The RODS Discuss World On Fire of New album Wild Dogs Unchained

0:00 Hi, you until his censer. For Wow. For you, young rob. House, gates are open, the flames are rushing in. Take the time look around to see that you have sinned, broken hearts, broken dreams, standing by the cross, take a stand and fight to win.

0:45 They're always is lost, and we marchings in the school. This is the Pipe Man here on the Adventures the Pipe Man w four C Y Radio. And I'm very excited our next guest, because, man, this band I've been listening to since the eighties and was always one of my favorites. And I love we have eighties badass metal bands putting out new music in twenty twenty five and has no different for the Rods. So let's welcome to the show. David. How are you good. I'm good. I'm happy to be here. Really, I still have my Wild Dogs Vinyl like, so I love that we are coming out with Wild Dogs unchained.

1:39 That is so cool. Now we figured we probably at this point of this game, we probably should unchain them, you know, yeah, right, let them be free, you know, because there's been a lot of years. They've been in cages, they've been in chains, they've been held up. You know, we've been we've been keeping them tied down, and now it's time to let them go free. I think it's a perfect time lem go free, do you like, go after all the idiot stuff that's going on in the world, Like you could just let them go and maybe they'll fix the world for us. I know, I wish it was gonna be easy, but I don't know. It's really the world is really in a bad state, you know. I mean, yeah, it's it's it's too bad. But there's nothing much we can do about it. I mean, we can protest and we can complain, and you know, I can write songs that are protest songs and songs about all that, but it's really not going to do anything. But it's good to speak up, you know, speak your piece and let people know how you feel about it.

2:41 And the music is therapy anyway, regardless of if ever it's going to fix things. It's therapy for you the artist, it's therapy for us the listener. And I think that's all that counts. And one of the best things about twenty twenty five is I think metal is bigger now than it was us back in the eighties. You know, it's it's more like I love going to shows and I see our generation there with their kids, with their grandkids, Like I've brought my grandkids to shows and festivals and my kids, and you wouldn't have had that back in the eighties, Like I wouldn't go see a sixty year old band in the eighties, you know, you know, but now it's cool.

3:25 It's it's you know, definitely a different world obviously, you know, but I found that, like in the live shows that we've done, you know, there's been such a broad range of age groups. I mean, right, some of the. Younger fans are like probably weren't even born, you know, back when we were in our heyday of doing things in the beginning of it all. So it's it is really great to know that the music holds up, you know, and that everybody stays there because there's people that were there back in the day, like yourself, that remember it from the beginning, and there's all ages in between, you know. So it just tells you that the music does hold up. You know. It's a brotherhood and I mean in the word of like female, male or whatever of people that like the music, you know and follow it. So it is a good.

4:13 Feeling Oh yeah, I love that because I remember going to shows back in the eighties and I would have met you only saw people your own age, even the bands were your own age, you know, like, and so I think it's so cool. And I look around at a festival nowadays and there's like one hundred thousand people and you can't pick who is who they are, age or otherwise. It's not like that gatekeeper thing we had back in the eighties. We are one big brotherhood, one big family now. Yeah, yeah, it is. It is a good feeling, you know, when you go to the shows and see all the people, it's really great. So the thing is with the fans is like, no matter what country you go to, you know, it's basically the fans are the same. I mean, you can be in a different country, you could be in a different country, but when you go to the show, you can't really tell, you know, what country you're in because the fans are all the same.

5:13 You know. Yeah, there's no difference in them. So it's definitely a continuity there of people that are into it. And does it kind of blow your mind to when you go to all these different countries and they don't speak English, but they can, they can sing every word back to you. Yeah, it is. It is pretty amazing when you're on stage and you can see the people singing along, you know, especially when it's in countries that you know you're not it's not not the US. You know, you're not speaking and they're not speaking English. So it is pretty amazing to see them do that. I mean, obviously they know the meaning of it, you know, even though they're saying they may be singing in the and they're there foreign language, but they do know the meaning, which means a lot.

