Like it's working perfect and I'm like great.

Then 10 minutes later, oh, your compressor is overloaded.

And I'm like compressor is overloaded.

What does that mean?

Oh, it's going to be about 6000 for a new compressor.

So we need this video to do really well to pay for Jared's new air conditioner.

Listen, I got to keep.

Cool, you almost made it through another summer in Nashville with dude.

I've replaced 2 ACS since I've lived here.

I don't know if it's some sort of game with the industry where they called planned obsolescence, where?

Don't get me started bro.

Steve Morse is coming on.

Oh my goodness.

And actually, The funny thing is, Jared, you're not going to be in this episode other than right now.

Don't hate me for it.

This happens.

This happens from time.

To time.

Oh my gosh, yes so this is the thing.

This is what I love about Tyler.

The show must go on.

So I am actually going to be in Montana with Paul Gilbert playing a show, which is super cool.

A lot of different questions we have for Steve Jarrett's going to field some of them just to make it feel like we're all connected.

Yeah, the dude is played with like, Kansas Purple, the Dixie Dregs.

He's an insane guitar player.

He's also a pilot.

And then I also read that he is like a prominent concert reviewer out of Boston.

He's a virtuoso and there's so many cool things about his playing that you don't find in a lot of other players.

On the No Cover Charge podcast, we get into all of those dirty details and so much more.

Without further ado, Steve Morse.

What was that thing you were doing with the tone knob?

Weren't you doing like a wah effect with the tone?

Yeah, yeah.

How?

Would you do that?

You.

Do it at the same time.

Turn it off and then hit the note and then turn it on.

Something I do also in in Purple is when I hit a power cord is I would hit it like full wow then roll off the high end so that you still hear the cord going.

But when the vocals start I would take the high end off so then it doesn't interfere with the vocal so much and there's less chance of me being cut out of the mix and then editing.

Could you?

You can make it either way you want, right?

I have.

Full control.

Actually, I could do anything right now.

There could be like, I don't know, a base in in the frame which would be devastating.

I'm more of a dad joke guy.

Yeah, that, well, that's what I'm talking about.

OK, Well, the Josh.

The one that I tell my stepdaughter is now Shawnee is she's in her 30s, but she, she had a, a brain hemorrhage twice that resulted in her having permanent brain damage.

So she's like about a 9 or 10 year old for the rest of her life in, in, you know, 8 abilities.

But she's developed.

She has the best sense of humor of anybody in my family.

She's the only one that laughs at my jokes.

How many guitarists does it take to screw in a light bulb?

Takes on 100 one to actually do it in 99 to say they could have done it better.

Yeah, they could have screwed it faster.

Could have.

Screwed it slower.

Could have screwed it with a little bit more feel, you know?

You added some good touches to that.

Yeah, man.

That's my wheelhouse's fusing entertainment and education, which is kind of the spirit of playing guitar.

We're learning, but we're having fun.

Yeah, I like that.

I like, I like your very much.

Van is is our joke guy.

Back in the day when the the movie came out, The Shining and then the little kid was going red rum, Red rum.

Yeah, yeah, I was reading Murder backwards.

And so we were on tour back in the day and all in the same rental car.

He said, where are we playing a few miles from here.

First we got to go by the hotel and I pull up to the motel.

It was Red Roof Inn.

Red Roof.

I'm not a good joke teller, but he is he is he, he does the voices.

My son, also my son Kevin does.

He can do accents incredibly well.

He he somehow he speaks some Greek and and really, really good Spanish.

But, you know, he's born in America, but he's, he is half Greek, Turkish and half me.

He, he does, he loves accents.

And when he tells a story, he can really deliver it.

I, I just never had that, you know, I, I just stuck with the dad jokes and that's about as far as I developed.

Do you feel like there are some accents on guitar though?

Yes, yes, exactly.

Because it's not like, necessarily the same thing.

I've always tried to figure out how to explain the different playing styles and the different feels.

You know English, which is what we're speaking, so you have like a southern accent for twang.

You could go on to describe them, but I don't know if that's fully realized.

It's kind of like 1/2 baked analogy, but we're getting on to something.

People tend to generalize.

