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Speaker 1: Hi, This is Bobby Brown and welcome to another fucking podcast.

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Speaker 2: Troy a sight, don't be a a oh man bab

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not once great champ now sunny and mopishness no longer

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the factory hungry still wait right? So many times people

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by a pathetic wash up age ax champion.

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Speaker 3: All right, let's go.

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Speaker 4: I think you know the guy, and I.

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Speaker 3: Think you know what, pretty dear? WHOA? His name is he?

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Speaker 5: Presley?

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Speaker 3: Press Presley? What's my name?

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Speaker 5: Say my name?

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Speaker 3: Bitch? My good friend? Is he Presley? Is he Presley?

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Speaker 5: Is Presley Couch?

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Speaker 6: Is he Presley?

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Speaker 2: WHOA?

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Speaker 4: That sounds a little weird?

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Speaker 3: Is he President?

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Speaker 2: Is he Presley?

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Speaker 4: Is he Presley?

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Speaker 6: The heaviest, gurthiest rocky j around. Hey, this is Jeffer.

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Speaker 4: You listen to Izzy Presley.

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Speaker 6: Those aren't pillows?

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Speaker 3: Hello, Las Vegas, Hello world, Hello, my loy minions.

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Speaker 6: Is good to see what it's always good to be seeing.

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I'm Mizzy Presley. I'm the host of the program, well

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one of the hosts. Uh Dawson will be joining us

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for the interview and Dawson's triumphant return. He is the

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co host of the program. Mike Dawson from the Adam

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Corolla Show, The Water Cooler and great stand up and

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of course the band that I'm lucky enough to be in,

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Mike Dawson and the Smoking Kills. We had a great

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time on Cruise of the Edge. I hope you guys

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enjoyed the interviews I put out Before that, we had Minnesota,

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Pete Campbell from Pentagram, and that new project called Ax Dragger.

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I always want to say grinder, ax grinder, but it's dragger.

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It's Ax Dragger. And then we had one before that

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as well, so I should probably know what that is.

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Do do do Do Do do do? Oh yeah, I

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can just fucking do that, all right. Oh ah oh

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Del James, Hello, Las Vegas, Hello world, hell my, hello

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Las Vegas, Hello world, Hello my loyal minions. It is

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good to see you. It's always good to be seen.

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I'm Issy Presley. I'm the host of the program currently

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right now alone, but that will change in just a

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little bit because Dawson's triumphant return, Ladies and gentlemen. That's right,

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Mike Dawson is back. He had family stuff he was

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dealing with, and he's back, and we are going to

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interview Daniel Buckspan. He's an author and he's put out

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a lot of great books. The current book is this

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Rush and twenty one to twelve fifty years. It is very, very,

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very well done. We're gonna get dived deep into that,

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and it's it's gonna be a Dawson fest because Dawson

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loves Rush. I am not a Rush guy, but you

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all know that, and that's okay. I appreciate good art,

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and this book is a piece of good art, and

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Dawson's gonna geek out on Rush. I'm gonna sit back

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and you know, just jump in when I have to

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jump in. I hope you guys enjoyed the shows that

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we had up. The Dell James Show was great, had

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the return of the Mighty Hall of Famer Paul Gargano,

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and last week with Minnesota Pete Campbell from AX Dragger,

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I always want to say grinder for some reason, Ax Grinder,

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but that sounds a little fruity, not though there's anything

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wrong with that. We will have this month's edition of

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Dating Tips from Porn Stars, and this month we are

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featuring the icon. I'm assuming she's in the Hall of

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Fame if there is a Hall of Fame, and I'm

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assuming a lot of you have painted your walls while

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enjoying her work. Ladies and gentlemen. Dudes, I mean we

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are going to be talking about rush, so it's mostly dudes.

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Speaker 3: The icon.

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Speaker 6: Christy Canyon. She will be doing dating tips from porn stars.

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Of course, those all recorded at the av Ens in

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January here in fabulous Las Vegas, Nevada. If you are

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hearing this or watching this Friday or Saturday, well kids,

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he could be listening to this ad free. He could

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have heard it on Monday night. That's right. If you

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had joined the Patreon Patreon dot com slash Realizzie Presley,

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it's only five dollars a month.

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Speaker 2: You get.

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Speaker 6: Four or so shows a week that are just for

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the Patreon, plus this show as well. But you get

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this before it comes out. You get an ad free.

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Why would you want to sit and listen to ads?

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I mean, you get all of this great content for

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only five dollars a month. Join the miniondom Be a Minion,

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Be a loyal Minion. Ladies and gentlemen, Patreon dot com

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slash Reelizzy Presley, it's right down here, writ down here,

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Come and join the fun. Find me on all the socials.

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Real Izzy Presley, Twitter, Instagram, at Facebook show page is

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another reform podcast on the Facebook. And if you are

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coming to Las Vegas, you're coming to fabulous Las Vegas.

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You're gonna get married. I can do that. I am

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a lesson deficient Ladies and gentlemen, folks, kind friends, hit

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me up. Is he Presley dot com. Everything can be

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found at Izzypresley dot com, even the cameo. You can

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get me on cameo if you want. So there's that,

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ladies and gentlemen. Without further do. We are going to

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go do dating tips from porn stars with the icon

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Christy Kanyon and right after that Daniel Bucksman talking about

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this great book Rush in twenty one to twelve fifty years.

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It is another fucking podcast.

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Speaker 3: And now it's time for dating tips from porn stars.

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Speaker 6: So I am with Kon and fellow shouted out Loudcaster

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Hall of Famer Christie Kanyon, and we are going to

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do dating tips.

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Speaker 5: From porn star from or for wo or from.

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Speaker 6: From So this is for losers like me.

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Speaker 1: You can't get dates, so you're connecting me to give

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you advice, Yes, funding anything to literally, it's all fun.

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Speaker 6: It's all fun. Question Number one. Do you prefer a

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cheesy pickup line, a subtle joke, or a random.

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Speaker 1: High subtle joke mixed with a random high no cheesy lines.

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Speaker 6: What's the best cheesy line you've ever heard?

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Speaker 5: Heaven must have lost an angel or something like that?

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Speaker 6: All right? So do you prefer the flirty long game

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or just a guy that's straight out blunt?

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Speaker 5: The flirting long game or what?

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Speaker 6: Or just a guy that's straight out blunt?

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Speaker 1: I'm straight out blunt, Like I'm seeing someone.

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Speaker 5: I'm like, oh, did I mention that you're my boyfriend?

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Speaker 2: Now?

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Speaker 5: I don't mess around.

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Speaker 4: I love it.

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Speaker 6: I love it. So first date? Would you prefer a

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low key dive bar, a high class dinner, or an activity?

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Speaker 5: Not an activity? Although I do go bowling. I like

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them all. I don't really care.

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Speaker 1: Actually I'll do first date, not in activity. I'm thinking

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a nice restaurant the first date, but I am down

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in dirty and I will go to the bar.

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Speaker 6: I love it.

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Speaker 5: Let's go eat and then go.

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Speaker 3: To a bar. All right.

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Speaker 6: So here's one for a lot of us in this

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day and age. What's the best way to break the

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ice online?

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Speaker 1: I'm gonna tell you something I have never dated online.

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I've never done a dating app. I don't personally because

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I'll see somebody at the market and I'm like, you're hot,

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let me go out, Like I'm very aggressive, So I'm

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not the right one to ask for that because I

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have never done online dating.

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Speaker 6: I'm glad it's there right right.

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Speaker 5: Great story is not so great, you know, but it's

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just he hasn't been in my bag yet.

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Speaker 6: And lastly, yes, does size matter?

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Speaker 1: Yes, I prefer five to seven inches porn. You know

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what is great for a scene for an hour. There

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was a weekend.

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Speaker 5: I bucked Sean Michaels all weekend in the nineties.

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Speaker 3: I couldn't walk.

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Speaker 5: And I think I had a boyfriend, and I'm like,

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I think I've been Houston, like I didn't. But I

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was like, I can't. I can't buff right now.

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Speaker 1: Like that's the thing, Like I don't mind big dick,

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but I prefer a solid average dick.

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Speaker 6: Side God bless.

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Speaker 5: You, and let me tell you I was on Serious

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XM for eighteen years.

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Speaker 1: Ninety percent of the girls who were asked that question,

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they're like, I don't want that big puffing ten inches

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every night. One or two of you're like, yeah, you

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get the better, and I'm like, I don't you know,

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I like a good, solid one because I could do

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you all night long.

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Speaker 2: I love it.

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Speaker 3: That was Dating Tips from Porn Stars. Now back to

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another podcast with Izzie Presley.

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Speaker 6: All right, ladies and gentlemen, we are back. That was

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Dating Tips from Porn Stars with the icon Christy Canyon.

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That's right recorded at the av Ends. And before we

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get into this, it is three sixteen and I did

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not do this. At the top of the show, Ladies

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and gentlemen, in the words of my close personal friends,

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don't col Steve Austin crack one for the working man. Ah,

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cheers boys. Wow.

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Speaker 3: By the way, it's ten thirty in the morning on Monday.

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Speaker 6: Well, I'm only having one. Ladies and gentlemen, welcome back

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to the show the co host and the Hall of

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Famer Mike Dawson from The Iao and the Water Cooler.

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It's good to be here and welcoming for the first

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time and hopefully not the last, because we do a

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lot of geek out music stuff on this show, Ladies

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and Gentlemen. Daniel bucks Ban has this great new book

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called Rush and twenty one twelve fifty years Yeah, very

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very cool stuff. First of all, Daniel, how long ago

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did you start doing this? And was it just a

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coincidence that this reunion door just happened?

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Speaker 4: It was a billion percent a coincidence. We had no

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idea they were planning that. We also had no idea

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that three days after the book comes out there's the

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grace under pressure box set. This all just happened. We

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intended none of it, but wow, did we get lucky

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that things weren't happen when they did? Yeah?

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Speaker 6: So right, right? When did you When did you start

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planning this? And what was what was the obviously the

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inspiration was twenty on twelve, fifty years? But when did

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that idea hit you? Because you've done other fifty years books,

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you did another Rush book, you did a maiden book,

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did a lot of stuff.