6:01 And that's important because you know, that's what helps us is the meaning to these songs, you know, and that's what's beautiful about metal and always has been, is the songs had meaning and they were about real things. Mm hmmm. You know, I think you know, for me, you know, as a writer, I mean back in the day, you know, the thing was to write about partying and about sex, drugs and rock and roll and the whole thing, you know, And now it's changed to a point for me as a writer anyways, and you you can probably be able to hear on this latest album of ours, you know, I've become more of a person that needs to write about the way I feel about what the world is going on, what's going on in the world today, you know, and maybe we can do about it. And but you know, just to be able to express your feelings a little bit more other than what times the party start, you know, right, So it is it is a little bit more to it now because the world is so different and it's good to express your feelings and it's good to know when people agree with you know, we're trying to put across in a song.

7:16 So and that's why I love about this new album is every song has a meaning that I live by, you know. And and then of course you have world on fire. I mean I wake up in the morning and I feel the world is on fire. You know, definitely when you watch the news, you know. Oh yeah, yeah. I try to stay away now. It's like ignorance is bliss. Like last year, I was in Costa Rica for three months and my brother calls me. He goes, did you see the news? I'm like no, and I'll give a shit. I'm going surf and have a nice day. Yeah, Because it's it's. Like it doesn't change. I'd rather not be so like these people that are obsessed with the news. Yeah, I don't think they're living a very happy life being obsessed with Like I want to be aware of what's going on, but I don't need to watch it twenty four to seven.

8:10 No, But because it's because it puts you in a you know, a lot of times puts you in a depressed mood, you know. I mean, the news is there to show you, you know, like from what I gather, you know, like they always want to show you the negative of what's going on, you know, right, once in a while there's a positive in there, but it's always the negative. Who's getting killed? You know, where the shootings are? What about the war? How many got killed in this bombing and that bombing? You know. So it's like if you start your day off of that, I think it's very difficult to like continue on with like some kind of positive attitude, even though it might affect you, you know, like yourself and the town that you live in. But you could see the world what's going on, you know, Like, so yeah, it's depressing. You can't really you know, I don't hardly ever watch you know, I might put it on in the morning just a little bit to see well, who might have died, you know, who might have you know, this might happen. But other than that, to get involved in what's going on in the world, you kind of need to know, you know, you know, the songs I wrote on this album are on in the world, you know, and how we should feel about it. And again, that's just my feelings. You know. If nobody likes the album or nobody likes the lyrics or whatever, it doesn't really matter to me. You know. It's like, those are my feelings, you know, yeah, and I feel good about them. So that's what people should kind of project during their daily routiness,

9:44 you know, you know, don't be afraid of what to say or to feel the way you feel about things, you know, rather than to be controlled by what's going on in the news of the day. It's funny, I was just thinking about that this morning, that before we had the internet and social media and cell phones and all this stuff, you know, things didn't affect us the same way because it wasn't hammered in our face twenty four to seven, and cause you know, you could kind of live your life a bit instead of being connected to all this negativity. And you know, you could. Even there's certain things that went on back then that we didn't know about, and you know what, not knowing about was almost better because there was nothing we could do about it, you know, that's true.

10:35 I mean we never really in the start of all, you know, when we started back in the eighties, I mean, there was there was no there was no internet, you know, right, you didn't know if you had fans in Spain or France or any anything any other countries because there was no Internet. You know, you can't always and you still, I don't know, you know, you couldn't rely on record companies to really give you the right answers as far as you know, how many records you're selling where, you know. And I don't want to sound negative against record companies, but in reality, there is a lot of negativity when it comes to record companies and artists and all that. As far as I'm concerned. That's just me. But once the Internet came into you know, once we had like kind of this Rods reunion when all of a sudden the Internet was there and we realized we had these fans that were in all these different countries. We never we never knew that before, you know, we never knew it, so it's it is a different world.