If you drive past the bar and there's a bunch of Harleys and guys, you know, with chains on their belts and and and cut off leather jackets with insignias, you might think it's about a biker bar because you're getting those cues.

And same thing like you're talking about the country tune.

As long as you throw in this and throw in that, you know, you can give the impression that it's in that genre.

That same thing with jazz.

You would adopt a certain tone if you were trying to convince somebody you were jazz guitar player and you would, you know, use different voices of chords instead of you might be I still got some disturbance.

Both genres are playing.

An A this move right here that's saying y'all, but but just because you say y'all doesn't make you Southern.

Like.

That's that's what I'm getting to is we have this language and we pick up little pieces of them along the way that are different and some people are really good at speaking in a certain way.

Would you say that you have a specific Ave.

that you started with?

Because I know we'll go through a little bit of your history as we talk, but the Dixie Drags style music is so different than even Deep Purple or Steve Morse.

Band when I heard Switched on Bach as a young teenager, I was already into rock'n'roll and, and, you know, Hendrix and we had all the, all the bands of the, you know, the psychedelic era happening.

But when I heard switched on Bach, that was a whole new thing.

It was like, wait a second, these guys are not jamming on one chord.

And I dug deeper in the music and I heard the the Brandenburg concerto done on synthesizer where it where it appealed to my, you know, just immediate and and incredible sounds, all done one at a time painstakingly by Wendy Carlos.

And then I dug deeper.

He does sacred works.

He does these chorals, these cantatas, wrote song books for people to learn to play cello, violin, Viola, whatever it was.

And I would find these pieces of music and, you know, I wasn't a great reader, you know, start nods and just figured this out and said this is good on every level.

It the further I go, I need to be a writer like this, you know, be a composer.

So I went from a guy that played in a, you know, in a cover band to thing I, I, I want to do something that that's that's intense.

It's orchestral at at very least, like a chamber music ensemble.

And so I describe the Dregs as as electric chamber music, you know, and everything I wrote was trying to tell the story, but keep it succinct enough to keep the audience.

So we had a lot of gigs for, you know, we were playing for nothing outside.

One one of the things I noticed, you know, I made these arrangements for for the group.

And as we're playing, I'm watching people walk by.

What makes them stop and listen and what makes them walk away?

Well, long violin or guitar souls make them walk away.

But the melodies and the change ups and getting back to a basic riff and heading away from it, that kept them there.

So that that that's something that stayed with me forever.

That's across any style that's that seemed to work.

And you know, when we did the sort of tongue in cheek bluegrass stuff, you know, happy but with little quirky extra things thrown in.

And Aaron Copeland was one of my big influences.

One of the tunes we had early in drags was called Moe Down because obviously it take off of the title Hoe down and the music doesn't sound like Hoedown, but it's it's in the it's in the same vibe of of trying to do something that has stops and starts and some some quirks and then back to a, you know, somewhat predictable, danceable melody, trying to think more like a composer than than a guy playing.

Here's your rhythm part.

Take a lead now then get back to the vocals.

You know, I ended up doing that more or less with Kansas and Deep Purple for some parts of the song.

But I was always the force, like, you know, the waters always trying to get in on a rainy day to get in your house.

And you have to.

And bands are always trying to keep me from doing my thing, which was to write instrumental sections for their songs.

That is the great struggle of every guitar nerd is like fighting their bandmates, and that's why a lot of us go solo, you know?

It's just like, you know what, my guitar solos will exist with or without you guys.

But but it's also what creates some of the greatest music is you pushing on the ceiling weight, punching to get out and then keeping that down.

Yeah, right.

You need consensus with a group and that and with both bands it was if somebody in the band doesn't like it, it's not going to work, it's not going to happen.

You have to figure out why.

Why does what is it about this that seems like OK to me, but but is irritating that person like in Kansas especially, they would say, OK, you do one of those things, you know, like like you do and we and we go from here to there.

OK, I'll say OK tomorrow I'll bring it in.

And so I just.

One of those iconic Kansas things, you know, Can you do one of those, please, right here in this one minute, 14 seconds mark.

Yeah, pretty much, yeah.

