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Speaker 1: What I listen to? Is he Presley?

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Speaker 2: Whoa not if he was the last disc jockey on Earth?

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Honey Troy A sighted Toby O A man, babe? IM

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once great champ?

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Speaker 3: Now I study and mo fishness no longer the factory

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hungry style. Wait right, so many times before by a

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pathetic wash up age ex champion, All right, let's go.

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Speaker 1: I think you know the guy. I think you know what?

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Speaker 4: There? WHOA?

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Speaker 3: His name? Is he?

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Speaker 4: Pres He Pressley?

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Speaker 3: Puts my name? Say my name, bitch, my good friend?

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Speaker 1: Is he Presley?

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Speaker 4: Is he Presley?

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Speaker 1: Is ouch? Is he Presley?

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Speaker 4: Who's that's a little weird? Is he Presently?

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Speaker 1: Is he Presley? Is he Presley?

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Speaker 3: The heaviest, gurthiest rocky j around.

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Speaker 1: Hey, this is Jeff Levarr. You listen to? Is he Presley?

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Those aren't pillows?

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Speaker 3: Hell?

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Speaker 1: Lo, Las Vegas, Hello world, and hello, my loyal minions.

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It is good to see you, and it's always good

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to be seen. I am is he Presley. I'm the

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host of the program, and it is called another f

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and Podcast. Yes, it's been a little while. I'm sorry. Hey, man,

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life gets in the way of shit. But uh, like

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I said last time, we're gonna keep rolling. I ain't

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going away. I'm sure a few of you might wish

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that would happen, but hey, I ain't going anywhere. Motherfucker's

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so cheers, welcome and uh the words of my close

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personal friends, don't call Steve Austin Brack going for the

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working man. Ah yeah, God that Micheltt Golden Light is delicious.

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Have a glorious program for you today. My good friend,

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the one and only Richie Kottson will be joining me momentarily.

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We had a great conversation that you guys are going

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to thoroughly enjoy. And if you're hoping he's talking about

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poison and mister Big and playing without picks, say at

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the interview for you, because we actually talk about other

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stuff like his brand new record, Nomad, that comes out

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on the twenty seventh, his tour that he is on

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right now, which I just saw Saturday night. Was it Saturday?

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I think it was Saturday, Counts a vamped. I got

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dressed up. I got all dapper, because you know, yeah,

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always dress up when you go to church. The show

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was phenomenal as always, and very excited for you guys

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to hear the record. I think you are going to

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thoroughly enjoy it. I think you're gonna thoroughly end joy

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The interview is Oh my god, I almost forgot hold tight.

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Bear with me, folks.

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Speaker 4: The book is out.

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Speaker 1: Did I write this book?

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Speaker 3: No?

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Speaker 1: Did I contribute to this book? Your goddamn right idea.

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Raise your glasses from the good fine folks over at

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the shouted out loud cast Zeus and Tom and my

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good friend Joey Casata, the reason that I got to

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meet Peter Chris. Yes, they were all part of this

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bad Boy, along with a lot of my friends, a

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lot of people in the industry that I know. Bruce

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Cullick wrote the foreword. Close personal friend Sid Harmon. I

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always got to do that for in the honor of

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the great, said Harmon. But yeah, it's great, man, it's fun.

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It's fun. Now, basically what this book is this fine

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piece of paper, many pieces of paper. Basically we're just

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talking about the kiss songs. They go through every record

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and there's a whole bunch of us commenting on the

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songs on the record. I think I did eight or

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ten or thirteen of them, something like that. It's a

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lot of fun.

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Speaker 4: It's great.

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Speaker 1: Check it out. Getting on Amazon, and in a couple

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of weeks Tomas Zeus will be on the show to

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talk about it. Hopefully Joey too if that all works out.

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My appearance is If you were wondering where I Am

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going to be October thirtieth, Soundcheck Live is back Hollywood, California.

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Baby will be the one hundredth show. I do not

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know who is playing yet, they haven't announced anything like that.

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I just know it is happening at Lucky Strike on

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Hollywood Boulevard, Hollywood in Highland. Come on down and check

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it out if you are in the area. And also

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October eighteenth, the day before my birthday. Yes, the act

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yearly Izzy's Birthday show is happening here in beautiful Las

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Vegas at my favorite rock bar, Counts Vamped. Open enough

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for my good friends. Enough's enough. It's going to be

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a great night. If you were looking for a reason

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to come to Vegas, that is an excellent reason to

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come to Vegas. Come on down, have some drinks, support

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and enjoy the coolest rock bar in the country. Counts

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Vamped love that place. So yeah, there's that. And what

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else do we got? I think that's all we got

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On the books right now. But oh possibly might be

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making appearance doing something at this guitar show which is

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going to be happening in Las Vegas November eighth, ninth,

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and tenth. So if you're a musician, I want to

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check out a brand new guitar NAM type show, except

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not as cluster fucky and big as NAM. As much

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as I enjoy going to NAM. Don't get me wrong,

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It's gonna be cool. It's gonna be a lot better

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if you don't like a ton of people. And I

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don't mean that as in there's not gonna be anybody there.

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I mean that is in you know what it's like

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walking through NAM. Freaking huge, multiple buildings, multiple levels, drum world,

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just loud. So this is cool. I'm excited about this

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and it's right in my backyard. I don't have to

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drive to Anna. I'm for it. So that should be

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pretty sweet. And hopefully get some stand up dates in

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here soon. Should probably start working on that. Might be

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a good thing, and coming up on the show I

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will have now now now Brian Slagel will be on soon.

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I'm gonna get that figured out. Might do that straight

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from the Metal Blade Records Museum. Why not. We have it.

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I work there every once in a while. Why not

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do it there? It's pretty cool if you're coming to Vegas.

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That is a cool thing to check out. If you

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were into hard rock and heavy metal music, very very cool.

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Metal Blade dot com, Slash Museum, and uh, Mike Varney's

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gonna be coming up at some point as well. So yeah,

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we ain't going away, We ain't going anywhere, but without

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further ado, my good friend Richie Cottson will be joining.