11:35 Well there's the positive of it, right then, you know, certain good things, you know, you know. Definite positive. I mean, as far as talking about the band, I mean when we we had a you know, we took a little hiatus, we took a little time off. You know, when we didn't play for a while. It wasn't a nasty situation where we didn't get along or that kind of thing fighting. We just felt like we need to get away from it for a while, you know. I mean, I think for me, the and I think for the I can speak for the three of us at the time. The business part of you know, like somebody once told me the music business is two words, music and business. Business part of it got to us.

12:16 You know, it's like, you know, we're in it because we want to make music. You know. Originally I remember playing with Ronnie in the early days with Elf. You know, like we weren't we were in the band. We didn't have a band because we thought we wanted to be superstars. We wanted to you know, make a lot of money. We did it because we love to do it, you know, and that's what we you know, I know myself and the people that I've worked with. That's what we did. We did it for because we loved it. We didn't do it thinking about we're going to be millionaires. So when you start out, when you do it in that way, uh, it changes things, you know. So we got away from it for a while. When we had a reunion after a few years, I started doing solo album and Carl and I hadn't seen Carl and Uh and Gary at the time was the bass player. I hadn't seen any one of those guys in a while. And Carl had heard my latest solo album at the time, and he gave me a phone call said I just heard your solo album and it makes me want to play again.

13:20 I said, well, you know, let's why don't we do a reunion a couple of reunion gigs, you know, a couple of small bars locally for the hell of it. And I said, I'll try to get old of Gary and see if he's interested. So we did that, and we did one in my hometown, and we did one in Ithaca. That what's Ithaca is something about twenty mile ride from and that's where Gary lived. And we found out that even though these little clubs that held like maybe barely one hundred people, that people were coming from everywhere. And uh, because the internet, you know, it was there now and people knew, hey, the Routs are playing again, and they're bringing all of the albums, the viol for rust of sell and sign and whatnot. And we're thinking, geez, you know this isn't this is incredible. We were never really knew we had, you know, these fans. So, you know, after we did those two shows, we said, hey, let's just keep doing some shows if we can. We never got another manager, We never solicited, you know, we never worked with a booking agency or any kind of agency or any management or anything. We did everything ourselves, and we were real serious about making it a full time thing.

14:28 And all of a sudden, we started getting phone calls from like different countries, you know, like what do we have to give you to come player festival in Brazil or you know, we you know, these countries that we had never been to on our heyday, and you know, ninety nine point nine percent of the time we would tell them we just need plane tickets, we need hotel rooms, we need food, you know, we need transportation, and we need, you know, obviously there's always stage set up, you know, gear provided, and you know, mostly all the time, we never even asked for a performance feet because we wanted to go do these jobs. They were in different countries we'd never been in, and we would we would go for expenses, you know, but it was great because we got to go and we got to play for fans that we never knew. We had fans in Brazil, you know, we never we never had fans in Norway and all these other countries that we had never gone to before.

15:23 So it was really great. So we started doing that. Like every summer we would do like eight to ten shows and they would all be like in and out, maybe you know, fly in somewhere, do one or two shows, one or two festivals. Maybe one was a club gig, one was a festival, and fly back. We never did an extensive and we didn't want to do any extensive touring at the time. However, in twenty eleven we did do thirty days with the Deo Disciples that was around his old band, you know, after he passed away. It was all through Europe, you know, and that was great, and that was thirty days and it was like, jeez, we haven't done thirty days on a bus in a long time, you know, so we're going to handle it.

16:08 But we handled it pretty you know, actually pretty easily. You know. It was pretty nice and we had a good time. But that's basically, you know, like we started in this full my little I get carried away sometimes and I lose myself in this talking. But the Internet, you know, changed things a lot, you know, for negative and for a lot for good, a lot for yeah. Well, you know it is true. You know, it's funny too, Like I do coverage. At music festivals all over the US, UK and Europe, and when I got Europe, it's like I'm going back to the eighties. Like you turned on the radio there and they're playing the stuff that would have been back in the eighties. And it's like some of these bands that I thought were gone, I'm like, oh, oh, they've just been in Europe all these years, you know, you know, and the fans there are just like die hards.