And he was basically calling for, you know, something orchestral, melodic that would stick with you but would be majestic and, and reminiscent of the the, you know, the glory days of, of, of Carrie's writing.

And Carrie's a brilliant writer.

Yeah.

That would that was a.

Taller, like an example of that.

You can recall where that makes sense.

A short one was in all I wanted a tune that Steve Walsh already had.

This could be a ballad, you know, that we that we could do as a single.

But there's it's two straight and I said yeah, yeah, I would.

We can make it less straight.

I have an idea.

The payoff thing is an instrumental originally written for violin, but we ended up doing it something that I really rely on and that's my quick edit listen.

And as I'm showing the parts, this sounds corny going to this thing.

I need to, I need to have it land on the four chord and and not so obvious of a cadence.

And, and in order to do that, I got to hold the four chord for another bar and a half.

I need something moving there.

Yeah.

Yeah.

Can you do that on the left hand?

Yeah.

All right.

Cool.

I'm going to harmonize that and then we'll go back to that melody.

You know, all you can do is rely on your instincts and the, you know, the the judge and personal trainer you have right there on your shoulder.

Sometimes that judge and personal trainer is telling you evil things and sometimes it's telling you massive praise and and clouding your mind potentially.

There's technical practice, there's stretching, there's left hand strength, right hand strength, and I've got this condition that have developed from 50 years of playing like this.

Right.

Yeah, I've been familiar with that situation, that warm up time can actually put you in a position to succeed with whatever it is you're about to do.

Yeah.

And I in my opinion.

I absolutely have to.

We did some shows with green theater.

One thing I love seeing is how John Petrucci will just sit down and do a warm up no matter what.

Even if you're talking to him, he's going to keep on.

You got a metronome going, he's going to build it up, build it up.

And when he goes up on stage, it's like, and no problem.

And of course he keeps getting better with, with his musical ideas and everything too.

So he's blown me away with the level that he's been able to keep that alternate picking and, and even incorporating some, some hybrid things just just to serve the music that's that's as high of of a level as I've seen of somebody preparing for a gig.

He's been on my channel telling me that you're his favorite guitar player.

I'm sure he's told you that to your face, but.

Yeah, we just did a a thing where I got to hear him.

We play with Dave LaRue, our bass player, and of course, Mike Portnoy.

Mike Portnoy of flying colours.

Oh yeah, he was also.

He was also into some other stuff.

A few other bands.

Yeah.

Yeah, everybody.

Flying colours.

Mike Portnoy is the best Mike Portnoy.

Everybody knows that.

So anyway, yeah, just as a three piece, he was just absolutely just sort.

Of like any trio situation, Jared, the host buddy who's not with us right now, he's off travelling in New Jersey actually.

Guitar, bass, drums.

Greg Cock, another guest of the podcast.

Trio.

You've added a fourth guitar or I'm sorry, a fourth member, but Trio for so long and a little bit scary as a guitar player, especially with Petrucci's music.

Oh yeah, well, your arrangement has to has to fit a trio, first of all.

And then the next thing is if you're not doing singing, you've you've lost that whole ability to well, woke up this morning, got out of bed and the traditional call and answer thing right?

You, you, how are you going to do that as a trio?

Well, one, one way as you get Dave La Roux to play some of the melodies and and parts on bass.

And then, and I read a lot of counterpoint, you write to the strengths of what you have.

If your bass player is good at doing this, they say OK, all right, if, if that's that's the level that this guy can do and no more.

So what would you do if I'm the bass player?

I would say, OK, let's break it up, let's try that.

OK, if you can't make that, then let's see if you can snag snag it with your with your finger that that you're not picking.

Are you a pick bass player or are you a finger?

Bass.

Oh yeah, it might be one of those.

One of those weird hybrid.

Guys, OK, everybody technique, why I could go something like that.

There's nothing to it technically.

It just, it's a way of breaking out of that Bop, bop, bop, bop, bop, bop.

That's pretty cool, actually.

We're like, now we need a new section right there.

But that's cool.

If you raise your level of expectation to let's have some intricacies that are planned that are good and let's have them matter, let's you know, down to your I want it.

That's different, you know, that's different, but it's more expressive.