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Like I said, momentarily, Uh, check out Beater amplification. You

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see it right there, two e's beeterapplication dot com, just

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like it's spelt right on that amp particular fortitude pull

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two tubes. You have a fifty handwired, handbuilt. It is amazing.

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It is tone central. Baby, who needs a kemper when

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you can have a Beater that's right? And vintage guitars.

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Those two guitars behind me, my Telly and my my

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Les Paul Vintage USA dot com. I think that's the website.

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It'll be in here in the description right down there,

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you know that thing with all of Richie's links, all

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of my links like seven after seven Avenue, Pizza, Soda Stick,

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lots of great stuff. As long as you enjoy the show,

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please enjoy those products. And if you do enjoy the

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show and do want to help out, contribute PayPal. Is

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he Presley at yahoo dot com? Then moreal is Heresley

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cash app dollar sign is He Presley? All that stuff

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is down there too, head all that stuff up. And

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there's rumblings that maybe under the covers might be returning

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to the airwaves. Ain't gonna tell you where, He's gonna

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tell you how because there ain't no deal in place,

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but there's a chance it could be happening. And if

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you are gonna come out here for my birthday, my

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birthday show October eighteenth, come out a day early because

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Adam Carolla will be at Jimmy Kimmel's and I will

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be there October seventeenth, Jimmy Kimmel's Comedy Club Adam Corolla

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seven thirty and nine thirty shows, just like he does

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every single month. All right, folks, that's enough of me.

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Let's go to church. Let's talk to Richard, Richie Cottson, everybody,

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all right, and we are back and joining me for

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the first time in a long time. Actually, I think

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it's the first time since Smith's caught the Smith cottson

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record Richie and is back on the show. He has

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a brand new record, it's called Nomad, which is coming

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out September twenty seventh. Currently on tour as we speak.

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I just saw the show here in Vegas and it

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was glorious as always. How are you doing today, Richie?

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Speaker 4: I'm good. I mean Colorado springs in a hotel room

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on a day off.

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Speaker 1: What does your day off entail? What do you like

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to do on your days off on the road?

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Speaker 4: It depends on where I am. You know. Sometimes if

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I am up for it, we go walking, you know,

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try to get some steps in. And it seems that

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happens more often in the European tours that I do.

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Here it doesn't look like it'd be a great walking

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opportunity because there's a highway right there, risky, right, But

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you know, catch up on stuff, you know, I kind

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of run a lot of aspects of what I do myself.

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So I have work, you know, email type stuff and

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you know, numbers and that sort of stuff, keeping track

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of things, and so I stay busy. You know, that's good.

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Speaker 1: That's good. That's good. And of course you get your

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time for your football, right.

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Speaker 4: Yeah, I haven't really been paying attention to sports very much.

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You know. I did watch the Eagles. That was a

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good game for me, at least, not so much for

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the other team. But uh, yeah, I haven't really been

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watching a lot of it. Sounds crazy to say. Ever

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since Kobe died, I kind of lost interest in it.

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I don't know, I don't know. It's just weird. It

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just took so much wind out of my sales that

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I just don't really pay attention.

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Speaker 1: It doesn't well, you see, now you just got to

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turn to the dark side and come watch hockey.

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Speaker 4: Maybe, yeah, maybe I have to go to a hockey game.

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Speaker 2: You know.

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Speaker 4: It's funny. When my daughter was learning how to figure skate,

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I used to take her to the rink in Burbank.

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I think he used to live there, didn't you. Yeah,

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but yeah, I used to take to the rink there,

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and I bought a pair of hockey skates, and you know,

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I got to the point where I go around pretty

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quick without falling down. You know, I wouldn't just try

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to play the game, right right, I see the appeal

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of being on the ice for sure.

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Speaker 1: Did you so you didn't skate as a kid.

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Speaker 4: Oh no, no, I mean rollerskate, you know.

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Speaker 1: Okay, Oh yeah, to Zana do of course. First of all,

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congratulations on the record deal. When's the last time that

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you had a record deal? Because you've been putting everything

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out about yourself pretty much, haven't you.

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Speaker 4: Yeah, the Smith Cottson record came out on BMG, and yeah,

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the first Winery Dog record was on the first two

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records were on a label. But my stuff, I've been

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doing my own for a long time. I haven't done

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a deal on my own for a very long time.

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So there's probably fourteen or fifteen records out there that

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I own outright, which is good for me. Uh, you know,

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I I like it. I like those records being like that.

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But this time around, the record was done, no mad

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was finished, and I actually had started the process to

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print vinyl because I wanted it in time for this

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tour that I'm doing now. And uh and then no,

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sooner that I put the order in, they said, hey,

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you know, we'd be interested in partner you know, partnering

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up with you and doing this, and so that's what happened,

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and so it's great. What was really cool is that

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the record is the record I would have made under

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any circumstance, you know, because I think, I honestly think

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that if I would have known that I was putting

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a record out on a major label somewhere back here,

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maybe I would have had that in my mind, you know,

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which is not really what I want to have in

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my mind. You know. I like the idea of just

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the music this comes out, and so that this is

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like the best of both worlds because I made the

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record that I really would have made under any circumstance,

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and and but I have the luxury of having a

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label helped me get the music heard. So it's it's great.

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It's the best of both.

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Speaker 1: And you, I mean you you obviously do everything yourself

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and you produce it yourself. Is there, when's the last

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time you worked with the producer? And what do you

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miss having any elements of working with the producer?

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Speaker 4: Naturally that I'm doing this this interview, people start emailing me.

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So you know, I've had good experiences and then I've

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had frustrating experiences.

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Speaker 1: You know.

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Speaker 4: The great experiences was working with Richie Zito, and he

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and I are great friends, and we've done on three

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albums together and it's great working with him. And you know,

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the reality is is that the way I do music.

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I hate saying it like this because it sounds different

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than how I mean it, probably, but I do it

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for myself. You know, I'm doing this because you know,

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I have ideas and I want to hear what they

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sound like coming out of the speakers. And I love

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the process of getting what's in my head to come

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out of the speakers, and I know how to do that.

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I have the skill set that I've developed over the

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years so that I can go into a studio alone

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and come out with a sound recording that sounds like

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what I envisioned. And so that's what I love doing.