17:09 You know, it's. Unbelievable, but it's always been that way since the beginning. Hendricks had to go to Europe to make it, you know, a lot of bands had to go there, because the people in Europe are more to me, are more open minded, you know, and we're willing to listen to what you have. People in the US, you know, are kind of like, I don't want to say, I don't know if spoiled is the right word or not, but they're not as apt to like listen to something new, you know, to give it a chance. You know. So a lot of groups really had to go a lot of big groups, and I can mention Hendrix as one, but a lot of groups had to go to Europe to actually be heard, to make a noise enough to make it big into the United States and then worldwide. You know. So Europe is always more hardcore and more dedicated to listening and being open minded about the music.

18:03 Yeah, And the key word there is listening, because you know, we live in this mentality today of the track track track mentality and listen for two seconds. Listen some of my favorite songs. Ever, if I only listened to two seconds of this song, I would never not a song like it. Sometimes it took a minute to get to the part like you're like, oh my god, you know, And I think they appreciate that stuff in Europe more as well, and you're so right, because I thought COVID would change things over here in the US, and you know, because it was before COVID everybody was complaining about every festival and blah blah blah, and they're still doing it now. And it's like. One of the things that blows my mind, to your point is if a band drops out for whatever reason, how many people get on here in the US and they're like, oh, now I don't even want to go to the festival. The only reason I was going for that band. I'm like thinking, that's dumb. First of all, the reason go a festival is you find all these new bands. That's how I find all my new favorites. And second of all, they're not playing their normal set that they would for their concerts. So if that's who you want to see, just go to their concert.

19:14 If that's the only band you want to see, yeah, where's Europe? Like, it blows my mind. We were just talking about in the UK too. I was just at Bloodstock in the UK and there were bands playing at ten thirty in the morning and those, as you know, those festivals, people are like partying all night long or having fun all night long. It's not like a limited time. And there were huge crowds for these bands that nobody ever heard of at ten thirty in the morning, And that says it all right there, like you know, that's that's the way it should be for all of them. Yeah, you're right, I mean that's the way. I mean. Look at when you think back about Woodstock. I mean a lot of those bands were unknown. I mean Santana and all those band you know, they played Woodstock, and once they played Woodstock and people for their music, you know, they gave them that boost, you know, to be successful.

20:09 So and I think you know, in today's world where you're doing it, and there's so many festivals, you know, like everywhere, you know, and and if a lot of times a band that's maybe relatively well known has to cancel out, say right, and then all of a sudden, the agency that's booked us, all we got to come up with a band. So they pull a band from the roster that you know, maybe not that well known, throw them in that slot on the festival, and they get to play in front of a lot of people, and it gives that band a really chance to like expose themselves to like a new audience, you know. So it is good, you know, I mean, there's there's a lot so much going out there on out there, you know, there's so many different types of music obviously as far as even as hard rock, heavy metal goals, and you need to be out there and exposure self. And now that the internet is, we have the Internet, and it's so easy to record and so easy to get your music out there that you know, musicians can do that, you know, without having to sacrifice themselves and being under control of a record label. Because back in the day, uh, you know, you couldn't be heard unless you had a record deal with a record you know, So now that's not the case. You know, you can you can make a record on you you can make record on your computer.

21:31 You can put it out there on the Internet and be heard. And you know, as far as booking jobs or you know, agencies or whatever, you know, you can sure you can do that on your own tool or get hooked up with an agency. But it's much easier now, you know, for a band to be to get their music out there than it was back in the day when you you know, you were basically at the mercy of a record label. Yeah, totally. And that's one of the things I do love about today because to your point earlier, you know, yeah, there's the business side and then there's the artist's side. And I've always believed, going back to the eighties when I sat backstage on the Sunset Strip when they'd signed some of these bands, let you know what, the suits should do the business end, and the artists should do the creative ent. Never ever should the business people tell the artists how to create music.