It's slightly different, but those little slight things add up to, you know, the, the voice and the emotion of of the melody.

So it's especially with the melody, then the the little details matter.

Yeah, Melody making sort of the ultimate villain of a guitar player.

In the early days, Amboy Dukes was one of the bands near where I I lived in Michigan as a kid, and Ted Nugent was one of the earliest influences of of somebody I knew knew of that that played in phrases like that was one of the solos of of from from the Amboy Dukes.

Every two bars there was a pause of some kind.

There is a regularity and and predictability about the phrasing that made it easy to latch on to, even though that was a solo.

So that that was my first sort of introduction into that as a concept.

And of course, you know, you know, when you hear lots of guys jamming on Blues where they're those, you know, over and over and over, right, right.

When you do whatever with phrasing, it becomes a lot easier to present to people, I think, and a lot easier for people to accept it and say, yeah, OK, that's cool.

Wait, what was that note right there?

Yeah, that thing right there.

So the whole just guitar wank session, if it ends in one cool little moment like that, it's like, oh, we can take.

That that was begat by simply experimenting but trying to make music together, you know, with a simple thing we did the give and take.

Lucky accidents happen, bad accidents happen too, but you don't have to keep those.

You just drive right by those.

Exactly.

Drive right by, keep up your speed.

And no proper neck don't look back.

So what are some other compositional?

Techniques that you might try now that we have that obvious foundation of like band interaction, songwriting, what what other approaches that you might find with music theory.

Music theory helps you find options.

Say if I want to harmonize a melody right away, I can do parallel harmony by by simply starting on a different note of the mode or scale that the melody's in.

That that's that's a no brainer that that's where, you know, theory is, is the most helpful in analyzing and saying, what is this?

This is a sequence.

We've got a 36251.

OK, that I see that as a pattern that can help you, but the bottom line is your ears are going to decide what works and what doesn't.

So I have 4 different ways that I write 1 is is with you know where, where you're doing everything on the guitar.

You just just by.

Like that that where I'm describing a melody and with with accompaniment but playing one note at a time.

Another way would be where I like my put down a part, make a little loop with a machine of some kind.

Play along with the loop as if it's somebody, a willing accomplice who's.

Play this a chord forever.

That gives the opportunity to experiment indefinitely with without having to take into consideration the other person's getting tired of playing that.

I like having that option, especially with complicated lines, which sometimes I want to harmonize something, but I don't want it to be traditional parallel harmony.

And, and I want to find out a line that sometimes turns out to be a second melody that that goes along with it.

And to those kind of things you have to search and search and keep trying and keep trying and kind of play with your eyes closed and listen.

So there's that technique where you use the machine on piano.

You can play left and right hand slowly, but hear the harmony all the way through.

You don't have to imagine it, you know, from playing with classic guitar.

Like I write pieces on the classical guitar where it's kind of complete and then it's real easy to add violin or bass or it and and do some other lines to to make a duet out of it.

Doing it in your mind where you know that that's way the old school composers did.

They ended up relying, I think this is my analysis disclaimer, that they ended up relying on certain techniques just like guitarists do have styles that they play and patterns that they play.

They did.

They ended up doing patterns in their writing and possibly could have been paid by the bar.

You know, like you do this many bars and music, you get this many pennies as opposed to Spotify.

Yeah, yeah.

We've now you're going to hate it in the 21st century.

We get fractions of pennies now, but I want to move on to a little segment here.

That's so cool you did homework.

I absolutely did.

So can you explain what that riff means to you on what day is today, October 11th, 2025?

Yeah.

Yeah.

Do you see the riff the same way that I see it as my first question, as far as just the the cult thing that it is?

The first thing I showed to my son when he finally, finally expressed interest in guitar, I think it was like a ukulele or something.

Or we had gotten a somebody give me a balalaika somewhere on our tour and he was with me on in Greece or something.

Oh yeah, that Greek.

Like Pizzuki?

Yeah, yeah, exactly the triangular shaped thing.

And so I said here play this and and and it was it was great to have something that that is rhythmic but simple enough to play.

Yeah.

And for me that the the the rift was really hit home.

That's fine.

