Episode 656: Will Turpin (Collective Soul)

[00:00:01] Yeah, I've got a lot of weekends at home in the spring.

[00:00:16] You know by design we get a decent amount of time home winter and spring.

[00:00:20] We did a little bit of winter touring in Australia and New Zealand but yeah usually it's like

[00:00:27] the five months between the end of May and the end of September beginning of October.

[00:00:33] I've got one weekend off that entire five months which is good.

[00:00:37] It's a good thing.

[00:00:40] So I've been doing it 30 years now.

[00:00:42] You know I go through this probably a lot of people who like generally like their job

[00:00:46] go through this of that of like oh I can't no I can't complain about that.

[00:00:53] It's not fair to other people for me to complain about you know getting to do what

[00:00:56] I do for a living.

[00:00:58] Yeah, I mean everybody's job at some point you know will take on the role of a job

[00:01:03] at some point right but I can only consider myself super fortunate and I do love my

[00:01:09] bandmates and I love creating music so that's what I get to do.

[00:01:12] There must be some nights I mean you know it must be some time you know you've been

[00:01:15] on tour for a little while and you just it's just not quite there for some reason.

[00:01:21] Oh yeah, there's some nights you're like man this you know again I don't want to

[00:01:27] be heard complaining but it just is the you know it's just life man you know there's

[00:01:34] always going to be ups and downs man no matter what you do in life you know.

[00:01:37] I totally get that but I think it's also I think it's also okay it's it's also

[00:01:41] okay to like complain sometimes you know it's humanizing people people like

[00:01:46] that and their artists.

[00:01:47] Yeah, I think I think we can reserve the right to complain.

[00:01:49] I just don't like to be heard complaining maybe only in my mind I'm

[00:01:54] good with that.

[00:01:55] What sort of your relationship to the music in this period where you're

[00:01:59] about to ramp up versus say like the end of a long tour right now

[00:02:03] especially with a new record out you know I'm still listening to the new

[00:02:06] songs all the time and I'm getting super excited about what we've done and

[00:02:10] how proud I am and then once we get out on tour it'll get to be you know

[00:02:16] we we still enjoy what we do so we have fun on the road when we you know

[00:02:21] we try to have fun we do a lot of the same things we did 30 years ago

[00:02:24] when we were kids so we try to have fun we know how to have fun we're

[00:02:29] we're experienced at living on the road but it changes once you get midway

[00:02:34] it's more of a little bit more of a of a grind because a lot of the it's a lot of

[00:02:40] the same things over and over I tell people is grueling it's not hard it's

[00:02:45] not tough don't feel sorry for me it's just grueling I guess that's that's

[00:02:50] the word especially in your case with your band it's it's a marathon and

[00:02:54] it's a marathon in a way that a lot of your that's not for a lot of

[00:02:57] your contemporaries you know a lot of them are still doing fine in

[00:03:00] touring but they don't record or they you know they dropped off and are

[00:03:04] doing some other things maybe tour from the time to time but like there's

[00:03:07] what's the longest break in in this like 30 year period that you've

[00:03:11] actually taken for the band yeah I mean I think I think there was a

[00:03:15] period from like 2012 13 and 14 we were kind of maybe playing lucky to

[00:03:22] get 25 shows in a year but still and not recording so then that's still

[00:03:30] keeping yourself somewhat in the game but in 30 years we haven't really had a

[00:03:35] huge break we still like creating music as you mentioned it's still part of us

[00:03:41] that flows out of us matter of fact that's the name of the second song let

[00:03:45] it flow but yeah that that creative thing is still part of us all of us

[00:03:51] and and so is the live thing we're excited to go play live right now and

[00:03:56] can't wait to see the crowds I mean how can we not be like kind of excited or at

[00:04:02] least you know kind of like pinching ourselves as far as going on tour with

[00:04:07] our buddies and Hootie and the Blowfish, Edwin McCain all three bands met

