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Speaker 1: When you're searching for that next big podcast, why not

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stop in at Arrow dot net A r r oe

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dot net. Not just one podcast, it's twenty different platforms,

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one of them being that Voice. I've spent the past

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ten to eleven years sharing conversations with those featured on

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NBC's The Voice. Catch Up. Now You're never too late.

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Arro dot net A r r oe dot net. Enjoy

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your exploration, dude, what's going on?

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Speaker 2: How you doing?

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Speaker 1: I'm doing fantastic. I'm very fired up to share a

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conversation with you because you just seem to be that

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type of person that says I've got something and I

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think it's time that everybody else gets to know and

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I'm not afraid to share it.

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Speaker 2: That would be a good uh, that would be a

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good assumption.

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Speaker 1: How did you get tangled up in this? Because I mean,

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this really is an expression and I love it that

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the you know that you have put yourself in this position.

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Speaker 2: Well, so what do you talk about in terms of

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releasing music or label work or anything like that?

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Speaker 1: See what I mean, Expand everything that you're doing, because

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I mean it's like you look at a Google calendar

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and you're going, yeah, let's put it on there. I

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see a blank area, let's put something in there to do.

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Speaker 2: That describes me pretty well.

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Speaker 1: Yes, yeah, because we both know that creativity takes time.

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But the thing about it is, though, is that if

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we measure that out properly, we can get a lot

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done and it can be, you know, an outreach that

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really does go further than what we think.

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Speaker 2: I would agree, And you know, I spend a lot

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of time not doing things such as sitting around watching

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TV the things of that nature. And I have a

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recording studio in my house, so that makes it a

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lot easier to work on art when the moment hits

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me or if there's a project that I need to complete,

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I have the ability to do that.

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Speaker 1: That seems to be the big thing to have a

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studio inside your home. But I got to ask you

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a person question in the way of when did you

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decide to start putting discipline in that when you can

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go into it when you have to be out of it. Otherwise,

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if you're going to be like me, you live in

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that studio.

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Speaker 2: Yeah, I think it's just I just have been. I've

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recorded so much. I mean, I've been a part of

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either producing or recording I don't know, well, over sixty

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seventy albums over the last twenty years, and so you

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just start to develop a discipline and a process that works,

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and from time to time, depending on the project, I

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may alter that process, but for the most part, I

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kind of just have a way that I go about

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work and that sits me.

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Speaker 1: Well, was there ever a time period where you sat

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back going, what do you mean? Prince has a catalog?

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Michael Jackson has a catalog. Yeah, stuff that we've never

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heard of before. And all of a sudden, dude, you've

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got a catalog that most of us have not heard

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of before.

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Speaker 2: That is true. I just was telling someone the other day,

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I've got a solo record coming out at the end

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of next month, and once those songs are published, I

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will be over the two hundred and fifty song MARKO

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of songs that I've published that I've either written or

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co written.

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Speaker 1: Wow. Now, to be that expressive when it comes to

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releasing that music, because that takes courage and it takes

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a lot of confidence. Because I meet musicians all the

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time to say, no, I'm only good for like three

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or four songs. Really, have you met John yet? John

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doesn't stop at four songs.

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Speaker 2: Yeah, I mean, you know, it depends. I mean I

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think that there are some projects that I've done where

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I started off or maybe it was going to have

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eight songs on it. For example, I wrote eight songs,

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but then once I go in and actually start get

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finished the recording and determine how I want to release

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this latest expression, and sometimes that gets whittled down to

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four or five songs because that fits the theme of

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what I'm going for better. And then other times I'll

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set out to where like this latest album, the Blue

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album that I finished, it was originally going to be

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like a four or five song EP and it turned

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into an eight song full length album. And sometimes sometimes

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that just happens. So, you know, I may have an

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idea of what I want to do from the onset,

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but and usually that is what what I see through.

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But then from time to time that will change. Either

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there may be less or maybe more, depending on how

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how the process goes.

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Speaker 1: So when you start to expand like that, does it

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hit you Like you could be at dinner, you could

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be driving in the car, you could be talking with somebody,

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and all of a sudden you go, oh crap, I

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got another song that's about ready to come out of me.