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And then from there, if it's something that I feel

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is appropriate to share, I can release it in the

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form of an album. So the idea of going in

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with someone else, it doesn't even it's not that I

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refuse it, it just it doesn't come into that equation.

259
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It doesn't. It doesn't. It's not part of, you know,

260
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of my thought process. It wouldn't make sense to me.

261
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Now having said that, you know, the idea of having

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someone that could be there to help do some of

263
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the lifting. It could be cool down the road if

264
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that person had the same vision as you. But it's

265
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just such that the way that I that I do

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this and for for the reasons that I do it.

267
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That's the bigger thing, because you know, if you're working

268
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with someone else, you're going to have a different end game.

269
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You're going to have their desires and creative fantasies and

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you're going to have yours. And then you know, you

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might even get to a position where you discuss an

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outcome as a goal. So I don't have any of that.

273
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I just have the basic I have this idea, let

274
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me see if I can bring it to life, and

275
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then I do it, and I feel really really high

276
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from that, you know, very I feel great from that.

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And so that's like my little personal thing and it's

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just how I work.

279
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Speaker 1: So with that in mind, is it difficult for you,

280
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like when you do the Smith cottson or you do

281
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the Winery Dogs, is it difficult for you to have

282
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other inputs on what you're writing?

283
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Speaker 4: Yeah, of course it is. But at the same time

284
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I go into it aware of that's what this is,

285
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and this is me participating in a collaboration. So it

286
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actually is about this sort of group contribution. So I

287
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adjust my mindset accordingly, and in that situation, you know,

288
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I realize that, well, maybe there's something that I don't

289
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really love that i'll accept, because maybe there's something that

290
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someone else might not really love and they'll accept, and

291
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maybe in that give and take something unique might happen

292
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and something special might come out of it. So it's

293
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not going to be my little baby, my little you know,

294
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I don't use the word little to be diminutive about it.

295
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But it's not going to be, you know, my vision.

296
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It's going to be our vision, and I've agreed to

297
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participate on that level. So sometimes, to answer your question, yes,

298
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it's extraordinarily challenging because you may have something that you're

299
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feeling instinctively that this is right, and somebody else, for

300
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whatever the reason is, their own reason, may be like, well,

301
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I don't really I don't feel comfortable, you know, So

302
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you have to learn how to be in it. Now.

303
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If I was me, which I am, and I had

304
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to live in that environment permanently, I could, I wouldn't last.

305
00:19:00,799 --> 00:19:04,160
But I can do it. As a point of no,

306
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I'm doing this now for this reason because I want

307
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to do it. I like the idea in this circumstance

308
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of creating together and making something different that I wouldn't

309
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have done if I was alone.

310
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Speaker 1: Right, right, right? So, I mean what that said is

311
00:19:20,519 --> 00:19:25,079
having projects like the Winery Dogs and Smith cottson is

312
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it is it helpful for you to have those side

313
00:19:30,400 --> 00:19:33,480
things going to concentrate on that and then go back

314
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to the solo stuff.

315
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Speaker 4: Not really, No, it's not helpful. It's just what happened.

316
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And I mean, so nothing diminish anything or put anything

317
00:19:43,440 --> 00:19:46,759
else as a priority. But when the Winery Dogs formed,

318
00:19:47,440 --> 00:19:50,119
in my mind, I thought, oh, this is going to

319
00:19:50,160 --> 00:19:53,039
be really cool to make an album with these guys,

320
00:19:53,440 --> 00:19:57,680
and I was curious to see what we would do. However,

321
00:19:58,799 --> 00:20:01,400
I wasn't like that was how I was looking at it.

322
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But reality from other people's perspective was it was being

323
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looked at as like a band, like an ongoing this No,

324
00:20:08,160 --> 00:20:11,000
this is the future. And to me, I was just like, well,

325
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this is a moment, and I thought, this is a moment.

326
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Let's see what we do creative moment, and then I'm

327
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going to go back to doing whatever it was I

328
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was doing before. And what happened was is that it

329
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came out. It was really well received, and so there

330
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was a lot of enthusiasm and a lot of excitement,

331
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which changed my perspective of it, and I thought, well, shit,

332
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this is actually a lot of fun. I like this.

333
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People seem to like it, you know, and so let's

334
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do another album. So we did it, you know, we

335
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made two albums and then from there it kind of

336
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became more of a band thing. And I remember back

337
00:20:44,200 --> 00:20:46,519
then the question was constantly, oh is it a band?

338
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Is it not a band? And in my mind, I

339
00:20:49,400 --> 00:20:53,039
just that was always a ridiculous question because my answer was,

340
00:20:53,079 --> 00:20:55,880
what you're looking at it, you're listening to it. What

341
00:20:56,000 --> 00:21:00,960
kind of stupid question are you asking? You know, you

342
00:21:01,039 --> 00:21:04,319
know what I mean. It's like it's like, after biting

343
00:21:04,359 --> 00:21:06,839
it into an apple, is there an apple around? Is

344
00:21:06,880 --> 00:21:09,880
this an apple? Yeah? I just didn't make sense to me.

345
00:21:10,799 --> 00:21:14,599
But then after that it became, you know, for me,

346
00:21:14,640 --> 00:21:16,240
it's like I need to go back to doing what

347
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I was doing before I missed myself, you know, I

348
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missed my alone time and whatever. So and the thing

349
00:21:23,160 --> 00:21:27,599
with Smiths coonsin it's very, very, very different because that

350
00:21:27,759 --> 00:21:32,640
is just two singing guitar players getting together making some music.

351
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It's not even it's not even a band. It's just

352
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me and him getting together right in and playing and

353
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let's see what happens, you know. So and it's all

354
00:21:42,200 --> 00:21:45,599
good stuff, but none of it gets into this like

355
00:21:46,119 --> 00:21:49,079
conf There's no confusion for me because at the core

356
00:21:49,119 --> 00:21:52,119
of it, I've always been doing my own thing since

357
00:21:52,200 --> 00:21:57,759
nineteen eighty nine, and that's that's how I've defined myself.