[00:04:13] each other in 94 you know we're all three from the south signed to

[00:04:18] Atlantic Records and big New York City you know and here we are 30 years

[00:04:23] later and everybody's honestly everybody musically is on top of their game what

[00:04:28] strikes me looking you know I know like you weren't like in the earliest

[00:04:32] days but you joined very early on with the bands and looking looking into the

[00:04:36] history of the group it it seems like things really came together really

[00:04:41] quickly for you yeah not really but I mean maybe it didn't feel like it

[00:04:46] at a time but it's one of those things you look back in your you're

[00:04:48] like you know that that two three-year period felt like forever but now it's

[00:04:51] like wild that it happened that quickly you know I mean the the collective soul

[00:04:55] documentary that's another thing we can definitely mention we've already seen

[00:05:00] the first cut of that and I think people know we're a small-town band

[00:05:03] that they grew up together we all the original guys all went at the same high

[00:05:06] school I don't have a memory without knowing who Ed and Dean are I

[00:05:12] literally was at their father's church their father was the music

[00:05:16] minister at that point and he was he was directing the youth choir and I knew

[00:05:21] who Ed and Dean were they lived two streets over the Baptist Church was

[00:05:26] right there and so was my father's studio so yeah it'll be it's gonna be

[00:05:32] good for people to get a get an idea of what kind of a small-town story it

[00:05:36] was Ed being seven and a half years eight years older than the rest of the

[00:05:43] guys we watched him work in my father's studio we watched him work on his craft

[00:05:48] on a songwriting we were fans of his music coming up through high school and

[00:05:53] we'd go watch him play so you know Ed was while Ed's friends were getting

[00:06:00] married and having real jobs he was working his ass off trying to figure

[00:06:05] out he was head engineer and he was he was working on his like I said

[00:06:08] he's working on this songwriting craft I tell people the short version

[00:06:12] as you know me and my friends came through high school including Dean his

[00:06:15] younger brother and you know it was just like we just kind of all fell into

[00:06:20] place I was the last one to fall into place but it all kind of just fell in

[00:06:24] the place of guys who knew each other and and knew we thought we

[00:06:28] knew and now I look back and I'm pretty sure we did know but we

[00:06:31] thought we knew how to how to support Ed songs and and how to make

[00:06:38] that sound like a band and how to be a band we still love doing it we just

[00:06:42] got back from Palm Springs and we had to all live together and all record

[00:06:46] together we when we go do things we like being a band you know like the

[00:06:50] definition of the word band we like to hang together record together yeah

[00:06:54] you have to take breaks from each other in those like rare times when

[00:06:58] you're not either recording or touring together yeah breaks are good

[00:07:01] but I mean even on this break I called up Johnny and Jesse and asked

[00:07:07] them to come down and hang out with me for two days you know so get antsy a

[00:07:11] little bit like especially when he tours much what was the how long were

[00:07:14] you actually off the road during the pandemic yeah that was you know we were

[00:07:18] the first one of the first bands to jump right back out there our manager

[00:07:22] and agent knew that we were we were ready to be aggressive and we were

[00:07:27] back on the road with sticks I think we did about 15 shows with sticks

[00:07:34] June late June of of it was that 2020 or 21 it was only 21 yeah 21 we were we

[00:07:42] were right back out there in 21 yeah because right 2020 nobody toured nobody

[00:07:48] did anything in 2020 matter of fact we did play the Ryman March 10th the

[00:07:55] night the tornado came through Nashville and then about two or three

[00:08:01] days later the world basically shut down and that's one of my favorite

[00:08:05] posters because they did some original artwork at the Ryman and it just has

[00:08:09] the date you know that's the night the tornado went a couple blocks away

[00:08:13] from us we had an after party of course and I hear somebody behind the

[00:08:17] bar I think there's a tornado warning and of course all of us at

[00:08:20] midnight are like okay sure you know but literally that thing tore tore

[00:08:25] through a block about three blocks away from where we were hanging out and

[00:08:30] then like I said two days later everybody was in for a change yeah we were so

