

cage to have fun. you know, and

49:59

to get out of adulting for a

50:01

day and, you know, just be a

50:03

fucking wild, you know, beautiful thing, you

50:06

know what I mean? I don't know.

50:08

That's the way, that's kind of the

50:10

feeling I get when I see women,

50:12

you know, when we start playing the

50:15

song in the crowd, it rups and

50:17

you just see women around the, the

50:19

crowd just, you know, dancing like, you

50:21

know, this is what they waited for

50:24

all night, you know, it's pretty cool.

50:26

The other song that became huge from

50:28

this record that I you know routinely

50:31

still will hear in my local supermarket

50:33

Is the the ballot sorry? Did you

50:35

know that one was going to be

50:37

special when you first wrote and recorded

50:40

it? Yeah, I knew that was good.

50:42

You know, we got sorry to a

50:44

really good place on our own and

50:46

then we just thought it needed something

50:49

and and that's how far back I

50:51

go with Marty Fredrickson. We got Marty

50:53

Fredrickson into the fold and He heard

50:55

the song and he did a little

50:58

tweak of the chorus and just made

51:00

it a little better and it just

51:02

kind of opened up the song and

51:04

then he put some bridge music on

51:07

it, you know, and I wrote a

51:09

melody and some lyrics to that and

51:11

it was done and it was like,

51:14

wow, this song is fucking amazing now,

51:16

you know, and that's the thing, you

51:18

know, he's really great. I really enjoy

51:20

working with him. And you still have

51:23

used him on the recent records too,

51:25

right? Oh yeah, we're making the best

51:27

records of our lives right now. It's

51:29

great. We got a new one. We're

51:32

going to drop June 13th. Oh, okay,

51:34

cool. Look forward to that. So the

51:36

other thing, you know, with this record,

51:38

as I mentioned before, from the lineup

51:41

that made this record, yourself, it's yourself

51:43

and Stevie, are still obviously in the

51:45

current version of Buck Cherry. But, you

51:48

know, Jimmy, Keith, Xavier, the three other

51:50

guys that were part of this at

51:52

the time. Are you in touch with

51:54

any of them still? Is there any,

51:57

do you have any communication with them

51:59

or anything? I am

52:01

not, no. I mean, I saw

52:03

Xavier not too long ago. I

52:05

think that Sturgis and gave Mahog

52:07

and, you know, but I mean,

52:10

we don't, we don't hang out.

52:12

I mean, there's nothing really, you

52:14

know, people always like think that,

52:16

you know, when you're in a

52:18

band and at this level, you

52:20

know, it's about, it's about the

52:22

work and then when the work

52:24

stops, I mean, you just move

52:26

on. you know ever since he's

52:28

he's he's been in the band

52:31

the longest yeah time-wise I would

52:33

besides you that would absolutely be

52:35

the case now I know that

52:37

I saw in the notes here

52:39

that when you guys play throughout

52:41

this year this new year of

52:43

25 you're gonna be playing the

52:45

album in its entirety right yeah

52:47

at some select gigs for sure

52:50

not at all of them so

52:52

there's certain ones you will do

52:54

it but you're not going to

52:56

do it everywhere No,

52:58

because we also have another record. We're

53:00

going to drop our 11th record. It's

53:02

called Roar Like Thunder and it comes

53:05

out June 13th. And when will there

53:07

be music from that? When do you

53:09

plan to put a first song out

53:11

from that? We're doing both the videos

53:14

for the singles in February, so I

53:16

think March they're going to drop the

53:18

first single. Okay, when you play 15

53:20

in its entirety, the shows you do

53:22

do that. Are you going to do

53:25

it in sequence or are you just

53:27

going to do it throughout the show

53:29

and play every song at some point?

53:31

No, we're not going to do it

53:34

in sequence. We have a lot of

53:36

songs. You've got to get to all

53:38

the usual suspects, not just 15, but

53:40

like, you know, so, you know, we've

53:43

got to throw, I just, I, I,

53:45

uh, I construct a set the way

53:47

I need to for my voice, you

53:49

know, and tempos and keys of songs,

53:52

all that stuff plays into it, plays

53:54

into it, but, but, you know, One

53:57

other note here, so there's gonna.

53:59

a 20th anniversary edition, deluxe edition

54:01

of 15, that comes out this

54:04

Friday. Talk about what is extra

54:06

on there and what you added

54:08

to it. Yeah, Steve and I

54:10

did some really cool takes acoustically

54:13

on the songs. We did, um,

54:15

Brooklyn, on set and crazy bitch

54:17

acoustically and so those are like

54:20

never been heard and those are

54:22

on it and they're just like

54:24

they're different takes on the song

54:27

you know and and really great.