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Speaker 4: Well, I did Rush at fifty in twenty twenty four,

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and that's this career spanning thing, and I figured like, well,

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you know, that's it. I think I've said everything I

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have to say about this band. Then the publisher gets

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back to me a little while later and they're like,

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do you want to do a book about twenty one twelve?

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I did not hesitate it might have been a micro

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second of thought before I said yes, And honestly, if

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they asked me to do another one tomorrow, I would

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say yes. I just can go on about this band forever.

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Just ask my wife, I can go on about this

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band forever.

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Speaker 6: Yeah.

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Speaker 4: No, No. What was really interesting to me about it

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is usually if you're going to you know, isolate one

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Rush album as like the one to talk about, it's

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going to be Moving Pictures because that was their biggest hit.

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Tom Sawyer is on you know all that twenty one

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to twelve you know, is certainly by the fandom is

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considered a very important album for them, and you know,

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really the one that opened the door, but you just

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don't you don't see as much coverage of it, you know.

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So for me it was like, this is a really

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ripe opportunity to you know, get into a lot of

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different things that maybe some people even haven't talked about yet.

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Where with Moving Pictures, I think people have talked about it.

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Speaker 2: Well.

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Speaker 3: It is a lifelong argument amongst Rush fans, twenty one

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to twelve or Moving Pictures, and each of them are

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important in their own way. But regarding Daniel, what you

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said about it was just kind of a coincidence that

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this whole thing kind of happened with the fifty tour

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and all of that. A very good friend of mine,

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Angela Petrelli, said to me the other day, she said,

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life is always on time. Yeah, so you know there

237
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is no coincidence. It's happening when it's supposed to happen.

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And I gotta tell you, man, this was supposed to happen.

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Speaker 4: Thank you.

240
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Speaker 3: I have never been so thrilled to get something in

241
00:15:01,679 --> 00:15:04,120
the mail as I was to get Rush in twenty one,

242
00:15:04,200 --> 00:15:08,879
twelve fifty years now. First question that I have for you, Daniel,

243
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is who is the greatest band in the world and

244
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why is it Rush?

245
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Speaker 4: Oh? Okay, I long ago stopped having a favorite band

246
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or greatest band in the world, just because you will

247
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get into an argument every time. And I'm fifty six

248
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years old and you know enough already. But you know,

249
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I mean Rush. You know who certainly are in like

250
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probably my top three, I would have to say, you know,

251
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just obviously their world class, elite musicians. You cannot do

252
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better than these guys. And obviously the songwriting is there

253
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and you know, all of it, everything is there that

254
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you want to be there but there's something else, and

255
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I talked about it a little bit at the beginning

256
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of the book where the Terry Brown era, you know,

257
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like the first nine records. Basically, there's a specific sound

258
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to that, yes, and a specific atmosphere to that that

259
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you know, people who listen to them a lot are

260
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sensitive to and get a little something extra out of it.

261
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To this day, I couldn't really tell you what it is.

262
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I don't know what that secret sauce was that makes

263
00:16:22,519 --> 00:16:27,919
those records what they are. But you know, that's part

264
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of why to me, they're one of the greatest bands

265
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in the world. It's not just you know, the things

266
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that they obviously do. There's also subtleties and details that

267
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as you get to be a fan over the years

268
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you start to notice and pick up on. And there's

269
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also just so much depth to what they're doing, you know.

270
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You know, I mean obviously that you know, they have

271
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stuff like I think I'm going bald, you know, which

272
00:16:51,519 --> 00:16:56,480
is a little throwaway. Yeah, but see I'm talking to

273
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you like you know everything, But yes, I should remember

274
00:17:01,000 --> 00:17:04,119
you may have listeners who tuned in for Christy Kanyon

275
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who don't know Russia's all right.

276
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Speaker 6: I just figured, you know, because it's going to be

277
00:17:08,599 --> 00:17:12,000
a predominantly male, you know, a male audience for this.

278
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And props to being a Rush fan who has a wife,

279
00:17:14,160 --> 00:17:18,200
by the way, thank you. I think this is a

280
00:17:18,240 --> 00:17:20,240
good one to have Christy Canyon on because it might

281
00:17:20,319 --> 00:17:22,359
draw some more dudes in, you know, why not?

282
00:17:22,599 --> 00:17:26,240
Speaker 4: Oh yeah, totally, No, there's there's probably a pipeline there

283
00:17:26,400 --> 00:17:31,680
for sure. Sorry, uh no, but I mean there's there's

284
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just a lot of depth to what they do, and

285
00:17:33,559 --> 00:17:36,799
there's a and you know, I've been listening to them

286
00:17:36,880 --> 00:17:40,400
now for decades, and what I loved about them when

287
00:17:40,440 --> 00:17:42,559
I first heard them, that's still there for me. But

288
00:17:42,680 --> 00:17:46,279
as the years have gone by, you know, I feel

289
00:17:46,359 --> 00:17:50,240
like they've the experience of listening to their music has

290
00:17:50,359 --> 00:17:54,279
evolved with me to the point where now I'm fifty

291
00:17:54,359 --> 00:17:57,200
six years old and I'm not only still get out

292
00:17:57,240 --> 00:18:00,000
of it what I got out of it the first.

293
00:18:00,680 --> 00:18:03,720
Speaker 6: But when the first time? What when was your what

294
00:18:03,920 --> 00:18:07,279
was your starting point with Rush? I'll admit it, I'm

295
00:18:07,359 --> 00:18:10,240
not a Rush guy, but I appreciate good art, and

296
00:18:10,400 --> 00:18:14,119
this book is great art. It's phenomenal. But what is

297
00:18:14,200 --> 00:18:16,839
your starting point? Where's your jump in point? With Rush.

298
00:18:17,200 --> 00:18:19,799
Speaker 4: Well, I mean the very first thing I ever heard

299
00:18:20,200 --> 00:18:23,319
was it was the music video for Distant and Early Warning,

300
00:18:24,279 --> 00:18:25,200
Grace under Pressure.

301
00:18:25,440 --> 00:18:28,000
Speaker 3: I was in the glory days of MTV, yeah, and

302
00:18:28,119 --> 00:18:28,480
I mean.

303
00:18:28,720 --> 00:18:32,359
Speaker 4: That's you know, I'm gen X and like all all

304
00:18:32,440 --> 00:18:34,880
the music that really made its way to me when

305
00:18:34,880 --> 00:18:37,920
I was a teenager was not all of it, but

306
00:18:38,039 --> 00:18:40,720
a lot of it was through MTV. I thought it

307
00:18:40,759 --> 00:18:43,759
was a really interesting video. The song was good. You

308
00:18:43,880 --> 00:18:46,319
can't beat the little kid writing the bomb on the

309
00:18:46,359 --> 00:18:48,839
way down, you know, But for whatever reason, it just

310
00:18:48,960 --> 00:18:53,000
it didn't totally make the sale. What made the sale

311
00:18:53,319 --> 00:18:58,440
was hearing the song free Will on Permanent Waves and

312
00:18:58,960 --> 00:19:03,640
that guitar soul. The second I heard that, I was

313
00:19:03,720 --> 00:19:07,240
in and I never came out, and I don't want

314
00:19:07,279 --> 00:19:10,079
to come out, you know. It was just I was

315
00:19:10,200 --> 00:19:12,359
so blown away by it. And you know, I mean,

316
00:19:12,400 --> 00:19:15,279
I knew they were great musicians already, and I certainly

317
00:19:15,480 --> 00:19:18,519
they could play, but there was just something about that

318
00:19:18,680 --> 00:19:21,160
one little moment where you know, when he's going to

319
00:19:21,799 --> 00:19:24,640
I can't It's like thirty second notes or sixty fourth

320
00:19:24,759 --> 00:19:29,440
notes or something like that, and I just couldn't believe

321
00:19:29,880 --> 00:19:34,680
my fortune. You know that something like this existed, and

322
00:19:35,119 --> 00:19:37,200
I still get that from them a lot, where I'll

323
00:19:37,240 --> 00:19:39,039
be listening to them and it's like, this is so good,

324
00:19:39,119 --> 00:19:43,519
I can't believe it exists. That's rare, That is very rare.

325
00:19:43,640 --> 00:19:45,279
You do not get that a lot with you know,

326
00:19:45,440 --> 00:19:50,279
maybe maybe the Beatles, maybe Black Sabbath, not too many

327
00:19:50,359 --> 00:19:52,680
other people, you know, And but you know, Russia just

328
00:19:52,720 --> 00:19:56,359
so distinct and so unique in what they do that

329
00:19:56,559 --> 00:19:58,240
in my view, they just they don't really have a

330
00:19:58,279 --> 00:20:01,079
lot of competition. Nothing, nothing else really sounds like that,

331
00:20:02,599 --> 00:20:05,880
even bands who cite them as a primary influence, you know,

332
00:20:05,960 --> 00:20:09,960
a dream Theater for example. When I listen to them,

333
00:20:10,079 --> 00:20:13,200
I can tell they've listened to Rush and have kind

334
00:20:13,240 --> 00:20:16,039
of taken it all in. But they don't sound like them, right,

335
00:20:16,319 --> 00:20:19,839
No one sounds like them to this day, you know.

336
00:20:19,920 --> 00:20:23,880
And they've stayed that way that which is incredible. You know,

337
00:20:23,960 --> 00:20:26,680
They've they've always been a little bit on the outside

338
00:20:26,799 --> 00:20:31,920
and a little bit of a cult, but massively popular

339
00:20:32,000 --> 00:20:35,400
at the same time. So you can't really compare them

340
00:20:35,400 --> 00:20:37,720
to anybody. I don't think there's no one I can

341
00:20:37,799 --> 00:20:41,400
think of except maybe the Grateful Dead that has been

342
00:20:41,559 --> 00:20:45,400
so outside the mainstream and it doesn't matter at all.