When you add in the base part is is.

Wait, there's a.

Bend.

That's a bend right there, right here.

No, no, no, I Do I go wrong?

Because I do it wrong.

Well, no, but you're you were in deep purple, so I think you could do it however you like.

But I also developed a hatred class of about 30% of the audience.

Please, if you don't have haters, you're not doing it right.

But I also think that.

I must have been really good at doing it right.

Yes, exactly.

But is it controversial to say that I prefer your kind of more fluid, legato, kind of gnarly version?

I don't know.

Updates it, modernizes it, Steve morsifies it.

I just I dig it.

Cool, thank you.

But Dwiesel insists it was done.

So Dwiesel Zappa thinks it's up there.

And through his rig, it sounded, really.

Close.

Dead on.

Yeah, so I said, and he's, he's very discerning guy with his ears and everything.

Very, very intelligent, great musician.

So I said that That's hard to argue, Weezel.

It really sounds authentic.

Let's move on to this next video here.

We.

Flew to Montreal to do the Jazz Festival.

We had no idea what we're going to find in way of reception.

I think that was 1978.

We thought it was going to be like jazz guys, you know, in with, you know, braze and, you know, going what, what is this stuff?

But it was a European audience.

It just wanted to be entertained and festivals happen all the time in Europe and people bring their families.

It's very inclusive, very open minded.

Raises the hair on the back of your neck when you hear the people screaming for you.

The guitar tone in particular in that clip, what's the deal there?

Because I don't necessarily associate clean humbucking sounds with that kind of playing.

It's normally a single coil or like Telecaster.

Oh yeah, yeah, but.

So cool.

Like did you realize that?

Like I'm going to do my thing.

Yeah, I was.

I'm I'm totally, I'm doing my thing because the Nashville guys do the real thing better than I could ever do.

As you hear that, that sort of style delivered honestly, like we were talking about with the accents, that was somebody speaking Spanish with a German accent.

Just a a very interesting dichotomy there with the tone versus the licks and the bluegrass kind of style.

That's that's a good description.

And I kind of exactly I want I wanted the bluegrass energy.

I wanted the semi chromatic things in there and I wanted my style all all the same time.

And you know, and I was, I was a young guy with with plenty of adrenaline for the one take of our live album.

That was.

With rented equipment, you know.

Nailed, Nailed it to the wall.

Awesome.

All right, we've got another one here.

We had two, two eras of the band that when I was with him, first of all, I it happened by accident.

I was sitting next to Phil Ehart.

We were guests of the promoter watching a Robert Plant concert.

Hey, Phil, how you doing, man?

They they had moved to Atlanta.

The Dregs moved from Augusta, GA to Atlanta, GA.

We would see each other gigs and and we're friends and like Steve Walsh had helped us with an album.

Yeah.

We're putting the band back together, Phil.

We're putting the band back together.

And Walsh is coming back.

And Steve Walsh quit the band at their their peak.

He'd he'd left in the in the band.

It went on and and had lots of versions in that and that had a great replacement singer, but it it was never the same.

So and then the band had kind of broken up.

So it putting the band back together with Steve said awesome.

That's great.

I can't wait to hear it.

I'm I'm a Kansas fan.

So what kind of stuff is Carrie giving you any any stuff to?

No, no, no, Carrie's not doing it.

So we we need some ideas.

If you got any song ideas.

Have I got song ideas?

Well, yeah.

How many do you do you do you want?

And it said, well, we're getting together.

Come on over to my house.

So we had we're in the basement of his house, which is a daylight basement in Georgia.

They do that a lot.

They do it in Tennessee in the hilly areas.

We all loaded in there.

And and so I started, you know, with that idea and Steve Walsh was on keyboards and we're trading ideas back and forth.

And we came up with a tune and everybody was on board with it.

So you want to do that?

We're going to get in together next Tuesday.

You want to come back?

Yeah.

OK.

And it happened to be where my band wasn't, wasn't do anything.

We, we thought we'd played it out because our agent was like you, you can never get to Europe.

You, you never you've never sold enough records.

You'll never get there.

Support of agent.

Yeah, yeah, exactly.

And.

Then you'll never succeed anyway.