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Speaker 2: That's happened, and then good thing we have iPhones now,

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so I just I'll pull open, you know, the memo

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app and you know the where you can record, and

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I'll hamm a melody line or you know, sing some

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lyrics or whatever that may be, and then I have it.

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And then that's enough to at least put something down

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to where when I listen to it back, I'll remember

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it and then I could flush that out further when

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I'm in home and in my studio and able to

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do that properly.

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Speaker 1: One of the things that seems to be evolving, especially

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these days with music, is that every generation claims this

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is my music. In other words, my you know, there

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could be something from the sixties and generation Alpha is

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going that's my song. And the thing about it is

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one thing that's missing, and I hope to God that

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it will come back. Regional music. I totally believe anybody

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from New York needs to own their own sound, keep

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it for a while, then spread it across the world.

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What do you think.

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Speaker 2: I think that's a good I think that's I mean,

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that's cool. And Cleveland has a pretty robust music band. Yes,

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And I think there are a lot of younger bands

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that are really developing a sound and making their way

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out there in the music world. My friends in a

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band rock band called Trust come to mind. Also Kid

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Tiger who actually played bass uh for Billy Corgan's solo

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tour last year when when he went out did that.

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So there's some there's some really good young talent in

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the city that is developing their own style that is

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that Cleveland sound, and then you know, taking that out

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to the rest of the country and some regards the

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world with people touring Europe too.

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Speaker 1: So then when you when you take on a music project,

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does it look to you as being an open door?

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Is it or is it one where you have to

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go you know what, I need to sit down here,

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not as an armchair quarterback, but I need to sit

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here as a student, receive this music, now go test

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it inside the studio.

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Speaker 2: No, I'm pretty willing to take on any sort of

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project from a recording standpoint. When it comes though to

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actually putting something out on my record label though, that's different.

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That's what and I try to take off the artist's

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hat and put on the business hat because I've found

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that you know, if an artist isn't gonna put as

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much effort into building their own following as you would,

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then it's not gonna work. And even if the music

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is fantastic, if they're not doing what they need to

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do on there and to get themselves out there, then

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it's that I that I've found that I've wasted a

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lot of my time in the past with certain artists,

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and I'm not doing that anymore. So I'm really I'm

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really more selective on who I sign and the types

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of projects that I take on from that. But if

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someone wants me to work on recording some songs with them,

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that's that's a different story. That's a different animal. That's

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that's just you know, creating art and having fun.

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Speaker 1: How do you go in there and when they're relinquishing

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control to you inside that studio, how is it that

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you can keep your vision in tact while listening to

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them as well? Because so often I would be in

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there going nah, I don't know, guys, I my many

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years in radio, I would not have taken that chance.

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I feel like, sh shut up, it's their song, dude.

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Speaker 2: No. I let the artist always guide that, and then

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you know, I try to add to something, you know,

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a project, whatever I can add to it. If it's

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not something that they think is a good idea, and

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it's their choice, they're the ultimate you know, they have

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the ultimate decision on that. But you know, I'm not

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I'm not so much of a tyrant where I'm going

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to insist that my ideas be used. I don't. I

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don't think that that's the way art works. I wouldn't

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want someone to do that to me. But I have

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found that in the past when I have worked with

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outside producers, that getting a different perspective and a different

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viewpoint on something that is too close to home for

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you is a good thing. You don't have to necessarily

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take those ideas and use them, but to at least

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think about, you know, Okay, they're recommending that I do this,

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I'm not going to do that, but that that's a

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good idea, And I'm glad I thought about it, because

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then it makes it makes the decisions that you make

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a little more uh solidified, because you you were forced

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by someone else to think about that decision. And if

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you decide to move forward with your idea, then you

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you're more confident. Does that make sense? It's more confident

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with that idea.

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Speaker 1: Yeah, absolutely, because when it comes to those decisions making moments,

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I mean, when it comes to the rhythm of a

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song such as your to Blame, does that fall into

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place inside the studio or do you have that locked

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down already before you even start writing that song?

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Speaker 2: That's a nihilistic song? They that song was, Yeah, so

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they I don't know that would be a good question

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for them on that particular track. Is it's it was

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released long before I was involved with them. Jim Machine

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reissued their catalog and so that's that's a lot of

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you know, the nihilistic songs go. But they're they're an

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interesting group. They they they do what they want, they're

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the nihilistics.