343
00:20:45,960 --> 00:20:49,759
Speaker 3: Right, Well, one thing I would say to add to that,

344
00:20:49,960 --> 00:20:53,440
one difference between Rush and say the Grateful Dead is

345
00:20:53,519 --> 00:20:56,400
the Grateful Dead always had that Grateful Dead sound. Yeah,

346
00:20:56,519 --> 00:20:59,720
Grateful Dead was always the Grateful Dead consistently all the

347
00:20:59,799 --> 00:21:02,200
way through. You know what You're gonna get. One thing

348
00:21:02,279 --> 00:21:04,279
that you point out in the introduction to this book,

349
00:21:04,279 --> 00:21:07,039
and I just want to read this. The three members

350
00:21:07,079 --> 00:21:11,160
of Rush were uncompromising in their pursuit of stylistic change.

351
00:21:11,799 --> 00:21:16,559
So you can't really say there's a Rush sound. It

352
00:21:16,720 --> 00:21:21,000
was always evolving. And as we get to this fourth

353
00:21:21,200 --> 00:21:26,119
studio album, twenty one to twelve, although it is very

354
00:21:26,240 --> 00:21:32,039
similar from some songs on previous works, this was a

355
00:21:32,200 --> 00:21:36,680
whole new thing. And the story of how twenty one

356
00:21:36,799 --> 00:21:39,319
twelve came to be, I mean, can you get into

357
00:21:39,400 --> 00:21:43,119
this a little bit, Daniel. Because Rush was in trouble,

358
00:21:44,799 --> 00:21:48,759
they were not going to be re signed. The label

359
00:21:48,960 --> 00:21:53,079
is begging them for a hit, and what do they do.

360
00:21:54,319 --> 00:21:58,720
Speaker 4: Uh, they gave them one actually wow, but not but

361
00:21:58,920 --> 00:22:01,799
not the wave label asked for it, you know, like

362
00:22:02,160 --> 00:22:05,480
we want to hit single all that. And what I've

363
00:22:05,559 --> 00:22:09,200
been saying is that the twenty one to twelve suite itself,

364
00:22:09,359 --> 00:22:13,000
all twenty minutes of it. That was the single that

365
00:22:13,480 --> 00:22:16,880
was the world's longest single. But that it did it,

366
00:22:17,000 --> 00:22:18,759
you know, that's what opened the door for them, And

367
00:22:19,119 --> 00:22:21,559
it did for them what a single is supposed to.

368
00:22:21,640 --> 00:22:24,480
Like it did for them what death did for Kiss.

369
00:22:26,039 --> 00:22:27,880
That opened the you know, and that was an accident,

370
00:22:28,039 --> 00:22:30,519
you know, Yeah, that was the B side, I.

371
00:22:30,559 --> 00:22:33,160
Speaker 6: Think, yeah B side Detroit Rock City, I'm a Kiss start.

372
00:22:33,079 --> 00:22:36,920
Speaker 4: Right, Oh, okay, no, but you know what I mean,

373
00:22:37,279 --> 00:22:41,839
they just rushed, just were not consciously looking for that.

374
00:22:42,079 --> 00:22:45,640
And I think the idea of like, okay, we have

375
00:22:45,759 --> 00:22:48,359
to sit down and somehow come up with like, you know,

376
00:22:48,559 --> 00:22:52,359
three minutes of music that you know they consider alongside

377
00:22:52,480 --> 00:22:56,200
like the Bay City Rollers and Debbie Boone and you know,

378
00:22:56,400 --> 00:22:58,599
the stuff that was on the radio that I just

379
00:22:58,680 --> 00:23:02,880
can't picture that unless someone else wrote the song for them,

380
00:23:03,240 --> 00:23:05,640
like you know, like like if Desmond Child came and

381
00:23:05,720 --> 00:23:09,079
never wrote a song, maybe, right, but that's it's just

382
00:23:09,200 --> 00:23:12,880
not who they were. And yeah, I mean their attitude

383
00:23:13,039 --> 00:23:16,559
was like, we don't do that. We do not want

384
00:23:16,599 --> 00:23:20,240
to compromise one bit on our music, and let's just

385
00:23:20,359 --> 00:23:23,079
make a record we really believe in, and if it's

386
00:23:24,200 --> 00:23:26,920
a disaster, then at least we made a record we like,

387
00:23:28,279 --> 00:23:30,200
you know, because there's also the you can make us

388
00:23:30,400 --> 00:23:32,559
a hit single and do all this stuff the label

389
00:23:32,640 --> 00:23:35,279
is asking for, and the record still doesn't sell. It's

390
00:23:35,359 --> 00:23:37,440
no guarantee of anything, you know. I'm mean, I don't

391
00:23:37,480 --> 00:23:41,079
have to tell you guys about the millions of bands

392
00:23:41,160 --> 00:23:43,519
with the label behind them and lots of money, and

393
00:23:43,920 --> 00:23:47,519
it's the public still has to like it, that's the thing.

394
00:23:48,559 --> 00:23:52,039
And the public liked twenty one to twelve. And if anything,

395
00:23:52,119 --> 00:23:54,400
what I've noticed about Rush is as long as there

396
00:23:54,480 --> 00:23:58,480
was some kind of direct line from the music to

397
00:23:58,720 --> 00:24:01,640
the fans, it was successful. Like you know the famous

398
00:24:01,720 --> 00:24:08,200
story of WMMS Cleveland DJ Donna Helper playing working Man

399
00:24:08,319 --> 00:24:10,519
for the first time. They weren't even on a label

400
00:24:10,720 --> 00:24:12,960
at the time because no one liked them or wanted

401
00:24:13,000 --> 00:24:16,559
to touch them. But she puts she puts on working Man,

402
00:24:16,799 --> 00:24:21,160
the phone's light up. And as long as Rush music

403
00:24:22,720 --> 00:24:27,279
has a direct line to Rush fans, it works. Just

404
00:24:27,359 --> 00:24:29,480
the industry has to get out of the way. That's

405
00:24:29,640 --> 00:24:34,839
that's really the thing. I generally absolutely hate the music

406
00:24:34,920 --> 00:24:39,039
industry and think all they do is ruin music. What's

407
00:24:39,079 --> 00:24:40,839
going on right now with the Rock and Roll Hall

408
00:24:40,880 --> 00:24:45,039
of Fame and who they're inducting and not inducting, to me,

409
00:24:45,200 --> 00:24:48,000
goes a long way towards saying the music industry doesn't

410
00:24:48,039 --> 00:24:49,200
care about music.

411
00:24:49,559 --> 00:24:53,920
Speaker 3: Right now, that's a whole nother That's a whole other podcast, is.

412
00:24:53,960 --> 00:24:57,680
Speaker 4: It though, Because I mean the music that's lasted like that,

413
00:24:57,799 --> 00:24:59,079
you know what I mean, A lot of it is

414
00:24:59,160 --> 00:25:01,799
in my book, you know, like Iron Maiden. It doesn't

415
00:25:01,839 --> 00:25:03,440
matter if they don't get into the Rock and Roll

416
00:25:03,480 --> 00:25:06,680
Hall of Fame. In fact, I feel like they should

417
00:25:06,720 --> 00:25:09,880
be proud not to. That means the music is good

418
00:25:09,960 --> 00:25:12,480
in my opinion. And the only reason and the only

419
00:25:12,519 --> 00:25:15,720
reason Rush got in is because the fans did this

420
00:25:16,000 --> 00:25:22,039
massive write in campaign for years, right So they've always

421
00:25:22,039 --> 00:25:24,200
been cool with the fans, and they've always been cool

422
00:25:24,279 --> 00:25:27,559
with the people who actually go out there and buy records,

423
00:25:29,160 --> 00:25:32,559
you know, and getting recognized by you know, the August

424
00:25:32,759 --> 00:25:36,000
body that is the Rock Hall is just not important.

425
00:25:36,079 --> 00:25:37,599
And I don't think they ever cared. You know, they

426
00:25:37,640 --> 00:25:39,960
were happy to get the award, but they don't. They

427
00:25:40,039 --> 00:25:41,240
just don't care about that stuff.

428
00:25:41,240 --> 00:25:46,039
Speaker 3: They care about as exemplified in Alex Livesen's acceptance speech,

429
00:25:46,599 --> 00:25:49,039
where all he said was blah blah blah blah blah

430
00:25:49,480 --> 00:25:50,759
for about three and a half minutes.

431
00:25:51,200 --> 00:25:53,519
Speaker 4: Yeah, I mean he said that was just for fun

432
00:25:53,640 --> 00:25:56,880
and like as a joke, But I really interpret it

433
00:25:57,039 --> 00:26:00,279
as like he is giving the Rock and Or Hall

434
00:26:00,319 --> 00:26:03,440
of Fame with this speech exactly the amount of respect

435
00:26:03,519 --> 00:26:08,240
they deserve, which is none. Yes, and and God bless

436
00:26:08,359 --> 00:26:11,240
him for that. No, But I mean, I mean, if

437
00:26:11,279 --> 00:26:13,200
none of that had happened, if they had never gotten

438
00:26:13,400 --> 00:26:16,960
you know, if they were never recognized by critics, we

439
00:26:17,480 --> 00:26:20,400
wouldn't care. It's not about that and it's not about

440
00:26:20,400 --> 00:26:22,559
the industry. And you know, I would say the same

441
00:26:23,480 --> 00:26:26,640
is true of Kiss and a lot of bands where

442
00:26:26,759 --> 00:26:31,440
they you know, zero respect, but the fans will go

443
00:26:31,559 --> 00:26:34,079
to the mat for them. To me, those are just

444
00:26:34,160 --> 00:26:36,920
always the best bands are the ones where it's it's

445
00:26:37,279 --> 00:26:41,359
just about the music and nothing else those few people

446
00:26:41,480 --> 00:26:41,839
listen to.

447
00:26:42,480 --> 00:26:46,279
Speaker 3: Yeah, you had mentioned Terry Brown earlier and that that

448
00:26:46,440 --> 00:26:48,480
he had, you know, worked with Rush for the first

449
00:26:48,759 --> 00:26:56,799
nine records. Was he almost are these records possible or

450
00:26:56,880 --> 00:26:59,440
would they sound the same without him? And is he

451
00:26:59,519 --> 00:27:02,440
almost at this point a fourth member of Rush.