I need your 20%.

It was a percent, it was a significant percent.

It was enough and we did it end up going to Europe with no guarantee with with my trio.

We went there and played for the door at places and it worked.

It worked great.

It worked fantastic.

That's what I said.

Do you?

Ever follow up with that agent?

You let your you let your accolades do the talking.

No, it's the best way.

The the audience is, is incredible in Europe, Yeah.

All they want to do is hear music of a variety.

They want authentic American artists playing from the heart of any kind.

They're extremely tolerant audience.

So anyway, I'm.

I'm digressing.

OK, so we we did more songs and it was very organic by the end of it.

We're going to record the stuff you want to record it with.

Well, sure.

Where are you going?

And all right, cool, let's do it then.

It's like, well, we're getting offers for a tour.

You want to go on?

Yeah.

Yeah, I guess.

Yeah.

We organically, yeah, came together as that band.

Yeah.

Yeah.

And then the second album, I, it was some some time it passed and we'd done a bunch of gigs.

And now that there was MTV really pushing this, you have to be a video star.

And then VH1 saying you have to be a soft rock video star.

So MTV was Hard Rock, VH1 was soft rock, would you say?

Yeah, that or not Hard Rock, but pop.

Rock, pop rock, I got.

You there?

There was yeah, there was not as much Hard Rock.

There's a heavy pressure to come up with a hit single.

And that was that was tough for me as a writer because I mean, I went went to LA.

We wrote with people and and exchange ideas and everything.

And we we came up with some stuff that was on the the next album, this in Spirit of Things.

And Bob Ezrin was very helpful with, you know, being the producer and and kind of guiding us along.

The first album, though, was us as a band coming together naturally.

And the second one was now there's pressure that we need to fit in this mold or that mold, but all this other stuff.

Yeah.

Well, do what if you have to.

You know, there was not as much opportunity to be organic.

And and that got to me personally as, as I started to realize, you know, that I see Kansas as this orchestral, you know, big anthemic, but they they'd already none part of their success came from dust in the wind.

They they could do that, but it it wasn't the vision that I had of of being in the band.

And so I ended up bowing out after we did the album and and tour.

But that's why there's two different kind of genesis, yeah, of the band.

It seems like you followed your instinct each time where it's like, all right, this isn't, you know, maybe you have to let it wane on as you move, transition to the next phase foresight that you have to have.

I really respect that because a lot of people will just stick in one spot and be like, well, this is working for me.

So you have to be really confident and be like, well, I'm going to be able to.

It's going to be all right.

But it can be really scary.

Well, for the most part I've done that.

And you know, possibly with, with purple, I've stayed too long.

The artistic guy who's no, no, I want it this way.

His voice has always been louder than the reasonable guy who says you're going to be on the cover of Career Suicide magazine and I've been on the cover of that like 5 times.

That was you on there?

I think I was on there once.

I don't know.

It was a misprint.

No, they, they said there there is a limit to how many times you can be on the cover.

That's the only reason they look for me for.

Oh, Morris is doing this.

Oh, that's going to be a great cover.

Let's get somebody else to.

I wonder what your favorite moment of this upcoming tour is going to be, because you've only done 2 shows, right?

Yeah, Nashville was last night and you have about 3 weeks or so.

Yeah.

What are you most looking forward to on this run with the Steve Morse Band?

Well, actually the the the most fun was playing through the stuff for the first time with Angel, playing some of the guitar parts on songs that we couldn't do live because I had, you know, specifically A2 guitar section in there that didn't sound right.

Doing it as a trio.

And and two of the songs on the album are duets, one with Eric Johnson and the other with John Petrucci.

He mentioned that to me, he's like, no big deal.

Yeah, all you got to do angels.

It's playing the style of Eric Johnson and then John Petrucci.

Is that so much to ask?

It's easy.

He's so talented and and and incredibly versatile.

I, I actually suggested him for that role because I worked with him when he was doing the video for New Country, a John Luke Ponte tune from the 70s.

And so here's this younger guy reaching out like saying how can I broaden the horizons?

I mean, I don't know if that's what he was saying to himself, but to me it looked like, yeah, all right, I've got this metal thing done.