358
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So I don't it's not a it's a thing for

359
00:22:01,839 --> 00:22:04,319
people to look on the outside and say, oh, I

360
00:22:04,319 --> 00:22:06,559
can point and say, well, he made that record, but

361
00:22:06,640 --> 00:22:09,359
these guys he did this, that, this, that. But the

362
00:22:09,400 --> 00:22:12,960
reality is for me, you know, I'm Richie Kottson, the

363
00:22:13,000 --> 00:22:15,839
guy that writes songs and sings them and records them

364
00:22:15,880 --> 00:22:18,480
and puts them out on albums. You know, it's that

365
00:22:18,640 --> 00:22:19,640
simple for me. You know.

366
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Speaker 1: We know when you were writing the Nomad record, it's

367
00:22:23,400 --> 00:22:26,559
only eight songs, which which I love. It's like going

368
00:22:26,599 --> 00:22:31,200
back to the old school of not having fifty songs

369
00:22:31,240 --> 00:22:35,079
on an album. Joking of course, but but you know

370
00:22:35,319 --> 00:22:38,559
it fits perfectly on vinyl. Was the was that The

371
00:22:38,599 --> 00:22:41,039
original thought is I want to keep it like that,

372
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just sort I can put it out on Vinyl.

373
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Speaker 4: Actually, yeah, you know it was because what was what

374
00:22:47,000 --> 00:22:49,880
happened was I got into a mode where I was

375
00:22:49,880 --> 00:22:52,599
feeling like, you know, you're you're in the process of

376
00:22:52,640 --> 00:22:55,400
making your album. I realized that, and then I thought

377
00:22:55,400 --> 00:23:00,240
to myself, well, when I was a youngster, of the

378
00:23:00,240 --> 00:23:02,960
albums I liked had eight songs on, you know, and

379
00:23:03,000 --> 00:23:06,079
I made a list of like ten or fifteen albums,

380
00:23:06,079 --> 00:23:08,759
I had eight songs and it was Vinyl, and it

381
00:23:08,799 --> 00:23:12,880
was sideay, side B. And once I started formulating, I

382
00:23:12,960 --> 00:23:15,240
have little pieces of paper around where I had like

383
00:23:15,319 --> 00:23:18,799
some of the song titles and then some working titles,

384
00:23:19,119 --> 00:23:22,640
and I was actually started sequencing, which I never did ever, ever, ever,

385
00:23:22,720 --> 00:23:25,920
ever before, you know, but I had the ideas of

386
00:23:25,960 --> 00:23:29,000
the songs, so I knew what was going to be

387
00:23:29,160 --> 00:23:32,759
on the album, and I knew Nomad would close Siday,

388
00:23:32,920 --> 00:23:35,640
and I knew Nihilis would end the record that I knew,

389
00:23:35,960 --> 00:23:38,599
and I knew cheap Shots would open it. So then

390
00:23:38,640 --> 00:23:41,000
I started looking at it as side ay and side

391
00:23:41,000 --> 00:23:45,160
B and figuring out what would make sense, what songs

392
00:23:45,160 --> 00:23:48,480
should I finish and where would it live? And so

393
00:23:48,640 --> 00:23:52,319
that's really you know, you were very intuitive asking that

394
00:23:52,480 --> 00:23:55,119
question because that's that's right. That's how I did look

395
00:23:55,160 --> 00:23:55,480
at it.

396
00:23:56,440 --> 00:23:59,400
Speaker 1: When you were writing for this record, and when we

397
00:23:59,480 --> 00:24:01,480
talked after the show here in Vegas here, I told

398
00:24:01,519 --> 00:24:04,240
you I have thoughts, and a couple of the thoughts

399
00:24:04,279 --> 00:24:10,160
are there's some very roggy jazzy stuff on there. It's

400
00:24:10,279 --> 00:24:13,839
my ear, yeah, and you, I just I don't think

401
00:24:13,880 --> 00:24:17,039
i've ever heard you go down that kind of road.

402
00:24:18,039 --> 00:24:21,440
Is that fresh for you or is that just something

403
00:24:21,480 --> 00:24:24,240
that happened to me? How did that, the proggy jazzy

404
00:24:24,240 --> 00:24:25,039
stuff come about.

405
00:24:25,160 --> 00:24:28,519
Speaker 4: Well, it's been there on other albums. I mean, if

406
00:24:28,519 --> 00:24:30,960
you listen, there's two albums I did with Greg Howe

407
00:24:31,000 --> 00:24:35,000
that's full of that stuff. There's Intergalactic Fusion album that

408
00:24:35,039 --> 00:24:37,279
I did. It's a solo record I did with Greg

409
00:24:37,359 --> 00:24:41,279
Bissonette and Jeff Berlin. It's loaded with all tons of

410
00:24:41,279 --> 00:24:44,440
odd time and polyrhythmic stuff. Actually where you know, the

411
00:24:44,519 --> 00:24:47,400
drums are in five, the guitar riffs in seven, and

412
00:24:47,440 --> 00:24:51,359
they're kind of meeting up every so many measures so

413
00:24:52,079 --> 00:24:54,359
and and the first record I remember when I wrote

414
00:24:54,599 --> 00:24:57,640
some of that stuff. Steve Smith was the drummer and

415
00:24:57,680 --> 00:24:59,400
he was like, I don't know how to transcribe this

416
00:24:59,519 --> 00:25:05,000
because it's just abstract unto itself, you know, so that

417
00:25:05,240 --> 00:25:08,000
stuff has always been there, but you know, for years,

418
00:25:08,680 --> 00:25:11,920
I really ignored a lot of that aspect and kind

419
00:25:11,920 --> 00:25:18,640
of went towards the more vocal, singing driven stuff and

420
00:25:18,640 --> 00:25:22,079
and I kind of abandoned a lot of that side

421
00:25:22,119 --> 00:25:24,759
of what I do. And then I wrote the song

422
00:25:24,839 --> 00:25:30,400
Nihilist and because I really wanted to break away from

423
00:25:30,599 --> 00:25:34,440
the traditional middle solo section that typically you solo over

424
00:25:34,519 --> 00:25:38,359
a chorus or a verse or you know, a simple

425
00:25:38,480 --> 00:25:40,960
chord change, and so I just kind of went for

426
00:25:41,039 --> 00:25:44,200
something different. And then I wrote the song Nomad after that,

427
00:25:44,240 --> 00:25:47,359
and I thought, well, I'm not I'm not soloing over

428
00:25:47,480 --> 00:25:51,559
you know, C sharp minor to a forget as I'm

429
00:25:51,640 --> 00:25:55,720
bored with that, you know, I wanted to create something

430
00:25:56,319 --> 00:25:59,359
that was different. So that's what you're hearing when you're

431
00:25:59,400 --> 00:26:01,960
to your ear. You're calling it more of a jazzy thing,

432
00:26:03,400 --> 00:26:07,480
which it makes sense, but that's where that came from.