[00:08:35] that would have been March April May we were only literally not touring 15

[00:08:40] months 16 months and we actually did some COVID compliant shows when

[00:08:45] everybody was doing some of those things as well how was that period for

[00:08:49] you you know I mean you've got a family so I assume that to a certain

[00:08:54] extent there was a positive in all that in that you know you really I

[00:08:58] don't want to say you're forced but like all of a sudden you've got all this time

[00:09:01] to spend with your kids yeah man you nailed it I mean that's gotta always

[00:09:06] think silver linings right okay here we are in this spot all right I'm not

[00:09:11] gonna be a sour grape and like wake up every day and go this sucks you

[00:09:14] know so yeah man we had a great time at home I'm kind of you know I'm

[00:09:21] kind of glad in certain ways that we had those that time we were hanging

[00:09:26] out together we started doing a lot of our ping-pong skills got really good

[00:09:31] you know I've got like I said or you said I've got three boys they're all

[00:09:35] adults Luke would have been the youngest at 15 Jude would have been

[00:09:41] about 18 and Tristan would have been about 23 but we started listening to a

[00:09:49] lot of records beginning to end there they listen and like like when I show

[00:09:54] them stuff they don't like everything I show them but you know it's always one

[00:09:59] of my greatest fears that my kids would have bad taste in music so I've

[00:10:03] done my best but during the Kovac era we did a lot of let's listen to this

[00:10:09] record from beginning to end so so I'm you know they knew they were

[00:10:13] fans of you too or in excess or even back to the 70s with yes and in

[00:10:20] they were big fans of these songs but they didn't have quite the time to

[00:10:24] experience those things like I did beginning to end on an album or a CD so

[00:10:29] we did a lot of that during kovat too and it's just just a bunch of good

[00:10:33] conversations and comments from them like wow didn't know that was you

[00:10:37] know they would sound like that or you know this records great you know I

[00:10:40] know this one song but this records amazing so between music and like I

[00:10:44] said just having fun sharpening up the ping-pong skills but my

[00:10:48] cornhole game got really good during that era as well but what a lost art

[00:10:52] form the album is and just the the lack of distractions that you know that you

[00:10:57] would have had at the time especially when are you going back to like to

[00:11:00] vinyl that it's not there anymore and it's been I think in a lot of

[00:11:03] ways between that and streaming it's been very transformative often for

[00:11:08] the worst but it seems like you're still you and the band are still

[00:11:11] very album oriented when it comes to putting together a group of songs yeah

[00:11:16] I mean to me that concept is as a creator that concept still makes sense

[00:11:22] I mean you know I'm real I'm real literal with words and an album is a

[00:11:27] collection of things you know from a given time period so you know if

[00:11:32] you've got 8, 10, 12 songs that you think go together from a time period I

[00:11:38] think and you think people would want to hear it I think I think the album

[00:11:42] concept is still the best way to record if you if you have an album of music I

[00:11:48] don't think it should be forced if you've got six great songs call it

[00:11:51] whatever you want to call it but put them together as a group and then it

[00:11:55] becomes an album you know especially you having that recording studio and

[00:11:59] the band being formed when they were it seems like it seems like a very

[00:12:03] deliberate process for you deciding when to get together deciding when

[00:12:07] you've got the songs and to really spend that time solely focusing I mean in

[00:12:12] this case like you were actually at Elvis's house is that right yeah well

[00:12:16] everybody knows about Graceland but he had a Palm Springs residence and really

[00:12:20] loved Palm Springs especially the last few years of his life but um yeah we

[00:12:26] we befriended a friend of our friend of ours had a good friend that

[00:12:31] had bought the Palm Springs residence when real estate was really low and he

[00:12:37] had left it it had been left just like Elvis left it and he left it that way

[00:12:42] and it was a bit of a time capsule really cool the DNA is just dripping

[00:12:46] off the walls we brought in you know in an era where hard drives can bring