54:29

And there's also a cover of

54:31

Elvis Costello pump it up you

54:34

did that at the time that

54:36

you recorded 15 was it something

54:38

that didn't make the record? Yeah

54:40

I didn't know that was that

54:43

was happening but yeah that's been

54:45

a long time as I've heard

54:47

that song but I forget when

54:50

we did that song honestly. But

54:52

a good song. Yeah, no, and

54:54

that's that's being included on this

54:57

collection. So it's you can get

54:59

it as a double LP. Also

55:01

CD. And again, it's out on

55:04

Friday, the special 20th anniversary edition.

55:06

Hey, man, I can't let you

55:08

go. I know you're in LA.

55:10

I can't let you go without

55:13

asking you about the fires. Are

55:15

you and your family? Okay. It's

55:17

been really crazy man. And the

55:20

cool thing is that we've, you

55:22

know, everybody's come together all the

55:24

Angelinos, everybody's, you know, starting to

55:27

help out and come together and,

55:29

and that's a wonderful thing. But

55:31

it's, it's, it's, it's really crazy

55:34

that there's, you know, there's people

55:36

that are trying to start fires,

55:38

you know, I can't even believe

55:40

how. you know what an awful

55:43

time we're living in as far

55:45

as humanity is concerned you know

55:47

about it's it's really it's really

55:50

shitty that you know people see

55:52

all this on the news and

55:54

they go out there and try

55:57

to start more fires in LA

55:59

you know I don't even understand

56:01

it. You know, hopefully those people

56:04

are being prosecuted and caught and

56:06

all that stuff. But that's a

56:08

drag. But you know, the cool

56:11

thing is everybody's coming together. And

56:13

you know, I just pray for

56:15

everybody who's lost their homes or

56:18

been affected by this. Did he

56:20

get close to you? Did you have

56:22

to evacuate or anything? Or it

56:24

never got too close to your

56:26

area? Haven't had to evacuate yet? and

56:28

it's still going on in a big way. So,

56:31

but not yet and you know, thank God, but

56:33

you know, know a lot, a lot, a lot

56:35

of people who have. Yeah, it's, so do I.

56:37

I mean, I know more people in LA

56:40

than probably anywhere else in the

56:42

country and it's just, you know,

56:44

hearing different stories from different people

56:46

who have been affected, who are

56:48

almost affected. And again, you bring

56:50

up a good point, man. It

56:52

is still, it's still not totally

56:54

out of the woods. I know

56:56

there's still areas that are under

56:58

potential evacuation and all of that

57:00

and it's just crazy. You're not

57:02

the first person that I talked

57:04

to either that told me which just

57:06

blows my fucking mind out that

57:08

their biggest concern is that there

57:10

are people still trying to actually

57:12

set fires like that there's just no

57:14

words for that like that's just sick

57:17

beyond words and. I mean those people

57:19

should be thrown into the fires

57:21

in my opinion. I mean they

57:23

should be dropped into the flames

57:25

in my opinion. There should be

57:27

no justice for them. It's

57:29

fucked up and you know

57:31

hopefully they'll be handled by

57:33

somebody you know but yeah I

57:35

don't know that's all you can

57:38

hope for. You know I saw

57:40

David Spade on his Instagram he

57:42

offered $5,000 to anybody who catches

57:44

one of these persons and and

57:46

gets them arrested or you know

57:48

stops them and so I was

57:50

just like this dude is amazing

57:52

David Spade's really a great guy

57:54

to do that you know yeah it's

57:56

a shame something like that has to

57:58

even be offered We have people that

58:01

sick that would do something like that,

58:03

but yeah, props to him for doing

58:05

it. Well, I'm glad you're okay at

58:08

the moment, man. And as far as

58:10

tour dates, what do you have coming

58:12

up? Busy year ahead? Always, man. You

58:15

know, there's a lot of stuff in

58:17

the works right now. We're filling up

58:19

the summer, but right now, we're leaving

58:22

Saturday and we're going to Shiprock. We're

58:24

going to Miami and we're going to

58:26

do shiprock. Then we're coming back and

58:29

we've got some flight dates in February

58:31

and then March we'll start touring, you

58:33

know, pretty heavily. Are you still doing

58:36

any of the side bands that you

58:38

were doing with Stevie, you know, the

58:40

conflict or that other one was Spragan

58:42

or something like that? Are you still

58:45

doing any of the other stuff? The

58:47

conflict is so great. You know, it's

58:49

funny, bring up that record. I revisited

58:52

that record because... I'm writing a script,

58:54

I don't want to give it away,

58:56

but the conflict music is in it,

58:59

and I revisited that record. I'm like,

59:01

this fucking record is so great, you

59:03

know. I really, really enjoy doing that

59:06

record. And that was a real moment

59:08

for Stevie and I, you know, it

59:10

was our first record we'd done together.