22:27 No, I know, you know, it's and it's I mean, there's just so many stories that, uh, you know, prove that point, you know what I mean. Unfortunately, a lot of times the musicians aren't you know, money is not their object, right, They're not doing it for money, They're doing it for the love of it. So in the end of the whole thing, the people that are running the business end are the ones that end up making all the money. So saying the end of a person's career, you know, if they're if I'm coached or handled or managed by someone that's going to be able to say, well, you you are making some money. Now, let's let's kind of like do something right with it, so that like later on in years. You know, you're going to be taken care of her, You're going to have money. And I think a lot of bands, you know, were taking advantage of in their early days because record companies and publishing companies demanded so much from artists and the artist of the one that's creating the whole thing that's making you know what I mean, And the artist was always the one at the bottom of the total pole getting paid.

23:37 So yeah, you know, it's it's different, and it's it's sad in no way, because music is an art form. It's just like anything to see. If you're an artist, if you're a painter, you know, or any kind of art form, a dancer, an actor or whatever. You know, you're doing it for the love of your art, you know. And it's very easy to be taking advantage of people that are doing it where their motivation is only to make money. Yeah, if they feel that they can make money with you doing what you're doing, then then we'll take advantage of it, you know. Yeah, And to your point, like back in the eighties, I saw it plenty, you know that people, these record labels would feed the artists, the party lifestyle, the women, the drugs, the alcohol to everything for that exact reason, in my opinion, So they could make a ton of money and the artist has no clue what's going on and gets screwed over.

24:37 Yeah, that's true. It's true. That's why you need a good you need a good honest manager at the time, you know, which you know, if you have a good honest manager, you're lucky, you know. You know, you've heard horror stories about even relatives that were big artists managers that got screwed, you know. So you know, there's just so many variable, so many different points about it. It is. It's basically a dirty business, you know. So in the music business, I love it, you know, It's been my whole life really, you know, I've written songs, are recorded and you know, played out live and been you know, it's been my whole life really and I love it, you know. But it can it can be pretty dirty.

25:24 Also, and that's why it's great nowadays for an artist like you. You know, you can put out the music you want to put out. You don't have to listen to anybody. You can just be your own creative self. And here the end result is Wild Dog's Unchained, which is a badass album. And I'm always impressed with artists that can still write new music this many years later. I sit there and I think to myself, I'm like, wow, how did they come up with new material after all these years? But it. Somebody like you proves that that it can be done. And of course there's playing to talk about nowadays, you know.

26:05 Yeah, And you know, the thing is like, you know, just to go back just from for me and like when I when I started playing in Rownie's band, you know, it was before even it was ELF. It was Ronnie d On the Profits. You know, from that whole transition from Ronnie d On the Profits to the electricals, the Elves and then the ELF. You know, the writing process began there for us, you know. And even those those guys in the band were five years older than me, so I got you know, I really got the benefit of a great education from being you know, with Ronnie and those guys, and you know, Ronnie became like my brother, you know, and and nice. The thing the thing is is like writing is something that like when when I had to write songs for the Rods, you know, I had to write songs that were basically designed for a three piece hard rock, heavy metal band, they had a singer that was more of a stylist rather than a you know, a really good singer, you know, kind of like we've been categorized as like, you know, an American Motorhead, which is a compliment to me. You know, we've done a quite a few gigs with Motorhead and they are great guys, and I love the band. But you know, if I was writing is in the process of writing songs with Ronnie and the band as the singer who is like the greatest singer of all times. You know, you can write anything and he can sing it, and he was he'll sing at the best, you know, So when you have to write a song that's you know,