433
00:26:07,960 --> 00:26:10,279
And I also noticed that I get a lot of

434
00:26:10,319 --> 00:26:13,160
pleasure out of playing with a cleaner guitar tone even live,

435
00:26:14,119 --> 00:26:16,480
you know, when we have solo sections, I really look

436
00:26:16,559 --> 00:26:19,079
forward to where I can kind of get quiet and

437
00:26:19,119 --> 00:26:22,759
get away from some of the bombastic heavy. You know,

438
00:26:22,839 --> 00:26:26,960
I'm kind of what I have tonight it's really bad.

439
00:26:27,039 --> 00:26:30,279
Maybe that's part of it. There's something about like a

440
00:26:30,480 --> 00:26:34,799
distorted guitar after a while can be nerve wracking, you know,

441
00:26:34,880 --> 00:26:37,720
for me, So I'm really loving the ability to get

442
00:26:37,920 --> 00:26:38,680
to clean it up.

443
00:26:38,759 --> 00:26:43,680
Speaker 1: You know, how do you It's always like you got

444
00:26:43,680 --> 00:26:49,119
some guitar players like it's just it doesn't stop. Then

445
00:26:49,160 --> 00:26:51,359
there's guys like Randy Roads and Eddie Van Halen's like

446
00:26:51,839 --> 00:26:55,039
they were tasty. They knew when to go and they

447
00:26:55,119 --> 00:26:57,400
knew when to hold back. And I've noticed that with you.

448
00:26:57,400 --> 00:26:58,799
You you know when to go and you know when

449
00:26:58,839 --> 00:27:00,480
to hold back. How long did it take you to

450
00:27:01,160 --> 00:27:02,640
kind of learn that feel?

451
00:27:03,559 --> 00:27:05,720
Speaker 4: You know what I'm yeah? Do you know what you're saying?

452
00:27:05,720 --> 00:27:07,480
I mean, I don't know that I would say that

453
00:27:07,880 --> 00:27:10,240
about Ingvey because every time I hear him play, I'm

454
00:27:10,240 --> 00:27:13,440
always very impressed with what he does and his phrasing

455
00:27:13,559 --> 00:27:17,839
and his feel I think are impeccable. But I would

456
00:27:17,920 --> 00:27:25,000
say that for me, when I got into that, it's

457
00:27:25,079 --> 00:27:30,000
when I started taking singing more seriously. It changed my

458
00:27:30,079 --> 00:27:37,640
guitar playing, and that probably happened maybe in my late teens,

459
00:27:38,079 --> 00:27:40,759
probably around the time I turned from nineteen to twenty

460
00:27:40,839 --> 00:27:45,119
years old. Around there, I started really taking singing more seriously,

461
00:27:45,160 --> 00:27:47,440
and I did my second record where I was singing.

462
00:27:48,640 --> 00:27:52,480
It changed my guitar playing for the better. Everything started

463
00:27:52,519 --> 00:27:57,200
to make more sense. I felt more connected. My phrasing

464
00:27:57,319 --> 00:28:00,400
was more related to something that was you know, that

465
00:28:00,559 --> 00:28:04,279
in my mind that I could sing, you know, even

466
00:28:04,319 --> 00:28:07,599
though I still play a lot of notes obviously, but yeah,

467
00:28:07,680 --> 00:28:11,400
right now, but you know, yeah, that's when that happened.

468
00:28:12,519 --> 00:28:15,200
Speaker 1: Uh when did you start writing this record? Because I

469
00:28:15,200 --> 00:28:17,400
mean obviously you had the fifty for fifty for your

470
00:28:17,400 --> 00:28:21,319
fiftieth birthday, and then then you had the smith Cotson

471
00:28:22,160 --> 00:28:25,200
and you had another Winery Dogs record. Uh, so when

472
00:28:25,240 --> 00:28:26,680
when did you start working on this?

473
00:28:28,079 --> 00:28:32,960
Speaker 4: Well, Smith Cotson was pretty much done by the time

474
00:28:33,359 --> 00:28:40,720
I turned fifty, correctly, Yeah, yeah, because yeah, I think

475
00:28:40,799 --> 00:28:42,759
I feel like it must have been pretty much stuck

476
00:28:42,799 --> 00:28:46,079
because now, yeah, in March it was finished in smith

477
00:28:46,119 --> 00:28:48,599
Cotson was done in March of twenty twenty. That's when

478
00:28:48,759 --> 00:28:51,279
the final stamp was Because I remember talking to Adrian

479
00:28:52,039 --> 00:28:54,599
about the pandemic and asking him where they were going,

480
00:28:56,160 --> 00:29:01,519
so h that was done, and then it was you know,

481
00:29:01,559 --> 00:29:04,759
we got locked up. Yeah, and then and then and

482
00:29:04,799 --> 00:29:08,400
then I went on and did some writing with Billy

483
00:29:08,440 --> 00:29:12,160
and Mike for the Winery Dogs, so that was created.

484
00:29:12,319 --> 00:29:15,319
I think we had two writing sessions. Had to have

485
00:29:15,359 --> 00:29:18,480
been twenty one. You know, I don't you know, I

486
00:29:18,519 --> 00:29:22,920
don't follow this timeline stuff. But to answer your question,

487
00:29:24,079 --> 00:29:27,799
Nihilis was written a few years ago, and then Nomad

488
00:29:27,920 --> 00:29:30,279
was written shortly after. So those two songs have been

489
00:29:30,319 --> 00:29:33,319
around for a couple of years waiting for the right opportunity.