I got all I can do, all this shredding stuff.

Now what's what's next?

Instead of this is comfortable.

This is working for me.

Like you were saying, he he's he's looking to spread out.

So that's why I thought this this is really good.

And then while we're doing the video, we're playing long recording, but everybody's playing and plugged into amps and I'm noticing everybody's making all the parts.

They're they're making it perfectly.

Yeah, that is actually very rare for a music video shoot to for you to actually be.

He's multi talented so the band is firing on all cylinders.

And so, yeah, just running through it right before we went out, you know, everybody got together in the same room at the same time.

And, and hearing that I was, I was smiling and saying this is cool hearing it for the first time.

It's something that's that's already happened.

So now I'm looking forward to, you know, everybody knowing each other and, and giving those, those little fine points of detail that that bring it up to the next level.

What kind of band leader are you?

I've morphed from the evil Taskmaster.

As a young man, I was really intolerant.

If somebody showed up and I wrote out a chart or I made a cassette tape for them or whatever, and they didn't know that, I'd be pissed and I'd be justifiably pissed.

This, this is a fuck up.

What are you doing?

You know that we're trying.

We're trying to do something here.

Yeah.

And when you're 15 minutes late, there's four of us here waiting.

That's 4 * 15 is 60 minutes.

That's one man hour wasted of the band's time because of you.

Why?

You had a flat tire.

No, I don't believe you had a flat tire.

And it would only made you 15 minutes.

You would have been way later.

Yeah, stuff like that.

So I have more from that to the more, you know, I've been through so much.

I've been, I've been pummeled from being the guy that replaced Richie Blackmore or the guy that replaced Kerry Libgren and been pummeled with that, you know, and you know, to where I've, I've got, you know, more of a thick exterior callus.

That's all over and done with, right?

Like at this point, Yeah.

Yeah.

OK, good.

How do you feel about when the Levee breaks that song by Led Zeppelin?

You know that one.

I know the title, I know the all the Led Zeppelin riffs, but which one is that?

And.

Then this part, the bass is going.

You want to hear the track and see if you want to.

That's OK.

Well, I'll wing it.

I'm used to doing that.

The.

None.

The.

The.

That's cool you took a different approach for every everyone that was what they really need.

That was so awesome man, what an honor.

I love the way you you really relax but broke up the time.

Bouncing off people I get to learn so much hanging out with.

People like for the tone control thing, that's all.

Oh.

Yeah, dude, I couldn't quite get it, but I'm going.

To work on 335 this is.

The not the setup that I'm looking.

For it's not the setup.

Any other plugs that you like to get the word out to everybody we got?

A new album called Triangulation.

The tour's starting now, but or the first leg of the tour and so the albums come out November 14th and we got, you know, some videos that are we did one already called Breakthrough and got the other two are the the duets Eric Johnson and John Petrucci.

Although in the video, I'm not sure what the video is going to be of because I didn't you know.

Get them in get them in on zoom or something I.

I don't know if I have the heart to.

Yeah, yeah.

Because with your friends, sometimes when you ask something, yeah, they feel like a blah blah, obliged to do it.

So if I if I asked them to do a video man I don't know after doing the song and everything well.

You don't have to ask them.

Maybe they'll see this.

And Steve didn't ask anything of you.

One of the longest pieces we've ever done, almost 11 minutes long and it's called Too Many Parts.

I'd have didn't.

I'm very busy technical piece that I did a few decades ago called Too many notes where literally.

I know that one.

Yeah, OK.

Well, this one is called too many parts because there's lots of parts.

Well, I wish you all the success on that.

And depending on when you see this video, the album could be out because as we know, the Internet, people find things at various points in time.

So all the links will be in the description.

And it's true, true honor, man.

Same here man.

You, you are a surprising guy with all these hidden talents and obvious talents.

I'm doing my best Angel Vivaldi impression.

Yeah, I like it.

I like that.

I like when when people have depth.

Yeah.

And you, you, when we're just jamming, you're, you're doing every, every take different.

And I love that.

Yeah, that's that's real, real jamming, you know?

Well, you got it man.

Thank you so very much.

Thank you.