[00:12:50] in a lot of your gear but we bought in a couple big racks of gear and

[00:12:55] set up the engineering room and Lisa Marie's bedroom the main living room

[00:13:00] looking out to the pool and the landscape of Palm Springs which is where

[00:13:04] Elvis recorded some vocals in his day that main room we set up as a band

[00:13:11] kind of set up and ran all the wires in there and recorded on headphones

[00:13:14] and again we record like a band we wanted to sound the beginning of the

[00:13:19] vibe has to start as a band for us but um but yeah man Elvis's place

[00:13:27] it was it was left just like it was a little bit in disrepair but you know it

[00:13:33] served its purpose and and it really I think it really I think we found a

[00:13:38] vibe I think we found a line that that took us to a better place and I

[00:13:42] actually think the Palm Springs Elvis Palm Springs residents had something to

[00:13:47] do with that again this is something I'm sure that you're really conscious

[00:13:50] of again I use spending a lot of your time in a recording studio but

[00:13:53] aside from the very obvious sort of aesthetic sound properties how much of

[00:14:00] an impact does an environment have on the end product?

[00:14:04] Yeah it's really hard to quantify that but I tell you what man we were we

[00:14:09] were living as a band in an Airbnb which is actually Burt Lancaster's one

[00:14:14] of his two Palm Springs residents so it had turned into an Airbnb we got

[00:14:18] turned onto that and it wasn't so lavish Palm Springs and that in that

[00:14:22] architecture it's not it's not these huge mansions but it's really really

[00:14:26] cool and and it certainly has a vibe all its own as well as the town so by

[00:14:32] the time we're in Palm Springs hanging out the smaller community we're getting

[00:14:35] to know everybody I'd say within a week everybody knew Collective Soul was

[00:14:39] in town recording a record whether you're a bar owner or clothing store

[00:14:44] owner restaurant owner or whatever everybody kind of got the word on the

[00:14:47] street because it's a smaller town but between enjoying Palm Springs enjoying our

[00:14:52] time together as a band and then going every day to Elvis's place to record I

[00:14:56] you know that was that's the idea we do those things so the end product will be

[00:15:01] better so we hope it is it's hard to quantify.

[00:15:05] How did you end up with a double record this time? Ed's super prolific

[00:15:09] with the songwriting so we started out recording and we just were flying

[00:15:13] down the we were just hitting hitting our marks really quick and we were

[00:15:17] hitting them with super excitement we really were proud of what was going

[00:15:20] down like it felt good so we got we got probably ten days in and we had we had

[00:15:27] gotten the whole month of January off we got probably ten days in and realized

[00:15:30] that if we just bring in a few other songs that we already know of like

[00:15:35] there's a there's a song that was recorded live which is Ed and a

[00:15:38] harmonica called Bob Dylan then we'll have a double record and we always

[00:15:44] wanted to do a double record so I think maybe I think maybe 15 of those

[00:15:49] songs were actually recorded at Elvis's house and then the other other five

[00:15:52] could have been recorded in other spots or finished at Elvis's house but man we

[00:15:58] just always want to do a double record going way back and then the

[00:16:01] labels are like no that's no good and then we got to the streaming era and

[00:16:05] everybody in our business world's like no that's no good you might as

[00:16:08] well do singles you know da da da and then at this 30 year level we're

[00:16:12] just like we didn't ask anybody's opinion to be honest with you. Do you

[00:16:16] just have like full freedom at this point when it comes to making a decision

[00:16:19] like that? Yeah we kind of do I mean we have to we have people who consult and

[00:16:23] people who we trust but yeah we've and we kind of started out that way in

[00:16:28] Atlantic Records because we were on an independent label and they didn't

[00:16:31] have anything to do with our first record and they stamped their their

[00:16:35] seal on it and put it through their machine we we went platinum and

[00:16:38] a half and they kept that going through the second record and all

[00:16:41] through our Atlantic years they didn't stick their nose in the studio

[00:16:44] and tell us what to do or what we needed to sound like so I always

[00:16:48] consider that one of the fortunate things as well that we started out on