27:35 basically for a band that's you know, in an era of time, that's uh, you know American type Motorhead, which you're singing about partying and you know, rock and rolling the whole thing. You have to write within that, within that realm, you know, so that people get people in the fance, can you know associate it with you know, yeah, once uh we you know, the the Rods hadn't played and you know, one of the last jobs we did was last October and it was in Australia and we did three shows there, three different cities. But after when Ronnie passed away, and I got to see a lot of Ronnie the last ten years of his life. We spent a lot of time together, and he was such an incredible lyricist and incredible musician and incredible singer, you know, you know, and his lyrics to every song really meant something, you know, whether it was you know, like stand up and shout, or if it was something more serious, you know, or if it was stuff that he did with Richie, you know, in Rainbow that was more meeting, you know, which was it was an incredible combination with him and Richie.

28:47 But you know, after that, I decided, like, you know, like I don't want to write at this stage of the game. I don't want to write about you know, like partying and rock and roll and some mean, yeah, I could a Rod's album that's gonna be nothing thrashing away at partying and rock and roll. But I wanted to write something that was meaningful, you know, like Ronnie did. You know, All his lyrics were meaningful, they meant them and and in the last few years, I mean you know, warl on Fire was written I wrote a couple of years ago. I mean, the album's been delayed, so you know, some of these songs were written a year or two ago, you know, in the song like Tears for the Innocent, you know, or that's basically about all these innocent people getting killed the bombing and everything, you know, losing their homes, losing everything, you know. So I wanted to write something that was more not really Rod's style, because when you hear some of these songs, you know, compared to like songs ten, fifteen, twenty years ago that the Rods put out, they're totally different.

29:56 Yeah, it's kind of like, I think they have more substance. There's more substance. It's like, hey, did the Rods finally grow up? Or you know, I mean, you know, we're not wild dogs anymore, or like, you know, they're like letting them go or unchaining them. But I wanted to write songs that meant something. You know, whether there's some good rock songs on the album with their rock and roll songs, but I wanted to also have some songs down there that meant something that was going on in the world, you know, And I know, that's what Ronnie did when he wrote his songs. His songs, you know, really meant something even though his capabilities, his vocabulary, his you know, his mind is like so far above anything I could possibly do that I wanted. I wanted to do that. I wanted to follow that path so that people listen to it, you know, either going to go along with it and say, yeah, that's cool, I agree with that, or they're not. And that's basically what you know, people have always done with music. You know, you listen to a song, I love that song, or I hate that song, you know, or when it comes to that song on the album, I skip over it, don't play the other songs. But anyways, that's that's that's I think what is important to me right now is to be able to put across in the songs that are right in the in the handful of people that will will

31:27 you know, get an opportunity to listen to the songs that actually want to write. We want to listen to the songs. At least they're they're knowing like where my head's are and where the band's heads are right now, you know, because it is is it. It is a big change when you when you listen to some of these songs on this album. But you know, what I think is key to what you're saying that will make it makes this album successful and good is that? So as an example, you take a band like Blink one eighty two, okay, who is really really popular, and when I I saw them at a festival a few years ago, they were headlining the festival, a lot of the people were like, you know, I really liked them when I was fifteen, but I can't relate now anymore, you know, And I think that's kind of what is going on here, is like you can't write the same music you did in the eighties because we were all kids, you know, and it's like, you got to write something now that's more appropriate for the time that you're in in your life. You know, that would make sense because then it's believable. You know, it's more believable to write music the way you're writing now than if you were to write the same thing that you did in the eighties.

32:43 Yeah. You know, this particular new album has a couple of remakes on one of them. One of them well once Hurricane, which has always been one of the most popular songs and excuse me, Carl came up with the idea, let's do a couple of remakes on your son. I wasn't really upward at first, but he goes, you know, Hurricane is a song that everybody wants to hear. Let's do a remake. And we have a new bass player now, Freddie, who's been in the band a couple of years. And the other song was one song was make Me a Believer, which it was written like many many years ago, and we never really did the song, never really recorded. It was on a live project album that we did were Schmook Avigaal at the time, sang the song and Freddie, the bass player now, said oh, we need to we should do that song. It's a great song. So I said, okay, and so we did that song. And wild Dogs is the other song that we did that is an older song.