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Speaker 1: But being that's super close to the music industry itself,

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I mean, there's got to be a way where all

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of that inspiration from these different bands, including those that

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you put in there as studio musicians, everybody's got an inspiration.

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Do you feed off that?

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Speaker 2: Absolutely?

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Speaker 1: Yeah?

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Speaker 2: Absolutely, I mean it's it's just a different vibe that

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you get when you jam with people. That's like when

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you you know you're in a band that works and

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you jam with those people over a period of you know,

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months and years, and you get more comfortable and you

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build off of what you did before. And then conversely,

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it's also nice to jim and write with new people

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because there's a different type of energy and that may

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bring out different ideas that you know your other band

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would not you know, it wouldn't work with them, And

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I think that's I think this is why a lot

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of artists may have a main project, but then they

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also have a lot of side projects too, and that's

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kind of I think how that's how I've operated in

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my my life with music.

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Speaker 1: Please do not move. There's more with J ten thirteen

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coming up next. Hey, thanks for coming back to the conversation.

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Let's jump into that talk with J timp thirteen. What

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about taking it live? Do you want to be in

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a place like CBGB's or do you want to sit

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there and jump from festival to festival. It seems to

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be the big thing right now. Everybody's jumping on that

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festival bandwagon.

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Speaker 2: Yeah, I think it would be fun to play a festival.

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I mean, I've played smaller festivals, but I'm always for

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the dirty clubs, you know, the CBGB's of the world.

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There used to be a club in Cleveland called the

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Spitfire and the stage was surrounded by a metal cage,

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a steel cage, and it was very old school. And

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every time punk bands would come into town and a

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project I was involved with would play a show with

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a band, they always said, especially the ones from the

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East Coast, said that it reminded them of CBGB's. This

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club has since turned into another bar, but when the

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Spitfire was around, it was like the closest thing that

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that Cleveland had to a CBGB's.

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Speaker 1: So like when you get that close to punk music.

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I was with the Sex Pistols and they corrected me

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when I said, you know punk music. They go, it's

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the blues. It's the blues. You know, it's the blues.

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You only think it's punk because it sounds punk. I'm going,

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you just woke my butt up, is what you just did.

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Speaker 2: Yeah, well, I think a lot of music's based in

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the blues, and I it's funny you should say that.

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I have a project called Guasi.

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Speaker 1: Yeah.

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Speaker 2: We just put out a double album in this past

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November called Return to the Endigo In and the first

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disc is original music and the second disc is our

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covers but the first disc, I would say when we

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were writing that, I don't know if we were just

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in a bluesy kind of mood, but I'd say about

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four of the ten songs are very much rooted in

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the blues, but they're punk rock. But when you listen

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to the progression and the songs themselves, we're basically playing

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blues blues progression, you know, So it's it just comes out.

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I mean, I think a lot of early rock is

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rooted in the blues, and that's what I grew up on,

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and it's it's hard to get that out of your

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DNA once it's there.

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Speaker 1: What have you done to to react to what's happening

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with the music industry these days? When someone like Justin

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Bieber walks out to the Grammy stage and he's out

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there looping music, I mean that that that's such a

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different place from where we have grown from when it

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comes to music.

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Speaker 2: Yeah, I just think it's another evolution. I DJ as well,

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and so I think it's cool to use sounds and

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samples in a in a in a creative way too.

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Just as you know, I may sit down and record

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a song where I played the drums, bass, guitar and

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all the vocals. I also like sitting down and messing

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with a sample with my with my Akaia NPC and

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you know, see what I can make out, what kind

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of beat up I can make out of that. You

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know that that may be more rooted in like dance

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music or eight M Yeah, you know, so it's just

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a different process, a different creative process.

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Speaker 1: I was with the dudes from a PlayStation yesterday and

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how much they put so much love and trust into

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the musicians because they need your music on their games.

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And I just think that's such a relationship that you

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guys have with them.

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Speaker 2: Yeah, I'd like to have more of them, so, you know,

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you know, it's that that that that is an honor.