[00:16:50] an independent label and were allowed the freedom to to do what we wanted to

[00:16:54] do. I always appreciate it when people who have had success can recognize that

[00:17:00] there's always there's a bit of luck and there's a bit of timing like

[00:17:03] regardless of like how good or how talented you are that sometimes

[00:17:06] things just like just hit just right and it sounds like not even the

[00:17:09] first record I guess what was effectively like a collection of demos

[00:17:12] had this huge hit on it and and and not gonna say you've been riding it on

[00:17:17] ever since but but you that initial propulsion from 30 years ago like

[00:17:22] you're still on that same trajectory now. Yeah it's wild you think about it

[00:17:26] those the songs that are 30 years old the songs that are 10 years old

[00:17:30] they're all still getting more popular as every day through through all these

[00:17:34] playlists and streaming things the songs are actually getting more popular

[00:17:38] day by day it's a pretty wild concept I imagine in about 10 years they might

[00:17:44] start getting less popular when some of the fans start going away so to speak

[00:17:48] but yeah no that's life I mean it's interesting and and I don't know that

[00:17:56] you've ever even really experienced this because I think your band is

[00:17:58] fairly unique in in this respect but I talked to a lot of talking a lot

[00:18:03] like indie bands right and and they'll achieve a certain amount of

[00:18:06] success and then a certain point it's like well you know our fan base is

[00:18:09] getting older they're having kids are not really coming out to the shows

[00:18:12] it's there's diminishing returns obviously there's always some

[00:18:17] generations and and they have kids they bring them out to the show but I

[00:18:19] don't from my vantage point it doesn't seem like there's ever

[00:18:22] really been a major dip for you guys. There has not been it's been it's

[00:18:28] been a climb we took a little time off in certain eras but no it's

[00:18:33] been a constant climb based on just the strength of the songs if you ask me it's

[00:18:38] the strength of the songs we started out kind of as a studio band and we

[00:18:43] had a studio acumen and we were taught again like you know growing up in my

[00:18:48] father's studio we were taught to serve the song and I remember being

[00:18:51] young and us thinking about what we wanted to be known for what we wanted

[00:18:55] to do it was never like hey we're cool let's let's let's do this it was

[00:19:00] always about let's work hard and let's support the song and let's be known for

[00:19:04] our music and that's when we were super young and I'm glad we had that

[00:19:08] mentality because it I think that I think that shows now. Yeah I wonder if

[00:19:13] Ed being a little bit older helped too you know him having been through it a

[00:19:16] little bit. I think with the songwriting for sure with the song

[00:19:20] writing in the studio acumen again he was head engineer there at my

[00:19:24] father's studio and allowed to create you know my dad gave us a

[00:19:28] fertile ground to grow that's one of the quotes Ed likes to use he

[00:19:33] gave us the fertile ground to do whatever we wanted to and he supported

[00:19:37] the heck out of us all of our parents did and and Ed being seven

[00:19:42] half years older you know again it shine happened quick and the rise of

[00:19:48] collective soul happened quick as far as other people knowing it but man

[00:19:52] Ed was Ed was working his butt off and all the rest of us that's all we

[00:19:56] were going to be was professional musicians so even when we signed at 23

[00:20:00] years old I had been focusing on music in a professional way whether it was

[00:20:06] majoring in music in college or going to all state bands and high school

[00:20:10] or even the battle of the bands that we would play you know the rock

[00:20:13] shows in high school that's all I've done since I was probably 12 13 years

[00:20:17] old. Something probably we're skipping over here that though that's

[00:20:20] really important I mean I'm I'm imagining where I'm remembering where I

[00:20:24] was when I was 23 and if I was suddenly in this position where I was

[00:20:28] you know swept up in swept up into this machine and and you know

[00:20:32] achieving a certain level of fame I I completely why I completely

[00:20:37] understand why so many young musicians fall prey to whether it's

[00:20:42] drugs or anything else there's a certain amount of discipline.