33:45 Wild Dogs is a very popular album. But for some reason, when we played live, we never played the song wild Dogs. And that's because every time we worked it out to try to play it live, it never really sounded like, you know, like I should. It never sound like we're making it sound heavy, you know. So Carl, for a long time and Carl's on I wrote that song, and he would say to me, rock, you know, you've got to you got to redo that song. You got to rewrite it, you gotta you gotta rearrange it. You gotta do something and make it sound heavy, you know, make it, make it good so we can play it live. You know. It's like you know these it's like for years. It seems like for years, you know, I kind of like let that go in one ear and out the other.

34:28 I never really thought about doing, well, what am I going to do with this song? You know that kind of thing. So before we recorded this last album, he said, Jesus, there's something you can do with wild Dogs, you know. So I said, okay. So I finally sat down with a guitar and I I tried to do things something to it. So I rearranged the song, changed you know, the lyrics a little bit and uh. And I showed it to Carl and he loved it. He goes, oh, that's great. You know, it's so much heavier, it's so much better. It's we gotta be we have to record that song. So that's why we did that song. And and it does sound a lot better than the original. It's different obviously, but it's a song we probably could do live now because of the arrangements a little different, but that was a popular song. So those are those are like three of the older two of them. Anyways, the older songs that we did. The newer songs are just basically new songs. But it's funny because no matter and it's happened a number of times, you know, people want It's just like when you go see Julis Priest, you want to hear Living After Midnight, you know. Yeah, those kind of songs that were big hits at the time.

35:34 You know, there's songs that we've done through the years that were songs that we'd put on the last cut of an album because it was we thought it was the worst song that we ever came up with. You know. We just put it on as a filler as the tenth or eleventh song, and we never learned. We never played it live, you know, and we'd have somebody at a show come up to us and go, hey, are you guys gonna play such and such a song, And we look at you know, it's like no, and it's like that song. You know, it's like, you know, We would never think of playing that song. We hated that song. We didn't think it was a good song. But that was somebody else's favorite song, right, you know, which is so you never know, you know what it's going to be, like all of the songs. But but but it is important for me right now to write a song and that has some meaning to it. And and I've been criticized in the past for you know, writing protest songs.

36:32 You know, I'm not really a protest songwriter, but I want to. I want to feel like I write something that has some meaning that other people can relate to, and it can express my feelings just the way I feel about a certain situation. I think it's great. Like I think when people say that artists should not use their pulpit for their opinions, I call bullshit. That's that's exactly who should you know? Like who who else is going to speak out to a large crowd for those opinions? And you know what, somebody may not agree with your opinions, and that's okay, But then there's other people that will agree with your. Opinions, you know, and that's your people.

37:15 M definitely, so uh tell everybody eighth how they can reach out to you guys on the web, on social media, get the new album that just dropped or is dropping in a couple of days. I mean, uh, and uh where they can catch you live and all all that good stuff. Well let's see, I uh. Since since we started getting calls from you know, people that want us to play here, and now we've kind of like instead of you know, people calling three different phone numbers, it's kind of like put Carl in charge of like taking all the calls, you know, so it's like one connection. And then that way, when he gets a call and says hey, he'll call us and we'll say, hey, somebody from Brazil wants is to company this festival. This is what they're offering. Blah blah blah, what do you want to do? We talk about it and we say when we make a decision, he gets back. So it's one content as far as like where you can get the album, I guess the normal places, I mean, YouTube, whatever, whatever, the internet. You know, I'm not really a person that's like very the right word to say.