452
00:27:04,799 --> 00:27:07,720
Speaker 4: I mean they characterized him that way, you know, And

453
00:27:07,880 --> 00:27:10,160
I repeated in the book, you know, I mean you

454
00:27:10,640 --> 00:27:13,000
have to be a little sensitive about that, you know,

455
00:27:13,039 --> 00:27:15,079
because like if you talk about like the Beatles and

456
00:27:15,200 --> 00:27:18,680
George Martin, you have to get to how much of

457
00:27:18,799 --> 00:27:22,039
that was George Martin and how much of that was

458
00:27:22,079 --> 00:27:25,039
the Beatles. And I have made a lot of people

459
00:27:25,240 --> 00:27:29,000
very upset by saying all the really good stuff that

460
00:27:29,200 --> 00:27:32,599
was George Martin. I can see your phones lighting up

461
00:27:32,680 --> 00:27:36,880
right now. And the less he was involved, I just

462
00:27:37,079 --> 00:27:40,079
felt like the quality sort of fell off. And so

463
00:27:40,680 --> 00:27:44,160
to me, he's the fifth Beatle and needed to be

464
00:27:45,480 --> 00:27:48,920
with Terry, it's a little different, you know. I had

465
00:27:49,000 --> 00:27:52,359
the privilege of interviewing the guy who's a gentleman of

466
00:27:52,440 --> 00:27:57,279
the highest order, and he just really saw it as like, no,

467
00:27:57,359 --> 00:28:00,359
it was just a fun collaborative at misps fear in

468
00:28:00,440 --> 00:28:05,759
the studio, and they were willing to work in spontaneous ideas,

469
00:28:06,119 --> 00:28:10,119
Like they came in totally prepared, and everyone I've ever

470
00:28:10,240 --> 00:28:12,079
talked to who worked with the band said they were

471
00:28:12,160 --> 00:28:15,640
the most prepared band they've ever worked with. Like there

472
00:28:15,720 --> 00:28:19,359
was there was no like, oh I don't know, we'll

473
00:28:19,400 --> 00:28:21,279
figure it out in the studio. Like they just didn't

474
00:28:21,319 --> 00:28:26,039
do that, but they were totally willing if some cool

475
00:28:26,119 --> 00:28:29,559
idea came up to throw it on the record. You know,

476
00:28:29,759 --> 00:28:34,119
the song tears on side two has this melotron arrangement

477
00:28:34,240 --> 00:28:37,319
by Hugh Syme, who did all their album covers, and

478
00:28:37,519 --> 00:28:39,559
that just came about because they're you know, they're sitting

479
00:28:39,599 --> 00:28:43,079
there tracking the song. Hugh Simeon is in the studio

480
00:28:43,200 --> 00:28:46,000
because he was he would hang out in the studio

481
00:28:46,079 --> 00:28:47,519
with them, and that was just sort of the nature

482
00:28:47,559 --> 00:28:50,720
of the relationship. And he goes, oh, you know, maybe

483
00:28:50,759 --> 00:28:53,799
some flutes might be nice, he or something something and

484
00:28:54,200 --> 00:28:58,160
he and the response is, oh, go down the hall

485
00:28:58,279 --> 00:29:00,960
to the piano and work some thing out and we'll

486
00:29:00,960 --> 00:29:01,920
put that on the record.

487
00:29:02,880 --> 00:29:03,279
Speaker 6: He did.

488
00:29:03,720 --> 00:29:06,359
Speaker 4: They loved it, and that's what you hear today. And

489
00:29:06,480 --> 00:29:08,400
there was a lot of that, and you know, I

490
00:29:08,799 --> 00:29:13,119
my concept of Rush was just, you know, no no

491
00:29:13,319 --> 00:29:18,799
spontaneites allowed, no smiling. Everything is very serious, you know,

492
00:29:19,200 --> 00:29:21,720
follow the diagram for how everything is supposed to go.

493
00:29:21,880 --> 00:29:25,319
You know, I think that's how they're perceived a lot. Yeah, yeah, uh,

494
00:29:25,440 --> 00:29:26,400
and it's just not true.

495
00:29:26,599 --> 00:29:26,720
Speaker 3: Uh.

496
00:29:27,279 --> 00:29:30,279
Speaker 4: It was, you know, according to Terry, it was a

497
00:29:30,400 --> 00:29:33,880
very fun atmosphere. And everyone I talked to for both

498
00:29:33,960 --> 00:29:38,079
books said those three guys were just funny like that,

499
00:29:38,319 --> 00:29:43,079
like hilariously funny. One of the guys said, gut bustingly funny.

500
00:29:43,680 --> 00:29:45,960
That it was like working with the Three Stooges, you know,

501
00:29:46,160 --> 00:29:49,559
just not just not at all what you would think,

502
00:29:50,079 --> 00:29:52,480
right uh, you know, and to this day, you know,

503
00:29:52,640 --> 00:29:55,400
they they have a sense of humor. I think they

504
00:29:55,559 --> 00:29:58,440
surprised a lot of people with you know, like Trailer

505
00:29:58,519 --> 00:30:02,680
Park Boys exactly. Yeah, you know, their association with the

506
00:30:02,759 --> 00:30:06,400
South Park guys. But they were always like that, you know.

507
00:30:06,440 --> 00:30:09,000
I mean even in nineteen eighty one they did something

508
00:30:09,039 --> 00:30:09,799
with se TV.

509
00:30:10,119 --> 00:30:11,960
Speaker 6: You know, yeah take off.

510
00:30:13,039 --> 00:30:17,000
Speaker 4: It's a beautique way to go take off. Yeah. But

511
00:30:17,200 --> 00:30:19,720
you know, but I think for a lot of people

512
00:30:19,839 --> 00:30:23,400
they just believe, like this music is so serious and

513
00:30:23,640 --> 00:30:26,960
so complex, there's no way you would ever see these

514
00:30:27,000 --> 00:30:29,359
guys crack a smile right right.

515
00:30:29,480 --> 00:30:31,839
Speaker 6: Not to It even goes down to that last tour

516
00:30:31,960 --> 00:30:35,599
they did where they changed the set, change the background,

517
00:30:35,680 --> 00:30:37,480
and I think the last set they had like a

518
00:30:37,640 --> 00:30:41,799
fucking washing machine on stage, you know, do a laundry.

519
00:30:42,119 --> 00:30:44,200
Speaker 4: Yeah, well that that was because someone told them, you

520
00:30:44,279 --> 00:30:46,319
need you need a better stage show, you need to

521
00:30:46,359 --> 00:30:48,599
put some stuff on your stage. So they so they

522
00:30:48,680 --> 00:30:52,920
put washing machines. Yeah, and I think they did rotisserie

523
00:30:53,119 --> 00:30:53,839
chickens once.

524
00:30:53,960 --> 00:30:56,480
Speaker 3: Yes, yes, yes, you know there's.

525
00:30:58,039 --> 00:31:00,839
Speaker 4: It all means they're not playing the game, right and

526
00:31:01,400 --> 00:31:05,319
they're doing they're being themselves. Yes, you know so, and

527
00:31:05,519 --> 00:31:08,079
that's great, you know, that's I wish we had more

528
00:31:08,119 --> 00:31:08,799
of that out there.

529
00:31:09,559 --> 00:31:12,119
Speaker 3: Taking it back to not playing the game and the

530
00:31:12,240 --> 00:31:15,039
recording of twenty one twelve. First of all, just if

531
00:31:15,079 --> 00:31:18,000
you could remind us about how long it took Rush

532
00:31:18,079 --> 00:31:21,000
to produce this record and where they recorded it. I

533
00:31:21,079 --> 00:31:21,720
don't remember.

534
00:31:22,920 --> 00:31:26,640
Speaker 4: They recorded it at the studio in more In Heights

535
00:31:27,799 --> 00:31:32,279
in Quebec, I believe, and it took them about a month, okay.

536
00:31:33,039 --> 00:31:35,920
Speaker 3: And when you hear that that it took them a month,

537
00:31:36,079 --> 00:31:39,599
that's like a relatively short time.

538
00:31:39,839 --> 00:31:43,359
Speaker 4: That's nothing. That's nothing. You know, you hear about these

539
00:31:43,400 --> 00:31:45,359
albums now where it's like we were in the studio

540
00:31:45,480 --> 00:31:46,680
for three years.

541
00:31:46,799 --> 00:31:49,599
Speaker 3: Right, right, that's what I believe took three years to

542
00:31:49,680 --> 00:31:50,440
do the long run.

543
00:31:51,200 --> 00:31:53,559
Speaker 4: How about Chinese democracy.

544
00:31:53,279 --> 00:31:56,799
Speaker 3: Right, yeah, dude, China will have democracy before we'll have

545
00:31:56,920 --> 00:31:57,400
that record.

546
00:31:57,480 --> 00:31:59,519
Speaker 4: Yeah, you know, I mean it's it's there's I don't

547
00:31:59,559 --> 00:32:01,640
know if you have heard that record when it came out,

548
00:32:01,720 --> 00:32:03,960
but my god, there's just nothing about that.

549
00:32:04,039 --> 00:32:06,519
Speaker 6: That should have taken that right right exactly.

550
00:32:07,160 --> 00:32:09,680
Speaker 4: But you know, they but you know, no one talks

551
00:32:09,680 --> 00:32:12,839
about Guns N' Roses as the most prepared band they've

552
00:32:12,880 --> 00:32:15,599
ever worked with, who had demo's ready when they got

553
00:32:15,640 --> 00:32:18,519
to the studio. It's a different animal entirely.

554
00:32:18,839 --> 00:32:21,119
Speaker 6: Well it was. It was also a different time too,

555
00:32:21,160 --> 00:32:24,200
because you always, you know, keep going back to kiss

556
00:32:24,440 --> 00:32:26,400
and I can't count past Peter Chris, which is one

557
00:32:26,440 --> 00:32:29,920
of the reasons I'm not a rush guy. But but

558
00:32:30,160 --> 00:32:33,279
like you know, three two albums a year, you know,

559
00:32:33,559 --> 00:32:36,039
you would get off tour, go in the studio, go

560
00:32:36,160 --> 00:32:37,640
back on tour, and it was like they were right

561
00:32:37,680 --> 00:32:40,039
in the studio, right on tour and then boom, there

562
00:32:40,039 --> 00:32:42,039
it is, let's get back. And that's kind of what

563
00:32:42,160 --> 00:32:44,559
it was in the seventies. So you know, in fact,

564
00:32:44,599 --> 00:32:46,799
it only took him a month to get do this.