[00:20:45] Cool and you've made it and you really have made anything we always

[00:20:49] wanted to keep the nose to the grind until we felt like we made it

[00:20:54] and honestly there's part of us.

[00:20:57] It still feels like what's next.

[00:21:00] Wait to do the next thing it's still part of us.

[00:21:02] It's an interesting perspective of a feeling or getting the sense that

[00:21:06] maybe haven't quite made it and was there a point when it felt like

[00:21:10] okay well this is this is it like we're doing we're on the right

[00:21:14] path.

[00:21:16] I feel like maybe you know I feel like dosage the fourth record I

[00:21:20] feel like once we recorded dosage I felt like that was it.

[00:21:25] That was finally that was the fourth record and I felt like that

[00:21:27] was a flag in the in the in the ground so to speak you know you

[00:21:33] can you cannot think collective souls one of your favorite bands

[00:21:36] you might not even might not even prefer to listen to our music

[00:21:42] but you can't really say that we haven't made it or haven't made

[00:21:46] our mark.

[00:21:48] How was that record different.

[00:21:50] I just feel like it wasn't just that record it was the culmination

[00:21:53] of all four of those records and by the time we finished dosage

[00:21:58] yeah I just feel like okay now there's a body of work that

[00:22:01] you can't really can't really can't really disregard.

[00:22:06] I guess at a certain point you know again you've got this

[00:22:09] huge hit right out of the gate you've got another big hit and

[00:22:12] that's where a lot of people really start stumbling.

[00:22:14] I mean obviously not not everybody gets that break at all

[00:22:17] but having again a lot of success early on it can be really

[00:22:22] difficult to to follow that up and it can be really easy to

[00:22:26] kind of to to chase that and to try to recreate that exact

[00:22:30] success.

[00:22:33] Yeah I mean it's common right.

[00:22:35] But I guess with us it just felt really different.

[00:22:38] We were we were eager matter of fact that's why the second

[00:22:41] record is called collective soul.

[00:22:43] We were so eager to get back in there and do a record

[00:22:46] that we we felt like was a band a comprehensive band record.

[00:22:51] I mean heck those first four records all the way to dosage

[00:22:54] were.

[00:22:56] Nineteen ninety four to the end of 98 so.

[00:23:01] Yeah so four and a half years we had four records out

[00:23:04] again it's I think it's one of those things where when

[00:23:06] you're like twenty five you know that that feels like a

[00:23:09] long amount of time but you look back on it now and it's

[00:23:12] it's wild right.

[00:23:12] It's wild that you had that energy and it's wild that

[00:23:15] again in the face of those successes during that period

[00:23:19] that you were able to maintain that level of discipline.

[00:23:23] Yeah and even even through a lawsuit and that's that's why

[00:23:27] that third record is labeled discipline breakdown.

[00:23:32] We couldn't get a budget from the record label everything

[00:23:34] was tied up in the courts and we decided to scrap the

[00:23:42] money Ed had some publishing money we scrapped the money

[00:23:44] together we rented a cabin and we were all of a sudden

[00:23:47] in the.

[00:23:49] In the woods and a cabin near where we all grew up and

[00:23:52] we stayed disciplined with what we wanted to do and we

[00:23:55] started recording stuff on our own with.

[00:23:59] There we are we had sold three or four million records

[00:24:01] and we were getting a stipend of one hundred fifty dollars

[00:24:04] a week.

[00:24:05] That's what the courts allowed and we were still

[00:24:07] staying positive and creating music together and that's

[00:24:13] another record that when I listen to it it's super

[00:24:15] special to me because of what we were going through and

[00:24:18] and it kind of the audio and everything else is a

[00:24:22] little different on that record and it reflects the

[00:24:24] fact that we were in a cabin we pulled out carpet

[00:24:27] and you know made the made the little breakfast area

[00:24:30] with the place for the drum set.

[00:24:32] It was nothing nothing technical or or super studio

[00:24:37] about that record.