490
00:29:34,000 --> 00:29:40,000
Cheap Shots was written this year. This is a test.

491
00:29:40,279 --> 00:29:45,359
Insomnia on the Table was written this year, and no,

492
00:29:45,400 --> 00:29:49,279
not on the table, Insomnia these doors, that's what I

493
00:29:49,359 --> 00:29:54,559
meant to say. And then On the Table was halfway

494
00:29:54,599 --> 00:29:58,279
written about a year ago and I never finished it,

495
00:29:58,680 --> 00:30:00,440
and then I went back for the art k ives,

496
00:30:00,480 --> 00:30:07,799
found it incomplete and finished it this year. That's the That's.

497
00:30:07,480 --> 00:30:10,640
Speaker 1: So, was there a point where you're like, Okay, I'm

498
00:30:10,640 --> 00:30:12,480
gonna sit down and write a record or was it

499
00:30:12,599 --> 00:30:15,680
just fuck it, I'm inspired, I got to write a

500
00:30:15,680 --> 00:30:16,960
song and then all of a sudden.

501
00:30:17,240 --> 00:30:21,839
Speaker 4: Right, yeah, so you know I had the Nihilist song

502
00:30:22,039 --> 00:30:25,079
and Nomad Dunn wanting to release it. Not sure how

503
00:30:25,200 --> 00:30:29,200
didn't think they were singles that would that would advance

504
00:30:29,279 --> 00:30:32,440
my tour singles as part of an album. Sure, but

505
00:30:32,839 --> 00:30:35,799
the first thing anyone heard from me after the Winery Dogs.

506
00:30:36,240 --> 00:30:38,680
For whatever reason, I thought they would be better suited

507
00:30:39,039 --> 00:30:42,519
to be on an album and be revealed in context

508
00:30:42,559 --> 00:30:45,599
of a record mark. So there I'm thinking in terms

509
00:30:45,799 --> 00:30:51,799
outside of being the pure recording artist sou But when

510
00:30:51,799 --> 00:30:55,640
I when I wrote cheap Shots, I thought, Okay, I'm

511
00:30:55,640 --> 00:30:57,559
gonna put this out as a single, and I did

512
00:30:58,519 --> 00:31:02,799
to advance my European and then somewhere in there, while

513
00:31:02,799 --> 00:31:06,000
I was home, I went back and listened to Nihilist

514
00:31:06,039 --> 00:31:08,160
again and No Man, and then I started getting a

515
00:31:08,200 --> 00:31:10,720
little creative and writing some of the other songs I mentioned.

516
00:31:11,279 --> 00:31:15,359
And then I realized, sometime like in March, oh, you

517
00:31:15,480 --> 00:31:19,480
might have a record. So I started working towards that

518
00:31:19,559 --> 00:31:22,559
eight song album, which is how I got to where

519
00:31:22,559 --> 00:31:23,079
we are.

520
00:31:23,400 --> 00:31:25,759
Speaker 1: Right right and you are on tour right now. It's

521
00:31:25,839 --> 00:31:28,680
like you said, you're in Colorado Springs. You have a

522
00:31:28,680 --> 00:31:34,559
new drummer, Kyle Hughes, and ironic I met him six

523
00:31:34,680 --> 00:31:37,200
or seven years ago. He had just moved to La

524
00:31:37,279 --> 00:31:41,279
I went to a diner in North Hollywood, late night

525
00:31:41,359 --> 00:31:43,599
thing all of a sudden happened and Harry shows up

526
00:31:43,599 --> 00:31:46,960
with a seventeen year old kid from Britain who turns

527
00:31:46,960 --> 00:31:49,640
out to be Kyle Hughes. How did Kyle come into

528
00:31:49,680 --> 00:31:50,319
your life?

529
00:31:52,519 --> 00:31:58,839
Speaker 4: Through Dylan my bass player, Darren Wilson, And so originally

530
00:31:58,960 --> 00:32:01,920
my friend Dan for true was gonna do the European

531
00:32:02,000 --> 00:32:08,759
tour and he had the dates conflicted with some family plans,

532
00:32:09,480 --> 00:32:13,240
and so obviously, you know, the reality is I need

533
00:32:13,279 --> 00:32:16,440
a person once I start a cycle. You know, I

534
00:32:16,440 --> 00:32:21,119
don't want to switch switch it's exhausting. First of all,

535
00:32:21,160 --> 00:32:25,720
I hate rehearsing, you know, my worst nightmare, and then

536
00:32:25,880 --> 00:32:30,079
that check is right under it. So Kyle was available

537
00:32:30,240 --> 00:32:32,160
and he came in. He knew all the music and

538
00:32:33,240 --> 00:32:35,599
so he's on board for this album cycle for this

539
00:32:35,759 --> 00:32:38,039
year and he's doing a great job.

540
00:32:38,599 --> 00:32:42,720
Speaker 5: Yeah and uh, and like you said, he's young, and

541
00:32:42,759 --> 00:32:48,720
he he's got the great attitude and he's a great musician,

542
00:32:48,799 --> 00:32:49,960
great player, sings.

543
00:32:50,440 --> 00:32:51,640
Speaker 4: So it's been a lot of fun. We have a

544
00:32:51,640 --> 00:32:52,440
good time in the row.

545
00:32:53,440 --> 00:32:56,480
Speaker 1: Yeah, that's kind of what matters. Having fun, because if

546
00:32:56,519 --> 00:32:58,400
it starts to feel like a job, then it's not

547
00:32:58,519 --> 00:32:59,400
as fun anymore.