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I've had a number of songs used in film, yes,

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and commercials. Haven't been fortunate enough to score a video

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game yet, but but yeah, I mean, it is really

294
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cool when someone uses one of your songs for something

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that they're making and it enhances that project. It's a

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it's a good feeling. It's a good feeling going to

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a movie premiere, seeing a movie on the big screen

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and hearing your music. That's pretty cool.

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Speaker 1: My god, that's like a little miniature concert and it's like,

300
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that's me, that's me up there, that's it, that's gre Yeah, Glazi.

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Speaker 2: On that album we just released, we did a cover

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of Country Roads and it was used in a film

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that came out, an independent film that came out this

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past September called Savage and it was it was the

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big you know, at the very end of the movie.

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It was the credit. It was the song that played

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during the end credits. It was pretty cool.

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Speaker 1: Wow, what is that like for you to dive into

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country Roads because that's been a part of my life

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since my eight track days with John Denver back in

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what early nineteen seventy four.

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Speaker 2: Yeah. Yeah, we just we turned it into we kind

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of punked it up, sped it up nice, gave it

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a punk flavor, still kept the still kept the melodies

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and the harmonies, but put electric guitars and some attitude

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behind it. Then you know folk song like John Denver's version.

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Speaker 1: Yeah, because I mean even with you know, with Neil Diamond,

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I mean, you could do something with a Neil Diamond

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song from the seventies and turn it punk and he

320
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would probably laugh and just go, God, dang, that's beautiful.

321
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That's exactly what I meant to do when we were

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writing that song, because you know, that's what I love

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about music is that it's born to evolve.

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Speaker 2: A good song is a good song. I mean, look

325
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at how many songs, some songs have been done in

326
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many different ways, you know, it's that's that's I think

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the testament of how good of a song is is

328
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if it can be recorded across different genres and still

329
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be a good song. And that's that's a cool accomplishment

330
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if you could, if you are able to write things

331
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like that, I think.

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Speaker 1: Wow. Now, So now are you going out on the

333
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road right now, even as the DJ, because I mean,

334
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of course I want to talk about merch because that's

335
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where the money is right now.

336
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Speaker 2: Yeah, I'm not so as a DJ. That's pretty much

337
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where my live where I get my live kicks these

338
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days is I'm not really performing a lot from the

339
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band I'm DJing. I'm still living in my studio and

340
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recording all different kinds of music. But and I DJ

341
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everything under the sun, from clubs to private parties to

342
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even weddings. Uh you know it's those are those are

343
00:17:02,159 --> 00:17:07,279
more money gigs, I'd say, uh, but but but I

344
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also like I prefer to play clubs because then you

345
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could be free and craft a set that is more

346
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original and what you want, not trying to satisfy the

347
00:17:19,759 --> 00:17:21,559
person that's actually paying it. You know.

348
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Speaker 1: So true. Yeah, but man, can you believe it? I mean,

349
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when when it comes to being a DJ, because I'm

350
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a DJ as well, we get into places that we

351
00:17:27,960 --> 00:17:30,480
otherwise would not get into. It's like you're the DJ. Oh,

352
00:17:30,519 --> 00:17:32,640
come on in, we got the past seat in the

353
00:17:32,680 --> 00:17:33,599
house for you, buddy.

354
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Speaker 2: Yeah, it's pretty cool, and I'm getting better. I mean,

355
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I bought a new deck about a d DJ Rev

356
00:17:41,400 --> 00:17:45,079
five earlier this year and I love it. Well, actually

357
00:17:45,079 --> 00:17:47,920
it was last year. I bought it last year, but

358
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I but I I've used it for quite a few

359
00:17:50,079 --> 00:17:52,480
gigs now and I'm getting better and better at it.

360
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I mean, when you have a tool where you could

361
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sample in real time, remove stems in real time, plus

362
00:17:59,720 --> 00:18:02,680
have the normal effects that the board has, you can

363
00:18:02,720 --> 00:18:06,799
really get creative and craft some pretty cool things. See

364
00:18:06,920 --> 00:18:08,839
over the course of a couple hours, You know.

365
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Speaker 1: The average person doesn't see that side of what we're

366
00:18:11,039 --> 00:18:14,119
doing as DJs, that we're in there always consistently testing.