38:36 It's basically everywhere know where to find your music. It's there. You can find the music where you're going to find the music. You know, you just put in the like right now they've released I guess the World on Fire is out as like the single before they will release. I mean, people ask me, like where can I hear it? I said, type in World on Fire the rods, somewhere, Something's going to come up somewhere. We're gonna be able to hear the song. As far as live shows go, we don't have anything scheduled right now. We actually didn't play any live shows just last summer because we were supposed to have this album completed, mixed, mastered, artwork and everything done by the end of this last August, because the album was supposed to come out and last January, you know, I'm talking about the August prior was supposed to come out that last January, so we didn't take any you know, a lot of these dates are booked a year ahead of time, so we like turned down some dates because we need to devote the time to finishing this album. You know, for me, it's like all we're gonna do. You know, the record label picked up the option for the other label. All I got to sit down, I gotta write ten songs. You know, it's not something that I can do in like five minutes.

39:55 So it's like there was pressure there. And I granted, I'm always you know, I always have ideas. I always have titles. It's just like putting them together and then making them a song that has some kind of meaning. It takes time. So you know, we didn't take any jobs for this last summer because of that. We wanted to devote all the time because we had a deadline. As it turned out, the label had its own problems within itself. The album was never released when it was supposed to be released, so we really got pushed back, pushback, and so we actually lost out on some time we could have played some live shows, and we saved our time because we did get the album done and everything was ready and turned into the label by the end of a year ago this last August. So right now we're hoping that when people hear this album it will generate some kind of interest that they want us to do some shows for next year.

40:57 You know, I'm sure it will. Yeah, I'm hoping because you know, I miss playing, we all the three of us, do you know, And I miss playing. I miss being out there. That's like, that's like the drug, you know, the drug being out there on stage with the audience, with the fans, communicating with them. You know, that's the drug that keeps you going, you know, and and I miss it. So I hope that I hope that this new album will generate some interest with some promoters and some uh you know, people that are in charge of booking different places, that'll it'll put us in some areas where that you know, people like yourself and people from around the world are you know, we're doing interviews with it. It's like even places now I've never played before, and you know, we want to go play there, you know, but in order to go play there, you have to be you know, uh, you have to be in the interest of some promoter that's putting on a fire. There's something there, you know. So I guess if enough people listen to the album, and enough people, if the album becomes popular enough, and then the promoters will see that this album is popular enough so that the band can drop. You know. It's like a whole Visius circle. But anyways, long story short, I'm hoping that we get to come and play some shows next year.

42:21 Well, I do all the Danny Wimmer festivals in the States. So I'm playing right out out there right now that wimor needs to get the rods on the Danny Wimmer Festival. Well, that's that's good. That's good. There you go, that'd be great. You know, most of these places that we play out of the country, you know, it's like weird, you know. I mean, it's like hardly ever doing a festival of any kind in the States. I mean, back in the day, we did a lot of touring with Judas Priest, you know, down through the South, Ozzie we did. You know, we did dates with a lot of people, and some of them were in the States. But I'm not sure if like the heavy metals seeing what it's like, if it's changed, you know, in certain areas of the States, because you know, when you take the whole United States compared to the whole size of Europe, I mean, it's it's quite a difference in size. You know, So when you're in Europe and you're driving from country to country, it's like driving from state to state here totally, not even not even as far. So you can do a lot of different countries as a part. Like if you're driving from you know, in the United States, New York to LA.

43:30 I mean, you know, it's a long way, so no doubt. Yeah, I mean, it doesn't matter where it is. Well, you know, we love playing in the States, love playing in any other countries too, you know, and we'll just I'm just hoping that, you know, we get a chance to do that for this coming year. I hope you do too. I'll be there. I love it. I love the new album and everybody has to check it out. And I'm so happy that you guys are writing new music as relevant to today and still rock in our world. So thank you for that, and thanks for being on the Adventures of Pipe Man. Happy to be here, thanks for having me, sure, thank you. Hey are you rockers? This is David rock fin Stein from the Rods and you're looking into the Pipemin on W for cy Radio. Thank you for listening to the Adventures of Pipemin.

44:34 I'm W for CUI Radio.