565
00:32:47,720 --> 00:32:52,319
It's not really shocking to me considering the time it was.

566
00:32:53,279 --> 00:32:56,440
Speaker 4: They had two albums in nineteen seventy five rushed it.

567
00:32:56,799 --> 00:33:00,519
They had fly by Night and Corressive Steel and the

568
00:33:00,599 --> 00:33:06,000
great author Martin Popoff, who I have the great fortune

569
00:33:06,000 --> 00:33:08,799
actually to be promoting my book at That's exactly what

570
00:33:08,920 --> 00:33:12,039
I was getting to. You know, the fact that they

571
00:33:12,119 --> 00:33:16,200
recorded Destroyer and Rock and roll Over, which are two

572
00:33:16,279 --> 00:33:22,279
of their like seminole albums, in the same year. That's crazy,

573
00:33:22,519 --> 00:33:25,640
that's absolutely and then you know, and a live album

574
00:33:25,799 --> 00:33:30,759
was also expected, and and you know, it's just crazy busy.

575
00:33:31,400 --> 00:33:33,640
But you know, the Beatles did two albums a year,

576
00:33:33,920 --> 00:33:35,640
and you know, for a while that was that was

577
00:33:35,720 --> 00:33:39,440
the norm, that was expected. But no, we're not, We're

578
00:33:39,519 --> 00:33:41,480
not living in that time anymore. For it.

579
00:33:41,599 --> 00:33:46,519
Speaker 6: Well, actually, you know, from what I'm gathering, twenty one

580
00:33:46,559 --> 00:33:49,640
to twelve is kind of like kiss Alive because it

581
00:33:49,759 --> 00:33:54,279
was their last chance and it was right place, right

582
00:33:54,400 --> 00:33:55,079
time it hit.

583
00:33:56,000 --> 00:33:58,759
Speaker 4: Yeah, well that's exactly right. And you know, but I

584
00:33:58,839 --> 00:34:00,799
mean again, it goes to show that never really know

585
00:34:01,079 --> 00:34:04,160
what people are going to respond to. You know, there's

586
00:34:04,240 --> 00:34:07,680
not a lot of enthusiasm today for double live albums,

587
00:34:08,400 --> 00:34:10,880
but at the time, you know, and you know, I

588
00:34:10,960 --> 00:34:15,559
think kiss Alive is why Rush made their live album

589
00:34:15,679 --> 00:34:18,000
All the World to stage The following year was like

590
00:34:18,159 --> 00:34:21,920
kiss a live hit, Frampton Comes Alive comes out, and

591
00:34:22,079 --> 00:34:25,119
just generally it's like, oh, double live albums. Everyone's got

592
00:34:25,159 --> 00:34:26,880
to have one, right that.

593
00:34:27,039 --> 00:34:27,199
Speaker 2: You know?

594
00:34:27,840 --> 00:34:30,480
Speaker 4: They I think the way it went was twenty one

595
00:34:30,519 --> 00:34:34,800
to twelve comes out April first, nineteen seventy six. In

596
00:34:35,039 --> 00:34:39,360
June they record these concerts at Massey Hall in Toronto,

597
00:34:40,159 --> 00:34:43,320
and in September they're released as All the World of Stage.

598
00:34:43,360 --> 00:34:48,360
So that's that's not even six months. That's bonkers. I

599
00:34:48,440 --> 00:34:49,920
can't even imagine.

600
00:34:49,519 --> 00:34:49,880
Speaker 2: That, you know.

601
00:34:50,960 --> 00:34:53,119
Speaker 4: But the fact is it's one of their best studio

602
00:34:53,239 --> 00:34:56,400
albums and one of their best live albums. So maybe

603
00:34:56,480 --> 00:35:01,039
there's just something about the constant activity that too sharp

604
00:35:01,800 --> 00:35:04,760
and really producing good stuff, you know. I don't. I

605
00:35:04,800 --> 00:35:09,119
don't know if waiting ten years between albums really helps.

606
00:35:09,199 --> 00:35:11,039
I don't, you know. There there are not a lot

607
00:35:11,079 --> 00:35:13,760
of albums I can think of where there was like

608
00:35:13,840 --> 00:35:15,840
a ten year break or something like that where what

609
00:35:15,960 --> 00:35:19,719
they came back with was worth waiting ten years, you know, right.

610
00:35:19,679 --> 00:35:23,519
Speaker 3: Well, it was funny, Well I've heard it.

611
00:35:24,280 --> 00:35:27,159
Speaker 6: I was just gonna make a point. But like even today,

612
00:35:28,079 --> 00:35:30,599
La Guns puts out a record every year, you know,

613
00:35:30,679 --> 00:35:33,480
there's they're still at it, you know, and I love

614
00:35:33,559 --> 00:35:35,199
that there's a band that does at Dawson. What did

615
00:35:35,239 --> 00:35:35,920
you what did you have?

616
00:35:36,440 --> 00:35:36,559
Speaker 4: Well?

617
00:35:36,599 --> 00:35:40,360
Speaker 3: One of the things that I was taught or was

618
00:35:40,480 --> 00:35:43,639
floated to me in audio engineering school is that records

619
00:35:44,079 --> 00:35:49,119
aren't really released. They escape. Yeah, and you could be

620
00:35:49,239 --> 00:35:51,159
working on a record forever and ever and ever. I

621
00:35:51,199 --> 00:35:54,920
think Rush is the only band that has produced and

622
00:35:55,079 --> 00:35:59,039
released so many perfect records.

623
00:35:59,599 --> 00:36:03,000
Speaker 4: Yeah, they wouldn't release them unless they felt like these

624
00:36:03,039 --> 00:36:06,199
are ready to go, you know. Getty did say once

625
00:36:06,400 --> 00:36:09,519
like they do have to take it away from me eventually, yes,

626
00:36:09,639 --> 00:36:15,239
those otherwise I'll just be fiddling forever. But even so,

627
00:36:15,559 --> 00:36:18,679
you know, I mean there are like Barry Gibb of

628
00:36:18,880 --> 00:36:22,400
the Bejesu is said to be this like notorious perfectionist

629
00:36:22,480 --> 00:36:26,440
who will just take forever with every you know, and

630
00:36:26,519 --> 00:36:29,079
I mean a lot of it. You can't really argue

631
00:36:29,159 --> 00:36:32,639
with the results. A lot of it. You can argue

632
00:36:32,760 --> 00:36:35,199
with the results, you know, because some of it is garbage,

633
00:36:36,480 --> 00:36:39,960
but some of it is a masterpiece, you know. But

634
00:36:40,199 --> 00:36:42,519
it all just comes I think a lot of it

635
00:36:42,639 --> 00:36:46,400
just comes down to the production schedule. My production schedule

636
00:36:46,519 --> 00:36:49,760
for this book was kind of aggressive, but that really

637
00:36:49,840 --> 00:36:52,320
helped me like focus and bear down and do what

638
00:36:52,440 --> 00:36:56,400
I needed to do. And I had another manuscript right

639
00:36:56,480 --> 00:37:00,599
after that. And I've found being constantly izzy like that

640
00:37:00,800 --> 00:37:03,760
is really good for my writing, and it's probably really

641
00:37:03,800 --> 00:37:07,159
good for musicians too, to just it's going, going, going.

642
00:37:07,800 --> 00:37:08,559
Speaker 6: You know a lot of.

643
00:37:08,639 --> 00:37:12,559
Speaker 4: Musicians who I really admire, like Neil Young, Willie Nelson,

644
00:37:12,719 --> 00:37:15,199
they're still Willie Nelson. I think it's on his one

645
00:37:15,320 --> 00:37:18,679
hundred and fiftieth album or something like that, right, And

646
00:37:18,800 --> 00:37:22,519
it's it's about just keeping it going and being a

647
00:37:22,639 --> 00:37:26,119
musician and living that life and just getting this product

648
00:37:26,159 --> 00:37:29,039
out there. And maybe people don't like it today, but

649
00:37:29,159 --> 00:37:32,559
in twenty years they'll discover it and it's great. It's

650
00:37:32,679 --> 00:37:36,800
for the ages, you know. But yeah, just again, the

651
00:37:36,880 --> 00:37:41,079
bands who like you know, like Metallica, taking years and

652
00:37:41,199 --> 00:37:44,519
years and years between albums, I just don't know that

653
00:37:44,679 --> 00:37:45,599
the results are there.

654
00:37:46,079 --> 00:37:46,679
Speaker 6: I gotta say.

655
00:37:47,400 --> 00:37:49,760
Speaker 3: One of the things ahead one of the things that

656
00:37:49,800 --> 00:37:53,079
I really appreciate about being a rushman over these years

657
00:37:53,199 --> 00:37:57,719
is we always seem to find something new, something intriguing,

658
00:37:57,840 --> 00:38:00,719
something like I never thought of something that way or

659
00:38:01,440 --> 00:38:04,400
that had never occurred to me. You point out something

660
00:38:04,440 --> 00:38:08,400
in the book that that I was like, yeah, and

661
00:38:08,480 --> 00:38:11,119
I'll just read this to you. Twenty one to twelve

662
00:38:11,679 --> 00:38:16,679
features exactly two nods to classical music, both of which

663
00:38:16,760 --> 00:38:20,760
occur in the first movement overture. The first comes in

664
00:38:20,840 --> 00:38:25,800
the form of a brief snippet of Peter Eliots Tchaikowski's

665
00:38:26,719 --> 00:38:30,639
The Year eighteen twelve, the eighteen twelve overture the Rush's

666
00:38:30,760 --> 00:38:34,280
miniature tribute to it, even as the sound of firing

667
00:38:34,480 --> 00:38:37,440
cannons just like the original and never put that together.