367
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We have a new product. Who's gonna try it first.

368
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The DJ is gonna try it, and we're gonna be

369
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doing it at home because we have to set up

370
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the equipment, set up everything, and then practice, practice, practice, practice,

371
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and then when we do take it live, then it's

372
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like one of the most nerve wracking moments because you

373
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haven't done it live yet.

374
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Speaker 2: Right, And it's always you know, as a DJ, when

375
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you're doing live sets, it's I think the most important

376
00:18:36,000 --> 00:18:40,799
thing besides using effects and whatnot, obviously, is is make

377
00:18:40,880 --> 00:18:43,559
sure that that you're timing is good, that you're playing,

378
00:18:43,960 --> 00:18:48,079
that you're playing the right song at the right time

379
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every time, you know. And that's that's what I think

380
00:18:50,200 --> 00:18:53,839
every DJ should strive for, is to be in the

381
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moment as much as possible and to play what is

382
00:18:56,680 --> 00:18:58,559
right for that moment, what you feel is right for

383
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that moment based on your environment and what's going on

384
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around you.

385
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Speaker 1: Yeah, because that's one of the reason why I load

386
00:19:03,519 --> 00:19:06,039
up with eight songs. I've got eight songs loaded at

387
00:19:06,079 --> 00:19:07,720
one time, because I don't know what that floor is

388
00:19:07,720 --> 00:19:08,039
gonna do.

389
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Speaker 2: Dude, Yeah, it's right, that's what that's cool. Yeah, that's

390
00:19:12,720 --> 00:19:17,559
you never know, right, Uh. I try to keep things. Uh,

391
00:19:17,839 --> 00:19:22,160
I try to start at a certain if I'm if

392
00:19:22,200 --> 00:19:24,160
I'm playing a certain song, I'll see where I'm at

393
00:19:24,200 --> 00:19:27,480
from like a bpm, Yes, you know where I'm at bpms,

394
00:19:27,519 --> 00:19:29,319
and then I'll build off of that, like do I

395
00:19:29,359 --> 00:19:31,279
want to ratchet it down or do I want to

396
00:19:31,279 --> 00:19:34,079
build this up? Build this up and crescendo at some point.

397
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And so a lot of times when I'm when I'm

398
00:19:36,720 --> 00:19:38,880
crafting sets in real time, I'm keeping an eye on

399
00:19:39,160 --> 00:19:42,000
the bpm, sometimes the keys of the songs. A lot

400
00:19:42,039 --> 00:19:45,160
of times though, it's just what type of again, using

401
00:19:45,240 --> 00:19:46,839
the beat to create the vibe.

402
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Speaker 1: Yeah. Do you ever look over there at the bar

403
00:19:48,359 --> 00:19:49,960
and find out oop, I need to get some people

404
00:19:50,000 --> 00:19:51,559
over there. Let me poop these guys out.

405
00:19:53,240 --> 00:19:58,440
Speaker 2: Yeah yeah, yeah, because I mean what we do, it's

406
00:19:58,440 --> 00:20:00,720
all about the alcohol cells and people are paying to

407
00:20:00,720 --> 00:20:01,200
get in the door.

408
00:20:01,240 --> 00:20:03,079
Speaker 1: If I don't get if that does not happen and

409
00:20:03,279 --> 00:20:06,279
we ain't coming back right, Yeah.

410
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Speaker 2: You gonna again? You just you like anything else, you

411
00:20:10,240 --> 00:20:12,880
know what type of venue you're playing, what type of

412
00:20:12,960 --> 00:20:16,319
crowd to expect. I have an idea of my I

413
00:20:16,400 --> 00:20:18,799
usually don't like to plan out my set. Yeah, I

414
00:20:18,880 --> 00:20:21,799
like to have playlists ready, but I don't like to

415
00:20:21,839 --> 00:20:23,920
plan out my set, and then I just kind of,

416
00:20:24,680 --> 00:20:26,640
you know, go with the flow and play, like I said,

417
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play play what I think needs to be play at

418
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any particular any particular moment.