59:12

It was a lot of fun. And

59:15

speaking of records, since we were talking

59:17

about 15 before, I should mention, during

59:19

that time that the band wasn't really

59:22

active. I think it was in that

59:24

window. You made a solo record that

59:26

is killer called you you made me

59:29

was the name of it, wasn't it?

59:31

That was before 15. Right, that's what

59:33

I'm saying. It was in the gap

59:36

between the second and third record. Yes,

59:38

I did. I made that. That's a

59:40

killer record. Is that out? Can people

59:43

hear that anywhere? I don't know. You

59:45

might be able to find it. I

59:47

have no idea. Do you

59:49

like that record? Do you look back

59:51

fondly on that as well? You know,

59:54

there's a lot of stuff that is

59:56

attached to that. It's hard for me

59:58

to listen to it, but um... you

1:00:00

know, at the time, I was very,

1:00:02

very happy with it. Yeah, no, I

1:00:04

think there's some great stuff on it.

1:00:07

I haven't on CD, I know, and

1:00:09

I listen to it still, so, well,

1:00:11

listen, man, it's good catching up with

1:00:13

you again. I'm glad you and the

1:00:15

family are okay there in LA and

1:00:17

everybody check out the 20th edition, 20th

1:00:19

anniversary edition of 15. It is out

1:00:22

everywhere on Friday in the formats we

1:00:24

mentioned and digitally as well. I know

1:00:26

you guys are road dogs, so I'm

1:00:28

sure I'll see you out there somewhere

1:00:30

on the road this year. Thanks for

1:00:32

the time, man. I'll talk to you

1:00:35

soon, okay? Yes, sir. Let me good.

1:00:37

Bye. All right. See you, Josh. There

1:00:39

he goes, everybody. Josh Todd, from Buck

1:00:41

Cherry, checking in. And yeah, it's still

1:00:43

hard to believe it's 20 years. He

1:00:45

obviously has, with that solo record, it

1:00:47

sounds like there are some things attached

1:00:50

to it that he was not happy

1:00:52

about, That record's a pretty slam and

1:00:54

record and I remember hearing that record

1:00:56

and it gave me hope that the

1:00:58

band was going to start up again

1:01:00

which eventually they did and then that

1:01:03

turned into this third record which we

1:01:05

just talked about that's 20 years old

1:01:07

and you know two huge songs on

1:01:09

that record in with sorry and crazy

1:01:11

bitch and then you know some other

1:01:13

songs that did pretty well also and

1:01:15

those guys are road warriors man they

1:01:18

play I mean they've been playing for

1:01:20

years everywhere all over the place so

1:01:22

you'll put plenty opportunities to see them

1:01:24

and they're still doing it plugging in

1:01:26

playing live and got a lot of

1:01:28

respect for that as you guys know.

1:01:31

Well thanks to JT much appreciated and

1:01:33

thanks earlier today Perna for joining me

1:01:35

on this week's podcast. Appreciate you guys

1:01:37

listening. Thank you for doing so. Be

1:01:39

sure to subscribe. So you do not

1:01:41

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1:02:33

Don't forget, also check out the home

1:02:35

page of my website eddietrunk.com. That's where

1:02:37

you'll find all my upcoming appearances. There

1:02:39

are many as this relatively new year

1:02:42

of 2025 starts filling up. It's getting

1:02:44

real busy. So keep an eye on

1:02:46

that and I will keep you posted

1:02:48

on all things going on on that

1:02:50

front. And before I end the podcast,

1:02:52

I just want to say rest in

1:02:55

peace to my favorite one of my

1:02:57

all-time favorite guitar players and a friend.

1:02:59

John Sykes, shocking news coming down earlier

1:03:01

this week that John Sykes has passed

1:03:03

away at the age of 65 years

1:03:05

old. He was absolutely one of my

1:03:07

all-time favorite players. He was a friend.

1:03:10

We have a lot of history, a

1:03:12

lot of stories, and I'm going to

1:03:14

be spending some time talking about him

1:03:16

and celebrating him on my daily show

1:03:18

that I just mentioned, Trunk Nation, on

1:03:20

Faction Talk. All right, you guys have

1:03:23

yourselves a great week if I don't

1:03:25

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1:03:27

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