668
00:38:37,840 --> 00:38:40,599
And then the second nod, and this is kind of

669
00:38:40,639 --> 00:38:44,039
in the vein of the Rush humor. The second nod

670
00:38:44,199 --> 00:38:47,559
to classical music is simply that they called that first

671
00:38:47,639 --> 00:38:48,920
movement overture.

672
00:38:49,360 --> 00:38:52,920
Speaker 4: Yeah, that's it. There is nothing else, you know, And

673
00:38:53,000 --> 00:38:56,880
maybe the fact that it's like split up into movements

674
00:38:57,400 --> 00:39:02,039
with Roman numerals, whatever's the But yeah, no, I mean

675
00:39:02,119 --> 00:39:08,199
I spoke to a classical composer, an accredited classical composer,

676
00:39:08,199 --> 00:39:11,119
and he's like, no, there's there's no classical music on

677
00:39:11,239 --> 00:39:17,800
this anywhere except that little Yeah. For your listeners who

678
00:39:18,239 --> 00:39:20,280
were here for Christy Kanyon and don't.

679
00:39:20,159 --> 00:39:25,480
Speaker 6: Know, right, yeah, right, they'll know, Yeah, yeah, yeah, yeah.

680
00:39:25,719 --> 00:39:27,480
Speaker 4: Sorry to keep coming back to that, but I just

681
00:39:27,559 --> 00:39:30,559
I just think, well, I mean it's yeah, yeah, I

682
00:39:31,239 --> 00:39:34,039
just uh. The last thing I was on, they were

683
00:39:34,079 --> 00:39:36,199
talking about how I was going to be sharing time

684
00:39:36,480 --> 00:39:40,679
with Taylor mom Sin and it's just funny that it's like, wow,

685
00:39:40,800 --> 00:39:43,800
me and Taylor Momson or wow, me and Christy Kanyon

686
00:39:43,880 --> 00:39:45,599
were on the same show, right.

687
00:39:45,559 --> 00:39:48,000
Speaker 6: Right, Well, I think at our age, the more impressive

688
00:39:48,079 --> 00:39:49,559
one is Christy Kanyon.

689
00:39:49,400 --> 00:39:53,519
Speaker 4: One hundred percent. Yeah, a billion person. Yeah, I know

690
00:39:53,639 --> 00:39:54,559
my place in the world.

691
00:39:54,639 --> 00:39:57,199
Speaker 6: It's okay, right, Just really quick, Dawson, what time do

692
00:39:57,239 --> 00:39:59,639
you have a heart out at? I can go for

693
00:39:59,639 --> 00:40:01,159
about more minute perfect.

694
00:40:02,400 --> 00:40:08,760
Speaker 3: I'm curious, Daniel about the atmosphere in the studio during

695
00:40:08,840 --> 00:40:14,440
this recording in regards to people in suits trying to

696
00:40:14,519 --> 00:40:16,880
knock down walls and find out just what the hell

697
00:40:17,000 --> 00:40:17,880
is going on here?

698
00:40:18,800 --> 00:40:21,800
Speaker 4: Oh, they dealt with that in a really smart way.

699
00:40:21,920 --> 00:40:25,039
They locked everyone out, would not let anyone hear what

700
00:40:25,119 --> 00:40:29,519
they were doing, told their manager to tell the label

701
00:40:29,920 --> 00:40:33,639
they're making really commercial music though even though he didn't

702
00:40:33,719 --> 00:40:36,480
hear any of it, they just lied to him and

703
00:40:36,639 --> 00:40:40,519
had him go live for them. Then they present this

704
00:40:40,719 --> 00:40:43,559
record which is just not what they asked for. But no,

705
00:40:43,679 --> 00:40:47,559
the atmosphere in the studio I must thank again Terry

706
00:40:47,599 --> 00:40:49,719
Brown for letting me know this he said, was just

707
00:40:49,800 --> 00:40:53,400
a lot of fun and they were just really having

708
00:40:53,440 --> 00:40:56,920
a blast making this great record and all the sort

709
00:40:56,960 --> 00:41:01,360
of music industry concerns and all that like really didn't

710
00:41:01,400 --> 00:41:04,079
intrude on what they were doing. And I don't think

711
00:41:04,119 --> 00:41:06,360
there was ever a moment, like even at the very end,

712
00:41:06,400 --> 00:41:08,480
where they're like, should should we try to do a

713
00:41:08,559 --> 00:41:13,039
single like the label wants. I think that everyone understood

714
00:41:13,079 --> 00:41:16,400
the assignment and everyone understood like, no, this is going

715
00:41:16,480 --> 00:41:19,199
to be this might be the last thing we ever do,

716
00:41:19,440 --> 00:41:22,960
so let's really make a statement here, well by part

717
00:41:23,000 --> 00:41:25,199
of what they weren't at this, but at the same time,

718
00:41:25,280 --> 00:41:26,079
they had fun.

719
00:41:26,000 --> 00:41:30,039
Speaker 3: Doing it, so you know, part of that statement is

720
00:41:30,320 --> 00:41:33,119
releasing twenty one to twelve on side A and then

721
00:41:33,440 --> 00:41:37,360
ending the record with something for Nothing. Yes, you got

722
00:41:37,480 --> 00:41:39,480
to lay it all on the line. You want this,

723
00:41:40,519 --> 00:41:42,519
take a chance, get it, but you're gonna have to

724
00:41:42,559 --> 00:41:44,239
give some of your own blood to get it.

725
00:41:45,039 --> 00:41:45,639
Speaker 6: Certainly did.

726
00:41:46,280 --> 00:41:48,880
Speaker 4: Yeah, I mean I feel like Something for Nothing is

727
00:41:48,960 --> 00:41:51,079
almost kind of in a way is like the cliff

728
00:41:51,159 --> 00:41:54,039
notes for side one, where it's like, in case you

729
00:41:54,119 --> 00:41:57,440
need to review everything you heard on side one, what

730
00:41:57,599 --> 00:42:01,000
we're saying is yes, you know, and that it's just

731
00:42:01,119 --> 00:42:06,639
this very concise four minute statement that kind of characterizes

732
00:42:06,880 --> 00:42:11,880
just being yourself as the ultimate act of rebellion and

733
00:42:12,199 --> 00:42:16,039
that whatever you do in life, you have achieved a

734
00:42:16,159 --> 00:42:18,880
kind of greatness just by being yourself.

735
00:42:18,960 --> 00:42:19,079
Speaker 2: You know.

736
00:42:19,199 --> 00:42:21,400
Speaker 4: So there's you know, what you own is your own kingdom,

737
00:42:22,079 --> 00:42:24,719
what you do is your own glory, what you live

738
00:42:24,840 --> 00:42:27,280
is your own power, what you live is your own story.

739
00:42:28,239 --> 00:42:32,039
Speaker 3: To me, that cup your hands is the answer. Let

740
00:42:32,119 --> 00:42:34,159
it guide you along. Sorry all of it?

741
00:42:34,280 --> 00:42:37,000
Speaker 4: Yeah no, but I mean for me, when I heard that,

742
00:42:37,360 --> 00:42:39,559
I really kind of took that up as like a

743
00:42:39,639 --> 00:42:42,840
personal cause and is really just how I try to

744
00:42:42,880 --> 00:42:45,079
live my life. And where it's like, you know, this

745
00:42:45,239 --> 00:42:48,679
may all come to nothing, but it doesn't matter. Just

746
00:42:48,840 --> 00:42:51,960
do what matters to you. And you know, you guys

747
00:42:52,000 --> 00:42:56,079
are doing it right now with this show where it's like,

748
00:42:57,159 --> 00:43:02,480
if I may speak bluntly, your basic saying, fuck everybody,

749
00:43:02,639 --> 00:43:05,159
we want to just do this and too bad, and

750
00:43:05,599 --> 00:43:09,280
you know, maybe the economy supports it, maybe it doesn't.

751
00:43:09,480 --> 00:43:11,559
You know, I mean, I know there's I've done a

752
00:43:11,599 --> 00:43:13,760
show like what you guys are doing, and it's it's

753
00:43:13,760 --> 00:43:16,440
a lot harder, yeah, than a lot of people realize.

754
00:43:16,440 --> 00:43:17,519
I don't think they understand the.

755
00:43:17,639 --> 00:43:22,440
Speaker 6: Dude, Honestly. I jokingly named this show another fucking podcast

756
00:43:22,519 --> 00:43:26,800
in twenty thirteen, right jokingly. And now everybody does have

757
00:43:26,920 --> 00:43:29,920
a podcast, you know, so it sus not easy.

758
00:43:30,400 --> 00:43:33,519
Speaker 4: But oh yeah, I mean I think I think COVID

759
00:43:33,760 --> 00:43:37,119
suddenly everyone was like, well, we're never going outside again,

760
00:43:37,199 --> 00:43:38,840
I might as well do a podcast, you know. But

761
00:43:38,920 --> 00:43:43,320
you were calling it another fucking podcast seven years before that. Yeah, right,

762
00:43:43,840 --> 00:43:47,079
So the market is full in a lot of ways,

763
00:43:47,519 --> 00:43:49,559
you know. And it's the same thing as when I

764
00:43:49,639 --> 00:43:51,880
write these books. You know, it's like everything has been

765
00:43:51,960 --> 00:43:55,639
said already about Rush. They wrote their own books, you know,

766
00:43:56,079 --> 00:43:59,639
and what they said that's the last word. They're the

767
00:43:59,719 --> 00:44:03,719
final authority on themselves, right. But I still wanted to

768
00:44:03,760 --> 00:44:07,239
write this book anyway, and it still gives me such

769
00:44:07,440 --> 00:44:10,639
joy that I did it, you know, to me, I

770
00:44:10,679 --> 00:44:13,119
don't know, that's that's what you love, is your own power,

771
00:44:13,360 --> 00:44:13,760
right there?

772
00:44:13,960 --> 00:44:16,639
Speaker 6: You know, Daniel, And what did you who did you

773
00:44:16,679 --> 00:44:22,119
all talk to in preparation for this and doing research.