419
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Speaker 1: It's so funny that you say that, because people say,

420
00:20:33,359 --> 00:20:35,279
need to see your video of what you do. I

421
00:20:35,279 --> 00:20:37,079
want to hear your mix, and I'm going, why you

422
00:20:37,119 --> 00:20:39,359
weren't there? And you weren't there. I mean, you're not

423
00:20:39,440 --> 00:20:41,240
You're not going to get the same vibe that I got.

424
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There's just no way you weren't there.

425
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Speaker 2: That's right, That's right. It's hard to explain that to

426
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those that don't do that.

427
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Speaker 1: Yeah, but they got the bucks.

428
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Speaker 2: That's true. God.

429
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Speaker 1: See, I just love how versatile you are, how wide

430
00:20:56,039 --> 00:20:58,519
open you are to creativity. And I mean, that's what's

431
00:20:58,519 --> 00:21:00,599
fun about sharing a conversation with you, is that you

432
00:21:00,640 --> 00:21:03,799
don't stop. You just don't stop. You keep exploring.

433
00:21:05,240 --> 00:21:07,400
Speaker 2: Yeah, There'll be plenty of time to not do this

434
00:21:07,440 --> 00:21:11,880
when I'm not here anymore. So while I'm here, I

435
00:21:11,920 --> 00:21:14,400
want to take a big as much advantage of the

436
00:21:14,400 --> 00:21:17,920
time that I have afforded to me to create as

437
00:21:18,000 --> 00:21:21,200
much art as I possibly can and leave that as

438
00:21:21,240 --> 00:21:25,240
a legacy and if a million people listen to it, awesome,

439
00:21:25,279 --> 00:21:27,759
and if ten people listen to it, then that's fine too.

440
00:21:28,039 --> 00:21:30,000
That's kind of always. That's kind of how I how

441
00:21:30,039 --> 00:21:35,960
I approach art, and because it is subjective and you

442
00:21:36,079 --> 00:21:38,279
just do what makes me happy and hopefully it makes

443
00:21:38,319 --> 00:21:39,240
others happy.

444
00:21:38,960 --> 00:21:41,200
Speaker 1: To absolutely where do people go to find out more

445
00:21:41,279 --> 00:21:43,279
about you? Because I want them to jump onto your

446
00:21:43,359 --> 00:21:46,720
dance floor and everything else that you're creating cool.

447
00:21:46,799 --> 00:21:49,240
Speaker 2: Well, if you want to check out my label, you

448
00:21:49,279 --> 00:21:54,400
could go to jimmachine dot com, next jibmachine dot com.

449
00:21:54,720 --> 00:21:56,880
If you want to check out my DJ site, you

450
00:21:56,880 --> 00:22:01,440
could go to Ohio DJ dot claw. That's Ohio DJ

451
00:22:01,640 --> 00:22:06,799
dot Club. My solo you go to j temp thirteen

452
00:22:06,960 --> 00:22:09,079
dot com. Or you could just check us out. Go

453
00:22:09,200 --> 00:22:13,359
Guassi dot bandcamp dot com, Guassi dot bandcamp dot com,

454
00:22:13,359 --> 00:22:14,759
and our whole catalog is there.

455
00:22:15,000 --> 00:22:17,079
Speaker 1: I love it. I love it, dude. You got to

456
00:22:17,240 --> 00:22:18,559
you got to come back to this show. And if

457
00:22:18,599 --> 00:22:20,000
you find yourself out there on the road and you

458
00:22:20,079 --> 00:22:21,960
show up here in Charlotte, we got to get together

459
00:22:22,039 --> 00:22:23,240
for some face to FaceTime.

460
00:22:24,200 --> 00:22:25,480
Speaker 2: I would love to do that. I have a lot

461
00:22:25,559 --> 00:22:27,400
of I have a lot of friends down in Charlotte

462
00:22:27,640 --> 00:22:31,640
and uh and I have my uncle lives in the

463
00:22:31,640 --> 00:22:34,519
beach there in North Carolina, so I'd be happy to

464
00:22:34,880 --> 00:22:38,200
head down and Aro. I really appreciate your time and

465
00:22:38,279 --> 00:22:39,759
having me on today. Thank you so much.

466
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Speaker 1: Well man, you'd be brilliant today.

467
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Speaker 2: Okay, all right, you too,