548
00:32:59,480 --> 00:33:04,240
Speaker 4: Right, Yeah, well look I mean yeah, I mean I'm

549
00:33:04,279 --> 00:33:06,240
not out here to have fun. I mean I can

550
00:33:06,279 --> 00:33:10,240
have more fun staying at home, right doing a one off,

551
00:33:10,519 --> 00:33:15,200
you know, at the cat and club. But you know,

552
00:33:16,759 --> 00:33:19,640
you gotta you gotta be able to get along. I mean,

553
00:33:19,680 --> 00:33:21,920
first and foremost is the music. The music has to

554
00:33:21,960 --> 00:33:25,400
be right. But you know, you are out here, you're

555
00:33:25,440 --> 00:33:30,799
living on a bus together, and you know it can

556
00:33:30,839 --> 00:33:35,640
get it can become a grind, an unpleasant grind. And Luckily,

557
00:33:37,680 --> 00:33:41,039
every time I've done these tours with my solo band,

558
00:33:41,160 --> 00:33:44,519
it's always been fun and we kind of always operate

559
00:33:44,599 --> 00:33:47,920
like this little kind of family, you know, enjoying time,

560
00:33:48,440 --> 00:33:51,240
and this one is no exception. I mean, we three

561
00:33:51,240 --> 00:33:56,480
of us get along great, and it's just a simple, fun,

562
00:33:57,000 --> 00:33:59,279
easy going vibe. So it is fun.

563
00:33:59,759 --> 00:34:03,079
Speaker 1: Do you like the bus tour as uh? Do you

564
00:34:03,160 --> 00:34:05,440
for the bus tour? Or do you like the fly in?

565
00:34:05,920 --> 00:34:09,280
Speaker 4: I hate flying. I hate it, hate it. I don't

566
00:34:09,360 --> 00:34:12,440
like anything about it. I like anything about the airport.

567
00:34:12,599 --> 00:34:15,679
I don't like anything about being on an airplane, unless

568
00:34:15,719 --> 00:34:19,000
maybe I was flying it I wanted to get I was.

569
00:34:19,159 --> 00:34:21,360
I was all set to go take flying lessons, and

570
00:34:21,400 --> 00:34:27,159
my wife like went berserk, and I mean honestly, I

571
00:34:27,159 --> 00:34:29,400
mean she got so great and so like, I would

572
00:34:29,400 --> 00:34:32,880
look outside above our house and the little plants. He said,

573
00:34:32,880 --> 00:34:35,199
that could be me. I'd be flying by now, yea,

574
00:34:35,320 --> 00:34:38,719
and so so I would. I teased her, and I said,

575
00:34:38,760 --> 00:34:40,400
you know, because she sleeps later than me and I

576
00:34:40,440 --> 00:34:42,880
get up really early. And so I said, you know,

577
00:34:42,920 --> 00:34:45,519
I had the conversation. I said, whatever, I said, I've

578
00:34:45,559 --> 00:34:47,880
been I've been up three times now. She's like, what

579
00:34:47,880 --> 00:34:51,480
do you mean I could have Santa Monica and I've

580
00:34:51,519 --> 00:34:53,960
already been flying. I mean, I haven't the guy with me,

581
00:34:54,519 --> 00:34:57,840
you know, but I flew over the house twice and

582
00:34:57,880 --> 00:35:01,360
she's getting crazy, like you know, really really never really

583
00:35:01,440 --> 00:35:06,880
had her mad, you know. It's funny. Yeah, but no,

584
00:35:07,079 --> 00:35:09,599
I love the bus. I love it because I get

585
00:35:09,639 --> 00:35:11,679
on there, I take the back lounge and make it

586
00:35:11,719 --> 00:35:13,320
a bedroom.

587
00:35:14,079 --> 00:35:15,079
Speaker 3: And uh, I.

588
00:35:15,000 --> 00:35:17,440
Speaker 4: Actually get aggravated when we get to the hotel and

589
00:35:17,519 --> 00:35:21,960
I gotta get off really because I gotta gather my things.

590
00:35:22,079 --> 00:35:26,440
Speaker 1: And yeah, that makes sense. I was just kind of

591
00:35:26,440 --> 00:35:29,360
curious because I know how expensive it is now, especially

592
00:35:29,400 --> 00:35:31,559
do do the bus thing?

593
00:35:32,599 --> 00:35:35,920
Speaker 4: Yeah, it is expensive, but I mean, you know, it's

594
00:35:36,000 --> 00:35:39,840
the way it is. I mean it's funny because everything,

595
00:35:40,199 --> 00:35:45,199
everything costs more, but I'm not getting paid more. Guarantees

596
00:35:45,320 --> 00:35:49,639
is still pretty much what they are. But you know,

597
00:35:49,719 --> 00:35:51,320
I'm able to do it, so I do it.

598
00:35:52,440 --> 00:35:54,880
Speaker 1: Have you ever thought about because I know you're good

599
00:35:54,880 --> 00:35:57,639
friends with you know? Have you and have you two

600
00:35:57,679 --> 00:35:59,800
ever talked about working together?

601
00:36:00,519 --> 00:36:06,960
Speaker 4: We did? We we did? Okay, Yeah, we wrote after

602
00:36:07,039 --> 00:36:11,320
that one cruise. There was a cruise we were on,

603
00:36:11,480 --> 00:36:14,159
and then he came out to my house a few

604
00:36:14,199 --> 00:36:17,320
times and we had a few things that we never finished.

605
00:36:17,360 --> 00:36:19,320
But there was one thing I played him a song.

606
00:36:19,480 --> 00:36:23,320
I wrote a song called Forever. It's a pretty cool

607
00:36:23,760 --> 00:36:27,599
hook line in the chorus and I had it's been

608
00:36:27,639 --> 00:36:31,480
around for a while. And this is before fifty for

609
00:36:31,559 --> 00:36:35,760
fifty and so we wrote a couple of things and

610
00:36:35,800 --> 00:36:39,159
then and this is actually before Smith cottson and then

611
00:36:39,480 --> 00:36:42,599
we he heard this song and he said, oh, I

612
00:36:42,639 --> 00:36:44,599
got an idea for this. So he took my verse

613
00:36:44,960 --> 00:36:47,679
and replaced it with something that he wrote and it

614
00:36:47,719 --> 00:36:52,639
was pretty cool. And so that song exists. And then,

615
00:36:53,159 --> 00:36:55,960
for whatever reason, we never released it. You know, time

616
00:36:56,000 --> 00:36:58,480
went by and you know, I didn't put it on

617
00:36:58,599 --> 00:37:01,320
fifty for fifty, so it's sitting there. I don't know

618
00:37:01,360 --> 00:37:06,719
if it'll ever see the light of day, but you know,

619
00:37:07,159 --> 00:37:07,840
it exists.