774
00:44:23,239 --> 00:44:25,719
Speaker 4: Well, there were some people I had already interviewed for

775
00:44:25,880 --> 00:44:31,039
Rush at fifty Hughes signed the album cover designer, and

776
00:44:31,280 --> 00:44:34,039
Donna Halper, who we discussed, you know, the woman who

777
00:44:34,719 --> 00:44:37,639
discovered them and was also at Mercury Records when they

778
00:44:37,679 --> 00:44:38,559
were making the record.

779
00:44:38,800 --> 00:44:41,199
Speaker 6: Isn't it ironic that it was a woman that discovered them?

780
00:44:42,239 --> 00:44:46,360
Speaker 3: That's very ironic, very ironic. I never really thought of that.

781
00:44:47,400 --> 00:44:51,639
Speaker 4: I will say, there's a much larger female presence in

782
00:44:51,800 --> 00:44:54,320
the Rush fandom then they get credit for. And you know,

783
00:44:54,400 --> 00:44:59,880
certainly at first first ten years maybe all dudes, right,

784
00:45:00,280 --> 00:45:02,960
That stopped being the case as time went on. And

785
00:45:03,119 --> 00:45:04,800
you know, I mean when I saw them, there were

786
00:45:05,039 --> 00:45:07,039
there were women there, you know, and they knew the

787
00:45:07,119 --> 00:45:09,679
words and we're air drawing, you know, so they were

788
00:45:09,760 --> 00:45:13,239
not dragged there by their boyfriend or anything like that.

789
00:45:13,599 --> 00:45:17,320
Speaker 3: That's the thing about a Rush show is everyone at

790
00:45:17,440 --> 00:45:20,559
a Rush show there is no place on God's green

791
00:45:20,639 --> 00:45:23,840
Earth where they would rather be than in that moment

792
00:45:24,199 --> 00:45:29,639
at that Rush show. I've become instant best friends with

793
00:45:29,840 --> 00:45:34,079
people I've never even spoken a word to, just during

794
00:45:34,280 --> 00:45:37,639
a drum fill when we caught each other's eyes and

795
00:45:37,800 --> 00:45:41,280
we both went, Yep, we're in the right place.

796
00:45:41,440 --> 00:45:44,639
Speaker 4: One hundred percent. The band has recognized that too, and

797
00:45:44,880 --> 00:45:47,239
they've they've said like pretty much every night when they play,

798
00:45:47,320 --> 00:45:50,119
they're looking out at the sea of people, like doing

799
00:45:50,199 --> 00:45:53,519
air Base and Airbuk and they're like, they know the

800
00:45:53,639 --> 00:45:56,719
songs better than we do, right, they get they get

801
00:45:56,760 --> 00:45:59,599
the fills right every time. They know they never make

802
00:45:59,639 --> 00:46:02,840
a miss steak. You know, no, I mean again, other

803
00:46:03,000 --> 00:46:05,360
than the Grateful Dead, I just can't think of a

804
00:46:05,440 --> 00:46:08,840
more dedicated fan base. Uh you know, the only the

805
00:46:08,920 --> 00:46:11,840
only thing the Grateful Dead has on them is all

806
00:46:11,880 --> 00:46:16,239
their fans dropped out of society to follow them, where

807
00:46:16,320 --> 00:46:17,599
Rush fans have chops.

808
00:46:18,119 --> 00:46:20,440
Speaker 6: Right, Yeah, well that's funny. And this is the last

809
00:46:20,480 --> 00:46:23,119
thing on the on the girl part of it. I'm

810
00:46:23,159 --> 00:46:25,239
good friends with Eric Martin from Mister Big, and he

811
00:46:25,320 --> 00:46:28,159
told me that they opened for Rush. They're on tour

812
00:46:28,280 --> 00:46:30,480
with Rush, and that was when mister Big was on

813
00:46:30,599 --> 00:46:32,920
top of the world. But to be with you, and

814
00:46:33,079 --> 00:46:35,840
he goes, Rush loved us. There was girls at the

815
00:46:35,920 --> 00:46:36,920
show because they came.

816
00:46:38,760 --> 00:46:43,400
Speaker 4: Yeah. Rush. Rush actually speak very fondly of the time

817
00:46:43,440 --> 00:46:45,079
when mister Big was on the road with them, I

818
00:46:45,119 --> 00:46:49,599
think that was a good pairing. Eventually they stopped having

819
00:46:49,679 --> 00:46:53,480
opening acts, which I think was probably the right move

820
00:46:53,519 --> 00:46:56,400
because I saw them with Candlebox opening.

821
00:46:56,880 --> 00:46:57,679
Speaker 3: That's a bad idea.

822
00:46:58,039 --> 00:46:59,840
Speaker 6: Yeah, yeah, candlebox, but it's not.

823
00:47:00,519 --> 00:47:03,280
Speaker 4: You don't whoever you are, you just don't want to

824
00:47:03,320 --> 00:47:06,519
open for rush period. Like the you know, the fans

825
00:47:06,719 --> 00:47:09,440
gave mister Big a lot more of a fair shake

826
00:47:09,679 --> 00:47:12,519
from you, and it was cool that they were there,

827
00:47:13,320 --> 00:47:15,199
but like on the Power Windows tour, they had the

828
00:47:15,239 --> 00:47:20,360
fabulous Thunderbirds open for them. Yeah, and that's again nothing

829
00:47:20,840 --> 00:47:24,840
against the Fabulous Thunderbirds. Jimmy Vaughn is amazing guitar player.

830
00:47:24,840 --> 00:47:28,079
Speaker 3: You're not gonna have him Wilson as a fantastic vocalist.

831
00:47:27,880 --> 00:47:29,920
Speaker 4: Yeah, exactly, you know, But I mean it's it's like

832
00:47:30,119 --> 00:47:33,920
chocolate and beer, it's just not those are great things

833
00:47:34,039 --> 00:47:37,519
in isolation. But you're not going to see someone with like,

834
00:47:38,320 --> 00:47:40,199
you know, a Moulson in their right hand in a

835
00:47:40,280 --> 00:47:44,800
Hershey bar and there unless something's wrong with them, you know, right.

836
00:47:45,679 --> 00:47:48,159
But yeah, they they they got some women in and

837
00:47:48,559 --> 00:47:51,480
perhaps that that was the moment when women went like,

838
00:47:51,559 --> 00:47:53,880
oh this stuff my boyfriend won't shut up about is

839
00:47:53,880 --> 00:47:54,760
actually pretty good.

840
00:47:55,320 --> 00:48:00,960
Speaker 3: Yeah, well of women Anika in the band now. And

841
00:48:01,039 --> 00:48:05,239
I'm curious in your research and development and writing of

842
00:48:05,400 --> 00:48:09,199
this book, did you discover anything that might give you

843
00:48:09,360 --> 00:48:13,920
some insight into what we can't expect in the Rush

844
00:48:14,039 --> 00:48:15,159
fifty ish tour.

845
00:48:15,840 --> 00:48:19,880
Speaker 4: No, because they're doing everything completely differently from how they

846
00:48:19,920 --> 00:48:21,440
did it. You know, like they got they got a

847
00:48:21,559 --> 00:48:26,239
fourth member, like people right, they have never you know,

848
00:48:26,360 --> 00:48:28,320
that was like a big no no the whole time

849
00:48:28,360 --> 00:48:31,039
they were together to you know, they considered it in

850
00:48:31,119 --> 00:48:33,559
the eighties, you know, because Getty was doing like a

851
00:48:33,639 --> 00:48:37,639
lot more keyboards and he's a busy guy. He's probably

852
00:48:37,719 --> 00:48:41,199
the busiest guy on stage there. And for a minute

853
00:48:42,280 --> 00:48:44,440
they were like, well, maybe we get an outside keyboard

854
00:48:44,519 --> 00:48:47,039
player just for the tour. But they decided, know, the

855
00:48:47,119 --> 00:48:50,400
three of us get along really well and there's no problem,

856
00:48:50,519 --> 00:48:54,519
and if we introduce someone else into it, it's you know,

857
00:48:54,599 --> 00:48:57,599
it's like if you're married and you're like, can we

858
00:48:57,679 --> 00:49:01,719
have another wife come in? Also? You know there will

859
00:49:01,760 --> 00:49:02,440
be problems.

860
00:49:03,920 --> 00:49:07,559
Speaker 6: Isn't it ironic that the bands that stay together the

861
00:49:07,679 --> 00:49:08,880
longest are the trios.

862
00:49:11,239 --> 00:49:13,800
Speaker 4: I think the I think you know, in the words

863
00:49:13,880 --> 00:49:17,639
of Notorious Big More, people is more problems, you know,

864
00:49:17,760 --> 00:49:20,320
and it's just the more people. To me, It's like,

865
00:49:20,519 --> 00:49:23,800
I don't see how a band like Molly Hatchett that

866
00:49:23,960 --> 00:49:26,559
had like seven people on stage could keep it together.

867
00:49:27,719 --> 00:49:30,880
Most most of those Southern rock bands actually was they

868
00:49:31,639 --> 00:49:35,119
had like forty people on like Black Oak Arkansaw.

869
00:49:34,760 --> 00:49:36,840
Speaker 6: Yeah, yeah, yeah, you know, all of them.

870
00:49:37,000 --> 00:49:38,880
Speaker 4: Just there was a lot of people up there, and

871
00:49:38,960 --> 00:49:42,360
I just don't know how you can get seven people

872
00:49:42,400 --> 00:49:45,360
and they all have no problem with each other? Right, right,

873
00:49:45,880 --> 00:49:48,280
three people, your chances are a lot better.

874
00:49:48,960 --> 00:49:49,159
Speaker 6: Yeah.