[00:24:38] We did finish it up in Memphis with Ed at a real

[00:24:41] studio but most of that record was done in a cabin

[00:24:43] in the woods.

[00:24:44] There's this thing that happens when people get older.

[00:24:46] I've experienced this myself too but you know you you

[00:24:50] make a certain amount of money you get comfortable

[00:24:52] and then at a certain point I think a lot of people

[00:24:54] end up romanticizing the struggles early on and you

[00:24:58] know and in a strange way longing to get back to

[00:25:01] that.

[00:25:01] I mean certainly there is there's something to be said

[00:25:04] in that specific case for having these very clear

[00:25:07] parameters for making a record and they in a sense they

[00:25:11] almost force you to be more creative.

[00:25:15] Yeah I mean yeah I mean because look we were also

[00:25:19] using rods on the drum set a lot so we were trying

[00:25:22] to use some different things to that would help

[00:25:27] the sonics of being in a log cabin with minimal

[00:25:32] amount of gear.

[00:25:33] So we were I don't know if it ended up being

[00:25:34] what you call more creative but there was

[00:25:36] definitely those those circumstances did yield

[00:25:38] themselves for us to have to think outside of

[00:25:42] the box a little bit.

[00:25:42] Is there a way to sort of maintain that level of I

[00:25:46] guess you know kind of an obvious question but

[00:25:48] like again 30 years and looking back on it and

[00:25:52] not really having ever had that break.

[00:25:55] How do you keep things feeling fresh through the

[00:25:58] creative process man and when we play live to

[00:26:00] same thing it's like yeah that's the same song

[00:26:03] might be on the set list but we're we're

[00:26:06] musicians in the way that we're not.

[00:26:08] I mean you know a lot of people literally go

[00:26:11] up there and have to play the exact same nose

[00:26:13] the exact same way every night.

[00:26:15] And we we we play around with it.

[00:26:19] We're free style a little bit even though

[00:26:20] it's the same song.

[00:26:22] So that's how we get creative and stay fresh

[00:26:24] with it. Have fun.

[00:26:26] But that applies in the studio as well.

[00:26:28] Certainly in the studio because we're

[00:26:30] thinking of stuff out of thin air man and

[00:26:32] it's all created by fuel as far as you know

[00:26:35] Ed's going to come in with a smoking idea

[00:26:37] and a hook and then we just start getting

[00:26:40] around it with a rock band sound and when

[00:26:42] it feels right we kind of know it.

[00:26:44] How did the solo work come together for you.

[00:26:48] You know piano and drums are my first

[00:26:50] instruments and yeah when I sit down behind

[00:26:52] piano melodies and things come to my head

[00:26:55] it's kind of like.

[00:26:57] And then you have to then you have to

[00:26:59] decide whether or not it's worth the time

[00:27:00] and people give a crap about hearing your

[00:27:02] songs but.

[00:27:04] But I love I love creating and producing

[00:27:07] I've got another one on the horizon now

[00:27:09] working on trying to get a lot of stuff

[00:27:12] done before I start recording so it won't

[00:27:13] take long. I'm trying to finish my lyrics

[00:27:16] up and stuff like that while I'm currently

[00:27:19] really busy producing a lot of other bands

[00:27:21] here at the studio.

[00:27:22] Every time a tour ends every time every

[00:27:24] time a new album is released deal is

[00:27:26] it always just kind of take it for

[00:27:27] granted that there's going to be another

[00:27:29] one of these that you're going to keep

[00:27:30] doing this.

[00:27:35] I don't think you can take anything for

[00:27:36] granted like that.

[00:27:37] I think you got to.

[00:27:39] Appreciate where you are.

[00:27:41] Again we are looking forward but I

[00:27:45] wouldn't take it for granted there's

[00:27:46] going to be another one.

[00:27:49] I can't imagine a day when we're not

[00:27:51] doing that or when I'm not doing that

[00:27:54] but also don't take it for granted

[00:27:56] that it's going to definitely happen.