620
00:37:09,239 --> 00:37:11,360
Speaker 1: Never know, Do you do you want to put it

621
00:37:11,360 --> 00:37:13,800
out though? I mean it sounds like something that people

622
00:37:13,840 --> 00:37:14,400
would love.

623
00:37:14,760 --> 00:37:17,440
Speaker 4: Yeah, yeah, i'd put it out. Yeah, I mean there's

624
00:37:17,480 --> 00:37:20,960
something I'm thinking about right now, obviously my own album,

625
00:37:21,000 --> 00:37:24,199
but yeah, i'd love to put it out. I'm sure

626
00:37:24,239 --> 00:37:26,800
we will at some point. I mean, obviously they just

627
00:37:26,840 --> 00:37:30,679
put out a record that was really well received, and yeah,

628
00:37:30,719 --> 00:37:31,960
I'm sure we'll put something out.

629
00:37:33,199 --> 00:37:34,880
Speaker 1: So what what do you got coming up on those

630
00:37:36,440 --> 00:37:40,519
after If you looked past the tour, what do you

631
00:37:40,559 --> 00:37:42,559
what do you got on the back burner? I mean

632
00:37:42,599 --> 00:37:44,440
I thought I saw something that you were writing with

633
00:37:44,480 --> 00:37:45,239
Adrian again.

634
00:37:45,800 --> 00:37:48,199
Speaker 4: Yeah, yeah, I think people are going to be pleasantly

635
00:37:48,239 --> 00:37:53,119
surprised folks that are into that first album that we're

636
00:37:53,119 --> 00:37:56,719
going to be coming with something, you know. Uh so

637
00:37:57,239 --> 00:38:00,719
that'll be announced as the as we get close towards it,

638
00:38:00,800 --> 00:38:06,360
you know, and some cool stuff going on there. No

639
00:38:06,480 --> 00:38:10,159
Mad comes out next week or the twenty seventh I

640
00:38:10,199 --> 00:38:13,679
guess right week right, and we're gonna have a couple

641
00:38:13,719 --> 00:38:18,639
more videos. I did a video for the song No Mad.

642
00:38:18,639 --> 00:38:19,960
Have you heard the whole record? You heard it?

643
00:38:20,119 --> 00:38:23,079
Speaker 1: Yes? Actually I listened to it again twice this afternoon.

644
00:38:23,440 --> 00:38:27,239
Speaker 4: Yeah. I did a video clip for No Mad. That's

645
00:38:27,920 --> 00:38:31,880
you know, it's pretty cool. And then I did another

646
00:38:32,000 --> 00:38:35,559
video clip for this is a Test, which is the

647
00:38:35,639 --> 00:38:36,440
acoustic song.

648
00:38:36,519 --> 00:38:36,760
Speaker 1: Yeah.

649
00:38:36,760 --> 00:38:43,440
Speaker 4: I love that song, and and my dog Rusty is

650
00:38:43,519 --> 00:38:46,000
sitting next to me throughout the whole video. It's pretty funny.

651
00:38:46,039 --> 00:38:50,239
Nice move. Yeah, yes, that's cool.

652
00:38:50,280 --> 00:38:53,079
Speaker 1: And I do like the cover. You kind of stole

653
00:38:53,119 --> 00:38:54,320
my selfie pose.

654
00:38:55,239 --> 00:38:58,519
Speaker 4: I know, I h h yeah, that's how that's in

655
00:38:58,559 --> 00:39:02,360
my yard. That's you know, that's what I see every

656
00:39:02,360 --> 00:39:04,280
morning when I wake up. So it's not too bad.

657
00:39:04,719 --> 00:39:07,800
Speaker 1: There's nothing wrong with that, Richie. I really appreciate your time.

658
00:39:07,840 --> 00:39:07,960
Speaker 4: Man.

659
00:39:08,000 --> 00:39:09,679
Speaker 1: It's always good to see you. Always good to talk

660
00:39:09,679 --> 00:39:12,199
to you, and good luck out on the road and

661
00:39:12,239 --> 00:39:13,199
hopefully talk to you soon.

662
00:39:13,559 --> 00:39:15,360
Speaker 4: Awesome brother, talk to you later, all.

663
00:39:15,320 --> 00:39:20,800
Speaker 1: Right, see buddy, Oh, ladies and gentlemen, there he goes,

664
00:39:22,599 --> 00:39:30,280
Richie Effin Cotson. What more can you say? Check out

665
00:39:30,320 --> 00:39:34,400
the brand new record No Man, that is out twenty

666
00:39:34,400 --> 00:39:37,280
seventh of this great month of September. Catch him out

667
00:39:37,320 --> 00:39:39,360
on tour. If he is coming to your town and

668
00:39:39,440 --> 00:39:43,639
coming to your area where your communities you've never seen

669
00:39:43,719 --> 00:39:50,360
Richie live, you will absolutely be Lord and October seventeenth,

670
00:39:50,800 --> 00:39:57,119
Adam Carolla, Jimmy Kimme Alive. October eighteenth, Akatridden Taste really

671
00:39:58,239 --> 00:40:01,400
my man opening up her Enough's up on My birthday show,

672
00:40:01,480 --> 00:40:04,119
because my birthday is the nineteenth. Come out to Vegas,

673
00:40:04,159 --> 00:40:06,679
have some fun. That is what it is all about.

674
00:40:07,079 --> 00:40:11,800
October thirtieth, Hollywood, Hollywood and Highland Lucky Strike Live sound

675
00:40:11,960 --> 00:40:18,320
Check Live, one hundred one hundred show. It's gonna be great,

676
00:40:18,559 --> 00:40:21,199
be a Halloween party. I don't know what I'm gonna

677
00:40:21,239 --> 00:40:23,719
wear yet, but I got some time to think about

678
00:40:23,760 --> 00:40:26,079
that and hopefully see you guys next week.

679
00:40:27,760 --> 00:40:28,760
Speaker 3: And check it out.

680
00:40:30,199 --> 00:40:37,760
Speaker 1: Raise your glasses. Oh yeah, I forgot what I lack

681
00:40:37,800 --> 00:40:39,079
in talent. I make up for a cock