875
00:49:50,119 --> 00:49:55,760
Speaker 3: I look at this latest Rush tour as a chance

876
00:49:56,039 --> 00:50:01,960
to say goodbye that we didn't have before. It's like

877
00:50:02,639 --> 00:50:06,960
Jerry Seinfeld always talked about that last cookie satisfaction. If

878
00:50:07,039 --> 00:50:09,800
you keep reaching into the bag and grabbing the cookie

879
00:50:09,880 --> 00:50:11,800
and then you reach into the bag and there's no

880
00:50:11,920 --> 00:50:17,320
more cookies, yeah, don't you have an empty feeling? And

881
00:50:18,039 --> 00:50:21,199
so I'm taking this tour as a gift, as a

882
00:50:21,480 --> 00:50:25,599
chance to say goodbye and hopefully say hello. I don't

883
00:50:25,599 --> 00:50:28,559
want this to end, don't get me wrong, but at

884
00:50:28,639 --> 00:50:31,840
least it's a chance to gather again with your old

885
00:50:31,920 --> 00:50:35,840
friends and fall in love with your favorite band one

886
00:50:35,880 --> 00:50:40,199
more time, one last thing. I just want to say, Daniel,

887
00:50:40,239 --> 00:50:44,400
I am a huge Rush fan, but I was doing

888
00:50:44,440 --> 00:50:47,519
a podcast called The water Cooler a few years ago.

889
00:50:47,639 --> 00:50:50,440
We still do it, but there was a question that

890
00:50:50,599 --> 00:50:53,559
was floating around the room, and it's when was the

891
00:50:53,719 --> 00:50:58,679
last time you cried? And why? And all the guys

892
00:50:58,800 --> 00:51:01,639
went through and told me, you know, some some horrible stories,

893
00:51:01,719 --> 00:51:04,480
some really heartfelt good stories, and it came to me

894
00:51:04,599 --> 00:51:08,480
and I said, well, I was at a Rush show

895
00:51:10,119 --> 00:51:14,280
and I cried because I was at a Rush show.

896
00:51:16,320 --> 00:51:16,760
Speaker 4: I get it.

897
00:51:17,199 --> 00:51:20,920
Speaker 3: It's one of the most it's one of the most

898
00:51:21,960 --> 00:51:28,400
emotionally tugging experiences that I can personally have in my life.

899
00:51:28,840 --> 00:51:33,800
And I got to say, man, this book, the work

900
00:51:33,880 --> 00:51:38,280
you put into this, this it seems like it would

901
00:51:38,320 --> 00:51:42,400
have taken fifty years to produce this in a sense,

902
00:51:42,679 --> 00:51:47,280
in a sense it did. But did you have there's

903
00:51:47,519 --> 00:51:51,920
there's I love pictures. There's a ton of pictures in

904
00:51:52,000 --> 00:51:54,079
this book. And collecting all of this stuff and putting

905
00:51:54,119 --> 00:51:58,960
it together, I have a feeling that it was just.

906
00:52:01,639 --> 00:52:05,440
Speaker 4: We were very lucky to have our rock Star photo

907
00:52:05,679 --> 00:52:10,800
editor Stewart Peas involved, and he he just nailed it.

908
00:52:11,079 --> 00:52:13,639
He just absolutely understood what we wanted and what we

909
00:52:14,400 --> 00:52:19,119
needed and really what you needed, because for me, it's

910
00:52:20,119 --> 00:52:22,400
all these books that I've been doing for Quardo the

911
00:52:22,480 --> 00:52:25,360
last couple of years. For me, it's very important that

912
00:52:25,480 --> 00:52:30,320
they come off as by fans for fans, you know,

913
00:52:31,159 --> 00:52:34,639
and you know, I'm getting good feedback from fans and

914
00:52:35,559 --> 00:52:38,239
very much like what you're saying. And to me, that's

915
00:52:39,000 --> 00:52:42,760
that's everything. That's the whole point right there. And if you,

916
00:52:43,039 --> 00:52:46,800
as someone who like really digs this band and they've

917
00:52:46,840 --> 00:52:48,719
really done a lot for you over the years, if

918
00:52:48,760 --> 00:52:52,480
you feel like I, you know, sort of met the

919
00:52:52,760 --> 00:52:56,320
you know, met the challenge, then I don't care how

920
00:52:56,360 --> 00:52:58,960
many one star reviews I get on Amazon. I don't

921
00:52:59,000 --> 00:52:59,440
care about that.

922
00:52:59,639 --> 00:53:00,880
Speaker 3: All. I believe you did.

923
00:53:02,239 --> 00:53:06,440
Speaker 4: Terry Brown liked it too, so I'm out. We're good.

924
00:53:07,760 --> 00:53:09,599
Speaker 3: I'd like to share one more story with you. I

925
00:53:09,719 --> 00:53:12,519
know we got a run, but it was in the

926
00:53:13,360 --> 00:53:16,519
R thirty tour. I was working in radio in San

927
00:53:16,559 --> 00:53:18,679
Diego and my only ask when I got the job

928
00:53:18,760 --> 00:53:23,800
there was that I get the luxury box suite at

929
00:53:23,960 --> 00:53:27,159
cors Amphitheater for the Rush show. And they gave it

930
00:53:27,239 --> 00:53:29,239
to me and invited my best friends from high school

931
00:53:29,280 --> 00:53:31,280
and we got to do the meet and greet and

932
00:53:31,440 --> 00:53:33,199
all that, and you don't get to meet Neil, but

933
00:53:33,320 --> 00:53:35,320
you stand in a long line to talk to Alex

934
00:53:35,400 --> 00:53:38,320
and ged And the whole time we're standing in this

935
00:53:38,480 --> 00:53:41,719
line for about an hour, I'm going through my head

936
00:53:42,480 --> 00:53:45,239
exactly what I'm going to say to these guys. This

937
00:53:45,480 --> 00:53:48,360
is my chance, this is my chance to tell them

938
00:53:48,400 --> 00:53:51,639
how much they mean to me. And I get up

939
00:53:51,719 --> 00:53:55,440
there with Alex and Getty and I opened my mouth

940
00:53:55,519 --> 00:53:59,840
and I said hi, and that was it.

941
00:54:00,039 --> 00:54:02,840
Speaker 6: It was enough. It was enough.

942
00:54:03,199 --> 00:54:04,760
Speaker 4: Yeah, but I'm you know, what the hell are you

943
00:54:04,880 --> 00:54:07,920
really going to say? After years and years of their

944
00:54:08,039 --> 00:54:10,800
music and everything it's meant. Trying to put that.

945
00:54:10,880 --> 00:54:13,639
Speaker 3: Into words and takes a book.

946
00:54:14,480 --> 00:54:17,760
Speaker 4: But even even so, I could keep going, you know

947
00:54:17,880 --> 00:54:21,000
that the my god, just you know what this music

948
00:54:21,119 --> 00:54:22,960
is meant to me over the years. And if I

949
00:54:23,039 --> 00:54:24,760
did ever meet them, I would I'd just be like,

950
00:54:27,679 --> 00:54:30,199
I don't know, what, what are you going to say?

951
00:54:30,280 --> 00:54:36,639
Besides you're awesome? Yeah, but that's that's so inadequate. But

952
00:54:36,719 --> 00:54:39,840
at the same time, it's like, you you hope they

953
00:54:40,320 --> 00:54:44,159
they see your enthusiasm, and they and the whole line

954
00:54:44,199 --> 00:54:47,079
of people you were waiting on with also probably had

955
00:54:47,119 --> 00:54:49,920
the exact same experience you did of like, I'm finally

956
00:54:50,000 --> 00:54:52,159
meeting these guys. I have so much to say. They

957
00:54:52,239 --> 00:54:54,639
helped me when I got through my divorce, and then

958
00:54:54,800 --> 00:55:00,639
you meet them and it's like, but it it's okay.

959
00:55:00,599 --> 00:55:03,119
Speaker 6: You know exactly, Daniel. If you want to get the book,

960
00:55:03,159 --> 00:55:03,800
where can they get it.

961
00:55:04,760 --> 00:55:09,480
Speaker 4: It's on Amazon, Barnesonnoble dot com, those wonderful places. Or

962
00:55:09,559 --> 00:55:14,320
you could go to my website notorious buk dot com

963
00:55:15,360 --> 00:55:18,039
and I'm doing autograph copies while supplies a way.

964
00:55:18,199 --> 00:55:22,920
Speaker 6: Very cool, very cool, very cool that your your website

965
00:55:22,960 --> 00:55:25,880
link will be in the in the description. Then they

966
00:55:25,920 --> 00:55:28,440
buy it straight from you. You take all the money

967
00:55:28,480 --> 00:55:30,400
on that and they can get an autoca autograph copy

968
00:55:30,480 --> 00:55:33,199
through the website. So I love it, Daniel, dude, this

969
00:55:33,360 --> 00:55:35,320
is a blast man. Thank you for coming on, and

970
00:55:35,480 --> 00:55:38,400
you are welcome. Anytime we got something that might fit

971
00:55:38,480 --> 00:55:40,320
your interest, we'll have you back.

972
00:55:41,679 --> 00:55:44,599
Speaker 4: I've always got stupid crap to say about I love

973
00:55:44,639 --> 00:55:48,039
that these topics, like for again, ask my wife, so.

974
00:55:48,199 --> 00:55:52,440
Speaker 6: Yeah, ah, which is because we talked about this before

975
00:55:52,519 --> 00:55:55,880
we started recording. Uh that is you are not Asia

976
00:55:55,960 --> 00:55:59,920
Bucks band sheet or not that is your wife's computer soft.

977
00:56:02,800 --> 00:56:06,719
Speaker 3: This book is a fun, fun reach and even for

978
00:56:06,840 --> 00:56:09,320
people who don't know that much about Rush, this is

979
00:56:09,559 --> 00:56:12,880
this is rock and roll history. This is this is

980
00:56:12,960 --> 00:56:16,159
the priests of the Temples of Syrinx. Let's fucking go.

981
00:56:16,639 --> 00:56:22,760
Speaker 6: I love that's right, Daniel bucks Man, Mike Dawson. My

982
00:56:22,880 --> 00:56:26,239
name is Izzi Presley. This has been another fing podcast.

983
00:56:27,639 --> 00:56:30,440
I'll be half of those two fine gentlemen won by

984
00:56:30,519 --> 00:56:33,599
the book. Two what I lack of talent make up

985
00:56:33,639 --> 00:56:49,000
for the cock. Thank you, thank you very much. We're

986
00:56:49,000 --> 00:56:51,079
a little late. Just say good night, Christie, good night,

987
00:56:51,239 --> 00:56:51,639
good night.